Make noise Dpo User manual

Make Noise DPO Complex Dual VCO Module

The DPO is a dual VCO designed for generating complex waveforms and implementing FM synthesis in the analog domain. Expanding on the classic arrange-

ment of primary and mod oscillators, the DPO has both of the VCOs operable as complex signal sources. It is, in essence, a Dual Primary Oscillator. Dynamic

FM, Circular FM, Hard Sync and Additive Harmonic synthesis processes are all achieved with internal routing on the DPO. The DPO has two modulation buses

(Mod & FM), each with multiple destinations, the depth of which is adjustable per destination. The DPO is a 100% analog, vintage voiced musical instrument.

OSCILLATOR

A WAVEFORM

OUTS: Triangle

wave output.

10Vpp. Sawtooth

wave output.

9Vpp. Sine wave

output. 10Vpp.

SHAPE ROTARY, SHAPE CV IN & ATEN-

UATOR: The Shape Rotary is a unipolar control

that determines the shape of the waveform feed-

ing the Fold circuit. Morphs from Sine to Spike to

Glitched Triangle. The Shape CV In is a unipolar

control signal input normalled into the Mod Bus.

Range: 0V to +5V. The Shape Attenuator is a

unipolar level control for the Shape CV Input.

OSCILLATOR B

WAVEFORM OUTS:

Sine wave output.

10Vpp. Square wave

output. 9Vpp. Final wave

output is processed by

the Shape, Angle & Fold

circuits. 10Vpp.

ANGLE ROTARY, AN-

GLE CV IN & ATTENU-

ATOR: The Angle Rotary

tilts the added harmonics to

either end of the wave-cycle.

The Angle CV In is a bipolar

control signal input normalled

into the Mod Bus. Range: 8V.

The Angle Attenuator is a

unipolar level control for the

Angle CV Input.

FOLD ROTARY, FOLD

CV IN, FOLD ATTENU-

ATOR & STRIKE GATE IN: The Fold Rotary

is a unipolar control that continuously varies the

low-order harmonics of the signal by folding the

waveform into itself. Fold CV In is a unipolar control

signal input normalled into the Mod Bus. Fold At-

tenuator is a unipolar level control for the Fold CV

Input. The Strike Gate In, when patched, briey

opens the Fold circuit to 100%. Requires an 8V -

10V gate or clock to operate.

VCO A COARSE TUNE RO-

TARY: Controls coarse tuning for

oscillator A frequency. Range: 9.5

octaves; 12hz-6khz.

VCO B COARSE TUNE

ROTARY & VCO B 1V/

OCT SCALE TRIM: Con-

trols coarse tuning for oscil-

lator B frequency. Range: 9.5

octaves; 12hz-6khz. The 1V/

Octave Scale Trim control is

used to calibrate VCO B.

VCO A FINE TUNE ROTARY:

Controls ne tuning for oscillator A

frequency. Range: 1.75 octaves.

VCO B FINE TUNE RO-

TARY: Controls ne tuning

for oscillator B frequency.

Range: 1.75 octaves.

VCO A 1V/OCT SCALE TRIM:

Used to calibrate VCO A.

VCO A 1V/OCTAVE CV IN:

Bipolar pitch control for VCO A.

Optimal range: +/-5V.

VCO B 1V/

OCTAVE CV IN:

Bipolar pitch control

for VCO B. Optimal

range: +/-5V.

VCO A EXPONENTIAL CV IN

& ATTENUATOR: Bipolar expo-

nential frequency CV input for VCO

A. Normalled to FM Bus. Range:

10V. The associated Exponential

Attenuator acts as a unipolar level

control for the Exponential CV Input.

VCO B EXPONENTIAL CV IN & ATTENUATOR: Bipolar exponen-

tial frequency CV input for VCO B. Normalled to FM Bus. Range: 10V. The

Exponential Attenuator acts as a unipolar level control for the CV Input.

MOD BUS INDEX ROTARY, EXTERNAL SOURCE IN,

INDEX IN, ATTENUVERTOR & LED: The Mod Bus Index

Rotary is a unipolar control that sets the depth of the Mod Bus.

The Mod Bus External Source Input interrupts internal routing

of VCO A sine wave as a modulation source. Range: +/- 8V. The

Mod Bus Index CV Input is a bipolar CV input signal. Range:

+/- 4V. The associated Mod Bus Index Attenuvertor acts as a

bipolar level control for the Mod Bus Index CV Input. The Mod

Bus Index LED provides visual indication of the currently pro-

grammed Mod Index value.

FM BUS ROTARY, INDEX CV IN, ATTENUVER-

TOR & LED: The FM Bus Rotary is a unipolar control

that sets the depth of the FM. The FM Bus Index CV Input

is a bipolar CV input. Range: +/-4V. The FM Bus Index

Attenuvertor acts as a bipolar level control for the FM Bus

Index CV Input. The FM Bus Index LED provides visual

indication of the currently programmed FM Index value.

FOLLOW CV IN & ATTENU-

ATOR: The Follow CV Input is a

unipolar control. Range: 0V to 5V. The

Follow Attenuator determines how

well VCO A follows VCO B. With noth-

ing patched to Follow CV In, it acts as

a standard control. When patched, it

acts as an attenuator for that signal.

BEAT FRE-

QUENCY

LED: Provides

visual indication

of the phase

difference

between VCOs

A & B.

VCO A LINEAR CV IN & ATTENUATOR:

Unipolar linear frequency CV input for VCO A.

AC coupled. Normalled to FM Bus. Range: 10V.

The associated Linear Attenuator acts as a

unipolar level control for the Linear CV Input.

VCO B LINEAR CV IN, LINEAR ATTENUATOR & EXTERNAL LOCK

IN: Unipolar linear frequency CV input for VCO B. AC coupled. Normalled to FM

Bus. Range: 10V. The associated Linear Attenuator acts as a unipolar level

control for the Linear CV Input. External Lock In allows VCO B to be phase

locked to a hard-edged signal (square, pulse or Sawtooth) from other VCOs.

VCO MODE BUTTON: Cycles

between 4 modes (indicated by

LED): No LED: Standard, Lock

(Blue LED): VCO A is phase locked

to VCO B. Sync (Pink LED): VCO

A is Hard Synced to VCO B. LFO

(Amber LED): VCO A acts as a low

frequency oscillator.

Follow: Follow is useful in maintaining FM or Sync ratios while controlling the DPO with a sequencer or keyboard. The lag that occurs when Follow is set to

less than 100% will introduce moments of dissonance and noise, due to the temporary tracking errors. This is a wonderful way to introduce uncertainty to an

otherwise stable sequence of notes.

FM Bus: The internal FM bus is hardwired for Sine wave in both directions. With nothing patched to the Linear and/or Expo FM inputs, the associated

attenuator sets the nal index of FM applied to each destination. As you increase the Index level, the amplitude of VCO A sine bused to VCO B Linear FM

and Expo FM attenuators is increased. At the same time, the amplitude of VCO B sine bused to VCO A Linear FM and Expo FM attenuators is increased.

Therefore, you could have different amounts of Linear and Expo FM in both directions, all at once. At greater than 90% Index, all four FM bus lines (Linear

& Expo for both VCOs) go into overdrive when the associated attenuators are set to beyond about 80%. The FM overdrive, combined with the bi-directional

dynamic FM, results in some extreme circular FM capabilities. These sounds will get out of hand quickly. The key to controlled FM within the DPO is attenua-

tion, since setting the Index to 100% really does push the circuit to its limit.

Mod Bus: The internal Mod Bus Source is hardwired for VCO A Sine wave, with the power to use any external source by patching to the External Source

CV In. With nothing patched to the Shape, Angle and Fold CV inputs the associated attenuator sets the nal amount of modulation applied to the destination.

As you increase the Index level, the amplitude of VCO A Sine bused to the Shape, Angle and Fold jacks is increased. Therefore, you could have different

amounts of modulation at each of those three destinations (Shape, Angle, and Fold).

Make Noise Soundhack Echophon Pitch Shift / Echo FX Module

The Soundhack Echophon is a digital Echo, Delay, and Pitch-shifting device programmed by Tom Erbe & produced by Make Noise.

SIGNAL IN & ATTENUATOR: Au-

dio input for the Echophon. AC coupled.

Accommodates modular synth signals

of 10Vpp for the rst 70% of its rotation.

Beyond 70%, there will be clipping fol-

lowed by digital overloading.

MIX CV IN & ATTENUATOR: Unipolar CV input. Range 0V to +5V. The Mix

Attenuator blends between the Dry (un-processed) & Wet (processed) Signal. With

nothing patched to Mix CV In, works as standard panel control. With a signal patched to

Mix CV In, it works as an attenuator for that signal. Set to 12 o’clock for a typical patch.

MIX OUT: Patch the

Audio signal output

here.10Vpp (depending

upon level setting and

source material). AC

coupled.

FEEDBACK OUT: AC coupled,

10Vpp send for external FB loop.

CLOCK OUT & LED: Outputs the

echo time as 4ms wide clock pulse.

Range: 0V to 5Vpp. The associated

Clock LED pulses to the tempo of the

echo clock.

ECHO TIME ROTARY: Sets the

time/length of the echo. Range: 7ms

(fully CCW) to 1,700ms (1.7sec) fully

CW.

Echo CV IN & ATTENUATOR:

Patch into Echo CV In, and adjust

the associated unipolar attenuator to

modulate the Echo Time. Just about

any source will work wonderfully, as this

parameter has a smooth exponential

response tailored for great modulations.

The associated Echo Attenuator sets

the unipolar level for the incoming CV.

TEMPO GATE IN: Allows synchro-

nization of echoes to a multiple or

division of an external clock. While fol-

lowing external tempo, the Echo Time

rotary Multiplies (CCW) or divides (CW)

the incoming clock. Requires a clock/

gate signal amplitude of at least 1.5V

and width of at least 6ms.

FREEZE GATE IN, FREEZE BUT-

TON & LED: Pushing the Freeze

Button or sending a gate high signal

(1.5V) to the Freeze Gate In causes

Echophon to close the echo chamber

and hold the sound inside. The Freeze

LED lights to indicate this state. The

Freeze Button is a latching toggle.

Press once to enable. Press again to

turn off. While frozen, the Pitch controls

can be used, but Feedback controls

do nothing. The Echo Time controls

change the sound destructively. Note:

the Freeze Button is top priority, mean-

ing the Freeze Gate In has no effect

when the Freeze Button enabled.

Echophon Tips & Tricks

●Feedback: Loop 1 goes around the Pitch Shifter, and so each regeneration will be pitch shifting again, resulting in spiraling echoes that rise out of

audibility or fall into sub sonic obscurity. Loop 2 will create traditional echo repeats. Patch a VCA or attenuator in front of the Feedback In. Or use

Feedback In for a secret sound that will occur only as an echo repeat. Use Feedback Out to skip the Pitch Shifting machine. Conversly, to achieve

pitch-shifting, Depth must be set to greater than 10%. Modulate Depth to create Harmonic sequences. Feedback will affect the harmonics being

emphasized.

