D-LFO consists two identical low frequency oscillators. LFO2 can be internally sync-ed to LFO1 by an internal switch. The TRIP POINT control the voltage point at which the waveform is sync-ed; continuously from lowest to highest point of the waveform. Additionally the external signal can be used as sync source in two modes; the SYNC T converts the external signal to a very narrow pulse for a distinct sync and the SYNC G extract pulse width of the external signal for sync with a “steady state” sync-ed waveform. The RM/AM is a ring modulator / amplitude modulator. It is coupled to both LFO’s outputs and has a separate output “RM-AM” and input for external signal (pre-patched to the LFO2’s output).
The VC0-6 is a single voltage controlled oscillator and it has six individual waveforms.
The frequency is controlled by manual controllers (knobs) and FM (leveled inputs). The VCO-6 can by sync-ed by an external signals frequency, as well.
The oscillator’s frequency is controlled by RANGE (from C2 to C8), TUNE knob
(± 6 semitones in audio mode and (± 12 semitones in LFO mode) and leveled FM inputs;
DC or AC coupled FM1 and exponential F2 and FM3.
Frequency modulation (leveled FM1, FM2 and FM3 ) determinates the intensity of frequency modulation and/or pitch control. The FM2 and FM3 inputs are carefully calibrated for 1Volt/octave sensitivity and it tracks the musical scale for more than 8 octaves.
3U Eurorack module,
Weight 0.5 kg
current draw: 50mA
How to use Cwejman Ribbon cable connectors
User manual MMF-6
The MMF-6 is a multi mode filter with six outputs, first three from the left; “clean” low pass, band pass and high pass. Low- band- and high pass to the right are processed by three separate (for every output) saturation circuits with two modes; soft and hard. Additionally, the filter core has so called “symmetry” control for the resonance and cutoff frequency. It is possible to control cutoff so positive and negative going signals has different cutoff frequencies, from a subtle “edge” to very dramatical character of the audio signal (including frequency division effect). All this by modulating symmetry by one of outputs (pre-patched to “clean” low pass output) or an external signal. Now it is possible to mix clean and saturated audio signals in any combination.
Audio: 2x In
CV inputs: 2x cutoff, 1x Q-peak, 1x symmetry
clean LPF, BPF and HPF
saturated LPF, BPF and HPF
The SPH-1 is a 14-stage stereo image phaser. It consist of two identical voltage controlled all-pass filters with seven notches stretched over the whole audio range which ensures constant phasing effect.
The all pass filters are combined with original audio signals resulting in an almost constant gain and phase shift of 2400 degrees across the entire audio range (see diagrams below).
Additionally, the phasing effect remain almost constant even in saturation mode.
Phasing (SPECTRUM) is controlled by modulating low frequency oscillator (MOD RATE, MOD LEVEL) and by external signals (SPECTRUM CV, and separate SPECTRUM LEFT, RIGHT).
The low frequency oscillator’s rate can be modulated by external signal (RATE CV, RATE CV INPUT).
The SPH-2 provides one audio input for both phasers labelled by SUM AUDIO.
The audio outputs are provided by output socket labelled AUDIO, LEFT, MIX (mixed left and right phaser) and RIGHT. Outputs are revealed by white surrounds.
The FEEDBACK knob controls the amount of multi resonance for both phasers up to self-oscillating.
The SPATIAL/ROTATING switch couples phaser between two different stereo images. The BYPASS/ L&R INPUT inserts both phasers in the audio chain in position L&R INPUT.
The main purpose with the frequency shifter is to make frequency shift up and down for processed audio signal. Two signal sources are needed; the carrier and the audio. Both carrier and audio signals are splitted in two chains and are pre-processed to accomplish 90 degrees phase shift between splitted signals.
The carrier generator has two frequency ranges; LF (low frequency) and AUDIO and it’s controlled by knobs
COARSE, FINE and external CV signals (CARRIER CV). The carrier generators outputs are pure sine waveforms with 90 degrees delay between them. Outputs are patched to both ring modulators inputs. Two ring modulators (dual balanced multipliers) receives 0 and 90 degrees shifted carrier and audio signals . The outputs from the multipliers are combined in two ways; the frequency shift UP and DOWN. The frequency shifted audio signal is a sum (UP) or difference (DOWN) of the carrier generators frequency (a pure sine waveform) and all audio signals frequencies (fundamentals and harmonics). The FSH-1 works in two modes; as frequency shifter and as dual ring modulator. A ring modulator is a classic audio effect device and due to the non-harmonic character of the output signal. It’s very useful to create metallic timbres such as bells, sweeping whistles and percussive sounds and tremolo effects. The obvious effect (particularly in LF mode) is a stereo panning effect of audio signal.
The BLD has all components and function necessary for generating bass lead and drum sounds with focus on bass drum sounds.
The BLD contain main sound generator (OSCILLATOR) and noise generator and modifiers such as low pass filter, amplifier and two transient (contour) generators.
Oscillator has two manual pitch controllers (FINE, COARSE) and two inputs for controlling the pitch by external signals (FM1, levelled, bipolar pre-patched to transient generator AR and FM2, calibrated to 1 Volt/octave).
Waveforms and mix between shapes is controlled manually from triangle, mix between triangle and pulse, pulse, mix between pulse and saw tooth and saw tooth).
Oscillator level is controlled manually from 0 thru nominal signal strength to saturated (curved, for more punch). Pulse width is controlled manually and by an external signa (PWM).
NOISE GENERATOR is connected to the low pass filter and to the amplifier (NOISE LEVEL). The noise generator can be routed in to the amplifier (PRE) or directly to the output AMP (POST).
The noise generators level is also controlled by pre-patched AR generator thru input NOISE LEVEL.
