Mutable Instruments Tides User Manual

Output modes
(LED OFF) Different shapes
In this mode, the four outputs produce four different wave-
shapes taken throughout Tides' signal processing chain.
SHIFT/LEVEL acts as an attenuverter on the main signal.
SHIFT
LEVEL
1 2 3 4
: Main : Raw : End of : End of
Signal asymmetrical attack release
triangle
Different amplitudes
In this mode, the SHIFT/LEVEL knob selects to which
output the signal is sent, with smooth crossfading between
adjacent outputs. It is thus possible to route Tides' signal to
different destinations.
Different times 1 2 3
In this mode, the SHIFT/
LEVEL knob shifts in time the
SHIFT
apex of the waveform. This
AD / AR
LEVEL
effect is achieved by applying
a different SLOPE setting
1 2 3 4
to each output (in AD or AR
mode), or by applying a phase
shift between each output (in
CYCLIC
cyclic mode).
Different frequencies
In this mode, the SHIFT/LEVEL knob adjusts the frequency
ratio between each output. At 12 o'clock, all outputs are
locked to the same frequency. Turn clockwise, and outputs 2,
3, 4 will have an increasing frequency. Turn counter-clock-
wise and outputs 2, 3, 4 will have a decreasing frequency.
At low frequencies, this generates poly-rhythmic LFOs: try
using a low SLOPE to generate signals whose edges are
sharp enough to trigger other modules.
At audio frequencies, this creates just intonation chords.
External clocking
Patch a clock or a clean and pure oscillator signal to Tides'
CLOCK input (3), and Tides will follow the frequency of this
clock/oscillator, multiplied by a ratio set by the FREQUEN-
CY knob [D]. A ratio of 1:1 is used when this knob is at 12
o'clock.
If the trigger input (2) is left unpatched, an AD or AR en-
velope will be generated at each tick of the clock, and the
oscillations will be in phase with the clock. Remember that
4
the FREQUENCY knob multiplies or divides the clock!
It is also possible to patch both the CLOCK
inputs. In this case, Tides needs to receive a trigger on the
trigger input to generate an envelope, but adjusts the enve-
lope duration so that it matches the external clock rate.
Tempo-synchronized LFOs, generation of just-intonation
chords or overtones, and clock division/multiplication/
phase-shifting are all possible with this feature.
Audio rate operation
Because we do not perceive the trajectory of a 1 Hz LFO the
same way we hear the waveform of a 100 Hz oscillator, Tides
adapts its behavior when the frequency range selector
set to the audio range setting:
• The SHAPE control [E]
waveshapes – chosen so that there is a more striking
timbral difference between them.
• The SLOPE control [F]
exponential) for smooth pulse-width modulation effects.
• In order to prevent aliasing, the range of the SHAPE
and SMOOTHNESS [G]
high frequency tones are generated.
• When using the output mode, a different set of fre-
quency ratios is chosen for each output, corresponding
to musical intervals.
• A different algorithm favoring pitch accuracy and lack of
jitter is used to track the CLOCK
rithm makes the assumption that a periodic waveform
is present on the clock input, and does not offer any
guarantee that the phase of Tides' signal will match the
(3) and TRIG (2) phase of the external clock.
Conversely, if the frequency range selector
the lower or intermediate frequency setting, Tides accu-
rately locks onto the phase of the clock and can follow
irregular (but repetitive) rhythmic pattern or clocks with
shuffle/swing.
[A] is
offers a different palette of
uses a linear scale (instead of
[E]
knobs is narrowed down when
(3) input. This algo-
(A) is set to
Tides
Tidal modulator