redsquare V3.indd - Analogue Solutions
Contents
1. 21 Setting The MIDI Receive Channel and CV2 Source 22 MULTIPLES aa 23 REAR PANEL 25 PATCH EXAMPLES 26 CALIBRATION 28 PHOBOS Red Square V3 e amp oe c 1 9 2004 lt P AED UU ME 00000 eooo MULTIPLE Ss O O O MULTIPLE lt r SPECIFICATION Brief Overview of the Red Square Red Square is a patchable analogue monosynth that can also be used as an effects processor It has some of the advantages of a modular synth re wireable synth circuits external control external signal routing and advantages of a pre patched monosynth easy to use instant sound tidy front panel Its 1 4 jacks sockets mean it can easily be integrated into a studio just like any synth or processor VCO1 Glide sync in triangle out saw out square out sub oscillator out VCO2 Glide triangle out saw out square out VCF Low pass filter cut off CV Q CV cross modulation from VCO1 external signal in EG modulation VCA Mode switch CV control EG1 AR envelope with switchable sustain release EG2 Full ADSR envelope with normal or inverted output VC LFO Speed CV saw inverse saw square and triangle outputs Sample and Hold Lag control Noise Generator White noise PHOBOS Red2. N DECAY Release control Controls the Decay or the Release time depending on the posistion of the SUSTAIN switch See SUSTAIN IN OUT switch above for more details Z TRiGger input socket This is the Trigger or Gate signal input the sets the envelope in motion Use a 5 to 10V gate signal N EG1 CV signal output socket This is the envelope CV signal output for EG1 VCA The Voltage Controlled Amplifier VCA is the circuit that is used to change the output volume Normally an envelope signal would be used to do this so the sound starts loud then gradually fades away The filter audio output is hard wired to the VCA signal input VOLUME LI A e P SIGNAL m 2 MODE switch EG1 When EG1 is selected the envelope signal of EG1 is used to modulate the VCA level Use it if you require the VCA level to change over time PHOBOS Red Square V3 e amp oe c 1 9 2004 16 gt GATE When GATE is selected the MIDI converter s Gate signal is used to modulate the VCA With this the VCA level is either off or full on The audio envelope would be like an organ s with no attack or decay time THRU When THRU is selected the VCA is left permanently on at full level Use this setting if you wish to use the Filter as an effects processor to process external audio fed into Red Square CV input socket Use this socket if you wish to modulate the VCA level from a source other than EG1 Gate or permanently on Maybe
3. user manual NEGL ujsung PHOBOS Red Square V3 e amp oe c 1 9 2004 lt gt Contents SPECIFICATION 3 INTRODUCTION 6 APPLICAT TIONS Q 6 MONOSYNTHESISER 6 EFFECTS PROCESSOR 6 SAFETY INSTRUCTIONS 7 le nl Te nsnasasnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn ne 7 MIDI CONNECTIONS 8 REAR PANEL AUDIO CONNECTIONS 8 CIRCUITS IN DETAILLS 9 UA aa 9 VCO ai 10 IK d CN 12 NOISE GENERATOR 13 SUB OSCILLATOR 13 EXTERNAL SIGNAL INPUTS 13 RING MODULATOR 13 VA ai 14 LOTAR iia 15 Ve ME 16 SAMPLE AND HOLLD 18 EOG ADSR iia 19 VOLFO E 20 MIDI to CV CONVERTER
4. The Signal is output at fixed level from the TRI socket N SAW LEVEL control and signal output socket Controls the output signal level of the sawtooth waveform fed into the filter input The signal is output at fixed level from the SAW socket O LI SQUARE LEVEL control and signal output socket Controls the output signal level of the square waveform fed into the filter input The Signal is output at fixed level from the SQUARE socket PTE ra WALA oO e L 8 V gt W VCO2 is not internally Tag hardwired to any of the ANNE GLIDE MOD LEVEL PITCH other circuits It must be patched with other circuits or used independently TUNE control Controls the pitch of VCO2 Range is about 4 1 2 octaves Use this to tune VCO2 to your other instruments PITCH CV LEVEL control and i i CV input socket PHOBOS Red Square V3 e amp oe c 1 9 2004 ge This is a CV input for modulating the VCO pitch with a modulation CV such as the LFO or envelope The depth of the modulation is changed with the LEVEL control Higher settings increase the modulation depth Usually something like an LFO is used to create vibrato effects or the EG output to create pitch sweeps and drum sounds Alternatilvely use the output of VCO1 to create FM and metallic sound effects It is also an octave scaling control Use this to scale the octave spacing in ine with VCO1 if you want both to track together To scale VCO2 to 1 Patch an audio
