Mutable Instruments Tides User manual
Tides
Tidal modulator
Output modes
(LED OFF) Different shapes
In this mode, the four outputs produce four different wave-
shapes taken throughout Tides’ signal processing chain.
SHIFT/LEVEL acts as an attenuverter on the main signal.
Different frequencies
In this mode, the SHIFT/LEVEL knob adjusts the frequency
ratio between each output. At 12 o’clock, all outputs are
locked to the same frequency. Turn clockwise, and outputs 2,
3, 4 will have an increasing frequency. Turn counter-clock-
wise and outputs 2, 3, 4 will have a decreasing frequency.
At low frequencies, this generates poly-rhythmic LFOs: try
using a low SLOPE to generate signals whose edges are
sharp enough to trigger other modules.
At audio frequencies, this creates just intonation chords.
External clocking
Patch a clock or a clean and pure oscillator signal to Tides’
CLOCK input (3), and Tides will follow the frequency of this
clock/oscillator, multiplied by a ratio set by the FREQUEN-
CY knob [D]. A ratio of 1:1 is used when this knob is at 12
o’clock.
If the trigger input (2) is left unpatched, an AD or AR en-
velope will be generated at each tick of the clock, and the
oscillations will be in phase with the clock. Remember that
the FREQUENCY knob multiplies or divides the clock!
It is also possible to patch both the CLOCK (3) and TRIG (2)
inputs. In this case, Tides needs to receive a trigger on the
trigger input to generate an envelope, but adjusts the enve-
lope duration so that it matches the external clock rate.
Tempo-synchronized LFOs, generation of just-intonation
chords or overtones, and clock division/multiplication/
phase-shifting are all possible with this feature.
Audio rate operation
Because we do not perceive the trajectory of a 1 Hz LFO the
same way we hear the waveform of a 100 Hz oscillator, Tides
adapts its behavior when the frequency range selector [A] is
set to the audio range setting:
• The SHAPE control [E] offers a different palette of
waveshapes – chosen so that there is a more striking
timbral difference between them.
• The SLOPE control [F] uses a linear scale (instead of
exponential) for smooth pulse-width modulation effects.
• In order to prevent aliasing, the range of the SHAPE [E]
and SMOOTHNESS [G] knobs is narrowed down when
high frequency tones are generated.
• When using the output mode, a different set of fre-
quency ratios is chosen for each output, corresponding
to musical intervals.
• A different algorithm favoring pitch accuracy and lack of
jitter is used to track the CLOCK (3) input. This algo-
rithm makes the assumption that a periodic waveform
is present on the clock input, and does not offer any
guarantee that the phase of Tides’ signal will match the
phase of the external clock.
Conversely, if the frequency range selector (A) is set to
the lower or intermediate frequency setting, Tides accu-
rately locks onto the phase of the clock and can follow
irregular (but repetitive) rhythmic pattern or clocks with
shuffle/swing.
Different amplitudes
In this mode, the SHIFT/LEVEL knob selects to which
output the signal is sent, with smooth crossfading between
adjacent outputs. It is thus possible to route Tides’ signal to
different destinations.
SHIFT
LEVEL
SHIFT
LEVEL
CYCLIC
AD / AR
1
1
2
2
3
3
4
4
1:Main
Signal
2:Raw
asymmetrical
triangle
3:End of
attack
4:End of
release
Different times
In this mode, the SHIFT/
LEVEL knob shifts in time the
apex of the waveform. This
effect is achieved by applying
a different SLOPE setting
to each output (in AD or AR
mode), or by applying a phase
shift between each output (in
cyclic mode).
About Tides
Flow: a voltage goes up.
Ebb: a voltage goes back down to its initial level.
All the functions performed by Tides are variations on
this theme. Make ebb and flow cyclic and you have an
LFO or VCO. Do it just once in reaction to a trigger and
you have an attack/decay or attack(/sustain)/release
envelope.
Installation
Tides requires a -12V/+12V power supply (2x5 pin
connector). The red stripe of the ribbon cable (-12V side)
must be oriented on the same side as the “Red stripe”
marking on the module and on your power distribution
board. The module draws 50mA from the +12V rail, and
20mA from the -12V rail.
