Patch Bay - Behringer NEUTRON User Manual

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NEUTRON User Manual

8. Patch Bay

In a patchable semi-modular synthesizer such as the Neutron, inputs and outputs
are independent from one another. It is up to the user to patch the modules
together as they wish. This is different from a normalized synthesizer where the
functions are hard-wired together and the user just changes parameters.
Patchable modular synthesizers are more complex to operate but give infinite
options. Below is a table of default or normalized routings. Please refer to the
numbering diagram earlier in this document. There follows a block diagram of
the normalized signal flow to show how audio travels through the Neutron.
DEFAULT ROUTINGS
OUTPUT FROM GOES TO
OSC MIX + EXT INPUT + VCF>OD>VCA>DELAY
NOISE
ENV 1 VCA CV
LFO (BIPOLAR) ATT 2
ATTENUATOR 2 PULSE WIDTH 1&2
NOISE SAMPLE AND HOLD
LFO (BIPOLAR) FILTER DEPTH
ENV 2 ENV DEPTH
ASSIGN ATT1 CV
LFO (BIPOLAR) MULT INPUT
ENV 2 INVERT
E. GATE1 E. GATE2
Neutron normalised routing.
OSC 1
OSC MIX
OSC 2
VCF
NOISE
EXTRNAL
INPUT
MOD DEPTH
LFO
SAMPLE
NOISE
& HOLD
EG2 INVERT
THEN INTO
LINE OUT + Headphones
ATT 1
VCF FREQUENCY CV
VCF FREQUENCY CV
UNLESS OVERRIDDEN
USING E. GATE 2 INPUT
OVERDRIVE
ENV 1
ENV DEPTH
ENV 2
BI-POLAR
LFO
8.1 Tips and Tricks of the Patch Bay
1. Patch Sample and Hold out into FREQ MOD in. Turn MOD DEPTH to 12 o'clock.
Then Turn the S&H rate to 3 o'clock and the GLIDE to 12 0'clock. This will give you
a random filter position which glides between filter cutoff points.
2. Patch LFO to PW1 and MULT 1 into INVERT IN, then INVERT OUT to PW2 for
opposite direction pulse width modulation. This is a is a variation that sounds
slightly different to turning ATTENUATOR 2 (see normalized routings for details).
3. With OSC 1&2 in blend mode, patch LFO to SHAPE 1. Patch MULT 1 into INVERT
IN then INVERT OUT into Shape 2 for opposite direction oscillator shape shifting, a
very powerful sound creation tool.
4. Set both OSC to Tone Mod Shape and ENV 2 to PW1&2 via the Mult with slow
ADSR settings. This gives a rich Pulse Width Modulation (PWM) effect.
5. Patch LFO into ATT 1 IN, then patch ATT1 OUT to DELAY TIME IN. Set a short
delay with the delay mix around 50% and adjust the LFO speed and shape to
create a chorus effect.
6. Patch VCF 1&2 into Sum 1 A&B. Patch the output of SUM 1 into OD In. Set the
filter shape to LPF to create a notch filter.
7. Patch a square wave shape LFO out to the delay time in. Then try ENV2 out
patched to LFO Rate. This sounds like and 80's computer game.
8. Patch OSC 1 into OSC 2 with OSC SYNC active for frequency modulation
synthesis.
9. Patch LFO into ATT 1 IN, Then ATT 1 into OSC2 with OSC SYNC active. This gives
another style of FM synthesis to experiment with while using both oscillators. Try
changing the position of ATT 1 to hear subtle changes.
10. Patch ASSIGN to ATT1 CV, set ASSIGN to MOD WHEEL, patch ATT1 OUT into OSC
1&2 pitch CV, this way the mod wheel sets the depth of vibrato, with LFO rate/
shape setting the characteristics and ATT2 setting the maximum depth.
VCA
ENV DEPTH
VCA BIAS
ATTENUATOR FLOW
UNI-POLAR
LFO
MULT 1
MULT IN
MULT 2
DELAY OUTPUT
PW1
OSC 1
ATT2
OSC 2
PW2
ATT1
ATT1 CV
MIDI
ASSIGN