Rossum PANHARMONIUM User manual

PANHARMONIUM
Mutating Spectral
Resynthesizer
Copyright 2019 Rossum Electro-Music LLC
www.rossum-electro.com
Operation Manual
_070419_v06

2 |
Contents
1. Introduction 3
2. Module Installation 4
3. Overview 5
4. Basic Functionality 7
5. Make Some Noise! 10
6. The Spectral Analyzer 11
7. The Spectral Modifiers 15
8. The Oscillator Bank 16
9. Assigning CV1 and CV2 19
10. Managing Spectra and Presets 20
11. Updating Software 23
12. Utilities 25
13. Factory Spectra and Presets 28
14. From Dave’s Lab 30
15. Acknowledgements 31

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1. Introduction
Thanks for purchasing the Rossum Electro-
Music Panharmonium Mutating Spectral
Resynthesizer. This manual will give you the
information you need to get the most out
of Panharmonium. 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 Panharmonium 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 shued 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
15.)
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.
Panharmonium 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
Panharmonium in your case.

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3. Overview
What is Panharmonium?
Rossum Electro-Music Software Architect
Bob Bliss (who also, as it happens, fathered
E-mu’s famed “EOS” Emulator Operating
System) has created Panharmonium, a
unique music and sound design tool that
lets you analyze the spectral content of any
audio signal and use that analysis to drive a
bank of from 1 to 33 oscillators. Depending
on various control settings, Panharmonium
can accurately recreate the input spectrum in

6 |
real time or modify it in a multitude of wildly
creative ways. All with an interface whose
immediacy encourages performance and
interaction.
Panharmonium input can be anything from
a single oscillator to an entire mix (including
vocals). From dense, swirling pads and
drones that evolve with the input’s changing
spectrum, to clock-syncable spectral
arpeggiation, to as-yet unnamed harmonic
eects, Panharmonium opens up an entirely
new world of sonic possibilities.
Additionally, Panharmonium can take a
snapshot of an instantaneous spectrum and
use that as a complex harmonic oscillator,
which can then be modified and modulated
by all of Panharmonium’s other controls.

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4. Basic Functionality
Before we jump into individual functions
in detail, let’s take a quick look at
Panharmonium’s structural organization.
Panharmonium accomplishes its magic
though a combination of functional
submodules:
Spectral Analyzer
The Spectral Analyzer provides tools for
defining the analysis process.
>The Slice parameter sets the rate at which
the incoming audio is transformed to
spectral data. It can be set by the Slice and
Multiplier controls, the Tap/Opt button,
or by an external clock signal. Very short
slice times result in real-time spectral data,
while longer times can create rhythmic
spectral patterns.
>The Center Freq and Bandwidth controls
control the range of frequencies to be
analyzed. The Bandwidth control allows
the selection of narrow to wide pass
bands on the left side of the pot and
narrow to wide notches on the right
side of the pot. The ability to sweep the
frequency and modify the bandwidth
under CV control opens up a wide range
of sonic eects.
>The Freeze button lets you freeze the
spectral integrator, sustaining the currently
analyzed spectrum.
>Freeze Tap Mode causes a new analysis
to be done only upon a Tap/Opt button
press or receipt of a Tap/Sync pulse.
Spectral Modifiers
These controls allow you to creatively modify
the analyzed spectra.
>The Voice parameter lets you select from
1 to 33 oscillators to resynthesize the
spectrum.
>The Blur parameter is a spectral lag
processor that controls how quickly the
spectrum can change. Maximum Blur
will freeze the spectrum (equivalent to
pressing the Freeze button).
>The Feedback control lets you route the
resynthesized audio back into the entire
processing chain for subtle or dramatic
feedback eects. At its max, the output
becomes self-sustaining, even if the input
is removed.

