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
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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 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
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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.