Behringer MODEL D Quick Start Manual page 9

16 MODEL D
MODEL D Controls
Step 2: Controls
(EN)
MIDI Section (11) WAVE SHAPE - select the LFO
wave shape from either triangular
(1)
USB PORT - This USB type B jack
or square wave.
allows connection to a computer.
(12)
The MODEL D will show up as a LFO RATE - adjusts the frequency
class-compliant USB MIDI device, of the LFO.
capable of supporting MIDI in
Oscillator Bank Section
and out.
(13)
OSC 3 CONTROL - when ON, the
USB MIDI IN - accepts incoming
frequency of Oscillator 3 will vary
MIDI data from an application.
with the keyboard. When OFF,
USB MIDI OUT - sends MIDI data the keyboard, Pitch wheel, and
to an application. Modulation wheel, will have no
eff ect on OSC3.
(2) MIDI IN - this 5-pin DIN jack
(14)
receives MIDI data from an FREQUENCY RANGE - select from
external source. This will six frequency ranges of Oscillator
commonly be a MIDI keyboard, an 1, 2, or 3.
external hardware sequencer, a
(15)
FREQUENCY ADJUSTMENT -
computer equipped with a MIDI
adjust the frequency of Oscillator
interface, etc.
2 or 3.
(3) MIDI THRU - this 5-pin DIN jack
(16) WAVE SHAPE - select the wave
is used to pass through MIDI
shape used for Oscillator 1, 2, or
data received at the MIDI INPUT.
3 from: triangular, triangular/
This will commonly be sent to
sawtooth (OSC 1 and 2), reverse
another MODEL D synthesizer
sawtooth (OSC 3), sawtooth,
to run a Poly Chain or to a drum
square, medium pulse, and narrow
machine assigned to a diff erent
pulse.
MIDI Channel.
(17) MOD SOURCE (INPUT) - allows
Controllers Section
connection of an external
(4) OSC3/FILTER EG - switch between modulation source. If nothing is
OSC 3 or the Filter Envelope as a connected here, then the internal
modulation source. Noise generator is available as a
modulation source.
(5)
GLIDE - adjust the amount of Glide
(Portamento), between notes on (18) OSC 1V/OCT (INPUT) - this input
the keyboard. allows the frequency of the three
oscillators to be adjusted by an
(6)
TUNE - adjust the frequency of
external control voltage (1 Volt
oscillators 1, 2, and 3. (OSC3 is
input increase, will increase the
not aff ected if the OSC3 CONTROL
frequency by one Octave).
switch is off .)
(19)
LFO CV (INPUT) - allows control of
(7)
OSCILLATOR MODULATION -
the LFO frequency by an external
when ON, the three oscillators are
control voltage.
modulated by the modulation mix,
set by the MOD MIX knob. Mixer Section
(8) (20)
MOD MIX - adjust the modulation VOLUME - adjust the volume of
mix between OSC3/Filter EG and Oscillator 1, 2, or 3.
Noise/LFO.
(21) ON/OFF - select the sources to
(9)
NOISE (MOD SRC)/ LFO - switch play from OSC 1, OSC 2, OSC 3,
between Noise (or external Noise, and External Input, or any
modulation source) or Low combination of these 5 sources.
Frequency Oscillator (LFO) as a
(22) NOISE VOLUME - adjust the level
modulation source.
of the internal Noise source.
(10) MOD DEPTH - adjust the
(23) WHITE/PINK - switch the internal
modulation depth from off
Noise source from Pink noise to
to maximum. The modulation
White noise.
depth can also be adjusted using
(24) OVERLOAD - indicates when
the modulation wheel on a
the audio levels of the mix are
MIDI keyboard.
overloading the mixer section.
(25) EXT IN VOLUME - adjust the level
of any external source playing into
the external Input. If nothing is
connected to the external input,
then instead of any external audio
coming in at this point, the main
MODEL D output is automatically
connected here.
This creates a feedback path from
the output back into the mixer
section, to get extra phat bass or
extra crunch. In this case, the EXT
IN volume control will adjust the
level of the incoming main audio
fed back into the mixer section.
(26)
LFO Triangular (OUTPUT)
- outputs the internal LFO
triangular-wave signal.
(27) LFO Square (OUTPUT) -
outputs the internal LFO
square-wave signal.
(28)
EXT (INPUT) - connect any
external line-level audio source
to this 3.5 mm input. If nothing
is connected here, then the
main audio output is internally
connected to this external input.
(29) MIX (OUTPUT) - outputs the fi nal
mix from this Mixer section.
Modifi ers Section
(30)
DECAY - when ON, the signal
will decay during the time set
by the DECAY TIME knob after
a note or external trigger is
released. When OFF, it will decay
immediately after a note or
external trigger is released.
LOUDNESS DECAY - aff ects the
decay of volume level of the
Loudness section.
FILTER DECAY - aff ects the decay
of the cutoff frequency of the
Filter section.
(31) KEYBOARD CONTROL - these
switches vary the eff ect of the
keyboard tracking, where the fi lter
section is aff ected by the pitch of
note played.
