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Heckmann Audio Repro-1 100B Operation Manual

Monophonic keyboards
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MODEL 100B
S/N 1 and up
Manual Ref. HA100B
Repro-1 SYNTHESIZER
OPERATION MANUAL
by Heckmann Audio
HECKMANN AUDIO GmbH BERLIN

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  • Page 1 MODEL 100B S/N 1 and up Manual Ref. HA100B Repro-1 SYNTHESIZER OPERATION MANUAL by Heckmann Audio HECKMANN AUDIO GmbH BERLIN...

  • Page 2: Table Of Contents

    1 INTRODUCTION 1-0 HISTORY ..............1-1 INSTALLATION ............1-2 RESOURCES ............... 1-3 KNOBS AND SWITCHES ..........1-4 THE CONTROL BAR ........... 1-5 PRESETS ..............2 SYNTH 2-0 OVERVIEW ..............2-1 VOICE SIGNAL FLOW ..........2-2 OSCILLATOR A ............2-3 OSCILLATOR B ............

  • Page 3: Introduction

    1 INTRODUCTION 1-0 HISTORY Repro-1 is a faithful simulation (component-level model) of one of the most powerful- sounding monophonic keyboards ever built. When its 4-year production run started in the very early 1980s, polyphonic synthesizers were almost within reach of the average musician.

  • Page 4: Resources

    1-2 RESOURCES u-he online For downloads, news articles and support, go to the u-he website For heated debates about u-he products, go to the u-he forum For friendship and informal news updates, go to our facebook page For u-he presets (payware and free), go to u-he preset library For video tutorials and more, go to our youtube channel the u-he team Urs Heckmann (boss code, vision)

  • Page 5: Knobs And Switches

    1-3 KNOBS AND SWITCHES The knobs respond to click & drag (vertical) as well as to mouse wheel movement (no clicks required). How switches react depends on a global preference called Switch Behaviour (see the Configuration chapter). The name and value of the control being edited appears in the data display, which you will find in the centre of the control bar…...

  • Page 6: Presets

    1-5 PRESETS In the control bar, click on the PRESETS button… Categorized folders appear on the left, presets within those folders appear in the middle, and any information about the current preset appears on the right. If you can’t see any folders, Local is probably closed – click on it to open the lists. Immediately after loading a preset, you can step through the others using your computer’s cursor keys.
  • Page 7 Save your creations Of course you will want to save your sounds. The best place is ‘00 User’, which was created for this purpose. Please make sure that the folder where you want to store your preset is already selected (if not, please select it first). Then click on the SAVE button in the Control Bar, give your preset a suitable name and enter any other details you would like to appear in the INFORMATION area of the browser.

  • Page 8: Synth

    2 SYNTH 2-0 OVERVIEW This section explains the various modules available on Repro-1’s SYNTH panel. If you don’t see this panel, click on the SYNTH button at the top left of Repro-1’s window. The PRESETS browser is described in the previous chapter, while the TWEAKS page and SEQUENCER functions are described in separate chapters later in this guide.
  • Page 9 INTRO PRESETS SYNTH SEQUENCER KEYS-PERF EFFECTS TWEAKS CONFIG...

  • Page 10: Oscillator A

    2-2 OSCILLATOR A FREQUENCY knob: Adjusts pitch within a two-octave range (+/–+/– 12 semitones). FINE TUNING trimmer between FREQUENCY and OCTAVE: Adjusts pitch within a 40 cent range (+/– 20 cents). Its main purpose is to adjust the rate of beating between the two oscillators when they are tuned almost in unison.

  • Page 11: Oscillator B

    2-3 OSCILLATOR B OSC B is basically the same as OSC A – without SYNC but with the following extras: TRIANGLE SHAPE switch: This waveform is bipolar, so it doesn’t add any DC to the modulation when used as an LFO. As an audio signal, the triangle has very little bite, but can be used to boost the fundamental frequency.