5. You may wish to use VCO1 and VCO2 as the sources Patch their outputs to the RM X and Y inputs and hear the result from the RING MOD socket Modulate either or both VCOs for maximum effect Alternatively try one VCO as an input and a second audio source such as vocals or guitar PHOBOS Red Square V3 e amp oe c 1 9 2004 Whatever your input the output will change depending on the pitch of the VCO signal or harmonic content The RM can be used independently from the rest of the synthesiser as a separate effects processor RING MOD signal output socket This is the output from the RM It is at full level and unaffected by the RM level con trol Z X signal input socket This is one of the RM signal inputs Feed an audio signal into here such as the VCO output Y signal input socket This is one of the RM signal inputs Feed an audio signal into here such as the VCO2 output VC LP FILIEA VC LPF UA CUTOFF EGAMNT S MOD MOD LEV The voltage controlled low pass filter VCLPF is a transistor ladder type filter It has a sound simi lar to the popular Moog sound LPFs are circuits that remove harmonics above a certain frequency the cut off frequency Use the LPF to change the tone of the sound The filter has a roll off of 24dB octave The mixer output is hard wired to the filter audio input however external signals can still be processed using the external audio inputs sockets The LPF audio output is
6. as the CV signal changes ATTACK control After a Gate signal is received at the GATE input Attack sets the time it takes the envelope signal to rise to maximum value from zero OH Ka DECAY control This sets the time it takes the envelope signal to decrease from the peak level after the Attack time has complete to the Sustain level OH J SUSTAIN control This sets the level at which the envelope signal will settle at after the Decay time has finished The envelope signal will remain at the Sustain level as long as the Gate signal is present OH F RELEASE control When the Gate signal is off Release sets the time the envelope signal takes to de crease to zero from the Sustain level LEVEL control This sets the envelope output signal level for both the normal and inverted outputs M Normal output socket Is the output for normal positive envelope signal PHOBOS Red Square V3 e amp oe c 1 9 2004 C mg SZ Inverted output socket Is the output for the inverted negative envelope signal VC LFO The Voltage Controlled Low Frequency Os cillator VCLFO is basically identical to a VCO except that it produces periodic wave forms of low frequency typically sub audio These slow cyclic waveforms are used for modulating other circuit parameters for example for sweeping the filter cut off up and dowm either slowly for a nice sweep or faster for a wah wah type effect It could be used to modulate the
7. MIDI note was used to set the channel then CONTROL CV will set to be controlled from MIDI velocity messages lf a controller was used then CONTROL CV will set to be controlled from that con troller Release the button PHOBOS Red Square V3 e amp oe c 1 9 2004 a ia E 3 mn 0 L L gc MUL TTE L E MULTIPLES There are 3 multiples included in Red Square Multiples are used to split signals so that a signal that is only available on one socket can become available on additional sockets Therefore the output signal then can be routed to more than one output For example feed the MIDI converter s Control CV into the multiple then take the multiple outputs into LFO frequencer CV input VCF cut off CV input and VCO2 pitch CV input Multiples are usually used to split output signals but they can be used as crued mix ers but there may be problems with impedance levels There are two 4 way multiples and one 5 way multiple PHOBOS Red Square V3 e amp oe c 1 9 2004 ZHOS AGLL O ZHOS AOEZ O NOLIH 1349 NI SOV Janon uado Lou OP w330us 24082 8 JO YSJ yueanasd oi 59 9 alnjsiow JO uwe o Hun eut sodx jou op yooys JO sul Jo ysu jueAaid O O j ui u pa mnenb o Bu rud8s Jaja ase d apisul syed sajgeadias Jasn on Buibueyo ajoj q sulguu auer ulpaus pun Lag oun Buisn efpoA SUIBLU paon pajas Sis YVUDOSI x C Loge no o1anv C AD IGIN TUNE CONTROL OF
8. Square V3 e amp oe c 1 9 2004 Ring Modulation MIDI to CV Converter 16 bit high resolution with auxiliary controller CV output Headphone output Multiples 2x 4 ways 1x 5 way Many other features Rotary controls 31 Push button 1 Switches 3 push pull 2 slide 1 momentary LEDs 4 1 neon Jack sockets 6 35mm mono 1 is stereo 52 Rugged steel and aluminium contruction Dimensions 5U 5HE 222mm high Width not inc ears 435mm inc ears 483mm Depth 145mm Weight 5 5Kg Power 230V or 115V switchable IEC socket 2x Fuses Accessories Manual IEC power lead patch leads PHOBOS Red Square V3 e amp oe c 1 9 2004 4059330ad 5133333 INDOTUNY 3188H31HBd NA S0800 si Jgd EL IK ei Id EL IIIM AJ IOIW IN359V Dra ya si WyveD0e8d WNSIS HAJI M t JwWNT0A JON D INAY 993 j3J3JO1 19 W EISE O46 G3ISISFHINAS JAGOTUNG JTEGHI Led sl id EL III 0000 eege WASTOOW 0334S HOLid 301179 64 JA TaASTOOW Mee LO INNL O PHOBOS Red Square V3 e amp oe c 1 9 2004 INTRODUCTION Congratulations on buying the Phobos Red Square patchable synthesiser Red Square is part of the Phobos range of analogue music equipment Red Square s voice synthesiser circuitry is discrete plus op amps and logic ICs and analogue APPLICATIONS Red Square introduces modular synthesis style sound creation for all those that are eit