8 |
Oscillator Bank
The Oscillator Bank resynthesizes the
analyzed spectra.
>The Waveform parameter selects the
oscillators’ waveform. In addition to the
usual sine, triangle, sawtooth and pulse
waveforms, two special crossfading sine
and sawtooth waveforms are included.
>The Freq control lets you tune the
oscillators over a +/-7 semitone range.
The frequency is further controlled by
the 1V/Oct input and the FM input and
attenuverter.
>The Octave control, not surprisingly, shifts
the pitch of the output by octaves.
>The Glide parameter sets the amount of
polyphonic glide (i.e., each oscillator has
its own glide circuit).
>The Mix control sets the balance
between the original input audio and the
resynthesized audio.
>Output Mode/Option selects between
two routings of the input audio and
Panharmonium output.
Assignable CV Inputs
In addition to its dedicated CV
Inputs, Panharmonium provides
two assignable inputs, CV1 and
CV2, that can be assigned to
control up to three parameters
each. See the subsequent
chapters for details.
Optional Functions
A number of optional functions can be
selected by using button combinations.
>Holding the Output Mode/Option
button and adjusting the Slice control
enables Drums Mode, which optimizes
the spectral analysis for drums and other
percussive inputs.
>Holding the Output Mode/Option
button and adjusting the Freq control
enables Spectral Warping. In contrast
to conventional frequency adjustment,
where the harmonic relationships
between the spectral elements are
preserved, Spectral Warping shifts the
harmonic elements individually, producing
a variety of clangorous, swarming textures.
>Holding the Tap/Opt button and adjusting
the Freq control quantizes the resulting
frequency adjustments to semitones.

| 9
>Holding the Freeze and Tap/Opt buttons
for 1 second toggles between regular tap
mode and Freeze Tap mode (see Chapter
6 for details).
Spectra Memories and Presets
Panharmonium provides memories for 12
user Spectra and 12 user Presets.
>The Spectra memories let you store
up to 12 frozen slices. When selected,
a spectrum (up to 33 oscillators wide!)
replaces any live input and can have its
pitch controlled by the 1V/Oct input and
FM controls.
>A Preset is a snapshot of all of the module
settings, along with the value of any CVs
present at the moment the preset is saved.
>Presets and Spectra may be backed up to
and restored from WAV files.
Software Update and Utilities
Panharmonium provides the ability to update
its software via WAV files, as well as oering
a variety of housekeeping functions. See
Chapters 11 and 12 for details.

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5. Make Some Noise!
If you’ve already followed along with the
Make Some Noise! section of the printed
Panharmonium Quick Start Guide included
with your module, you can skip this chapter
and go directly to the next. However, if you
haven’t, spending a few minutes here will give
you a quick introduction to the function and
eects of the basic controls.
The quickest way to hear some of what
Panharmonium can do is to check out the
Presets and Spectra that come pre-loaded
from the factory. Refer to Chapter 13 for
details about the intended eect of each
Spectrum and Preset and, for the presets,
what sort of input each Preset was designed
for.
Select a Spectrum or Preset by clicking or
double-clicking the desired button in the
Spectra or Preset section. To load Preset or
Spectrum 1–6, click the appropriate button
(1–3 is on the top row of each section, 4–6
on the bottom). The associated LED will
light. To select 7–12, double-click the desired
button (7–9 on the top row, 10–12 on the
bottom). The associated LED will flash. Click
the button again to deselect the preset or
spectrum.
Once you’ve selected a Spectrum or Preset,
you can “play” Panharmonium via a CV into
the 1V/Oct input. Or try modulating some of
the other parameters.
If you want to be adventuresome and dive
right in:
> Set both the Center Freq and Bandwidth
controls to 12 o’clock.
> Press the Output Mode/Option button
until the L-FX-R LED is lit. This results in
your inputs being passed through to the
L & R outputs and the mono output of
Panharmonium appearing in both the L &
R outputs.
> Patch some audio into the input(s). (A
mono signal patched into the left input
will be normalled to the right input.)
Inputs can be anything from a single richly
harmonic oscillator to an entire mix.
> Use the Mix control to crossfade between
the Input audio and Panharmonium’s
output.
> Start turning knobs. Seriously. Try things
out and see what happens. When a
control does something interesting, try
modulating it.
> If you get lost, try reselecting Preset
#1, which will restore the basic neutral
resynthesis settings of all the parameters.
It’s always a good starting point. (Check
Chapter 13 for a list of the individual
parameter values.)
> When you’ve played for a while, read the
rest of this manual. You’ll be glad you did.

