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Summary of Contents for Frap Tools CGM
- Page 1 MANUALONE A Single, Comprehensive Guide to Frap Tools’ Modules...
- Page 2 I’d like to thank a few precious friends for their support during these years, for the discussions we had, and for the valuable feedback i received — in alphabetical order: Caterina Barbieri, Sebastian Baumann, Alessandro Bonino, Marco Ciccotti, Enrico Cosimi, Tom Hall, René Margraff, Gianfranco Marongiu, Chris Meyer, Giulio Saltini, Alessio Santini, Stephan Schmitt, Brian Smith, Trevor Tunnacliffe, Giona Vinti, Andreas Zhukovsky.
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Page 3: Table Of Contents
Color Coding ..................7 Philosophy and Design ............25 Combinations ................... 7 Function Generators ..............25 Times ....................26 CGM – CREATIVE MIXER ..............9 Shapes ....................26 Philosophy and Design ............. 9 Trig and Modes ................26 System Setup (Linking) ............10 2.3.1... - Page 4 9.5.1 Absolute or Relative Temperaments ......55 321 ....................... 83 LED Pitch Tables ................. 56 CGM CREATIVE MIXER VCA CURVES ......84 Additional Maintenance ............58 FUMANA TRANSFER FUNCTION ........85 Remove / Insert the SD Card ..........58 10.1.1 Remove the SD Card ..............58 SPECIFICATIONS ................
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Page 5: Safety And Warranty
(hereinafter ‘Frap please contact an expert or Frap Tools at Tools’), for two (2) years following the date the email address above. Any device shipped to Frap Tools for re- of purchase. -
Page 6: Before Starting
To connect the power cable, carefully follow these two rules: Frap Tools may not be held responsible in any way for prob- lems or damage to persons or property or to the device itself, · the power connector on the module is the keyed one if the device is not connected as indicated above. -
Page 7: Lines (Solid, Dotted, Dashed)
Figure 4: Round shapes. A subgroup of audio analog section is the stereo audio. As you can notice in the CGM series, the group and mas- ter modules feature stereo in and out out: here, the Figure 8: Dashed lines. -
Page 9: Cgm - Creative Mixer
The Group gets and sums the L/R post-fader signals (white) of all the linked Channels, sums all the signals from The CGM Creative Mixer is a modular mixing solution the yellow and green sends, and manages the sends for Eurorack modular systems. It is designed to obtain a... -
Page 10: System Setup (Linking)
SYSTEM SETUP (LINKING) In a CGM system, modules share audio and power via 10 poles IDC ribbon cables (please refer to the What’s In The Box section of the manual to see the content of each module and to have an overview of the available link ca- bles for various setups, p. -
Page 11: Group Jumpers Configurations
FUMANA Feedback #1 connector except the two mentioned in this section and FUMANA Feedback #2 shown in the pictures below. Frap Tools may not be held re- FUMANA Feedback #3 sponsible in any way for problems or damage to persons or property or to the device itself, if the device is not connected as indicated above. -
Page 12: Group
Level control for the VCA (i.e. the return stage). MASTER The Master module is the last step in a CGM setup. It adds a lot of functionality to the CGM system like the Practice the Send/Return modulation with... -
Page 13: The Pfl Function
(A.12) and right (A.13) main output. ETURNS HANNEL PFL F In case you have more than one Group on your CGM UNCTION PFL (PreFader Listening) allows the musician to send to the system, you can use the direct out of a channel linked to... -
Page 14: Sapèl
SAPÈL Figure 14: SAPÈL interface. Clocks n+1 Value Blue Noise Output Clock Input n+1 Value CV Input White Noise Output Clock Rate 2ⁿ Output Pink Noise Output Single/Both Switch 2ⁿ Value Red Noise Output Main Clock Output 2ⁿ Value CV Input Probability Distribution Random Clock Output Fluctuating Random Voltages... -
Page 15: Voltage Sampling
clocks (let it be internal or external) of both the green and · D.1 Blue Noise (+3dB/oct spectrum); yellow generators. · D.2 White Noise (0dB/oct spectrum); By default, each generator is driven by an internal · D.3 Pink Noise (-3dB/oct spectrum); clock. -
Page 16: Manual Sampling
ANUAL AMPLING Since SAPÈL’s clock is 2 milliseconds long, it No matter if you are using the built-in clock or an ex- works really well if patched to FUMANA’s Mod- ternal one, that stream can be temporarily bypassed with ulation Input: Percussion Sounds #2 the manual S&H Button (A.9). -
