Plankton Electronics ZAPS User manual
ZAPS
Digitally Controlled Percussion-line Analog Synth Voice
Operation Manual
English Version 1.0
Index:
1 -About
2 - Installation
3 - Introduction
What is zaps
Where the idea comes from
A different approach than that of a classic Drum Machine
About the synth architecture
4 - Overview / illustration + buttons
4.1 - Illustration
4.2 Panel and control glossary
VCOs Section
VCO1
VCO2
COARSE: changes the pitch of Oscillator 2 in increments of 1 semitone
Pitch Envelope Amount section
Envelopes Section
Modulation Section
Mixer Section
Random Section
Encoder
Contextual Display
Operation Buttons
Slot / Function Buttons
Trigger input
CV I/O’s Section
Audio Out
4.3 Operating Controls
5 Synth
5.1 Architecture
5.2 VCOs
5.3 Envelopes
Hold Control
5.4 Modulation
5.5 Mixer
5.6 HPF
6 Operation
6.1 Func Button
6.2 Listen
6.3 Edit All
6.4 Freeze / Revert
1 -About
First and foremost, thank you for buying Zaps.
Development
Eloi Flores (Winter Modular ): concept, engineering, software.
Àlex Ballester (Plankton Electronics): concept, engineering, hardware/synth engine.
Miguel Eedl: concept, interaction design, user interface.
Jeremy Bernstein: engineering, software.
About this manual
Written by Àlex Ballester, Miguel Eedl, and Eloi Flores.
Illustrated by Miguel Eedl
Typography code:
●BOLD GREY CAPS: Used when referring to the first functionality layer of faders,
potentiometers, and buttons (Layer 1). These are white in the panel. Examples:
COARSE, FUNC, XFM
●BOLD ORANGE CAPS: Used when referring to the second functionality layer of
faders, potentiometers, and buttons (Layer 2). These are orange in the panel.
Examples: HOLD 1, NOISE HPF, SNAPSHOT
●Capitalization: Used when mentioning sections of the synthesizer. Examples:
Envelope1, VCO2, Functions.
●[ROUTE]: Used when indicating routes through the menus. Example: [SOUND SET
> HOLD CONTROL: INTERNAL / EXTERNAL]
2 - Installation
Before plugging or unplugging the module, turn the Eurorack case off and unplug the power
cord. By not doing so there is a risk of electrocution and/or damage to the modules.
ZAPS is a Eurorack module that needs 24HP of space in a proper Eurorack system. It
consumes 235mA at +12V and 93mA at -12V. Use a Eurorack power supply with enough
power. Be sure that the power supply is giving +12.00V and -12.00V, otherwise, some
functions may not work properly.
The provided power cable must be connected as shown in the picture. The connector is
shrouded, so there is only one possible way to connect it. In case you use another cable, be
sure that the red stripe goes to the upper side and it corresponds to the arrow marked in the
power connector.
The other side of the cable must be connected to the power bus of the Eurorack case. The
red mark corresponds to -12V.
3 - Introduction
What is zaps
Zaps is a percussion-line synth voice designed for creating organic sequences that can
mutate over time. It uses a combination of techniques like controlled randomness, morphing,
and storing (or locking) of synth-voice parameters in slots that can be externally sequenced.
The synth voice is a digitally controlled two-oscillator FM and AM analog engine with two
envelopes and cross-modulation.
Here are some of the things that can be done with it:
●Sequence Preset Slots externally for changing percussion or synth lines
●Add subtle randomness to any parameter for slightly changing sounds, or go wild for
unpredicted surprises on every trigger
●Morph sounds between slots
●Assign Accent to any parameter for added expressiveness
●Randomly generate full banks of sounds
●Capture any randomly generated sound into a preset slot for further editing
●Freeze/Revert the state of the module for careless editing during live performance
●Live editing of a single or multiple slots simultaneously for expressive tweaking
●Generate melodic percussion or synth lines with the V/O tracked oscillators
●CV-In control of any parameter
●CV-Out control for controlling external modules (control FX sends or automate
external synth parameters)
Where the idea comes from
There’s something fascinating about percussive synth lines. If we listen to these rhythmic
lines made back in the ’70s and ’80s, with instruments like the arp 2600, there is an organic
appeal in those beating pulsating sounds, as if everything is coming out of the same source
but at the same time, everything is changing and seamlessly mutating from sound to sound.