Online manual and help
The full manual can be found online at
mutable-instruments.net/modules/tides/manual
For help and discussions, head to
mutable-instruments.net/forum
Please refer to the online manual for detailed infor-
mation regarding compliance with EMC directives
1
C
2
3
4
G
A B
D E
HF
I
A. Frequency range. Selects the central value of the
FREQUENCY knob: 1/8 Hz (movements), 2 Hz (rhythms
and modulations), or 130.8 Hz (audible tones).
B. Output mode. Selects the relationship between the
four signals generated on Tides’ four outputs. Refer to
the next section for more details.
C. Ramp mode. One-shot unipolar AD envelope gen-
eration , cyclic bipolar oscillations , or one-shot
unipolar AR envelope generation .
D. Frequency. Spans a range of ±4 octaves around the
central value set by the frequency range button [A]. The
direction of this knob is reversed compared to the rate
control you would find on classic envelope generators:
when the one-shot AD or AR mode is selected, turn
clockwise for faster envelopes, and counter-clockwise
for slower envelopes.
E. Shape of the ascending and descending segments.
F. Ratio between the durations of the ascending and
descending segments. Classic envelope generators
have separate attack and decay controls. With Tides, one
first adjusts how fast the whole envelope will complete
(with FREQUENCY), then adjusts how much of this time
is spent on the decay or release relatively to the attack
(with SLOPE).
G. Waveshape transformation. From 12 o’clock to 7
o’clock (counter-clockwise), a 2-pole low-pass filter is
applied to smooth the edges of the waveform. From 12
o’clock to 5 o’clock (clockwise), a wavefolder adds kinks
and bumps along the slope.
H. Output polarization and shifting. Depending on the
output mode selected by [B], this knob either adjusts the
amplitude and polarity of the first output (LED B off), or
the shift in amplitude/time/frequency between each of
the four outputs (LED B lit).
I. Attenuverters for the CV inputs.
1. CV inputs for Slope, Frequency, Smoothness, Shape
and Shift. Two inputs affect the frequency: the frequency
modulation CV input, which applies exponential FM with
an amount set by the attenuverter, and V/OCT, which
follows the Volt/octave scale.
2. Trigger/Gate input. In AD mode, a trigger will reset
the envelope to 0V and initiate an attack/decay cycle. No
matter how short the trigger is, the attack/decay cycle
will always complete.
In cyclic mode, a trigger will reset the oscillator so that
it starts a new ascending phase.
In AR mode, the rising edge of the gate will cause the
envelope to raise to +8V from its current value, and the
falling edge of the gate will cause the envelope to fall
to 0V from its current value – the same way an ADSR
envelope with a null decay time and a 100% sustain level
would behave.
3. Clock input for tempo or frequency-locked operation.
When this input is patched, the FREQUENCY knob con-
trols the ratio between the frequency of the signal sent
to this input, and the frequency of the signals generated
by Tides.
4. Outputs. Refer to the next section.
About Tides
Flow: a voltage goes up.
Ebb: a voltage goes back down to its initial level.
All the functions performed by Tides are variations on
this theme. Make ebb and flow cyclic and you have an
LFO or VCO. Do it just once in reaction to a trigger and
you have an attack/decay or attack(/sustain)/release
envelope.
Installation
Tides requires a -12V/+12V power supply (2x5 pin
connector). The red stripe of the ribbon cable (-12V side)
must be oriented on the same side as the “Red stripe”
marking on the module and on your power distribution
board. The module draws 50mA from the +12V rail, and
20mA from the -12V rail.
Online manual and help
The full manual can be found online at
mutable-instruments.net/modules/tides/manual
For help and discussions, head to
mutable-instruments.net/forum
Please refer to the online manual for detailed infor-
mation regarding compliance with EMC directives
1
C
2
3
4
G
A B
D E
HF
I
A. Frequency range. Selects the central value of the
FREQUENCY knob: 1/8 Hz (movements), 2 Hz (rhythms
and modulations), or 130.8 Hz (audible tones).