Page 17: Fluctuating Random Output And Global Rate Of Change (Random Clock Density Control)
Given that n can be any number from 1 to 6, there are 6 Even in this case, that higher is the number, the larger possible ranges of values that this circuit can generate: becomes the range of voltages (or “octaves”) that are gen- erated, starting from 1 (0V) up to 7 (6V). -
Page 18: Probability Distribution (Stored Random Voltages)
PROBABILITY DISTRIBUTION (STORED RANDOM VOLTAGES) The four S&H generators can be controlled as for mag- nitude of the voltages that are more likely to be generated: this parameter is called probability distribution, it is glob- ally set by the Probability Distribution knob (E.1) and it can be activated independently per each of the four S&H cir- cuits through the four Probability Distribution Switches (E.2, E.3, E.4, E.5). -
Page 19: Fumana
FUMANA Figure 17: FUMANA interface. Audio Inputs Odd Output Peak/Notch CV Input Attenuverter Main Odd Input Odd Output Phase Center Control C.10 Main Odd Level Even Output Center CV Input Main Even Input Even Output Phase C.11 Center CV Input Attenuverter C.12 Main Even Level Individual Band Outputs... -
Page 20: Spectral Transfer: A Brief History
external noise which may be used for fricative/sibilant ANEL VERVIEW sounds. A consistent color and graphic coding make the front panel easy to understand at a glance, once properly un- derstood. : A B PECTRAL RANSFER RIEF ISTORY The main graphic solution is the distinction between In the modular synth domain, the most famous device the odd and even bands: since the two groups can work for performing spectral transfer was the legendary Model... -
Page 21: Audio Outputs
AUDIO OUTPUTS · through the spectral transferring function performed FUMANA’s main audio outputs are the three in the top by any sound patched to the Mod input. left area: All (B.1) outputs all the bands, while Odd (B.2) The result of all these modulations is outputted by the and Even (B.4) output respectively only the odd and only All, Odd and Even outputs, and it is visually displayed by the even bands. -
Page 22: Macro Spectral Editing
With the Width parameter (C.12, C.13, C.14) it is pos- ACRO PECTRAL DITING The yellow and green areas at the bottom of the module sible to emphasize nearby bands: you can set a width are, respectively, bands parametric scanning and bands from none to all 16 bands (16 bands are audible only if tilting. -
Page 23: The 'Unvoiced' Section
The amplitude of the Envelope followers also depends A good example is using drums with cymbals/hats as on the level of the modulation source: the FUMANA is modulation source: in this case, the unvoiced sections designed to work with input potentiometers in center po- helps to detect when there is material and recreate cym- sition (12 o’clock) when modular levels are used (bipolar bals or snare wires. -
Page 24: Patch Examples
The trimming pro- cedure is NOT present in this manual since it MUST be per- formed by Frap Tools authorized personnel only. Frap Tools YBRID PECTRAL... -
Page 25: Falistri
FALISTRI Figure 21: FALISTRI interface. A.14 Generators Fall Shape Linear Slew Limiter Output Trig/Gate input A.15 V/oct Input Dual Cascaded Frequency A.16 Divider (DCFD) Trig/Gate Button Time Scale A.17 DCFD Input 1 End Of Rise Play Mode A.18 DCFD Input 2 End Of Fall Force Loop Input DCFD Output 1... -
Page 26: Times
Both the manual Buttons (for hands-on control) and the combination of fast/slow and transient/cyclical is at external Trig/Gate Inputs are available, and are used in the hand for your sonic palette. three possible play modes: · Loop – where end of fall stage triggers the start of rise, Practice the Rise and Fall CV inputs with these Techniques: incoming triggers are not needed, but, if present, recall... -
Page 27: Green Alternative Retrig (On Rest)
The Trig/Gate Input and the Trig/Gate Button trig the en- is Transient (see above, §2.3), the trig/gate LED will not velope: you can use either the manual button or an exter- light up. nal trig or gate (for details concerning trig and gate To check whether the green generator is set On Rest or thresholds see the technical specification, p. -
Page 28: Max
The Quadrature switch enables the quadrature mode 2.5.2 The Max section outputs the higher value between the when moved to the right. Quadrature is a peculiar function two attenuverted signals (also called Analog OR in some which allows to chain the stages of both generators to ob- synthesizers). -
Page 29: Four-Quadrant Multiplier
