Majella IMPLEXUS User manual

IMPLEXUS USER MANUAL

IM • PLEX • US
[Majella Audio]
Entwined, Interwoven, Enfolded
~ The IMPLEXUS creates enfolded waveforms that are harmonically rich.

Please read these instructions before using this product!
The IMPLEXUS should only be used following these basic precautions:
1. Read all 9 IMPORTANT safety instructions and the full user manual before using this product.
2. DO NOT OPEN THE CHASSIS OF IMPLEXUS!
2a. RISK OF ELECTRICAL SHOCK!
The IMPLEXUS uses high voltages inside its casing. These voltage levels can can cause injury or death due to
electrical shock!!
2b. ESD SENSITIVE!
The printed circuit board of the IMPLEXUS is subject to Electro Static Discharges (ESD). Touching the printed
circuit board will damage the electronics inside!
2c. SERVICE BY QUALIFIED PERSONNEL ONLY!
Only MAJELLA AUDIO personnel should service the IMPLEXUS. If servicing is required, please contact us via
[email protected] or visit www.majella-audio.com
3. DO NOT MODIFY THE IMPLEXUS!
3a. PRODUCT CAN BE DAMAGED WHICH MAY RESULT IN UNSAFE SITUATIONS!
The casing and electronics have been carefully designed while focusing on product safety.
Modifying the IMPLEXUS will defeat product safety guards and create unsafe conditions.
3b. ESD SENSITIVE!
The printed circuit board of the IMPLEXUS is subject to Electro Static Discharges (ESD). Touching the printed
circuit board will damage the electronics and make IMPLEXUS inoperable.
IMPORTANT SAFETY INSTRUCTIONS
4. THE IMPLEXUS IS NOT A TOY!
4a. CHOKING HAZARD!
The IMPLEXUS contains accessible small parts like screws, rings and knobs that may come loose. Keep away
from small children, pets or any individuals who have the tendency to place inedible objects in their mouths.
4b. FOR PROFESSIONAL USE!
The IMPLEXUS is meant for professional use, which means only individuals who know how to safely connect
and operate audio equipment should operate it.
5. THE IMPLEXUS IS FOR INDOOR USAGE ONLY!
5a. MOISTURE SENSITIVE DEVICE
Do not use the IMPLEXUS near water and do not use the IMPLEXUS in environments where liquids can be
spilled over the IMPLEXUS!
5b. EARTHED WALL PLUG IS A MUST
Power the IMPLEXUS from an grounded (earthed) wall plug and use CE marked cables (within the EU) at all
times. Not using an grounded (earthed) wall plug may result in unsafe situations!
5c. UNPLUG WHEN NOT USED!
Unplug the power cable from the IMPLEXUS when not in use.
5d. FIRE HAZARD!
Do not cover the IMPLEXUS while it is turned on to ensure proper ventilation and do not operate the
IMPLEXUS in environmental temperatures above 30°C/85°F.
6. PROTECT YOUR EARS!
6a. RISK OF EAR-DAMAGE AND PERMANENT HEARING LOSS
Do not listen to the IMPLEXUS at high sound volume, especially for long periods of time. Listening to the
IMPLEXUS at high sound levels can cause inner ear damage resulting in temporary or permanent hearing loss

7. HANDLE WITH CARE!
7a. CONNECT PROPERLY FOR SAFE USE!
I. Use grounded power cables to connect the IMPLEXUS to a grounded (earthed) wall plug.
II. Never plug in the power cable when the Fuse Drawer (next to the power connector) is removed!
III. Do not insert mono jack (TS: Tip/Sleeve) cables to the headphone or balanced outputs.
IV. If you would like to use the IMPLEXUS outputs unbalanced (not recommended for signal integrity
purposes), please use TRS (Tip/Ring/Sleeve) jack cables!
V. Do not apply voltages to the inputs and outputs of IMPLEXUS that exceed the voltage range of +12V
or -12V.
VI. Do not apply phantom power (48V) to any of the inputs and outputs! This may or will result in damage
to your IMPLEXUS!
VII. See page 6 for instructions on how to correctly connect your IMPLEXUS.
VIII In Case a FUSE has been blown, replace with 500mA (0.5A) slow blow. In case the FUSE keeps blow-
ing, please contact [email protected]
7b. IN CASE OF AN ACCIDENT
Turn off the IMPLEXUS, keep the IMPLEXUS unplugged and immediately contact Majella Audio (at support@
majella-audio.com) when the following situations has occurred:
I. Liquid was spilled onto the IMPLEXUS.
II. The IMPLEXUS was dropped.
III. The IMPLEXUS is not functioning correctly.
IV. The IMPLEXUS enclosure was damaged.
8. TAKING CARE OFF IMPLEXUS
8a. Wipe the surfuce with a soft cloth, try to keep the IMPLEXUS free of dust.
8b. Don’t use damp cloths on the IMPLEXUS panel or wooden side panels.
8c. The wooden side panels are finished with oil, and should not wear with normal use. If wear shows one can
contact us for maintenance instructions.
