Siren P565 User manual

P565
Siren
User Guide
Version 1.0

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

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

3
Dry Polarity
Wet Polarity
External Sidechain
Enables external
signal feed to the
envelope followers
Step Filter
Enables HP/LP King
Tubby Big Knob style
step filtering
OS –Oversampling
Enables OS options
(OFF, INTEL,
VINATGE or HD)
A/B Compare
Preset Browser
Options Menu
About / License
Status / User Guide
Hint: Look for mirrored control descriptions if
you don’t see what you are looking for!
MIX
Blend the desired amount
of dry and processed signal
WET DELAY
Creates beautiful phasing
and comb filtering effects
POWER
Bypass
processing
OVERDRIVE
Awesomesauce. As if Siren
wasn’t special enough.
OUTPUT
-10 dB to 10 dB of
transformer coupled gain
SPEED
I slow, II medium, III fast. The
rate at which the frequency
changes.
Filter Cutoff Frequency
Sets the point where the filter
starts working. Enable or
disable with the red (HPF) or
blue light (LPF). Switchable
from continuous to stepped.
ATTACK
How quickly the enveloper
follower reacts to the signal
AMOUNT
Degree of frequency change.
Negative decreases the
frequency, positive increases.
Envelope Follower
Enable or disable with the
pink light
RELEASE
How quickly the envelope
follower stops reacting to the
signal
Filter SLOPE dB
12 dB/oct, 24 dB/oct or
18dB/oct
Filter RESONANCE
Adds positive resonance at
the filter cutoff frequency
NOTCH/PEAK RANGE
x1, x10 or x100. Enable or
disable with the green light.
NOTCH/PEAK Frequency
20 Hz to 20 kHz with RANGE
disabled, 20 Hz to 200 Hz at
x1, 200 Hz to 2 kHz at x10, 2
kHz to 20 kHz at x100. Center
point of the selected filter.
Envelope Follower Routing
Selects which filters
(NOTCH/PEAK or HPF/LPF)
are affected by the envelope
follower.
NOTCH/PEAK Filter Type
5%, 10% or 50% notch. 1.2, 5
or 10 Q peak band pass.
DRIVE
Analog filter distortion. PRE to
place it before filters, POST to
place it after filters.
Resize

4
Wet polarity inverts only the processed wet audio
signal. Yellow indicates it is inverted.
Dry polarity inverts the unaffected dry audio signal.
Yellow indicates it is inverted.
The external sidechain button enables use of an
external source as the signal feeding the envelope
follower. Consult the documentation for your DAW for external
routing options and instructions. Yellow indicates the external
sidechain is engaged.
The step filter button converts the high pass and low
pass filters from being continuously variable to being
stepped. This enables additional creative options in the style of
King Tubby’s infamous Big Knob. Step filter mode is available for
all dB/oct slopes.
Oversampling options allow P565 to optionally
operate at a multiple of the host sample rate. Grey
indicates OS off and yellow indicates OS on. With OS off, P565
operates at the host sample rate (x1).
When oversampling is on, different options are made available.
See the descriptions of INTEL mode, VINTAGE mode and HD
mode below.
INTEL (intelligent) mode operates at double the host
sample rate (x2). It scans the full frequency spectrum
and attenuates any aliasing signals. The amount of processing
applied by this advanced filtering is highly dependent on the
signal and the degree to which P565 is being pushed.
VINTAGE mode operates at double the host sample
rate (x2). It applies smooth filters to upper frequencies
to maintain a classic rolled-off characteristic and allows any
aliasing signals to remain unfiltered. This provides the ability to
creatively combine a smooth, vintage top end with modern
inharmonic distortion. This is most effective when oversampling at
a 44.1 kHz or 48 kHz host sample rate.
HD mode operates at an internal sample rate of 384 kHz. It
utilizes the same full frequency scan filtering strategy as
INTEL mode. The high sample rate and filtering mechanism make
this a pristinely high-quality option at a surprisingly efficient CPU
load. This mode is equally suitable for mastering duties or for key
tracks when mixing.
To achieve HD oversampling, P565 applies the following logic:
•44.1 and 48 kHz oversamples at x8
•88.2 and 96 kHz oversamples at x4
•176.4 and 192 kHz oversamples at x2, thereby enabling
INTEL and VINTAGE options
•384 kHz disables oversampling options
A/B allows for temporary storage of different
settings for quick comparison. The arrow button
allows for copying the active side to the inactive side.
Tip: When comparing settings, clicking the A/B button will
perform the toggle. This is a single button, so it is not necessary
to move the mouse to alternate back and forth. This makes it
easy to compare without knowing which one is selected. We
recommend doing this with your eyes closed for maximum focus.

