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Related Manuals for Frap Tools CGM
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: Tina Aspiala, Caterina Barbieri, Sebastian Baumann, Alessandro Bonino, Marco Ciccotti, Enrico Cosimi, Lorenzo Florissi, Tom Hall, René Margraff, Gianfranco Marongiu, Chris Meyer, Giulio Saltini, Alessio Santini, Stephan Schmitt, Brian Smith, Trevor Tunnacliffe, Giona Vinti, Andreas Zhu- kovsky.
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Page 3: Table Of Contents
Clock Outputs (Main and Random) ......27 Combinations ................13 Random Voltages ............... 27 Non-Quantized Random Voltages ........ 27 CGM – CREATIVE MIXER SERIES ..........14 Quantized Random Voltages ..........27 Philosophy and Design ............15 Fluctuating Random Output and Global Rate of The Link System ................ - Page 4 Outputs ....................41 6.5.2.1 Clone a Layer ................. 63 Additional Generator Features ......... 41 6.5.2.2 Layer Cross-Cloning ..............63 2.5.1 Quadrature ..................41 6.5.2.3 Clone a Pattern ................63 2.5.2 Max ......................42 6.5.2.4 Clone a Track ................. 64 2.5.2.1 ADSR ....................42 Quick Track Initialization ............
- Page 5 Wavefolder ..................92 Technical Data ................99 3.3.1 Sources ....................92 Flow Chart ..................99 3.3.2 Folding ....................92 Specifications ................99 3.3.3 Symmetry ..................93 321 ......................100 3.3.4 Ping ...................... 93 Design ..................... 100 Timbre Modulation Bus ............93 Technical Data ................
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Page 6: 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 7: 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 8: Modular Synthesis: Core Concepts
MODULAR SYNTHESIS: CORE CONCEPTS In this introduction we’ll go through the basics of ana- In case of alternate current, our charge flows back and log modular synthesizers in their broader meaning, to forth in our circuit. Its alternation over time can be dis- make sure that all the technical jargon that we’ll be inev- played with a waveform diagram. -
Page 9: Timing Pulses
It is nice to point out that in modular synthesis we use signal would make the cone move in one direction only, the same two or three principles to take care of every pa- with potential damages. rameter of the sound design. Unipolar voltages are, for example, certain envelopes, or LFOS, especially the ones used for controlling a pa- rameter which needs to operate in one direction only,... -
Page 10: Audio Levels
we control an amplifier with an LFO, this will cyclically Audio equipment marks with 0 dB the “reference increase and decrease the signal’s amplitude, like a trem- value,” which is usually the point at which the signal can olo effect. But we can also control the LFO’s amplitude get the maximum strength without distorting. - Page 11 Rev. 7 – Aug 2021 Page 11 of 107...
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Page 12: Interfaces
A subgroup of audio analog section is the stereo audio. an ordinary way, which sometimes is not completely cor- As you can notice in the CGM series, the group and mas- rect. ter modules feature stereo in and out out: here, the... -
Page 13: Color Coding
In other words, a given color relates to one and only one section of the module design. In case a module features two “mirrored” sections (such as SAPÈL’s or FALISTRI’s generators, or CGM Group’s FX sends), they are marked in yellow and green. Figure 7: Dotted lines. -
Page 14: Cgm - Creative Mixer Series
CGM – CREATIVE MIXER SERIES Figure 9: CGM Interface Rev. 7 – Aug 2021 Page 14 of 107... -
Page 15: Philosophy And Design
ROUPS AND HANNELS for Eurorack systems. It breaks down the main parts of a The first step to build a CGM configuration is connect- classic mixer console into three families of modules (chan- ing channels to a group. This connection happens... -
Page 16: Older Master-To-Group Link Cables
This parameter is provided with a CV input (A.9), ble. If you have older cables, feel free to use them with which accepts both positive and negative signals (range the new CGM modules, and with the new Extension, if −5 V÷5 V). you follow the connection rules. -
Page 17: Pfl
Solo in Place Mono Auxiliary Input 3.4.2 4.1.1 The Solo in Place button (C.2) selects the channels to keep The QSC also features an additional monophonic DC- active when the group is in Safe Solo mode (C.3, see below coupled input (A.21). This is an audio input with no con- §5.4.2). -
Page 18: Mute
ENDS ETURNS is not needed because it allows you to use the Group mod- This section of the module is the CGM interface for ex- ule as your final mixing unit. ternal signal processing. It consists of two specular sec-... -
Page 19: Creative Functions
Master module with its PFL Blend (C.5, see below §). MASTER (DISCONTINUED) The Master module is the last step in a CGM setup, and its main purpose is delivering the audio of the Eurorack system to the outside world. -
Page 20: Masterone
when their main fader is at 0, in order, for instance, to The Masterone has three kinds of outputs: pseudo-bal- preview it before it is mixed. anced stereo TRS, balanced stereo XLR, and pseudo- PFL is achieved through two operations: pushing the balanced mono. -
Page 21: Pfl
Headphones PFL previews the channel’s sound before the main 7.2.1 The headphones must be connected to the stereo jack fader: this means that its amplitude will be determined by output (A.23). The bottom potentiometer (A.24) sets the the Red VCA level, which means that the green and yel- volume of the headphones, and the top one (C.5) blends low Sends cannot be PFL’d from the channel. -
Page 22: Technical Data
TECHNICAL DATA HARTS Figure 12: Channel flow chart. Figure 13: Quad Stereo Channel simplified flow chart (one of the four sections). Rev. 7 – Aug 2021 Page 22 of 107... - Page 23 Figure 14: Group flow chart. Figure 15: Master flow chart. Figure 16: Masterone flow chart Rev. 7 – Aug 2021 Page 23 of 107...