9. Please feel free to contact us in case of any questions!
Email: [email protected]
Visit: www.Majella-Audio.com

IMPORTANT SAFETY INSTRUCTIONS 4
INTRODUCTION 10
UNPACKING 10
QUICKSTART 12
ABOUT THE IMPLEXUS 13
EXPLORING IMPLEXUS 14
PANEL CONTROLS AND FUNCTIONS 17
COMPLEX GENERATOR 17
PITCH CONTROL 17
WAVESHAPER 18
WAVEFOLDER 19
BIAS 20
BASIC GENERATOR 21
PITCH CONTROL 21
WAVE SELECT 21
MODULATION SOURCE 21
TUNER 22
ACCURACY 22
GLOBAL PITCH CONTROL 23
GLIDE 23
PITCH EG AMT 23
VIBRATO 23
MIXER 24
COMPLEX 24
SUB 24
BASIC 24
FILTER 25
CUTOFF 25
RESONANCE 25
EG AMT 25
TYPE 25
DELAY 26
MIX 26
TIME 26
REGEN 26
CLOCK 27
TAP TEMPO 27
EXT IN 27
MIDI clock 27
ENVELOPE GENERATORS 28
VELOCITY SENSITIVE 29
VEL AMT 29
MOD EG 29
AMP EG 29
LOW FREQUENCY OSCILLATORS 30
SHAPE 30
RATE 30
OUTPUTS 31
STEREO BALANCED LINE OUTPUT 31
HEADPHONE OUT 31
MIDI 32
SETTING MIDI CHANNEL 32
CONNECTING THE IMPLEXUS VIA MIDI 33
DIN MIDI 33
USB MIDI 34
EXTERNAL INPUTS 35
1V/OCT C (GLOBAL PITCH CV) 36
1V/OCT B (BASIC GENERATOR PITCH CV) 36
GATE 36
VELOCITY 36
CUTOFF 37
FOLD 37
BIAS 37
HARM 37
EXT IN (CLOCK) 37
EXTERNAL OUTPUTS 38
CLOCK 38
LFO 2 38
BASIC 38
MOD EG 38
PATCH EXAMPLES 40
PATCH : “Rhythmical manoeuvres” 40
PATCH : “Didgeridrone”” 42
PATCH: “Haunting metals” 44
PATCH: “Wonky sequences” 46
PATCH: “Random kicks” 48
PATCH: “Robotic wobble” 50
FIRMWARE UPDATE PROCEDURE 52
SYSTEM EXCLUSIVE MIDI MESSAGES 52
PERFORMING A FIRMWARE UPDATE 52

Thank you for purchasing the IMPLEXUS and congratulations on your new musical instrument! IMPLEXUS is an
analogue synthesizer that is inspired by West Coast and East Coast synthesis techniques. This user manual will guide
you through all the unique features that the IMPLEXUS has to offer you. You will be hearing all the intriguing sounds the
analogue signal path of the IMPLEXUS can create!
We will start with the basics and slowly move on to the more “in depth” features. We hope this manual explains
everything you will need to know to become creative and get started on making the most beautiful sounds utilizing the
IMPLEXUS!
INTRODUCTION
Please take your time to check the content of your puchase carton. Be careful not to damage the IMPLEXUS during the
unpacking process. We recommend saving the IMPLEXUS packaging carton for future travel or shipping.
Your IMPLEXUS is shipped including the following items:
1. IMPLEXUS Synthesizer
2. Printed User’s Manual
What you will need to hear some sounds:
1. Heaphones with a 1/4” plug or two 1/4” TRS balanced cables and speakers
2. Earthed AC mains outlet between 110-240VAC 50-60Hz
On the next two pages you will find an overview of all the different sections.
UNPACKING
MAJELLA
ENGINEERING
IMPLEX
MADE IN THE NEHTERLANDS
1
2
3
4
5
6
7
8
6
10
11
9
1110.
1. Complex Generator
2. Basic Generator
3. Generator tuning
4. Global pitch modulation controls
5. Mixer / Filter
6. LFO 1 and 2
7. Modulation Envelope Generator
8. Amplitude Envelope Generator
9. Clock section
10. Audio Delay
11. Volume control

This quick start guide provides the information you need to start tweaking the IMPLEXUS without the need to read into
the details. We do suggest you read this manual completely to get the most out of your new instrument, but at least read
the important safety instructions on pages 3-5 to operate the IMPLEXUS safely.
Follow these steps to start playing straight away:
1. Plug the power cord into its socket
2. Turn on the IMPLEXUS
3. Connect the audio outputs to your speakers or use a headphone
4. Connect the IMPLEXUS to a MIDI controller/PC or use the DRONE button to get instant sound!
5. Turn the output volume control mid way
6. Start playing and have fun!
QUICKSTART
ABOUT THE IMPLEXUS
The IMPLEXUS is a high-end analogue synthesizer inspired by two movements within analogue synthesis techniques.
On the one hand there is East Coast style synthesis, where one starts with a harmonically rich sounding waveform
and filter off harmonics with a Voltage Controlled Filter. This signal is modulated by envelope generators and (Low
Frequency) Oscillators. Although East Coast style synthesis techniques might be the most used synthesis techniques
today, there is another very interesting set of synthesis techniques which originated at the West Coast of the Unit-
ed States. Here one starts with a sine wave, which is a pure tone with no harmonic overtones. You begin adding
harmonic content to the sound by shaping and folding the waveform, while modulating these parameters at audio
rate and controlling it with unique interfaces like touch plates.