These grooves were difficult to achieve with regular samplers and drum machines. It is when
we start playing with high-end analog mono synths or modular systems that we are able to
get something close to that sound.
More recently, with the help of multitrack sequencers like the Eloquencer and newer modular
voices, sequencing multiple parameters to achieve mutating beats has been easier than
ever.
Zaps is the result of taking all these ideas to the next level.
A different approach than that of a classic Drum Machine
Although ZAPS can do many things, it does its best at creating percussive lines through a
totally different approach to classic drum sequencing.
The fact that it is a monophonic voice could seem like a limitation at first, but this rather gives
the resulting rhythmic lines their own character. It also allows us to manipulate all of the
sounds through time, and all at once.
With Zaps, we have the ability to address, control and change all of the parameters of the
analog synth through time, by saving its different states on memory slots. You can think of it
as step automation or parameter locking.
The interface also allows us to manipulate the settings stored on each slot while we move
through them by editing them all at once, this way we can shape a rhythm as a whole and
not only as individual parts.
About the synth architecture
The synth core has a classic configuration with a special attention on the details: two analog
VCOs, AM, through zero FM, a two channel mixer, a high-pass filter and two digital
envelopes . The analog generation and signal provides a sound free of aliasing and other
digital artifacts, while the through zero FM allows to produce glass, metallic and rough
sounds that keep the main VCO in tune.
The magic comes from the digital control: retriggerable envelopes, sync of the VCO waves
at each trigger, autotune of the VCOs, lock of the parameters at each SLOT, morphing
between sounds, randomization of any parameter, assignable CV inputs, a file system, edit
multiple SLOTS at once, etc. The combination of analog synth and digital control provides
large doses of flexibility with a great sound.
4 - Overview / illustration + buttons
4.1 - Illustration
4.2 Panel and control glossary
VCOs Section
There are two analog triangle core voltage controlled oscillators.
VCO1
COARSE: changes the pitch of Oscillator 1 in increments of 1 semitone
WAVE: changes the waveform of Oscillator 1
FINE: finetunes the pitch of Oscillator 1
PW: changes the pulse width of the rectangular pulse wave.
VCO2
COARSE: changes the pitch of Oscillator 2 in increments of 1 semitone
FM WAVE: changes the FM modulator waveform of Oscillator 2
FINE: finetunes the pitch of Oscillator 2
AM WAVE: changes the AM modulator waveform of Oscillator 2
Pitch Envelope Amount section
Two attenuators control the amount of signal sent from the envelopes to the pitch of
the oscillators.
ENV>P1: sets the amount of Envelope 1 that goes to the pitch control of VCO1.
ENV2>P2: sets the amount of Envelope 1 that goes to the pitch control of VCO2.
Envelopes Section
Two AHR envelopes with retrigger function.
ATTACK 1 & 2: set the Attack time.
RETRIG 1 & 2: set the time between each repetition (when retrigger is activated)
REL1 & 2: set the Release time.
HOLD 1 & 2: set the Hold time (when it is Internal)
Modulation Section
AM and FM modulations between the 2 VCOs and Morphing.
AM: sets the amount of VCO2 output (AM WAVE) that modulates the VCO1 with
amplitude modulation.
ENV1>AM: sets the amount of VCO2 output (AM WAVE) amplified with Envelope 1
that modulates the VCO1 with amplitude modulation.
FM: sets the amount of VCO2 output (FM WAVE) that modulates the VCO1 with
frequency modulation.
ENV1>FM: sets the amount of VCO2 output (FM WAVE) amplified with Envelope 1
that modulates the VCO1 with frequency modulation.
XFM: sets the amount of VCO1 output that modulates the VCO2 with frequency
modulation.
