Rossum Electro-Music MOB OF EMUS User manual
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Contents
1. Introduction 3
2. Module Installation 4
3. Overview 5
4. Basic Functionality 7
5. Make Some Noise! 10
6. Tap/Trig Button & Jack 11
7. Real-time Controls 13
8. Hex Mode 22
9. Channel Selectors and LEDs 23
10. CV Inputs 25
11. Outputs 26
12. Presets 27
13. Updating Software 28
14. Utilities 31
15. Button Function Reference 35
16. Factory Presets 37
17. From Dave’s Lab 40
18. Acknowledgements 41
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1. Introduction
Thanks for purchasing the Rossum
Electro-Music Mob of Emus Polyfunctional
Harmonic Sextet. This manual will give you
the information you need to get the most
out of Mob of Emus. The manual assumes
you already have a basic understanding
of synthesis and synthesizers. If you’re just
starting out, there are a number of good
reference and tutorial resources available
to get you up to speed. One that we highly
recommend is:
Power Tools for Synthesizer Programming
(2nd Edition)
By Jim Aikin
Published by Hal Leonard
HL00131064
Another great source of information is Chris
Meyer’s Learning Modular:
https://learningmodular.com
Support
In the unlikely event that you have a problem
with your Panharmonium, tell us about it
here:
http://www.rossum-electro.com/support/
support-request-form/
…and we’ll get you sorted out.
If you have any questions, comments, or just
want to say “Hi!,” you can always get in touch
here:
http://www.rossum-electro.com/about-2/
contact-us/
…and we’ll get back to you.
Happy music making!
4 |
2. Module Installation
As you will have no doubt noticed, the rear of
Mob of Emus is a circuit board with exposed
parts and connections. When handling
Panharmonium, it’s best that you hold it by
the edges of the front panel or circuit board.
It’s not particularly easy to blow up, but why
take chances?
More specifically, the biggest risk (to the
extent that there’s a risk), is damage by static
electricity. Particularly on dry, cold days (or if
you’ve just shued across your shag carpet
in fuzzy slippers), make a point of touching
the metal panel first, before touching any
other part of the module.
While all Rossum Electro-Music modules are
protected against reverse polarity damage,
both to your module and your system, care
should still be taken to connect the power
cable correctly. (For more detail on our
unique protection method, check out Dave’s
discussion of Circuit Protection in Chapter 17.)
Plug the included 16-pin connector into the
header on the rear of the module such that
the red stripe on the cable (the -12V side) is
on the same end of the header as the “Red
Stripe (-12V)” text on the PCB.
Mob of Emus requires, at most, 140mA of
+12V and 30mA of -12V.
We have included both M3 and M2.5 (for
vector rails) mounting screws. Use what fits
your system.
If rack rash is of concern to you, use the
included nylon washers when mounting Mob
of Emus in your case.
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3. Overview
6 |
What is Mob of Emus?
Mob of Emus is a flexible music and sound
design tool that gives you an extensive
collection of multi-channel synthesis
functions in a mere 16HP.
Mob of Emus provides up to six channels
of oscillators, noise sources, cyclical and 1-
shot modulators (including LFOs, envelopes,
and various other shapes), sample and hold
waves, slow random modulators, triggers,
rhythm patterns, and quantization (of both
internal and external signals) in pretty much
any combination (well, any combination of
six channels, anyway).
In addition to being able to independently
program the function of each individual
channel, Mob of Emus’ Hex mode provides
a macro control layer that allows you to
control all of its channels simultaneously
(while maintaining the relationships of each
channel’s independent programming).
What’s more, Mob of Emus’ “harmonic”
control structure makes it extremely easy
to combine its oscillators into rich additive
timbres, to combine its LFOs into stacked
harmonic low frequency modulation waves,
and to create modulation sources and
triggers with intricate polyrhythmic patterns.
With an external trigger input, six CV inputs
that can operate in six dierent control
modes, six independent outputs, and an
assignable mix output, Mob of Emus can
operate as the heart of an almost unlimited
variety of patches.
And while Mob of Emus’ interface is, by
necessity, rather dense (given all it does), its
eight real-time controls have been designed
to give you immediate hands-on access to a
channel’s (or all six channels’) key parameters,
inviting (and rewarding) exploration and
improvisation.
