Mutable Instruments Clouds User manual

Clouds/Parasites
illustrated manual

Audio quality
Hold the Blend parameter/Audio quality button for one second, then
press it repeatedly to choose a recording quality.
The current quality setting is indicated by a red LED.
Rate: 32Hz
Resolution: 16-bit
Channels: Stereo
Buffer time: 1s
Rate: 32Hz
Resolution: 16-bit
Channels: Mono
Buffer time: 2s
Rate: 16Hz
Resolution: 8-bit
Channels:Stereo
Buffer time: 4s
Rate: 16Hz
Resolution: 8-bit
Channels: Mono
Buffer time: 8s
The Story
This was put together based on what I could find online. It’s only intention is to make the
module clearer to me. It is not intended as a replacement fo the original material.
Mutable’s own manual can be found at
http://mutable-instruments.net/modules/clouds/manual
The Parasites manual is at
https://mqtthiqs.github.io/parasites/clouds.html

Modes
Hold the Blend parameter/Audio quality button for five seconds until a
LED lights up in yellow.
Then, repeatedly press the Blend parameter/Audio quality button to
select between the four following audio processing engines – the current
one is indicated by a glowing yellow LED.
Granular Processing
Pitch-shifter/time-stretcher
Looping delay
Spectral madness
Oliverb
Resonestor

Mode: Granular Processing

Granular Processing: Controls
A. FREEZE button. This latching button stops the recording of incoming audio. Granu-
larization is now performed on the last few seconds of audio kept in memory in the
module.
B. Blending parameter/Audio quality button. Selects which of the blending parameters
is controlled by the BLEND knob and CV input, or selects one of the four audio quality
settings.
C. Load/Save button. See the “Advanced topics” section in the original manual.
D. Grain POSITION. Selects from which part of the recording buffer the audio grains are
played. Turn the knob clockwise to travel back in time.
E. F. Grain SIZE and PITCH (transposition). At 12 o’clock, the buffer is played at its
original frequency. The range of the Size knob has been adjusted to produce much
smaller grains. Fully counter-clockwise, grains are barely hearable spikes; fully clock-
wise, the maximum size is as before.
G. Audio INPUT GAIN, from -18dB to +6dB.
H. Grain DENSITY. At 12 o’clock, no grains are generated. Turn clockwise and grains
will be sown randomly, counter-clockwise and they will be played at a constant rate.
The further you turn, the higher the overlap between grains.
I. Grain TEXTURE. The Texture knob now has asymetric shapes of grain envelopes. It
morphes between: square, ramp up, ramp down, triangle, and triangle with diffuser.
Fully counter-clockwise, the square shape has particularly sharp edges and may click.
This is desired (more glitch!); if you want the old behaviour, turn the knob up a little bit
until the click disappears.
J. BLEND knob. This multi-function knob is described in the Blending parameters sec-
tion.
K. Indicator LEDs. They work as an input vu-meter. When FREEZE is active, they moni-
tor the output level. Soft-clipping occurs when the last LED is on. They can also indicate
the quality setting (red), the function assigned to the BLEND knob (green), or the value
of the four blending parameters (multicolor).
NOTE: To cope with the additional computation, Grain polyphony has been reduced a
bit. This should not be noticeable.

Granular Processing: Inputs and outputs
All CV inputs are calibrated for a range of +/- 5V. Voltages outside of this range are
tolerated, but will be clamped.
1. FREEZE gate input. When the input gate signal is high, stops the recording of incom-
ing audio, just as latching the FREEZE button would do.
2. TRIGGER input. Generates a single grain. By moving the grain DENSITY to 12
o’clock, and sending a trigger to this input, Clouds can be controlled like a micro-sam-
ple player. An LFO or clock divider (or even a pressure plate) can thus be used to sow
grains at the rate of your choice.
3. 4. Grain POSITION and SIZE CV inputs.
5. Grain transposition (PITCH) CV input, with V/Oct response.
6. BLEND CV input. This CV input can control one of the following functions depending
on the active blending parameter: dry/wet balance, grain stereo spread, feedback
amount and reverb amount.
7. 8. Stereo audio input. When no patch cable is inserted in the right channel input, this
input will receive the signal from the left channel.
9. 10. Grain DENSITY and TEXTURE CV inputs.
11. 12. Stereo audio output.

