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1. MAIN OUT LEARN THRU INPUTS mm MIDI TO CV OUTPUTS OE ver AUDIO GATE CV 3 WHEEL GATE VCF CV PITCH CV E CV 2 VELO CV 1 PITCH kn Gate In signals trigger the envelopes Pitch CV In controls the oscillator s pitch and also the keytracking of the filter Use VCF CV In if you want to modulate the filter s cutoff with external CV There s a 12 bit MIDI to CV converter included on the MOODULATOR which allows you to control other analog synths Gate Note on and note off events will be converted to Gate signals CV 1 Pitch Midi note number will be converted voltage according to the 1v Oct standard CV 2 Velo Note on velocity will be converted to voltage on this output CV 3 Wheel Midi controller 1 will be converted to voltage on this output 16 Credits Thomas Welsch Synth Design and Engineering Estela Welsch PCB Production Javier Zubizareta Synthesizer Specialist User Manual Enrique Martinez Graphic Design Carsten Moll Midi Interface Tom Wiltshire Envelope Design Programming ANYWAREINSTRUMENTS Inh Thomas Welsch Hauptstrasse 122 55743 Fischbach Deutschland Contact info anyware instruments de www anywareinstruments de Phone 0049 0 6784 8769 Mobile 0163 7880670 www anyware instruments de 17 Safety Instructions Please follow the instructions for use of the instrument carefully because this will guarantee proper operation of the instrument Due to the fact that these in2. A D ATTACK DECAY _ ATTACK Defines the Attack time from 1ms to 10 secs DECAY Defines the Decay time from 1 ms to 10 secs t SUSTAIN Defines the Sustain level from 0 to 5 volts SUSTAIN B RELEASE Defines the release time from 1 ms to 10 secs Gate er em Time 1 1 Event Onset MODE ADSR Normal mode no looping LOOP A gated loop mode which means it ll loop as long as a gate is ON LFO It s always looping no matter the gate state The Amp Envelope DECAY modulation source selector switch This switch allows you to choose a mod source for the decay OFF No modulation WHEEL Decay time is modulated by the mod wheel CC1 midi message CC Learn this allows you to choose a any other CC for decay modulation by pressing the LEARN button and sending the desired CC Amp env off wheel cc learn adsr loop lfo mode 100m O 100m m 10s Im 10s o 10 attack decay sustain The Filter Envelope VEL mini knob At the bottom right of the the panel you can find this mini knob that controls the level of modulation between the FILTER ENV and the cutoff frequency of the filter Filter env 100m 100m 100m Im 10s Im 10s 0 10 Im 105 attack decay sustain release adsr loop lfo mode A 12 The MOD Envelope Mod env Modulation Envelope is a multi function envelope and it s the main element of the Modulation Control section see below It s an AD envelope with
3. sync 2 6 1 i fo SW 8 amp auge wheel fo a abe sen Rene Filter env attack decay mode lfo 4 gt 6 4 gt 6 4 gt 6 4 gt 6 4 gt 6 uy gt 6 7 7 3 100m 100m 100m 3 7 3 3 7 3 7 3 7 EB Eee ecm ph a a momen Ae c0ec I a E 2 P22 3 P 23 P 24 P25 P 26 1 9 1 9 1 9 1 9 1 9 1 9 SW4 0 10 O 10 nm T O 10 0 10 0 10 Im 10s Im 10s 0 10 Im 10s rate oscillators fm oscl pwm level filter env filter fm attack decay sustain release noise Mod env amount low hi mid en REA P 32 white lfo osc2 adsr loop Ifo pP 34 P30 P29 P28 P27 SW 5 SIE 0 100 SW 10 SW 14 range source keytrack source mode vel osc fm osc2 fm cutoff osc2 pwm TUNE OSC 1 2 SW 1 OFF ON RANGE OSC 2 SW 2 OCTAVE OSC 1 2 SUB1 VOLUME SW3 SYNC OSC 1 OSC 2 OSC 1 VOLUME SW 4 LFO WAVEFORM CUTOFF SW 5 LFO SPEED SELECT MASTER VOLUME SW6 OSC 1 WAVEFORM AMP ENV ATTACK SW7 OSC 2 WAVEFORM AMP ENV DECAY SW 8 OSC 1 2 FM SOURCE AMP ENV SUSTAIN SW9 NOISE RING SELECT AMP ENV RELEASE SW 10 FILTER FM SELECT MOD ENV DECAY SW 12 FILTER FM SOURCE MOD ENV ATTACK SW 13 AMP MODE SELECT RESONACE SW 14 FILTER ENV MODE OSC 2 VOLUME SW 15 ENV LIN EXPO SELECT SUB2 VOLUME SW 16 MOD ENV MODE SELECT GLIDE SW 17 AMP ENV MODE RATE LFO SPEED SW 18 MOD ENV MODE OSC 1 2 FM SW 19 MOD ENV TRIGGER OSC 1 PWM SW 20 AMP ENV DECAY MOD NOISE RING VOLUME SW 21 MIDI LEARN FILTER ENV AMOUNT FILTER FM AMOUNT LED 1 LFO SPEED FILTER ENV ATTACK LED 2 FILTER ENV AMOUNT FILTER ENV DECA