Finally, Mob of Emus provides 12 preset
locations to save your favorite creations.
Read on for all the details.
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4. Basic Functionality
Before we jump into individual functions in
detail, let’s take a quick look at Mob of Emus’
structural organization.
Tap/Trig Button and Jack
The Tap/Trig button lets you set
the frequency of Mob of Emus’
Hex Mode frequency parameter or
simultaneously trigger all six of its
channels.
The associated jack can function in
three dierent modes, either setting the Hex
Mode frequency in response to incoming
signals, triggering all six channels, or doing
both simultaneously (the default setting).
Hex Button
The Hex button toggles Hex Mode
on and o. The associated LED will
indicate its state. It can also select
or deselect all of the channels,
toggle the LED channel output viewer, and
latch or unlatch a selected Option Mode.
CV Inputs
The six CV inputs accept signals in the range
of +/-5V and operate in one of 6 modes.
They are:
MULTI For use in Hex Mode,
each input aects all six channels
simultaneously. Each input’s target
parameter is labeled on the panel
(i.e., Frequency, Wave, Phase,
Harmonic Gain, Variation, and
Quantization).
FREQ The inputs independently
control the frequency of all six
channels.
TRIG The inputs independently
trigger the individual channels.
GAIN The inputs independently
control the output amplitude of
individual channels.
WAVE The inputs independently
control the wave shape of individual
channels.
QUANT Mob of Emus will quantize
external signals patched to the CV inputs
using the scale selected by the Quantization
parameter.
8 |
Real-Time Controls
The real-
time controls
function in a
primary mode
(labeled in
black) and in
one or two
Option modes
(Iabeled in
blue). Functions
labeled in
orange are
active in Hex
Mode only.
H.GAIN/MIX Sets channel level in dB, from
-infinity to 0.
Option 1: Include or remove a channel from
the MIX output.
VARIATION/WARP Sets the probability that a
channel will ratchet or drop a step.
QUANT/RND/DC Selects the scale that a
channel’s output will be quantized to.
Option 1: Add random frequency variation to
a channel’s output.
Option 2: Add a DC oset (+/- 12 semitones)
to a channel’s output.
In Hex Mode:
Unless noted, Options 1 and 2 are the same
as individual mode.
FREQ/FINE/SEMI Osets all channels’
frequencies.
OCTAVE/2X Osets all channels’ octaves.
WAVE/ENV/PAT Selects all channels’
waveshapes or enables the individual
channels’ waveshapes.
PHASE/SYNC/1S Osets all channels’ phase
settings.
Option 1: Enables hard sync for channels
2–6, with channel 1 as master.
Option 2: Sets all channels to 1-shot mode.
HARM#/SERIES Sets the number of
channels playing (from 1 to 6).
Option 1: Selects a preset harmonic series,
setting the frequency multipliers of all 6
oscillators simultaneously.
H.GAIN/MIX Sets “Harmonic Gain.”
Option 1: Sets Mix Output attenuation.
VARIATION/WARP Osets the probability
that all channels will ratchet or drop a step.
Option 1: Warps each channel’s frequency
in the style of a frequency shifter. Provides a
rich chorusing eect just slightly clockwise
from the 12 o’clock position. At full CCW, all
channels swarm to the frequency of channel
1.
In individual channel mode:
FREQ/FINE/SEMI Sets a channel’s frequency
over a range of +/- 2 octaves.
Option 1: Fine tune.
Option 2: Constrain to semitones.
OCTAVE/2X Sets a channel’s octave over a
range of +/- 5 octaves.
Option 1: Doubles range to +/- 10 octaves.
WAVE/ENV/PAT Selects a channel’s
waveshape.
Option 1: Selects from a second bank of
shapes, including envelopes.
Option 2: Selects from a third bank of
shapes, including rhythm patterns.
PHASE/SYNC/1S Sets a channel’s phase
oset, from 0–360 degrees.
Option 1: Enables hard sync, with channel 1
as master.
Option 2: Sets a channel to 1-shot mode.
HARM#/SERIES Sets a frequency multiplier
of 1 to 16.
Option 1: Sets a frequency multiplier of
17 to 32.
| 9
QUANT/RND/DC Selects the scale for the
Mix output quantizer.
Option 1: Adds random frequency variation
to all channels’ outputs.