The top left jack sockets (D.1, D.2) are inputs, the bot- tom right ones (D.3, D.4) are outputs. The first circuit is the top one, the second circuit is the bottom one. The two sections are semi-normalled in order to achieve 1/2 and 1/4 outputs from a single input. -
Page 30: Trimming
If the yellow generator too is brought to audio rate, Practice AM and RM with this Technique: FALISTRI starts to perform amplitude modulation VCA/AM/RM (AM), also called unbalanced modulation because one of the two signals is positive-only and only two of the four quadrants of our hypothetical Cartesian plane are in use. -
Page 31: Usta
Once you have installed USTA and powered up your ing up, and at the same time a changing note name ap- system, you will see a fast boot screen with the Frap Tools pears in the lower-left corner of the Display, indicating logo on the OLED Display (C.5), then a screen with var-... -
Page 32: Philosophy And Design
Patch it to the 1V/oct input of your oscillator and then necessaryto generate four synchronous musical events, push the Play button (B.13) to hear the sequence. including pitch, volume, timbre, repetition, probability… Now you may need gate signals in order to separate the A sequence of up to 16 stages (one per encoder) forms notes and add dynamics to your sequence. -
Page 33: Basic Editing And Visual Feedback
The following chart displays the clock to unit ratios BASIC EDITING available: on the left is the number of clocks, on the right, AND VISUAL FEEDBACK the number of units. The interaction between the musician and USTA hap- pens both through the navigation menu and more “man- 24:1 ual”... -
Page 34: Editing Tracks − Track Menu
It is possible to perform five operations concerning pro- time. Track 1 is selected by default: to select another jects: track, press one of the four Track Buttons (B.11). Once the desired track is selected, the LED above its button will light up green. At this point, USTA’s interface New…... -
Page 35: Editing Stages
pattern is played in numeric order. (It is possible to now on, USTA will loop all the patterns contained within change this order through the Song Mode, on which see those two, including them. §5.3) When a new project is created, only the first pattern Please note that the last pattern needs to be higher than is looping in Pattern Mode: let’s focus on this one for now. -
Page 36: Length
pressing a channel button (B.6, B.7, B.9, B.10) multiple It is possible to turn the encoder counterclockwise until times, the user cycles through its layers. The currently se- no LEDs is lit: in this case, the stage will have length 0, so lected layer is indicated by the LED color above the chan- it will be skipped during the playback. -
Page 37: Red Cv Layer: Value
third layers (respectively marked by green and blue divisions such as 15, 19, 22 or 24 intervals, on which see below §9.2. LEDs) manage possible variations of the red layer’s value. For raw channels, such as channel CV B by default, the Red CV Layer: Value 3.4.3.1 encoder increases the stage CV value by steps of 0.05V... -
Page 38: Blue Cv Layer: Variation Range
Blue CV Layer: Variation Range The first CV Stage Color, called Flat, is selected by default 3.4.3.3 once a channel (CV A or CV B) is selected, and it is indi- cated by a blue Stage LED (A.3). It simply plays the stage value (whether selected or randomly shifted) for the whole stage duration. -
Page 39: Gate Layers
target point of an ascending or descending CV from the The second layer is accessed by pushing the channel previous stage value. Please note that if the gate value is button (B.9 or B.10) a second time and it is represented shorter than the stage length, the slide will not be heard by a green LED: it controls the probability that USTA in full. -
Page 40: Quick Editing
The first Stage Color is called Gate Length. Gate Length is Practice the Gate Layers and Gate Colors with available by default once a channel (GATE A or GATE B) these Techniques: is selected, indicated by a blue Stage LED (A.3). In this Gate Colors Gate Variation mode, the encoder sets the gate length, which is the por-... -
Page 41: Coarse And Fine
PERFORMING OARSE AND In the Value CV layer (§3.4.3.1 above) it is possible to Once everything is set up according to your musical edit the stage values by increments of 1 octave or 1V (if needs, you can start to perform with USTA. the selected channel is working in Pitch or Raw voltages respectively): to do so, push and hold the Coarse button AUSE... -
Page 42: Reset
track is paused, this combo will pause all the other ones When Pattern Shift is enabled for a track (see below, §), the Reset button will set the sequence back to the first pattern within the group. plus the pattern shift number determined by the CV offset. Hold Set All to set all the tracks of the Master Track Group like the one currently selected: if it is paused, all the re- lated tracks will pause;... -