Switch 1 and 2 OFF - no keyboard
tracking eff ect
Switch 1 and 2 ON -
maximum eff ect
Switch 1 ON (only) - 1⁄3 of
maximum eff ect
Switch 2 ON (only) - 2⁄3 of
maximum eff ect
(32) FILTER MODULATION - when ON, attenuated. In high-pass mode,
the fi lter section is modulated by audio frequencies below the cutoff
the modulation mix, set by the frequency are attenuated.
MOD MIX knob.
CUTOFF FREQUENCY - adjusts the
(33) FILTER MODE - select the fi lter cut-off frequency of the fi lter.
between Low-pass or High-pass.
FILTER EMPHASIS - adjusts
(34)
LOUDNESS CONTOUR - these 3 the amount of volume level
knobs adjust the overall shape boost (resonance) given at the
enveloping the audio after it has cut-off frequency.
passed through the mixer section
AMOUNT OF CONTOUR - adjusts
and fi lter section. The controls
the amount of frequency shift
aff ect the change in volume
given to the cutoff frequency.
(loudness) level with time.
(37)
CUT CV (INPUT) - allows
ATTACK - adjust the time it takes
connection of a control voltage to
for the signal to reach a maximum
control the cutoff frequency.
level after a note is played.
(38)
FC GATE (INPUT) - allows an
DECAY TIME - adjust the time for a
external trigger voltage to be
signal to decay down to the sustain
applied to trigger the fi lter
volume level after the attack time
contour.
is over. If the LOUDNESS DECAY
(39)
FILT CONT (OUTPUT) - outputs
switch is ON, this is also how long
the fi lter contour.
it takes to decay to minimum once
a note is released.
(40)
LC GATE (INPUT) - allows
an external trigger voltage
SUSTAIN - adjust the volume level
to be applied to trigger the
that the signal is sustained after
loudness contour.
the attack time and initial decay
time have been reached.
(41) LOUD CONTOUR (OUTPUT) -
outputs the loudness contour.
(35) FILTER ENVELOPE CONTROLS -
these 3 knobs adjust the overall
Output Section
shape enveloping the fi lter
(42)
A-440 - use this to turn on an
section. The controls aff ect the
output tuning signal of 440 Hz
change in cutoff frequency with
concert pitch. This switch can also
time.
be used to enter various modes
ATTACK - adjust the time for
during turn-on (see the Getting
the cutoff frequency to increase
Started section of this manual for
from its set value and reach the
more details).
frequency set by the AMOUNT OF
(43)
POWER - this LED shows when
CONTOUR control.
power is applied and the
DECAY TIME - adjust the time
synthesizer is turned on.
for the cutoff frequency to decay
(44) VOLUME - adjust the
down to the sustain frequency
overall volume level of the
after the attack time is over. If the
synthesizer output.
FILTER DECAY switch is ON, then
this decay time is also how long
(45)
VOLUME (HEADPHONE) - adjust
it takes to decay from the sustain
the overall volume level of the
frequency once a note is released.
PHONES output.
SUSTAIN - adjust the cutoff to a (46)
PHONES - connect your
frequency which is sustained after
headphones to this 3.5 mm
the attack time and initial decay
TRS output. Make sure the
time have been reached.
headphone volume is turned down
before putting on headphones.
(36) FILTER CONTROLS - the fi lter
can be low-pass or high-pass,
(47) ON - use this to quickly turn on
depending on the setting of the
or Mute the main audio output of
FILTER MODE switch. In low-
the synthesizer.
pass mode, audio frequencies
above the cutoff frequency are
Quick Start Guide 17
(48) LOUD CV (INPUT) - allows
connection of an external
control voltage to control the
Loudness Contour.
(49) MAIN (OUTPUT) - use this 3.5
mm TRS connection to output
the main audio output. Typically
it is patched to an audio input of
the MODEL D or the audio inputs
of other modular synthesizer
equipment. If you are using the
MODEL D in a Eurorack, then this is
the main output, as the rear panel
output connectors are not used.
Rear Panel
(50)
MAIN OUTPUT - connect these
¼ " TRS outputs to the inputs
of your external equipment as
follows (note that they are both
Mono, and not left/right):
LOW - this instrument-level
mono output can connect to the
instrument-level inputs of guitar
amplifi ers or mixers for example.
HIGH - this line-level mono output
can connect to the line-level
inputs of mixers, keyboard
amplifi ers, or powered speakers
for example.
(51) MIDI CHANNEL - these 4 switches
allow you to set the MIDI Channel
number from 1 to 16 (see the table
on page 15). The MIDI channel
can also be changed using MIDI
SysEx commands, as shown in
the MIDI SysEx tables later in
this manual. (This method is used
when the MODEL D is housed in a
Eurorack, and these switches are
no longer present.)
(52) POWER - turn the synthesizer
on or off . Make sure all the
connections are made before
turning on the unit.
(53)
DC INPUT - connect the supplied
12V DC power adapter here.
The power adapter can be plugged
into an AC outlet capable of
supplying from 100V to 240V at
50 Hz/60 Hz. Use only the power
adapter supplied.