Option 2: Adds a DC oset (+/- 12 semitones)
to the Mix output.
Mixed Mode
When Hex mode is enabled and one or
more channels are selected, all parameter
edits will aect the selected channels, not
the Hex layer. However, Mob of Emus will
continue to apply the Hex layer osets and
modifications, allowing you to make edits to
the individual channels while hearing the Hex
Mode osets.
Channel Selectors and LEDs
The channel selector buttons are
used to select channels for editing, to
manually trigger individual channels,
and to solo or mute individual
channels.
The LEDs indicate the channels
selected for editing as well as
displaying triggers. When OPTION
is held or latched, the LEDs act as a
graphical output level viewer.
When editing HARM/SERIES, HARM#,
OCTAVE, QUANT, SEMI, or DC, the
LEDs (along with the Preset LEDs and
the HEX LED) will display the current
pot value as a temporary LED meter.
Outputs
Six individual channel outputs and a
summed Mix output.
NOTE: You’ll notice that the
individual channels are labeled
with #1 at the bottom and #6 at the
top. Given Mob of Emus’ various
“harmonic” functions, it makes sense
to treat the channels as harmonics,
with the lower frequencies at the
bottom and the progressively
higher frequencies towards the top.
Of course, you can set channel
frequencies to anything you like,
but if you’re using the “harmonic”
functions, maintaining the bottom-
to-top organization will tend to make
things conceptually clearer.
IMPORTANT NOTE: In order to
ensure precisely accurate CVs,
the impedance of Mob of Emus’
outputs is less than 1 Ohm. Because
of this, the outputs will not directly
drive headphones. If you would like
to monitor Mob of Emus’ outputs
when used at audio frequencies, first patch it
into an audio processing module like a VCA,
output module, filter, etc., and then monitor it
there.
Preset/CV Mode Selectors
Lets you load or
save one of 12
presets. Double-
click and hold
OPTION and
click to select
the CV Input Mode.
Power Down Behavior
Upon power down (including accidental
removal of power or a power failure), the
state of the module is saved and reloaded the
next time the module is powered up.
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5. Make Some Noise!
The quickest way to hear some of what Mob
of Emus can do is to check out the Presets
that come pre-loaded from the factory. Refer
to Chapter 16 for details about the intended
eect of each preset.
Select a preset by clicking or double-clicking
the desired button in the Preset section. To
load Preset 1–6, click the appropriate button.
The associated LED will light. To select
7–12, double-click the desired button. The
associated LED will flash. Click the button
again to deselect the preset.
Once you’ve selected a preset, either
monitor the outputs (if it’s an audio preset)
or patch the outputs to modulation inputs
on additional modules (as suggested for
the preset in Chapter 16). In either case, try
adjusting some paramaters and see what
happens.
A TIP: If you start playing with a preset and
get lost to the point that you’re not sure
what’s going on (not that that’s necessarily a
bad thing), try deselecting the preset and then
selecting it again to get back to its initial state.
When you’ve played for a while, read the rest
of this manual. You’ll be glad you did.
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6. Tap/Trig Button & Jack
The Tap/Trig button and its associated jack
let you set the Hex Mode frequency or trigger
all six channels simultaneously (or, depending
on the jack mode, both). The Tap/Trig button
also oers the ability to set the frequencies of
selected individual channels.
Tap/Trig Button
Sequentially clicking the Tap/Trig
button while in Hex Mode (with
no individual channels selected)
will set the Hex Mode Frequency
parameter. Mob of Emus will average the
period between your clicks to derive the
frequency. You can think of this as a real-time
“tap tempo” function.
NOTE: If you are not in Hex Mode, clicking
the button will have no eect on Hex
Mode frequency (but will set the frequency of
any selected channels — see the next note).
THE NEXT NOTE: Whether you are in
Hex mode or not, if any channels are
selected for editing, sequentially clicking the
Tap/Trig button will set the frequencies of
those selected channels. Selecting channels
sequentially and clicking the Tap/Trig
button for each is a quick way to set up the
frequencies of the dierent channels
Holding down the Option button and then
clicking the Tap/Trig button will execute a
hex trigger, simultaneously triggering all six
channels (but see below for a discussion of
“trigger” vs. “phase reset”).
NOTE: As described in Chapter 8, latching
any of the Option Modes will allow you
execute the hex trigger simply by clicking the
Tap/Trig button.