9. VCO pitch for vibrato or the VCA level for tremelo It could even be used to trigger the sample and hold or the envelope generator SPEED MOD LEVEL SPEED control This sets the frequency speed of the VC LFO SPEED LED indicator This wil turn on each time the LFO signal is at a positive voltage indicating the speed of the LFO waveform SPEED CV input socket The speed of the LFO can be changed using another CV for example an EG output signal can be used to change the speed of the LFO over a period of time Z N Sawtooth waveform output socket Is the output for sawtooth CV signal Inverse Sawtooth waveform output socket Is the output for inverse sawtooth CV signal It is the same as the sawtooth output except the wave form is inverted PHOBOS Red Square V3 e amp oe c 1 9 2004 C 20 gt Ss A Triangle waveform output socket Is the output for triangle CV signal This wave is more suited to smooth modulation changes e g vibrato filter sweeps U Square waveform output socket Is the output for square wave CV signal This is suitable for sudden changes of CV or for triggering other devices for example the Sample and Hold or one of the Envelope Generators MIDI to CV CONVERTER Gp Gn Gn Gan O The MIDI to CV converter MCV is a device that KL KL KL LI a converts some MIDI signals into analogue voltages It 4 WS allows analogue synthesiser circuits to be integrated PITCH CV GATE ACCENT MIDI CV
10. addition to the signal input socket on the front panel there is a direct signal input socket on the rear panel this one has no attenuation control though Use this signal input socket if you wish to hardwire a signal to Red Square from your desk s effect send MIDI OUT RED SQUARE MIDI IN AED SQUONAB fegecsececeeese line nonin Pe bee gn aS Ss H MELE i Aan Rab Lu e z JOC A al D il hs n vs SOUND SOURCE Analogue synth MIDI IN sampler guitar etc Additional MIDI modules To main mixer hard disc recorder etc PHOBOS Red Square V3 e amp oe c 1 9 2004 C 8 CIRCUITS IN DETAILS Here follows details on all the sockets and controls with brief simplified explanations of what the circuits do We have not gone into technical details on how and exactly what each circuit does but tried to explain their function and effect several of Red Squares signals are hardwired to other circuits for your convenience but note input and output sockets are still provided in most instances to retain maximum flexibility VCO1 The voltage controlled oscillators VCOs 1 and 2 produce the raw audio waveform usu ally used as the initial source for sound creation They provide cyclic audio waveforms that can be pitched VCOs usually receive treatment from a VCF to turn their harshness into pleasant audio tones The pitch input for VCO1 is hardwired to the pitch CV of the MIDI to C
11. feed an LFO into this socket for tremelo type effects Usually it is best to put the VCA Mode switch to Gate when using this socket gt SIGNAL output socket This is the main audio output of Red Square This is the socket you would use to con nect it the your mixer It is the output from the VCA which is the last circuit in the signal chain The signal level is affected by the Volume control see below VOLUME control This sets the volume of Red Square i e the output level from the VCA that is out put from the SIGNAL output socket It also controls the output level for the Headphone socket Ss 4a Headphone output socket This is a stereo output for private headphone listening Level is controlled with the VOLUME control which also controls the SIGNAL output level too Please note the main SIGNAL output will still be active when headphones are used so you may wish to discon nect the SIGNAL output or mute Red Square on your mixer Ensure the level is not too high before putting on the headphones Turn the level to zero first then slowly increase it to a comfortable level PHOBOS Red Square V3 e amp oe c 1 9 2004 SAMPLE AND HOLD The sample and hold S H circuit is for CV process o ing It is entirely independent from all the other circuits and must be patched to be used SIG LEVEL Ki E LAG control This adds slew portamento to the S H output The voltage will glide from one level to the nex
12. keyboard is played EG2 will also trigger The output will modulated the filter cut off Unusual Effects With The LFO Speed The speed of the LFO can be moduated by any source First patch the output of the LFO to another module for example to VCO1 PITCH modulation input to produce a vi brato effect Next patch another modulator source to the LFO SPEED CV input some exam ples patch MIDI CV CC VEL to use MIDI to alter the LFO speed patch EG1 SIGNALto have EG1 sweep the LFO speed Using The Ring Modulator On Its Own The Ring Mod can be used independently from the rest of the synth Simply patch 2 external audio sources into the X and Y inputs and take the RING MOD OUTPUT back into your mixer Experiment with different audio sources and levels Using The Ring Modulator With The Internal VCOs patch VCO1 signal out Saw or square to RING MOD X patch VCOZ signal out Saw or square to RING MOD Y The Ring Mod output is already hardwired to the mixer so it can be used through the filter and VCA Alternatively you can keep the mix level to zero and just take the Ring Mod output straight out the RING MOD socket Ensure VCO2 SIGNAL LEVEL is turned up Play around with the pitches of the 2 VCOs and listen to the results PHOBOS Red Square V3 e amp oe c 1 9 2004 CALIBRATION Red Square is an analogue synth that means it may need tuning from time to time The synth is very stable so hopefully you should never have to calibrate i
