Pulsar Modular Siren P565 User manual

P565
Siren
User Guide
Version 1.4

1
Foreword
Fabled tales are full of creatures that are a unification of beauty and beast, with none more alluring or
captivating than the enticingly deadly Siren of Greek mythology. Sirens are half-bird, half-woman creatures
whose seductive chants brought death and ruin to countless sailors. Something beautiful, mysterious and
magical happens when the spirits held within separate entities are brought together as one. Such is the Pulsar
Modular P565 Siren, the enchanting result of bringing together the essence of the smooth, ground-breaking
UREI 565T Filter Set and the infinitely expressive Moog Ladder Filter.
As with all things Pulsar Modular however, that is just the beginning. The addition of unique signature
analog drive and overdrive, a stepped filter switch that enables dub and reggae King Tubby Big Knob style and creative phase manipulation
options including inversion and a wet signal delay rounds out this deep, beautiful sounding processor. P565 blurs the line between instrument
and effect as it wraps itself in and around the source signal, sounding and feeling like it is part of it rather than affecting it externally. Our
creative sides know what this means. It is very much like the difference between playing an instrument and an instrument being a natural
extension and expression of who we are.
P565 is poised to be the professional audio engineer's most indispensable and special tool, providing a thoughtfully and carefully designed
set of filters for equally effective use in both traditional applications and creative applications. From pristine vintage clarity and depth to
creative modern expression and experimentation, P565 is breathtaking in its intuitive yet extensive capabilities.
Affectionately known as the Little Dipper, the UREI 565T Filter Set was originally introduced to the world as a high quality replacement for
stock dip filters that were commonly available in the '70s. Featuring state of the art computer aided designed active filters, the unit was nothing
short of space-aged, having the ability to do things that were not possible at the time with conventional designs such as removal of unwanted
noise such as whistles and hums with never before heard extremely narrow bands of pristine filtering. It went on to not only be a crucial
problem solver, but a creative tool allowing for nontraditional and radical phase sweeps with extreme tonality shift.
The Moog Ladder is extolled as a creative sound shaping and sculpting tool that can be used for anything from subtle analog filtering to
bringing on the classic and sought-after Moog funk. At the creative heart of The Ladder is a loudness contour envelope follower that
dynamically modulates a cutoff frequency, translating the incoming signal into a virtual studio assistant twisting and turning knobs to the
groove of the song.

2
The sound and function of the Altec 9069B became a fundamental characteristic of dub in the ‘60s as King Tubby’s prominently featured
secret weapon. The 9068B and 9069B filter sets are beautiful sounding passive filters that are treasured by those who know and love them.
The main characteristic feature of these filters is the stepped selection of cutoff frequencies. These filters can be used in static positions to
eliminate unwanted frequencies, but they can also be used to perform extreme sweeps with ease and precision.
These, folks, are the precursors to all the freak-y, volcano-y, drop-y filters that are gracing the DAWs of today.
This truly mythical beast can go from finessing your audio like a sweet and subtle gentle lullaby to filling it with complex pulses and waves
of infectious emotion. It is impossible not to become entranced by its spell.
Use the high pass, low pass or dual independent band reject/bell or notch/bandpass filters as pure filters or allow the music to influence
their movement with the envelope follower. Use it for anything from subtle tonality shaping to crushing overdriven distortion or for creative
modulation effects such as phasing, flanging and sweeping resonance effects. The choice is yours... or perhaps this is just what the Siren has
entranced you to feel? Pulsar Modular –The sound is unbelievable.