B. Output mode. Selects the relationship between the
four signals generated on Tides’ four outputs. Refer to
the next section for more details.
C. Ramp mode. One-shot unipolar AD envelope gen-
eration , cyclic bipolar oscillations , or one-shot
unipolar AR envelope generation .
D. Frequency. Spans a range of ±4 octaves around the
central value set by the frequency range button [A]. The
direction of this knob is reversed compared to the rate
control you would find on classic envelope generators:
when the one-shot AD or AR mode is selected, turn
clockwise for faster envelopes, and counter-clockwise
for slower envelopes.
E. Shape of the ascending and descending segments.
F. Ratio between the durations of the ascending and
descending segments. Classic envelope generators
have separate attack and decay controls. With Tides, one
first adjusts how fast the whole envelope will complete
(with FREQUENCY), then adjusts how much of this time
is spent on the decay or release relatively to the attack
(with SLOPE).
G. Waveshape transformation. From 12 o’clock to 7
o’clock (counter-clockwise), a 2-pole low-pass filter is
applied to smooth the edges of the waveform. From 12
o’clock to 5 o’clock (clockwise), a wavefolder adds kinks
and bumps along the slope.
H. Output polarization and shifting. Depending on the
output mode selected by [B], this knob either adjusts the
amplitude and polarity of the first output (LED B off), or
the shift in amplitude/time/frequency between each of
the four outputs (LED B lit).
I. Attenuverters for the CV inputs.
1. CV inputs for Slope, Frequency, Smoothness, Shape
and Shift. Two inputs affect the frequency: the frequency
modulation CV input, which applies exponential FM with
an amount set by the attenuverter, and V/OCT, which
follows the Volt/octave scale.
2. Trigger/Gate input. In AD mode, a trigger will reset
the envelope to 0V and initiate an attack/decay cycle. No
matter how short the trigger is, the attack/decay cycle
will always complete.
In cyclic mode, a trigger will reset the oscillator so that
it starts a new ascending phase.
In AR mode, the rising edge of the gate will cause the
envelope to raise to +8V from its current value, and the
falling edge of the gate will cause the envelope to fall
to 0V from its current value – the same way an ADSR
envelope with a null decay time and a 100% sustain level
would behave.
3. Clock input for tempo or frequency-locked operation.
When this input is patched, the FREQUENCY knob con-
trols the ratio between the frequency of the signal sent
to this input, and the frequency of the signals generated
by Tides.
4. Outputs. Refer to the next section.
About Tides
Flow: a voltage goes up.
Ebb: a voltage goes back down to its initial level.
All the functions performed by Tides are variations on
this theme. Make ebb and flow cyclic and you have an
LFO or VCO. Do it just once in reaction to a trigger and
you have an attack/decay or attack(/sustain)/release
envelope.
Installation
Tides requires a -12V/+12V power supply (2x5 pin
connector). The red stripe of the ribbon cable (-12V side)
must be oriented on the same side as the “Red stripe”
marking on the module and on your power distribution
board. The module draws 50mA from the +12V rail, and
20mA from the -12V rail.
Online manual and help
The full manual can be found online at
mutable-instruments.net/modules/tides/manual
For help and discussions, head to
mutable-instruments.net/forum
Please refer to the online manual for detailed infor-
mation regarding compliance with EMC directives
1
C
2
3
4
G
A B
D E
HF
I
A. Frequency range. Selects the central value of the
FREQUENCY knob: 1/8 Hz (movements), 2 Hz (rhythms
and modulations), or 130.8 Hz (audible tones).
B. Output mode. Selects the relationship between the
four signals generated on Tides’ four outputs. Refer to
the next section for more details.
C. Ramp mode. One-shot unipolar AD envelope gen-
eration , cyclic bipolar oscillations , or one-shot
unipolar AR envelope generation .
D. Frequency. Spans a range of ±4 octaves around the
central value set by the frequency range button [A]. The
direction of this knob is reversed compared to the rate
control you would find on classic envelope generators:
when the one-shot AD or AR mode is selected, turn
clockwise for faster envelopes, and counter-clockwise
for slower envelopes.