  • Page 12: Mixer

    REPEAT switch: Retriggers the envelopes at the Clock rate. Like in the hardware and in DRONE mode, notes repeat without you holding down a key… DRONE switch: Keeps the AMP ENVELOPE sustaining indefinitely. 2-5 MIXER OSC A and OSC B knobs: The output levels of each oscillator. FEEDB | NOISE knob and switch: With the switch in the NOISE position, the knob sets the output level of the noise generator (an unpitched audio source useful for wind and percussion effects etc.).

  • Page 13: Filter Envelope

    ENVELOPE AMOUNT knob: Adjusts the amount of cutoff modulation from the filter envelope (see below). KEYBOARD AMOUNT knob: The amount of cutoff modulation from the keyboard – the higher the note, the higher the cutoff. Set to precisely 75.00, cutoff follows notes almost perfectly.

  • Page 14: Amp Envelope

    SUSTAIN knob: The hold level, from zero to maximum. RELEASE knob: The time it takes for the envelope to fall from the current level (usually SUSTAIN) down to zero after the key is released. The range is 2 milliseconds to more than 6 seconds. 2-8 AMP ENVELOPE The AMP ENVELOPE controls shape the envelope applied to volume, pre-effects.

  • Page 15: Lfo

    2-9 LFO Two of the modulation sources – the filter envelope generator and oscillator B – are described above. The third source is the Low Frequency Oscillator (LFO). Its appearance depends on the HOST | FREE switch – here are the two possible views: HOST mode FREE mode HOST | FREE switch: Set to HOST, the LFO is synchronized to your host application.
  • Page 16 INTRO PRESETS SYNTH SEQUENCER KEYS-PERF EFFECTS TWEAKS CONFIG...

  • Page 17: Modulation Control

    2-11 MODULATION CONTROL This important panel is the one most likely to confuse. After a few hours practice, however, it should become second nature… especially if you repeat this mantra: 3 sources via 2 paths to 5 destinations MOD FIL ENV , MOD OSC B and MOD LFO knobs: The amount of modulation mixed into the WHEEL or DIRECT paths.

  • Page 18: Clock / Arp / Sequencer (Basic Access)

    2-12 CLOCK / ARP / SEQUENCER (basic access) An arpeggiator plays back all held notes, one after the other. HOST | KEY | LFO switch: Selects which signal will be used to ‘clock’ the arpeggiator and sequencer. In the HOST position they are both synchronized to the host tempo, while in the LFO position they are synchronized to the LFO.

  • Page 19: Sequencer

    3 SEQUENCER 3-0 INTRODUCTION The sequencer in the original hardware may have been a minor stroke of genius, but these days we can expect something a bit more comfortable: Repro-1’s sequencer lets you step-record two patterns of up to 32 notes each (they are saved with the preset): How to record: In the SEQUENCER sub-panel, select a pattern (A, B, or A+B) and slide REC/PLAY up to the REC position.

  • Page 20: Clock / Sequencer

    3-2 CLOCK / SEQUENCER This panel is similar to the one on the SYNTH page, but with reset/sync options added and the arpeggiator removed: HOST | KEY | LFO switch: Selects the signal that will be used to drive the sequencer (as well as the arpeggiator).

  • Page 21: Edit

    3-3 EDIT This panel gives you a few tools to manipulate the pattern data… PRESET buttons: Opens a floating window in which you can load pattern presets. ROTATE buttons: This pair of buttons shifts the active part of the sequence to the left or right.

  • Page 22: Keys / Perform

    4 KEYS / PERFORM The pair of vertical buttons on the bottom left toggle between the EFFECTS and KEYS: 4-0 KEYS Next to the EFFECT and KEYS panel selectors are a few additional controls… PB RANGE selectors: This pair of controls select pitchbend ranges separately for each direction (down and up).
  • Page 23 Modulation Sources Modulation Sources Modulation Modulation LFO Amount LFO Amount OSC B Amount OSC B Amount Filter Env Amount Filter Env Amount Mod Wheel Mod Wheel Mod Wheel Mod Wheel Mod Wheel Mod Wheel Mod Wheel Mod Wheel Pitch Wheel Pitch Wheel Pitch Wheel Pitch Wheel...