The Tap/Trig button, in combination with the
Option button, is also used to set the mode
of the Tap/Trig jack, as described below.
Tap/Trig Jack
The Tap/Trig jack can accept a
wide range of clock frequencies
and can function in one of three
modes:
>Frequency + Trigger Mode: In this mode,
the jack functions like the Tap/Trig
button to set the Hex Mode Frequency. In
addition, it will generate a hex trigger on
every clock pulse. This is the default mode
and is the best technique for syncing to
an external clock and ensuring that all
of Mob of Emus’ channels remain phase
synchronized.
>Frequency Mode: In this mode, the
jack functions like the Tap/Trig button
to set the Hex Mode Frequency, but
does not generate a hex trigger on
every clock pulse. This is useful when
you want to define a tempo, but do not
necessarily require that all channels be
resynchronized on every trigger.
>Trigger Mode: In this mode, a hex trigger
is generated whenever the incoming CV
exceeds 1.7V, but the Hex Frequency is
not aected. This mode is useful when
you want to trigger events via en external
trigger source (a trigger sequencer, for
example) without aecting the overall
tempo.
Setting the Tap/Trig Jack Mode
To select the Tap/Trig jack mode, hold the
Tap button for 1 second to display the current
selected mode on the Preset and Channel
Selector LEDs. The bottom row of Preset
LEDs and the Channel 1, 2, and 3LEDs will
strobe towards the Option button to remind
you that that’s the button you click to select
the mode.
12 |
Clicking the Option button cycles between
the three choices. The LED indication for
each mode is as follows:
Frequency + Trigger Mode:
Preset 1 LED + Channel 4, 5, and 6LEDs
Frequency Mode: Preset 1 LED only.
Trigger Mode: Channel 4, 5, and 6LEDs
Trigger vs Phase Reset
As far as Mob of Emus is concerned,
triggering a channel and resetting the phase
of a channel are essentially the same thing. In
each case, a channel’s wave instantly resets
to its beginning and plays from there.
The main dierence lies in whether the wave
is in 1-Shot Mode or is a continuing cyclical
wave.
If in 1-Shot Mode (as would be typical of an
envelope shape), upon receipt of a trigger,
the shape would play once and then stop
until it receives another trigger, at which time
it plays once again.
If a cyclical wave (as would be typical of the
traditional synth waveforms or the rhythm
patterns), the wave is repeating continuously.
When it receives a trigger it will do an
instant phase reset, that is, it will jump to the
beginning of its shape and continue playing
from there.
A NOTE: Of course, there is nothing
keeping you from turning an envelope
into a cyclical wave or a sawtooth into a
1-Shot, in which case you’ll be triggering a
single cycle of the sawtooth and resetting the
phase of the repeating envelope.
A TIP: One use of a phase reset is if you’ve
set up a polyrhythmic texture or drone
where the separate channels drift apart over
a period of time. Doing a phase reset of all
the channels at once will resync them to
their beginnings and restart the polyrhythmic
pattern.
| 13
7. Real-Time Controls
The real-time controls give you immediate
access to all of a channel’s key parameters
(or the key parameters of all of the channels
in Hex Mode).
Before we get into the individual controls,
here are some things to keep in mind:
Option Modes
Most of the controls operate in a
primary mode, labeled on the panel
in black, and one or two Option
modes, labeled in blue. Option
modes are accessed (for Option 2) and then
turning the control.
A NOTE: Clicking the Hex button while an
Option mode is active latches the Option
mode. That is, you can release the Option
button and Option mode continues to be
active, letting you adjust multiple Option mode
parameters without having to hold down the
Option button.
When an Option mode is latched, clicking the
Hex button unlatches it, returning the module
to primary mode.
ANOTHER NOTE: While an Option mode is
latched, clicking the Option button cycles
sequentially through the three modes: Option
1 to Option 2 to primary.
When in Option 1 mode (either by holding
the Option button or when latched), the Hex
LED blinks at 4 Hz to indicate that. When in
Option 2 mode, the LED blinks at 8 Hz.
YET ANOTHER NOTE: As described
elsewhere in this manual, clicking and
holding, or double-clicking and holding the
Option button enables a number of other
functions. Latching an Option mode latches
the ability to execute those functions as well.