13. out from VCO2 to external signal in Patch MIDI CV Pitch out to VCO2 Pitch in Set up the mixer VCF and VCA so that both VCO s can be heard Hit note C2 on your MIDI keyboard Use VCO2 Tune to tune the two VCO s together Now hit a higher note say C4 Now use VCO2 MOD LEVEL to scale the octave spacing and therefore tune the two oscillators in Repeat several times until both VCO s are in tune GLIDE control Glide adds portamento to the pitch As you play up or down the keyboard instead of instant pitch changes the pitch will slide up or down from the previous frequency to the new one played The speed at which this happens lengthens as the GLIDE control is increased A zero setting produces no glide TRIANGLE LEVEL control and signal output socket Controls the output signal level of the triangle waveform fed into the filter input The signal is output at fixed level from the TRI socket N SAW LEVEL control and signal output socket Controls the output signal level of the sawtooth waveform fed into the filter input The signal is output at fixed level from the SAW socket OH LI SQUARE LEVEL control and signal output socket Controls the output signal level of the square waveform fed into the filter input and also controls the volume at the SQUARE socket PHOBOS Red Square V3 e amp oe c 1 9 2004 MIXEH 00 NOISE EXTSIG RM s a a j pe i e e e SUB MIXER The mixer is
14. DI Typical useful examples are velocity to control filter cut off great for filter dynamics Mod Wheel to control LFO speed etc TRIG output socket Incoming note on off data from the MIDI In socket is converted from digital MIDI sig nals into analogue Gate signals Gate signals are either on about 10V or off OV Gate is usually used to trigger the envelopes or sample and hold circuits Note Gate is hard wired to EG1 s trigger input Gate can also be used to control an of the other CV inputs like filter cut off or LFO speed ACCENT output socket When a MIDI note on message with a velocity over 80 is received then the ACCENT socket will go high about 10V It will remain high until a new MIDI note on message is received that has a value lower than 80 when it will go low OV This is usful for controlling CV inputs or triggering envelopes Setting The MIDI Receive Channel and CONTROL CV Source Setting up Red Square s MIDI is quick and easy No menus or sub menus need to be navigated Program Button Ensure MIDI connections are made correctly Press and hold the Program Button Red Square will set itself to omni on mode will receive data from all MIDI chan nels Either press a key or move a MIDI controller Red Square will extract the MIDI transmit channel number from the note or controller data that was received and set itself to receive on that channel The channel number is stored in non volatile memory If a
15. FSET NI NYHL PHOBOS Red Square V3 e amp oe c 1 9 2004 REAR PANEL POWER IN This unit requires 230V AC power or 115V if selected The socket is a standard IEC type requiring IEC power cable Do not change the voltage setting when a power lead is connected Use the correct voltage for your supply MIDI IN Plug your MIDI cable in here Connect this to the MIDI out or thru of your MIDI con troller MIDI THRU The MIDI data coming into the In socket is copied to the Thru socket This is so you can control additional devices from your MIDI controller without the need of a MIDI thru box External SIGnal IN input socket This is a direct signal input to the filter The front panel EXT SIG control does not affect the level of this input Use this socket to feed external signals into the filter for process Ing As it is on the rear panel it is ideal for hard wiring into your studio set up when Red Square is rack mounted SIGNAL OUT output socket This is the main audio output for Red Square It is the signal output from the VCA This socket is duplicated on the front panel SIGNAL As it is on the rear panel it is ideal for hard wiring into your studio set up when Red Square is rackmounted All jack sockets are 6 35mm mono PHOBOS Red Square V3 e amp oe c 1 9 2004 PATCH EXAMPLES To create good sounds with Red Square simply experiment patching any output to any input Play around with the controls and r