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Page 24: Specifications
PECIFICATIONS Parameter Details Unit +12 V -12 V +12 V -12 V +12 V -12 V Current Draw (0) +12 V -12 V +12 V -12 V +12 V With headphones at high level (250Ω) -12 V Size >25 Mono >10 Stereo >20... -
Page 25: Sapèl
SAPÈL Figure 17: 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 26: Noise Outputs
NOISE OUTPUTS another trig or gate is generated. There are four ways to activate the S&H circuit for each of the two generators: This section features four analog noise outputs, which internal clock, external clock, manual S&H button, exter- are, from top to bottom: nal S&H gate, plus an “extra”... -
Page 27: Manual Sampling
activate the clock mix, set the switch to the position Practice the clocks with these Techniques: marked by a square of the other generator’s color. Random Clocks #1 This feature works with both internal or external clocks, Random Clocks #2 Ratcheting-Like Effect #3 and it affects the sampling section only: all the clock out- Clock Bursts #1... -
Page 28: Fluctuating Random Output And Global Rate Of Change (Random Clock Density Control)
module. The role of the n parameter varies according to n Knob value Number of voltages generated each generator’s label: 2 and n+1. The 2 Output (B.5) is quantized in 1/12 V steps, or sem- itones in the 1V/oct scale. In this case, the Value knob sets the exponent of 2 which, in turn, determines the number of different values that may be generated by the circuit. -
Page 29: Probability Distribution (Stored Random Voltages)
Just like for the quantized voltage generators, this pa- circuits through the four Probability Distribution rameter can be modulated with any CV using the its CV Switches (E.2, E.3, E.4, E.5). input (C.3). The external modulation will affect both the The knob sets the magnitude of voltages which will be fluctuation rate and the random clock density. -
Page 30: Technical Data
TECHNICAL DATA HART Figure 20: SAPÈL’s flow chart. PECIFICATIONS Parameter Details Unit +12 V Current Draw -12 V Size CV input impedance >90 KΩ on positive pulses >90 Clock input impedance KΩ clamping negative pulses Built-in clock frequency (1) ~0.1 <1 Quantized Random Voltage Tol- erance... -
Page 31: Fumana
FUMANA Figure 21: 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 32: Spectral Transfer: A Brief History
external noise which may be used for fricative/sibilant It is also possible, however, to combine the amplitude sounds. increments of spectral transferring with the faders, leav- ing the main signal a little or completely open and using the main one to add some accents to some or all the : A B PECTRAL RANSFER... -
Page 33: Audio Outputs
The fifth input, named Unvoiced, is designed for adding AUDIO PROCESSING some depth to the fricative consonants that might be AND MODULATION PATH missed when performing vocoding-like operations. It fea- FUMANA’s filterbank processes the sound patched to tures its gain control as well (A.10). the Main input by varying each band’s amplitude through The red LEDs connected to the odd and even inputs a VCA circuit. -
Page 34: Macro Spectral Editing
Parametric Scanning 4.2.2 The yellow section is called Parametric Scanning due to its similarity to the use of 3 variables as the parametric EQ. In any parametric EQ, it is possible to set the center fre- quency, the gain value, positive or negative, also called peak/notch in some cases, and the slope. -
Page 35: The 'Unvoiced' Section
FUMANA is equipped with the Attack time as well, in main to a noise signal, and is capable of very fast transi- order to have more control over the harmonic content ents. modification and obtain more subtle results. The FUMANA has been designed to be a spectral edit- The circuit response is non-linear, meaning that the ing tool, more than a vocoder: for this reason, since its knobs allow for more precise control over the fast times... -
Page 36: Filter Design
NOT present in this manual since it MUST be per- formed by Frap Tools authorized personnel only. Frap Tools may not be held responsible in any way for problems or dam- YBRID... -
Page 37: Vocoder-Like Behavior
input (grey). This automatically translates in a vocoding OCODER EHAVIOR The easiest way to perform a 16 bands kind of vocoder effect. The use of the unvoiced section may also be of in- is very similar to the 16 bands spectral transfer: you can terest. -
Page 38: Specifications
PECIFICATIONS Parameter Details Unit +12 V Current Draw -12 V 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 0/10 V. (2) 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 39: Falistri
FALISTRI Figure 31: FALISTRI interface. A.14 Generators Fall Shape Linear Slew Limiter Output A.15 Trig/Gate input V/oct Input Dual Cascaded Frequency Trig/Gate Button A.16 Time Scale Divider (DCFD) A.17 DCFD Input 1 End Of Rise Play Mode End Of Fall A.18 Force Loop Input DCFD Input 2... -
Page 40: Times