| 11
6. The Spectral Analyzer
Panharmonium’s Spectral Analyzer provides
the controls that define how Panharmonium
analyzes your input audio to create the data
that it uses to drive its Oscillator Bank.
INPUTS
The audio you want
Panharmonium to
analyze goes here.
The input can be
one mono stream, a
stereo pair, or even two independent mono
streams.
IMPORTANT NOTE: Panharmonium is a
monophonic processor. If you present it
with a stereo input or two mono inputs, those
inputs will be internally mixed to mono before
being analyzed by Panharmonium. The output
of Panharmonium’s oscillator bank is always
mono.
ANOTHER NOTE: While a stereo or two
mono inputs will be mixed together for
the purpose of analysis, in L-FX-R Output Mode
(as described in Chapter 8) the two input
channels will be passed through independently
to the Left and Right outputs.
YET ANOTHER NOTE: A mono signal
patched to the Left Input will be
normalled to the Right Input. For more details
on patching mono signals, see the Output
Mode section in Chapter 8.
WHAT IS A SLICE?
A Slice is Panharmonium’s basic analytical
time unit. Panharmonium is constantly
analyzing any audio at its inputs. When a slice
begins (either as a result of Panharmonium’s
internal Slice Clock or a press of the Tap/
Opt button or a pulse arriving at the Tap/
Sync input), Panharmonium transforms the
incoming audio into spectral information; it
then uses its most recent spectral analysis to
drive its Oscillator Bank. That analytical data
is used until the beginning of the next slice, at
which time it’s updated to reflect any change
in the the input’s spectrum.
Using the Slice and Multiplier controls, a
slice can be as short as 17ms and as long as
6400ms (a little under six and a half seconds).
Using the Freeze button, Tap Freeze Mode,
or maximum Blur (as described below and in
Chapter 7), a slice could potentially last until
the heat death of the universe.
Very short slice times result in real-time
spectral data, while longer times can create
rhythmic spectral patterns.
SLICE TIME
The Slice control sets
the basic rate at which
the incoming audio is
transformed into spectral
data. That slice time can be
optionally modified by the
Multiplier control described
later in this chapter, as well as
by the Tap/Opt button and/or pulses arriving
at the Tap/Sync input. (We’ll discuss the
interactions of those options below.)
Using the Slice control, slice time can be set
from 17ms to 200ms.
DRUMS MODE
Drums Mode optimizes the spectral analysis
for drums and other percussive inputs. To
engage Drums Mode, hold the Output
Mode/Option button and adjust the Slice
control to its minimum. The Drums LED will
light to indicate you’re in Drums Mode. Simply
turn the Slice control again (while not holding
the Output Mode/Option button) to exit
Drums Mode. The Drums LED will turn o.

