Schippmann ebbe und flut User manual

User manual by Carsten Schippmann,
Schippmann electronic musical instruments
Copyright © 2006
English version by Matthias Fuchs,Visophon.
grafic: www.evis.org
Contact:
Dipl.-Ing. Carsten Schippmann
Mittenwalder Sraße 19
D-10961 Berlin
Internet: www.schippmann-music.com
Email: [email protected]om
The manufacturer Schippmann electronic musical instruments is frequently looking for improvements and deve-
lopements of their products. Therefore we reserve the right to change technical specifications, intended to impro-
ve the products, at any time without notice.This includes the look of the units which might differ from pictures in
this manual.
No part of this publication may be reproduced, transmitted, transcribed or translated in any form or by any means
whatsoever without written permission by Schippmann electronic musical instruments.
Copyright C 2006, Schippmann electronic musical instruments

PREFACE
EBBE UND FLUT (which means ’ebb and flow’) is the very first comercial product by SCHIPPMANN e-
lectronic musical instruments. It took me almost two years to finish the first prototype.Within this pe-
riod, a couple of ’evolutional mutations’ from the basic idea to the final ’ebbe und flut’ used to exist.
The core of this machine was intented to be a filter. I used to have a certain ’vision’ of a VCF’s sonic qua-
lities and in parallel a circuit design, drawn on a simple sheet of paper just before i started my e-
lectronics degree. Nevertheless this idea lay fallow for the following twenty years, it never went com-
pletely out of my mind. Half a year before starting the project, i finally took out the design again and
realised it.
The filter should be well supported by a compressor, distortion unit and a VCA. Since modulation
capabilities are even more important, there should be lots of them in order to achieve highest sonic
potential and dynamics. Powerful envelopes, LFO, S&H, follower and an excellent audio trigger had to
become part of the concept.
It was my very intention to create a machine – totally free from any computer aided control – that is
capable to offer very flexible sonic results out of pure audio and is far ahead of just being a ’useful tool’.
Both VCFs are NOT identical, each of them has its own sonic qualities:While VCF1 provides ’cutting
edge’, ’powerful’ and ’loud’ sounds, VCF2 surprises with a ’silky’ and ’warm’ character. No need to say
that the unit is made to process mono-signals.
Of course, a certain philisophy can be found in the whole concept but it seems more importand to me
to encourage the user to become most familiar with the unit, in order to explore its vast capabilities by
himself.The basic philosophy of ’ebbe und flut’ is simple:
•Flat user interface stucture which means, all functions can be intuitively found on ONE level.
No menu structures with subsubsub...menus!
•All parameters have direct access and can be tweaked without any conversion delay or quan-
tisation.
•Pure true analogue concept – this is most important! The sonic differences to processor-gene-
rated sounds are so obvious, that they cannot be displaced or simulated.
•Directly connected is the dynamic control of parameters like e.g. cutoff frequency, oscillator
frequency by real analogue, electric voltages.This level of imediate parameter access and pa-
rameter value alteration is directly audible and cannot be achieved by any processor based
system.
•Since one of the basic principles in music is modulation – pitches are modulated into melo-
dies, changes of overtone-ratios or other musical parameters – two basic ways of modulation
should be provided: One-shot modulations (transitions), where a specific start level is led into
a final level (e.g. pitch, cutoff frequency) and periodic modulations (e.g. vibrato). Both ele-
ments can be found here in envelope generators and LFO.
•Modular structure. Nearly all modules like VCFs, compressor, envelopes etc, allow independent
use by access via numerous in- and output sockets.
•There is no total recall capability, because ’ebbe und flut’ should be played like a real musicial
instrument. Nevertheless all of the parameter settings are very stable and once made settings
won’t drift within weeks.

These qualities and of course its powerful sound make ’ebbe und flut’ a perfect tool on stage as well as
in the studio.
’ebbe und flut’ is a highly sophisticated device that offers many different ways of use. ’ebbe und flut’
shows multiple faces to the artist, because of its wide spreaded sonic capabilities. New sounds can be
sculptured or existing sounds can be processed in various ways. Instruments of all kinds (synthesizer,
guitars, brass, vocals,...), complete tracks or mixes fit perfect with ’ebbe und flut’. It can be easily con-
nected to or integrated into other electronic music setups, such as modular synthesizer systems. Be-
cause of its own modularity, it can be seperated into several independant audio- and modulation-de-
vices, easily accessable via aditional in- and output sockets on the rear panel.