MORPH: sets the crossfade point between two Slots.
Mixer Section
Mixer for both VCOs and high pass filters.
V1 MIX: sets the amount of VCO1 output amplified with Envelope 2 that goes to the
output.
HPF1+2: sets frequency cutoff of the HPF on both VCOs.
V2 MIX: sets the amount of VCO2 output (FM WAVE) amplified with Envelope 2 that
goes to the output.
NOISE HPF: sets the HPF cutoff frequency for the White Noise.
Random Section
Control for the Random function and ALT output to a CV.
RANDOM: sets the amount of master Random.
ALT: sets a voltage that is sent to a CV output (by default it is CV6).
Encoder
Used for controlling the unit and navigating through menus. It can be turned in both
directions and pressed.
Contextual Display
Displays information about the different modes, functions, and settings. When
moving faders, potentiometers, or slot buttons, the display will change to show
contextual information for each of them, like current values and other relevant details.
Operation Buttons
There are 3 main operation buttons:
BANK: Used in combination with the slot buttons to switch between Banks.
LISTEN: function to trigger and listen to the Slots that are pressed.
LAYER: Layers switches between layers 1 and 2 in the fader and knobs sections.
Layer 1 is white and Layer 2 is orange in the panel.
FUNC: activates the different functions located in the Slot and BANK/LISTEN
buttons. The functions are orange in the panel.
Slot / Function Buttons
There are 12 buttons. Each button corresponds to a Slot or a Function. The Slots
(white label) contain the different Sounds. The functions (orange) are activated with
the FUNC button. A detailed explanation of each Function is in 6.Operation.
Trigger input
The trigger input is used to trigger the selected Slot and its corresponding Sound.
Each time that a trigger is received (or a Slot button is pressed) the machine locks all
the voltage parameters and activates the envelopes. The result is a sound at the
Output.
The Voltage range of the accepted trigger goes from 800mV to 10V.
The trigger input can also receive gate signals to control the hold time of the
envelopes (5.3 Envelopes)
CV I/O’s Section
The 6 connectors can be used as voltage inputs or outputs (corresponding to a value
of a parameter). The default CV assignments are marked with grey color in the panel.
At 6.11 CV Assign the detailed procedure for CV assignments is explained.
Audio Out
Audio output of the synthesizer. A signal between the +/-4V range is outputted.
4.3 Operating Controls
ZAPS has different control modes. The Main mode is used to switch between Slots and to
edit each Sound individually. The Bank selection mode is used to switch between Banks.
The Functions give access to different parameters and functionalities (see section 6.
Operation for more details).
SLOTS, SOUNDS, BANKS AND PROJECTS
A Project contains 12 Banks and the CV assigns (CV ASSIGN). A Project is saved and
loaded via the File System (FILE).
A Bank contains 12 Sounds and the Morph settings (MORPH). The 12 Banks are selected in
the Bank selection mode (BANK) and the 12 buttons. A Bank is saved and loaded via the
File System (FILE).
A Sound contains all the synthesizer parameters accessible via the faders, potentiometers
and options in the Sound Settings Function (SOUND SET). It also contains the Random
settings (RANDOM). A Sound is loaded into a Slot and can be saved and loaded via the File
System (FILE).
A Slot contains a Sound and corresponds to each of the 12 buttons in the Main mode. Slots
will turn white when selected or triggered externally via the CV and Trigger inputs. Two
levels of brightness are used: a brighter one for the selected Slot and a lower one for the
Slot in play.
: A Slot must be understood as the destination where a Sound is stored and can
be instantly recalled. It is a container associated with each button. Slots can not be
loaded or saved because they correspond to a physical location, not to a collection
of parameters.
At the OLED, the current edited Slot (1) and edited Bank (2) are represented in the screen
header. The current played Slot and played Bank (3) are also represented in the screen
header.
FADERS AND POTENTIOMETERS
There are 12 faders and 4 potentiometers. They are used to edit the Sounds and Random
assignments (RANDOM).
The faders have three levels of brightness:
- The brighter level indicates that the fader is in the same position as its
associated parameter.
