Make Noise PHONOGENE User manual

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PHONOGENE

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Proper installation of included power cable on mod-
ule. Please note the RED BAND.
Installation:
The Make Noise Phonogene is an electronic signal processor/ generator
requiring 70mA of +/-12V regulated power and properly formatted
distribution receptacle to operate. It is designed to be used within the euro
format modular synthesizer system.
Go to http://www.doepfer.de/a100_man/a100t_e.htm
for the details of this format.
To install, nd 20HP of space in your euro-rack synthesizer system, conrm
proper installation of included power cable on backside of module (see pic-
ture below), plug the 16pin end power cable into the euro-rack style power
distribution board, minding the polarity so that the RED stripe on the cable
is oriented to the NEGATIVE 12 volt supply line. This is USUALLY at the bot-
tom. Please refer to your case manufacturers’ specications for location of the
negative supply.

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Limited WARRANTY:
Make Noise warrants this product to be free of defects in materials or con-
struction for a period of two years from the date of manufacture.
Malfunction resulting from wrong power supply voltages, backwards power
cable connection, abuse of the product or any other causes determined by
Make Noise to be the fault of the user are not covered by this warranty,
and normal service rates will apply.
During the warranty period, any defective products will be repaired or re-
placed, at the option of Make Noise, on a return-to-Make Noise basis, with
the customer paying the transit cost to Make Noise. Please contact Make
Noise for Return To Manufacturer Authorization.
Make Noise implies and accepts no responsibility for harm to person or
apparatus caused through operation of this product.
Please contact [e-mail] with any
questions, needs & comments... otherwise go MAKE NOISE.
http://www.makenoisemusic.com
THANK YOU
Firmware engineer: Flemming Christensen (Gotharman http://www.gothar-
man.dk)
Beta Analysts: Aaron Abrams, James Cigler,
Test Subject: Surachai
Spiritual Advisor: Richard Devine.
Special Thanx to Curtis Roads for his book “Microsound”

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OVERVIEW
The Phonogene is a digital re-visioning and elaboration of the tape recorder as musi-
cal instrument. It takes its name from a little known, one of a kind instrument, used
by composer Pierre Schaeffer. While it is not an emulation, it does share the primitive,
tactile nature of its namesake, and expands upon the original concepts. It is informed
by the worlds of Musique Concrète (where speed and direction variation were com-
bined with creative tape splicing to pioneer new sounds) and Microsound (where com-
puters allow for sound to be divided into pieces smaller then 1/10 of a second, and
manipulated like sub-atomic particles). Having voltage control over every parameter, it
is most dynamic as a digital audio buffer for the modular synthesist.
The Phonogene is comprised of a pair of tool-sets, which work well together. Tape Mu-
sic Tools allow for sounds to be recorded on the y, layered using the internal Sound
On Sound function, manually cut into pieces using the SPLICE function, and re-organ-
ized with the ORGANIZE control. Once it is spliced up, it is possible to create nearly
innite variations of the original loop by modulating the ORGANIZE parameter. VARI-
SPEED allows for the speed and direction of playback to be controlled continuously
with one control signal. GENE-SIZE, GENE-SHIFT and SLIDE make up the Microsound
Tools. GENE-SIZE divides the audio buffer into progressively smaller pieces called
Genes (aka particles, grains, granules). A clock signal applied to GENE-SHIFT will step
through those pieces in chronological order, while a control signal (such as the Wog-
glebug Smooth CV) applied to SLIDE, moves through those pieces in a nonlinear fash-
ion. Using SLIDE, random access of the audio buffer is possible. Obviously, functions
such as VARI-SPEED and ORGANIZE are useful for Microsound as well, which is why
these functions were grouped into one module. The end result is a sampler/ looper/
audio buffer that is able to exist within a modular synthesizer system, and offer a vast
amount of real-time sound manipulation in a fast and tactile way.