Nothing is cheap on ’ebbe und flut’ – everything has been manufactured in highest available and af-
fordable quality. Nevertheless, some parameter settings might slightly drift in the first 3 to 10 minutes
after powering on.This is normal, even when all audio- and modulation modules are fully temperature
compensated, because ’ebbe und flut’ uses a fully descrete true analogue circuit-design and no one-
chip-solutions. Components that are located on different sections on the board, might slightly differ in
temperature when the board’s temperature rises after powering up the unit.This may occur in slight
drifting.
I am positive that this product at least will offer the same fun and pleasure for you as it did for me.I am
looking forward that this instrument will guide you a whole livetime with creative power and inspira-
tion.
Have lots of fun, while you now go to explore your ’ebbe und flut’.
Berlin, june, 5th, 2006
Dipl.-Ing. Carsten Schippmann, C.E.O.

CONTENT
1.WARRANTY 6
1.1 Limited Warranty 6
1.2 Warranty regulation 6
1.3 Warranty transferability 6
1.4 Claim for damages 6
2. CE and FCC compliance statements 7
3. DISPOSAL 7
4. SAFETY INSTRUCTIONS 8
5. MAINTAINANCE / CLEANING 9
6. Preparations 10
6.1 Unpacking 10
6.2 Installation 10
6.3 Hook up and first use 10
6.3.1 BEFORE POWERING UP ! 10
6.3.2 Power requirements 10
6.4 Audio connections 11
7. INTRODUCTION 12
7.1 Brief description of control elements on the frontpanel 12
7.2 Brief description of the control elements & sockets on the rear panel 15
7.3 Overview 16
PART I 19
8.THE AUDIO-MODULES 19
8.1 Input section 19
8.2 The Compressor 20
8.3 The signalflow-switch 23
8.4 The distortion unit 25
8.5 Filters VCF 1 and VCF 2 28
8.6 The VCA and the BYPASS-function 38
9.THE MODULATION MODULES 39
9.1 The dynamic-function 39
9.2 The audiotrigger 41
9.3 S&H (Sample & Hold) 43
9.4 The LFO 44
9.5 The AHR-envelopes 46
9.5.1 The re-trigger-mode 47
9.5.2 The gate-mode 48
9.5.3 The envelope-multiplier 48
9.5.4 The dynamic hold-function 50
9.6 The pedal 53
9.7 The Noisegate 54
9.8 Complete Circuitry 55
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PART II 57
10.TUTORIAL 57
10.1 Preparations 57
10.2 The filter 58
10.2.1 VCF 1 58
10.2.2 VCF 2 58
10.2.3 The ”inverse allpass“-function of VCF 1 59
10.2.4 Filter saturation 60
10.3 The distortion unit 60
10.4 The signalflow-switch 61
10.5 VCA and noisegate 61
10.6 The modulators 61
10.6.1 LFO 61
10.6.2 S&H 62
10.6.3 The dynamic-function (follower) 62
10.6.4 Audiotrigger and envelopes 63
10.6.5 Envelope multiplier and the dynamic-hold-function 63
10.6.6 Audio trigger and S&H 63
10.6.7 The audio trigger 64
10.7 The compressor 64
PART III 65
11.TIPPS AND IDEAS FOR ADVANCED USE 65
11.1 Feedback 65
11.2 Filtermix 65
11.3 LFO as audio oscillator 66
11.4 LFO as trigger 66
11.5 Audio trigger as LFO-sync 66
11.6 Envelope generators as audio-waveshaper 66
11.7 Pedal-socket 66
12.TECHNICAL SPECIFICATION AND RATINGS 67
12.1 Technical specification (in general): 67
12.2 Signals and ratings: 67
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1.WARRANTY
1.1 Limited Warranty
Schippmann electronic musical instruments warrants the machanical and electronic components of
this product for a period of two (2) years from the original date of purchase in according to the warran-
ty regulation described below. If the product shows any defects within the specified warranty period
that are not excluded from this warranty, Schippmann electronic musical instruments shall, at its
discretion, either replace or repair the product.This warranty is in addition to the general terms of
business of the manufacturer Schippmann electronic musical instruments.