4. WHEEL CY i i INPUT SELECT SW MDA 2 11 3 MODULATION ENVELOPE VELOCITY gt E is ILTER ENV AMOUN MODULATION BEL we ENVELOPE z GATEIN ENSAR MODULATION IN FILTER ENVELOPE 5 an FROM SWITCH SWL 15 AMOUNT A ENVELOPE MODE DIV 1 r LINEARA EXPO ON BYPASS 5 VOLT A idene Tr SW au 16 FROM CONTROL1 NOTE CV TRIGGER SW 2 8 MIDI GATE OUT z FREE p mecen FROM MIDI post 1 tro ERT H REN SAMPLE Fe CONTROL 3 MIDI GATE WHEEL CV SW N rele FROM GATE J8 DI LEARN ENV MODE 14 CONTROL 1 NOTE CV OUT VELOCITY gt P mema SW VCA VOLTAGECONTROL AMPLIFIER CV4 AUX C MIDI CV OUT AY SWITCH POSITION p ARDEA CED AME eS EI FILTER ENV AMOUNT 31 CVie ConTROLVoLTAGE en MIDI INTERFACE VOLTAGE RANGE cae INO IWNSIS NITVNIIS NI 1 NOIS NI NOILYINOO SIGNAL OUT AND 1YNDIS NI TWNSIS NI NOILY INGOW NI IWNSIS 1 EXAMPLE a 2 2 elle ELOCITY MODULATES MIDICY OUT 0 5VOLT 3 ie io een THE FILTER ENVELOPE AMOUNT SWITCH POTENTIOMETER MIDICV SIGNALS GROUND MIDI CV BUFFER MIDI GATE OUT 0 5 VOLT SYNTHESIS STRUCTURE The MOODULATOR is small in size but it s not as simple as it seems That s why we re going to take a look at it s synthesis structure Let s begin with the audio chain There are various sound sources which goes to the mixer 2 Oscillators also called VCOs each of these have their own SubOscillators which generate a Square wave one octave below the main oscillator and respond to pi
5. difference between a Ring Modulator and a normal VCA is that the former allows bipolar signals on Its modulation input This generates a phase inversion on the main input every time the modulator goes below OV The output sends the result of the multiplication not any of the original sources Our last internal sound source is the Noise Generator which is a circuit dedicated to generating random electrical variations that can be very useful as an audio source or control There are two so called noise colours on the MOODULATOR white and pink and may be used for different purposes White noise has equal energy across the frequency spectrum It is used as an audio source for sound effects percussion sounds etc It can also be used as a modulation source modulating the VCF frequency for a grittier sound for example Pink Noise is a filtered version of white noise which has a lower more bassy sound Its amplitude distribution across the spectrum is different it s inversely proportional to frequency Pink Noise is not as widely used as white noise but may be used in cases when lower darker noise is needed Noise Generators don t have any control parameter OSC 1 knob This defines the level of oscillator 1 SUB 1 knob This defines the level of Suboscillator 1 OSC 2 knob This defines the level of oscillator 2 SUB 2 knob This defines the level of Suboscillator 2 NOISE RING MOD knob This defines the level of No
6. looping capabilities and it s level can also be modulated ATTACK Defines the Attack time from 1ms to 10 secs DECAY Defines the Decay time from 1 ms to 10 secs LEVEL switch FULL it works as normal with it s full level all the time Wheel it s level is controlled by the mod wheel CC1 If you re using the Mod env for ie hard sync you can control the hard sync depth with the mod wheel TRIGGER switch Note this the normal mode the env is trigger by a note on event or a gate signal at the Gate input LFO Mod env is triggered by the LFO AD Normal mode no looping LOOP A gated loop mode which means it ll loop as long as a gate is ON LFO It s always looping no matter the gate state EXPO LIN switch set the Exponential or Linear mode of all 3 envelope s attack MOD ENV AMOUNT Section OSC1 fm controls the amount of frequency modulation to the oscillator 1 OSC2 fm controls the amount of frequency modulation to the oscillator 1 Cutoff controls the amount of cutoff modulation to the VCF tip if you combine this with the Filter env you can get nice complex envelope shapes OSC2 PWM controls the amount of pulse width of oscillator 2 yr Mod env amount osc1 fm osc2 fm cutoff osc2 pwm 13 LOW FREQUENCY OSCILLATOR LFO An LFO is basically an oscillator whose frequency range is usually below the audible spectrum Its used as a modulation source b