Side note: If you want to know more about the historical development of East Coast and West Coast synthesis.
we recommend watching the documentary “I Dream of Wires”.
For a long time, the two synthesis movements stayed quite separated, but nowadays they are combined more often
due to the rise in popularity of modular synthesis. You can now get your hands on any kind of West Coast or East
Coast style synthesis module and combine them in a modular system.
The IMPLEXUS is the result of our exploration of combining West Coast and East Coast style synthesis techniques.
We found that combining circuitries is a very delicate, detailed and time consuming process. After lots of prototyping
and trail and error problem solving, we finally found a golden combination of both synthesis techniques. The circuit
takes a sine wave, shapes it, folds it and then filters it to create the most interesting synthesizer sounds. We then
added extended modulation sources like a second VCO, Tap Tempo LFOs, and snappy looping ADSR envelopes with
velocity control over the modulation depth.
We think the IMPLEXUS is a great synthesizer that will inspire and intrigue many musicians and synthesizer
enthusiasts to create new sounds and music. We hope you will enjoy it as much as we do and we hope it will be your
“go to” instrument for a very long time.
Majella Audio
1312.
MAJELLA
ENGINEERING
IMPLEX
MADE IN THE NEHTERLANDS
1
6
2 3 4
5
1. Audio outputs
2. MIDI ports
3. USB MIDI control
4. (Eurorack) External I/O
5. Serial Number plate
6. AC mains input and ON/OFF switch

EXPLORING IMPLEXUS
In this chapter, you will be guided through the most basic features whilst exploring the sound of IMPLEXUS. This is
helpful when you are new to the world of hardware (West Coast) synthesis, but also if you would like to have a deeper
understanding of your new synthesizer! To follow upcoming steps, connect the power cord and your headphones or
speakers. Set all controls to the positions shown in the figure below:
MAJELLA
ENGINEERING
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Listening to the Complex Generator:
The complex generator is the feature that is the most characteristic for the
sound of IMPLEXUS. It is a very accurate voltage-controlled oscillator that
produces a sine wave. You can shape this sine wave using the harmonics and
folder controls.
Starting at center position (sine wave), slowly turn the HARMONICS knob
counterclockwise. You will hear that you are adding odd harmonics, which
sounds a bit like opening a low pass filter on a square wave. Slowly turn the
HARMONICS knob fully clockwise. You will now hear that you are adding
even harmonics, which sounds like opening a lowpass filter on a saw wave.
Now turn the HARMONICS knob back to its center position (sine wave). This
is the part where things get rather interesting! Slowly turn the FOLDER knob
fully clockwise, the sine wave will now start clipping and folding. While the
FOLDER knob is fully clockwise you can play with the HARMONICS knob. You
will hear some interesting growling and phasing sounds.
Keep the FOLDER knob turned fully clockwise and turn the HARMONICS
knob back to mid position. Slowly turn the BIAS knob fully clockwise and
back. BIAS causes the sine wave to clip and fold asymmetrically.
You have now explored the very basics of the complex generator. Things get
even more fun when you start playing in different octaves and use modulation
sources like the LFOs and Envelope Generators (EG), to control the FOLDER,
HARMONICS and BIAS.
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Listening to the BASIC Generator:
The basic generator contains everything you would expect from a voltage-controlled oscillator. It can produce one of
three basic waveforms: sine, square and saw. Let’s have a listen!
Make sure the MIXER section COMPLEX and SUB knobs are turned fully counterclockwise. Turn the mixer knob of the
BASIC generator clockwise. You are now listening to the basic generator. You can use the waveform switch to listen to
the three different waveforms.
Select a saw wave and turn the RES (FILTER section) to a 75% clockwise position. Slowly turn the CUTOFF knob
counterclockwise and back to fully clockwise.
With this FILTER sweep you have now explored the basic principles of the basic generator. The basic generator in
combination with the filter can produce a lot of classic analogue sounds and is perfectly suitable for bass lines, arpeg-
gios and more.
Besides creating more standard sounds, the basic
generator has a more interesting function on the
IMPLEXUS. The basic generator can be used as
a modulation source for the complex generator.
Some of the parameters that can be controlled
are FM, FOLD and BIAS.
That’s it for the first exploration of the IMPLEX-
US sound. We have explored the fundamental
features of the IMPLEXUS and listened to some in-
teresting sounds. In the next couple of chapters,
we will go in-depth on every parameter so that you
can get creative with the many possibilities the
IMPLEXUS offers!
MAJELLA
ENGINEERING
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In this section of the manual, every control and function is explained in detail.
COMPLEX GENERATOR
The complex generator is an accurate voltage-controlled sine wave generator cascaded by multiple wave shape
manipulators to create more complex sounding waveforms.
PITCH CONTROL
The complex generator offers three pitch control knobs: RANGE, FINE and
LIN FM. We will detail them one by one:
RANGE:
The RANGE control selects lowest note for the complex generator in
steps of exactly one octave.
FINE:
The FINE control tunes the complex generator and is continuous so
you can fine-tune its pitch.
LIN FM
The LIN FM (linear frequency modulation)controls the amount
of modulation the basic generator introduces to the pitch of the
complex generator.