●External Feedback Loop: Patch the Feedback Out to an external module such as the modDemix. Set up the external module to process the

Feedback Out signal. For the modDemix you could set up the typical Ring Modulation patch where you have a sine or triangle waveform from a VCO

patched to the Carrier input on the modDemix. The Feedback Out signal would be patched to the Signal In on the modDemix. Take modDemix Signal

Out and patch to the nal stage in the external feedback loop, the VCA. The Optomix works nicely as the nal VCA stage in an external feedback

loop patch. Patch the Signal OUT from the modDemix to the Signal IN on the Optomix. Take the Signal Out from the Optomix to the Feedback In on

the Echophon. Set the Optomix Control level to determine the amount of regenerations. Other modules could be placed in the loop to create more

complex sounds, but it is important to have a VCA (or manual attenuator) at the end of the loop for gain control. Without this nal gain control stage, the

external feedback loop might be hard to tame and utilize in a musical way.

●Echophon as Clock Multiplier / Divider: If you patch an external clock signal to the Tempo In, the Echophon follow that clock’s tempo, and the Echo

Time controls act to set a Divisor or Multiplier of that master tempo. The slowest clock (input or output) is limited to the delay time, so to get 12/1 out,

you need a fairly fast clock in (1.7s/12 or 15s).

●Sequencing Pitch & Comb Filtering: To sequence the full range of Pitch, set the Pitch rotary to full CCW, and patch a sequencer CV to Pitch 2.

When the delay time is below 20 milliseconds, the delay is acting like a comb lter.

●Dry Mix Bleed: Because the Mix control uses a vactrol, it is prone to bleeding. As a result, the Mix signal may not go fully dry. You may be able to

acheive something closer to a fully dry signal by opening the Mix Attenuator fully CW, and patching a negative DC offset to the Mix CV In.

Feedback IN: AC coupled return for the

external Feedback loop. Expects standard

signal level of 10Vpp.

PITCH ROTARY & LEDS: Bipolar

panel control. Turn CCW for pitch shifting

down. Turn CW for pitch shifting up. At 12

noon, there is no pitch shifting. The range

is always dependent on the Depth setting.

The associated Pitch LEDs display the

pitch shifting mechanics and whether the

pitch is travelling downward or upward.

This rotary controls alter the perceived

pitch of the sound. It has an associated

bi-polar attenuator, allowing you to add or

subtract the control signal patched from

the setting of the Pitch rotary and Pitch 2

CV In. Pitch 1 CV In is perfect for patching

an LFO for Vibrato effects. By adjust-

ing the Pitch 1 Attenuvertor, the depth

of the Vibrato is programmable. Pitch 2

is well suited for patching a sequencer

CV or Keyboard CV. Since most analog

sequencers generate unipolar CV in the

range of 0V to 5V, you will need to set the

Pitch rotary fully CCW in order to control

the entire range of pitch.

DEPTH ROTARY: Unipolar rotary that

sets the index of the pitch shift, rang-

ing from sub-microtonal chorusing to 4

octaves harmonizing.

The Depth rotary acts to set the index

or range of the pitch shifting. It could be

thought of as a Digital VCA for the CV

patched to Pitch 1 & Pitch 2, as well as the

Pitch rotary. Fully CCW there is no pitch

shifting. Up to around 12 noon, the pitch

shifting is subtle, introducing chorusing

effects. Increasing the Depth CW creates

increasingly deeper pitch shifting, until

fully CW the full 4-octave range of harmo-

nizing is possible. Depth is best modulated

with linear functions, such as an envelope

generated by Maths into the Depth CV In.

DEPTH CV IN & ATTENUATOR::

Unipolar control signal input. Range: 0V to

+5V. The associated Depth CV Attenua-

tor sets the level for the incoming CV.

PITCH 1 CV IN

& ATTENUVER-

TOR: Bipolar CV

input. Range: +/-4V.

The associated

Pitch 1 CV Attenu-

vertor sets the

bipolar level for the

incoming CV.

FEEDBACK ROTARY:

Bipolar rotary determining

the amount & direction of

Feedback. Turning CCW

sends more feedback to the

Pitch Shifting loop. Turning

CW sends more feedback

to the Echo loop. At 12

noon, there is no feedback.

FEEDBACK CV IN &

ATTENUVERTOR:

Bipolar CV input. Range:

+/-8V. The associated

Feedback Attenuvertor

sets the bipolar level for the

incoming CV.

PITCH 2 CV IN: Bipolar

CV input. Range: +/- 2V; to-

tal 4-octaves. Set the Pitch

rotary fully CCW for uni-

polar control, such as an

analog sequencer, or set to

12 noon for a bipolar signal,

such as a CV Keyboard.

Make Noise Soundhack Erbe-Verb Reverb FX Module

The Soundhack Erbe-Verb is more than a collection of reverb algorithms or presets, it is a unique, modeless, continuously variable reverb algorithm with com-

plete voltage control. Typical reverb types such as plate, room, hall, shimmer and others may be programmed by adjusting the knobs. The continuously variable

algorithm allows for hybrid and unreal spaces to be found. Traveling between spaces is possible by modulating the algorithm or manually sweeping parameters.

More than an end-of-chain effects unit, it’s a whole new building block for modular synthesis. Like the Echophon, it’s coded by Tom Erbe of soundhack.

SIGNAL IN & ATTENUATOR: AC

Coupled Audio input for the Erbe-Verb.

Expects standard signal level of 10Vpp.

The associated Input Attenuator sets

the input level. Unity is set at 3 o’clock.

MIX CV IN & ATTENUATOR: Unipolar CV input. Range 0V to +5V. The

Mix Attenuator blends between the Dry (un-processed) & Wet (processed)

Signal. With nothing patched to Mix CV In, works as standard panel control.

With a signal patched to Mix CV In, it works as an attenuator for that signal.

L (MONO) & R OUTS: Patch

the Audio signal output here. Both

outputs are AC coupled, 10Vpp (de-

pending upon level setting & source

material). L (Mono): Left portion

of stereo reverb image, which also

serves as MONO reverb image. R:

Right portion of stereo reverb image.

ABSORB CV IN & ABSORB

ROTARY: CV input for the Absorp-

tion parameter. Range: +/- 5V. The

Absorb Rotary is a unipolar control

for absorption. Full CCW = 0 diffusion

/ 0 damping; 10 o’clock = full diffusion

/ 0 damping; full CW = full diffusion /

full damping. Absorb will affect both

the tone and the time of the Decay.

Increasing the Absorb parameter value

will decrease the Decay times and also

have the effect of making the reverb

tail sound darker. Absorb is feedback

based, so the response is slower than

that of Size or Pre-Delay. Greater

impact is achieved with slower CV

signals, such as envelopes from Maths

with long Rise/Fall settings, for ex-

ample. Note: Absorb is highly inuenced

by the Decay parameter. The greater

the Decay setting, the more dramatic

the Absorb response.

DECAY ROTARY, DECAY CV IN

& ATTENUVERTOR: The Decay

Rotary is a unipolar control for Decay.

0-120% reection gain. This changes

the length of the reverb “tail,” from very

short all the way up to innity (Full CW).

Decay uses internal feedback to put

energy back into the reverb algorithm,

resulting in sustaining the reverb.

This sustaining increases the time it

takes for the reverberations to settle,

or decay to zero amplitude. Decay is

by nature a function of Size. Smaller

spaces tend to have shorter Decay

times while Larger spaces tend to have

longer Decay times. The Decay CV In

is a CV input for the Decay parameter.

Range: +/- 5V. The associated Decay

Attenuvertor is a bipolar level control

for the Decay CV Input.

Typical Reverb Space Emulations

Cofn: Size: full CCW / PreDelay: full CCW

/ Decay: 9:00 / Absorb: (low-cost oak) 9:00;

(luxury) 2:00

Room: Size: 12:00 / PreDelay: 12:00 / Decay:

12:00 / Depth: 12:00 / Absorb: 2:00

Plate: Size: 1:00 / PreDelay: full CCW / Decay:

1:00 / Depth: 12:00 / Absorb:10:00

Hall: Size: 3:00 / PreDelay: 11:00 / Decay: 1:00

/ Depth: 1:00 / Speed: 11:00 / Absorb: 11:00

Heaven: Size: full CW / PreDelay: full CW /

Decay: full CW

Ambient: Size: 4:00 / PreDelay: 11:00 / Decay:

2:00 / Depth: 2:00 - 3:00 / Speed: 12:00 - 3:00

Reverse: Mix: full CW / Size: full CCW /

PreDelay: 3:00 - full CW / Decay: full CCW /

Absorb: full CCW / Depth: 12:00 / Reverse:

Shimmer: Size: 4:00 / PreDelay: 11:00 / De-

cay: 2:00 / Depth: full CW / Speed: 12:00 - 3:00

SIZE ROTARY: Unipolar rotary that sets

the Size of the space. Ranges from “cof-

n” CCW (~35 cu. ft.) to “heavens.” CW

(~9.3 million cu. ft.).

This is the most dening parameter of

the Erbe-Verb sound. It is an ultra-wide

range control over the size of the virtual

space. It goes from unrealistically small to

unrealistically large, with the full spectrum

of realism between. The entire range of

possible sizes are available at all times.

This means it is possible to travel from

one space to another, or to modulate

between several spaces. Typical settings

for the Size parameter are: Cofn: Full

CCW; Room: 12 o’ clock; Plate: 1 - 2

o’ clock; Hall: 3 o’ clock; Ambient: 4 o’

clock; Heaven: Full CW.

REVERSE BUTTON, GATE IN &

LED: The Reverse Button toggles the

Reverse on/off. In Reverse, Pre-Delay

determines the Reverse buffer size —

using internal clock: 42ms - 500ms; using

external clock (Tempo In): 0.1ms - 5.46s

synchronized. The Reverse Gate In

will Reverse momentarily on Gate high.

Requires a 1.5V trigger signal to operate.

The Reverse LED provides visual indica-

tion of Reverse state. When lit, Reverse is

enabled. Flickering indicates the Reverse

buffer rate.

CV OUT & LED: Control signal repre-

senting the average energy of the algo-

rithm. Range 0V - 10V. The associated CV

LED provides visual indication of the CV

being output.

DEPTH ROTARY, DEPTH CV IN & ATTENUVERTOR: The Depth

Rotary is a bipolar control for Depth and type of Internal Modulation.

Minimum modulation at 12 o’clock. Cyclic modulation CCW from 12 o’clock.

Cyclic modulation is a multiphase cascaded chorus effect, which ranges from

very subtle chorusing to extreme doppler swirls. Ergodic modulation CW

from 12 o’clock. Ergodic modulation causes random room dimension shifting,

which can become very granular at high depth. Shimmer at Full CW. The

Depth CV In is a CV input for the Depth parameter. Range: +/- 5V. The as-

sociated Depth Attenuvertor is a bipolar level control for the Depth CV Input.