7. Anyware Instruments MOODULATOR User s Manual RING o VCF AUDIO GATE VCF cy FE PITCH cv Mixer 10 aon filter fm White 98c2 J Source Version 1 0 September 2015 Introduction Congratulations and thank you for purchasing the MOODULATOR compact classic synthesizer The concept behind this new synthesizer is to have the classic Moog sound in a compact and affordable unit Don t be fooled by its size though it s fully packed with features like 2 Moog VCOs 2 suboscillators ring modulator noise generator hardsync a Moog clone VCF filter FM one LFO 3 envelope generators CV and Gate inputs a builtin MIDI to CV converter balanced outs plenty of modulation options etc Beyond the features most important is sound quality and we think we just nailed the perfect sound All those features make possible the creation of not only perfect basses and round leads but also strange effects and weird noises We hope you enjoy this analogue synthesizer as much as we do and find it inspiring for making better music Feature set 2 Voltage Controlled Oscillators with Sawtooth and Pulse waves including PWM 2 SubOscillators 1 pre filter Mixer with saturation 1 Noise Generator with White and Pink noise colours 1 Classic Moog lowpass VCF 24dB Filter Resonance up to self oscillation 1 LFO with Tri Square and Sample amp Hold 1 Ring Modulator 1 AD Modulation Envelope with one shot loop
8. INAL AUDIO VCA BALLANCED p is te I AMPLIFIER ENV VCA OUTPUT 5 8 eh ns FINALVCAON BYPass STAGE PLUS NN SW XLR FEMALE a AMP MODE 43 RING CAN MODULATION P G CAN BE SHORTED TO GROUND ENVELOPE gt DECAYS 3 MIN FILTER CUTOFF 43315009 INO O1GAY NITVNOIS AND IWNOIS _ Wd 431 1a WOU d 4dD73AN3 NOILY INGOW WOU LINNOWY 3d073AN3 31 114 WOU AIVYHLASy WOU COLD INUS OUT AMPLIFIER y KoT VY ENVELOPE GROUND ys 2 PLUS a 4 crRouND MODULATION Z s ammstereo OUT NAG SW AMP DECAY MODj29 EXT FILTER CV IN RING A NI NDILYINODW DETUNEJP 2 af FROM OFF MP1 CONTROL ah EXT AUDIO FILTER IN IDI 3 WHEEL CV r Oma rant MONG JACK orouo rege 4 ea CONTROL 3 WHEEL CV OUT TE ith ae Z 3 VELOCITY CVP MD z NAG m nar DAN AAW AAN 313 TesczsmerslEhsme 2 CONTROL 2 AMPLIFIER ENVELOPE SW LED VELOCITY CV OUT MODULATION IN En WAVE2 7 3 MODULATION SW MOD YCA IN 40 5 VOLT MOO VCA ON BYPASS ost 2 FROM SIGNAL OUT j FROM MOD VCA SOURCE 5 S ENVELOPE OSC 2 PWM le AMPLIFIER ENVELOPE Peo 3 TREAR GATEIN FROM GATE J8 PULSE 007 OSCILLATOR 2 FILTER MODULATION SH z lie REQUENCY m FROM CV 3 WHEEL ENV MODE 17 ENV MODE J45 gt ui MODULATOR p gt FROM WHITE noise I ODULATION FROM CY 3 WHEEL MODULATION VCA EXPO ENVELOPE MODE WHITE WHITE RING _ FROM d CONTROL 3 ADSR LINEAR ENVELOPE MODE MODULATION SW N ATTACK P DECAY P er
9. Y LED 3 AMP ENV AMOUNT FILTER ENV SUSTAIN LED 4 MOD ENV AMOUNT FILTER ENV RELEASE LED 5 MIDI ACTIONS MOD ENV OSC 2 PWM LED 6 POWER OFF ON MOD ENV CUTOFF MOD ENV OSC 2 FM J1 AC INPUT MOD ENV OSC 1 FM J2 MIDIIN VELOCITY FILTER ENV AMOUNT J3 MIDI THRU FILTER KEYTRACKING J4 MAIN OUT J5 HEADPHONE J6 GATE CV PITCH OUT J7 CV WHEEL CV VELOCITY OUT J8 CV PITCH EXT GATE INPUT J9 EXT FILTER CV AUDIO INPUT SIGNAL FLOW FRODULATIONENVELOPE p MQOQODULATOR BLOCK SCHEMA TIC OSC 2 PULSE WIDTH MODULATION 27 C The SEX MACHINE NAG DRAWN BY analog tommy FROM Soe OSC APULSEWIDTHMODULATION P MODULATIONENVELOPE gt PF MIDI S M ERI 122 AAG 19 OSC 2 SYNC FREQUENCY MODULATION GATE z FM MOD IN NNI V18 March 2015 waves e pg TEREQUENCY