1.2 Warranty regulation
Schippmann electronic musical instruments reserves the right to furnish warranty services only if the
product is accompanied by a copy of the original dealer’s invoice.Final determination of warranty co-
verage lies solely with Schippmann electronic musical instruments.Any Schippmann electronic musi-
cal instruments product deemed eligible for repair or replacement under the terms of this warranty,
will be repaired or replaced within 30 days of the receipt of the product at Schippmann electronic mu-
sical instruments. Damages or defects caused by improper handling or opening of the unit by un-
authorized personnel (user included), are not covered by this warranty. Products which do not meet
the terms of this warrenty will be repaired exclusively at the buyers expense and returned C.O.D. with
an invoice for labour materials, return freight and insurance.Products repaired under warranty will be
returned freight prepaid by Schippmann electronic musical instruments. Outside of Germany, pro-
ducts will be returned at the buyers expense.
1.3 Warranty transferability
This warranty is extended to the original purchaser and is not transferable. No other person (retail dea-
ler, etc) shall be entitled to give any warranty promise on behalf of Schippmann electronic musical
instruments.
1.4 Claim for damages
Schippmann electronic musical instruments does not accept claims for damages of any kind, especial-
ly consequential loss or damage, direct or indirect of any kind however caused. Liability is limited to
the value of this product.The general terms of business drawn up by Schippmann electronic musical
instruments apply at all times.
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2. CE and FCC compliance statements
This device has been tested and found to comply with the DIN EN 60065 norms. In compliancy to sa-
vety class II, it does not need a power line ground.
This device has been tested and found to comply with the requirements, listed in FCC Regulations, part
15.The device complies with EN 55103-1 and EN 55103-2 norms.
Because of the entirely analogue construction, this device does not generate radio frequencies and
will not interference with radio frequencies generated by other electronic devices.
3. DISPOSAL
This device has been manufactured RoHS-conforming in compliance with the requirements of the
european parliament and council and thus is free from lead, mercury and cadmium.
!! Nevertheless this product is special waste and shall not be disposed in ordenary household
waste !!
For disposal, please contact your local dealer or Schippmann electronic musical instruments.
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4. SAFETY INSTRUCTIONS
BEFORE USING THIS PRODUCT THE FIRST TIME, PLEASE READ THE ENTIRE USER MANUAL CARE-
FULLY.
•WHEN DISCONNECTING THE POWER PLUG FROM THE OUTLET, PLEASE PULL THE PLUG, NOT
THE CORD.
•PLEASE AVOID SHARP BENDINGS OF THE POWER CORD.
•CORDS SHOULD NOT BE INSTALLED WITHIN THE REACH OF CHILDREN OR PETS.
•DO NOT STEP ON THE ENCLOSURE OF THE PRODUCT, DO NOT PUT HEAVY OBJECTS ONTO IT.
•BEVOR MOVING THE PRODUCT, PLEASE DISCONNECT THE POWER PLUG AND ALL OTHER CAB-
LE CONNECTIONS.
•PLEASE DISCONNECT THE POWER PLUG FROM THE OUTLET WHEN THERE IS A HIGH PROBABI-
LITY OF LIGHTNING.
•NEVER OPEN THE ENCLOSURE OF THE PRODUCT! NEVER TRY TO MODIFY THE INTERNAL CIR-
CUITRY! ONLY QUALIFIED SERVICE PERSONAL IS ALLOWED TO OPEN THE ENCLOSURE.
THE POWERSWITCH IS LOCATED ON THE BACK PANEL. POWERSWITCH OR POWER PLUG OR ANY
OTHER CENTRAL DISCONNECTION COMPONENT HAS ALWAS TO BE IN REACH OF THE USER!
•DO NOT DAMAGE THE POWER CORD. DO NOT STRETCH, PINCH OR BEND IT, DO NOT PLACE
HEAVY OBJECTS ONTO IT AND TRY TO AVOID STEPPING ONTO IT.
•DO NOT PLACE OPEN FIRE ON TOP OF THE PRODUCT (CANDELS, ASH TRAIS ETC).
•NEVER EXPOSE THE PRODUCT TO WATER OR MOISTURE.
•IN CASE LIQUIDS HAVE BEEN SPILLED INTO THE ENCLOSURE, DO NOT POWER UP AGAIN! CON-
TACT QUALIFIED TECH PERSONAL FOR SERVICE.