· Loop – where end of fall stage triggers the start of rise, Practice the Rise and Fall CV inputs with incoming triggers are not needed, but, if present, recall these Techniques: Accents #2 the rising stage; Ratcheting-Like Effect #2 ·... -
Page 41: Green Alternative Retrig (On Rest)
thresholds see the technical specification section below, To check whether the green generator is set On Rest or 4.1). If the function is running, any retrig signal recalls the To Rise, set the generator to Transient Mode and push the function’s rise stage, this means that: Trig/Gate button (A.2): if the LED lights up, it’s To Rise;... -
Page 42: Max
which allows to chain the stages of both generators to ob- 2.5.2 The Max section outputs the higher value between the tain more complex functions. You may want to think as two attenuverted signals (also called Analog OR in some a couple of envelopes whose stages are inter-depending. -
Page 43: 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 44: Trimming
If the yellow generator too is brought to audio rate, FALISTRI starts to perform amplitude modulation (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. The result of the amplitude modulation is a signal which retains the carrier frequency with additional fre- quencies called ‘sidebands’: in case both signals are pure... -
Page 45: Technical Data
TECHNICAL DATA PECIFICATIONS Parameter Details Unit +12 V Current Draw -12 V Size CV input impedance > 90 KΩ Amplitude > 1.5 Input Trigger Threshold Maximum Frequency (at 1.5 V) > 6 Clock Input Minimum Pulse Period < 80 µs Impedance >... -
Page 46: 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 47: Philosophy And Design
Patch it to the 1V/oct input of your oscillator and then o generate four synchronous musical events, including push the Play button (B.13) to hear the sequence. pitch, volume, timbre, repetition, probability… Now you may need gate signals to separate the notes A sequence of up to 16 stages (one per encoder) forms and add dynamics to your sequence. -
Page 48: 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 49: 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 50: 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 51: 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 52: Red Cv Layer: Value
The first layer is marked by a red LED and determines setting and work with other more complex octave divi- the CV value (such as the pitch), while the second and sions such as 15, 19, 22 or 24 intervals, on which see be- third layers (respectively marked by green and blue low §9.2. -
Page 53: 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 54: Gate Layers
stage duration. This means that the stage value set in the blue layer is technically never played, becoming the tar- get point of an ascending or descending CV from the pre- vious stage value. Please note that if the gate value is Figure 57: Gate A’s Variation Index layer is selected. -
Page 55: Quick Editing
The Stage Arc The Stage Arc shows how many No gate events are shows how long gate events are generated. the gate stays high generated Table 9: Gate Colors comparison. The first Stage Color is called Gate Length. Gate Length is available by default once a channel (GATE A or GATE B) is selected, indicated by a blue Stage LED (A.3). -
Page 56: Coarse And Fine
rotating the stage encoders and hold throughout the op- eration. The topmost button, called Set All (B.1), allows you to set all stages in a pattern to the value of stage being edited, regardless of their original values. It can be held while editing values (rotating the Stage Encoder –... -
Page 57: Play/Pause
Once the Master Track Group is defined, the Play/Pause the Track Menu (see above, §3.2), scroll until the Reset What and Reset commands (see below, §§5.1.2-5.1.3) will affect option, and select either & . It is also pos- Stage Stage all the tracks, no matter which one is currently selected. -
Page 58: Infinite Stage Loop
(Length), how many stages are involved in this loop, and , how many times it loops. These variables are shown The Song Mode allows you to arrange your track’s pat- in the bottom line of the Dashboard (F.17, F.18, F.19). terns in a custom sequence. -
Page 59: Pattern To Song While Playing (And Vice Versa)
Once entering the Edit Song mode, all the five Param- eter LEDs will turn red: this means that now USTA is editing the pattern number per slot. Figure 65: The LEDS when editing the pattern number per slot. Rotate each encoder to select the pattern to be played, numbered 1 to 32: the Stage Arc (A.2) will display the se- lected pattern number. -
Page 60: Full Pattern Recall
USTA will memorize only one value: it means that if Mute Track 5.5.1 This function temporarily disables all the outputs of the you push two encoders during this mode, only the latter muted track. will be effective. Furthermore, there are two options: Full Pattern Recall, which is the default one, or Pattern Mix, available by hold- ing down Coarse (B.3) before pushing the pattern encoder. -