MODUL ATION 30 See 5 I a B y A N Y W A R E IN S T R U M E N T S E 6 Sr SAN SQUARE AP oe FOR MONG OPERATION IfaTrrommol MAY SAW SQUARE 1P FRO DIO ER 2 BLOW PASS RING CAN BE SHORTED TO GROUND E A M AUDIO MIX 24 dB LOW PA LEFT CHANNEL noweev The gt ay FILTER mee neanenone Lege 2 SUBOSC4P Zur CEM FREQUENCY e N FILTER F PEAN CUTOFF FREQUENCY EHI Eve MODULATION INPUT MODULATION IN RIGHT DV CHANNEL SW FROM MIDI OSC SYNC f3 3 CONTROLA SW NOTE CV OSC 2SYNC SOURCE FREQUENCY MASTER FILTER FREQUENCY P 0N FROM MODULATION 22 2 CONTROL 3 WHEEL cv LFO A FINAL AUDIO OUTPUT VELOCITY AMP ENV AMOUNT MINUS QUT F
10. akes to go from the Attack to Sustain stages Sustain This is the next stage and is the LEVEL at which the sound stays after the decay as long as the key is still held If sustain level is 10 then decay stage is cancelled Release This last stage defines the TIME it takes the Envelope Generator to go from whatever stage it is in at the moment we release a key to zero This Envelope Generator type is called ADSR for obvious reasons There s a blue LED indicating when the envelopes are being triggered There are 3 envelope generators within MOODULATOR They have a special feature which is looping which means once they end they begin again You can use them as LFOs with strange shapes LFO frequencies to 300Hz Since the segment times can be as short as 1ms it is possible to produce LFO waveforms up to around 300Hz This is above Middle C All Envelope s lets you choose between an Exponential or Linear mode Exponential and Linear Envelopes The chip can produce classic exponential ADSR curves suitable for volume control with a linear VCA or can produce linear envelopes typical of early digital synths These can be more suitable For use with exponential VCAs ADSR Mode Gating Looping Mode LFO Looping Mode Gate Gate TP y Output Output Yu Output KKK Gate is ignored AMP ENV amp FILTER ENV These Envelope Generators are used controlling the amplitude and timbre of the sound They can also be used to control the OSCs pitch
11. amp LFO mode 1 Amplifier Envelope with one shot loop amp LFO mode 1 Filter Envelope with one shot loop amp LFO mode 2 internal Modulation VCA s MIDI IN amp THRU booster circuit for original vintage analog sound sync ringmod Osc FM and PWM White amp Pink Noise generators Mod Wheel and Velocity can modulate a lot of parameters CV inputs for Pitch Gate and Filter Cutoff CV outputs for MIDI Note Gate Mod Wheel amp Velocity works as a external 12 Bit MIDI to CV converter Audio input going through the filter Studio Balanced Audio Output with extra Headphone Amp Front with 32 Knobs amp 21 Switches a solid high class metal case UV Print Alu material external 15V AC AC Powersupply Size WxDxH 310 x 160 x 80 mm Weight 1 4 kg MOODULATOR FRONT PANEL OFF POWER ON INPUTS J 3 _ MIDITOCVOUTPUTS J5 JA e ir aie Fr SW 1 VCF AUDIO GATE CV WHEEL GATE Q MAIN OUT LEARN THRU IN VCF CV PITCH CV CV VELO CV PITCH SW 21 SW 20 SW 17 octave osc2 mode 100m 100m 100m 500 mA q 3 7 3 7 3 7 2 P3 3 Pg PS Pg P40 1 9 O 10 1 Im 10s 1m 10s 0 Te 1m 10s range sub 1 attack decay sustain release osc1 modulation control amp level Mod tri A A eve od env rigger 4 gt 6 4 gt 6 4 gt 6 4 gt 6 direct modenv mode Eu iui en gt note ie 3 Bye ie E zu 3 7 SW11 ke VEG SW 19 re 2 P16 3 2 P15 2 2 P14 3 2 P13 3 amp a P 14 SW3 off 9 n L E 3 pli 9 SW12 SW15 SW 18 loop 0 10 0 o 10 0 10 on wheel wheel Im 10s 1m 10s tie lfo