Page 43: Infinite Stage Loop
Stage Loop is ena- Stage Loop is ena- Stage Loop is disa- bled for the se- bled for the se- bled for the se- lected track, but lected track, and it lected track the playhead is not is in the loop yet in the loop Table 9: Stage Loop LEDs comparison. -
Page 44: Pattern To Song While Playing (And Vice Versa)
In this mode, each encoder sets the number of repeti- two numbers: these stand for ‘repetition’ and display the tions, from 0 to 16, and the Stage Arc will light up accord- current repetition of the pattern/the total number of rep- ingly. -
Page 45: Pattern Mix
Pattern Mix you want to mute (B.11 see Figure 59). It is possible to 5.4.2 The Pattern Mix function is similar to the Full Pattern mute any desired track, even it is not the currently se- Recall, the main difference being when the pattern lected one. -
Page 46: Advanced Editing
If the selected channel is CV A or CV B, USTA will hold being Gate on that track always high and CV always re- the given value (i.e. it will not calculate other stages’ val- producing exactly the selected stage value. ues);... -
Page 47: Rotate Pattern
To access the stored values, select the track (B.11) This function shifts the Length, Channels and Layers of a whose stages you want to copy through the layer buttons, pattern at the same time (all the stage values, with their make sure you are in Edit Mode (Pencil button and LED, Variation Index and Range). -
Page 48: Clone A Structure
Clone a Structure the CV A Value of Pattern 1 to CV B of pattern 3, or the 6.5.2 It is also possible to clone structures ( ) of stages: Gate B Variation Index of Pattern 15 to Gate A of Pat- STRUCT these are in fact Layers, Patterns, and Tracks. -
Page 49: Quick Track Initialization
LOCK NPUT To use an external clock source, connect it to the Clock Input (D.1) and select from the option External ClockSource in the Track Menu (see above, §3.2.1). USTA will now op- erate just like with its internal clock, with some minor considerations. -
Page 50: Pitch Shift
through specific menu settings. One input can be as- Gate Shift 7.3.3 This parameter uses the incoming external CV to in- signed to multiple modulation options. crease or decrease the gate values played by USTA in a To enable the external CV modulation for a given given stage. -
Page 51: Pattern Shift
As described in Blue Gate Layer above, the Variation Range is bipolar: a positive CV will increase such range both above and below the stage value, and a negative CV will decrease it. Please note that if the CV Variation Chance (green CV layer) is set to 0, this modulation will not produce any au- dible effect. -
Page 52: Cv Range
CV R making the first one 50% longer, which translates in a ANGE USTA offers the option to set each CV output inde- swing ratio of 3:1; a swing setting around 33% or 34% pendently per track to work in unipolar range (from 0V translates roughly into a swing ratio of 2:1 and so on. -
Page 53: Playing In Tune
PLAYING IN TUNE Figure 74: Visual representation of alternative octave divisions. 32.11 27.00 32.26 27.13 32.41 27.25 32.55 27.38 32.70 27.5 32.85 27.63 33.00 27.75 33.15 27.88 64.22 54.00 64.51 54.25 64.81 54.50 65.11 54.75 65.41 55.00 65.70 55.25 66.00 55.50 66.30 55.75... -
Page 54: Custom Scales
Octave). Four of them are available: 15-EDO, 19-EDO, USTOM CALES 22-EDO, and 24-EDO. Beside the built-in scales it is possible to create other To select an alternate octave division, open the Track custom scales for quantization: up to four scales can be Menu and scroll until the item. -
Page 55: Set The Reference Note
A: in the end, it’s just per- replaced with a 0. Values after the last one will be ig- sonal taste, even here at Frap Tools we are divided. We nored. Once your file is ready, you must save it as follows: decided for this reason to put a setting item in the project menu to define that per each project. -
Page 56: Led Pitch Tables
LED P ITCH ABLES semitones 0V is C 0V is A 1/12V 2/12V 3/12V 4/12V 5/12V 6/12V 7/12V 8/12V 10/12V 11/12V 9/12V Voltage ~0.083V ~0.166V 0.25V ~0.333V ~0.416V 0.5V ~0.583V ~0.666 ~0.833V ~0.916V 0.75V octaves Octave Voltage Table 14: 12-EDO LED chart. 0V is C 0V is A 1/15V... - Page 57 0V is C 0V is A 1/22V 2/22V 3/22V 4/22V 5/22V 6/22V 7/22V 8/22V 9/22V 10/22V 11/22V Voltage ~0.045V ~0.090V ~0.136V ~0.181V ~0.227V ~0.272V ~0.318V ~0.363 ~0.409V ~0.454V 0.5V semitones 0V is C 0V is A 12/22V 13/22V 14/22V 15/22V 16/22V 17/22V 18/22V...
