The oscillator’s frequency is controlled by COARSE,TUNE knobs and FM inputs.
TUNE fine tunes the oscillators (± 6 semitones).
Frequency modulation (leveled FM1, FM2 and FM3 ) determinates the intensity of frequency modulation and/or pitch control. All FM inputs are carefully calibrated for 1Volt/octave sensitivity.
Frequency modulation, by an audio signal, creates so called “side-bands” that consist of sum and difference of signals frequencies.
These additional frequencies do mostly have a non harmonic sound. Modulation, by low periodic waveforms, such as LFO or envelope generator creates momentary pitch shift of modulated oscillator common named vibrato (by LFO) or pitch bend (by envelope generator).
SYNC means that sync’ed oscillators frequency is tracked by the frequency of controlling oscillator; OSC2’s frequency is synchronized to OSC1’s frequency. When the tuned frequency of sync-ed oscillator has the same or multiple of frequency of controlling oscillator then sync-ed oscillators waveform has no or very little “glitch” which results in a sync-ed smooth waveform (sine waveform). The sync-ed waveforms (with additional FM modulation) are perfect for cutting edge lead sound and hard, funky basses.
PULSE WIDTH % adjusts the pulse width of the pulse wave from 5% to 95%.
WAVEFORM selects the waveform or a mix of waveforms from an oscillator. PULSE WIDTH control works also on the waveform mixes where the pulse wave is included.
Ring modulator (RM) is a classic audio effect device and due to the non harmonic character of the output signal, very useful to create metallic timbres such as bells, sweeping whistles and percussive sounds and tremolo effects (modulated by low periodic signal like a LFO). Two input signals are pre-patched to OSC 1 and OSC 2 outputs. Using the inputs X and Y, any other external signal can be routed directly into the ring modulator. As modulation source the ring modulator can produce a huge amount of complex waveforms both in the low and audio frequency range.
The MMF-2 is a stereo multi mode filter which can operate in a true stereo mode or as two independent filters. for modifications and re-shaping of your sound material is the goal for the MMF-2; as a post production filter with mix and pre/post saturation and as a tool for experimentation with both mono and stereo audio material with all CV controllable parameters in full audio range. The module is build around three functional blocks; filter, saturation stage and mix.
マスターセクション、２つのFLO セクションフィルターセクション、２つのエンベロープセクション、VCA （シグナルフローは左から右へ）から構成されます。The sections : Master, 2xLFO, 2xOSC, Filter, 2xEnvelope, VCA, Inputs & outputs. The signal flow goes left and right.
Master : for TUNE CV or the FILTER CUTOFF and 3 switches connect LFO1,OSC1,OSC2 pitch for frequency. It has an octave switch TRANSPOSE and GLIDE.
LFO1 & LFO2 : are identical and have RATE manual controllers ( speed ) .There are wave-selectors bellow RATEs. It can be controlled by external CV inputs and those are calibrated for 1V/oct. SYNC input is common for both. LFOs has also outputs for the external use ( to the right on panel ).
OSC1 and OSC2: are identical but..OSC1 + Noise OSC2 + Ring modulator It has manual frequency controllers COARSE and FINE TUNE. OSC1 and OSC2have a internal sync switch.OSC1 is master OSC2 is slave. It menas synced OSC2 must have a higher frequency than OSC1 when it syncs. OSC2 has a ring modulator, you can select. PULSE with controller in Oscillators. PULSE has 2 modes * Sawtooth + Triangle Sawtooth is pulse width control You can control Osc pitch separately. FM2 follows 1V/oct.
Filter : you can manually control the cutoff Cutoff 1 : has 3 different inputs. so, the cutoff can be controlled by *OSC1 & LFO1 *External CV controlled voltage and this is calibrated by 1V/oct& LFO2. Cutoff 2 & Cutoff 3 are bipolar. RES : Resonance self oscillating switch. SAT1: Symmetrical soft grip.SAT2: Hard Asymmetrical Tube like distortion. 1POLE/2POLE: multimode filter consists of 2 identical filters so you can have 2 pole or 4 pole and dual peak controlled by spepcing manually and external CV.and also single or dual notch.
Envelope: Conventional ADSR generator with looping A D envelopes when sustain is Zero. ADSR and MMF have separate outputs.
VCA: the output of VCA is controlled by envelope 2 and external control of velocity. It has 2 modes: *Semi exponential and *Liner. VCA ‘s output is the main out put called VOICE.