Mode: Pitch-shifter/Time-strecher

Pitch-shifter/Time-strecher: Controls
A. FREEZE button. This latching button stops the recording of incoming audio.
Pitch-shifting/Time-streching is now performed on the last few seconds of audio kept in
memory in the module.
B. Blending parameter/Audio quality button. Selects which of the blending parameters
is controlled by the BLEND knob and CV input, or selects one of the four audio quality
settings. This engine is quite similar to the granular mode, except that it uses two over-
lapping grains synchronized with the most salient period of the sound. The grains are
carefully spliced so that they mesh well with each other (a technique similar to the “de-
glitching” of early pitch-shifters).
C. Load/Save button. See the “Advanced topics” section.
D. PRE-DELAY DIV/MULT (POSITION). When a clock is sent to the Trig input, the Posi-
tion knob becomes a clock divider/multiplier for the pre-delay: at 12 o'clock, the pre-de-
lay takes the value of the clock length; clockwise, this clock is divided, and count-
er-clockwise it is multiplied following the rates: 1/16, 3/32, 1/8, 3/16, 1/4, 3/8, 1/2, 3/4, 1,
3/2, 2/1, 3/1, 4/1, 6/1, 8/1, 12/1 (borrowed from the Echophon). Note that the clock divi-
sion is limited to the largest division not exceeding the maximum delay; beyond this
point, the Position knob will have no effect. Note also that clock synchronization will be
more accurate with the Size knob fully counter-clockwise.
E. F. Grain SIZE and PITCH (transposition). At 12 o’clock, the buffer is played at its
original frequency.
G. Audio INPUT GAIN, from -18dB to +6dB.
H. DIFFUSION (DENSITY) creates a granular diffusion effect based on all-pass filters.
I. LOW PASS/HIGH PASS FILTER (TEXTURE) acts as a low-pass/high-pass filter.
J. BLEND knob. This multi-function knob is described in the Blending parameters sec-
tion.
K. Indicator LEDs. They work as an input vu-meter. When FREEZE is active, they moni-
tor the output level. Soft-clipping occurs when the last LED is on. They can also indicate
the quality setting (red), the function assigned to the BLEND knob (green), or the value
of the four blending parameters (multicolor).

Pitch-shifter/Time-strecher: Inputs and outputs
All CV inputs are calibrated for a range of +/- 5V. Voltages outside of this range are
tolerated, but will be clamped.
1. FREEZE gate input. When the input gate signal is high, stops the recording of incom-
ing audio, just as latching the FREEZE button would do.
2. CLOCK (TRIGGER). Sending a trigger on the TRIG input creates a clock-synchro-
nized loop (when FREEZE is enabled) or stuttering effect – equivalent to applying a
tempo-synchronized decaying envelope on the POSITION parameter.
3. 4. Pre-Delay (POSITION) and SIZE CV inputs. SIZE controls the size of the overlap-
ping windows used for pitch-shifting and time-stretching – from an extremely grainy
“drilling” sound to smooth bits of loops
5. Grain transposition (PITCH) CV input, with V/Oct response.
6. BLEND CV input. This CV input can control one of the following functions depending
on the active blending parameter: dry/wet balance, grain stereo spread, feedback
amount and reverb amount.
7. 8. Stereo audio input. When no patch cable is inserted in the right channel input, this
input will receive the signal from the left channel.
9. 10. Diffusion (DENSITY) and Filter (TEXTURE) CV inputs.