PRE-DELAY ROTARY & PRE-DELAY CV IN: The Pre-Delay Rotary controls the

amount of Pre-Delay or Reverse time. Using the internal clock, it operates as unipolar,

with a range of 7ms - 500ms. Using external clock (Tempo In), it operates as bipolar,

with divisors & multipliers of 1/12, 1/8, 1/6, 1/4, 1/3, 1/2, 2/3, 1/1, 3/2, 2/1, 3/1, 4/1, 6/1,

8/1, and 12/1, where 1/1 is at 12 o’clock. Pre-delay is independent of the SIze param-

eter. The Pre-Delay CV In is a CV input for the Pre-Delay parameter. Range: +/- 5V.

TILT ROTARY, TILT CV IN & ATTENUVERTOR: The Tilt Rotary is a bipolar control for Tilt. Low

Gain: +12 dB to -12 dB, High Gain: -24dB to + 24dB. Unity at 12 o’clock. ). Tilt is a reverb EQ; it shapes

the nal tone of the reverb. It is the last operation in the algorithm, so it has no effect on energy, feedback,

or nature of the reverberations. At 12 o’clock, Tilt has no effect. As you turn CCW, the high end is cut and

the low end boosted, resulting in thick, thunderous sounds that ll out empty spaces. Turn CW, and the low

end is cut and high end boosted, resulting in thin, bright sounds that give room in the space. Tilt is useful

for tailoring the reverb to sit well in the rest of your patch. The Tilt CV In is a CV input for the Tilt param-

eter. Range: +/- 5V. The associated Tilt Attenuvertor is a bipolar level control for the Tilt CV Input.

TEMPO IN: Allows synchronization of

echoes to multiple or division of an exter-

nal clock. While following external tempo,

the Speed and Pre-Delay are multiple or

division of the incoming clock. Requires

clock/gate signal amplitude of at least

1.5V and width of at least 6ms.

SPEED CV IN, SPEED

ROTARY & LED:

CV input for the Speed

parameter. Range: +/- 5V.

The Speed Rotary is a

unipolar control for Speed

of internal modulation. Us-

ing internal clock: 1/2 - 256

cps; using external clock

(Tempo In): 1/48 - 9,000

cps. The Speed LED pro-

vides visual indication of

Internal Modulation rate.

SIZE CV IN & ATTENU-

VERTOR: CV input for

the Size parameter. Range:

+/- 5V. Patch here to morph

between spaces or create

spaces that are large at one

end and small at the other.

Modulation of this parameter

will be very dramatic. Use

the associated Size Attenu-

vertor for subtle modula-

tions. It is a bipolar level

control for the Size CV Input.

Make Noise Maths Function Module

Maths is an analog computer designed for musical purposes. Amongst other things, it can: 1. Generate a variety of linear, logarithmic, or exponential triggered

or continuous functions 2. Integrate an incoming signal 3. Amplify, attenuate and Invert an incoming signal 4. Add, subtract and OR up to 4 signals 5. Generate

analog signals from digital information (Gate/ Clock) 6. Generate digital information (Gate/ Clock) from analog signals 7. Delay digital (Gate/ Clock) information.

If the above list reads like science rather than music, here is the translation: 1. Voltage Controlled Envelope or LFO as slow as 25 minutes and as fast as 1khz

2. Apply Lag, Slew or Portamento to control voltages 3. Change the depth of modulation and modulate backwards! 4. Combine up to 4 control signals to create

more complex modulations 5. Musical Events such as Ramping up or Down in Tempo, on command 6. Initiating Musical events upon sensing motion in the

system 7. Musical note division and/ or Flam.

CHANNEL 1

IN: DC input

to circuit. Use

for lag, porta-

mento, or ASR

envelopes.

Also input to

SUM/OR bus.

Range: +/-10V.

CHANNEL 4 IN: DC input to

circuit. Use for lag, portamento,

or ASR envelopes. Also input to

SUM/OR bus. Range: +/-10V.

CHANNEL 2 IN: DC input to

attenuvertor and SUM/OR bus.

Normalized to a +10V refer-

ence for generation of voltage

offsets. Input Range: +/-10V.

CHANNEL 3 IN: DC input to

attenuvertor and SUM/OR bus.

Normalized to a +5V reference

for generation of voltage off-

sets. Input Range: +/-10V.

CYCLE BUTTON & LED: Causes the

circuit to self cycle, generating a repeating

voltage function, aka LFO. Use for LFO, clock,

or VCO. The associated LED displays red

when the cycle is enabled.

TRIG IN: Gate or pulse at input

triggers the circuit regardless of

Signal In activity. Result is a 0V -

10V function (envelope), whose

characteristics are dened by the

Rise, Fall, and Vari-Response

parameters. Use for envelope,

pulse delay, clock division, LFO

Reset (only during falling portion).

RISE ROTARY & CV IN: The rotary sets

the time it takes for the voltage function to

ramp up. CCW roation decreases rise time,

while CW rotation increases rise time. CV In

is the linear CV input for the Rise parameter.

Positive CV signals increase rise time, nega-

tive CV signals decrease rise time, with re-

spect to the Rise rotary setting. Range: +/-8V.

FALL ROTARY & CV IN: The rotary Sets

the time it takes for the voltage function to

ramp down. CCW rotation decreases fall

time, while CW rotation increases fall time.

CV In is the linear CV signal input for the Fall

parameter. Positive CV signals increase fall

time, while negative CV signals decrease fall

time, with respect to the Fall rotary setting.

Range: +/-8V.

BOTH CV IN: Bi-Polar Exponential CV

signal input for entire function. Positive CV

signals decrease total time while negative CV

signals increase total time. Range: +/-8V.

CYCLE IN: On gate high, circuit will cycle.

On gate low, the circuit will not cycle (unless

the CYCLE button is engaged). Requires

minimum +2.5V for high.

CHANNEL NOTE: Channel 1 & 4 are identical, except for EOR / EOC. So only Channel 1 (in

Green), and any differences, are explained below. Channel 4 Input is shown below, for reference.

VARI-RESPONSE ROTARY: Sets the

response curve of the voltage function.

Response is continuously variable from

Logarithmic through Linear to Exponential to

Hyper-Exponential. The tick mark shows the

Linear setting.

EOR (END OF RISE OUT) & LED: Goes

high at the end of the rise portion of the func-

tion. 0V or 10V. The associated LED indicates

the states of the EOR output. Lights when

EOR is high.

EOC (END OF CYCLE OUT) &

LED: Goes high at the end of the fall

portion of the function. 0V or 10V. The as-

sociated LED indicates the states of the

EOC output. Lights when EOC is high.

CHANNEL 1 ATTENUVERTOR

ROTARY: Provides for scaling, attenu-

ation and inversion of the signal being

processed or generated by channel 1.

Connected to Channel 1 Variable Out

and SUM/OR bus.

CHANNEL 4 ATTENUVERTOR

ROTARY: Provides for scaling, attenu-

ation and inversion of the signal being

processed or generated by channel 4.

Connected to Channel 4 Variable Out

and SUM/OR bus.

CHANNEL 2 & 3 ATTENUVER-

TOR ROTARIES: Provides for scaling,

attenuation, amplication, and inversion

of the signal patched into Channel 2 or 3.

Connected to Channel 2/3 Variable Out

and SUM/OR bus.

UNITY SIGNAL

OUT & LED:

Signal from the

Channel 1 circuit. 8V

peak to peak when

cycling. Otherwise,

the output follows

the amplitude of the

input. The associ-

ated LED indicates

activity within the

circuit. Positive volt-

ages display green,

while negative volt-

ages display red.

SUM BUS LEDS: Indicates voltage activity in the SUM bus (and therefore the INVerted SUM as well). A red

LED indicates negative voltages. A green LED indicates positive voltages.

OR BUS

OUT: Result

of the Analog

Logic OR

function with

respect to

the settings

of the At-

tenuvertor

rotaries for

channels 1,

2, 3 and 4.

Range: 0V to

10V.

SUM BUS

OUT:

Sum of the

applied volt-

ages with

respect to

the settings

of the At-

tenuvertor

rotaries for

channels

1, 2, 3 and

4. Range:

+/-10V.

INV BUS OUT: Signal from SUM Out

turned upside down. Range: +/-10V.

MATHS is laid out top to bottom, with

symmetrical features between Chan-

nel 1 and Channel 4.

The signal inputs are at the top,

followed by the panel controls and

control signal inputs at the middle.

The signal outputs are at the bottom

of the module. LEDs are placed near

the signal they are indicating.

VARIABLE OUTS: The applied signal,

as processed by channels 1, 2, 3, or 4

controls. Normalized to the SUM and

OR busses. Inserting a patch cable will

remove the signal from the SUM and OR

busses. Output range: +/-10V.

Maths Tips & Tricks

●Longer cycles are achieved with more Log. response curves. The fastest, sharpest functions are achieved with extreme Exp. response curves.

●Adjustment to the response curve will affect Rise and Fall times.

●To achieve longer or shorter Rise & Fall times than available from the Rotaries, apply a voltage offset to the CV Signal Inputs. Use Ch.2 or 3 for this.

●Use the INV SUM Out where you require reversed modulation but don’t have means for inversion at the CV destination (ex.: Mix CV In on Echophon).

●An INV signal from Maths back into the Maths at any CV input is useful for creating responses not covered by the Vari-Response rotaries alone.

●When utilizing the SUM and OR outputs, set any unused Ch. 2 or 3 Attenuvertor Rotaries to Noon, or insert a dummy patch cable into the associated

channel Input. This will avoid unwanted offsets.

●The OR output will not respond to, or generate, negative voltages.

●The EOR and EOC are useful for generating complex CV functions where Ch. 1 and Ch. 4 trigger from each other. Patch to each other’s Trigger,

Signal, and CYCLE inputs.

Make Noise Passive Multiple & CV Bus Utility Modules

The Passive Multiple is a simple but important module that allows for sending a signal to multiple destinations. Within the Make Noise system the Multiple may

also be used for combining clock, gate and pulse signals together to create interesting timing sources (in other words, it acts as a Gate combiner aka logic OR

circuit). It has 9 inter-connected sockets that may be split into different group combinations depending upon how it is patched. The jacks circled in white will

make or break the interconnects between the 3 groups of three, thus allowing for three 3-way, one 5-way / one 3-way or one 7-way multiple. The Multiple is pas-

sive. The Make Noise system does not require Buffered Multiples since all critical control signals are already buffered.

The CV Bus provides visual indication of level, rate and polarity for up to 4 color-coded control signals that will be shared throughout a patch. They are distribut-

ed across the center of the system allowing for quick, clean and intuitive patching. The visual indication makes navigating complex patches easier and intuitive.

The CV Bus also has the tools needed for integrating the Make Noise system with the outside world. A 1/4” Mono input with plenty of gain allows for bringing

external signals into the system. The optimal 10Vpp signal level is visually indicated. A high quality Stereo Line Driver converts powerful modular synthesizer

signal levels to the commonly used Line Level. There is mini-jack inputs for Left and Right, a single Master Volume control, and a TRS Stereo 1/4” output jack.

This output is capable of driving long cable out to a PA System or a set of Headphones. It has AC coupling and a built-in limiting circuit (with visual indication).