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Page 58: Additional Maintenance
ADDITIONAL MAINTENANCE 16-bit DAC, with 65’536 steps: the maximum output without trimming is from around −5.5V up to around +10.5V, which translates on 16V of range and an ampli- SD C EMOVE NSERT THE tude difference between each step of around 0.244 mV. For some operations it is required to remove and then To perform the trimming on the inputs, a precise volt- reinsert the SD card. -
Page 59: Charts
CHARTS ROJECT Menu voice Selectable options Function — Creates a new file. New… — Loads any existent file. Load… — Saves the changes made to the current project. Save — Saves the current project as a new file. Save As… —... -
Page 60: Project Hierarchy
ROJECT IERARCHY Project 0V is AllEdit AuxTarget MasterTrack Track 1 First & Last Pattern Pattern 1 Pattern 2 Int BPM Stage 1 Clock Source Stage 2 Stage 3 Stage 4 CV A Pattern 3 Ratio length color (flat slide skip) Swing Pattern 4 Stage 5... -
Page 61: Scale Tables
SCALE TABLES Table 19: 12-EDO and other 12-tone-per-octave temperaments. tone cents description t/oct display Chromatic Chroma Major Pentatonic 1 5 Maj 1 Minor Pentatonic 2 5 Min 2 Minor Pentatonic 3 5 Min 3 Major Pentatonic 2 5 Maj 2 Minor Pentatonic 1 5 Min 1 Dominant Pentatonic... - Page 62 Chromatic Hypophrygian hc Phri Chromatic Hypodorian hc Dori Chromatic Mixolydian hc Mixo Chromatic Lydian c Lydia Chromatic Phrygian c Phryg Chromatic Dorian c Doria Chromatic Hypophrygian inverse hciPhry Chromatic Hypolydian inverse hciLydi Chromatic Dorian inverse hciDori Chromatic Phrygian inverse hciPhri Chromatic Lydian inverse ci Lydi Chromatic Mixolydian inverse...
- Page 63 Table 21: 19-EDO and other 19-tone-per-octave temperaments. tone cents description t/oct display Chromatic Chroma Four out of 19 Four Five out of 19 Five Quasi-Equal Pentatonic qPenta Yasser’s Hexad 6 Yassr Oljare Diminished 7 Olj D Oljare Diminished 7 Olj A Oljare Octatonic 8 Oljar Oljare Pentaenharmonic...
- Page 64 Table 22: 22-EDO and other 22-tone-per-octave temperaments. tone cents description t/oct display Chromatic Chroma Twelve-tone Chromatic (1/3-comma positive) 12Chrom 22 tone Major Major 22 tone Melodic Minor mMelodi 22 tone Harmonic Minor mHarmon 22 tone Harmonic Major MHarmon 22 tone Astrology-10 Astrolo 22 tone Doublewide-10 DblWi10...
- Page 65 Raga Suddha Malhar raSuddh Raga Bhupali raBhupa Raga Hamsadhvani raHamsa Raga Durga raDurga Raga Malkauns raMalka Raga Gurjari Todi raGurja Raga Bauli raBauli Raga Kambhoji raKambh Raga Takka raTakka Raga Tilang raTilan Raga Bilashkhani Todi raBilas Raga Asavari raAsava Raga Rampurmat Pilu raRampu Raga Varali raVaral...
- Page 66 Table 23: 24-EDO and other 24-tone-per-octave temperaments. tone cents description t/oct display Chromatic Chroma Enharmonic Mixolydian en Mixo Enharmonic Lydian en Lydi Enharmonic Phrygian en Phry Enharmonic Dorian en Dori Enharmonic Hypolydian enhLydi Enharmonic Hypophrygian enhPhry Enharmonic Hypodorian enhDori Soft Diatonic Mixolydian sd Mixo Soft Diatonic Lydian sd Lydi...