In the Mono quality modes, Stereo spread crossfades between the left and the right
input. Remember that the left input is normalized into the right input, so with nothing
patched in In L, this will have no effect.
Rate: 32Hz
Resolution: 16-bit
Channels: Mono
Buffer time: 2s
Rate: 16Hz
Resolution: 8-bit
Channels: Mono
Buffer time: 8s
Pitch-shifter/Time-strecher: Audio outputs
In the Stereo quality modes, Stereo spread gradually swaps both output channels. Fully
CW, it allows to do ping-pong delay effects: each time the sound is fed back, the two
channels are reversed.
Rate: 32Hz
Resolution: 16-bit
Channels: Stereo
Buffer time: 1s
Rate: 16Hz
Resolution: 8-bit
Channels:Stereo
Buffer time: 4s

Mode: Looping Delay

Looping Delay: Controls
A. FREEZE button. This latching button stops the recording of incoming audio. When
FREEZE is activated, the content of the audio buffer is looped (stutter effect). Size con-
trols the repeat time multiplication/division.
B. Blending parameter/Audio quality button. Selects which of the blending parameters
is controlled by the BLEND knob and CV input, or selects one of the four audio quality
settings. This engine is quite similar to the granular mode, except that it uses two over-
lapping grains synchronized with the most salient period of the sound. The grains are
carefully spliced so that they mesh well with each other (a technique similar to the “de-
glitching” of early pitch-shifters).
C. Load/Save button. See the “Advanced topics” section in the original manual.
D. PRE-DELAY DIV/MULT (POSITION). When a clock is sent to the Trig input, the Posi-
tion knob becomes a clock divider/multiplier for the pre-delay: at 12 o'clock, the pre-de-
lay takes the value of the clock length; clockwise, this clock is divided, and count-
er-clockwise it is multiplied following the rates: 1/16, 3/32, 1/8, 3/16, 1/4, 3/8, 1/2, 3/4, 1,
3/2, 2/1, 3/1, 4/1, 6/1, 8/1, 12/1 (borrowed from the Echophon). Note that the clock divi-
sion is limited to the largest division not exceeding the maximum delay; beyond this
point, the Position knob will have no effect. Note also that clock synchronization will be
more accurate with the Size knob fully counter-clockwise.
The Position knob response has been tweaked to allow easier dialing of very short
delays.
E. F. Grain SIZE and PITCH (transposition). SIZE controls the size of the overlapping
windows used for pitch-shifting – fully clockwise for a smooth result that might smear
transients, fully counterclockwise for a grainy, almost ring-modulated sound. When
Freeze is active and delay time is synced to an external clock, Size controls the repeat
time multiplication/division.
When the pitch is at 0, it now bypasses the pitch shifter completely. This drastically
enhances the delay quality when no pitch-shifting is done, avoiding the flanging effect
when the delay was used with feedback.
G. Audio INPUT GAIN, from -18dB to +6dB.
H. DIFFUSION (DENSITY) creates a granular diffusion effect based on all-pass filters.

Looping Delay: Inputs and outputs
All CV inputs are calibrated for a range of +/- 5V. Voltages outside of this range are
tolerated, but will be clamped.
1. FREEZE gate input. When the input gate signal is high, stops the recording of incom-
ing audio, just as latching the FREEZE button would do.
2. CLOCK (TRIGGER). Sending a trigger on the TRIG input creates a clock-synchro-
nized loop (when FREEZE is enabled) or stuttering effect – equivalent to applying a
tempo-synchronized decaying envelope on the POSITION parameter.
3. 4. Pre-Delay (POSITION) and SIZE CV inputs. SIZE controls the size of the overlap-
ping windows used for pitch-shifting and time-stretching – from an extremely grainy
“drilling” sound to smooth bits of loops. Delay time changes are now much faster (there
is less slew on the knob and CV value). Modulating POSITION will create effects similar
to vinyl scratching or manual manipulation of tape
5. Grain transposition (PITCH) CV input, with V/Oct response.
6. BLEND CV input. This CV input can control one of the following functions depending
on the active blending parameter: dry/wet balance, grain stereo spread, feedback
amount and reverb amount.
7. 8. Stereo audio input. When no patch cable is inserted in the right channel input, this
input will receive the signal from the left channel.
9. 10. Diffision (DENSITY) and Filter (TEXTURE) CV inputs.
Looping Delay: Controls (Cont.)
I. LOW PASS/HIGH PASS FILTER (TEXTURE) acts as a low-pass/high-pass filter.
J. BLEND knob. This multi-function knob is described in the Blending parameters sec-
tion.
K. Indicator LEDs. They work as an input vu-meter. When FREEZE is active, they moni-
tor the output level. Soft-clipping occurs when the last LED is on. They can also indicate
the quality setting (red), the function assigned to the BLEND knob (green), or the value
of the four blending parameters (multicolor).