USING A DAMAGED POWER CORD CAN CAUSE ELECTRIC SCOCK AND FIRE.
•NEVER USE A DAMAGED POWER CORD! IN CASE OF DAMAGES, CONTACT QUALIFIED SERVICE
PERSONAL FOR EXCHANGING THE POWER CORD.
•ADULTS SHOULD MAKE SURE THAT CHILDREN FOLLOW ALL SAFETY INSTRUCTIONS.
•AVOID MECHANICAL STRESS OR IMPACT (DO NOT DROP THE PRODUCT!).
•DO NOT USE THE PRODUCT WITH TOO MANY OTHER ELECTRONIC DEVICES ON ONE OUTLET,
ESPECIALLY IN CONNECTION WITH EXTENSION CORDS.
•NEVER USE EXTENSION CORDS WITH LOWER ELECTRICAL MAXIMUM PERMISSABLE LOAD
THAN THE TOTAL POWER CONSUMPTION OF ALL DEVICES, CONNECTED TO A SINGLE POWER
OUTLET. OVERLOADING EXTENSION CORDS MIGHT CAUSE FIRE.
•IN CASE OF MOVING TO ANOTHER AREA OR ANY DOUBT ABOUT THE SUPPLY VOLTAGE IN
YOUR AREA, PLEASE CONTACT YOUR DEALER OR THE MANUFACTURER SCHIPPMANN E-
LECTRONIC MUSICAL INSTRUMENTS.
•AVOID MECHANICAL STRESS ON SOCKETS AND KNOBS / SWITCHES.
•SAVE YOUR SPEAKERS AND EARS (!) OF EXCEEDING AUDIO LEVELS. ’EBBE UND FLUT’ IS
CAPABLE TO GENERATE EXTREMELY LOW AS WELL AS EXTREMELY HIGH FREQUENCIES.
BOTH MIGHT CAUSE SERIOUS DAMAGES ON EQUIPMENT AND EARS!
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5. MAINTAINANCE / CLEANING
•BEFORE CLEANING THE PRODUCT, PLEASE DISCONNECT THE POWER PLUG FROM THE OUTLET.
•USE A DRY OR SLIGHTLY MOIST CLOTH FOR CLEANING. NEVER USE ANY CLEANER OR THINNER
(E.G. PAINT THINNER OR ACETONE). PRINTS AND PAINTWORK WILL IMEDIATELY BE DE-
STROYED!! ALSO AVOID ALCOHOL (ISOPROPANOL), GAS, SPIRIT OR HOUSEHOLD CLEANER!
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6. Preparations
6.1 Unpacking
The box should contain the following items:
- ebbe und flut
- Power cord
- This manual
If the content of the box should be incomplete, please contact your dealer or Schippmann electronic
musical instruments imediately. In case of transport damages, please contact your responsible carrier
and Schippmann electronic musical instruments imediately. We will support you in this case.
6.2 Installation
Place the unit on a flat, clean, solid and sufficiently sized surface or in a suitable 19“ rack.The unit needs
2 RU space. In order to make sure sufficient ventilation and cooling, avoid the installation above heat-
radiating devices (e.g. power amps, tube gear).
6.3 Hook up and first use
6.3.1 BEFORE POWERING UP !
MAKE SURE THAT THE REQUIRED SUPPLY VOLTAGE FITS TO THE AREA WHERE THE UNIT WILL BE
IN USE.YOU WILL FIND THE POWER REQUIREMENTS OF THE UNIT PRINTED ON A PLATE IN THE
BACK OF THE UNIT.
6.3.2 Power requirements
’Ebbe und flut’ works all over the world. Inside the enclosure is a line voltage selector to adapt the unit
to your local power system. Qualified and authorised tech personal only is allowed to open the unit!
Please contact your local dealer or Schippmann electronic musical instruments.
On the backpanel of the unit, a fuseholder can be found.The specific fuse-type has to fit to the local
power supply voltage:
Power supply voltage 200 – 250 Volt AC: Miniature fuse 5 x 20
80 mA SLO-BLO (slow-blow)
Power supply voltage 100 – 125 Volt AC: Miniature fuse 5 x 20
160 mA SLO-BLO (slow-blow)
In case of swapping the fuse, disconnect the power plug before! Use a suitable screwdriver. Move the
screwdriver into the slot, press gently on the top while turning slowly counter clockwise.The protecti-
ve cap’s top with the fuse pops out. Swap the fuse and mount it according to the procedure above.