12 |
NOTE: You’re not required to set Drums
Mode to the minimum slice value, it
can be any value. But assuming your intent
is to most accurately analyze a drum or
percussion part, there’s not much point to
selecting anything but the minimum slice time.
However, if you’re going for some other eect,
longer slice times may (or may not) be useful.
Just try them and see.
TAP/OPT & TAP/SYNC
The Tap/Opt button and the Tap/
Sync input each have two basic
functions:
Pulse the Tap/Sync input repeatedly, and you’ll
set the internal clock.
Don’t do any of those things, and the internal
clock will run at its current rate.
Do many of those things at once, and they’ll
wrestle. Last one wins.
YET ANOTHER NOTE: If you inadvertently
tap a tempo that’s not exactly what you
want, wait one second for Panharmonium’s
internal tap capture window to reset, then start
tapping again.
The capture window for the external Tap/Sync
input is 4.5 seconds to accommodate slow
regular clock signals.
AND YET ANOTHER NOTE: When using the
Tap/Opt button or the Tap/Sync input
to define the slice time, the function of the
Multiplier control changes as described below.
FREEZE TAP MODE
In Freeze Tap Mode, clicking the Tap/Opt
button, or sending a pulse to the Tap/Sync
input will force the beginning of a new slice
and cause that slice to be sustained (frozen)
until another click or pulse is received, at
which point a new slice will be initiated.
Hold the Freeze button and the Tap/Opt
button for one second to toggle between
Freeze Tap Mode and regular tap mode. The
Multiplier LEDs will light steadily to indicate
Freeze Tap Mode.
NOTE: Although the internal Slice
Clock will not be initiating new slices
in Freeze Tap Mode, it will be running and
controlling when panel adjustments and CV
controls take eect. If it is set at a very slow
rate, intermediate changes will not become
eective until the beginning of the next period.
Also, if you are using a crossfading waveform,
the Slice Clock will still be controlling the
crossfade time.
> Clicking the Tap/Opt button
once, or sending one pulse
to the Tap/Sync input, causes
the Slice Clock to “resync” (i.e.,
immediately start a new slice).
The clock then continues at its
current rate.
> Repeatedly clicking the Tap/Opt button or
sending multiple pulses to the Tap/Sync
input establishes a new slice rate for the
Slice Clock that overrides the Slice control
setting.
AN IMPORTANT NOTE: The Tap/Sync input
is designed to be an externally triggered
version of the tap tempo function. It is not
intended as an input for an external clock that
explicitly substitutes for the internal clock.
ANOTHER NOTE: If you have used the
Tap/Opt button or the Tap/Sync input
to define the slice time and then adjust the
Slice control, the slice time returns to being
controlled by the knob. If you adjust the Slice
control while continuing to click the Tap/
Opt button or sending pulses to the Tap/
Sync input, you may get unusual results (on
the other hand, you may get exactly what you
want).
To summarize:
Adjust the Slice control, and you’ll set the
internal clock.
Tap the Tap/Opt button repeatedly, and you’ll
set the internal clock.

| 13
ANOTHER NOTE: If you turn o your
system while in Freeze Tap Mode,
Panharmonium remembers this and when
you next turn it on, it will come back up in
FreezeTap Mode. So if you ever turn on your
system and find that Panharmonium is not
responding to the slice clock, check to see
if Freeze Tap Mode is enabled (check the
Multiplier LEDs to see if they are on steadily
instead of blinking).
MULTIPLIER
The Multiplier control
modifies the selected
slice time. The LEDs
around the knob will
light to indicate the
current selection and will
flash at the resultant rate.
The Multiplier control operates in two
dierent ways depending on whether the
slice time has been set by the Slice control or
by the Tap/Opt button or the Tap/Sync input.
> When the Multiplier control is modifying
the slice time as set by the Slice control,
it only multiplies the slice time. That is,
when set at 1, the slice time will be exactly
what is set by the Slice control. When set
at 2, the slice time will be twice that set
by the Slice control (I.e., the slice rate will
be twice as slow), when set at 4, the slice
time will be four times that set by the Slice
control, etc.
> When the Multiplier control is modifying
the slice time as set by the Tap/Opt button
or the Tap/Sync input, it can multiply or
divide the slice time. When set at 8, the
slice time will be exactly what is set by
your taps of the Tap/Opt button or the
pulses arriving at the Tap/Sync input.
Settings of 4, 2, and 1 successively divide
the step duration by 2 (i.e., increase the
rate), while 16 and 32 successively multiply
the duration by 2 (i.e., decrease the rate).
A TIP: When using the Multiplier control
to modify a slice time set by the Tap/Opt
button or the Tap/Sync input, it may be useful
to think in terms of musical note duration.
If you tapped quarter notes (relative to your
music’s tempo), setting Multiplier to 4 will
cause the slice clock to output at the rate of
8th notes, setting to 2 will output at the rate of
16th notes, setting to 16 will output at the rate
of half notes, etc.
The CV1 input can be assigned to voltage
control the Multiplier value. See Chapter 9
for details.
CENTER FREQUENCY AND
BANDWIDTH
The Center Frequency and Bandwidth
controls function together to define the
frequency range that Panharmonium
will analyze. Any part of the input audio’s
spectrum that falls outside of the defined
range will not be used to drive the oscillator
bank.
The Center Frequency control sets the
center frequency of the range of analysis. It
can set from 20Hz to 11.5kHz.
The Fc CV Input is a control voltage input
that is modified by its associated attenuverter
and then summed with the value of the
Center Frequency control to define the
eective center frequency.