PERSPECTIVE
There is often the expectation that “bad sounds,” such as clicks, pops, distortions,
wrong notes, phase inaccuracies and otherwise, should be impossible with modern
musical instruments. Many designers are making instruments which are fool-proof,
and which guarantee some specic musical result, thus making it easy to create the
same music over and over again. The Phonogene does not use this approach. In fact,
we have made it very possible to make the “bad sounds” and “mistakes” that have
led to some of the greatest moments in musical history (and of course, some of the
worst!). With the Phonogene, it is possible to Splice sounds in such a way that you will
hear sharp contrasts, clicks and pops. This is the physics of sound! It is possible to
slow down a recording to the point of complete decimation, so that all that remains is
trail of digital artifacts. Such are the limitations of digital sound. It is possible to render
the source material completely unintelligible, to cut busted loops, to distort digitally, to
obscure, to regenerate to the point of almost no signal integrity. This is the nature of
the Phonogene. If you seek the perfect looping tool, in the most contemporary sense
of the word “loop,” then please look elsewhere. If you desire to explore the realm of
modular, digital sample manipulation and microsound, read on!

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1. Signal IN Rotary Level Control: For Line Level set at 70% CW, and for 10Vpp at set
30% CW. Faceplate is marked accordingly.
2. Signal IN: Line Level or typical Modular Synth levels acceptable. AC Coupled.
3. Sound On Sound CV IN: sets mix of previously recorded Loop with Live Signal input
when recording, to allow for Sound on Sound type “overdubs.” Also allows for setting
monitoring level of Live input signals with previously recorded Loop. May be misused
as a Voltage Controlled Crossfader (between Live and Loop) or VCA for Loop (no Live
Signal). Range 0V to 8V, linear response. Normalized to +10V.
4. Sound On Sound Attenuator: with nothing patched to SOS CV IN (which is normal-
ized to +10V) works as standard panel control. With Signal Patched to SOS CV IN,
works as attenuator for that signal.
5. Signal OUT: 10Vpp (depending upon Signal IN attenuator setting and source mate-
rial), AC coupled.
6 & 7. VARI-SPEED and Splice Indicator LEDs: These LEDs tell user in which direc-
tion the Phonogene is playing. The LEFT Blue (7) LED indicates reverse playback, right
Orange LED (6) indicates forward playback. When no LEDs are lighted, playback is
stopped.
8. VARI-SPEED CV IN: bipolar speed and direction control where 0V stops playback,
positive control signal increases playback speed in forward direction, negative control
signal increases playback speed in reverse direction. Range +/-4V.
9. VARI-SPEED Bipolar Panel Control: manual bipolar speed and direction control.
When set to 50% playback is stopped, turning Clockwise from 50% increases playback
speed in forward direction, turning Counter Clockwise from 50% increases playback
speed in reverse direction.
10. VARI-SPEED CV IN Attenuvertor: bipolar attenuator for VARI-SPEED CV IN.
11. ORGANIZE CV IN: unipolar control signal input which selects next Splice to be
played. The currently selected Splice will play to end before the next Splice is selected.
The VARI-SPEED and Splice Indicator LEDs (6 & 7 ) will ash whenever this control
nds a new Splice. Range 0V to +5V.
12. ORGANIZE CV Attenuator: unipolar attenuator for Organize CV IN.
13. ORGANIZE Panel Control: manual unipolar control which selects next Splice to be
played. The VARI-SPEED and Splice Indicator LEDs (6 & 7 ) will ash whenever this
control nds a new Splice.
14. PLAY Pulse IN: at each rising edge signal applied to PLAY Pulse IN, Phonogene trig-
gers playback. At end of loop or splice, Phonogene looks at PLAY Pulse IN, if HIGH, it
plays again, if LOW Phonogene does not play. This Input is normalized to be HIGH.
So with nothing patched to PLAY Pulse IN, Phonogene will play continuously. Sees only
rising edge of signal. Needs at least 1.5V trigger signal to operate.

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15. RECord Pulse IN: toggles record on/ off. When recording from a cleared buffer, the
rst record cycle sets the record length, so be sure to perform the ERASE Routine to
achieve a new recording. Sees only rising edge of signal. Needs at least 1.5V trigger
signal to operate.