INPUTS & OUTPUTS: Each jack can operate as an input or an output, except the white-circled jacks, which are “input only.”

Patching into one input creates a split of that input into all other jacks, which can then operate as outputs, where the input signal can

be tapped. A few other notes:

●You can input a signal into any one of the 9 jacks. The output is tapped from any of the other jacks.

●You can split any kind of signal: audio, CV, or gates.

●You can also mix (combine) clock, gate and pulse signals (OR logic). You cannot mix audio or other CV signals. Combination

of Audio / other CV signals is not supported, but will not damage anything.

●The only time a buffered multiple is needed is when control voltage is sent from an unbuffered output to multiple destinations

that require unity at the input; typically, 1v/oct inputs. Because all critical CV outputs in the Make Noise System are buffered, a

passive multiple is all that is needed.

●White-circled jacks make or break connections within the Multiple. While all other jacks are normalled, meaning, they split the

signal to all other outputs, the white-circled jacks are “input only,” and are not used as outputs. In this way, you can create

various multiple combinations: three 3-way, one 5-way & one 3-way, or one 7-way multiple. From a practical standpoint, here’s

what that means:

■3x (1 input / 2 outputs)

■1x (1 input / 4 outputs) and 1x (1 input / 2 outputs)

■1x (1 input / 6 outputs)

INPUTS & OUTPUTS: As with the standard Multiple, each jack can operate as an input or an output. However, there are no “input only” jacks, and jacks are

not “normalled” along the entiere bus. Instead, there are four distinct busses. This means that you can patch an input anywhere on the system to produce four

corresponding output splits. The lines on the faceplate denote the four busses.

●You can input a signal into any one of the 20 jacks. The outputs are then tapped from the four jacks associated to the input (noted by the lines on the

faceplate). In order to create additional splits of a single input, patch from one of the split outputs into a second bus line. For example, if you input a signal

on the rst jack (at the left), Bus 1 outputs 4 signals via the Bus one output jacks. Take on of those outputs and patch into the second jack (from the left) to

create an additional set of 4 output splits. Bus 1 now has 3 outputs (the fourth being sent into Bust 2 input), and Bus 2 has 4 outputs (for a total of 7 splits

of the one input signal). The CV Bus is a 4 input / 16 output multiple.

●You can split any kind of signal: audio, CV, or gates.

●You can also mix (combine) clock, gate and pulse signals (OR logic). You cannot mix audio or other CV signals. Combination of Audio / other CV signals

is not supported, but will not damage anything.

●The only time a buffered multiple is needed is when control voltage is sent from an unbuffered output to multiple destinations that require unity at the input;

typically, 1v/oct inputs. Because all critical CV outputs in the Make Noise System are buffered, a passive multiple is all that is needed.

●Here are some of the combinations that can be created with the CV Bus:

■4x (1 input / 4 outputs)

■2x (1 input / 7 outputs) -- note: 1 split output is sent into a second bus input.

■1x (1 input / 10 outputs) -- note: 2 split outputs are sent into second and third bus inputs. and 1x (1 input / 4 outputs)

■1x (1 input / 13 outputs) -- note: 3 split outputs are sent into second, third, and fourth bus inputs.

For an informative video about the CV Bus, see here: Make Noise System Tutorial 3: Control Voltage (CV) and Polarity.

INPUT

& GAIN

ROTARY:

1/4 inch audio

input jack

for outside

sources to be brought into the

modular system. Since line levels

are lower than modular levels,

there is a unipolar Gain Rotary to

increase the amplitude of the audio

input signal.

OUTPUT & LED CLIP

INDICATOR: After the

audio signal / gain path, you

can use this 1/8 inch jack

to output the audio to any

destination in your modular

system. The LED Clip

Indicator will show as a red

exclammation mark if the

level is too hot / volume too

high. If this happens, ease

back on the Gain Rotary.

IN/OUT LEVEL, RATE, POLARITY & COL-

OR CODING: Surrounding each Input & output

jack is an LED. This indicates the following: Level

is indicated by the brightness of the LED. Brighter =

higher level, duller = lower level. Rate is indicated

by the pulse of the LED. Polarity is indicated by

position of the LED. Positive = upper circle half lit,

negative = lower circle half lit. Color indicates the

different busses on the system. Green is bus 1, red

is bus 2, yellow is bus 3, and orange is bus 4. The

colors are a great visual indicator, so that you can

see which signals are being output on each bus.

L (MONO) & R

INPUT & LEV-

EL ROTARY:

This is the mono

/ stereo audio

output from the

modular system.

The associated

unipolar Level

Rotary allows

you to adjust the

output volume.

LINE OUT

(TRS): 1/4

inch Stereo

TRS audio

jack that can

be used to

send the nal

modular output

to headphones,

PA system,

or DAW for

recording.

PASSIVE MULTIPLE

CV BUS (available as part of the Shared System with CV Bus and Black & Gold Shared System)

Make Noise Mysteron Digital Waveguide Module

The Mysteron is a voltage controlled dual digital waveguide algorithm that is a bit of a mystery even to those of us involved in its design. Despite being

completely digital, it is highly organic, displaying variation in outcome often seen only in nature. It is a formless blob of DSP that you grow, modulate and patch

program into new sounds, some vaguely recognizable and others completely otherworldly. The range of sounds possible is quite large. From pianissimo to

fortissimo, short percussive bursts to bowed, sustaining pitches. The two waveguides can be pitched together or independently, mutated with harmonic or inhar-

monic waveforms and fed back into themselves or each other.

COARSE PITCH ROTARY & LED: Sets length of waveguide or

perceived pitch of sound, roughly 5 octaves. Quantized mode when set

fully CCW. The “Mystery” LED indicates mutations. It ashes slowly on

bowed/cross-feedback modes, and ashes quickly in quantized mode.

OUTPUT: AC coupled audio

output. Range: ~10Vpp (de-

pending on settings; especially

Impulse).

DEPTH CV INPUT & ATTENUATOR:

The Depth CV Input is unipolar. Range: 0V to

+5V. The associated Depth Attenuator sets

how much the waveguides are mutated. It is a

unipolar combo control. With nothing patched

to Depth CV In, it works as a standard panel

control. With a signal patched, it works as a

level control for that signal.

GENERATION ROTARY, ATTENUVER-

TOR & CV INPUT: The Generation Rotary

sets feedback of the output of the waveguides

back to their inputs. At 12 noon there is no

feedback. Degenerative feedback is CCW

from NOON, and Regenerative feedback is

CW from NOON. The Generation CV Attenu-

vertor is a bipolar attenuator for Generation

CV In. The Generation CV Input is a bipolar

signal input. Range: +/-4V.

FINE PITCH ROTARY: Adjust per-

ceived pitch by +/- 12%.

IMPULSE CV INPUT & ATTENUATOR:

The Impulse CV Input is unipolar. Range: 0V

to +5V. The associated Impulse Attenuator

sets the strength of excitation, allowing for

control over amplitude and harmonics. It is a

unipolar combo control. With nothing patched

to Impulse CV In, it works as a standard

panel control. With a signal patched, it works

as a level control for that signal. Must be set

greater than 0% to achieve an audible sound.

EXCITE INPUTS & LEDS: Gate

inputs for excitation. Mysteron will create

no sound unless you patch something

to at least one of these inputs. Requires

a clock/gate signal amplitude of at least

1.5V and width of at least 6ms. The

associated Excite LEDs provide visual

indication of the Mysteron’s excitation.

PITCH 2 CV INPUT: The exponential

pitch control input. Range: 0V to +5V.

Quantized mode range: 0V to +3V. Re-

sponse is 1V/Oct. Engage quantize mode

for superior tracking.

!! IN (GATE): This is the gate input for deter-

mining the algorithm behavior. With Mutation

Depth fully CCW, this changes the response of

the Excite parameter for bowed attack. When

not fully CCW, cross couples feedback paths

of waveguides into each other (the “Mystery”

LED Flashes to indicate the status). Requires

a clock/gate signal amplitude of at least 1.5V

and width of at least 6ms to operate.

TYPE ROTARY, ATTENUATOR &

CV INPUT: The Type Rotary sets the

Type of Mutation. The Type CV Attenu-

ator is a unipolar level control for the

Type CV Input. The Type CV Input is a

unipolar CV input for the Type parameter.

Range: 0V to +5V.

PITCH 1 CV INPUT & ATTENU-

VERTOR: The Pitch 1 CV Input is the

exponential pitch control input. It is not

applicable in quantized mode. Range: +/-

5V. The associated Pitch 1 Attenuvertor

is a bipolar control which adjusts the level

of the signal coming into the Pitch 1 CV

Input.

Mysteron 101

Making Sound: When the Mysteron is Excited (via the Excite Inputs), a burst of energy (in the form of noise and other waveforms) is injected into the wave-

guide. The Impulse parameter sets the strength of this excitation, thus allowing for control over both amplitude and harmonics. Impulse must be set greater

then 0% to achieve audible sound. At lower settings, the sound will have fewer harmonics and less impact. This parameter could also be used as a digital

VCA while the Mysteron is self-oscillating.The Excite inputs are wired in a normalization scheme, so that with either one patched, the other is triggered as

well. Using both Excite inputs results in the two waveguides having different lengths, with the possibility of creating two independent pitches and timbres.

Controlling Pitch: The Pitch control sets the length of both waveguides. The length of the waveguide determines perceived pitch of the resulting sound. It

will also alter the timbre of the sound. The Pitch Rotary, Pitch 1 and Pitch 2 all have an exponential response with a range of roughly 5 octaves. At the lowest

end, the sounds are lower pitched and take longer to decay. Therefore, it is harder to discern the pitch, as there are greater harmonics. At the middle, the

sounds are shorter and have fewer harmonics, making it easier to discern their pitch. At the highest end, the sounds have the potential to become so short

it is hard to determine the pitch. Changes to the Pitch controls are applied to the most recently excited waveguide. If both waveguides are excited together,

then both are the same length. The Excite inputs are normalled so patching into just one excites both together. Using both Excite Inputs independently, it

is possible to have the two waveguides at different lengths, thus making two differently-pitched sounds. Removing all modulation from the Pitch 1 CV In,

and setting the Pitch Rotary fully CCW engages quantize mode. The Mysteron remains in quantize mode as long as the Pitch Rotary remains at 0% with

nothing patched into Pitch 1 CV In. Quantize mode is indicated by the double ashing of the “Mystery” LED. This forces the Mysteron to adhere to a 12-tone

chromatic scale, with the pitch determined by Pitch 2 CV In. This is excellent for using the Mysteron in a melodic way alongside other sound sources such as

an STO or DPO VCO.