Never try to replace the fuse by anything else or bridge it with metal components (e.g. metal
foil).
user manual e b b e u n d f l u t l 10

6.4 Audio connections
Before you start hooking up the unit to your audio system, make sure that your speakers do not get
any signal. Connect the audio-out ”OUTPUT” of ’ebbe und flut’ with your audiosystem, such as mixing
desk, soundcard or active speakers. Connect the audio-in ”INPUT”of ’ebbe und flut’ with a soundsour-
ce, such as e.g. synthesizer, drummachine, cd-player or effect-send of your mixing desk.
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7. INTRODUCTION
Even if studying manuals might not be not part of your favorite pastime, my advice is to read the entire
manual carefully. There are lots of things to explore and even experienced users will need some gui-
dance to get all ’ebbe und flut’s’ details. Next to that, this manual contains 51 figures that will (hopeful-
ly) enable you to quickly understand even complex functionality. Nevertheless, for some of you there
might totally new topics.I tried to find the best compromise between a simple manual for beginners
and a guidance line for pro-users. Hopefully my task was successful.
The explaining section of this manual contains three parts. Part one explaines consecutively all modu-
les, their functionality and the corresponding controls.Part two features a guidance line, that covers all
functions of the unit in order to get a first feel for each of them, the interaction between modules and
the audible results. Part three gives some tipps and ideas for more advanced use.
There is lots of taking about modules in this manual. A module means an internal section of the unit
with a specific functionality, e.g. an envelope generator, the follower or a filter.We will distinguish bet-
ween audio- and modulation modules.
First of all, we will introduce all control elements and in- and output sockets. An overview over ’ebbe
und flut’s’modular structure and its ’ingrediences’ will follow straight after.
7.1 Brief description of control elements on the frontpanel
1: [level] Level knob – controls level at the compressor input, supplied from socket (24)
2: [signalflow] 3-way switch – determines signal routing behind the compressor via modules
distortion, filter 1 and filter 2
3: [compression] Compression knob – adjusts compression, threshold and level of the com-
pressor
4: [slow/fast] Compressor switch – selects between two attack/release time presets of the
compressor: slow 40/300 ms – fast 20/150 ms
5: [distortion] Distortion knob – adjusts amount of distortion
user manual e b b e u n d f l u t l 12

6: [low/high] Distortion switch – selects between two separation-frequencies of the two-band
distortion module: low 96 Hz / high 1050 Hz
7: [frequency] Frequency knob – adjusts cutoff frequency of VCF 1
8: [resonance] Resonance knob – adjusts resonance of VCF 1
9: [pedal] Knob with center position – adjusts positive/negative (ccw/cw) modulation amount
of a foot pedal, connected to socket 5, to cutoff frequency of VCF 1
10: [depth] Knob with center position – adjusts positive/negative (ccw/cw) modulation amount
of envelope generator AHR 1 to cutoff frequency of VCF 1
11: [env-mod1] Toggle switch – selects between the two sources AMT1 / DYN (external / dyna-
mic) to control the modulation amount of AHR 1 – envelope to cutoff of VCF1, after passing
knob (10)
12: [modulation] Knob with center position - adjusts positive/negative (ccw/cw) modulation
amount of the selected modulation source to resonance of VCF 1
13: [reso-mod1] Toggle switch - selects between the two resonance-modulation sources for
VCF 1: S&H/ ENV 1
14: [modulation] Knob with center position - adjusts positive/negative (ccw/cw) modulation
amount of the selected modulation source to cutoff frequency of VCF 1
15: [vcf-mod1] 3-way switch –selects between three cutoff modulation sources for knob (14):
dynamic / LFO / S&H
16: [curve] 12-position rotary switch – selects between 12 different characteristics of VCF 1:
24 db-LP, 18 db-LP, 2x12 db-LP, 2x6 db-LP, 6/6 db-BP, 12/6 db-BP, 6 db-HP, 12 db-HP, notch, inver-
se allpass
17: [attack 1] Envelope knob – adjusts attack-time of envelope generator ENV 1
18: [hold 1] Envelope knob – adjusts hold-time of envelope generator ENV 1
19: [release 1] Envelope knob – adjusts release-time of envelope generator ENV 1
20: [dynamic] Toggle switch – selects linear or logarithmic scaling (lin/log) of the follower-modu-
lationsignal, which is derived from the incomming audiosignal at the compressor input.