14 |
When the attenuverter knob is set to its “0”
position, no control voltage is passed to the
parameter. As the knob is turned clockwise
from 0, the amplitude of the control voltage
increases until, at maximum clockwise
rotation, the full amplitude of the signal at the
Fc CV Input is passed through.
As the knob is turned counter-clockwise from
0, the signal at the Fc CV Input is inverted
(e.g., a CV of +2.5V becomes -2.5V). The
farther counterclockwise the knob is turned,
the less the attenuation of the inverted signal,
until, at maximum counterclockwise rotation,
the full amplitude of the inverse of the signal
at the Fc CV Input is passed through.
The Bandwidth control sets the width of
the frequency range centered around the
selected center frequency and defines
whether that analyzed range is bandpass
(in which case Panharmonium analyzes the
spectrum inside the selected range) or notch
(in which case Panharmonium analyzes the
spectrum above and below the selected
range).
NOTE: Set the Bandwidth control to its 12
o’clock (MAX) position to set the widest
possible bandwidth. With the control in that
position and the Center Frequency control
also at 12 o’clock, Panharmonium will analyze
the entire frequency range from 20Hz to
11.5kHz.
As the Bandwidth control is turned
counterclockwise from the 12 o’clock
position, it sets successively narrower
passbands (the marked units are the widths of
the passband in octaves).
As the Bandwidth control is turned
clockwise from the 12 o’clock position, it sets
successively wider notches (the marked units
are the widths of the notch in octaves).
VERY IMPORTANT NOTE: Depending on the
setting of the Center Frequency control
and how narrow the passband or how wide
the notch, it is entirely possible to define an
analysis range within which the input audio
has no harmonic content at all, in which case
Panharmonium will provide no audio output. If
your Panharmonium is not making any sound,
this is the first thing to check.
The BW CV Input is a control voltage input
that is modified by its associated attenuverter
(as described above) and then summed with
the value of the Bandwidth control to define
the eective bandwidth.
A TIP: Using these controls, you can isolate
specific ranges of a mix (e.g., just the bass
or vocal) for resynthesis. With the narrowest
bandpass, you can actually pick out individual
harmonics.
FREEZE
Pressing the Freeze button freezes
the spectral analysis, sustaining the
current spectrum for as long as the
button is depressed.
A TIP: The Freeze function is particularly
useful when exploring harmonically
interesting audio input for the purpose of
saving spectra to memories. Simply keep
pressing the button until you get a spectrum
you like, and then continue holding it while
saving the spectra as described in Chapter 10.
NOTE: It is also possible to freeze the
analysis by setting the Blur parameter to
maximum, either via the Blur control or the
associated Blur CV input.
SLICE CLOCK OUTPUT
The Slice Clock Output
provides a trigger at the
beginning of each analysis
slice. It can be useful to
trigger other modules (sequencer clocks or
envelopes, for example) in sync with the slice
clock.