16. RECord button: manual, momentary button to toggle record on/ off.
17. RECord LED indicator: when lighted, Phonogene is recording. When not lighted,
Phonogene is not recording. When ashing, Phonogene has entered the ERASE Rou-
tine.
18. SPLICE button: pushing drops splice marker on loop. When loop is Organized, the
splices (resulting audio segments) are re-arranged according to the Organize control
voltage as the Phonogene plays whichever splice is selected by Organize parameter.
Since splices may be erased, this process is nondestructive. Holding this button for 3
seconds enters ERASE Routine (REC LED will ash to indicate the ERASE Routine).
19. SPLICE Pulse IN: input for using external signal to splice loop. Sees only rising
edge of signal. Needs at least 1.5V trigger signal to operate.
20. End Of Splice OUT: outputs a short 4 ms pulse at the end of each splice. In the
absence of Splices, EOS reects end of loop, which is always present when a recording
has been made.
21. End Of Splice LED indicator: lights to give visual feedback of End of Splice.
22. SLIDE Bipolar Panel Control: manual bipolar panel control for scanning the piec-
es of sound that result from setting Gene-Size to greater than 10%. Moves/ slides
through the Genes (aka grains). Allows for scrubbing of the recorded material and is
always dependent upon the GENE-SIZE setting.
23. SLIDE CV IN: bipolar control input for SLIDE. Range +/-4V.
24. SLIDE CV IN Attenuvertor: bipolar attenuator for SLIDE.
25. GENE-SIZE CV IN: unipolar control input setting size divisor of audio buffer, divid-
ing with respect to the buffer size as set by Record or Splice length. This parameter
“auto-splices” the recorded material like a machine, with no regard to source material.
Operates with great precision and the ability to cut pieces so small that the original
source material is completely unintelligible. Nondestructive. At 0V there is no effect.
Range 0V to +8V.
26. GENE-SIZE CV IN Attenuator: unipolar attenuator for GENE-SIZE.
27. GENE-SHIFT: clock signal at this input advances Phonogene to next Gene, in
chronological order. Always dependent upon the GENE-SIZE setting. Needs at least
1.5V trigger signal to operate.
28. GENE-SIZE Panel Control: manual unipolar control which sets Gene-Size divisor.

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GETTING STARTED
Erase Routine
It is best to start with a cleared memory. To Reset the Phonogene and start fresh
you need to enter the Erase Routine, where you may erase Splice markers and the
Audio Buffer (aka Loop, aka Recording, aka Sample). To erase all Splices, press and
hold SPLICE button (18) until the REC LED (17) starts ashing. All Splices are erased
once the REC LED begins ashing. While still holding SPLICE button, and with the
REC LED still blinking, the audio buffer may be erased as well by pressing REC button
(16) once. If you do not press REC button, then your recorded audio will remain, and
only the Splices will be erased. The Phonogene will continue to play the loop until you
erase, and you should release the SPLICE button as soon as you have completed your
desired Erase Routine.
Signal To Be Captured!
The Signal IN (2) has a gain control (1) that accommodates modular synthesizer sig-
nals as well as line level sources. Early electronic music composers often recorded
pure sine waves to tape at different frequencies and amplitudes, and then edited and
spliced these sounds into the musical phrases, but this was largely because there did
not exist the means to control the electronic sounds. Laboratory instruments were
being used as musical instruments, and these tools lacked the vast controls needed
for musical expression. The arrival of the VCO, VCA and Sequencer made complete
control of Frequency and Amplitude possible, on a time scale determined by the com-
poser. Honestly, the most interesting source material for the Phonogene is not your
synthesizer, but instead every other sound that surrounds you, so grab a microphone
or patch into the internet and nd some seemingly mundane sound to massage into a
gorgeous, jumbled up symphony of micronoise.
Recording Time and Quality
Audio Buffer is 2MB, nonvolatile, high number of fast read and write cycles. Nonvola-
tile means the Phonogene remembers both samples and splices on power down. The
high number of read and write cycles is key to longevity of the module, high speed
read and write cycles allow for short sample times, making the microsound possible.