E. Shape of the ascending and descending segments.
F. Ratio between the durations of the ascending and
descending segments. Classic envelope generators
have separate attack and decay controls. With Tides, one
first adjusts how fast the whole envelope will complete
(with FREQUENCY), then adjusts how much of this time
is spent on the decay or release relatively to the attack
(with SLOPE).
G. Waveshape transformation. From 12 o’clock to 7
o’clock (counter-clockwise), a 2-pole low-pass filter is
applied to smooth the edges of the waveform. From 12
o’clock to 5 o’clock (clockwise), a wavefolder adds kinks
and bumps along the slope.
H. Output polarization and shifting. Depending on the
output mode selected by [B], this knob either adjusts the
amplitude and polarity of the first output (LED B off), or
the shift in amplitude/time/frequency between each of
the four outputs (LED B lit).
I. Attenuverters for the CV inputs.
1. CV inputs for Slope, Frequency, Smoothness, Shape
and Shift. Two inputs affect the frequency: the frequency
modulation CV input, which applies exponential FM with
an amount set by the attenuverter, and V/OCT, which
follows the Volt/octave scale.
2. Trigger/Gate input. In AD mode, a trigger will reset
the envelope to 0V and initiate an attack/decay cycle. No
matter how short the trigger is, the attack/decay cycle
will always complete.
In cyclic mode, a trigger will reset the oscillator so that
it starts a new ascending phase.
In AR mode, the rising edge of the gate will cause the
envelope to raise to +8V from its current value, and the
falling edge of the gate will cause the envelope to fall
to 0V from its current value – the same way an ADSR
envelope with a null decay time and a 100% sustain level
would behave.
3. Clock input for tempo or frequency-locked operation.
When this input is patched, the FREQUENCY knob con-
trols the ratio between the frequency of the signal sent
to this input, and the frequency of the signals generated
by Tides.
4. Outputs. Refer to the next section.
Tides
Tidal modulator
Output modes
(LED OFF) Different shapes
In this mode, the four outputs produce four different wave-
shapes taken throughout Tides’ signal processing chain.
SHIFT/LEVEL acts as an attenuverter on the main signal.
Different frequencies
In this mode, the SHIFT/LEVEL knob adjusts the frequency
ratio between each output. At 12 o’clock, all outputs are
locked to the same frequency. Turn clockwise, and outputs 2,
3, 4 will have an increasing frequency. Turn counter-clock-
wise and outputs 2, 3, 4 will have a decreasing frequency.
At low frequencies, this generates poly-rhythmic LFOs: try
using a low SLOPE to generate signals whose edges are
sharp enough to trigger other modules.
At audio frequencies, this creates just intonation chords.
External clocking
Patch a clock or a clean and pure oscillator signal to Tides’
CLOCK input (3), and Tides will follow the frequency of this
clock/oscillator, multiplied by a ratio set by the FREQUEN-
CY knob [D]. A ratio of 1:1 is used when this knob is at 12
o’clock.
If the trigger input (2) is left unpatched, an AD or AR en-
velope will be generated at each tick of the clock, and the
oscillations will be in phase with the clock. Remember that
the FREQUENCY knob multiplies or divides the clock!
It is also possible to patch both the CLOCK (3) and TRIG (2)
inputs. In this case, Tides needs to receive a trigger on the
trigger input to generate an envelope, but adjusts the enve-
lope duration so that it matches the external clock rate.
Tempo-synchronized LFOs, generation of just-intonation
chords or overtones, and clock division/multiplication/
phase-shifting are all possible with this feature.
Audio rate operation
Because we do not perceive the trajectory of a 1 Hz LFO the
same way we hear the waveform of a 100 Hz oscillator, Tides
adapts its behavior when the frequency range selector [A] is
set to the audio range setting:
• The SHAPE control [E] offers a different palette of
waveshapes – chosen so that there is a more striking
timbral difference between them.
• The SLOPE control [F] uses a linear scale (instead of
exponential) for smooth pulse-width modulation effects.