3
Dry Polarity
External Sidechain
Enables external
signal feed to the
envelope followers
A/B Compare
Preset Browser
Options Menu
About / License Status / User
Guide / Options and
Preferences
Hint: Look for mirrored control descriptions if
you don’t see what you are looking for!
MIX
Blend the desired
amount of dry and
processed signal
WET DELAY
Creates beautiful
phasing and comb
filtering effects
POWER
Bypass
processing
OVERDRIVE
Awesomesauce. As
if Siren wasn’t
special enough.
OUTPUT
Transformer coupled
gain –applies to wet
signal
SPEED
I slow, II medium, III fast. The
rate at which the frequency
changes.
Filter Cutoff Frequency
Sets the point where the filter
starts working. Enable or
disable with the red (HPF) or
blue light (LPF). Switchable
from continuous to stepped.
ATTACK
How quickly the envelope
follower reacts to the signal
AMOUNT
Degree of frequency change.
Negative decreases the
frequency, positive increases.
Envelope Follower
Enable or disable with the
pink light
RELEASE
How quickly the envelope
follower stops reacting to the
signal
Filter SLOPE dB
12 dB/oct, 24 dB/oct or 18
dB/oct
Filter RESONANCE
Adds positive resonance or
smooths the curve at the filter
cutoff frequency
NOTCH/PEAK RANGE
Enable or disable with the
green light.
NOTCH/PEAK Frequency
20 Hz to 20 kHz with RANGE
disabled, 20 Hz to 200 Hz at
x1, 200 Hz to 2 kHz at x10, 2
kHz to 20 kHz at x100. Center
point of the selected filter.
Envelope Follower Routing
Selects which filters
(NOTCH/PEAK or HPF/LPF)
are affected by the envelope
follower.
NOTCH/PEAK Filter Type
Click the label to switch
between complementary
REJECT/BELL or
NOTCH/BPF types.
Enable or disable with the
green light.
DRIVE
Analog filter distortion. PRE to
place it before filters, POST to
place it after filters.
Resize
Bypass
LEVEL
Adjusts the dynamic
range of the signal fed
to the envelope follower
Wet Polarity
Step Filter
Enables HPF/LPF King Tubby
Big Knob style stepped filters
MAIN OUT
Clean gain –applies
to wet + dry signal
OS –Oversampling
Enables OS options
(OFF, INTEL,
VINTAGE or HD)

4
Bypass allows the unaffected audio signal to pass
through. When not bypassed, P565 Siren always
imparts its alluring signature character by design.
Wet polarity inverts the input signal so all internal
processing is applied to the inverted signal.
Dry polarity inverts the unaffected dry audio signal.
The external sidechain button enables use of an
external source as the signal feeding the envelope
follower. Consult the documentation for your DAW for external
routing options and instructions.
Oversampling options allow P565 to optionally
operate at a multiple of the host sample rate. With OS
off, P565 operates with zero latency at the host sample rate (x1).
When oversampling is on, different options are made available.
See the descriptions of INTEL mode, VINTAGE mode and HD
mode below.
INTEL (intelligent) mode operates at double the host
sample rate (x2). It scans the full frequency spectrum
and attenuates any aliasing signals. The amount of processing
applied by this advanced filtering is highly dependent on the
signal and the degree to which P565 is being pushed.
VINTAGE mode operates at double the host sample
rate (x2). It applies smooth filters to upper frequencies
to maintain a classic rolled-off characteristic and allows any
aliasing signals to remain unfiltered. This provides the ability to
creatively combine a smooth, vintage top end with modern
inharmonic distortion. This is most effective when oversampling at
a 44.1 kHz or 48 kHz host sample rate.
HD mode operates at an internal sample rate of 384 kHz. It
utilizes the same full frequency scan filtering strategy as
INTEL mode. The high sample rate and filtering mechanism make
this a pristinely high-quality option at a surprisingly efficient CPU
load. This mode is equally suitable for mastering duties or for key
tracks when mixing.
To achieve HD oversampling, P565 applies the following logic:
•44.1 and 48 kHz oversamples at x8
•88.2 and 96 kHz oversamples at x4
•176.4 and 192 kHz oversamples at x2, thereby enabling
INTEL and VINTAGE options
•384 kHz disables oversampling options
The preset
browser
allows for modification of the currently selected preset using the
save icon to the left of the browser (direct save) or for creation of
new presets using the save icon to the right of the browser (save
as…). A red asterisk*will appear beside the left save icon
indicating the loaded preset has been modified and can be
overwritten.
The step filter button converts the high pass and low
pass filters from being continuously variable to being
stepped. This enables additional creative options in the style of
King Tubby’s infamous Big Knob. Step filter mode is available for
all dB/oct slopes.