Specifically:
When Option 1 is latched, the Channel
Output Viewer is active and clicking a
Channel Selection button triggers or resets
the phase of that channel.
When Option 2 is latched, the Preset
buttons function as CV Mode Selector
buttons.
AND YET ANOTHER NOTE: Some of the
controls do not have a dedicated Option
2 function. In those cases, their Option 1
function will also be available when Option
2 is selected. In the detailed descriptions that
follow, those functions appear in parentheses.
Knob Behavior
When switching between channels for
programming, you will often find that a
knob’s current position doesn’t match the
value of its parameter in the newly selected
channel. As long as you don’t adjust the
position of the knob, the parameter in the
newly selected channel will not be aected.
However, as soon as you do move the knob,
the parameter will change to the knob’s
physical position.
Hex Mode
When in Hex Mode, the real-time controls, in
most cases, aect their parameters in all six
channels. However, there are a few instances
where certain functions are only available
when in Hex mode. These are indicated on
the panel with orange labels.
Channel Frequency Range
It’s important to remember that a channel’s
initial frequency (before any CV control)
is defined by the product of four of the
real-time parameters: Frequency, Octave,
Harmonic #, and Variation. In Hex Mode,
Frequency and Octave can be further oset
by their Hex Mode parameters. And, of
14 |
course, a Frequency CV can expand the
range by another +/-5 octaves.
The initial frequency of a channel with all
parameters and modifiers set to 0 is 2Hz.
(Which, if you’re programming rhythmic
modulation, is exactly 120BPM.)
Making use of all the available parameters
and modifiers, maximum frequency range is
approximately as follows:
Lowest: 36.4 hours per cycle.
Highest: >23,148 Hz (amplitude is 0 above
that)
Exploration
In selecting Mob of Emus’ real-time
controls, it was our goal to encourage
experimentation and exploration. Particularly
when it comes to additive harmonic synthesis
and polyrhythmic modulation patterns,
we encourage you set up a basic patch
and then play with the various harmonic
parameters (Harmonic #, Harmonic Series,
Harmonic Gain, etc.) as well as the Variation
and Random parameters. These make it
extremely easy to quickly audition a huge
variety of options, potentially leading to
the discovery of rich sounds and intricate
rhythmic patterns you might never otherwise
have imagined.
So, now on to the controls.
FREQ/FINE/SEMI
This control sets a channel’s
frequency relative to the
selected octave.
NOTE: The frequency can be further
modified by the Harmonic # or Harmonic
Series parameter.
In Individual Mode:
Primary: Sets a channel’s frequency over a
range of +/- 2 octaves.
Option 1: Allows fine tuning of the channel’s
frequency.
Option 2: Sets the channel’s tuning to
semitones.
In Hex Mode:
Primary: Osets the frequencies of all
channels over a range of +/- 2 octaves.
Option 1: Osets the fine tuning of the
frequencies of all channels
Option 2: Osets the tuning of all channels in
semitone steps.
OCTAVE/2X
As is obvious from its name,
this control sets a channel’s
octave. In combination with
the frequency control, this is
where you will typically define
a channel as an audio channel
or a modulation source (keeping in mind, of
course, that an audio rate signal can also be a
modulation source).
In Individual Mode:
Primary: Sets a channel’s octave over a range
of +/- 5 octaves
Option 1: Doubles the range to +/- 10
octaves.
Option 2: (Doubles the range to +/- 10
octaves.)
| 15
In Hex Mode:
Primary: Osets all channels’ octaves over a
range of +/- 5 octaves
Option 1: Doubles the oset range to +/- 10
octaves.
Option 2: (Doubles the oset range to +/- 10
octaves.)
WAVE/ENV/PAT
This control lets you select a
channel’s waveshape. There
are three banks of 9 shapes to
choose from.
In Individual Mode:
Primary: Selects a channel’s waveshape
from Bank 1
Option 1: Selects a channel’s waveshape
from Bank 2
Option 2: Selects a channel’s waveshape
from Bank 3
In Hex Mode:
Primary: Selects the waveshape of all
channels from Bank 1
Option 1: Selects the waveshape of all
channels from Bank 2
Option 2: Selects the waveshape of all
channels from Bank 3
Bank 1 (labeled on the panel)
Standard waveforms, useful both as audio
oscillators and LFOs.