In the Mono quality modes, Stereo spread crossfades between the left and the right
input. Remember that the left input is normalized into the right input, so with nothing
patched in In L, this will have no effect.
Looping Delay: Audio outputs
In the Stereo quality modes, Stereo spread gradually swaps both output channels. Fully
CW, it allows to do ping-pong delay effects: each time the sound is fed back, the two
channels are reversed.

Mode: Spectral Madness

Spectral Madness: Controls
A. FREEZE button. This latching button stops the recording of incoming audio. Granu-
larization is now performed on the last few seconds of audio kept in memory in the
module.
B. Blending parameter/Audio quality button. Selects which of the blending parameters
is controlled by the BLEND knob and CV input, or selects one of the four audio quality
settings.
C. Load/Save button. See the “Advanced topics” section in the original manual.
D. Grain POSITION. Selects from which part of the recording buffer the audio grains are
played. Turn the knob clockwise to travel back in time.
E. SPECTRAL WARP (SIZE), warps through a selection Polynomial functions, shifting
and wrapping freuqencies. 12 o’clock is neutral. CW raises spectrum, increasing
apparent pitch and CCW lowers spectrum, decreassing apparent pitch.
F. PITCH (transposition). At 12 o’clock, the buffer is played at its original frequency.
G. Audio INPUT GAIN, from -18dB to +6dB.
H. TEMPORAL QUANTISATION (DENSITY) controls the fresh rate of FFT analysis, 12
o’clock is fastest. This is fastest enough to keep up with fast moving spectral move-
ment, such as percussion. CCW slows refresh until it’s nearly static and almost freezes
the spectrum. Beyond 12 o’clock it adds phase randomisation, creating a smearing,
chaotic, reverb-like effect.
I. SPECTRAL QUANTISATION (TEXTURE) controls the resolution of the FFT through the
number of frequency bands. At 12 o’clock it is at it’s finest and finely spaced. Turning
CCW lowers the resolution and has the bands become increasingly quantised.
Spectral Madness: Explanation
A phased vocoder which uses FFT (Fast Fourier Transform) to b reak sound down into
spectral bands, transform the spectral information then resythesis this back into sound.
REF: https://www.youtube.com/watch?v=eF5m4yryhXU

Spectral Madness: Inputs and outputs
All CV inputs are calibrated for a range of +/- 5V. Voltages outside of this range are
tolerated, but will be clamped.
1. FREEZE gate input. When the input gate signal is high, stops the recording of incom-
ing audio, just as latching the FREEZE button would do.
2. GATE (TRIGGER) input. When the input is high, 1 of 4 glitch algorythms are applied
to the spectrum. Each time the gate goes high, another is randomly selected.
These algorythms are: Spectral hold and blow, Spectral shift up and aliasing, Kill larg-
est harmonic and boost second largest, Nasty high-pass
3. 4. Grain POSITION and SPECTRAL WARP (SIZE) input.
5. Grain transposition (PITCH) CV input, with V/Oct response.
6. BLEND CV input. This CV input can control one of the following functions depending
on the active blending parameter: dry/wet balance, grain stereo spread, feedback
amount and reverb amount.
7. 8. Stereo audio input. When no patch cable is inserted in the right channel input, this
input will receive the signal from the left channel.
9. 10. TEMPORAL QUANT. (DENSITY) and SPECTRAL QUANT. (TEXTURE) inputs.
11. 12. Stereo audio output.
Spectral Madness: Controls (Cont.)
This creates much more synthetic, harmonic textures. CW, beyong 12, adds warping
towards higher harmonics.
J. BLEND knob. This multi-function knob is described in the Blending parameters sec-
tion.
K. Indicator LEDs. They work as an input vu-meter. When FREEZE is active, they moni-
tor the output level. Soft-clipping occurs when the last LED is on. They can also indicate
the quality setting (red), the function assigned to the BLEND knob (green), or the value
of the four blending parameters (multicolor).