| 15
7. The Spectral Modifiers
The controls in the Spectral Modifiers
section let you creatively modify the analyzed
spectra.
VOICES
The Voices control lets
you define how many of
Panharmonium’s oscillators
(from 1 to 33) will be used to
resynthesize the input.
NOTE: While it’s tempting to simply turn up
Voices to 33 all the time, There are many
applications that work best with fewer voices.
Examples include extracting a bass line from
a mix where one voice may do a good job,
but additional voices will start bringing in other
parts of the mix. The brighter waveforms —
saws and pulses — often produce better results
with fewer voices.
ANOTHER NOTE: The numbers around
the Voices knob are the specific numbers
of voices that are selectable. Intermediate
numbers between the displayed labels are not
available. So, for example, you can select 6, 8,
or 11 voices, but not 7, 9, nor 10.
The CV1 input can be assigned to voltage
control number of Voices. See Chapter 9 for
details.
BLUR
The Blur parameter is a
spectral lag processor
that controls how quickly
the spectrum can change
with each new slice. At its
minimum, spectral changes happen virtually
instantly. As the Blur control is rotated
clockwise from minimum, spectral changes
happen slower and slower until, at maximum,
the spectrum freezes (equivalent to holding
down the Freeze button).
The Blur CV input is a control
voltage input that is summed with
the value of the Blur control to
define the eective blur value.
NOTE: The Blur CV input provides a
way to freeze the spectrum under CV
control. However, keep in mind that the Blur
parameter must be at its maximum to freeze
the spectrum. If the Blur control is set at its
minimum, it will take a CV voltage of at least
10V to bring Blur to maximum and freeze the
spectrum.
FEEDBACK
The Feedback control lets
you route the resynthesized
audio back into the entire
processing chain for subtle or
dramatic feedback eects. At
its max, the output becomes self-sustaining,
even if you remove the input.
The CV1 input can be assigned to voltage
control the Feedback value. See Chapter 9
for details.

16 |
8. The Oscillator Bank
The Oscillator Bank consists of 33 digital
oscillators that are used to resynthesize the
analyzed spectra.
WAVEFORM
The Waveform control
selects the waveform
that will be used by the
oscillators. In addition to
the usual sine, triangle,
sawtooth and pulse
waveforms, two special
crossfading sine and sawtooth waveforms are
included.
When using the normal waveforms, at the
beginning of each new slice, each oscillator
immediately moves to the frequency
assigned to it by the spectral analyzer (unless
Glide is enabled, in which case it glides to the
new frequency).
When using either of the crossfading
waveforms, Panharmonium executes a
crossfade between the outgoing oscillator
pitch (from the previous slice) and the pitch
of the new slice. The crossfade time is the
duration of the new slice.
A TIP: The easiest way to understand this
is to hear it:
Pick some input audio with a changing
spectrum (a full mix would be good).
Set Slice to minimum and Multiplier to 32.
Select the regular Sine waveform and listen to
the result.
Select the crossfading Sine waveform and
listen to the result.
Slowly turn up the Slice time and listen to the
result.
A NOTE: Keep in mind that while crossfade
waves and oscillator glide both aect
the transition between slices, they are two
entirely dierent eects. With glide, the pitch
of each oscillator moves smoothly for one
frequency to the next. With crossfade waves,
the incoming and outgoing pitches remain
constant while their amplitudes are inversely
modified. An exception is if Glide is applied
to crossfading waveforms, in which case the
outgoing pitch remains constant, while the
incoming pitch glides toward its target pitch as
it fades in towards its target amplitude.
ANOTHER NOTE: Whether to use a regular
or crossfading waveform is entirely a
matter of your musical intent. The crossfade
waves are great for smooth drones, ambient
textures, etc. But when resynthesizing
intelligible human speech, the regular
waveforms are typically preferable.
The CV2 input can be assigned to voltage
control the Waveform selection. See Chapter
9 for details.
FREQUENCY
The frequency of Panharmonium’s output
is controlled by the Frequency knob, the
1V/OCT input and the FM input and its
associated attenuverter.
The Frequency control lets you smoothly
adjust Panharmonium’s frequency over
a range of +/-7 semitones. Its setting is
summed with the 1V/OCT input and the FM
input to define the final frequency.