Because the record and playback frequency is continuously variable from 88.2khz to
5.5khz by the VARI-SPEED control (8, 9, 10), the longest possible recording or loop
length, is determined by the speed of Playback/ Record. Therefore, long recordings
may be achieved, but at the cost of a lower sample rate, meaning the resulting re-
cordings will be of lower sound quality. A “Mid-Fi” setting may be achieved by setting
VARI-SPEED at around 50%, so that BOTH VARI-SPEED and Splice Indicator LEDs (6 &
7) are OFF. This records with good quality, a 2 second record length, and allows for a
good range of speed variation. Playback will be stopped while you record.
Signal OUT
That the Phonogene exist within the modular system is a huge advantage. Many
Analog Synthesis techniques and processes will work well with the Phonogene. Crea-
tive ltering, especially Low Pass and Band Pass, will prove very useful in controlling
the textures, clicks and aliasing of the Phonogene. Amplitude Modulation, Echo, Reverb
are also commonly suggested post processing techniques in microsound and granular
synthesis.

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Recording Process
The RECord control toggles record on/ off. Starting with a Cleared Memory, pressing
the RECord Button (16) once (or sending a single Pulse to RECord Pulse IN, 15) starts
the recording process, and pressing RECord Button again (or sending a second, single
Pulse to RECord Pulse IN) stops the recording process. If the end of the Audio Buffer is
reached before the user stops recording, RECord automatically stops. The Phonogene
begins looping the recording immediately upon completion of the record cycle (assum-
ing the PLAY Pulse IN, 14, is held HIGH, which is the default state when there is noth-
ing patched to the PLAY Pulse IN). It will be necessary to adjust the SOS control (4) so
that the desired source (or blend of sources) appears at the Signal OUT. This initial re-
cording sets the loop length, which is always minded, until the Audio Buffer is cleared
(see Erase Routine, page 5).
Sound On Sound
Once the initial recording is made, the RECord function then allows for punch IN/ OUT
within the loop, and layering of other sounds. Sound On Sound Control (3, 4) sets the
balance of the Live Signal and previously recorded Loop Signal. While the Phonogene
will not record in reverse, it will playback in reverse while recording for Sound On
Sound, so it is possible to have two sounds playing in opposite directions. Once SOS is
complete, remember to adjust the SOS control so that the desired source (or blend of
sources) appears at the Signal OUT.
Splicing
The SPLICE button and SPLICE Pulse IN (18, 19), allows the user to non-destructively
cut the loop into pieces, which are then selected for playback using the ORGANIZE pa-
rameter (11, 12, 13). To Splice, have the Phonogene set to playback the material to be
spliced, and use either the SPLICE Button or SPLICE Pulse IN to drop Splice markers
on the recording as it plays through. When playback loops around to the beginning,
the Phonogene sees the new Splices, and looks at the voltage set by the ORGANIZE
control in order to select which Splice to play. To preview your Splices, turn the OR-
GANIZE Panel Control slowly, and observe the VARI-SPEED and Splice Indicator LEDs
(6, 7) for ashing to indicate new splice found. The newly selected Splice will not play
until the currently playing Splice reaches its end, at which point the End Of Splice OUT
(20) will generate a 4 ms pulse and the newly selected Splice will begin playing. The
RECord function will mind the boundaries of the currently selected Splice. This will al-
low for replacing sounds within a musical phrase, or creating highly contrasting edits
when building sound collages. To initiate RECord at the start of Splice, patch the EOS
Pulse (20) to RECord Pulse IN (15). To erase Splices, enter the Erase Routine (see
page 5). It is useful to slow and even stop the sound when Splicing, if precision is de-
sired. To avoid clicks, slow the sound to nd spaces or low amplitude regions in which
to place Splices. Use your ears. If you want to Splice in real-time, let the loop play a
few times, and learn the rhythm, thinking about where the up-beats fall, and try to
drop splices on those up-beats. See the “Recycler” patch page 15 for “auto-splicing.”
It is possible to manually Splice into the microsound range (down to about 10ms). This
is an excellent technique to experiment with since it allows for many different sizes,
where as GENE-SIZE parameter sets a uniform size for all pieces. Additionally ORGAN-
IZE treats Splices differently than the SLIDE treats the Gene, since ORGANIZE will
wait until the current Splice reaches the end before moving to the next selected Splice.