Sound Sculpting: Once the Mysteron is excited, the Generation Rotary sets the feedback of the output of the waveguide back to the input. Degenerative

feedback saps energy from the algorithm, making the sounds shorter and more percussive. Regenerative Feedback grows energy in the algorithm, making

the sounds longer and less percussive. At 100% feedback, the sound is almost a bowed type dynamic. With Depth fully CCW (no Mutation), the “!!” Gate

Input engages an alternate response to the Excite inputs for a bowing effect. With Depth greater than 0%, the “!!” Gate Input cross couples the output of

each waveguide into the input of the other waveguide. This is inuenced by the analog acoustic modeling synthesis of Ron Berry. With Mutations occurring,

the results are more complex and depend upon the Type and Depth settings. The Mystery LED ashes to indicate these behaviors. The Mutation section

features contains the Depth and Type controls. With Depth set fully CCW, Type will do nothing. To hear the effects of Type, Depth must be turned to at least

10%. Depth sets the amount of mutated energy injected into the waveguide and Type selects the form of mutation. What is actually happening is that the

waveguide is being excited more than just noise. The Type control is scanning through other waveforms to be used to excite the waveguide. Depth blends

these other waveforms with the noise (from 0% WT/100% Noise to 100% WT/0% Noise). This dramatically changes the timbre and pitch of the sound. The

“Mystery” LED lights to indicate Mutation. All other controls (Pitch, Impulse, Generation, !!) are still effective during Mutation.

Tips & Tricks: 1) The Impulse parameter could be used as digital VCA. 2) For melodic tracking, set the Pitch Rotary fully CCW (quantize mode), and use

only Pitch 2. Fine Tune will help to match the Mysteron to a VCO tuning. 3) For simplest usage, patch a gate or clock to only one Excite input.

Make Noise Optomix & modDemix Low Pass Gate & VCA Mixer Modules

The Optomix is a two channel Low Pass Gate, providing simultaneous voltage control over amplitude and frequency content of a signal. It is in essence, a

Voltage Controlled Filter Amplier (VCFA) that has an extremely organic response to control signals. Additionally, the Optomix offers a summing stage complete

with an auxiliary input, allowing for the chaining of multiple units to create larger mixes (this also works well in combination with the modDemix. The modDemix

features 2 identical direct-coupled balanced modulator circuits that may be used together or independently for Ring Modulation, VCA, Mixer, Signal Multiplica-

tion, Voltage Controlled Polarization, Attenuation and more.

CHANNEL 1 SIGNAL IN:

DC signal input, capable of ac-

cepting audio or CV. Range: Up

to 18Vpp.

CHANNEL 1 SIGNAL IN: DC signal input, capable of accepting audio or CV.

CARRIER CV IN: Deter-

mines amplitude & phase of

Channel 1 Signal In.

STRENGTH ATTENUA-

TOR: Unipolar attenuator

for Carrier CV In: Normalized

to +5V so that with nothing

patched to the Carrier CV

In, the attenuator acts as a

manual Carrier attenuator.

Range: 0V-5V.

DAMP CV IN: DC CV input for the cor-

responding channel’s damping param-

eter. Normalized to +8V. Range: 0V-8V.

CONTROL CV IN: DC, highly sensitive CV

input for the corresponding channel’s vactrol

gate. Normalized to +8V. Range: 0V-8V.

DAMP ATTENUATOR: Uni-

polar attenuator for the Damp

CV Input. With nothing patched

to the Damp CV In, the attenu-

ator acts as a manual damping

attenuator.

CONTROL ATTENUATOR: Unipolar

attenuator for the Control Input. With nothing

patched to the Control CV In, the attenuator

acts as a manual control attenuator.

CHANNEL 1 SIGNAL OUT: DC output of the signal applied to the input,

as pro-cessed by the LPG. Range: 10Vpp (depending on settings and source

material).

Channel 1 vs Chan-

nel 2: both channels are

identical, except as noted

here. If you don’t see a

description of the Chan-

nel 2 parameter, refer to

the Channel 1 descrip-

tions for information.

Channel 1 vs Channel 2:

Similar to the Optomix, both

modDemix channels are identical,

except as noted here. If you don’t

see a description of the Channel 2

parameter, refer to the Channel 1

descriptions for information.

STRIKE INPUT: Gate input for striking or plucking the vactrol. Expects 8V

Gate. It acts as a fast attack envelope with slow amplitude response affecting

the LPG. Combined with the Damp parameter, Strike allows for the program-

ming of percussive sounds (sharp Attack w/ CV Decay), without the need for a

separate envelope generator.

Further Information

Optomix: As a VCA, Optomix has a moderate attack response and slow decay response, meaning that it turns on quickly, but takes a while to shut off,

yielding a smooth natural sounding decay to almost any sound processed dynamically. The sound is often described as “ringing,” and while the circuit is

not technically ringing, that does describe many of the sounds possible when using the Optomix to process complex signals generated through FM or Ring

Modulation. As a VCF it is a mild, nonresonant Low Pass circuit acting to gently reveal (or hide) the sharper edges of a sound. This characteristic also adds

to the “ringing” effect. As the amplitude of the sound decays, there is a simultaneous loss in high frequency content that is similar to the natural loss of en-

ergy in idio and membranophonic instruments. The Optomix, being a vactrol-based circuit, will never have the speed or tight tolerances found in many other

VCA and VCF circuits. If you seek to program extremely short sounds, clicks, pops and ticks, then the Optomix is not the best choice. What the Optomix

does offer is extremely low noise and low distortion and a smooth, natural sounding circuit.

modDemix: The modDemix consist of 2 identical direct coupled circuits that may be used together or independently to process audio or control signals

by means of amplitude modulation and the many derivatives of AM such as double/ single-sideband, voltage controlled amplication/ attenuation, voltage

controlled polarization or multiplication and of course, ring modulation. The modDemix is a specialized amplitude modulation circuit that could be thought of

as a “Thru-Zero VCA,” meaning that in addition to the AM, when the Carrier signal (called Carrier CV) changes phase, the resulting signal’s phase will ip as

well. What makes the modDemix unique when compared to other balanced modulators, is that because it is Direct Coupled, it will perform wonderfully both

as anaudio rate modulator to implement Ring-Modulation, and as a control rate modulator to implement multiplication of CV. Also, the circuit used will, with

ease, turn off around 0V at the Carrier CV In; a characteristic that makes the circuit behave very well as a VCA. Both circuits feed a “Sum” stage, allowing

the module to be used as a voltage controlled mixer. The Strength attenuators are “combo knobs,” acting as unipolar panel controls. In practice, this means

the summing stage can also be a mixer with amplitudes set by the 2 Strength controls. An Aux In allows for chaining multiple modDemix (or Optomix) units

to create larger mixes. The attenuator allows for setting the Strength or Level of the incoming signal. When performing ring modulation, adjusting Strength

will alter the integrity of the resulting modulated and/or demodulated signal, thus affecting the timbre as well as the amplitude. In most other uses, Strength is

directly related to the amplitude of the resultant signal.

AUXILIARY IN: DC signal

input to the Sum circuit, to al-

low for the chaining of multiple

Optomix and modDemix units to

create larger mixes. Capable of

accepting audio or CV signals.

Range: up to 10Vpp (depending

on settings and source material).

AUXILIARY IN: DC signal

input to the Sum circuit, to al-

low for the chaining of multiple

modDemix and Optomix

units to create larger mixes.

Capable of accepting audio

or CV signals. Range: up to

10Vpp (depending on settings

and source material).

CHANNEL 2 SIGNAL IN:

DC signal input, capable of ac-

cepting audio or CV. Normalized

to Channel 1 Signal Out, for

series processing. Range: up to

10Vpp (depending on settings

and source material).

CHANNEL 2 SIGNAL IN: DC signal input, capable of accepting audio or CV.

Normalized to Channel 1 Signal Out, for series processing.

CHANNEL 1 LEDs: LED indication of signal activity in four quadrants. Verti-

cal position represents amplitude and phase of input signal; horizontal position

represents amplitude and phase of Carrier CV In signal.

CHANNEL 1 SIGNAL OUT: Output of the processed signal from Channel 1.

SUM OUT: The sum or mix

of all signals processed by the

Optomix (Channel 1 & 2 In, and

Aux In) is sent out here. Range:

10Vpp (depending on settings

and source material).

SUM OUT: The sum or mix of all signals processed by the modDemix (Channel

1 & 2 In, and Aux In) is sent out here.

Make Noise Phonogene Sampler / Looper Module

The Phonogene is a digital re-visioning and elaboration of the tape recorder as musical instrument. It takes its name from a little known, one of a kind instru-

ment, used by composer Pierre Schaeffer. While not an emulation, it expands upon the original concepts. It is informed by the worlds of Musique Concrète

(where speed and direction variation were combined with creative tape splicing to pioneer new sounds) and Microsound (where computers allow for sound to

be divided into pieces smaller then 1/10 of a second, and manipulated like sub-atomic particles). Having CV 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: Tape Music tools allow for sounds to be recorded on the

y, layered, manually cut into pieces, re-organized, and played backward or forward at differing speeds. The Microsound Tools allow for you to divide the audio

buffer into progressively smaller pieces called Genes (aka particles, grains, granules). You can then step through those pieces in chronological order, and/or in

nonlinear fashion (providing random access of the audio buffer). Both sets of tools complement each other, which is why they were grouped into one module.

SIGNAL IN & ATTENUATOR: Audio

input. Line level or modular synth levels

are acceptable. AC Coupled. The associ-

ated Signal In Attenuator sets the input

level. For line level, set at 70% CW (2Vpp),

and for mod synth levels, set at 30% CW

(10Vpp); noted on the faceplate.

SOUND ON SOUND CV IN: Sets the mix of previ-

ously recorded loop with live Signal input when recording,

to allow for SOS-type “overdubs.” Also allows for setting

monitoring level of live input signals with previously

recorded loop. Can also be used as a CV cross-fader

(between live & loop) or VCA for loop (no live signal).

Range: 0V to 10V, linear response. Normalized to +10V.

SOUND ON SOUND AT-

TENUATOR: With nothing

patched to SOS CV In, this

works as a standard panel

control. With signal patched

to SOS CV In, this works as

an attenuator for that signal.

SIGNAL OUT:

Audio signal output.

10Vpp, depending on

Signal In Attenuator

setting and the source

material. AC coupled.

SLIDE ROTARY: Manual bipolar rotary

for scanning the pieces 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.

SLIDE CV IN & ATTENUVERTOR:

Bipolar CV input for Slide. Range +/-4V.

The associated Slide Attenuvertor sets the

bipolar level for the incoming CV.

GENE-SIZE CV IN & ATTENUATOR:

Unipolar CV input setting size divisor of

audio buffer, dividing with respect to the

buffer size as set by Record or Splice length.

This parameter “auto-splices” the recorded

material like a machine. Operates with great

precision and can cut pieces to a granular

level. Nondestructive. At 0V there is no

effect. Range 0V to +8V. The associated

Gene-size Attenuator sets the level for the

incoming CV. It is unipolar.

GENE SHIFT CV IN: A clock signal at

this input advances Phonogene to the next

Gene, in chronological order. Always depen-

dent upon the Gene-size setting. Needs at

least 1.5V trigger signal to operate.

SPLICE CV IN: Input for using external

signal to splice the loop. Sees only rising

edge of the signal. Needs at least 1.5V trig-

ger signal to operate.