5
A/B allows for temporary storage of different
settings for quick comparison. The arrow button
allows for copying the active side to the inactive side.
Tip: When comparing settings, clicking the A/B button will
perform the toggle. This is a single button, so it is not necessary
to move the mouse to alternate back and forth. This makes it
easy to compare without knowing which one is selected. We
recommend doing this with your eyes closed for maximum focus.
Options Menu
About –Check the version number
or demo expiration date.
License Status –Manage your
license.
User Guide –Open the EN, DE or
ES user guide.
Set Default Size –Sets the default size for new plugin instances
to the size of the current instance. This is a global setting.
Existing instances will not be affected.
LPF –Options for A or B low pass filter type. Selecting option A
engages the default signature low pass filter. Selecting option B
engages an alternate topology filter.
Filter A allows for dB/oct slope adjustment. This filter is slightly
more aggressive and slightly more colorful than Filter B.
Filter B selection disables the ability to adjust dB/oct slope. This
filter features a 24 dB/oct slope with a beautifully smooth
character that belies the steepness of the slope. Additionally,
when B is selected, a 6 dB/oct HPF is applied at 10 Hz. Enabling
the HPF will override this behavior.
OD Type –Choose from Original or Alternative options. Original
is the brutal overdrive that initially shocked the audio world with
unrelenting ferocity. Alternative is just ever so slightly less
aggressive, allowing more transients to pass through, making it a
little more articulate and detailed than the original.
Tip: Try adjusting the signal level going into Siren and enjoy
how the overdrive circuit reacts to the input signal level. By doing
this, you too can turn this raging mythical beast into a… slightly
less raging mythical beast. Seriously, you can’t tame it, but you
sure can have fun trying.
MU –Engages the funky-ass Mu-Tron switch. This mode alters
the envelope following behavior in such a way that it hugs and
caresses the tracked signal funkticiously. Funkticious tracking
produces an almost vowel-like sensation in the resulting sounds.
We affectionately refer to what we hear coming out the other end
as ‘the quack’.
Tip: Using your ears while adjusting the LEVEL trim pot is
critical (and so much fun) when experimenting with the MU
switch.
Tip: Check out the Tips, Tricks and Techniques section for MU
and LEVEL tips!
Note: The NOTCH/PEAK bell and bandpass filters are
reduced by half the original Q (becoming wider) when MU is
enabled. The band reject and notch filters are unaffected by MU.

6
Delay on => –Option for changing the WET signal DELAY trim
pot from the default setting of WET to an alternate setting of DRY.
Setting this option to WET results in the WET signal DELAY trim
pot delaying the processed signal relative to the unprocessed
signal. Conversely, setting this option to DRY results in the WET
signal DELAY trim pot delaying the unprocessed signal relative to
the processed signal.
The HPF SLOPE dB selector sets the slope of the
cutoff frequency.
In addition to choosing the dB/oct slope, the SLOPE
selection will also affect the RESONANCE
characteristics and the Q values of the PEAK filters if they are
engaged. See the RESONANCE and NOTCH/PEAK band filter
selector documentation for details of these features.
The 12 dB/oct (2-pole), 24 dB/oct (4-pole) filters follow a familiar
sound and design as indicated by the markings under their
respective labels. The 18 dB/oct (3-pole) slope on the other hand
is intended for more creative manipulation and features more
radical Q values. These are simply intentions and not rules
though –use your ears and choose whatever sounds best!
The HPF cutoff frequency knob sets the
point from where the high pass filter
starts working.
When in continuous mode, it features a
frequency range of 20 Hz to 7.5 kHz.
When in stepped mode, available
frequencies are 70, 100, 150, 250, 500,
1000, 2000, 3000, 5000 and 7500 (in
addition to the lower frequency limit as describe above).
Frequencies above the cutoff frequency are unaffected and
frequencies below the cutoff frequency are cut.
If the envelope follower is engaged and the envelope follower
routing knob is pointing to the HPF cutoff frequency knob, the
LEDs will move counterclockwise or clockwise according to the
parameters set in the envelope follower to indicate negative or
positive cutoff frequency movement.
This filter can optionally be turned off using the red light beside
the HPF label.
The HPF RESONANCE knob is used to either add
positive feedback or to remove, flatten and smooth
out the transition curve.
The default position has a Q of 0.707. Increasing
this value adds positive feedback that peaks at the
HPF cutoff frequency, resulting in very rich
harmonic behavior.
As the knob is turned clockwise from the default position,
overtones, coloration and harmonic emphasis of the frequencies
around the cutoff become increasingly audible.
As the knob is turned counterclockwise from the default position,
the Q is decreased, resulting in a lessening of harmonic behavior
and a perceptibly smoother and mellower curve.
Note: When the resonance knob is turned to roughly 4/10 of
the full range, it will begin to self-oscillate. Be very careful with
this feature because it can produce high amplitude high or low
frequencies that are inaudible, but that may push or even
damage equipment.
Important: Siren does not include a limiter or clipper in its
design, so to take advantage of the behavior described above