MAJELLA
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PANEL CONTROLS AND FUNCTIONS
1716.

WAVESHAPER
The wave shaping section adds even or odd harmonics
to the basic sine wave of the complex generator. This
section offers three shape controls: HARMONICS, EG
AMT and LFO 1 AMT. We will detail them one by one:
HARMONICS
The HARMONICS control shapes the sine wave from the
complex generator by adding even or odd harmonics.
Adding odd harmonics shapes the sine wave to a square
wave and adding even harmonics shapes the sine wave
to a saw wave.
EG AMT
The EG AMT (envelope generator amount) control sets the
modulation amount/depth of the modulation envelope
(MOD EG) to the HARMONICS parameter. The EG AMT
is polarized, which means that the modulation amount
is zero when the knob is in mid position, negative in
counterclockwise position and positive in clockwise
position.
LFO 1 AMT
The LFO 1 AMT (LFO1 amount) control sets the modula-
tion amount/depth of LFO 1 to the HARMONICS param-
eter.
WAVEFOLDER
The wavefolder section folds the incoming signal from the
HARMONICS section. This section offers four fold controls:
FOLD, EG AMT, OSC MOD and LFO AMT. We will detail them
one by one:
FOLD
The FOLDER control folds the signal coming from the
HARMONICS section. The folding effect adds harmonics to
the signal, which results in a complex waveform signal.
EG AMT
The EG AMT (envelope generator amount) control sets the
modulation amount/depth of the modulation envelope (MOD
EG) to the FOLD parameter.
OSC MOD
The OSC MOD (oscillator modulation) control sets the
amount of modulation from the BASIC GENERATOR to the
FOLD parameter.
LFO AMT
The LFO AMT control sets the modulation amount/depth of
LFO 1/2 to the FOLD parameter. The LFO source (LFO 1 or
LFO 2) can be selected utilizing the toggle switch.
1918.

BIAS
The BIAS section allows you to clip and fold the signal asymmetrically. The BIAS section
offers three bias controls: BIAS, OSC MOD and LFO AMT. We will detail them one by
one:
BIAS
The BIAS control sets the amount of offset given to the signal coming from the wave-
shaper
OSC MOD
The OSC MOD (oscillator modulation) control sets the amount of modulation from the
BASIC GENERATOR to the BIAS parameter.
LFO AMT
The LFO AMT (low frequency oscillator amount) control sets the modulation amount/
depth from one LFO to the BIAS parameter. The LFO source (LFO 1 or LFO 2) can be
selected using the toggle switch.
BASIC GENERATOR
The BASIC GENERATOR is a Voltage-Controlled Oscillator, which produces a sine, saw or square wave signal. The
BASIC GENERATOR offers the following controls:
PITCH CONTROL
The complex generator offers two pitch control
knobs ,RANGE and FINE. We will detail them one by
one:
RANGE
The RANGE control selects lowest note for
the complex generator in steps of exactly
one octave.
FINE
The FINE control tunes the complex
generator and is continuous so you can fine-
tune its pitch.
WAVE SELECT
The basic generator offers three selectable waveforms, which can be selected using the three-way rotary switch.
MODULATION SOURCE
The basic generator is a very accurate, but basic voltage-controlled oscillator that can be used
in combination with the voltage-controlled filter to create your basic synthesizer sounds. This,
however, is not the main purpose of the basic generator in IMPLEXUS. The basic generator can be
used as a modulation source for multiple parameters of the complex generator. Modulating these
parameters at audio rate in different tunings and octaves will result in interesting and unique
sounds.
MAJELLA
ENGINEERING
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Sine (no Bias) Folded (no Bias)
symmetrically
Folded (with Bias)
asymmetrically
2120.

TUNER
Voltage Controlled Oscillators tend to detune over time. For example, slight changes in temperature may affect tuning.
When the FINE tune knob of a generator is set to mid position the VCO will be somewhere close to an “A”. If you want to
tune it more precisely there is an on board strobe tuner. To tune one of the generators, follow the next couple of steps:
Step 1: Turn off all pitch modulation by turning the knobs (FM, Pitch EG, Vibrato AMT, Lin FM)
counter clockwise and take out cables connected to the 1V/oct CV inputs on the back
Step 2: Turn on the tuner by selecting the generator you would like to tune, using the mini toggle switch
Step 3: Set the octave switch somewhere in the mid range (4’ or 8’ is great)
Step 4: Play an ‘A’ note on your MIDI keyboard in octave 1.
Step 5: Tune the generator using its FINE control. The indicators guide you:
-# Indicates “too high”, slowly turn FINE counterclockwise
-b Indicates “too low”, slowly turn FINE clockwise
-A (green) indicates an ‘A’ note
-A blinking LED means you are playing out of range for the tuner, either too high or too low.
When the ‘A’ indicator LED is lit (green) the selected generator is tuned to an ‘A’ (440Hz) note.
ACCURACY
This tuner is a nice tool to quickly tune the analogue generators to an ‘A’ note. The tuner is not meant for very precise
tuning, the green LED indicates an ‘A’ note, but the actual tuning of the generator can vary up to +-10 cents in lower
octaves and up to +-25 cents in higher octaves. You can use the octave switch to tune over a couple of octaves for more
precision.