• In order to prevent aliasing, the range of the SHAPE [E]
and SMOOTHNESS [G] knobs is narrowed down when
high frequency tones are generated.
• When using the output mode, a different set of fre-
quency ratios is chosen for each output, corresponding
to musical intervals.
• A different algorithm favoring pitch accuracy and lack of
jitter is used to track the CLOCK (3) input. This algo-
rithm makes the assumption that a periodic waveform
is present on the clock input, and does not offer any
guarantee that the phase of Tides’ signal will match the
phase of the external clock.
Conversely, if the frequency range selector (A) is set to
the lower or intermediate frequency setting, Tides accu-
rately locks onto the phase of the clock and can follow
irregular (but repetitive) rhythmic pattern or clocks with
shuffle/swing.
Different amplitudes
In this mode, the SHIFT/LEVEL knob selects to which
output the signal is sent, with smooth crossfading between
adjacent outputs. It is thus possible to route Tides’ signal to
different destinations.
SHIFT
LEVEL
SHIFT
LEVEL
CYCLIC
AD / AR
1
1
2
2
3
3
4
4
1:Main
Signal
2:Raw
asymmetrical
triangle
3:End of
attack
4:End of
release
Different times
In this mode, the SHIFT/
LEVEL knob shifts in time the
apex of the waveform. This
effect is achieved by applying
a different SLOPE setting
to each output (in AD or AR
mode), or by applying a phase
shift between each output (in
cyclic mode).
Tides
Tidal modulator
Output modes
(LED OFF) Different shapes
In this mode, the four outputs produce four different wave-
shapes taken throughout Tides’ signal processing chain.
SHIFT/LEVEL acts as an attenuverter on the main signal.
Different frequencies
In this mode, the SHIFT/LEVEL knob adjusts the frequency
ratio between each output. At 12 o’clock, all outputs are
locked to the same frequency. Turn clockwise, and outputs 2,
3, 4 will have an increasing frequency. Turn counter-clock-
wise and outputs 2, 3, 4 will have a decreasing frequency.
At low frequencies, this generates poly-rhythmic LFOs: try
using a low SLOPE to generate signals whose edges are
sharp enough to trigger other modules.
At audio frequencies, this creates just intonation chords.
External clocking
Patch a clock or a clean and pure oscillator signal to Tides’
CLOCK input (3), and Tides will follow the frequency of this
clock/oscillator, multiplied by a ratio set by the FREQUEN-
CY knob [D]. A ratio of 1:1 is used when this knob is at 12
o’clock.
If the trigger input (2) is left unpatched, an AD or AR en-
velope will be generated at each tick of the clock, and the
oscillations will be in phase with the clock. Remember that
the FREQUENCY knob multiplies or divides the clock!
It is also possible to patch both the CLOCK (3) and TRIG (2)
inputs. In this case, Tides needs to receive a trigger on the
trigger input to generate an envelope, but adjusts the enve-
lope duration so that it matches the external clock rate.
Tempo-synchronized LFOs, generation of just-intonation
chords or overtones, and clock division/multiplication/
phase-shifting are all possible with this feature.
Audio rate operation
Because we do not perceive the trajectory of a 1 Hz LFO the
same way we hear the waveform of a 100 Hz oscillator, Tides
adapts its behavior when the frequency range selector [A] is
set to the audio range setting:
• The SHAPE control [E] offers a different palette of
waveshapes – chosen so that there is a more striking
timbral difference between them.
• The SLOPE control [F] uses a linear scale (instead of
exponential) for smooth pulse-width modulation effects.
• In order to prevent aliasing, the range of the SHAPE [E]
and SMOOTHNESS [G] knobs is narrowed down when
high frequency tones are generated.
• When using the output mode, a different set of fre-
quency ratios is chosen for each output, corresponding
to musical intervals.
• A different algorithm favoring pitch accuracy and lack of
jitter is used to track the CLOCK (3) input. This algo-
rithm makes the assumption that a periodic waveform
is present on the clock input, and does not offer any
guarantee that the phase of Tides’ signal will match the
phase of the external clock.