7
and for maximum control, place a limiter or clipper after Siren to
get new and interesting results.
The NOTCH/PEAK band filter RANGE selector
allows a restricted range to be applied to the
respective NOTCH/PEAK band filter frequency
knob.
Enable or disable with the green light beside the
RANGE label.
If disabled, the NOTCH/PEAK band filter has a full range of 20 Hz
to 20 kHz.
If enabled, the following options and resulting frequency ranges
are available:
•x1 = 20 Hz –200 Hz
•x10 = 200 Hz –2 kHz
•x100 = 2 kHz –20 kHz
Tip: Use the range selector for narrowing the frequency
selection range when creating sweeping effects if fine control
over the selected frequency is desired.
Note: There are two instances of the band filter and
associated controls, each having identical functionality.
The NOTCH/PEAK band filter frequency
knob sets the center point of the
selected filter.
The type of NOTCH filter or type of
PEAK filter is selected using the
NOTCH/PEAK band filter selector. See
the NOTCH/PEAK band filter selector for
details on choosing the filter style and
shape.
The range for the continuously variable frequency selection is
determined by the NOTCH/PEAK band filter RANGE selector.
The default range is 20 Hz to 20 kHz. See the NOTCH/PEAK
band filter RANGE selector for details on restricting the range.
If the envelope follower is engaged and the envelope follower
routing knob is pointing to the NOTCH/PEAK band filter
frequency knob, the LEDs will move counterclockwise or
clockwise according to the parameters set in the envelope
follower to indicate negative or positive center point frequency
movement.
The envelope follower routing knob determines
which of the filters are affected by the envelope
follower.
Point the routing knob towards the HPF/LPF cutoff
filter to have the envelope follower dynamically
influence the frequency of that cutoff filter.
Point the routing knob towards the NOTCH/PEAK band filter
frequency knob to have the envelope follower dynamically
influence the center point of that filter.

8
The switchable
NOTCH/PEAK band
filter selector allows for
choice from three notch
filters and three
bandpass peak filters.
Click the label to switch
between complementary REJECT/BELL (band reject/bell) or
NOTCH/BPF (notch/bandpass filter) types.
Enable or disable with the green light below the NOTCH/PEAK
label.
The combinations of band reject with bell and notch with
bandpass are designed to be complementary filter type
selections.
•The band reject filter attenuates frequencies to very low
levels around a center point.
•The bell filter boosts a set of frequencies around a center
point.
•The notch filter is a much narrow form of a reject filter.
•The bandpass filter allows only the set of frequencies
around a center point to pass.
The Q values of the filters are dependent on and complimentary
to the selected HPF/LPF slope.
•When 12 is selected:
oClockwise, beginning from the far left, the band
reject filters are 0.667, 1.414 and 2.871 Q.
oClockwise, beginning from the far left, the notch
filters are 8, 4 and 1.4 Q.
oCounterclockwise, beginning from the far right, the
bell and bandpass filters are 8.5, 3.3 and 0.9 Q.
•When 24 is selected:
oClockwise, beginning from the far left, the band
reject filters are 1.111, 2.355 and 4.783 Q.
oClockwise, beginning from the far left, the notch
filters are 15, 5 and 3 Q.
oCounterclockwise, beginning from the far right, the
bell and bandpass filters are 15, 6.6 and 1.8 Q.
•When 18 is selected:
oClockwise, beginning from the far left, the band
reject filters are 0.889, 1.884 and 3.827 Q.
oClockwise, beginning from the far left, the notch
filters are 20, 10 and 2 Q.
oCounterclockwise, beginning from the far right, the
bell and bandpass filters are 10, 5 and 1.2 Q.
Note: The NOTCH/PEAK bell and bandpass filters are
reduced by half the original Q (becoming wider) when MU is
enabled from the help menu. The band reject and notch filters are
unaffected by MU.