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GLOBAL PITCH CONTROL
The global pitch control section provides three sections that influence the global pitch (the pitch of the complex
generator, basic generator and sub-oscillator. These three parameters are: GLIDE, PITCH EG and VIBRATO. We will
detail them one by one:
GLIDE
GLIDE allows you to create a slew between two MIDI
notes, so that the currently played note “glides” to the next
note. The GLIDE control sets the slew time where fully
counterclockwise means no slew and fully clockwise
means a long slew (glide). You will get a clear idea of what
this control does by playing alternating octaves over MIDI
and slowly turning the TIME knob fully clockwise.
PITCH EG AMT
The PITCH EG (pitch envelope generator) control sets the
modulation amount/depth of the modulation envelope
(MOD EG) to the pitch of the complex generator, basic
generator and sub-oscillator.
VIBRATO
The VIBRATO AMT control sets the modulation amount/
depth of the internal triangle wave oscillator, which is
dedicated to vibrato. In other words: it sets the vibrato
amount/depth.
The RATE control sets the rate/frequency of the vibrato os-
cillator. In other words: it sets the vibrato rate.
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2322.

MIXER
The MIXER section provides three volume controls to control the
input volume of three signals. These signals are mixed together before
entering the FILTER section.The three volume controls are: COMPLEX, SUB
and BASIC. We will detail them one by one
COMPLEX
This mixer control sets the volume of the complex generator at the input of the
FILTER section.
SUB
The IMPLEXUS has an internal sub-oscillator that produces a square
wave signal exactly one octave below the complex generator. The SUB
mixer control sets the volume of the sub-oscillator at the input of the
FILTER section. The sub-oscillator can be used to add some extra low-end to
the sound. This might be needed when you have an heavily folded waveform
from the Complex Generator.
BASIC
This mixer control sets the volume of the basic generator at the input of the
FILTER section.
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ENGINEERING
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FILTER
The filter section offers two different filter types to filter incoming audio
signals from the mixer. The filter is an OTA based 12dB/octave resonant
filter that offers four controls: CUTOFF, RESONANCE, EG AMT and
FILTER TYPE (hi-pass/low-pass). We will detail them one by one:
CUTOFF
The CUTOFF control sets the cutoff frequency. Frequencies (harmon-
ics) above (low-pass) or below (hi-pass) the cutoff frequency will be
attenuated with a curve of 12dB/oct.
RESONANCE
The RESONANCE control sets the amount of resonance the filter will
produce around the cutoff frequency. It “boosts” the amplitude of
harmonics around the cutoff frequency.
EG AMT
The EG AMT control sets the modulation amount/depth of the mod-
ulation envelope (MOD EG) to the CUTOFF parameter. The EG AMT is
polarized, which means that the modulation amount is zero when the
knob is in mid position, negative in counterclockwise position and pos-
itive in clockwise position.
TYPE
The filter type switch, switches between low-pass and hi-pass mode. In
low-pass mode the harmonics above the cutoff frequency are filtered off.
In hi-pass mode the harmonics below the cutoff frequency are filtered off.
MAJELLA
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DELAY
The delay section is a digital stereo audio delay with a
16bit resolution at 48kHz sample rate. The delay time goes
up to one second and can be synchronized to MIDI or ex-
ternal clock. The delay has three controllable parameters:
MIX, TIME and REGEN. We will detail them one by one:
MIX
The MIX control sets the amount of delayed
signal (wet) that is blended with the original signal (dry).
When the MIX control is fully clockwise the delayed signal
is around the same audio level as the original signal.
TIME
The delay time can be manually set using the
TIME control knob. When the TIME control is turned
fully counterclockwise the delay time is shortest. When this
control is turned fully clockwise the delay time is longest.
The delay time can also be synchronized to three
different clock sources: Tap tempo, MIDI and external
(Eurorack) clock. This can be achieved using the division
buttons. You can undo the synchronization by pressing
the blinking division button again.
REGEN
REGEN is an abbreviation for “regeneration”. This
control sets the volume of the delayed signal that is fed
back (feedback) into the delay input. When the REGEN
control is fully counterclockwise there is no feedback at
all and you will hear the delayed signal only once. When
this control is fully clockwise there is a lot of feedback and
you will hear the delayed signal repeating itself for a long
period of time.
NOTE:
Thereisatinybitof delaytimemodulation toemulateatape
delay/echo effect. The modulation rate differs between
the left and right output channel of the delay. This creates
a stereo widening effect best heard when listening to the
delay in a stereo setup.
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CLOCK
The IMPLEXUS offers three clock synchronization sourc-
es for the audio delay and the low frequency oscillators.
These three sources are: Tap Tempo (internal clock),
External clock (Eurorack) and MIDI clock. We will detail
them one by one:
TAP TEMPO
The TAP TEMPO button sets the (internal) clock tempo
by pressing it twice. The time between these two “taps”
becomes the new master clock tempo.
EXT IN
The EXT IN (external) mini jack input allows you to con-
nect your Eurorack or any kind of clock source that pro-
duces pulses in the range of 0-8V. The time between two
pulses becomes the master clock tempo.