- Page 67 Daniel-mode of Spanish-Arab Jews DanielM Maqam Jahargah (Jiharkah), Naghmeh Bayat-e Tork, Naghmeh Dashti mqJahar Maqam 'Ajam Murassah mqAjamM Maqam Bayati mqBayat Maqam Saba mq8Saba Maqam Mansuri mqMansu Maqam Rast, Dilkashidah, Dilnishin mq Rast Maqam Suzidil 'ara mqSuzid Maqam Rahat al-Arwah mqRahat Maqam Iraq mq Iraq...
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Page 68: Change Log
CHANGE LOG V. 150 Added fast change of first/last pattern settings in Per- This section contains the list of the firmware updates formance Mode on the selected track: hold Set All (B.1) that required additions or modifications to the manual. and push an encoder for the first pattern and another for the last pattern. -
Page 69: Brenso
BRENSO Figure 76: BRENSO interface. Outputs B.13 V/Oct Input Wavefolder B.14 Sine Wave Output V/oct Integrator Level Wavefolder CV Input B.15 Triangle Wave Output V/oct Integrator CV Input Wavefolder Attenuator B.16 Square Wave Output Sync Switch Wavefolder Ping Input B.17 Sawtooth Wave Output Sync Input Wavefolder Ping Decay... -
Page 70: Philosophy, Design And Signal Flow
(B.2) finely ad- AND SIGNAL FLOW justs the frequency by adding or subtracting >1 semi- BRENSO is Frap Tools’ primary analog source of ar- tones. ticulated audio waveforms whose degree of entanglement The green oscillator can work at sub-audio rates as well, can be precisely set by the musician. -
Page 71: V/Oct And Integrator
V/oct and Integrator When an oscillator’s frequency is modulated at a sub- 2.1.3 The frequency of each oscillator can be externally con- audio rate, this generates noticeable fluctuations of the trolled through dedicated V/oct inputs (B.13): an external pitch, similar to a vibrato effect. voltage patched to these inputs will offset the frequency When the modulating signal runs at audio rate, the hu- set by the Coarse and Fine Frequency knobs (B.1 and B.2). -
Page 72: Fm Routing
interval (for example one octave), according to the mod- from the leftmost position, where no modulating signal is ulation amount. routed. The main difference between these two techniques is By default, the linear and exponential modulation that Linear FM generates sidebands which are equally source of each oscillator is the other one: the green oscil- spaced above and below the carrier frequency, while ex- lator is thus semi-normalled to the yellow Linear TZFM... -
Page 73: Lock
Lock setting the slave oscillator to be synced properly. Of 2.3.1 The Lock circuit is designed to provide a precise but sub- course, a master frequency higher than the slave one tle correction of an oscillator’s pitch (the ‘slave’) when it would result in a change of amplitude, of the slave since is very close to an integer multiple or divisor of another it will not always be possible to reach the full cycle with-... -
Page 74: Pulse Shaper
an almost-pure triangle wave (noon), and a logarithmic the positive and negative side of the waveform (also called waveform. (Both the sine and the log are generated by ‘symmetry’). When the source is the triangle wave, and shaping the triangle wave, hence its name.) the knob is centered, the ratio will be of ~50%, which It is possible to control this parameter, even at audio translates into an almost perfect square wave. -
Page 75: Sources
Square Shaper. Both are further modulated through a It is possible to control this parameter, even at audio Wavefolder. rate, by patching an external signal to the CV input (E.5). An Attenuator (E.6) allows for precise scaling of the incom- Sources ing signal. -
Page 76: Timbre Modulation Bus
and it can be further modulated via the Level CV Input Remind that the lowest level to which the Ping decay ends is set by the Wavefolder knob: if it is set to the rightmost po- (F.4). sition, the effects of the Ping will be less noticeable. Then, the Modulation Bus Output (F.2) allows you to take any signal processed by the VCA and send it wherever The circuit detects any steep rising edge and uses it to... -
Page 77: Trimmers
Some of them are meant to be operated by folder knob and when the Symmetry knob is at noon. Frap Tools only, while others can be used by expert mu- sicians who need to fine-tune certain parameters. Four-Quadrant Multiplier 5.1.7... -