- The medium level indicates that the fader is in a different position than its
associated parameter.
- The lower level (the LED is OFF) indicates that the Fader is not associated
with any parameter (i.e.: ENV1>P1 Fader when Layer 2 is selected).
The position of the fader and its associated parameter is represented on the OLED screen.
In the Main mode, each of the 12 bars shows the value of the parameter (1) and the position
of the fader (2). When editing a parameter the OLED shows the value of the parameter (3),
the position of the fader (4), and the range and position of randomness applied to that
parameter (5).
ENCODER
While in Main mode, the Encoder will behave in the following way:
- A single click changes the screen from the fader view to VCOs.
- A click + hold erases the current slot to a “init” sound (in the Bank selection mode it
erases the whole bank). This use is shared in most Functions with some exceptions.
(i.e. at Random it sets all the random assignments to 0).
- By turning the encoder the last edited parameter will change in +/-1 steps.
Also, depending on the function we are working with, the encoder can have other uses.
FUNC
FUNC is used to select the different Functions in the buttons section (orange labels below
the buttons). To access a Function hold FUNC + any button. I.e.: FUNC + EDIT ALL goes to
the Edit All function.)
By pressing FUNC again, the system goes back to the Main mode.
LAYER
LAYER toggles from layer 1 (white labels) to layer 2 (orange labels) in the fader and
potentiometer section. When the selected layer is 2 the LAYER button turns orange. In the
OLED, the screen header background turns white (1) and the icon followed by the number
on the right side (2) indicates the current layer.
BANK/LISTEN
BANK / LISTEN has 2 functions:
BANK gives access to the Bank selection. It is a toggle button and it must be pressed again
to go back to Slot selection. We can also leave Bank selection by pressing FUNC. While in
Bank selection mode the button blinks ON and OFF.
TIP: while in Bank selection, if there is an active trigger at the input and a CV
controlling the Slot selection, it is possible to create sequences on the fly by
switching from Bank to Bank.
LISTEN (FUNC + LISTEN)switches the Listen function ON and OFF. If it is ON the slot
buttons act as a trigger when pressed. When it is OFF the buttons only select the current slot
but they don’t trigger the Sound. If Listen is ON the button is orange.
5 Synth
5.1 Architecture
The sound is generated in the 2 VCOs. VCO1 goes to VCA1 (MIX1) and VCO2 goes to
VCA2 (MIX2). Both VCAs are going through the HPF and to the OUTPUT. VCO2 modulates
the frequency of VCO1 (FM) and VCO1 modulates VCO2 (XFM). VCO2 also modulates the
amplitude of VCO1 (AM).
The two envelopes are used in different ways. Envelope 1 modulates the pitch of VCO1
(ENV1>P1) and the FM (ENV1>FM) and AM (ENV1>AM). Envelope 2 modulates the pitch of
VCO2 (ENV2>P2) and controls the two VCAs (MIX1 and MIX2).
5.2 VCOs
There are 2 triangle core VCOs. They share the same structure and both are analog
oscillators with digital pitch control (V/O tracking). They can be self-tuned so the note
displayed on the OLED corresponds to the actual note played.
Controls and features:
●VCO1 waves: sine, triangle, sawtooth, variable width pulse.
●VCO2 waves: sine, triangle, sawtooth, square, and white noise.
●White noise on VCO2 has a dedicated high-pass filter (NOISE HPF).
●COARSE changes the pitch in the range of semitones. The pitch is displayed in the
OLED.
●FINE changes the ton2 º.
●PW changes the length of the pulse in VCO1.
●WAVE selects one of the fourth waves of VCO1 that goes to the mixer channel 1.
●AM WAVE selects one of the five waves that go to the AM modulation circuit.
●FM WAVE selects one of the fourth waves that go to the FM circuit and to mixer
channel 2.
●Pitch can be controlled through the two envelopes via ENV1>P1 and ENV2>P2.