MIDI clock
When a MIDI clock is being received by IMPLEXUS
via USB/DIN, the time between 24 MIDI pulses (MIDI
sends 24 pulses per quarter note) becomes the new
masterclock tempo. Note that when a MIDI clock is being
received by the IMPLEXUS, the TAP TEMPO button and
external input are completely ignored.
NOTES:
-The LED from the TAP TEMPO button indicates the clock
tempo (also for MIDI clock synchronisation). The MIDI LED
indicates MIDI note ON/OFF.
-When a MIDI clock is being received by the IMPLEXUS,
the Tap Tempo button and external input are completely
ignored.
-The maximum clock period is one second. When the
IMPLEXUS receives a clock with a longer period than one
second between taps or pulses, it will simple ignore it and
the clock period stays the same.
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ENVELOPE GENERATORS
The IMPLEXUS offers two envelope generators each with their own possibilities and purpose. The two envelope
generators are: MOD EG and AMP EG. We will detail them one by one, but first we will go through the common
envelope generator controls.
ABOUT ENVELOPES IN GENERAL: an envelope generator produes a varying control voltage signal with four time
specific curves: ATTACK,DECAY, SUSTAIN and RELEASE. The envelope generator is turned on by a gate signal, which
is generated when playing a MIDI note, for example.
ADSR
The IMPLEXUS envelope generators are both generating an ADSR slope/curve:
ATTACK
The ATTACK control sets the rise time of the envelope curve.
DECAY
The DECAY control sets the fall time from the end of the ATTACK curve to reach
the SUSTAIN level.
SUSTAIN
The SUSTAIN control sets the SUSTAIN level. When the ATTACK and DECAY
curve period is over, the envelope generator signal will stay at SUSTAIN level
for as long as the gate signal is high (for as long as a note is being held).
RELEASE
The RELEASE control sets the fall time, from the moment the gate is turned
off (note was released). The RELEASE curve will fall from any point in the
ATTACK, DECAY or SUSTAIN curve.
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GATE
GATE
ENVELOPE
OUTPUT
ENVELOPE
LOOPED
VELOCITY SENSITIVE
The envelope generators are “velocity sensitive”, which
means the maximum envelope signal level is set by
velocity level from MIDI. The amount of influence the
velocity level has on the envelope generator its output
can be set individually for each envelope generator using
the VEL AMT control.
VEL AMT
The VEL AMT (velocity amount) control sets the amount
of influence the velocity level has on the envelope gener-
ator. When the VEL AMT control is fully counterclockwise,
velocity does not influence the envelope generator output
at all. When the VEL AMT control is fully clockwise, you
will experience full velocity control. Velocity can be used
for amplitude: the softer you press a key (play a note), the
lower the audio volume and the harder you press a key
(play a note), the higher the audio volume. Velocity can
also be used for modulation depth: the harder you press a
key (play a note) the higher the depth of modulation.
NOTE:
Velocity is originally a MIDI parameter, but on the
IMPLEXUS it is also a voltage-controlled parameter.
There is a CV input for Eurorack, which allows you to do
amplitude modulation, for example.
MOD EG
The MOD EG (modulation envelope generator) can be
used for modulation purposes. It can modulate multiple
destination parameters: GLOBAL PITCH, HARMONICS,
FOLD and CUTOFF. The modulation envelope also has
a CV output on the back of the IMPLEXUS that can be
patched to any CV input.
The modulation envelope has a loop mode, so that it can
behave as an LFO triggered when gate is high. The LFO
period and curve is set using the ATTACK and DECAY
controls.
AMP EG
The AMP EG (amplifier envelope generator) controls
the VCA (voltage controlled amplifier) amplitude of the
IMPLEXUS. The amplifier envelope has a drone function
that sets the gate signal of this envelope generator to “al-
ways high/on” so you will have instant sound when the
SUSTAIN control is fully clockwise.
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LOW FREQUENCY OSCILLATORS
The IMPLEXUS offers two low frequency oscillators
(LFOs) with a frequency range from 0.1 Hz to 100 Hz.
Both LFOs can be used to modulate HARMONICS, FOLD
and BIAS. LFO 2 also has a CV output on the back of the
IMPLEXUS, so you can patch it to any CV input. The LFOs
have SHAPE and RATE controls. We will detail them one
by one:
SHAPE
The SHAPE control is a rotary switch that selects the LFO
output waveform. You can select the following waveforms:
- RANDOM
- SQUARE
- SAW
- SINE
- RAMP
RATE
The LFO RATE can be set manually using the RATE con-
trol. This control knob sets the LFO frequency between
0.1 and 100Hz.
The LFO RATE can also be synchronized to three different
clock sources: Tap tempo, MIDI and external (Eurorack)
clock. This can be achieved using the division buttons.
You can undo the synchronization by pressing the blink-
ing division button again.
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OUTPUTS
The audio output section of the IMPLEXUS offers two audio outputs, each with their own volume control:
stereo balanced (Line) output and stereo headphone output. We will detail them one by one:
IMPORTANT NOTE: Listening to the IMPLEXUS at high sound volume can damage your hearing and cause temporary
or even permanent hearing loss. In addition, modulations can cause unexpected spikes in frequency and/or volume.