12. ecause it produces cyclic voltage fluctuations By applying an LFO to an audio oscillator s FM input you get something like a sweep siren type of sound if the LFO s speed is very slow and the FM amount is relatively strong a vibrato if modulation depth is moderate and the speed is medium and timbre change if speed is faster than 10 20 Hz Some of the basic audio oscillator functions apply here like waveform speed etc RATE knob Sets the speed or frequency of the LFO That rate depends on the rate range set on the RANGE switch RANGE switch This switch selects between three rate ranges LOW MID and HI SHAPE switch Here you can choose the shape waveform of the LFO The options are Triangle with a linear ascending and descending shape Square with a sudden change from minimum to maximum and SAMPLE HOLD which generate a new random level with every LFO cycle Input IE HE DE KK DEE Trigger low hi mid range BL rR 14 MODULATION CONTROL Modulation Control is a very useful feature of the MOODULATOR that allows you to make sounds way more complex than what most monophonic synths can The idea is this the filter might be modulated by one of 3 sources White noise LFO or OSC2 but at the same time the depth can be modulated by the Filter FM knob and either the Mod env or the Mod wheel Considering that the level of the Mod env itself can be modulated by the Mod wheel this system allows a lot of f
13. f frequency Gate IN External Gate input to trigger the envelopes CV 1 Pitch OUT CV output 1 assigned to midi note number Gate OUT Gate output to trigger external analogue synths 5 Volt CV2 Velo OUT CV output 2 assigned to midi note velocity CV3 Wheel OUT CV output 3 assigned to modulation wheel OSCILLATOR Section Oscillators are the primary sound source of a synthesizer they provide the basic pitch and tone colour to the final sound In the case of the MOODULATOR they generate two different basic waveforms Sawtooth and Pulse each has a different tone colour A lot more timbre variation is possible by doing PWM hard sync ring modulating them etc TUNE knob Master Tune lets you set the general tune of both oscillators with a range of more than 5 octaves OCTAVE switch The Octave switch lets you select between 3 octave ranges for both oscillators GLIDE knob Also controls both oscillators Glide also known as portamento is a voltage processor It s basically a lowpass filter for control signals what it does is round any sudden voltage change like the ones that happen from note to note when controlled from a keyboard making a smooth transition between notes The time it takes to go from one voltage level to the next is determined by the Glide Knob OSCILLATOR 1 WAVE SELECT switch You can choose between SAW and SQUARE The Pulse Width of the SQUARE wave can be modulated by LFO Fo
14. ise or Ring Modulation SOURCE switch Select the sound source for the NOISE RING MOD knob The options are White Noise noise rin Pink Noise white pink mod source Ring Modulator FILTER SECTION This voltage controlled filter is a flexible lowpass great sounding filter based on the classic Moog design MOODULATOR s filter has a slope of 24dB octave This means that any signal at the double of the cutoff frequency will be lowered by 24 dB CUTOFF knob Perhaps the most important parameter of a filter Cutoff sets the frequency at which the filter begins to work RESONANCE knob This is a feedback loop within the filter that emphasizes the signal at the cutoff frequency proportional to the knob position 0 Resonance means there ll be no feedback while 10 means total feedback to the point of selfoscillation Selfoscillation means the filter generates a sine wave at the cutoff frequency which can be used as a sound source The audible result of Resonance is the typical electronic synth sound but it s also very useful to simulate acoustic characteristics like formants FILTER ENV AMOUNT knob This knob determines the modulation amount of the FILTER ENV to the cutoff frequency of the filter KEYTRACK mini knob Filter Keytracking is nothing but using the keyboard as a modulation source That means that the higher the note the higher the cutoff frequency depending on the modulation amoun