This often has less glitches as the sound is traversed. A world of micromontage awaits.

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Re-Organizing Splices
ORGANIZE is the one control on the Phonogene that is not instantaneous. Turning the
panel control or modulating ORGANIZE, the VARI-SPEED and Splice Indicator LEDs (6,
7) ash indicating new splice found, however, the newly found Splice will not be se-
lected for playback until the currently playing Splice reaches its end, at which point the
End Of Splice OUT (20) will generate a 4 ms pulse and the newly selected Splice will
begin playing. The ORGANIZE parameter was designed for sequential control sources,
such as René or Pressure Points. The range is smaller than the other control inputs,
reecting the typical 5Vpp range of analog sequencers.
It is worth considering that the human ear is more sensitive to incongruences in pure
and simple waveforms, so for example, recording a SINE wave of constant amplitude
and Splicing WILL result in audible clicks, while recording speech and splicing is not as
likely to have audible clicks.
Speed Variation, Direction Variation
There is one control associated with both direction and speed, and that control is
VARI-SPEED (8, 9, 10). Also there are LED indicators (6, 7) which show direction of
playback. At 50% VARI-SPEED is at 0, and playback is stopped. Neither of the associ-
ated LEDs will be lighted. Turning Clockwise from 50% increases playback speed in
forward direction, turning Counter Clockwise from 50% increases playback speed in
reverse direction. VARI-SPEED has a wide range, with increased resolution toward the
center of it’s range, thus giving the control a nice feel when “braking” playback with a
smooth control voltage. For “Wow & Flutter” effects, modulate with greatly attenuated
smooth random voltage (such as Wogglebug Woggle CV), setting the on board attenu-
ator nearly to 50% (nulled). Sequencing the speed of playback is also very pleasing
when combined with sequencing of the ORGANIZE parameter.
Stopping Playback, Starting Playback, Re-Triggering Sounds
When VARI-SPEED (8, 9, 10) is at 50% the Phonogene has slowed to a halt. When
VARI-SPEED is set to greater or less then 50%, playback will start from where it was
halted. The PLAY Pulse IN will also stop and start playback, but in a very different way.
At the end of each loop or splice, the Phonogene looks at the PLAY Pulse IN (14), if it
is high, then Phonogene continues to play, if it is low, Phonogene stops at end of loop
or splice. In this way, the PLAY Pulse IN, will always play the loop or splice from the
beginning. PLAY Pulse IN may also be used to re-trigger sounds, since it is essentially
looking for a change in state, from low to high. If you send repeated pulses to PLAY
while VARI-SPEED is set for playback, you will achieve the classic re-trigger effects.
PLAY and VARI-SPEED respect each other, so for example, if VARI-SPEED is set to
50%, a pulse at the PLAY IN will not trigger playback, since the playback speed is ef-
fectively zero.

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Microsound
Microsound includes sounds shorter than musical notes, and yet longer than single
samples. The sound is essentially a cluster of samples contained in an amplitude en-
velope. The Phonogene offers two methods “Micromontage” and “Granulation.” Mi-
cromontage is done manually using the SPLICE function to cut the sound into pieces,
and the ORGANIZE parameter asynchronously plays through those pieces. It is pos-
sible to splice sounds down to 10ms. It is an interesting process that allows for a great
deal of variation, but it requires patience since the sound is cut up manually to achieve
such variation. Granulation is an automatic splicing of the sound. It is done without re-
gard to source material, and is a linear, machine like process, dividing the audio buffer
into progressively smaller pieces. If the individual Samples that comprise a digitally
recorded sound recording make up the DNA of the sound, then we would refer to these
small clusters of samples as Genes. The Phonogene is a Single Gene device, meaning
that one cluster of samples is heard at a time. The Phonogene uses Dynamic Envelop-
ing to achieve smoothing of the audible glitches that result from performing these par-
ticle physics studies upon audio signals. At a certain point, the size of the Gene is so
small that it will be heard as a click. This is still useful because there are many ways
to vary the timbre of that click, and when hundreds of clicks are heard one after the
other, the ear will perceive them as a tone with varied timbre. The same is true of the
Micromontage method, but Granulation is an automatic, real-time process, and there-
fore may be modulated by control signals within the modular system. Additionally, the
GENE-SHIFT Clock IN allows for strict Synchronous playback of the resulting pieces,
which is useful for Time-Stretch/ Compress and other effects. It is recommended that
LP or BP lter follow the Phonogene when performing granulation, to allow for further
control of the resulting sound.