STEREO BALANCED LINE OUTPUT
The two 1/4” TRS (TIP, RING , SLEEVE) line level output jacks allow you to
record mono/stereo audio from the IMPLEXUS, over long cables without
signal loss. A TRS jack cable is “balanced” and rejects noise common
with unbalanced TS mono jack cables. Because the OUTPUTS are TRS
Balanced, use TRS cables when connecting to mono inputs like audio
interfaces or mixers. For example, if you want one channel mono out-
put, connect one TRS (see image on the left) cable from Output Left to
Audio Interface Channel 1, For stereo output (Delay effect), connect a
second TRS cable from Output Right to Channel 2. (This follows video
convention of Left/Ch 1, Right/ Ch 2.)
* IMPORTANT:
Do not use mono (TS) jack cables with IMPLEXUS outputs! Always use
TRS jacks, even for unbalanced unbalanced mono single channel
recording. Using a mono ( TS unbalanced) jack cable may damage your
IMPLEXUS over the long term.
HEADPHONE OUT
The stereo headphone output allows you to listen to the IMPLEXUS over
headphones. Just plug in your headphones and start playing!
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TIP | RING | SLEEVE
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MIDI
SETTING MIDI CHANNEL
The MIDI channel of the IMPLEXUS can be set at start up. When a channel is set, the IMPLEXUS will only listen to this
particular MIDI channel. From the factory the MIDI channel is set to channel 1. If you would to set a new MIDI channel,
these are the steps to follow:
Step 1:
Set the MIDI channel of IMPLEXUS you need to power on (or restart) while holding the TAP TEMPO
button. You will notice that the IMPLEXUS does not start up with blinking LEDs like it normally does.
Step 2:
You can now select the MIDI channel from 1-10 using the LFO division buttons:
When a MIDI channel is selected the IMPLEXUS will continue its normal start up procedure. The MIDI channel
is stored in the IMPLEXUS memory, so next time you will power on the IMPLEXUS it will listen to the last selected
MIDI channel.
CONNECTING THE IMPLEXUS VIA MIDI
The IMPLEXUS can be connected via DIN or USB. When the USB cable is connected, DIN MIDI will be ignored (MIDI
THRU will still work though!). We will detail each MIDI connection option:
DIN MIDI
The IMPLEXUS can be connected to a MIDI interface/controller via the DIN MIDI
input by simply connecting a MIDI cable to the MIDI IN connector on the back of
the IMPLEXUS. The IMPLEXUS can be chained using the MIDI THRU connector. A
schematic overview of these connections can be seen in the picture below:
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MIDI CONTROLLER
OUT
IN Tru
NEXT DEVICE
IN
USB
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USB MIDI
The IMPLEXUS can be connected to a PC/HOST using the USB connection on the back of the
IMPLEXUS. When the USB cable is connected, the DIN input is completely ignored (MIDI THRU
will still work). A schematic overview of these connections can be seen in the picture below:
MIDI CONTROLS
The MIDI controlled parameters of the IMPLEXUS are:
- Pitch (MIDI note range: 36-84)
- Gate (note on/off)
- Velocity
- Pitch Bend
- Modulation CC1 (FOLD)
- Clock (24 pulses per quarter note)
MIDI CLOCK SYNCHRONIZATION
When a MIDI clock is being received by the
IMPLEXUS via USB / DIN, the time between 24 MIDI
pulses (MIDI sends 24 pulses per quarter note)
becomes the new master clock tempo. Note that when
a MIDI clock is being received by the IMPLEXUS,
the TAP TEMPO button and external input are completely
ignored.
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USB
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USB
MIDI IN
EXTERNAL INPUTS
The IMPLEXUS offers external inputs and outputs in the form of a Eurorack (mini jack) patch bay. It is located on the
back of the IMPLEXUS. You can control the IMPLEXUS via Eurorack, but you can also patch an IMPLEXUS output to
an IMPLEXUS input. One example is patching the LFO 2 output to the VCF cutoff input. We will detail the inputs and
outputs one by one, but first there is an important note to remember when you are connecting external devices to the
IMPLEXUS:
IMPORTANT NOTE:
The external inputs and outputs of IMPLEXUS are protected against patch errors, but it is good practice to avoid creat-
ing patch errors, so here are some basic important rules:
- Do not patch an output into another output!
In general, signal flows by connecting the output to input (or input to output) with a patch cable
(mono mini jack cable.)
- Only use signals within the Eurorack range of -12V to +12V!
Exceeding these limits will damage your IMPLEXUS.
External INPUTS
1. GATE: Gate / note on
2. 1V/oct C: Global pitch CV
3. 1V/oct B: Basic generator pitch CV
4. VELOCITY : Velocity CV
5. HARM: Harmonics CV
6. FOLD: Fold CV
7. BIAS: Bias CV
8. CUTOFF: VCF cut-off CV
9. EXT IN External clock input
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1V/OCT C (GLOBAL PITCH CV)
The 1V/oct C input, controls the pitch of both the
COMPLEX and the BASIC GENERATOR. The input CV is
added up to the internal MIDI pitch CV and pitch bend CV,
so it can also be used it as a pitch modulation input.
When a mini jack cable is inserted to the 1V/OCT B in-
put, the 1V/OCT C input will only controls the pitch of the
COMPLEX GENERATOR.