5
The preset
browser
allows for modification of the currently selected preset using the
save icon to the left of the browser (direct save) or for creation of
new presets using the save icon to the right of the browser (save
as…). A red asterisk*will appear beside the left save icon
indicating the loaded preset has been modified and can be
overwritten.
Options Menu
About –Check the
version number or demo
expiration date.
License Status –Manage your license.
User Guide –Open the EN or DE user guide.
The HPF SLOPE dB selector sets the slope of the
cutoff frequency.
The 12 dB/oct (2-pole) and 24 dB/oct (4-pole) slopes
are signature Pulsar Modular filters indicated by the
markings under their respective labels.
The 18 dB/oct (3-pole) slope is a UREI 565-style modeled filter.
The HPF cutoff frequency knob sets the
point from where the high pass filter starts
working.
When in continuous mode, it features a
frequency range of 20 Hz to 3 kHz.
When in stepped mode, frequencies
match the Altec 9069B frequencies 70,
100, 150, 250, 500, 1000, 2000, 3000,
4000, 5000 and 7500.
Frequencies above the cutoff frequency are unaffected and
frequencies below the cutoff frequency are cut.
If the envelope follower is engaged and the enveloper follower
routing knob is pointing to the HPF cutoff frequency knob, the
LEDs will move counterclockwise or clockwise according to the
parameters set in the enveloper follower to indicate negative or
positive cutoff frequency movement.
This filter can optionally be turned off using the red light beside
the HPF label.

6
The HPF RESONANCE knob adds positive
feedback that peaks at the HPF cutoff frequency,
resulting in very rich harmonic behavior.
As the knob is turned clockwise, overtones,
coloration and harmonic emphasis of the
frequencies around the cutoff become increasingly
audible. When the knob is turned fully counterclockwise, the filter
is essentially flat at the cutoff point.
Note: When the resonance knob is turned to roughly 8/10 of
the full range, it will begin to self-oscillate. Be very careful with
this feature because it can produce high amplitude high or low
frequencies that are inaudible, but that may push or even
damage equipment.
The NOTCH/PEAK band filter RANGE selector
allows a restricted range to be applied to the
respective NOTCH/PEAK band filter frequency
knob.
Enable or disable with the green light beside the
RANGE label.
If disabled, the NOTCH/PEAK band filter has a full range of 20 Hz
to 20 kHz.
If enabled, the following options and resulting frequency ranges
are available:
•x1 = 20 Hz –200 Hz
•x10 = 200 Hz –2 kHz
•x100 = 2 kHz –20 kHz
Tip: Use the range selector for narrowing the frequency
selection range when creating sweeping effects if fine control
over the selected frequency is desired.
Note: There are two instances of the band filter and
associated controls, each having identical functionality.
The NOTCH/PEAK band filter frequency
knob sets the center point of the selected
filter.
The type of NOTCH filter or type of
PEAK filter is selected using the
NOTCH/PEAK band filter selector. See
the NOTCH/PEAK band filter selector for
details on choosing the filter style and
shape.
The range for the continuously variable
frequency selection is determined by the NOTCH/PEAK band
filter RANGE selector. The default range is 20 Hz to 20 kHz. See
the NOTCH/PEAK band filter RANGE selector for details on
restricting the range.
If the envelope follower is engaged and the enveloper follower
routing knob is pointing to the NOTCH/PEAK band filter
frequency knob, the LEDs will move counterclockwise or
clockwise according to the parameters set in the enveloper
follower to indicate negative or positive center point frequency
movement.