EOS CV OUT & LED: Outputs a short 4

ms pulse at the end of each Splice. With no

Splices, EOS outputs a pulse at the end of

each loop. The associated EOS LED ashes

at each pulse output.

GENE-SIZE ROTARY: Manual unipolar

control which sets Gene-Size divisor.

Recording Time and Quality: The Phonogene audio buffer is 2MB, nonvolatile, high number of fast read and write cycles. Nonvolatile 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 microsound possible. Because the record and playback frequency is continuously variable from

88.2khz to 5.5khz by the Varispeed controls, the longest possible recording or loop length is determined by the speed of the playback/recording. Therefore,

long recordings may be achieved, but at the cost of a lower sample rate, meaning the resulting recordings will be of lower sound quality. A “Mid-Fi” setting

may be achieved by setting the Varispeed rotary at around 50%, so that both Varispeed LEDs are off. This records a good quality, 2-second sample length,

and allows for a good range of speed variation. Playback is stopped while you record. To record shorter samples at higher quality, set the Varispeed rotary

CCW. To record longer samples at lower quality, set the Varispeed rotary CW. Sample length can range from approximately >0 to 30 seconds.

Erase Routine: Hold the Splice button for 3 seconds to erase all splices at once. The Rec LED ashes to indicate splices have been erased. If you then

press the REC button while still holding the Splice button down, the Recording is also erased. Note: Erasing splices is non-destructive to your audio.

Broken Echo Mode: This hidden function allows for realtime processing of audio signals. To enter Broken Echo mode, create a sample/loop/Splice (just

press the Rec button and record enitre memory bland, for example). Then press and hold the Rec button until you pass through the EOS (EOS ashes)

and Rec will be stuck On. To exit Broken Echo mode, press the Rec button again (do not Hold it though, or you will go back into Broken Echo mode). In this

mode the Phonogene is similar to the Echoplex, with the SOS switch activated. This is similar to covering the Erase head of a tape recorder, allowing a spool

of tape to be recorded over and over and over again, without erasing the previous recordings. This is a great mode for building walls of sound, drones, or

making crude echo FX. Phonogene still minds Splices, Varispeed, Gene-size, Gene Shift, and Slide. Any modulation of these parameters are recorded. Be

sure to set the SOS Attenuator control according to your desired results. For example, live input processing requires the attenuator to be set at around 50%,

while massaging captured content requires a setting of 100% Wet. Adding or removing splices during Broken Echo Mode is not supported.

VARISPEED ROTARY & LEDS: Manual

bipolar speed and direction control. When

set to 50% playback is stopped, turning CCW

from 50% decreases playback speed in

backward direction, turning CW from 50% in-

creases playback speed in forward direction.

Two LEDs are associated with this rotary. The

2 associated LEDs show in which direction

the Phonogene is playing. The left (blue)

LED indicates reverse playback. The right

(orange) LED indicates forward playback.

When no LEDs are lit, playback is stopped.

LEDs also ash when a new splice is found

(see the Organize controls).

VARISPEED CV IN & ATTENUVER-

TOR: 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. The associated Varispeed Attenuver-

tor sets the bipolar level for the incoming CV.

ORGANIZE CV IN & ATTENUATOR:

Unipolar CV input which selects the next

Splice to be played. The currently selected

Splice will play to the end before the next

Splice is selected. The Varispeed LEDs ash

whenever this control nds a new Splice.

Range: 0V to +5V. The associated Organize

Attenuator sets the level for the incoming

CV. It is unipolar.

RECORD BUTTON & LED: Manual, momen-

tary button to toggle record on/ off. The Record

LED indicates when recording is taking place.

When not lit, recording is not taking place.

SPLICE BUTTON: Pressing drops splice marker

on a loop. When loop is Organized, the splices (re-

sulting audio segments) are re-arranged according

to the Organize CV. Phonogene plays whichever

splice is selected by Organize parameter.

ORGANIZE Rotary: Manual Unipolar

control which selects the next Splice to be

played. The Varispeed LEDs will ash when-

ever this control nds a new Splice.

PLAY & RECORD CV INS: Play CV In: At each rising edge signal applied to Play CV In, playback

is triggered. At the end of loop or splice, Phonogene looks at the incoming CV, and if high, it plays again.

If low, it does not play. This Input is normalized high. With nothing patched, play is continuous. Needs at

least 1.5V trigger signal to operate. Record CV 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.

Make Noise Pressure Points & Brains Expander Control Module

Pressure Points is a controller in which 1 of 4 sets of 3 tuned voltages are selected by touching the corresponding printed copper wire at the bottom of the in-

strument. Touching Pressure Points, you become part of the circuit, generating a gate signal (Gate Out), a control signal proportional to the amount of pressure

applied (Press Out) and activating the corresponding Stage. The Tuned Voltages for the activated Stage appear at their respective X, Y and Z Outs. In this way,

Pressure Points is like an analog sequencer that is played by hand.

2 pots allow the circuit to be adjusted for desired playing response. Up to 4 of these modules may be chained together to create controllers of varying size and

complexity. The Gate and Press Outs are normalized to their respective Combined bus which is output at the last Gate or Press Out in the chain. In addition,

stages can also be selected via clock inputs with the separately purchased expander module, Brains.

PRESSURE OUTS: Unipolar CV Outputs 1, 2, 3, and 4. Sends out a CV

signal based on the pressure applied to the corresponding touch plate. Pres-

sure Outputs are displayed using yellow output arrows on Pressure Points.

GATE OUTS: Gate Outputs 1, 2, 3, and 4. Sends out a high gate signal when

the corresponding touch plate is pressed, and stays high until a new touch plate

is pressed (a new “stage” is enabled). Gate Outputs are displayed using white

output arrows on Pressure Points. Only one is referenced here (Gate Out 4).

TUNED VOLTAGE ROTARIES: The

top row is Tuned Voltage row X, the middle

row is Y, and the bottom row is Z. X range:

0V to 8V. Y & Z range: 0V to 5.5V.

TUNED VOLTAGE OUTS: Each row of

Tuned Voltages has a corresponding CV

Output that that can be sent to other CV

inputs in your system. When a “stage” is

enabled with Pressure Points by pressing a

touch plate, the corresponding vertical col-

umn of Tuned Voltages are simultaneously

sent out to all 3 CV Outputs.

TOUCH SENSITIVITY POTENTIOM-

ETER: Set the Touch Sensitivity Adjustment

Potentiometer further CCW when you want

coarser Touch Plate response (less sensitive

to the touch). Set it CW when you want ner

Touch Plate response (more sensitive to the

touch).

TOUCH PLATES: Touch Plates 1, 2, 3,

& 4. Pressure Points requires the develop-

ment of a technique, and clean, bare

hands. Touching the upper-most portion of

the touchplate with as little of your nger as

needed to activate the circuit, will generate

simultaneous Pressure and Gate signals,

which are sent to the Outs at the top of the

associated vertical column. Also, the three

Tuned Voltages X, Y, & Z (as set by the col-

umn’s Tuned Voltage rotaries), found in the

middle of the module, are sent out to their

corresponding Outs on the module’s left

side. Each time a Touch Plate is pressed,

5 signals are simultaneously sent out to

control other parameters in your system:

Pressure, Gate, and 3 Tuned Voltages.

Laying more of your nger down on the

touchplate, and pressing harder, will gener-

ate a pressure control voltage proportional

to amount esh mashed into the copper of

the touchplate. Pressing harder, more of

your esh comes into contact with a sensi-

tive point in the circuit.

DIGITAL TRIMMER: If you cannot

obtain the desired response, you might

need to adjust the internal Digit Trimmer

to compensate for size & moisture of your

ngers, as well as playing technique and

style of system setup (vertical, horizontal,

angled). This requires a trimmer tool or

jeweler’s screwdriver, and access to the

module from the right side, where the Dig-

it Trimmer is located on the circuit board.

Always turn the power for Pressure Points

off while adjusting the trimmer. Default

setting is 40% CW. CCW = less sensitiv-

ity. CW = more sensitivity. You will need

to experiment with settings to achieve the

desired playing response.

Pressure Points Tips & Tricks

●The top row of Tuned Voltages range 0 to

+8V, and may be used to generate gate

signals, where full CCW is Gate Off and

full CW is Gate On.

●Process the Pressure CV Signal with a

slew limiter and attenuator on Channels

1 or 4 of Maths to achieve larger than life

modulations.

●Achieve a “Latched,” “Toggled,” or “Switch-

ing” CV signal, use two stages of Pressure

Points, where one has a tuned voltage set

to 0V (toggled Off), and the other has a

Tuned Voltage set to the desired On state

(+8V, or full CW, for example). Touch one

stage to turn On, and the other to turn Off.

●Use for preset storage, where you have 4

presets of 3 variables in a patch; variables

being set by Tuned Voltages X, Y & Z.

Additional variation is preset by apply-

ing the independent Press and/ or Gate

signals from each stage to different patch

points. If the Gate is not needed to initiate

an event, apply it to a patch point via an

Attenuator, and use it as a touch-controlled

momentary modulation.

●All Tuned Voltage and Press CV Outs will

drive a passive 4-way mult with no loading.

●All Gate Outs may be stacked to one Gate

In for Gate mixing.

ACTIVE STAGE LEDS: Lights yellow

to indicate which stage (1, 2, 3, or 4) is

currently active.

CLOCK IN: Selects next stage or number to be counted on rising edge of clock,

gate, pulse or trigger, of at least 1V. Patch here to sequence.

RESET IN: Jumps to last touched stage on rising edge of clock, gate, pulse or trig-

ger, of at least 1V. Use this input to control when the sequence is reset to the start

or beginning of the sequence.

RUN IN: Gate or logic high (of at least 1V) will tell Brains to count, and thus run

gate. Gate or logic low (below 1V) will stop Brains. Use this input to control when

the sequence is turned on or turned off.

DIRECTION IN: Gate or logic high (of at least 1V) tells Brains to count forward.

Gate or logic low (below 1V) tells Brains to count backward. Use this input to control

the forward / backward movement of the sequence.

TOUCH-GATE OUT: Generates gate high, 10V, when any Touch Plate on a con-

nected Pressure Points is touched.

TOUCH-CLOCK IN: Secondary clock activated when Pressure Points is touched.

This input serves a dual purpose. Used without a Master Clock applied to the Clock

In, events initiated by touching Pressure Points will be quantized to the timing signal

applied to the Touch-Clock In. When used along with the Clock In, a secondary

sequence will be initiated whenever Pressure Points is touched, where the length

and timing is determined by the relationship of the Touch-Clock to the Master Clock.

Also, patching a dummy cable into this input breaks the connection between the

Pressure Points Touch Plates and the sequence (stage) selection. In other words,

the Pressure Output from the Touch Plates are independant of the stage sequence,

and thus, independant of the Gate Output and Tuned Voltage Outputs.