15. lexibility The signal flow on this case goes from bottom to top beginning with the source and going up SOURCE switch One of the following sources can be selected White LFO and OSC2 FILTER FM knob This knob controls the amount of modulation that goes from the source to the filter If the switch above it is set to on the signal goes to the Modulation Control section for further processing If it s set to direct this knob controls the modulation source directly to the VCF cutoff ON DIRECT switch This switch defines if the signal from the sources and Filter FM knob goes to the Modulation Control section ON or it goes directly to the VCF cutoff Direct MOD ENV WHEEL switch Here you select the modulator of the modulation You can choose between the Mod env or the Mod wheel Filter e RS gt Control mod control direct modern Modifier ri U 10 filter env filter fm white Ifo osc SDUTCE 15 MIDI CV GATE The Moodulator s midi specs are simple but useful Note on Note off Velocity routed to Amp env and Filter env Mod Wheel CC1 routed to Vibrato Modulation Control Mod env level and Amp env decay time Volume CC7 Midi Learn Any controller will be routed to Amp env decay by pressing the Learn button and sending the chosen controller to the MOODULATOR In addition to MIDI the MOODULATOR can be controlled with analog CV and Gate signals
16. nt near heat sources like heaters open fire places central heating etc Keep the top of the instrument clear in order to allow proper ventilation otherwise the instrument could eventually overheat Never place heavy objects on the instrument All eventual modifications are to be performed by a qualified person only in accordance with valid safety instructions With the introduction of a third person the warranty will be void In case of a destroyed warranty seal any warranty claim will be rejected The instrument must never be operated outdoors but solely in dry rooms Never use the instrument in a humid or wet environment nor near flammable goods 18
17. r more info go to LFO section OSCILLATOR 2 RANGE knob This knob allows you to detune Oscillator 2 from Oscillator 1 At 9 00 o clock position it s unison at 12 00 it s an octave higher apart and finally at 3 00 position pitch is two octaves higher OSCILLATOR 2 WAVE SELECT switch You can choose between SAW and PULSE The Pulse Width of the PULSE wave is fixed Tuning Oscillators octave osc2 0 002 0 004 0 008 Stave Samtooth au NW 0 002 0 Phase Reset Hard Sync Sawtooth SYNC OSC1 2 switch Hard Sync was originally conceived as a way to tune analogue i e unstable oscillators in perfect unison or Octaves without any beating problems Then it turned out to be a fantastic way to create new waveforms by applying different tunings and pitch sweeps to the slave oscillator Hard Sync works as follows Two oscillators are synchronized by internally taking the Sync output of the Master oscillator OSC1 and connecting it to the Sync input of the Slave oscillator OSC2 Each time the Master oscillator completes its cycle the slave oscillator restarts as well no matter where in its phase it is at that particular moment If both oscillators are tuned in unison then they ll be perfectly in tune and there won t be any beating The same will happen if the slave is tuned to any position within the harmonic scale that is x2 x3 x4 x5 etc Octaves will be x2 x4 x8 etc For classic hard s
18. r ra To speakers headphonesietc Amplitude Frequency pitch ADSR Envelope Generator MASTER knob Sets the main volume of the final sound It s the last stage of the sound within the synth AMP MODE switch This switch determines how the VCA will be modulated VEL The AMPLIFIER ENV controls the VCA but its depth is controlled by MIDI Velocity AMP ENV The AMPLIFIER ENV controls the VCA ON The amplifier is not controlled by the envelope it s always on 10 ENVELOPE GENERATORS An envelope generator is a module that generates an evolving voltage at the moment it receives a gate signal at its input The shape of that evolving