  • Page 24: Effects

    5 EFFECTS 5-0 INTRODUCTION The buttons on the far left of the lower panel toggle between the keyboard and the effects. Click on the EFFECTS button for this view: BYPASS FX This is an effects bypass button you should find useful for comparing the treated and untreated sound.
  • Page 25 With its set of novel features, however, JAWS has no real world counterpart: Firstly, it includes an envelope to modulate the number of folds and an LFO to modulate the bias out-of-phase per audio channel (which results in a unique stereo effect). Secondly, JAWS can serve as a simple distortion unit by setting TEETH (the number of available folds) to zero.

  • Page 26: Lyrebird Delay

    5-2 LYREBIRD delay Lyrebird simulates an analogue (bucket brigade type) delay, capable of unsynchronized effects anywhere between flanging (i.e. modulated, very short delays) and 2 seconds, or host-tempo-relative delays between 1/16 and 8/1. In either mode, the delay time can be continuously fine-tuned. Sync (upper selector): Chorus/Short, Unsync/Long, Sync 1/16 or Sync 1/4.

  • Page 27: Resq Resonator / Equalizer

    5-3 RESQ resonator / equalizer Depending on the status of the MODE switch, RESQ is either a semi-parametric EQ with two shelving filters surrounding a midrange band, or a triple bandpass resonator: The FREQUENCY knobs adjust the cutoff for each band. The bands can seriously overlap or swap positions, so those labels shouldn’t be taken too literally.

  • Page 28: Drench Reverb

    5-4 DRENCH reverb A typical lush plate reverb, but with added pre-delay. DRY/WET knob: The amount of reverb (as percentage of the total output). PRE DELAY knob: A single delay before the reverberation appears. This is especially useful for retaining the presence of the dry signal while simulating larger spaces. DECAY knob: The length of the reverb tail.

  • Page 29: Sonic Conditioner

    5-5 SONIC CONDITIONER Is the signal too loud or too soft? Is the stereo too extreme? Is your bass sequence too clicky, or does it lack punch? Then it’s time to try the SONIC CONDITIONER… On the top right is a load indicator which lights up when the signal is saturated. GAIN knob: Bipolar control for the output level.

  • Page 30: Tweaks

    6 TWEAKS 6-0 OVERVIEW Apart from being unashamed eye-candy, the TWEAKS page is there to let you adjust the fundamental behaviour of certain modules. There are 4 user-adjustable jumpers (mini circuit connectors) and 5 module preset selectors on the board… Although all the knobs and switches do actually work, the labeling is rudimentary and cryptic on purpose.

  • Page 31: Module Presets

    OSC2 inversion: This jumper lets you invert (INV) oscillator 2’s sawtooth. Note priority: This jumper sets how Repro-1 reacts when you play more than one note at a time. LOW plays the lowest note (like the original and other USA models), HIGH plays the highest note (EMS and most Japanese models), LAST plays the most recent note (more modern, typical of digitally controlled synths).

  • Page 32: Configuration

    7 CONFIGURATION 7-0 GENERAL Clicking on the cogwheel icon at the top right of Repro-1’s window opens the global configuration pages. This is where you can adjust e.g. window size and brightness, or connect Repro-1 parameters to MIDI controls: You can make one particular page (e.g. PREFERENCES) open whenever you click on the configuration button: Right-click anywhere within this row of buttons and select set current as default.

  • Page 33: Midi Learn

    7-2 MIDI LEARN The MIDI LEARN page is where you can connect MIDI CC (see above) to almost any Repro-1 parameters. The CC data can be generated by e.g. knobs or sliders on your hardware controller, or by a track in your sequencer. Click on the cogwheel then select MIDI LEARN.

  • Page 34: Preferences

    7-4 PREFERENCES Click on the cogwheel icon, then select PREFERENCES. The following options appear: Mouse Wheel Raster: If your mouse wheel is rastered (you can feel it clicking slightly as you roll the wheel), set this option ‘on’ so that each little click increments the value in sensible steps.

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