21: [gate] 3-way-switch – selects between three sources to trigger the gate of the S&H unit
(Sample & Hold): audiotrigger / LFO / external
22: [source] 3-way-switch – selects between three input sources of the S&H unit
(Sample & Hold): dynamic / LFO / random (DYN / LFO / RAND)
23: [wave] 3-way-switch –selects between three LFO waveforms: triangle / sawtooth (falling) /
rectangular
23a: LED – displays the momentary level of the LFO-signal
24: [speed] LFO-knob – adjusts the LFO-frequency
25: [attack 2] Envelope knob – adjusts attack-time of envelope generator ENV 2
26: [hold 2] Envelope knob – adjusts hold-time of envelope generator ENV 2
27: [release 2] Envelope knob – adjusts release-time of envelope generator ENV 2
28: [frequency] Frequency knob – adjusts cutoff frequency of VCF 2
29: [resonance] Resonance knob – adjusts resonance of VCF 2
30: [pedal] Knob with center position – adjusts positive/negative (ccw/cw) modulation amount
of a foot pedal, connected to socket 5, to cutoff frequency of VCF 2
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31: [depth] Knob with center position – adjusts positive/negative (ccw/cw) modulation amount
of envelope generator AHR 2 to cutoff frequency of VCF 2
32: [env-mod2] Toggle switch – selects between the two sources AMT2 / DYN (external / dyna-
mic) to control the modulation amount of AHR 2 – envelope to cutoff of VCF2, after passing
knob (31).
33: [modulation] Knob with center position - adjusts positive/negative (ccw/cw) modulation
amount of the selected modulation source to resonance of VCF 2
34: [reso-mod2] Toggle switch - selects between the two resonance-modulation sources for
VCF 2: S&H/ ENV 2
35: [modulation] Knob with center position - adjusts positive/negative (ccw/cw) modulation
amount of the selected modulation source to cutoff frequency of VCF 2
36: [vcf-mod2] 3-way switch –selects between three cutoff modulation sources for knob (35):
dynamic / LFO / S&H
37: [curve] 12-position rotary switch – selects between 12 different characteristics of VCF 2:
24 db-LP, 2x12 db-LP, 3x6 db-LP, 2x6/6 db-BP, 6 db-HP, 12 db-HP, notch, allpass filter2
38: [threshold] Noisegate knob – adjusts level (threshold), to open resp. close the noisegate.
39: [vca-mod] 3-way switch – selects between three modulation sources for the VCA:
ENV 1 / noisegate / ENV 2
40: [bypass] Toggle switch – internally connects the VCA (ON) or the input signal (-5.6 db) (BYP)
to the audio-out socket (24)
41: [balance] VCA knob – blends between both filters VCF 1 and VCF 2 and routs the signal to
the VCA
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7.2 Brief description of the control elements & sockets on the rear panel
0: fuse – Fuseholder for line fuse type 5 x 20, 80/160 mA SLO-BLO
1: Power Inlet C8 – Socket for power cord with C7 Outlet
2: Powerswitch – Power supply switch
3: [POLARITY] Toggle switch – inverts/swaps CV-input and voltage supply at TIP and RING of
socket (5) in order to provide the use of different pedal types.