●Sync function. Each time that a trigger is received the VOC wave is reset to its
middle point to avoid unwanted clicks in the sound [SOUND SET > VCO SYNC 1 (2):
ON / OFF]
5.3 Envelopes
There are 2 AHR (Attack, Hold, Release) envelopes. The Hold stage can be controlled
internally or externally. Both envelopes are triggered at the same time when a trigger is
received.
Controls and features:
●Attack time goes from 200 µsec to 22 sec
●Release time goes from 300 µsec to 35 sec
●Hold time goes from 0 (no Hold) to 1.5 sec
●Envelope 1 controls the pitch of VCO1 (ENV1>P1) and the AM and FM signals
(ENV1>AM and ENV1>FM)
●Envelope 2 controls the pitch of VCO2 (ENV2>P2) and the shape of the VCA through
the mixer controls V1 MIX and V2MIX
●HOLD can be controlled internally via de HOLD faders (HOLD1 and HOLD2) or
externally with the gate length [SOUND SET > HOLD CONTROL: INTERNAL /
EXTERNAL].
●The slope of the Attack and Release can be switched from linear to logarithmic
[SOUND SET > SLOPE ENV: LOG / LIN]
●RETRIGGER sets the time of the retrigger separations for each envelope.
Hold Control
The Hold parameter can be internally or externally controlled.
When it is Internal the Trigger input will respond as a trigger, starting the envelope at the rise
of the trigger. The length of the trigger is not taken into account and the Hold time will be set
with HOLD1 and HOLD2. The Hold will start as soon as the Attack has completed its cycle
(see Figure 1).
When the Hold is controlled externally the Trigger input will act as a Gate input. The
envelope will start at the rise of the gate and the Hold time will end when the Gate goes low.
If the Attack time is longer than the Gate time, no Hold will occur (see Figure 2).
Retrigger
The Retrigger function sets a determined number of repetitions for each envelope. It is
accessible via [SOUND SET > RETRIGGER].
Controls and features:
- Time distribution [DISTR: LIN; LOG; EXP]. Determines how the time is distributed.
With LIN (linear) each step distance will be the same. With EXP (exponential) the
beginning steps will be more spread than the latest ones. With LOG (Logarithmic) the
latest steps will be more spread than the beginning ones.
- Retrigger pattern [RETRIGGERS]. Sets the step pattern that will be executed after
the initial envelope. If only the first retrigger is ON there will be 2 envelopes, the
normal, and the retriggered one. There are 12 possible retriggers, and the Slot
buttons are used to configure the pattern.
- Time (RETRIG1 and RETRIG2). Sets the time between each repetition.
If Hold is set to External the Hold will be performed on all the retriggers covered by the Gate
time (see Figure 2). If it is Internal it will be repeated to each retrigger (see Figure 1, HOLD =
0)
5.4 Modulation
There are two kinds of modulation: Amplitude Modulation (AM) and Frequency Modulation
(FM):
The AM goes from VCO2 to VCO1 (VCO2: carrier, VCO1: modulated) via AM. The process
is made after the VCOs and before entering the HPF and VCA stages.
The FM is through Zero FM. It is from VCO1 to VCO2 and vice versa and it is controlled via
the FM and XFM faders. This process directly affects the VCO frequency.
A more complex way of using the AM and FM can be achieved using envelope 1. The
process consists of sending the carrier via a VCA controlled by Envelope 1. The output is
sent to the AM or FM system. This process can be used to make portions of a sound with
modulation, while the rest without it. It is available via ENV1>AM and ENV1>FM (only from
VCO2 to VCO1). The signal flow is illustrated below:
5.5 Mixer
This is a two-channel mixer that sets the volume of VCO1 and VCO2 after all the modulation
processes and VCA amplification. V1 MIX sets the level of VCO1 (which includes the FM
and AM processes). V2 MIX sets the volume of VCO2 (which includes the XFM process).
The wave sent to channel 2 is the FM WAVE.
5.6 HPF
After the mixer there is a 6db high pass filter used to cut the low-end frequencies. It is
controlled by HPF1+2. At its minimum position, the sound passes through without any
change.
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