voltage depends on the parameters attack decay sustain and release Its used as a way to control parameters in a predictable way across the evolution of a note To trigger an Envelope Generator you have to play a note on a MIDI keyboard which is converted internally to a gate signal or connect some gate source on the GATE input Once the envelope is triggered it will evolve through its various stages as long as the gate signal is still ON If at any point the incoming Gate signal goes OFF the envelope will jump to its Release stage Now let s take a look at the parameters themselves Attack Is the TIME it takes to go from 0 when the Envelope Generator begins to maximum level Decay After the Attack stage ends the decay stage begins which in fact is the TIME it t
19. structions touch on Product Liability it is absolutely imperative that they be read carefully Any claim for defect will be rejected if one or more of the items has not been observed Disregard of the instructions can void the two years covered by warranty Transport the instrument carefully never let it drop or fall over Make sure that during transport and in use the instrument is supported properly and cannot drop slip or fall over because people might get injured Never use the instrument in the immediate proximity of electronic devices e g monitors power supplies computers as these interferences could cause malfunctions within MOODULATOR and corrupt memory data The instrument may only be operated at the voltage stated on the power input on the rear panel Before opening the case disconnect both power plug and power adaptor No liquids or conducting substances must get into the instrument Should this be the case the instrument is to be disconnected from mains power immediately and examined cleaned and possibly repaired by a qualified technician The instrument may only be used for the purpose described in this operating manual Due to safety reasons the instrument must never be used for other purposes Never expose the instrument to temperatures above 50 C or below 10 C Before operation the instrument should have a temperature of at least 10 C Do not expose the instrument to direct sunlight Do not install the instrume
20. t At around 5 o clock you have 100 keytracking which 4 means that if you turn down all sound sources and make 49 the filter selfoscillate cutoff you can play melodically with it modulation control direct Smodernv 3 8 we 0 az 10 resonance Cutoff Frequency I 3 we we 0 6 0 10 filter env filter fm white lfo osc _ Frequency a i 100 keytrack source 1 AMPLIFIER SECTION A voltage controlled Amplifier VCA is a circuit that has two inputs and one output and basically multiplies one input with the other Consider it a voltage controlled attenuator in which one input signal level is controlled by the other and the result of such modulation goes to the output An amplifier module is an essential part of a synthesizer The most basic use is to control the final volume of a patch normally at the end of the audio chain by an envelope generator In that case the output of the filter or whatever the source is goes to the VCA IN the envelope signal goes to the VCA CV input and the shaped sound goes to the VCA OUT All this is preconnected inside the synth so you don t have to worry about it off wheel cc learn Amp env 100m 100m hr UN UN f pA W A ae 4 i A i Jj A j A i j A X Y v j j i U V In PA In f q r Ng Si ee lt i ba s gt s er Im 10s 1m attack Oscillator 1 Fa Low Pass P Fitter P