Ø (Null)*
Sine
Triangle
Ascending Sawtooth
Descending Sawtooth
6Square (50% Pulse)
725% Pulse
812.5% Pulse
9Sample & Hold**
* In Hex Mode, the Ø setting allows the
individual channels’ wave selections to be
in eect. In Individual Mode, it maps to the
Sine shape.
** The Sample & Hold wave is generated
from an internal random source.
IMPORTANT NOTE: When using a CV to
control the waveshape, the CV selection is
limited to the currently selected bank. That is, a
CV will not jump from one bank to another.
A RELATED IMPORTANT NOTE: Within each
bank, a CV can only be used to access
the first 8 waves, as the ninth wave in each
bank is dierent enough from the other 8 that
you wouldn’t want to inadvertently choose it.
So, within Bank 1, a CV will not select Sample
& Hold. Within Bank 2, a CV will not select
Smoothed Random Voltage, and within Bank
3, a CV will not select Filtered Noise.
If you have manually selected any of the three
ninth waves, CV modulation does nothing.
AND YET ANOTHER IMPORTANT NOTE:
The traditional waveforms in Bank 1 are
anti-aliased, allowing them to be transposed
cleanly over an extremely wide range. The
remainder of waveforms are intended primarily
for modulation purposes and are not anti-
aliased. However, there is no reason you can’t
use them at audio rates as well. Just keep in
mind that, depending on the range you use
them in, artifacts may result. That may or may
not be a good thing.
16 |
Bank 2
Envelopes and smoothed random
output voltage.
The durations of the envelope segments
(attack, decay, sustain, release) are quantized
to multiples of 1/16th of the channel
frequency, making them particularly
applicable to rhythmically synced patterns.
NOTE: The envelopes have a voltage
range of 0-5V.
The Smoothed Random output is the Sample
and Hold oscillator followed by a tunable low
pass filter. The low pass filter cuto frequency
is determined as a function of the channel’s
frequency in order to produce a smoothly
varying random output voltage. Stacking
Smoothed Random oscillators at dierent
frequencies and amplitudes can produce
“fractal” random shapes at the Mix output,
much like the Perlin noise that is used in the
video domain to synthesize natural looking
landscapes.
#9 Smoothed Random
| 17
Bank 3
Rhythm Patterns and Filtered Noise
The rhythm patterns are 16 step micro-
sequences that can be useful in setting up a
basic drum/rhythm pattern. In the diagram
below, each step represents 1/16th of the
frequency period of the channel. For the
purpose of these patterns, it may be useful
to think of one frequency period as 4 quarter
notes, with each step representing a 16th
note.
NOTE: The two gates in Kick 0 are
stretched to 8th notes.
The Filtered Noise output is a white noise
source followed by a tunable low pass
filter. The low pass filter cuto frequency is
determined as a function of the channel’s
frequency. Useful both as an audio source
and a modulation source, the noise color
will be white with a channel’s frequency
(and octave) cranked all the way up, red/
brown at low frequencies, and various shades
of mauve in between. Again, stacking can
produce interesting results.
PHASE/SYNC/1S
This control allows you set a
channel’s phase oset, from
0-360 degrees, to enable hard
sync with Channel 1 as the
master, and set a channel to
1-Shot mode.
A NOTE: When setting Phase, there are
small dead zones at 90 degrees, 180
degrees, and 270 degrees to make it easy to
set up quadrature LFOs.
IMPORTANT NOTE: Options 1 & 2 are
essentially two-position switches. In each
case, rotating the knob counterclockwise from
12 o’clock turns the function o, while turning
it clockwise from 12 o’clock turns it on. The
specific position doesn’t matter, as long as it’s
either to the right or left of 12 o’clock.
In 1-shot mode, upon being triggered, the
wave will play once and stop until triggered
again. Cyclical waves will play for one cycle.
Filtered Noise and Smoothed Random
Voltage will play for one frequency period.
NOTE: When Filtered Noise in is 1-Shot
Mode, the Phase control will set the
delay until onset. When Sample & Hold and
Smoothed Random Voltage is in 1-Shot Mode,
Phase will control the delay until update.
In Individual Mode:
Primary: Sets a channel’s phase oset, from
0-360 degrees.
Option 1: Enables hard sync, with Channel 1
as the master.