1V/OCT B (BASIC GENERATOR PITCH CV)
The 1V/oct B input, controls the pitch of the
BASIC GENERATOR. The input CV is added up to the in-
ternal MIDI pitch CV and pitch bend CV, so it can also be
used it as a pitch modulation input.
When a mini jack cable is inserted into the 1V/OCT B in-
put, the 1V/OCT C input only controls the pitch of the
COMPLEX GENERATOR.
TIP:
Try modulating the pitch of the BASIC GENERATOR
by patching the LFO 2 output to the 1V/OCT B input,
while the OSC MOD control for BIAS or FOLDER is fully
clockwise.
GATE
The GATE input allows you to trigger the envelope
generators, which is basically what a MIDI note ON / OFF
does. A DC voltage of 0V represents a NOTE OFF and
3.3V or higher represents NOTE ON. When a cable is
inserted to the GATE input, the MIDI NOTE ON / OFF is
ignored.
TIP:
Try synchronizing the envelope generators to the
IMPLEXUS clock by patching the CLOCK output to the
GATE input. You can also patch LFO 2 (Saw / Square) out-
put to the GATE input. This way you can synchronize the
envelope generator and use the division buttons of LFO 2
to set the clock division. For random triggers, set LFO 2 to
random wave output.
VELOCITY
The VELOCITY input allows you to control the modulation
depth of both the envelope generators with an external
voltage (0V = very low velocity, 5V or higher = maximum
velocity). The VEL AMT control knobs sets the amount of
VELOCITY modulation.
When a cable is inserted to the VELOCITY input, the MIDI
velocity is ignored.
TIP:
Patching an LFO or generator signal into the VELOCITY
input creates interesting results. If you put the AMP EG in
DRONE mode and turn SUSTAIN fully clockwise, you are
basically controlling the VCA amplitude, which allows you
to do amplitude modulation!
CUTOFF
The CUTOFF input allows you to modulate the filter
cutoff, using an external voltage.
TIP:
The CUTOFF input allows you to modulate the filter with
an LFO. You can patch the LFO 2 output to the CUTOFF
input or patch an external LFO output to it and modulate
the FILTER CUTOFF.
FOLD
The FOLD input allows you to modulate the amount of
folding, using an external voltage.
BIAS
The BIAS input allows you to modulate the amount of bias,
using an external voltage.
TIP:
The BIAS input allows you to modulate the bias using the
modulation envelope, by patching the MOD EG output to
the BIAS input. You can even use it in loop mode to create
some interesting organic sounds.
HARM
The HARMONICS input allows you to modulate the
amount of folding, using an external voltage.
TIP:
The HARMONICS input allows you to modulate the
harmonics parameter at audio rate, using the BASIC
GENERATOR. You can patch the BASIC output to the
HARM input
EXT IN (CLOCK)
The EXT IN (external clock input) allows you to synchro-
nize the IMPLEXUS to an external clock signal. It behaves
like tap tempo, but instead of measuring time between
taps on the button, it measures time between pulses.
TIP:
An unstable external clock source will make the DELAY
and LFOs of IMPLEXUS “glitch”, because it will have a
hard time tracking the tempo and will keep adjusting to
the unstable input. Especially the delay will create audible
glitches in pitch, which might be unwanted. Having said
that, using an unstable/varying external clock source can
also result in interesting sounds!
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EXTERNAL OUTPUTS
Next to to the external INPUTS the IMPLEXUS is equipped
with 4 external OUTPUTS :
1. CLOCK: IMPLEXUS clock output
2. LFO 2: LFO 2 output
3. BASIC: BASIC GENERATOR output
4. MOD EG: Modulation Envelope output
CLOCK
The CLOCK output allows you
to synchronize other gear to the
IMPLEXUS internal clock. The clock
tempo can be set using TAP TEMPO,
MIDI clock or EXT IN clock input.
TIP
In DRONE mode, the MOD EG
(modulation envelope genera-
tor) can be triggered by CLOCK
output, using a single patch
cable. Patch the CLOCK output to
the GATE input.
LFO 2
The LFO 2 output allows you to modulate external gear or
IMPLEXUS parameters using LFO 2. This low frequency
oscillator signal is in the range of +-5V. The output wave-
form and frequency can be set using the LFO 2 controls.
TIP
The LFO 2 random waveform can be used for random
pitch modulation or random modulation of parameters
like FILTER CUTOFF and VELOCITY. You can also use the
random wave output to trigger the GATE at random times,
by patching LFO 2 output to GATE input, using a single
patch cable.
BASIC
BASIC outputs the voltage-controlled oscillator signal
from the BASIC GENERATOR. This analog audio signal
can be sent to external filters and other gear to shape
the sound. You can also use the BASIC output as a
modulation source for IMPLEXUS INPUT patch points.
TIP
The BASIC GENERATOR output can be used to modulate
VELOCITY and FILTER CUTOFF, using a single patch
cable.
MOD EG
The MODULATION ENVELOPE GENERATOR output,
outputs the envelope signal from the MOD EG. It basi-
cally offers you a snappy, looping, analogue envelope
generator with velocity control over modulation depth.
The output envelope signal can be set using the MOD EG
controls.
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