Setting Size of Genes
The GENE-SIZE control parameter sets the divisor value. The smallest possible Gene
is 1/12th of the splice length. If there are no splices, the smallest possible Gene is
1/12th of the total loop length. Therefore, the SPLICE and ORGANIZE functions will
prove useful for building sets of Microsounds. For example, if you have 4 Splices, and
each is a different length, then each splice will offer a different range of Gene sizes.
Heard un-modulated the single Gene sounds almost as if it were oscillating, and mod-
ulating the VARI-SPEED control will change the perceived pitch of this oscillation, just
as you would modulate the pitch of a VCO. Modulating the GENE-SIZE will effectively
change the perceived pitch as well as the timbre, and could be likened to varying the
level of magnication while inspecting a microscope slide. Slow continuous signals,
such as MATHS, triggered or cycling, will prove very good modulators for GENE-SIZE.
Traversing Sound on a Genetic Level in a Nonlinear Way
As interesting as the single Gene may sound while modulated, you will nd that ex-
ploring all the different Genes in a given Splice via modulation of the SLIDE parameter
will be even more thrilling. The sonic contrast of the different Genes and the order in
which they are heard will generate a wealth of new sounds from your source mate-
rial. SLIDE (23) will always move immediately to the next Gene, so modulating with
stepped voltages will often result in fast hard timbral changes as you move from one
cluster of samples to another. Continuous signals, such as MATHS, triggered or cycling,
will prove very good modulators for SLIDE. The SLIDE Panel control (22) sets the cent-
er point for the modulation and the SLIDE CV Attenuvertor (24) could be seen as set-
ting the “window” of the modulation, since it will control the range of Genes played.

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Chronological Inspection of the Sound DNA
Using the GENE-SHIFT Clock/ Pulse IN (27) it is possible to play through the Genes in
Chronological order. This is Synchronous Granulation. At the rising edge of each Clock
or Pulse, the Phonogene will jump to the next Gene, and will play that Gene at the rate
and direction determined by VARI-SPEED, until the next Clock or Pulse arrives at the
GENE-SHIFT IN. Modulating VARI-SPEED and GENE-SIZE while clocking through the
Genes is very pleasing. This is also useful for syncing timbral shifts or for performing
crude Time Stretch and Compress (see patch ideas page 13).
Synchronizing the Phonogene
The Phonogene has three timing inputs and one timing output. The PLAY, RECord abd
GENE-SHIFT Clock/ Pulse INputs are all useful in synchronizing the Phonogene. The
EOS Pulse OUT is useful for synchronizing other events to the Phonogene.
Patching a timing source or event source such as Clock, Pulse, Gate or Trigger signal
to the GENE-SHIFT IN will step through the individual Genes of your sound in time
with that source. Additionally the GENE-SIZE setting will further effect this process,
since the length of the Gene with respect to the length of the Clock Cycle will result
in either Time Compression or Time Expansion. If the GENE-SIZE is shorter than the
Clock Cycle, the Gene will play more than once before the next Clock arrives, and will
thus result in Time Expansion. If the length of the GENE-SIZE is longer then the Clock
Cycle, then the Gene will not play in its entirety, samples will be skipped or dropped,
and the result is Time Compression. Interesting timing sources are clock multipliers
(4ms SCM), PLL (Doepfer A-196), clock dividers and oddly enough, the manual gates
generated by Pressure Points. Tapping the Pressure Points to supply a “human clock”
to jump through the granulated loop is very pleasing.