| 17
Pressing and holding the Tap/Opt button
while turning the Frequency knob will allow
you to adjust the frequency in discrete
semitones. Releasing the Tap/Opt button will
return to continuous adjustment.
The 1V/OCT CV Input is a calibrated full level
control voltage input that is summed with the
values of the Frequency control and the FM
input.
The FM Input is a control voltage input that
is modified by its associated attenuverter
and then summed with the value of the
Frequency control and the 1V/OCT input.
SPECTRAL WARPING
Pressing and holding the Output Mode/
Option button while turning the Frequency
knob will enable Spectral Warping.
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 Spectral Warping, each harmonic
element is shifted individually, producing a
variety of clangorous, swarming textures.
When the Output Mode/Option button is
held and the Frequency knob is at 12 o’clock,
there is no warping. As the knob is turned
clockwise, the spectral elements are spread
apart, with the low elements being shifted
lower and the upper elements being shifter
higher.
As the knob is turned counterclockwise, the
spectral elements are shifted closer together,
until, at the minimum setting, all of the
oscillators are forced to the same pitch.
The Warped LED will light to indicate that
a warp is active. If you release the Output
Mode/Option button, you will return to
adjusting the conventional frequency, but any
selected warp will remain active (and the LED
will remain on to indicate this).
To cancel any selected warp, hold the
Output Mode/Option button and turn the
Frequency knob to its 12 o’clock position.
The Warped LED will go out to indicate that
the warp is canceled.
OCTAVE
The Octave control
transposes Panharmonium’s
output in octaves from -2 to
+3 octaves.
The CV2 input can be
assigned to voltage control
the Octave value. See Chapter 9 for details.
GLIDE
The Glide control sets the
oscillators’ rate of polyphonic
glide. (I.e., each oscillator has
its own independent glide
circuit.)
The CV2 input can be
assigned to voltage control the Glide rate.
See Chapter 9 for details.
MIX
The Mix control sets the mix
balance between the input
audio and Panharmonium’s
resynthesis. As you would
expect, at the Dry end of the
scale, you will hear only the
input audio. At the Wet end,
you will hear only the resynthesis.
What actually comes out of the Left and
Right Outputs depends on the setting of the
Output Mode control described below.
The Mix CV input is a control
voltage input that is summed with
the value of the Mix control to
define the eective mix.

18 |
OUTPUT MODE
The Output
Mode/Option
button lets you
choose between
the two available output routings:
L-FX-R The left and right input channels are
passed through to the left and right outputs.
The mono resynthesis output appears at
both the left and right outputs (if you are
monitoring in stereo, it will appear in the
center of the stereo field).
LR—FX The left and right input channels are
mixed to mono and routed to the left output.
The mono resynthesis output appears at the
right output.
The associated LEDs light to indicate your
choice.
Stereo Patching
For stereo operation, patch stereo in, and
stereo out. The Mix control always fades
between dry and wet, and aects amplitudes
as follows:
In L-FX-R Mode, the Mix control fades
between the input audio passed in true
stereo and Panharmonium’s processed
output panned center, appearing at both
output jacks.
In LR—FX Mode, the Mix control fades
between the summed left and right input
signals appearing at the left output, and
Panharmonium’s processed signal appearing
at the right output.
Mono Patching
When processing a mono signal, the
suggested patch is to connect your signal
to the left input (which is normalled to the
right input) and then to monitor the right
output. The Mix control will then aect the
amplitudes at the right output as follows:
In L-FX-R Mode, the Mix control
fades between the input audio and
Panharmonium’s output.
In LR—FX Mode, only Panharmonium’s
processed output appears at the right output,
so the Mix control fades between silence and
full level — that is, Mix becomes a volume
control. In this case, the Mix CV input can be
used like a VCA gain input.
NOTE: The Output Mode/Option
selection is remembered at power down
and restored the next time you turn your
system on. If you turn on your system and
aren’t hearing what you expect (or not hearing
anything), double check the position of the Mix
control and the selected Output Mode.