9
The envelope follower extends
the filtering capabilities of either
the cutoff frequency, resonance
and slope or the NOTCH/PEAK
band filter, turning these into
dynamic filters.
Enable or disable with the pink
light above the ENV 1 or ENV 2
label.
The envelope follower tracks the
loudness contour of the incoming
signal, producing a voltage that
follows the dynamics of the signal. This voltage affects the
position of the cutoff or center frequency of the selected filter,
resulting in interesting and very musical dynamic filter effects.
When AMOUNT is negative, the follower will dynamically
decrease the cutoff or center frequency. When the AMOUNT is
positive, the follower will dynamically increase the cutoff
frequency. At 0, it has no effect.
ATTACK determines how quickly the envelope follower responds
to the incoming audio and RELEASE determines how quickly the
envelope follower’s release responds to the audio. ATTACK and
RELEASE times are fastest at the 0 position.
LEVEL adjusts the dynamic range of the signal hitting the
envelope follower. This results in increased or decreased
envelope movement.
Tip: With AMOUNT set to a non-0 position, turn the LEVEL
trim pot counterclockwise until the light trails of the routed
frequency knob are no longer moving. From that point, turn the
trim pot clockwise until the lights are dancing as much or as little
as desired and your ears are hearing the most pleasing effect on
the tone. This is particularly effective when MU mode is engaged,
but it can (and maybe should) be used all the time.
SPEED influences the rate at which the cutoff or center frequency
changes within the range imposed by AMOUNT and subject to
ATTACK and RELEASE characteristics. Available selections are
slow (I), medium (II) and fast (III). Each setting introduces
different musical colors and movement.
Tip: To gain a practical understanding of SPEED, do the
following: Enable ENV 2, point the envelope follower routing knob
to LPF, select SPEED I and set AMOUNT to 0. Quickly move the
LPF knob and observe how the lights trail the frequency
selection, illustrating a slow rate of change. Now select SPEED III
and move the LPF knob in the same way to observe a fast rate of
change.
Tip: Check out the Tips, Tricks and Techniques section for MU
and LEVEL tips!
Note: The envelope follower is based on the RMS of the
sound being processed. Changing parameters such as cutoff
frequency or range will affect what is processed. This, along with
the effects of the envelope parameters themselves, is reflected in
the behavior of the ring LED lights as shown either around the
HPF/LPF cutoff frequency knob or the NOTCH/PEAK band filter
frequency knob.