Brains is a clocked sequential binary event machine, intended to be connected to tactile controllers such

as the Pressure Points. as an expansion module. Once connected, Pressure Points provides data input

to Brains in the form of touch-selectable Reset stage and Hold stage. Pressure Points also provides the

tuned voltages and pulses per stage. Brains, when connected to either 1 or 2 Pres-

sure Points, will drive the stage selection in a sequential fashion, at a rate deter-

mined by the incoming clock at Clock In, thus forming a 4-Step or 8-Step, 3-channel

analog sequencer. Binary control over Direction of the stage selection, Run/Stop

and Reset are provided.

Make Noise Rene Sequencer Module

René is deep, but all you really need to know: Patch one clock to XCLK, and a second clock to YCLK, adjust clock rates and/ or divisors, tune voltages per loca-

tion (the knobs) as desired. Adjusting those two clocks relative to each other will create seemingly innite variations on the theme that is your sequence.

René is the world’s rst and only Cartesian sequencer for music synthesizers. It uses Descarte’s cartesian coordinate system to unlock the analog step se-

quencer from the shackles of linearity. Like the classic analog sequencers, there are only 16 steps, each having an associated knob with which the note for that

step is tuned. However, using René, the patterns are not limited to 16 steps in length because the path taken through those steps is, for all practical purposes,

innite. In fact, René does not “step” at all, but rather it maps coordinates to locations in a grid. As a result, it is possible to move in ways that you would never

imagine. The 16 steps on René are called “locations,” and rather than one clock input, there are two; the X axis, and the Y axis.

X-CLOCK IN: Clock/

Gate signal (of width

>.5ms and amp >2.5V)

input drives the X-

axis counter. If using

Maths to clock, then

set Vari-Response to

Linear. When René

counts Snake style,

X-CLK steps linearly

through a stored set of

coordinates; it drives

the sequence.

QCV OUT: The

quantized CV of

the currently ac-

tive location. QCV

may also yield a

stored quantized

CV (if selected on

Q Page), in which

case the corre-

sponding location

potentiometer is

no longer “live.”

Range: 4 octaves.

CV OUT:

The un-quan-

tized CV of

the currently

active loca-

tion. At the

CV Out, the

location po-

tentiometers

are always

“live.” Range:

0 to 4.5V.

GATE X & Y OUTS: These

outs reect the X- & Y-Gate

Page programming. When

René hits a location, and it is

on (lit) on the X- and/or Y-Gate

PGM Page, the out(s) go high

for a duration determined by

the X-CLK width and any PGM

logic operations for that axis

clock or gate. When counting

Snake style, the Gate Out is

always a skinny pulse (2ms).

Range: 0V (off) or +8V (on).

TOUCH PLATE SENSITIVITY CON-

TROL: To decrease sensitivity, turn

CCW. To increase sensitivity, turn CW.

CV PROGRAMMING GRID: Pots

used for programming (PGM). LED lights

indicate currently active location(s).

X IN CV ATTENUATOR: Attenuates

the incoming X-CV input signal.

Y IN-

PUTS:

Identical

to the X-

inputs, but

applied

to the

Y-Axis.

See the

X- inputs

for an

explana-

tion.

X-CV IN: CV at this input

generates a number that

is added to the number

generated by the X-axis

counter, to create the X

coordinate. When René

counts Snake style, X-CV

scans linearly through a

set of stored coordinates.

X-CV is normalled to

+5V so that with nothing

patched the attenuator

acts as an offset generator.

X-MOD IN: The state

of this input (either

high or low) further

determines behavior

of René, depending on

the selections made in

the X-Fun PGM page.

For example, when

CLK-RST is selected

under X-Fun, a logic

high at this input will

Reset the X-axis

counter to 0.

PGM 1: Used to cycle through the six

programming (PGM) Pages.

PGM 2: When in a PGM Page, press

to return to “play” mode. While in “play”

mode, press to latch currently-held loca-

tions. Also used to store module settings

on power-down. When in “play” mode,

press and hold until all PGM LED’s blink

(about 2-3 seconds).

TOUCH PLATE GRID: Used to

select locations for programming (PGM)

and latching.

GATE-X & -Y LEDS: Flashes to

indicate gate activity at the output.

PGM PAGE LEDS: Lights when as-

sociated PGM Page is accessed.

RENE CONCEPTS: The primary goal

of René is to have a maximum amount of

artist-controlled musical variation, with a

minimum amount of data input. There are

no menus. All editing is done real-time, and

the programming becomes a key perfor-

mance element.

The basic concept: each axis is being

driven by the corresponding clock and CV, to generate a number from 0 to 3. These numbers together make

up the coordinates for the jump to the next location (ex.: If X hits 2 and Y is at 3, then René goes to Loc.14).

René Logic (X-Fun / Y-Fun PGM Page)

There are 3 rows of the logic processing. CLK by MOD, Gate

by MOD and Gate by opposing CLK. With the Clock Logic Ops

(locations 9, 10, 11) the MOD input is AND, OR, XOR against the

CLK, and the result drives the counter for the associated axis. With

the Gate Logic Ops (locations 5, 6, 7) the MOD is AND, OR, XOR

against the CLK and the result drives the gate programming logic

(X gate or Y gate pages). The last part of the chain is the gate on/

off, thus giving gate programming top level control. When you want a

location to not generate an event, turn off the gate.

(NOTE: 0 = FALSE = OFF, 1 = TRUE = ON)

For CLK by MOD logic ops, the results apply to both the sequence

movement and the associated gate outs. For Gate by MOD logic

ops, the results apply only to the associated gate outs.

Programming (PGM) Pages

Access Page (A): Allow access (on; lit) or deny access (off; unlit) to a location.

X-Gate & Y-Gate: Turn on/off locations that generate a gate at the G-X / G-Y Outs.

X-Fun & Y-Fun: Edit the behavior of the X & Y axis. FWD: counts forward. BWD:

counts backward. PEND: counts forward, then backward. SNAKE: Scans linearly

through 8 preset coordinate patterns. Uses both X- and Y-axes, so this can be set on

either “FUN” page. CLK RST: Pulse at the MOD Input will reset the associated axis

counter to 0. Used to reset the counter. GLIDE: Glides between locations when a gate

is present at the MOD In. Only one axis needs to be programmed for glides to func-

tion. SEEK (on; lit)/SLEEP (off; unlit): Lets you program rests in sleep mode. When an

Access location is off, the step is counted and silent. In Seek mode, this same location

is ignored, and next available location is played (without the rest between locations).

Quantize (Q): Lets you select scales to be used at the QCV Out. You can also store

quantized voltages (see SQV section).

8 Snake Mode Memorized Coordinate Sets (conceived & illustrated by yerpa58).

Stored Quantized Voltages (SQV - Q PGM Page - Locations 12, 13, 14, and 15)

To store all 16 Voltages as set by the potentiometers and the PGM Scale as set by touch grid Locations 0 thru 11, touch and

hold either Location 12, 13, 14, or 15 until all 6 PGM LEDs ash. When one of these four locations are on (lit), the QCV Out

produces voltages per location as well as the scale in which they were initially stored. The scale may still be edited on the y,

but the pots on the CV Programming Grid is no longer “live.” To turn off the active SQV, press it once again to toggle off.

With the scale and the voltages you have programmed stored, you effectively have two channels of CV. The most common

use would be to apply the QCV to 1V/ Octave input on your VCO, program your scale and the notes you want to use in your

composition, and store those to one of the 4 locations (12, 13, 14, 15). If you want variations, then store those variations to

the remaining locations. Now, patch the CV Out (un-quantized) to a timbre control, such as FM Index, wave shape, or lter

resonance. Because your QCV is using the SQV to drive the VCO, the un-quantized CV Out is now independent, and you are

able to turn the pots on the CV Programming Grid to program new timbre CV, without changing the notes/pattern driving your

VCO pitch. Apply the Gate Outs to EG/VCA combo, or Low Pass Gate, and you have full control of one voice. ACTIVE SCALE

Make Noise tELHARMONIC Synthesizer Module

The tELHARMONIC is a multi-voice, multi-algorithm synthesizer module named for the music hall considered by some to be the location of the rst electronic

music concerts. It was coded by Tom Erbe, with the goal of presenting three historically important pioneering electronic tone generation techniques less often

implemented within the modular synthesizer.

The tELHARMONIC’s roots go back further than the advent of electronic music, as it also takes a new approach to handling music theory in the modular

context. TONIC, INTERVAL, DEGREE and D-GATE, allow for patch-programming of complex chord progressions, scales, melodies and playing styles. This

voltage-controlled music theory guides the algorithms in a unied way, whereas CENTROID, FLUX and H-LOCK sculpt the timbre of each algorithm uniquely,

allowing for complex sounds to be created around a unied melodic structure and pattern.

GATE OUT:

Outputs a gate

signal at each

change in Degree.

DC-coupled. 10V

gate. The associ-

ated LED provides

visual indication of

activity.

N OUT: Output for the

single-voice noise al-

gorithm. Pitch is set by

the Tonic and Degree.

Bandwidth is set by

Flux. Does not respond

to Interval, Centroid, or

H-Lock. AC-coupled.

8Vpp signal.

FM IN: Input for linear

frequency modulation

of the tELHARMONIC

core. Modulates all

3 algorithms (N Out,

H Out, and P Out).

AC-coupled. Expects

maximum signal level

of 15Vpp.

H OUT: Output for the 3 voices

of the harmonic algorithm. Core

frequency is set by Tonic and De-

gree. The pitch spacing (harmonic

relationship of the 3 voices to one

another) is set by Interval and

Degree. Timbre of this output is

controlled by Flux, Centroid, and

H-Lock. AC-coupled. 10Vpp signal.

P OUT: Output for the 3 voices of the phase

mod algorithm. Core frequency is set by Tonic

and Degree. The pitch spacing (harmonic

relationship of the 3 voices to one another)

is set by Interval and Degree. Timbre of this

output is controlled by Flux and Centroid.

Response to Flux is the inverse of that of the N

Out and H Out. Does not respond to H-Lock.

AC-coupled. 10Vpp signal.

TONIC ROTARY: Adjusts the pitch of all 3

Voices across 6 octaves.

TONIC CV IN: Unity, unquantized 1V/

octave pitch control input. Range: 0-6V.

INTERVAL ROTARY: Sets the pitch

spacing of the 3 harmonic and phase mod

voices to form triads (with 2 inversions),

fths, unison, or octave relationships.

Continuously variable, aside from the 2

inversions for triads.

INTERVAL CV ATTENUATOR: Bi-polar

attenuator for Intrvl CV input.

INTERVAL CV IN: CV input for Interval.

Range: 0-5V.

COLOR STAFF: Visual indicator that

changes color to display the state of Inter-

val and Degree. Pulse indicates frequency

of the Tonic.

DEGREE CV ATTENUATOR: Bi-polar

attenuator for Degree CV input.

DEGREE CV IN: Quantized CV input for Degree. Range: +/- 2V.

D-Gate IN: Gate input for activation of the

Degree parameter. Normalled high, so with

nothing patched, Degree is always active.

Requires a clock/gate signal of at least 5V.

and width of at least 10ms.

DEGREE ROTARY: Quantized note

selection, relative to the pitch as dened by

Tonic. Also determines sonority of the triad,

where applicable.