Option 2: Sets a channel to 1-Shot mode.
In Hex Mode:
Primary: Osets all channels’ phase settings.
Option 1: Enables hard sync for Channels
2–6 with Channel 1 as the master.
Option 2: Sets all channels to 1-shot mode.
1KICK 0
2KICK 1
3KICK 2
4BACK BEAT
5HIHAT
6CLAVE 1
7CLAVE 2
8PHUN
9FILTERED
NOISE
18 |
HARM#/SERIES
This is the primary control for
quickly setting up the various
harmonic relationships of the
channels.
This control makes it easy to
set up rich timbres when using the channels
as oscillators for additive synthesis and to
create complex polyrhythms when using the
channels as cyclical modulation sources.
In Individual Mode, The Harmonic Number
parameter is a frequency multiplier that
sets the channel’s frequency to one of
the frequencies in the harmonic series. A
value of 1 results in the channel’s current
frequency, which could be thought of as the
“fundamental.” Higher numbers set frequency
relationships relative to that fundamental that
follow the classic harmonic series.
If you’re creating polyrhythmic modulations,
this conversion table from harmonic number
to musical note value may be useful. Note
that it assumes Harmonic #1 is a whole note.
Harmonic Number to Note Value
1: Whole note
2: Half note
3: Half note triplet (3 over 2)
4: Quarter note
5: Quarter note quintuplet (5 over 4)
6: Quarter note triplet (3 over 2)
7: Quarter note septuplet (7 over 4)
8: 8th note
9: 8th note nontuplet (9 over 8)
10: 8th note quintuplet (5 over 4)
11: 8th note 11tuplet (11 over 8)
12: 8th note triplet (3 over 2)
13: 8th 13tuplet (13 over 8)
14: 8th note septuplet (7 over 4)
15: 8th note 15tuplet (15 over 8)
16: 16th note
17: 16th note 17tuplet (17 over 16)
18: 16th note nontuplet (9 over 8)
19: 16th note 19tuplet (19 over 16)
20: 16th note quintuplet (5 over 4)
21: 16th note 21tuplet (21 over 16)
22: 16th note 11tuplet (11 over 8)
23: 16th note 23tuplet (23 over 16)
24: 16th note triplet (3 over 2)
25: 16th note 25tuplet (25 over 16)
26: 16th note 13tuplet (13 over 8)
27: 16th note 27tuplet (27 over 16)
28: 16th note septuplet (7 over 4)
29: 16th note 29tuplet (29 over 16)
30: 16th note 15tuplet (15 over 8)
31: 16th note 31tuplet (31 over 16)
32: 32nd note
A TIP: Whether for audio or modulation,
start by setting all six channels to the same
frequency. Then set the harmonic number of
each channel to create the desired harmonic
relationships.
In Hex Mode, Harmonic Number has a
dierent meaning. There it selects the
number of channels playing, from 1 to 6.
Also in Hex Mode, the Option 1 function
lets you select from 15 pre-programmed
harmonic series, instantly assigning each
channel to the appropriate harmonic
number.
In Individual Mode:
Primary: Sets a channel’s frequency
multiplier from 1 to 16
Option 1: Sets a channel’s frequency
multiplier from 17 to 32
Option 2: (Sets a channel’s frequency
multiplier from 17 to 32)
In Hex Mode:
Primary: Sets the number of channels
playing (from 1 to 6). Channels are silenced
starting with Channel 6 and moving down
until only Channel 1 remains. The Mix output
will auto-scale amplitudes with the number
of channels playing, to keep the mix near the
nominal output level.
Option 1: Selects a preset harmonic series,
setting the frequency multipliers of all 6
oscillators simultaneously.