10
The LPF SLOPE dB selector sets the slope.
In addition to choosing the dB/oct slope, the SLOPE
selection will also affect the RESONANCE
characteristics and the Q values of the PEAK filters
if they are engaged. See the RESONANCE and NOTCH/PEAK
band filter selector documentation for details of these features.
The 12 dB/oct (2-pole), 24 dB/oct (4-pole) filters follow a familiar
sound and design as indicated by the markings under their
respective labels. The 18 dB/oct (3-pole) slope on the other hand
is intended for more creative manipulation and features more
radical Q values. These are simply intentions and not rules
though –use your ears and choose whatever sounds best!
The LPF cutoff frequency knob sets the
point from where the low pass filter
starts working.
When in continuous mode, it features a
frequency range of 40 Hz to 20 kHz at
44.1 kHz sample rate, 40 Hz to 22 kHz
at 48 kHz sample rate or 40 Hz to 24
kHz at higher sample rates.
When in stepped mode, available frequencies are 250, 500,
1000, 2000, 3000, 4000, 5000, 6000, 8000 and 10000 (in addition
to the upper frequency limit based on the sample rate as describe
above).
Frequencies below the cutoff frequency are unaffected and
frequencies above the cutoff frequency are cut.
If the envelope follower is engaged and the envelope follower
routing knob is pointing to the HPF cutoff frequency knob, the
LEDs will move counterclockwise or clockwise according to the
parameters set in the envelope follower to indicate negative or
positive cutoff frequency movement.
This filter can optionally be turned off using the blue light beside
the LPF label.
The LPF RESONANCE knob is used to either add
positive feedback or to remove, flatten and smooth
out the transition curve.
The default position has a Q of 0.707. Increasing
this value adds positive feedback that peaks at the
LPF cutoff frequency, resulting in very rich
harmonic behavior.
As the knob is turned clockwise from the default position,
overtones, coloration and harmonic emphasis of the frequencies
around the cutoff become increasingly audible.
As the knob is turned counterclockwise from the default position,
the Q is decreased, resulting in a lessening of harmonic behavior
and a perceptibly smoother and mellower curve.
Note: When the resonance knob is turned to roughly 4/10 of
the full range, it will begin to self-oscillate. Be very careful with
this feature because it can produce high amplitude high or low
frequencies that are inaudible, but that may push or even
damage equipment.
Important: Siren does not include a limiter or clipper in its
design, so to take advantage of the behavior described above
and for maximum control, place a limiter or clipper after Siren to
get new and interesting results.

11
The DRIVE knob produces a pleasing crunchy
analog filter distortion.
Set the PRE/POST switch to PRE to position
DRIVE prior to all filters.
Set the PRE/POST switch to POST to position
DRIVE after all filters.
OVERDRIVE. We couldn’t decide what to call this.
Some wanted to call it the GO NUTS button. Some
simply wanted to call it VICIOUS. There was even
someone who didn’t think it needed a name but
wanted it to go to 200 (that is a full 189 past 11, there Nigel)! We
settled on OVERDRIVE. You can call it whatever you want, just
use it with care… everywhere.
The POWER button is synchronized with the bypass
button on the main toolbar. When disabled, it allows
the unaffected audio signal to pass through. When
powered on, P565 Siren always imparts its alluring
signature character by design.
The OUTPUT knob features transformer
coupled gain. The output of this stage feeds into
the MIX knob.
The MAIN OUT trim pot features -12 dB to 12 dB of
clean gain. This allows the combined wet and dry final
output signal to be cleanly increased or decreased.
The MIX knob allows for blending a desired
amount of dry signal in with the processed wet
signal.
The WET signal DELAY trim pot allows the wet or
dry signal to be delayed from 0 ms to 99 ms. The
default is for the wet signal to be delayed. This can
be changed to delay the dry signal using the Delay on => option
from the options menu. Use this to create beautiful phasing and
comb filtering effects.