CENTROID ROTARY: This rotary has a dif-

ferent effect on the output: H Out- modulates

or selects harmonics for emphasis by Flux and

H-Lock parameters. P Out- sets the phase

modulation ratio. N Out- No effect.

CENTROID CV IN: CV input for Centroid.

Range: 0-8V.

CENTROID CV ATTENUATOR: Bi-polar

attenuator for Centroid CV input.

H-LOCK BUTTON/LED: With Flux greater than 10%, this sets the harmonic selected by the Cen-

troid parameter to be locked on. Multiple harmonics may be locked on. LED brightness indicates the

number of harmonics locked on. To un-lock Harmonics, set Flux to 0% or press and hold the H-Lock

Button for one second, until the H-Lock LED fades off. This parameter only affects the harmonic algorithm.

Press and hold for 5 seconds to enter the Spiratone mode. Press without holding to return to Harmonic mode.

H-LOCK IN: Gate input for setting harmonics to

be locked ON. Requires a clock/gate signal ampli-

tude of at least 5V and a width of at least 10ms.

FLUX COMBO POT: Unipolar combo ro-

tary. With nothing patched to Flux CV in, this

functions as a standard panel control. When a

control signal is patched to the Flux CV in, it

functions as an attenuator for that signal, as it

is applied to the Flux paramater.

Flux has a different effect on the 3 outs: N

Out- increasing Flux focuses the noise around

the fundamental, as set by Tonic and Degree.

H Out- At 0V (Flux fully CCW), all harmon-

ics are equally emphasized. Increasing Flux

de-emphasizes all harmonics surrounding the

Centroid, with the exception of those that are

currently locked by H-Lock. This de-emphasis

has the effect of emphasizing the Centroid. P

Out- Flux sets the index of phase modulation

— the ratio is set by Centroid. The response

is inverse to that of the H Out and N Out. At

0V (Flux fully CCW), maximum phase modula-

tion is achieved. Gradually increasing this

parameter decreases the index of the phase

modulation.

FLUX CV IN: Unipolar CV input for Flux.

Range: 0 to +8V.

Composing with tELHARMONIC 101

●The left side of the module allows for patch programming chord progressions, scales, and melodies. It consists of the TONIC, INTERVAL, DEGREE

and D-GATE parameters and the visual indication of the Color Staff. Although you will nd great detail below about the inner workings in the next sec-

tion, no knowledge of music theory is required. These parameters respond to cv, just like anything else in your system. Here are some quick pointers:

● Think of Tonic as the main pitch/frequency control, similar to the grey knob on a DPO or STO. It is continuous (not quantized) and responds 1V/Oct.

● Interval sets the spread of the pitch/frequency between voices in the H Out and P Out. There are 3 voices that can be set to triad, fth, unison, octaves

and anywhere in-between. Whatever Interval is selected will be maintained when TONIC is manipulated. Unison (about 3 o’clock) has all 3 voices set

to the same note for behavior typical of a VCO.

● Degree adds or subtract up to two octaves from the base frequency set by Tonic. It has a Quantized response and also tracks 1v/Oct. when the DE-

GREE CV Attenuator is set Full CW. Because DEGREE is a quantized parameter, it has a “musically valid” response to any cv used.

●Whenever Degree changes values, a gate is generated and available for use at the Gate Out.

●The D-Gate Input operates as a Track & Hold for the DEGREE parameter. With nothing patched, D-Gate is held high and DEGREE will always be

actively tracking the signal patched to the DEGREE CV IN. With a clock, gate, pulse or trigger patched to D-Gate, the DEGREE parameter will only

track the signal patched to DEGREE CV IN while the D-Gate is held high.

Make Noise Richter Wogglebug Random Generation Module

The Richter Wogglebug, among other things, contains: 1 Voltage-Controlled Clock, 1 Sample & Hold, 2 Lag Processors, 1 Random Gate Burst Generator, and

2 VCO Digital Ring Mods. Most of these are patchable via the instrument’s panel, in a system capable of CV and Audio Signal generation and processing.

While the Panel Controls & Input/Output descriptions are found below, please understand that all portions of the Wogglebug interact with each other. For exam-

ple, changing the Ego/Id Balance will affect the Stepped, Smooth, and Woggle CVs, the Smooth VCO, Ring Mod and Woggle VCO Outs. The Woggle circuit is

chasing the Smooth/ Stepped circuit, which is being kicked in the ass by the internal clock. It is very possible to make patches and panel settings which lock up

the Wogglebug, and thus the CV outputs will hang at the last voltage level while the VCOs will drone on almost unchanging. When this happens, adjusting just

about any panel control will disturb and wake the Wogglebug. Finally, consider that many changes in the system are not immediate, because the Wogglebug is

a complex feedback system where several sub-circuits are responding to each other.

SMOOTH VCO OUT: Shark’s Fin wave audio

rate signal controlled by the External Input, Ego/Id

Balance rotary setting, Inuence CV In, and Clock

Speed rotary. 10Vpp.

WOGGLE VCO OUT: Square Wave audio rate

signal, controlled by Woggle rotary control, External

In, Ego/Id Balance rotary, Inuence CV In, and Clock

Speed rotary. 10Vpp.

RING MOD OUT: Pulse wave

audio rate signal, ring modulated

product of Smooth VCO, Woggle

VCO, and audio rate signal at the

Inuence In (if present). It gets

messy fast. The digital nature of

the Ring Mod circuit makes simple

waveforms (Pulse, Square, Triangle,

Sine, Saw) almost necessary to

achieve something remotely musi-

cal, but don’t let that stop you from

pumping Motown samples into this

circuit. 10Vpp.

STEPPED OUT & LED: At lower Clock rates, the

Stepped Random Voltage appears here: new value

occurring at every clock pulse indicated by the blue

system clock LED. At higher (audio) clock rates, bit

reduction effects may be achieved by inserting an

audio signal into External In and setting Ego/Id Bal-

ance rotary to full CCW. 10Vpp range. The Stepped

Out LED gives visual indication of Stepped Random

Voltage value.

SMOOTH OUT: Smooth CV appears here, the

smoothness of which is set by the Clock Speed

rotary control. Range: 0V to 10V.

WOGGLE OUT: A of product of the Smooth/

Stepped CV, this voltage quivers, shakes, and

always chases after the heart of the system.

Smoothed by the Woggle rotary; 0V to10V.

BURST OUT & BURST LED: Square random

gate signal, synced to the clock and inuenced by

the Stepped, Smooth and Woggle rotaries. Range: 0

to +10V. The Burst Out LED provides visual respre-

sentation of random gates.

CLOCK OUT & INTERNAL CLOCK LED:

Square clock signal from the internal clock genera-

tor. Not inuenced by signal at External Clock In.

Range: 0V to +10V. The Internal Clock LED pro-

vides visual representation of the rate of the internal

clock. It is not affected by the External Clock In.

EXTERNAL IN: External input for Sample & Hold.

Signals applied here will be injected directly to the

uncertain, beating heart of the Wogglebug. Accepts

CV or audio rate signals. Expects 10Vpp max.

NOTE: The gold lines on the Wogglebug denote

the three key areas: 1. Audio at the top (noted

here with gold text), 2. CV in the middle (noted

here with blue text), and 3. Clock at the bottom

(noted here with green text).

Is the Wogglebug my synthesizer’s ID Monster? Yes! Should I beware of the Wogglebug? Maybe.

The Wogglebug is a random voltage generator, originally designed by Grant Richter of Wiard Synthesizers. The Wogglebug’s purpose is to overtake the CV

produced by your keyboard or sequencer during performance and give a voice to your synthesizer’s ID. A continuation of the Smooth and Stepped, ucu-

tuating, random voltage sources, pioneered by Don Buchla, the core of the circuit is based on the Buchla Model 265 “Source of Uncertainty” module, which

many consider to be the most musical of all random voltage generators. Like the 265, the Wogglebug utilizes a lag processor (low frequency smoothing

lter), a VCO, and a Sample & Hold in order to produce Stepped and Smooth (lagged; slewed) CV in the range of 0V to 10V.

Grant Richter’s Wogglebug design expands on this system to include the otherworldly Woggle CVs (stepped voltages with decaying sinusoids at the edges),

which must be heard in action to be truly appreciated. In a moment of considerable noise, Richter decided to tap into the sound sources at the uncertainly

beating heart of the Wogglebug and bring them forth to the instrument’s panel. He then gured a clever way to Ring Modulate these sounds and that, too,

is on the panel of all Wogglebugs. Thus, the Wogglebug is a complete system. No external modules are required to Woggle; however, all voltage-controlled

systems long to be tickled, bitten, plagued, and eventually destroyed, by the Wogglebug.

The Make Noise Wogglebug is not a clone. Instead, it is a tribute to all that Woggles and is an evolution of the original Grant Richter design. The Woggle-

bug is a single system. It also offers further functionality, such as an Inuence In to the Ring Mod circuit, the ability to directly inject a signal to the heart

of the Wogglebug via the Ego In, and a random gate Burst function. All of this has never appeared on any other Wogglebug. The Cluster circuit was also

redesigned, and thus it has been renamed Ego/Id Balance, to reect its further purposes, allowing for new functionality.

EGO/ID BALANCE ROTARY: with nothing

inserted at the External Input, this sets the range of

probable values. Turning the rotary CCW, random

values generated by the system tend to “cluster.”

With a signal applied to the External In, it allows

that external signal to be balanced with the internal

signal source, to generate random voltages.

INFLUENCE IN: CV and/ or Audio Signal input

that performs the following duties: modulates

frequency of Smooth and Woggle VCOs, inputs to

the Ring Mod circuit, and level shifts the Woggle CV

signal. Responds 0V to 10V.

WOGGLE ROTARY: Sets how quickly (or slowly)

the Woggle circuit is able to catch the Smooth/

Stepped circuit. CW slows the Woggle CV, CCW

speeds it up.

SPEED CV ATTENUATOR: Unipolar attenuator

for Speed CV IN. Normalled to 8V.

SPEED CV IN: Unipolar CV In for Speed parame-

ter. Normalized to +8V so that with nothing patched,

the associated Speed CV Attenuator will extend the

internal clock generator range up to around 200hz.

Range: 0V to +8V. SPEED ROTARY: Dual purpose control that sets

the Rate of the Wogglebug’s internal clock generator

and lag processor feeding the Smooth CV circuit.

Turning CCW slows the system and smoothes its

response. Turning CW quickens the system with the

Smooth CV response becoming jittery. Internal Clock

generator range: 1 minute/cycle up to 40hz (ex-

tended range pushes upper limit to around 200hz).

EXTERNAL CLOCK IN: Any signal may be ap-

plied here, allowing for independent control of rate

and smoothness.

SYSTEM CLOCK LED: Displays rate of Sample

& Hold clock. When a signal is applied to the Ex-

ternal Clock In, this shows the rate of the incoming

clock/rising edge. With nothing patched, this LED

will mirror the Internal clock.

DISTURB BUTTON: Direct control of the Sample

& Hold circuit. Pressing will sample, and holding

will hold.

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