Patching a Clock or Pulse signal to the PLAY Pulse IN, allows for triggering and re-
triggering of the Loop at rate of Clock or Pulse. This input could be used like the Reset
input on an LFO, so patching a division of your master clock so that the loop is periodi-
cally pulled back into sync with the rest of the patch.
Patching a Clock or Pulse signal to the RECord Pulse IN, allows for Recording and ap-
plying Sound On Sound at rate of Clock or Pulse. This usage is best shown in the Re-
generative Record patch (see page 14).

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HIDDEN FUNCTIONS/ ROUTINES
“Mid-Fi” Record: this setting may be achieved, by setting VARI-SPEED at around 50%,
so that BOTH VARI-SPEED and Splice Indicator LEDs (6 & 7) are OFF. This records with
good quality and a 2 second record length, which is great length for venturing into a
Microsound opus.
Erase Routine: to erase all Splices, press and hold SPLICE button (18) until the REC
LED (17) starts ashing. All Splices are erased once the REC LED begins ashing.
While still holding SPLICE button, and with the REC LED still blinking, the audio buffer
may be erased as well by pressing REC button (16) once.
PLAY Pulse IN (14): this input is normalized HIGH, so that with nothing patched, the
Phonogene will always play according to VARI-SPEED setting. Patching something to
this input WILL stop the Phonogene, if the applied signal is below 1.5V
SOS CV IN (3): this control input is normalled to +10V and is connected directly to the
SOS Attenuator (4), therefore with nothing patched the SOS CV IN, SOS Attenuator
acts as a panel control for the parameter, by setting an offset.
Patch IDEAS
For all Patch Ideas, assume Signal Patched to Signal IN and INput level set for maxi-
mum level without distortion, GENE-SIZE and ORGANIZE Panel Controls at 0% and
Erase Routine has been run so that Phonogene memory is cleared.
Sound Collage: Record. Set VARI-SPEED (9) for desired speed and direction. Splice Re-
cording manually, or with Pulse/ Clock Source, at random or with care. Use ORGANIZE
(13) Panel Control to select any Splice. Apply a different Signal to Signal IN. Set SOS
(4) for desired mix of Live Signal and Loop Signal. Patch EOS (20) to RECord Pulse IN
(15), Phonogene will begin recording at next pass, remove EOS from RECord Pulse IN
once desired SOS is achieved. Repeat the italicized steps many times, using different
Splices and different Signals and setting VARI-SPEED for different speeds and direc-
tions each time. When you are satised with the level of confusion, press and hold
SPLICE button (18) until the REC LED (17) starts ashing. Listen to the entire collage.
Time Stretch/ Compress (aka Universal Phonogene): Record loop. Set VARI-SPEED
(9) for desired speed and direction. Patch Clock signal to the GENE-SHIFT IN (27). Set
GENE-SIZE (28) to at least 40%. Phonogene will step through the individual Genes of
your sound in time with that Clock. Additionally the GENE-SIZE setting will further ef-
fect this process, since the length of the Gene with respect to the length of the Clock
Cycle will result in either Time Compression or Time Expansion. If the GENE-SIZE
is shorter than the Clock Cycle, the Gene will play more than once before the next
Clock arrives, and will thus result in Time Expansion. If the length of the GENE-SIZE
is longer then the Clock Cycle, then the Gene will not play in its entirety, sample will
be skipped or dropped, and the result is Time Compression. Additionally, modulating
GENE-SIZE with slow LFO, such as MATHS will re-create the effect of a Flux Capacitor.

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Sliding Phonogene: with a sound already recorded into the Phonogene, set VARI-
SPEED to 50%, so that playback is stopped. Patch the Press CV from column 1 of
Pressure Points to Channel 1 of MATHS. Patch the Press CV from column 2 of Pressure
Points to Channel 4 of MATHS. Set the RISE and FALL of both CH. 1 and 4 to around
65% and VARI-RESPONSE of both channels to “loggish.” Set MATHS CH. 1 scaling full
counter clockwise so that the resulting signal is inverted. Set MATHS CH. 4 full clock-
wise. Null MATHS CH. 2 and 3. Patch MATHS SUM OUT to Phonogene VARI-SPEED CV
IN and set the associated attenuvertor to about 70%. Use pressure placed upon Pres-
sure Points touch-plate 1 and 2 to control the Speed and Direction of Phonogene play-
back.