Option 2: (Selects a preset harmonic series,
setting the frequency multipliers of all 6
oscillators simultaneously.).
| 19
Hex Mode Harmonic Series
1Unison {1,1,1,1,1,1}
2All {1,2,3,4,5,6}
Rhythms
3Powers of 2 4/4 Rhythm {1,2,4,8,16,32}
412/8 Rhythm {1,2,4,6,8,12}
53/4 Rhythm {1,2,3,4,6,8}
63+5 Rhythm {1,2,3,5,6,10}
Odd
7Odd {1,3,5,7,9,11}
8Fave Odd {1,5,9,11,15,19}
9Fibonacci {1,2,3,5,8,13}
Non-harmonic
10 Bar 1 {9/9,25/9,49/9,81/9,121/9,169/9}
squares of odd numbers
11 Bar 2 {1, 4.4375, 8.6975, 14.3775, 21.4775,
29.9975}
12 Bell {1,2,2.4,3,4,5}
13 Kettle Drum {1,1.17647,1.77647,1.97647,2.34
117,2.45882}
Scales
14 Hexatonic Major {C,D,E,F,G,A}
(1 ... 1.68179)
15 Hexatonic Minor {C,D,Eb,F,G,Bb}
(1 ... 1.78179)
16 Not Currently Used
H.GAIN/MIX
In Individual Mode, this control
lets you set levels for the
individual channels and also
controls whether a particular
channel appears in the Mix
output.
In Hex Mode, the primary function is
“Harmonic Gain” (that’s why only the “H” is
orange on the panel.) Harmonic Gain lets
you control the balance of the six channels.
At full clockwise, all six channels will play at
their individually programmed levels. As you
turn the knob counterclockwise from there,
variable slope attenuation will be applied:
more for the higher numbered oscillators and
less for the lower numbered oscillators. At
full counterclockwise, only Channel 1 will be
audible.
In Individual Mode:
Primary: Sets a channel’s Level
Option 1: Includes or removes a channel
from the Mix output.
Option 2: (Includes or removes a channel
from the Mix output.)
NOTE: Like the previously described
Sync and 1-Shot functions, Option 1 is a
two position switch. Rotating the knob
counterclockwise from 12 o’clock removes
the selected channel(s) from the Mix output.
Turning it clockwise from 12 o’clock causes
thechannel(s) to appear at the Mix output.
Again, the specific knob position doesn’t
matter,as long as it’s either to the right or left of
12 o’clock.
In Hex Mode:
Primary: Controls Harmonic Gain
Option 1: Sets the attenuation of the Mix
output
Option 2: (Sets the attenuation of the Mix
output)
20 |
VARIATION/WARP
The Variation function lets
you set the percentage
probability that, for each
frequency period, a channel’s
frequency will either ratchet
(be doubled) or dropped
(divided by 2).
Turning the knob clockwise from 12 o’clock
increases the probability of ratcheting. The
farther you turn it, the greater the probability
a step will ratchet. At full clockwise, the
percentage probability is 100%, essentially
doubling the channel’s programmed
frequency.
Turning the knob counterclockwise from
12 o’clock increases the probability of
dropping. The farther you turn it, the greater
the probability a step will drop. At full
counterclockwise, the percentage probability
is 100%, essentially halving the channel’s
programmed frequency.
In Hex Mode, Option 1 controls the Warp
function. Warp bends the individual channel
frequencies in the style of a frequency shifter.
With conventional frequency adjustment, the
harmonic relationships between a sound’s
spectral elements are preserved. So, while
the pitch changes, each individual harmonic
element maintains its relative relationship
to the rest of the harmonic elements. As
a result, the timbre of the sound remains
generally constant as the overall pitch
changes.
With warping, each harmonic element (i.e.,
channel) is shifted individually, producing a
variety of clangorous, swarming textures.
When the knob is at 12 o’clock, there is no
warping. As the knob is turned clockwise, the
channels are spread apart, with the odd-
numbered channels being shifted lower and
the even-numbered channels being shifted
higher.
NOTE: The range from 12 o’clock
clockwise to 1:30 is specifically designed
to provide a chorus eect.
As the knob is turned counterclockwise from
12 o’clock, the channels are shifted closer
together, until, at full counterclockwise,
the frequencies swarm to the frequency of
Channel #1.
A TIP: A Warp setting just to the right
of center provides nice chorus-style
detuning.
NOTE: There is a small dead zone at
12 o’clock to make it easy to set to no
warping.
In Individual Mode:
Primary: Sets the probability that a channel
will ratchet or drop a step.
Option 1: Applies the Warp algorithm to any
selected channels.
Option 2: (Applies the Warp algorithm to any
selected channels.)
In Hex Mode:
Primary: Osets the probability that all
channels will ratchet or drop a step.
Option 1: Sets the amount and direction of
warping.
Option 2: (Sets the amount and direction of
warping.)
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