16. V converter so it can be played from a MIDI keyboard The saw and square wave signal outputs are hardwired to the mixer Input and output signals are provided to enable VCO1 to be re patched with other circuits OH TUNE control Controls the pitch of VCO1 Range is about 4 1 2 octaves Use this to tune VCO1 to your other instruments OH PITCH CV LEVEL control and CV input socket This is a CV input for modulating the VCO pitch with a modulation CV such as the LFO or envelope The depth of the modulation is changed with the LEVEL control Higher settings increases the modulation depth Usually something like an LFO is used to create vibrato effects or the EG output to create pitch sweeps and drum sounds Alternatilvely use the output of VCO2 to create FM and metallic sound effects OH GLIDE control Glide adds portamento to the pitch As you play up or down the keyboard instead of instant pitch changes the pitch will slide up or down from the previous frequency to the new one played The speed at which this happens lengthens as the GLIDE control is increased A zero setting produces no glide PHOBOS Red Square V3 e amp oe c 1 9 2004 SYNC signal input socket Normally you would feed a VCO signal into this socket such as VCO2 Then try vary ing the pitch of VCO1 and listen to the results TRIANGLE LEVEL control and signal output socket Controls the output signal level of the triangle waveform fed into the filter input
17. ample to hear the result Increase the S H SIG LEVEL control to near maximum Turn the LAG control to mini mum Turn the VCO1 MOD LEVEL control to maximum Ensure you can hear VCO Turn the LFO to a suitable speed and you can hear VCO1 s pitch change randomly The LFO speed decides when the pitch will change Altering the S H SIGNAL LEVEL control will alter the range of the random voltage Note if the StH SIGNAL input is overloaded unredictable results may occur Not neccessarily a bad thing Increase the LAG control You should now hear the pitch bend and slew to each new pitch change Note it the SLEW rate is too high the S H may appear not to work It is it is just that the voltage is changing far quicker than the slew rate PHOBOS Red Square V3 e amp oe c 1 9 2004 C 26 gt Experiment with other voltage sources for instance use the output of an envelope into the S H You will get a stepped rather than smooth EG signal Try other destinations such as filter cut off instead of using the pitch The S H can be triggered from the MIDI CV GATE output instead of using the LFO SQUARE wave Experiment Using EG2 To Modulate The Filter Cut off patch MIDI CV GATE out to EG2 TRIG to trigger the EG from a MIDI note patch EG2 SIGNAL out to CUTOFF mod in Setup the top row monosynth as normal Increase the cut off MOD LEV control and EG2 LEVEL Turn the EG AMNT control to minimum as we do not want EG1 to modulate the filter When the MIDI
18. and used with your MIDI set up MIDI messages that are responded to are Note on off Velocity Mod Wheel All notes off Note messages provide analogue outputs for pitch CV auxiliary CV Accent and Gate Activity LED The Activity LED will briefly light whenever it receives a MIDI message that itself will respond to i e a message on the correct channel and of correct type note on off and mod wheel if CC VEL source is set to mod wheel It remains on when Red Square is in Program mode PROGRAM button See MIDI Set Up section later PITCH CV output socket PITCH is the pitch control voltage output from the MIDI to CV converter Incoming note value data from the MIDI In socket is converted from digital MIDI signals into ana logue CV s The pitch CV varies from 2V to about 8V The scaling is 1V per Octave This means as you go up one octave the output voltage goes up by 1V Use PITCH to control the pitch of VCO2 Note PITCH is hard wired to the pitch input of VCO1 The pitch will respond to pitch bend messsages The range can be changed see later The pitch output can be transposed see later PHOBOS Red Square V3 e amp oe c 1 9 2004 CONTROL output socket CONTROL is the auxiliary control voltage output Incoming controller data from the MIDI In socket is converted from digital MIDI signals into analogue CV s CONTROL var les from OV to about 10V Use CONTROL when you want to control certain parameters of Red Square from MI
19. controls From left to right they are Scale Tune Hi End The Temperature trimmer is located inside the Synth behind the Glide control at the back of the circuit PHOBOS Red Square V3 e amp oe c 1 9 2004 C 29 gt RED SQUARE user manual part of the range by Analogue Solutions web www analoguesolutions com web www analoguesolutions co uk email RS analoguesolutions com tel fax 44 0 1384 35 36 94 post 56 kingsley road kingswinford dy6 9rx uk PHOBOS Red Square V3 e amp oe c 1 9 2004