| 19
9. Assigning CV1 and CV2
Panharmonium provides two assignable
CV inputs, CV1 and CV2, that can each be
assigned to control up to three dierent
parameters as follows:
CV1: Multiplier, Voices, and Feedback
CV2: Waveform, Octave, and Glide
To assign CV1 to a target parameter, hold
the Tap/Opt button and turn one of the
Multiplier, Voices, or Feedback knobs. The
CV1 input will be assigned to the selected
parameter and any of the other two that were
previously selected will be deselected.
When assigning a target as described above
or when pressing and holding Tap/Opt for at
least a second, the top three Spectra LEDs
will display CV1 assignments as labeled. If no
parameters are currently assigned to CV1, the
three LEDs will chase to indicate that.
As long as you hold Tap/Opt the LEDs will
display which (if any) of the parameters are
currently assigned to CV1. You can toggle
their state by pressing their associated
buttons. In this way a single CV patched into
CV1 can control up to all three parameters.
Assigning CV2 to targets is identical to the
process described above, except you press
the Output Mode/Option button to assign
CV2 to Waveform, Octave, and/or Glide. The
Presets LEDs and buttons will display and set
CV2 assignments.

20 |
10. Managing Spectra and Presets
Panharmonium allows you to store 12
Spectra and 12 Presets in memory for easy
recall.
A Preset is
a snapshot
of all of the
module
settings,
along with
the value of any CVs present at the moment
the preset is saved. This includes the number
of a selected Spectrum, if one is selected at
the moment the Preset is saved. Keep this in
mind to help avoid overwriting any spectra
used by presets (unless that’s what you want).
NOTE: When recalling a preset that was
saved with CVs present, the preset will
include the eects of those CV values, even if
the CVs are no longer patched.
A Spectrum
is a static
snapshot of
the harmonic
content of
the input
audio (along
with the current settings of the Center
Frequency and Bandwidth controls) at
the moment it is saved. Recalling a saved
spectrum replaces any live input and can
have its pitch controlled by the Frequency
control and any CVs at the 1V/OCT and FM
inputs.
Presets and Spectra may be backed up to
and restored from WAV files (individually or
en masse) as described in Chapter 12.
NOTE: Panharmonium comes from the
factory preprogrammed with 12 Presets
and 12 Spectra as described in Chapter 13. Our
assumption is that once you become familiar
with Panharmonium, you’ll save your own
creations over them. However, if you think you
might want to use some of them in the future,
you can simply save some or all of them to
WAV archives and reload them as needed.
They will also be available for download from
our web site.
LOADING PRESETS AND SPECTRA
To load Preset or Spectrum 1–6, click the
appropriate button (1–3 is on the top row
of each section, 4–6 on the bottom). The
associated LED will light.
Click the button again to deselect the Preset
or Spectrum. The LED will extinguish.
To select Preset or Spectrum 7–12, double-
click the desired button (7–9 is on the top
row, 10–12 is on the bottom). The associated
LED will flash.
Click the button again to deselect the Preset
or Spectrum. The LED will extinguish. (It’s not
necessary to double-click it to deselect, but
that will work too.)
IMPORTANT NOTE: When you recall a
preset, it’s likely that the values of the
various parameters will no longer match the
physical positions of their corresponding
controls. However, adjusting any of the
controls (either physically or via a CV) will
cause the associated parameter to immediately
change to the parameter’s new value.
ANOTHER NOTE: When you deselect a
preset, Panharmonium reverts to the
parameter values of the physical controls,
along with the most recent CV assignments
for CV1 and CV2 and any selected alternate
modes (Drums Mode, Spectral Warping,
Freeze Tap Mode etc.).