21. tch modulation in the same way to the main oscillator So if you apply vibrato to VCO1 that will also be applied to the SubOscillator 1 There s another mixer input but this time you have to choose between White Noise Pink Noise or Ring Modulator A last input is for external audio input at the back of the panel and it doesn t have a volume knob All these signals are sent to the filter The filter sculpt the sound and then it s sent to the VCA for amplitude shaping The result of all that goes to the Audio Out and Headphones outs Modulation sources are three Envelope Generators an LFOs external MIDI and External analogue CV signals Filter Env modulates the filter VCF cutoff the Amp Env controls the VCA and the Mod Env is used to modulate various parameters LFO can control both oscillator s pitch oscillator 1 PW and filter s cutoff frequency The real fun begins with the Modulation Control section This feature allows you to modulate various sources in very interesting and creative ways CONNECTIONS THRU MIDI TO CV OUTPUTS GATE CV 3 WHEEL GATE PITCH CV CV 2 VELO CV 1 PITCH Power input connector 15v AC 500mA MIDI in MIDI Thru MIDI learn button see MIDI section Headphones out Audio OUT Balanced audio out VCF Audio IN Audio input for processing through the VCF VCA Pitch CV IN External CV input for the oscillator s pitch and vcf cutoff VCF CV IN External CV input for the VCF s cutof
22. tor 1 has to be set to Square wave to hear the effect MIXER Section This 6 input mixer is very handy as it s here where you ll mix all the sound sources to be filtered like Oscillator Noise generator SubOscillators and external audio signals High signal levels will make the mixer filter distort This is a desired effect sometimes it was designed that way intentionally but if you want to avoid it just lower the input signals If only one oscillator is used it II begin distorting at level 7 The sound sources include SubOscillators A SubOscillator is a frequency divider its inputs are connected to each Oscillator and they generate a square wave one octaves below them To generate its waveform Square one octave below the SubOscillator generates half a cycle for every cycle of the Oscillator A SubOscillator waveform will be in phase with and will respond to any pitch modulation of Oscillator 2 Use it to reinforce bass sounds or as an additional sound source One of the mixer s inputs is a shared between Noise and Ring Modulator A Ring Modulator is a really cool audio effect commonly used for processing external audio or for belllike tones It consists of a special type of VCA which modulates one of its two inputs with the other generating new harmonics based on the sum and difference of each of the input s frequencies In the case of the MOODULATOR the output of each OSC s pulse waves are ring modulated The only real
23. ync sounds the slave oscillator has to be modulated by an envelope or an Ifo On the MOODULATOR the best way is by modulating OSC2 with the Mod Env either as an envelope or in Ifo mode On the Mod env amount section on the panel use osc2 fm knob to define the depth of the modulation The two w witch work follows e two way switch works as follows Pulse Width 50 OFF Turns off hard sync ON Turns on hard sync now both oscillators are synchronized Pulse Width 12 5 am Ifo on wheel lfo ma y 8 Fa l F Fd _ Oo 10 oscillators fm oscl pwm 5 we pi fo A V OSCILLATOR FM SOURCE SELECT switch This is a three way switch which selects the modulation source for oscillator s pitch The modulation depth is defined by the OSCILLATORS FM knob LFO LFO modulates both oscillator s pitch defined by the OSCILLATORS FM knob WHEEL LFO Pitch of both oscillators are modulated by the LFO Depth is defined by a combination of the OSCILLATORS FM knob and the modulation wheel AMP ENV Pitch of both oscillators are modulated by the amplitude envelope Depth define by the OSCILLATORS FM knob OSCILLATORS FM knob This knob defines the modulation depth for the oscillators The modulation source is selected with the OSCILLATOR FM SOURCE SELECT switch OSC 1 PWM PULSE WIDTH MODULATION knob This knob defines the modulation depth of oscillator s 1 pulse width by LFO Oscilla
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