Conversely, if the frequency range selector (A) is set to
the lower or intermediate frequency setting, Tides accu-
rately locks onto the phase of the clock and can follow
irregular (but repetitive) rhythmic pattern or clocks with
shuffle/swing.
Different amplitudes
In this mode, the SHIFT/LEVEL knob selects to which
output the signal is sent, with smooth crossfading between
adjacent outputs. It is thus possible to route Tides’ signal to
different destinations.
SHIFT
LEVEL
SHIFT
LEVEL
CYCLIC
AD / AR
1
1
2
2
3
3
4
4
1:Main
Signal
2:Raw
asymmetrical
triangle
3:End of
attack
4:End of
release
Different times
In this mode, the SHIFT/
LEVEL knob shifts in time the
apex of the waveform. This
effect is achieved by applying
a different SLOPE setting
to each output (in AD or AR
mode), or by applying a phase
shift between each output (in
cyclic mode).
Tides
Tidal modulator
Output modes
(LED OFF) Different shapes
In this mode, the four outputs produce four different wave-
shapes taken throughout Tides’ signal processing chain.
SHIFT/LEVEL acts as an attenuverter on the main signal.
Different frequencies
In this mode, the SHIFT/LEVEL knob adjusts the frequency
ratio between each output. At 12 o’clock, all outputs are
locked to the same frequency. Turn clockwise, and outputs 2,
3, 4 will have an increasing frequency. Turn counter-clock-
wise and outputs 2, 3, 4 will have a decreasing frequency.
At low frequencies, this generates poly-rhythmic LFOs: try
using a low SLOPE to generate signals whose edges are
sharp enough to trigger other modules.
At audio frequencies, this creates just intonation chords.
External clocking
Patch a clock or a clean and pure oscillator signal to Tides’
CLOCK input (3), and Tides will follow the frequency of this
clock/oscillator, multiplied by a ratio set by the FREQUEN-
CY knob [D]. A ratio of 1:1 is used when this knob is at 12
o’clock.
If the trigger input (2) is left unpatched, an AD or AR en-
velope will be generated at each tick of the clock, and the
oscillations will be in phase with the clock. Remember that
the FREQUENCY knob multiplies or divides the clock!
It is also possible to patch both the CLOCK (3) and TRIG (2)
inputs. In this case, Tides needs to receive a trigger on the
trigger input to generate an envelope, but adjusts the enve-
lope duration so that it matches the external clock rate.
Tempo-synchronized LFOs, generation of just-intonation
chords or overtones, and clock division/multiplication/
phase-shifting are all possible with this feature.
Audio rate operation
Because we do not perceive the trajectory of a 1 Hz LFO the
same way we hear the waveform of a 100 Hz oscillator, Tides
adapts its behavior when the frequency range selector [A] is
set to the audio range setting:
• The SHAPE control [E] offers a different palette of
waveshapes – chosen so that there is a more striking
timbral difference between them.
• The SLOPE control [F] uses a linear scale (instead of
exponential) for smooth pulse-width modulation effects.
• In order to prevent aliasing, the range of the SHAPE [E]
and SMOOTHNESS [G] knobs is narrowed down when
high frequency tones are generated.
• When using the output mode, a different set of fre-
quency ratios is chosen for each output, corresponding
to musical intervals.
• A different algorithm favoring pitch accuracy and lack of
jitter is used to track the CLOCK (3) input. This algo-
rithm makes the assumption that a periodic waveform
is present on the clock input, and does not offer any
guarantee that the phase of Tides’ signal will match the
phase of the external clock.
Conversely, if the frequency range selector (A) is set to
the lower or intermediate frequency setting, Tides accu-
rately locks onto the phase of the clock and can follow
irregular (but repetitive) rhythmic pattern or clocks with
shuffle/swing.
Different amplitudes
In this mode, the SHIFT/LEVEL knob selects to which
output the signal is sent, with smooth crossfading between
adjacent outputs. It is thus possible to route Tides’ signal to
different destinations.