12
Tips, Tricks and Techniques
.: Phasing and comb filtering for fun and profit… and butter :.
P565 Siren can be used to create beautiful phasing and comb filtering effects using the wet signal delay trim pot and/or the wet polarity inversion button.
For an effect that is more or less like melted butter, engage the wet polarity inversion button, engage a wide peak band filter option (or two), engage the
envelope follower, adjust it to get a groovy movement happening and start delaying the signal using the delay trim pot. Adjust the mix knob to taste. Pour
it all over your popcorn and enjoy. [ZS]
.: Bandpass to isolate and pinpoint frequencies for bell or notch filters… and then some :.
In addition to using bandpass filters for creating otherworldly effects, they can be used for what they were originally intended for, strangely enough! Use a
bandpass, for example, to pinpoint the smack of a snare. Once you find that area, switch to a bell and enjoy the nicely accentuated smack. As another
example, use a bandpass in the same way to pinpoint a resonance in an acoustic guitar, then switch to a notch to clean it up.
If the bell or notch is not exactly what you were envisioning, think creatively about how to use Siren to perform more subtle moves and maybe even gain
new techniques on your own. Say for example, the amplitude of the bell is not as subtle as you wanted. Try adjusting the wet/dry mix to blend the bell in
with the dry signal. Not only does this make the move more subtle, it introduces some depth and dimension. You could stop here, but why not explore a
little? For even more dimension, try adjusting the wet delay a little bit as well. When using the wet delay, listen carefully to the imaging and solidity of the
signal that is being adjusted. You are listening for a barely perceptible separation between the wet and dry signals which imparts depth, but you don’t
want to introduce filtering that clouds the imaging… or do you? Maybe you just discovered something unexpectedly interesting and welcome? [ZS, KE]
.: Keep both hands on the wheel when in overdrive :.
Overdrive can be a bit of an unbridled beast. While on some sources, it will be just what is needed out of the (in the) box, on other sources it will simply
maim and destroy the source signal. Don’t be too quick to put the brakes on when this is the case though. If OVERDRIVE is annihilating the underlying
audio just wait... leave it like that for a few minutes and dial in appropriate LPF, HPF to focus an area, then adjust the DRIVE to contour the chaos. At this
point, it still may sound like the inside of a volcano... but now, adjust the MIX to turn this into a parallel crushed effect that can be even automated on and
off at different times to keep the listener interested with new and different textures.
This is a plugin that begs for experimentation. [KE]

13
.: Shoot your TB303 into other spheres - Overdrive for the ultra-modern sound :.
Here is yet another of the many possible uses OVERDRIVE is made for. Do you want to send the kids of the moshpits to nirvana with your TB303-heavy
track? Then do the following. Focus on a nice and crisp frequency range with HPF and LPF. Exact values should of course always depend on your mix,
but for HPF starting frequencies around 200-300 Hz are suitable and for LPF the range around 800 Hz works effectively. Now thicken both filters with
some RESONANCE, add until it tastes great for your ears.
Give the LPF some extra life with a positive value by the Envelope Follower. Turn DRIVE afterwards to about 25-30%, set POST and finally press
OVERDRIVE: duck!...3...2...1...the rocket starts. MIX should hardly let any dry signal through. With a value of only about 10% DRY, this is where the fun
really begins. Does TB303 actually go even creakier? Also play with the filter slopes. 18 dB breathes a scratchy, smoky James Brown character into the
signal and 24 dB makes the sound endlessly punchy. A combination of 18 dB for the HPF and 24 dB for the LPF also works very well. Please experiment
to your heart’s content. Let off steam and playfully explore the sheer endless possibilities of transforming a sound with the Siren. [MK]
.: Get on the pitch carousel –Or –The Turn Of The Screw :.
The WET DELAY trim pot doesn't need to be stuck in a static existence. In addition, this circuit creates a pitch shift in live performance. And this is how
you push the merry-go-round... First turn the MIX to 100% WET and while you play your audio, turn the WET DELAY trim pot to your heart's content.
Slow, fast... back and forth, try them all and listen closely to the tonal changes that occur. It takes a little while for the actual new setting to "snap into
place" and it is precisely this period of time between 2 different values that you make use of. Perfect for DAW automations. In this way, incredibly lively
modulations or cool special effects can be created on any type of sound material. My favorite so far are modulations on long sustain phases, for example
on an 808, other distorted sounds and creaky synth bass lines. Turn Siren into an off-kilter punk queen with a loose screw. [MK]
.: Everything You Always Wanted to Know About MU* (*But Were Afraid To Ask) :.
The MU option in the help menu is optimized for electric guitar and electric bass guitar (*but not exclusively –see below). The key is the LEVEL trim pot.
As LEVEL is increased, the original sound will become more contained and resonance will ‘jump around’ less. LEVEL controls the dynamic range the
envelope follower is listening to. Increasing LEVEL decreases the dynamic range which results in the envelope follower fluctuating the filter in a more
consistent way for both high and low volume input. In a practical sense, this affects the consistency of the ‘quack’sounds, particularly when there is a big
difference in strumming.
As mentioned above, MU is not exclusive to guitars and bass despite being optimized for them! Let’s say you have a live drum track and you have Siren
using a high resonance setting. If the resonance on the snare is fluctuating too much due to being hit at different dynamic levels, enabling MU and dialing
in the sweet spot using the LEVEL trim pot will smooth out the filter behavior. [ZS]