Mode: Oliverb

Oliverb: Controls
A. FREEZE button. The Freeze button sets reverb to (near) infinite decay, and mutes the
input. This works best with no pitch shifting and a large size.
B. Blending parameter/Audio quality button. Selects which of the blending parameters
is controlled by the BLEND knob and CV input, or selects one of the four audio quality
settings.
C. Load/Save button. See the “Advanced topics” section in the original manual.
D.PRE-DELAY (POSITION). The Position knob controls the time it take for the reverb to
kick in after a sound has gone in (from 0 to about half a second). When a clock is fed to
the Trig input, this knob becomes a clock divider/multiplier for the pre-delay: at 12
o'clock, the pre-delay takes the value of the clock length; clockwise, this clock is divid-
ed, and counter-clockwise it is multiplied following the rates: 1/16, 3/32, 1/8, 3/16, 1/4,
3/8, 1/2, 3/4, 1, 3/2, 2/1, 3/1, 4/1, 6/1, 8/1, 12/1 (borrowed from the Echophon). Note that
the clock division is limited to the largest division not exceeding the maximum delay;
beyond this point, the Position knob will have no effect. Changing pre-delay in real time
is smooth and does not affect pitch (it uses the internal time stretcher).
E. REVERB SIZE (SIZE), The Size knob controls the lengths of all the delays internal to
the reverb, i.e. the size of the emulated room. It varies from a small resonator to a huge
hall.
F. Pitch shift (PITCH) (transposition). Each time the sound is fed back into the reverb, it
can be pitch shifted. The Pitch knob controls, from -1 to +1 octaves how it is pitch shift-
ed. At 12 o'clock, no pitch shifting is applied; fully clockwise, we get the classic shim-
mer effect; lots of oddities can be found in between. To hear the effect of the pitch shift-
er, some sound has to fed back by increasing Decay. Note that Size has an impact on
how well the sound is pitch-shifted: the larger the room size, the more accurate the
pitch shift.
G. Audio INPUT GAIN, from -18dB to +6dB.
H. DECAY (DENSITY) The Density knob controls the amount of sound fed back into the
reverb loop, i.e. the decay time of the reverb tail. Beyond 3 o'clock, this signal is actual-
ly amplified and the reverb enters self-oscillation.

Oliverb: Controls (Cont.)
I. DIFFUSION (TEXTURE) The Texture knob controls how much the sound is
"smoothened" by the diffusers each time it goes through the loop. Fully clockwise, you
get the more dense, continuous sound; fully counter-clockwise, you clearly hear the
sound being repeated like in a multi-tap delay.
This creates much more synthetic, harmonic textures. CW, beyong 12, adds warping
towards higher harmonics.
J. BLEND knob. This multi-function knob is described in the Blending parameters sec-
tion.
K. Indicator LEDs. They work as an input vu-meter. When FREEZE is active, they moni-
tor the output level. Soft-clipping occurs when the last LED is on. They can also indicate
the quality setting (red), the function assigned to the BLEND knob (green), or the value
of the four blending parameters (multicolor).
Oliverb: Blend Functions
Dry/Wet
The first function of the Blend knob is dry/wet crossfading, as in the other modes.
Dampening
The second function of the Blend knob (called "stereo spread") controls the dampening
of the reverb. From fully CCW to 12 o'clock, a low-pass filter is applied, simultaing the
absorption of the room. From 12 o'clock to fully CW, a high-pass filter is applied for
unusual, crystalline effects.
Modulation speed
The third function of the Blend knob (called "feedback") controls the speed of these
LFOs. It ranges from ~1/100Hz to ~100Hz. It has no effect if modulation amount is null.
Modulation amount
Each delay in the reverb can be individually modulated by 9 smoothed random LFOs.
The fourth function of the Blend knob (called "reverb") controls the amount of modula-
tion applied by the LFOs to the delay time. Small modulations result in subtle chorus
and ghost tones, large modulations in random pitch shifts.
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