20. emember what works and sounds good and develope those patches Below are some simple examples to point you in the right direc tion One Oscillator Monosynth No patching needs to be done aside from the MIDI In cable and audio out cable Ensure the correct MIDI receive channel has been selected To hear VCO1 VCA VOLUME level audio out level must be increased the audio level of VCO1 or SUB NOISE level must also be increase to maximum If the square wave is being used then there are certain pulse width settings that may not produce any audio so if neccessary adjust the PW to a suitable level If the filter cut off level is too low little audio output may result so set the cut off to a suitable level In normal use put the VCA mode switch to EG Two Oscillator Monosynth Set up the top row single voice monosynth as normal To get the 2nd VCO working with the 1st patch MIDI CV PITCH to VCO2 PITCH to control VCO2 s pitch patch VCO2 audio out to EXT SIG on the mixer to hear VCO2 Turn VCO2 MOD LEVEL to maximum so the pitch is modulated by the MIDI CV Turn EXT SIG up on the mixer to hear the audio VCO2 will now be controlled by MIDI along side VCO1 Audio is mixed with that of VCO1 Using The Sample And Hold To Produce Stepped And Random Voltages patch NOISE output to S H SIGNAL IN noise is the signal to be sam pled patch LFO SQUARE to S H CLOCK The S H will clock at the LFO rate patch S H OUT to VCO1 PITCH for ex
21. hard wired to the VCA signal input EG1 signal output is wired throught the EG Amount socket CUT OFF control This sets the cut off frequency the point at which the LPF will start to filter out har monics EG AMNT control The EG Amount control sets the amount EG1 will modulate the filter cut off When this control is set above zero the filter cut off will sweep up and down with the EG signal PHOBOS Red Square V3 e amp oe c 1 9 2004 Use this to add some movement to the cut off over time Q control and Q input socket Q or resonance Is a feature of adding feedback to the filter circuit The output of the filter is feed back into the input Q sets the level of feedback As the control is increase to higher levels the filter will self oscillate The oscillation frequency is set by the cut off control Use Q to alter the tone of the filter effect It can be used to create squiggy sounds and pulse hits The amount of resonance can be set using an external CV from for ex ample the LFO using the Q input socket X MOD control X MOD cross modulation sets the level of cut off modulation received from the au dio output of the mixer Increasing this control can add crunchiness to the sound Plenty of audio effects can be created by experimenting with the cut off Q and levels and input signals of the mixer Put Q into self oscillation to produce a more dramatic effect EXT CV control and CUT OFF input socket The c
22. her daunted by their complexities do not have to space for them or find them too expe sive Red Square gives you the oppurtunity to create a diverse range of sounds by using patch cables to re route the signals Red Square is a quick and easy to use synthesiser as its design is in a more familiar monosynth format MONOSYNTHESISER The top row of controls on Red Square act as a complete pre patched monosynth This section allows Red Square to be used straight away without having to patch any sections together All that is needed is a MIDI cable and an audio cable This means Red Square can be used straight away with no fuss or confusion as a powerful and flexible synthesiser sound machine The top row synthesiser comprises VCO1 Noise External Signal Sub Oscillator VCLPF EG1 and the VCA The Ring Mod output also goes to the filter audio input but its inputs must be patched first The additional sections like EG2 VCO2 Ring Mod etc can be patched into the mono synth to create even more varied and complex sounds or they can be used independently or in conjuction with other synthesisers EFFECTS PROCESSOR Don t just think of Red Square as just a patchable synthesiser It is also a highly versatile analogue effects processor Red Square has a panel full of professional quality 6 35mm jack sockets which allows it to be integrated into your studio set up just like any effects processor But instead of just another lifeless DSP processor y
23. ient temperature is 22C If not refer to the table below F C mV value to subtract from 1st reading 62 16 70 67 19 65 72 22 60 77 25 55 82 28 50 Low End Tuning Press C5 on the MIDI keyboard Adjust Tune trimmer to get C pitch on the guitar tuner Press C3 PHOBOS Red Square V3 e amp oe c 1 9 2004 C 28 gt Adjust Scale trimmer to get C pitch on the tuner 2 octaves down Repeat the above block of instructions until a perfect octave spread is obtained High End Tuning Push the Tune control in to raise the pitch up an octave Be careful not to turn it and disturb the pitch tuning Press C3 and adjust the Tune trimmer to get C pitch on the tuner Press C5 and adjust the Hi End trimmer to get C pitch Repeat the above block of instructions until a perfect octave spread is obtained All should be OK now but you can repeat the whole sequencer except the Tempera ture adjustment stage just to be sure the octave spread is satisfactory Calibrating VCO2 Adjusting VCO2 is identical except You must patch the MIDI CV pitch CV output into the VCO2 MOD CV socket input Turn the CV MOD control to maximum Instead of using a guitar tuner you could use VCO1 as an audio reference and zero beat them for accurate tuning Notes Unless you are a competant person do not do the calibrations yourself You are liable to make the tuning worse The trimmers are available through the small front holes located in between the main VCO