4: LFO OUT/TRIG S&H (Tip/Ring) ¼“ stereo-socket – provides LFO-waveform output / S&H-ga-
te-input
5: PEDAL ¼“ stereo-socket – for use of passive (volume) pedal or as CV-input (also suitable for
active pedals)
6: SYNC/SPEED (Tip/Ring) ¼“ stereo-socket – LFO-sync input / CV-input for LFO-frequency
7: TRIG OUT/DYN OUT(Tip/Ring) ¼“ stereo-socket – Audiotrigger / dynamic-modulation
voltage
8: TRIG 1/A(H)R 1 (Tip/Ring) ¼“ stereo-socket – Trigger input for envelope AHR 1 / control input
for changing mode of envelope generator (AHR / AR)
9: TRIG 2/A(H)R 2 (Tip/Ring) ¼“ stereo-socket – Trigger input for envelope AHR 2 / control input
for changing mode of envelope generator (AHR / AR)
10: ATTACK 1/HOLD 1 (Tip/Ring) ¼“ stereo-socket – CV-input for attack-time / CV-input for hold-
time of AHR 1
11: ATTACK 2/HOLD 2 (Tip/Ring) ¼“ stereo-socket – CV-input for attack-time / CV-input for hold-
time of AHR 2
12: AMT 1/Release 1 (Tip/Ring) ¼“ stereo-socket – CV-(multiplication) input of envelope amount
/ CV-input for release time of AHR 1
13: AMT 2/Release 2 (Tip/Ring) ¼“ stereo-socket – CV-(multiplication) input of envelope amount
/ CV-input for release time of AHR 2
14: FREQ 1/RESO 1 (Tip/Ring) ¼“ stereo-socket – CV-input for cutoff frequency / CV-input for
reonance of VCF 1
15: FREQ 2/RESO 2 (Tip/Ring) ¼“ stereo-socket – CV-input for cutoff frequency / CV-input for
reonance of VCF 2
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16: VCF 2 OUT ¼“ mono-socket – VCF 2 audio output
17: VCF 2 IN ¼“ mono-socket – VCF 2 audio input
18: VCF 1 OUT ¼“ mono-socket – VCF 1 audio output
19: VCF 1 IN ¼“ mono-socket – VCF 2 audio input
20: ENV 1/ENV 2 OUT(Tip/Ring) ¼“ stereo-socket – output envelope1 / envelope2
21: COMP/DIST OUT(Tip/Ring) ¼“ stereo-socket – audio output compressor / distortion
22: [GAIN] Toggle switch – selects the amplification of the input stage (0 db/+20 db)
23: OUTPUT ¼“ mono-socket – audio output (VCA or bypass)
24: INPUT ¼“ mono-socket – audio input of input stage and compressor
7.3 Overview
The following figures provide a brief overview about the audio- and modulation-structure, as well as
the signalflow of ’ebbe und flut’.White labeling means functions to be found on the frontpanel, dark
grey labeling to be found on the rear panel. Digits in brackets mean the number of the corresponding
knob, switch or socket. A letter in postposition means the corresponding pin of a stereo socket (t = TIP,
r = RING). Light grey labeling underlines internal signals, which are useful for understanding the units
functionality. Light grey labeling, used at the same term on different positions, means an internal con-
nection between these points, e.g. all in- and outputs of all modules which use the light grey labeling
”DYN“, are internally connected with each other.
Module overview
•VCF 1 (Voltage Controlled Filter 1) with resonance, capable to self-oscillate
1 of 12 characteristics selectable via 12-position rotaryswitch:
24 db-lowpass, 18 db-lowpass, 2x 12 db-lowpass, 2x 6 db-lowpass, 2x bandpass,
6 db-highpass, 12 db-highpass, notch, inverse allpass
•VCF 2 (Voltage Controlled Filter 2) with resonance, capable to self-oscillate
1 of 12 characteristics selectable via 12-position rotaryswitch:
24 db-lowpass, 2x 12 db-lowpass, 3x 6 db-lowpass, 2x bandpass,
6 db-highpass, 12 db-highpass, notch, allpass
•Automatic softknee compressor
•2-Band-distortion (selectable separation-frequency: 96 Hz/1050 Hz)
•VCA (Voltage Controlled Amplifier)
•2x VC-AHR/AR (Voltage Controlled Attack – Hold – Release / Attack – Release) envelope ge-
nerators: AHR (retrigger)-mode, AR (gate)-mode
•VC-LFO (Voltage Controlled Low Frequency Oscillator) with triangle / saw / square – function,
syncable
•S&H (Sample & Hold)
•Dynamic (voltage follower) (linear or logarithmic scaling)
•Dynamic Audiotrigger
•Noisegate
user manual e b b e u n d f l u t l 16

Most of the modules can be used, above their prepatched internal signal connections, as separate de-
vices.
Within the prepatched internal signalflow, e.g. envelopes operate filtercutoffs, resonances or the VCA.
The LFO modulates filtercutoffs, controls the sample & hold (gate) or is beeing chopped up as a signal
source.The sample & hold itself can modulate the filtercutoffs and resonances.
20 ¼“ sockets, most of them in stereo on the rear panel, provide a total of 34 additional in- and outputs
for audio- and modulation-connections.