7
The envelope follower routing knob determines
which of the filters are affected by the envelope
follower.
Point the routing knob towards the HPF/LPF cutoff
filter to have the envelope follower dynamically
influence the frequency of that cutoff filter.
Point the routing knob towards the NOTCH/PEAK band filter
frequency knob to have the envelope follower dynamically
influence the center point of that peak or notch filter.
The NOTCH/PEAK band filter selector
allows from three notch filters and three
band pass peak filters.
Enable or disable with the green light
below the NOTCH/PEAK label.
Clockwise, beginning from the far left, the
notch filter widths are 5%, 10% or 50% of
center frequency.
The Q values of the band pass peak filters are dependent on and
complimentary to the selected HPF/LPF slope.
•When 18 is selected, counterclockwise, beginning from
the far right, the band pass peak filters are 1.2, 5 or 10 Q.
•When 12 or 24 dB is selected, counterclockwise,
beginning from the far right, the band pass peak filters are
TBD, TBD and TBD.
The enveloper follower extends
the filtering capabilities of either
the cutoff frequency, resonance
and slope or the NOTCH/PEAK
band filter, turning these into
dynamic filters.
Enable or disable with the pink
light above the ENV 1 or ENV 2
label.
The envelope follower tracks the
loudness contour of the
incoming signal, producing a
voltage that follows the dynamics of the signal. This voltage
affects the position of the cutoff or center frequency of the
selected filter, resulting in interesting and very musical dynamic
filter effects.
When AMOUNT is negative, the follower will dynamically
decrease the cutoff or center frequency. When the AMOUNT is
positive, the follower will dynamically increase the cutoff
frequency. At 0, it has no effect.
ATTACK determines how quickly the envelope follower responds
to the incoming audio and RELEASE determines how quickly the
envelope follower’s release responds to the audio.
SPEED influences the rate at which the cutoff or center frequency
moves from slowest (I) to fastest (III). Each setting introduces
different musical colors and movement.

8
The LPF SLOPE dB selector sets the slope.
The 12 dB/oct (2-pole) and 24 dB/oct (4-pole) slopes
are signature Pulsar Modular filters indicated by the
markings under their respective labels.
The 18 dB/oct (3-pole) slope is a UREI 565-style modeled filter.
The LPF cutoff frequency knob sets the
point from where the low pass filter starts
working.
When in continuous mode, it features a
frequency range of 240 Hz to 20 kHz.
When in stepped mode, frequencies
match the Altec 9068B frequencies 250,
500, 1000, 2000, 3000, 4000, 5000, 6000,
8000 and 10000.
Frequencies below the cutoff frequency are unaffected and
frequencies above the cutoff frequency are cut.
If the envelope follower is engaged and the enveloper follower
routing knob is pointing to the HPF cutoff frequency knob, the
LEDs will move counterclockwise or clockwise according to the
parameters set in the envelope follower to indicate negative or
positive cutoff frequency movement.
This filter can optionally be turned off using the blue light beside
the LPF label.
The LPF RESONANCE knob adds positive
feedback that peaks at the LPF cutoff frequency,
resulting in very rich harmonic behavior.
As the knob is turned clockwise, overtones,
coloration and harmonic emphasis of the
frequencies around the cutoff become increasingly
audible. When the knob is turned fully counterclockwise, the filter
is essentially flat at the cutoff point.
Note: When the resonance knob is turned to roughly 8/10 of
the full range, it will begin to self-oscillate. Be very careful with
this feature because it can produce high amplitude high or low
frequencies that are inaudible, but that may push or even
damage equipment.
The DRIVE knob produces a pleasing
crunchy analog filter distortion.
Set the PRE/POST switch to PRE to position
DRIVE prior to all filters.
Set the PRE/POST switch to POST to
position DRIVE after all filters.
OVERDRIVE. We couldn’t decide what to call this.
Some wanted to call it the GO NUTS button. Some
simply wanted to call it VICIOUS. There was even
someone who didn’t think it needed a name but
wanted it to go to 200 (that is a full 189 past 11, there Nigel)! We
settled on OVERDRIVE. You can call it whatever you want, just
use it with care… everywhere.

9
The POWER button allows the unaffected audio
signal to pass through without being processed.
The OUPUT knob features -10 dB to 10 dB of
transformer coupled gain. The output of this
stage feeds into the MIX knob.
The MIX knob allows for blending a desired
amount of dry signal in with the processed wet
signal.
The WET signal DELAY trim pot allows the wet
signal to be delayed from 0 ms to 99 ms. Use this to
create beautiful phasing and comb filtering effects.