コンプレッサー（SATURATION COMPRESSOR RATIO でレシオ3:1/1:1/20:1をスイッチで選択できます。
QPEAK MODEではOSCモードかRESモードをスイッチで選択できます。
MMF-1S Multi mode filter
3U Eurorack module
20HP wide
20mm deep
Weight 0.37 kg
current draw: 50mA
How to use Cwejman
MMF-1S is MMF-1 plus (1)Compressor, (2)Resonator mode (Q peak mode), (3)Saturation, (4)2nd harmonic booster (2ND HARM), (5)MIX mixing original signal with (1)(2)(3)(4) or VCA mode. ( MIX VCA outputs ) .
The Multi Mode Filter offers seven types of modes:
* Low pass
* High pass
* Band pass
* Dual band pass——-with dual resonance (Q-PEAK) and controlled bandwidth by SPACING
* Dual band pass——-with single upper resonance (Q-PEAK) and controlled bandwidth by SPACING
* Dual band pass——-with single lower resonance (Q-PEAK) and controlled bandwidth by SPACING
* Notch——————with single or dual resonance (Q-PEAK) and controlled bandwidth by SPACING
The SLOPE defines how steep the filter cuts off the attenuated frequencies. It means, that the 2 pole filter cuts signal with 12dB/octave, the 4 pole filter cuts with 24 dB/octave. The higher the slope, the more effective the filter cuts. The CUTOFF frequency or corner frequency defines at which frequency the filter starts to attenuate frequencies of the incoming signal. The cutoff frequency of the filter can be adjusted by CUTOFF knob from 16kHz to 16Hz and tracked by the external signals CUTOFF CV1 and CV2.
The Q-PEAK (also known as “resonance” or “emphasis”) boost audio signals in the near range of the cutoff frequency and makes the tone sound more “cutting”. From a certain level on, the filter start o self-oscillate and works as a sine wave-oscillator and in dual band pass mode (in dual Q-PEAK mode) produces two-tone sine waves (the two-tones frequencies are controlled by CUTOFF and SPACING).
The q-peak can be controlled by knob Q-PEAK and/or by signal from levelled input Q-PEAK CV, levelled by Q-PEAK CV knob.
The SPACING control defines bandwidth for all three dual band pass modes and/or spread of two resonant peaks. The amount of spacing can be controlled by knob SPACING and/or by signal from input SPACING CV.
The audio knobs AUDIO1 and 2 controls the audio signals level coming from inputs AUDIO1 and AUDIO2.
The audio output is provided by output socket labelled AUDIO and is revealed by white surround.
MMF-1S is the expanded MMF-1 with voltage controllable saturation with compression and second harmonic emphasis, then a MIX parameter for fine timbre tuning between original and processed distorted sound or a VCA at the output.
The filtered signal is emitted at the MMF output.
The second part of the module is comprised of a saturation stage which distorts the signal in a nonlinear fashion. Besides the voltage controllable Saturation parameter which sets the amount of saturation, there’s a 2ND HARM control emphasizing the second order harmonics.
A compressor with three selectable compression ratios (1:1, 3:1 and 20:1) is integrated in the saturation stage as well.
The saturated signal is available at the MIX VCA output, yet the result depends on the VCA/MIX switch and the MIX control:
In switch position “MIX” the MIX parameter blends between the original signal (AUDIO 1&2) and the filtered/saturated result (SAT). This can be voltage controlled via the “CV VCA-MIX” socket.
In switch position “VCA” the MIX control has no effect and the CV input “VCA-MIX” turns into the VCA’s CV input.
The MBC-3 contains a 3-way 24dB/octave crossover filter.
The crossover filter has 3 individual outputs for Low-Pass, Band-Pass and High-Pass
The crossovers are controlled manually and by CV external signals.
The crossover filter is followed by 3 pre-patched compressors to audio and side-chain inputs.
Functions such as compression, gate level, attack, release are CV controllable.
All compressor has an separate envelope follower (not affected by attack and release).
The outputs from the compressors are connected to the mixier with manual individual level controls.
The signal from the mixer is connected to outgoing VCA stage.
The PH-4 is a generator with four signal outputs. All outputs has the same signal frequency, strength and shape but with 90 degrees phase shift between two nearest outputs. Consequently the phase relation counted from first to fourth output is; 0, 90, 180 and 270 degrees. The main duty of the PH-4 is to controll four identical modulated devices.
One example; the phase shifter (phaser) is a signal processing device which substitute phase change components applied to an external audio source for the frequency components of the Tone. The characteristic of multiple phase shifters are controlled by the PH-4 so that the phasing effect doesn’t simply swing back and forth, like it’s normally used, but rather sweeps up and down eternally. The same effect can be achieved with filters, oscillators and amplifiers. Rate (or speed) can be controlled manually and by an external CV signal.
The modulating waveform can be selected by the switch; sine/triangle. The output level can be controlled by an external CV signal. The voltage offset is controlled by knob and by an external CV signal3U Eurorack module,
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