WORNG Electronics Parallax User manual
WORNG Electronics Parallax manual
Thank you for purchasing a WORNG Electronics Parallax stereo VCF.
Parallax is designed to give you total control over filtering in stereo in
an intuitive, playable form factor.
Connecting your Parallax:
Parallax requires 16hp of space in
your Eurorack system, and a depth of
25mm. Connect the included power
cable to the back of the module and
to your power busboard. The
connection on the module is shrouded
and can only go one way, but is also
marked with a line to let you know
which way the red stripe should be
facing. The module is also protected
against damage from reverse power
connection, but you should still
always be careful connecting power.
Parallax essential concepts:
Parallax is a filter designed to give you a set of controls that allow you
to easily treat a stereo signal as a stereo signal rather than a pair of
mono signals, as well as giving you control to move around in the
stereo domain. The filter topology of Parallax is an extended and hot
rodded design with roots in the Sequential Circuits Pro One and
Prophet 5 rev 3. An obvious improvement is that the filter is stereo,
also -12dB/oct outputs have been added in addition to the traditional
-24dB/oct outputs. There are a number of other improvements under
the skin to bring the filter into the modular realm, all the while keeping
the rough yet creamy sound that has made this filter a favourite over
the years.
The terminology used on Parallax is the terminology of a stereo signal,
so Freq controls stereo frequency and Res controls stereo resonance.
The controls marked F. Skew and R. Skew are to skew the frequency
and resonance in the stereo field, i.e. turning F. Skew to the left will
increase the cutoff on the left and decrease it on the right. A pair of
LED indicators for Frequency (Red) and Resonance (Yellow) are
included to give an accurate representation of what is happening in the
stereo field, which can be useful in seeing how modulation is affecting
your filtration in stereo.
The controls are divided into two sections to the left and right of the
module, with different coloured knob caps to help you easily
differentiate between them. The left side controls are for the
frequency and the right are for resonance.
A design choice was made to include multiple FM CV inputs and to
include knobs for CV amount on all inputs as we believe this creates a
more playable and more easily fine-tuned filter, so you’ll enjoy using
Parallax and will find it easier to get the sounds you want.
Finally Parallax has stereo inputs and outputs on the lower part of the
module. These are a pair of mono 3.5mm jacks marked L and R to make
the stereo pair, as per the eurorack standard. If you wish to use a signal
on a stereo 3.5mm TRS cable be sure to break it out into individual L
and R signals before patching into the Parallax.
The L input is normalled to the R, so if you patch to L and leave R
unpatched the signal will go to both outputs, allowing you to make
stereo patches from a mono source. It is a deliberate design decision
not to sum the stereo outputs to mono if only one cable is patched in,
the Parallax is a proudly stereo device.
Parallax Controls:
Starting at the top of the module the largest and most prominent
control is stereo frequency, marked Freq. This control alters the cutoff
frequency of both the Left and Right channel filters together, allowing
you for example to do an even filter sweep over a stereo signal.
To the right, and distinguished with grey knob caps, is the stereo
resonance control, marked Res. This increases the resonance of both
the left and right filters, from flat into self oscillating, and then
controlling the amplitude of the oscillation.
Below and to the centre is the Frequency Skew control, marked F.
Skew. When set to 12 O’Clock and with no modulation of the F. SKew
CV the cutoff of the left and right filters will be even. Turning the
control anti clockwise will increase the cutoff frequency of the Left
filter and decrease the Right, around the base point set by the Stereo
Frequency control. Conversely turning clockwise will decrease the
cutoff on the Left and increase it on the Right.
To the right is the Resonance Skew control, marked R. Skew. Like the
Frequency Skew control this skews the resonance amount around the
point set by the Stereo Resonance control, moving anti clockwise
increasing the amount of resonance on the Left and decreasing the
amount on the right and vice versa.
The collection of three black capped controls to the bottom left of the
control section are FM1 CV amount, FM2 CV amount and Frequency
Skew CV Amount, marked Skew. These control the amount of CV
modulation from the CV inputs below them. FM1 is a unipolar CV input
which modulates the Stereo Frequency. FM2 also modulates Stereo
Frequency but the control is an attenuvertor, so the control is off at
the 12 O’Clock position, increases when turned to the right and applies
an increasing amount of a negative version of the voltage when turned
to the left. The Skew CV also goes through an attenuvertor, this gives
voltage control over the Frequency Skew parameter.
Finally, the Res CV and Res Skew CV controls and inputs round out the
control section. As expected these provide CV control over the
Resonance and Resonance Skew parameters, respectively.
Patch ideas:
Stereo Audio Rate FM
Audio rate filter FM is a great way to add harmonics to your signal, with
Parallax you can now do that in stereo for huge width. Patch an
oscillator to the F. Skew CV input and then adjust the depth to dial in
the tone you’re looking for. This leaves the FM1 and FM2 CV inputs
available for more standard modulation, for example from an envelope
and/or LFO. We like the sound of the -24dB/oct outputs for audio rate
FM, but the -12dB/oct outputs sound good too, have a listen and see
which you prefer.
Pinging the filter
The Parallax responds really nicely to being pinged with a trigger or
gate signal. Set the Freq control to around 12 O’Clock and the Res to
around 2 O’Clock and patch your triggers or gates to the audio inputs.
Use the Freq to fine tune the tone and the Res to control the length of
the pings. You may use all the modulation CV inputs as normal while
pinging, but note that higher levels of resonance will cause the tone
not to cut out between pings. Both -12dB/oct and -24dB/oct outputs
ping nicely, but we prefer the -12dB/oct’s brighter tone which brings to
mind classic west coast timbres.
Self-patching mayhem
As Parallax has two pairs of outputs and many modulation inputs, you
can add a touch of chaos and instability to your filter sound by patching
an unused output or two to an unused modulation input. With high
levels of resonance you can coax out vowel sounds or simulate
feedback, or completely obliterate your tone. Experimentation will be
your friend here.
Parallax has a matte black panel which we think looks great, but over
time it may develop an inconsistent finish due to oils from your hands
collecting on the panel. To clean simply use a soft cloth and a little
isopropyl alcohol and your module will look good as new. Always spray
the isopropyl onto the cloth and then wipe the module, don’t spray
directly onto the module.
Table of contents
Popular Water Filtration System manuals by other brands
Innowater
Innowater SMC50 manual
Steinbach
Steinbach Speed Clean Classic 310 ORIGINAL OWNER'S MANUAL
MANN+HUMMEL
MANN+HUMMEL ProVent 400 Series operating instructions
ENVIROGARD
ENVIROGARD Rainfresh IM200 Installation and operating instructions
Coway
Coway P-07CL user manual
Frizzlife
Frizzlife MV99 owner's manual