14
Managing Presets
Basics
If the option to install presets is selected during installation, updates will overwrite the original presets but custom named presets will
remain untouched. Be sure to save your own presets with different names using the save as option (to the right of the preset browser), or
alternatively, ensure the preset installation option is not selected when updating the software.
Backing Up Presets
Presets can be backed up and restored using your operating system file manager. Simply perform a copy/paste of either individual preset
files or the full presets folder to a backup location of your choosing. The presets folder can be found in the following locations:
FOR WINDOWS
‘C:\Users\Public\Documents\Pulsar Modular\P565 Filter Set\Presets’
FOR MAC OS X
‘/Users/Shared/Pulsar Modular/P565 Filter Set/Presets’

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General
Fine Tuning Mode
Press and hold the modifier key (in macOS: “control, option or command”, in Windows: CTRL) while moving the knobs.
Uninstalling P565 Filter Set
FOR WINDOWS
●In ‘C:\Program Files\Common Files\VST3’, locate the ‘P565 Filter Set.vst3’ file and delete it.
●In ‘C:\Users\Public\Documents\Pulsar Modular’, locate the ‘P565 Filter Set’ folder and delete it. This folder contains the user guide
and presets. If no other folders exist under ‘Pulsar Modular’, this can be deleted as well.
FOR MAC OS X
●In ‘/Library/Audio/Plug-Ins/Components’, locate the ‘P565 Filter Set.component’ file and delete it.
●In ‘/Library/Audio/Plug-Ins/VST3’, locate the ‘P565 Filter Set.vst3’ file and delete it.
●In ‘/Users/Shared/Pulsar Modular’, locate the ‘P565 Filter Set’ folder and delete it. This folder contains the user guide and presets. If
no other folders exist under ‘Pulsar Modular’, this can be deleted as well.
Restrictions
The USER may not reverse engineer, disassemble, re-sample, create Impulse Response profiles or re-record, decompile, modify, alter in
whole or in part PULSAR NOVATION LTD audio plugins for the intent of renting, leasing, distributing, repackaging (whether for profit or
not).

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Developers:
Pulsar Modular Team
GUI Design:
Max Ponomaryov / azzimov GUI design –www.behance.net/azzimov
User Guide (EN):
Kevin Eagles
User Guide (DE):
Matthias Klein
User Guide (ES):
Daniel Kyo
Testers:
Jason Fernandez
Sebastian Garcia Ferro
John Marshall
Leo Alvarez
Max Ponmaryov
Cryss Synthient
Kevin Eagles
Ilpo Kärkkäinen
Lee Hepworth
Matthias Klein
Jeffrey Harris
Gunnar Gentzsch
All referenced trademarks and brand names are the property of their respective owners. A reference pays respect to an inspirational element
and does not imply association or endorsement.
Please kindly report any errors or omissions in this user guide to [e-mail].
To print this guide, we recommend using a free pdf color inversion service like https://invert-pdf.club.
Copyright 2023, Pulsar Novation Ltd.
P/N: 12822, Rev. 1.4
Pulsar Modular is a registered trademark of Pulsar Novation Ltd.
P565 Siren is a plugin name owned by Pulsar Novation Ltd.
AAX and Pro Tools are trademarks of Avid Technology. Names and logos are used with permission.
Audio Units is a trademark of Apple, Inc.
VST is a trademark of Steinberg Media Technologies GmbH.
All other trademarks contained herein are the property of their respective owners.
Pulsar Novation Ltd.
Demircikara District, 1419 Street, Ocean City Block B, Floor 4
Muratpaşa, ANTALYA 07100 [phone]
www.pulsarmodular.com