Page 78: Gain
way. They are all in couples (one per each oscillator core) Base 5.2.2 This trimmer regulates the offset that is added to the and located on the back of the PCB. exponential conversion of the oscillator’s control volt- ages. It prevents the response curve from losing linearity Gain 5.2.1 This trimmer controls the gain applied to the external... -
Page 79: Design
3 inputs, and three inde- pendently buffered outputs. The summing amplifier circuitry and the system opti- mization are derived directly from the CGM creative mixer series, with the additional ability to handle signals starting from DC. DESIGN... -
Page 80: Design
(semi-normalled). The 321 is entirely DC coupled, allow- ing the process of control voltages as well as audio signals. In case CVs or audio signals are particularly hot, the two 6dB attenuators (A.7), one per each summing section might be helpful to reduce exactly by 50% the incoming signals. -
Page 81: Technical Details
TECHNICAL DETAILS FLOW CHARTS Figure 80: Channel flow chart. Figure 81: Group flow chart. Figure 82: Master flow chart. Rev. 5 – Jun 2020 Page 81 of 91... -
Page 82: Sapèl
SAPÈL Figure 83: SAPÈL’s flow chart. Rev. 5 – Jun 2020 Page 82 of 91... - Page 83 Figure 84: 333’s flow chart. Figure 85: 321 flow chart. Rev. 5 – Jun 2020 Page 83 of 91...
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Page 84: Cgm Creative Mixer Vca Curves
CGM CREATIVE MIXER VCA CURVES All tests performed after 30 minutes of warmup at room temperature of 25°C, assuming external audio input at 0 dBu. Overall tolerance ±2dB. Figure 86: Channel’s main VCA response curve to CV. Input on a channel, Figure 88: Returns VCA response curve to CV (Group return). -
Page 85: Fumana Transfer Function
FUMANA TRANSFER FUNCTION All tests performed after 30 minutes of warmup at room temperature of 23°C using pink noise at a sampling rate of 96KHz. The resolution used is 65’536 points which corresponds to ~0.732421875Hz of windowing. Please note that the transfer function of the module may vary from module to module, ±2dB is still accepted. The causes are the components tolerance and the trimming which is done manually per each band to define their amplitude. -
Page 86: Specifications
SPECIFICATIONS CGM − CREATIVE MIXER Parameter Details Unit +12V Channel -12V +12V Current Draw (0) Group -12V +12V Master -12V Channel Size Group Master Channel >25 Mono >20 Audio Input Impedance Group KΩ Stereo >40 Master (2) >3 Channel >90... -
Page 87: Falistri
FALISTRI Parameter Details Unit +12V Current Draw -12V Size CV input impedance > 90 KΩ Amplitude > 1.5 Input Trigger Threshold Maximum Frequency (at 1.5V) > 6 Clock Input Minimum Pulse Period < 80 µs Impedance > 90 KΩ Amplitude >... -
Page 88: Fumana
FUMANA Parameter Details Unit +12V Current Draw -12V Size CV input impedance >90 KΩ CV output impedance <50 Ω Audio Input impedance >20 KΩ <50 Audio Output impedance Ω Individual Filters <250 Envelope followers’ amplitude ±5 from 0/10V. (1) To avoid incorrect behavior when driving external VCAs, a slight negative BIAS voltage is applied to each envelope circuitry to prevent a minimum positive voltage on output due to components’... -
Page 89: Brenso
BRENSO Parameter Details Unit +12V Current Draw -12V Size V/oct >90 FM source >30 Deviation CV Impedance >90 KΩ Integrator CV >40 >60 Sync Minimum amplitude Suggested amplitude ±5 AM CV >40 Impedance KΩ >90 AM source Input details (1) Suggested amplitude ±5 Timbre Modulation source... -
Page 90: What's In The Box
16 to 10 poles IDC Power Cable M3x6 black and zinc with plastic washer for mounting F-C120-LK CGM Link Cable − 1 Master to 2 Groups 10 poles IDC Link Cable − 1 Master to 2 Groups F-C130-LK CGM Link Cable − 1 Master to 3 Groups 10 poles IDC Link Cable −... -
Page 91: List Of Revisions
BRENSO preliminary content USTA updated to fw 152 Jun 2020 BRENSO official content Included in-text hyperlinks to Frap Tools’ Techniques Updated layout and formatting Added indexed labelled interfaces at the beginning of every chapter to improve the readability Improved cross-references...
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