Compressor
slow / fast (4)
Noisegate
Dynamic
Audiotrigger
level (1)
INPUT (24)
VCF 1
1 of 12
VCF 2
1 of 12
FREQ 1
(14t)
RESO 1
(14r)
FREQ 2
(15t)
RESO 2
(15r)
VCF1 IN (19) VCF2 IN (17)
VCF1 OUT (18) VCF2 OUT (16)
Distortion
balance (41)
VCA
OUTPUT (23)
ENV 1 (fix level)
ENV 2 (fix level) select (39)
COMP OUT (21t)
signalflow (2)
DIST OUT (21r)
DYN OUT (7r)
TRIG OUT (7t)
Trigger
DYN
gain (22)
F1-D-F2 F2-D-F1
D-F
compression
(3)
Detector
distortion (5)
low/high (5)
lin/log (20)
Thres. (38)
curve (16) curve (37)
GAIN-AMP
Fig. 7.3.1 Modular structure of the audio processing
Fig. 7.3.1 shows a block diagram of the audio-modules as modular blocks. For better clarity, most of the
filter-controls are hidden. Concerning the audiopaths, the figure is almost complete. Invisible is the
internal wirering of both filter inputs via [signalflow]-toggle-switch (2) and their connection to the
output of the distortion unit. (see chapter 8.3).
17 l user manual e b b e u n d f l u t

LFO
SYNC(6t)
SPEED(6r)
LFO OUT
(4t)
LFO
waveform
(23)
tri
saw
rect
speed(24)
TRIG-S&H (4r)
LFO
Trigger
gate (21)
S&H
(Sample
& Hold)
DYN
LFO
RAND
S&H
source (22)
ENV 1
ATT ACK 1
(10t)
HOLD1
(10r)
TRIG 1 (8t)
RELEASE 1
(12r)
A(H)R1 (8r)
DYN dynamic
hold AMT 1(12t)
multiplier
switch (11)
to VCA,VCF1-Resonance
ENV 1(fix level)
ENV 1(var level)
ENV 1O UT (20t)
(bip level)
to VCF1-Frequency
attack 1
(17)
hold1
(18)
release 1
(18)
Trigger
ENV 2
ATT ACK 2
(11t)
HOLD2
(11r)
TRIG 2 (9t)
RELEASE 2
(13r)
A(H)R2 (9r)
DYN dynamic
hold AMT 2(13t)
multiplier
switch (32)
to VCA,VCF2-Resonance
ENV 2(fix level)
ENV 2(var level)
ENV 2O UT (20r)
(bip level)
to VCF2-Frequency
attack 2
(25)
hold2
(26)
release 2
(27)
Trigger
Fig. 7.3.2 Modulation paths
Fig. 7.3.2 shows the modulation paths as block diagrams. Above you will find both envelope genera-
tors, the S&H (Sample & Hold) and the LFO.
user manual e b b e u n d f l u t l 18

PART I
This chapter explains each module and its controls.You will find detailed descriptions of all functions
and control elements.
8.THE AUDIO-MODULES
8.1 Input section
The input section contains the frontpanel control elements [level] (1) and the elements (22), (23) and
(24) on the rear panel.
The audio inputsignal is fed into the ”INPUT“-socket (24). At first is attenuated by the [level]-knob
(1).Then it is amplified by the gain amp. Amplification (gain) can be selected with the [GAIN]-switch
(22) between 0 db (amplification = 1) or +20 db (amplification = 10).This is a detailed description of
the corresponding control elements:
back: (24) INPUT
The ”INPUT“-socket (24) is a mono-audioinput. It is connected to the gain amp and – in BYPASS-Mo-
de – to the ”OUTPUT“ (25).
front: (1) [level]
The [level]-knob (1) attenuates the signal at the ”INPUT-socket (24) between ”zero” and ”one”.Then it
is passed to the input stage.
back: (22) [GAIN]
The [Gain]-switch (22) selects the amplification of the gain amp between ”0 db“ (amplification = 1) or
”+20 db“ (amplification = 10). Position ”+20db”should be used for low level signals like e.g. micropho-
ne or electric guitar.
Position ”0 db“(left) : Gain = 0 db
Position ”+20 db“ (right): Gain = +20 db
back: (23) OUTPUT
”OUTPUT“-socket (23) is a mono audio output, supplied by the VCA output or – in BYPASS-Mode –
the input signal on socket (24).
19 l user manual e b b e u n d f l u t