The MX-4S is a voltage controlled stereo mixer with four independent inputs. All parameters such as input gain, panning and output again ( both left and right channels output level are ganged) are controlled manually by knobs or associated CV inputs. The mixer accept both DC and audio signals so it can be used for audio signals and control signals. The LED bars displays the outgoing signals strength. The performances of the mixer such as low distortion and low noise, are superior thanks to ” the state of the art” voltage controlled devices.
Both envelope generators are identical and provide control voltages that can be used for dynamic change of all voltage controlled parameters, such as; frequency, amplitude, pulse width, cutoff.
The most common use is controlling a filters cutoff frequency and a voltage controlled amplifiers amplitude in order to achieve dynamic timbre- and level-changes. All parameters such as attack time, decay time, sustain level, release time and output level are voltage controlled.
RES-4, four band voltage controlled parametric resonator
The RES-4 is a four band pass filters in to two outputs; BAND PASS and NOTCH. The BAND PASS is a sum of all four filters (RES1, RES2, RES3 and RES4) in phase and the NOTCH is a sum of filter1 (RES1) + fiter3 (RES3) in phase and filter2 (RES2) + (filter4 (RES4) inverted. The result of these two outputs is a different frequency response with differently positioned notches for the BAND PASS and the NOTCH.
All parameters (Peak frequency, Bandwidth and Level) can be controlled manually (knobs) or by CV inputs, individually for all four resonators. Additionally, peak frequencies and levels, for all four resonators, can be controlled by linked CV inputs (MASTER CV FREQ and LEVEL)
The RES-4 has two switchable modes: bandpass and notch and it even has a bypass switch.
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.
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
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.