For the Innite Benet of Mr. Kite: VARI-SPEED (9) at around 70%. Press Record
and let it run to end. Now drop Splice markers on the empty recording as it plays
through. Drop at random. Using ORGANIZE(13), select a Splice. Patch Sound to Signal
IN (2). Set SOS (4) to Full Counter Clock-wise. When you are ready to record, patch
EOS OUT (20) to RECord Pulse IN. EOS will trigger RECord ON. Once Sound is record-
ed, remove EOS from RECord Pulse IN. RECord will go to End Of Splice and turn OFF.
Repeat italicized steps until each empty Splice is led with different sounds. Patch EOS
to Wogglebug Clock IN. Patch Wogglebug Stepped CV to ORGANIZE CV IN, and set as-
sociated attenuator for 50%. Enjoy.
Regenerative Record: VARI-SPEED (9) at around 70%. Press Record and let it run
to end. Set-up Sequence or some sort of clocked patch with Sequenced Sound
Source (VCO->LPG) patched to Phonogene Signal IN. Drive LPG with division of
Master Clock.
Master Clock => Clock Divider
/4 => Wogglebug Clock IN
/8 => Phonogene RECord IN (15)
/1 or /2 or ??? => Phonogene GENE-SHIFT IN (27)
Wogglebug Stepped OUT => Phonogene GENE-SIZE CV IN (25) (set corre-
sponding attenuator to about 50%) (26)
Wogglebug Woggle OUT => Phonogene VARI-SPEED CV IN (8) (set correspond-
ing attenuvertor to 40%) (10)
Start sequence. Listen to the mess you've made.

15
Recycler: Record. Mult the Signal out, and patch to Signal IN MATHS Channel 1. Set
MATHS Channel 1 RISE and FALL so that the Activity LED is Flashing in time with the
transients of the recorded sound. This will usually put RISE at around 60% and FALL
at around 50%. Patch a dummy cable, or a manual gate, such as Pressure Points Gate
OUT, to Phonogene PLAY Pulse IN (14). Let Phonogene play to end of recording. Once
playback has reached end and stopped, patch the MATHS Channel 1 End Of Rise OUT
to Phonogene SPLICE Pulse IN (19). Now let Phonogene play through the recording
ONCE by either pressing manual Pulse once or removing the dummy cable and then
immediately re-inserting once playback has started. When Phonogene has played en-
tire recording once, and is stopped, remove MATHS EOR OUT from Phonogene SPLICE
Pulse IN. There should now be nothing patched to Phonogene SPLICE Pulse IN. Re-
move the dummy cable or manual Pulse from Phonogene PLAY Pulse IN. Using the
ORGANIZE Panel Control (13), audition the resulting Splices. If not acceptable, press
and hold SPLICE button (18) until the REC LED (17) starts ashing, re-install the ca-
bles to PLAY Pulse IN and then SPLICE Pulse IN, adjust the MATHS RISE and FALL
settings, and perform italicized steps again. Once you are satised with results, utilize
the ORGANIZE parameter to re-organize your loop. Try patching stepped/ clocked con-
trol sources to ORGANIZE, such as sequencers (René) and sample & hold (Wogglebug
Steeped OUT).
Sound Replacer: perform above Recycler patch. Once you have sounds isolated within
Splices, select the Splice containing sound to be replaced using ORGANIZE Panel Con-
trol (13). Patch new Sound to Signal IN (2). Set SOS (4) to Full Counter Clock-wise.
This next step is optional, patch EOS to trigger new Sound (perhaps use VCA and
Envelope to control new sound). When you are ready to record the replacement, mult
EOS OUT and patch to RECord Pulse IN. Once Sound is replaced, remove EOS from
RECord Pulse IN. When you are done replacing sounds, press and hold SPLICE button
(18) until the REC LED (17) starts ashing. Listen to the results.
More Patches to come, check back.