AR and AHR transient generators are activated manually by the push button
TRIG and/or by an external signal (input TRIG). Attack, Hold and Release are manually controlled and by an external signals connected to inputs A1, R1 (AR) and A1, HOLD and R2 (AHR).
AMPLIFIERs gain is controlled by mix of AR and AHR and by an external signaln connected to the input VELOCITY
3U Eurorack module
20mm deep ( behind the front panel )
Weight 0.9 kg
power consumption: 190mA
How to use Cwejman Ribbon cable connectors
Master section ( CUTOFF, WET, LEVEL, MIX )
QMMF-4 contain of 4 individual filters which can be controlled separately and by
the master controls.
CUTOFF Hz : 16Hz – 16kHz
FINE TUNE : for fine tuning of cutoff frequency
Q-PEAK : resonance control of the filter from flat to self oscillating mode in OSC SAT or OSC position and there is RES mode as a resonator.
OUTPUT FADER : volume control of the filter’s output. There are 2 outputs ( PRE, POST ) . PRE is the direct output from the filters, POST is the attenuated output controlled by OUTPUT FADER and by external signals inserted to LEVEL inputs.
INPUT LEVEL : audio input manual controller.
3 Filter mode (HP: High pass , BP: Band pass ,LP :Low pass ).
NOTCH output : a sum of lowpass and high pass.
AUDIO INPUTS : individual audio inputs for all filters, pre-patched to the master control but can be used for four external sound sources.
CM1 : cutoff modulation with manual BIPOLAR level control for the inserted external modulation signals.
CM2 CAL: input for external modulation source and calibrated for 1 volt per octave.
Q-PEAK : manual and voltage controlled amount of filter resonance.
LEVEL : controlled the outgoing level of the filters (POST ) manually and by external signals.
MASTER SECTION :
CUTOFF : controls all 4 filter cut offs
WET LEVEL : controls all 4 filter volumes
MIX : controls the mix of dry and wet signals.
Master section has 2 audio outputs (NOTCH and MMF )
NOTCH : it is different from other filter notches, it is the sum of all 4 filters but with inverted phases of F2 and F4.
MMF: it is the sum of all 4 filters. It creates pseudo stereophonic effect.
Master section’s CV controls
FREQ : cutoff frequency, calibrated for all filters for 1 volt per octave.
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 VCA-4MX consists of four individual voltage controlled amplifiers.
All amplifiers are identical and work in a semi-logarithmic mode. Amplifiers accept both DC and AC signals. The VCA-4MX has eight outputs for maximal flexibility. All amplifiers has an individual output, two summing outputs for all amplifiers ( both normal and inverted ) and additionally two summing outputs for VCA1 + VCA2 and VCA3 + VCA4 .
The VCA-4MX can be used as quad attenuator ( using all four amplifiers separately), as a four input mixer ( using summing outputs ) and as two separate two inputs mixers.
All amplifiers has dedicated level controller (knobs) and CV inputs which controls outgoing signals attenuation in semi-logarithmic mode. The manual controllers (knobs) determinates the maximal amount of controlled gain ( or rather attenuation ). The semi-logarithmic transfer function is much
more practical than a true logarithmic because it’s imitates the natural behavior of volume controllers.
FM１：BIPOLAR, FM１インプットのレベルコントロール Level control of FM1 input
FM２：FM２インプットのレベルコントロール Level control of FM2 input ( calibrated for 1 volt per octave )
FM３：ダイレクトコントロール Direct control of FM3 ( calibrated for 1 volt / octave )
オフセット offset ：OFFSET, OFFSET LEVEL, OFFSETインプット。
OFFSET とAMPL LEVEL はトライアングルとサインだけをコントロールします。
アンプリチュードモジュレーション Amplitude modulation : AMPL, AMPL LEVEL。
PH-8 Four Phase Generator
3U Eurorack module
Weight 0.37 kg
current draw: 50mA
How to use Cwejman Ribbon cable connectors
8 outputs. 2 different wave form groups (Triangle/sine outputs: 0°, 90°, 180°, 270°、Sawtooth/Pulse outputs: 0°, 90°, 180°, 270°).
All 4 waveforms are in 90 degrees quadrature relation to each other.
Pulse width modulation (PULSE WIDTH) : PWM input, PWM LEVEL control.
SYNC input, TRIGGER SYNC/GATE(Hard sync/Gated).
Frequency Modulation : FM1,2,3 (1 volt per octave )
FM1 : BIPOLAR level control
FM2 : Level control
FM3 : Direct control
OFFSET, OFFSET LEVEL control, OFFSET input
Amplitude : AMPL, AMPL LEVEL control, AMPL input.
The PH-4’s big brother is a quadrature oscillator as well, yet the much bigger waveform selection at the double amount of outputs, more FM inputs (even with 1V per octave tracking), pulse width modulation and sync it can be easily considered a highest quality, full-range oscillator which “casually” handles quadratures and works as an LFO.
The frequency range is selected by a switch between LFO and audio, two potentiometers set coarse and fine tuning. Modulation-wise there are three CV inputs: FM 1 is equipped with a polarizer, FM 2 with an attenuator, FM 3 is not attenuated. FM 2 and 3 track one Volt per octave.
The left four quadrature outputs with 0°, 90°, 180° and 270° phase provide you with either a sine or a triangle which is switch-selectable. The right four quadrature outputs are responsible for pulse wave and sawtooths. The pulse width is set manually and per CV, the form of the sawtooth is selectable between sawtooth, ramp and a mix of both, even via CV.
Further possibilities of manual and voltage control are the bipolar DC offset and the output level. Finally there’s even a sync input which tops off PH-8’s VCO capabilities.