SHIFT
LEVEL
SHIFT
LEVEL
CYCLIC
AD / AR
1
1
2
2
3
3
4
4
1:Main
Signal
2:Raw
asymmetrical
triangle
3:End of
attack
4:End of
release
Different times
In this mode, the SHIFT/
LEVEL knob shifts in time the
apex of the waveform. This
effect is achieved by applying
a different SLOPE setting
to each output (in AD or AR
mode), or by applying a phase
shift between each output (in
cyclic mode).
About Tides
Flow: a voltage goes up.
Ebb: a voltage goes back down to its initial level.
All the functions performed by Tides are variations on
this theme. Make ebb and flow cyclic and you have an
LFO or VCO. Do it just once in reaction to a trigger and
you have an attack/decay or attack(/sustain)/release
envelope.
Installation
Tides requires a -12V/+12V power supply (2x5 pin
connector). The red stripe of the ribbon cable (-12V side)
must be oriented on the same side as the “Red stripe”
marking on the module and on your power distribution
board. The module draws 50mA from the +12V rail, and
20mA from the -12V rail.
Online manual and help
The full manual can be found online at
mutable-instruments.net/modules/tides/manual
For help and discussions, head to
mutable-instruments.net/forum
Please refer to the online manual for detailed infor-
mation regarding compliance with EMC directives
1
C
2
3
4
G
A B
D E
HF
I
A. Frequency range. Selects the central value of the
FREQUENCY knob: 1/8 Hz (movements), 2 Hz (rhythms
and modulations), or 130.8 Hz (audible tones).
B. Output mode. Selects the relationship between the
four signals generated on Tides’ four outputs. Refer to
the next section for more details.
C. Ramp mode. One-shot unipolar AD envelope gen-
eration , cyclic bipolar oscillations , or one-shot
unipolar AR envelope generation .
D. Frequency. Spans a range of ±4 octaves around the
central value set by the frequency range button [A]. The
direction of this knob is reversed compared to the rate
control you would find on classic envelope generators:
when the one-shot AD or AR mode is selected, turn
clockwise for faster envelopes, and counter-clockwise
for slower envelopes.
E. Shape of the ascending and descending segments.
F. Ratio between the durations of the ascending and
descending segments. Classic envelope generators
have separate attack and decay controls. With Tides, one
first adjusts how fast the whole envelope will complete
(with FREQUENCY), then adjusts how much of this time
is spent on the decay or release relatively to the attack
(with SLOPE).
G. Waveshape transformation. From 12 o’clock to 7
o’clock (counter-clockwise), a 2-pole low-pass filter is
applied to smooth the edges of the waveform. From 12
o’clock to 5 o’clock (clockwise), a wavefolder adds kinks
and bumps along the slope.
H. Output polarization and shifting. Depending on the
output mode selected by [B], this knob either adjusts the
amplitude and polarity of the first output (LED B off), or
the shift in amplitude/time/frequency between each of
the four outputs (LED B lit).
I. Attenuverters for the CV inputs.
1. CV inputs for Slope, Frequency, Smoothness, Shape
and Shift. Two inputs affect the frequency: the frequency
modulation CV input, which applies exponential FM with
an amount set by the attenuverter, and V/OCT, which
follows the Volt/octave scale.
2. Trigger/Gate input. In AD mode, a trigger will reset
the envelope to 0V and initiate an attack/decay cycle. No
matter how short the trigger is, the attack/decay cycle
will always complete.
In cyclic mode, a trigger will reset the oscillator so that
it starts a new ascending phase.
In AR mode, the rising edge of the gate will cause the
envelope to raise to +8V from its current value, and the
falling edge of the gate will cause the envelope to fall
to 0V from its current value – the same way an ADSR
envelope with a null decay time and a 100% sustain level
would behave.
3. Clock input for tempo or frequency-locked operation.
When this input is patched, the FREQUENCY knob con-
trols the ratio between the frequency of the signal sent
to this input, and the frequency of the signals generated
by Tides.
4. Outputs. Refer to the next section.
Other manuals for Tides
3
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Other Mutable Instruments Modulator manuals