24. level from the RM out socket PHOBOS Red Square V3 e amp oe c 1 9 2004 NOISE GENERATOR The noise generator produces white noise This is like the hiss you hear between radio stations It can be patched into the S H for random effects or to the filter for wmd and other sound effects NOISE signal output socket The noise generator signal is output at full level from the NOISE socket the NOISE SUB level control does not affect the level SUB OSCILLATOR SUB socket The sub oscillator signal is derived from VCO1 It generates a square wave signal that is the same pitch but one octave below VCO1 It can be used to beef up sounds The sub oscillator signal is output at full level from the SUB socket The NOISE SUB control does not affect the level When using the Sub it is best to leave VCO1 s PW unmodulated EXTERNAL SIGNAL INPUTS EXTernal SIGnal input socket When you wish to filter external audio signals for example synthesisers effects pro cessor mixer effect sends guitar vocals etc patch the signal into this socket The signal can then be attenuated with the EXT SIG level control and is then fed to the filter input RING MODULATOR The ring mod RM is an effect that combines two sounds to produce interesting effects won t go into any technical details of how you can read up on this if you wish The best thing is to use it and listen to the results The RM needs two audio signals to work
25. mperature This is to allow any possible condensation moisture inside the unit to evaporate Although any built up moisture will not damage the unit any shorting may be hazardous e Never open the case or attempt to make repairs Refer any servicing to a qualified service personnel The power rating is switchable between 115 and 230 volts Ensure the unit is switchd off and the mains adaptor cable is disconnected before changing the voltage selection Do not change when power is connected MOUNTING Red Square can be rack mounted in any standard 19 rack case It requires 5U height and very little depth Alway use all all four mounting holes so it is secured in the rack Alternatively just place the unit on a stable surface Rubber feet can be stuck on the back to stop it sliding about PHOBOS Red Square V3 e amp oe c 1 9 2004 MIDI CONNECTIONS Although Red Square can be controlled from another analogue synthesiser or ana logue sequencer using the CV and gate inputs it is best played from a MID keyboard or sequencer Connect MIDI Out or Thru from your MIDI controller device to the MIDI In of Red Square Additional MIDI devices can be daisy chained from the Red Square MIDI Thru socket REAR PANEL AUDIO CONNECTIONS The main signal output is on the front panel but it is also duplicated on the rear panel so Red Square can be integrated into your studio rack set up Connect this socket to a spare mixing desk input channel In
26. ou have a warm fat or even down right dirty analogue effects processor The analogue filter and ring modulator can be used as two independent effects proces sors or chained in series for dual effects They can be wired into your mixing desk s effect sends and returns just like any other effects unit The additional sections of Red Square can be patched in to modulate the effect on your external audio signals All this and you can still create and use an independent synthsiser patch too PHOBOS Red Square V3 e amp oe c 1 9 2004 SAFETY INSTRUCTIONS Please read carefully before using e Only use the correct power 230 or 115V whatever selected e Never handle the adaptor adaptor with wet hands e Never excessivly bend the adaptor cable or get it trapped or place heavy objects on it If the adaptor cable becomes damaged replace the adaptor e Ensure the unit is disconnected from the mains before moving or cleaning e Always disconnect the unit from the mains if there is lightning in your area e Ensure the unit is on a stable surface and never place heavy objects on top of it e Never allow young children to operate the unit or adaptor e Do not use excessive force when using the controls or inserting cables to the con nectors e The unit should not be operated in the rain or near water and should not be exposed to moisture If the unit is brought from a cold environment to a warm one the unit should be left to reach the ambient te
27. t but details are given here for those who insist on making adjustments themselves A few important notes If any of the following instructions do not make complete sense to you you are not qualified to calibrate Adjusting the VCOs for temperature involves opening up Red Square This will void your warranty We do not recommend you open up the synth for safety reasons It is not likely you will have to make this adjustment Just the Low and High end adjustments outlined Allow around 15 minutes of warm up time before attempting to calibrate Ensure you calibrate Red Square correctly otherwise you might throw it out completely Calibrating the MIDI to CV Converter see MIDI instructions Calibrating VCO1 Initial Set Up Put the Tune control to approx centre Pull Tune control out to set a low octave Centre all cermet trimmers Ensure no modulation signals are patched to the VCOs Use a guitar tuner to measure tuning Temperature Adjustment Before applying power to the board put a short across R17 If power has already been applied short R17 and allow 5 minutes warm up period before making the next measure ment Note there is a 2 pin connector that can be used to make the short located just next to the Temp adjustment trimmer Measure the voltage at pin 5 IC2 Note the reading Remove the short across R17 Adjust the Temp trimmer until the voltage at pin 5 reads 60mV below the original reading you made This assumes the amb
28. t smoothing out the voltage changes OH input LEVEL control and bk signal INPUT socket The LEVEL control attenuates the input voltage coming in the INPUT socket Typi cal sources to use for the S H are noise for random voltage effects or maybe an LFO output for a stepped LFO signal If the input signal is too loud the S H may not func tion correctly producing interesting results so if necessary reduce the input level to a satisfactory level CLOCK input socket Input a clock signal into the CLOCK input Maybe use a square wave from an LFO or the GATE output of the MIDI to CV converter Each time a clock signal is received the S H will sample the voltage at the INPUT socket and hold that level at the OUTPUT until the next clock signal is received signal OUTPUT socket This is the S H signal output Use The most typical use of a S H is to produce random voltages Patch the Noise output to the S H INPUT Patch LFO Square wave to the S H CLOCK input Turn LAG to zero Patch the StH OUTPUT to for example the VCO CV input Increase the S H LEVEL input control to a suitable level PHOBOS Red Square V3 e amp oe c 1 9 2004 18 gt EG2 ADSR EG2 is a full ADSR envelope generator with normal and inverted outputs It is entierley indpendent from all the other circuits and must be patched with them to be used LED indicator This indicator shows the output status of the envelope socket varying in brightness
29. used to bring various audio signals together for filtering The following audio signals are hard wired to the mixer VCO1 square VCO1 saw noise or sub depending on switch NOISE SUB status ring modulator amp external signal The mixer output is hard wired to the filter audio input Other signals can be patch into the mixer using the external signal input socket EXTSIG_ NOISE NOISE SUB level control amp switch Controls the audio level of the noise generator or sub oscillator signal that is fed into the filter This control has a built in push pull switch When it is push in noise is selected and routed into the filter input When pulled out the sub oscillator is selected and routed to the filter input Whichever is selected noise or sub the control will alter the filter input level for that sound source Both signal types are still available at full level out of their repsective sock ets Although with this method you might think only one or the other can be routed to the filter that is not the case If both are needed route the one not selected via the switch from its output socket and back into the external signal input EXTernal SiGnal input control Controls the level of the external audio that is fed into the filter The external audio must be patched via the EXT SIG socket RM control Controls the level of the ring modulator output that is fed into the filter The RM output signal is available at full
30. ut off frequency can be modulated with an external CV for instance the LFO Patch the modulation CV to the CUT OFF socket The level of modulation is determined with the EXT CV control There is no external modulation when the level is at zero Increas ing the control increases the level of cut off modulation EG1 AR EG1 is an AR attack release envelope generator Its output internally hard wired to the filter cut off level via the EG AMT control and the VCA level via the VCA MODE switch The trigger input is hard wired to the MIDI to CV converter Gate output TRIG and CV inputs are available to re patch it with other circuits LED indicator This wil turn on each time EG1 receives a gate signal PHOBOS Red Square V3 e amp oe c 1 9 2004 O S SUSTAIN IN OUT switch AR IN When selected Sustain is enabled and the Decay R control becomes a Release time control After the attack sequence has finished and the envelope has reached full level it will remain there as long as the Gate input is held high i e note held down OUT When selected there is no Sustain and the Decay R control becomes a Decay time control After the attack squence has finished the envelope signal will decrease down to zero at a rate deteremined by the Decay control ATTACK control Controls the Attack time This is the rate at which the envelope signal will take to reach full level when the Gate input goes from low to high note pressed
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