Page 61: Advanced Editing
It is also possible to “freeze” the current channel value patterns: once the 16th stage is reached, further clockwise in a specific track through the Hold function: by holding rotation of the Navigation Encoder will move the playhead Set All (B.1) and pushing one of the Channel Buttons (B.6, to the first stage of the following pattern, while rotating B.7, B.9, B.10), USTA will hold the values as they are counterclockwise past the first stage of a pattern different... -
Page 62: Store Pattern: Last Played Or Last Full
TORE ATTERN LAYED OR Should you prefer a less deterministic compositional ap- proach, e.g., by progressively adding some degree of var- iation through the green and blue layers, while your se- quence is playing, or adding external modulations via CV, until you find the perfect combination, USTA stores the last played values of a pattern, allowing you to recall and reproduce them. -
Page 63: Clone A Structure
To clone a Layer (CV A, CV B, Length, Gate A, Gate B) of a pattern, push and hold the button for the layer you want to clone (B.6-B.10), then push the Stage Encoder (A.1) to define the source pattern (encoder 1 for pattern 1, en- coder 2 for pattern 2 and so on). -
Page 64: Clone A Track
UICK NITIALIZATION On the same line, it is also possible to initialize a Song., in case you want to quickly arrange your patterns in a new order. To do so, select a track, then enter Edit Song mode (see §5.3); from here, push and hold the Pencil button for three seconds (B.5), and you will restore all the song Slot values Figure 80: Cloning Pattern 12 to Pattern 14. -
Page 65: Run
Reset button (B.12), affecting the tracks according to the The resulting value is then quantized in reference to the ) and settings ( Scale, Root and Quantization Direction in use (§9.1). Reset What Stage Pattern Reset On Master – see above, §5.1). A gate high signal Example: in C major, a stage with Variation Range value Local Instant... -
Page 66: Vari Shift (Variation Shift)
An example: a pattern is set up with a stage length of 1 contains only three pattern, USTA will skip from pattern unit from stage 1 to 8, and stage length 0 from stage 9 to 1 to 3, then it will loop back to 2, then back again to 1, 3, 16. -
Page 67: Additional Operations
ADDITIONAL OPERATIONS independently for gates A and B for each track. In the Track Menu select Gate A or Gate B In addition to the previous operations, USTA allows % Width % Width choose the desired value: the selectable range spans from you to perform deeper editing options. -
Page 68: Current Stage Data
currently being played by the playhead, instead of the last URRENT TAGE In Performance Mode, either in Pattern or Song, the fifth row edited stage. of the dashboard can be set to display in real time the five To activate this option, enter the Project Menu, scroll un- channels (CV A, CV B, Gate A, Gate B) of the stage that is til the item, and select... -
Page 69: Microtonalities
the quantizer, in order to output a note that consistently the octave division: in other words, if a standard V/Oct matches the selected quantization settings. See the Scales keyboard is used to perform Pitch Shift, a semitone above section below (§12) for a table of the available scales. will shift the melody of 1 microtonal interval. -
Page 70: Set The Reference Note
A: in the end, it’s just per- nored. Once your file is ready, you must save it as follows: sonal taste, even here at Frap Tools we are divided. Number of tones per octave File name We thus decided to put a setting item in the project 12temper.csv... - Page 71 The .csv files created for Scales and Temperaments are global parameters, just like the trimming file. It means that they are not saved in each project, but they are recalled every time. If you need a specific scale or temperament for a pro- ject, make sure not to replace it on the .csv file! Rev.
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Page 72: Led Pitch Tables
LED P ITCH ABLES semi- tones 0 V is C 0 V is A 1/12 V 2/12 V 3/12 V 4/12 V 5/12 V 6/12 V 7/12 V 8/12 V 10/12 V 11/12 V 9/12 V Voltage ~0.083V ~0.166V 0.25V ~0.333V ~0.416V 0.5 V... - Page 73 0 V is C 0 V 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 0.5 V semi- tones 0 V is C 0 V is A 12/22V 13/22V 14/22V...
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Page 74: Additional Maintenance
ADDITIONAL MAINTENANCE The USTA outputs are based on an octal 16-bit DAC, with 65’536 steps: the maximum output without trim- ming is from around −5.5 V up to around +10.5 V, SD C EMOVE NSERT THE which translates on 16V of range and an amplitude dif- For some operations it is required to remove and then ference between each step of around 0.244 mV. -
Page 75: Firmware Update
Copy/paste the project files you want to save from the Insert the SD Card (follow instructions above) and SD card root to your computer. turn on the module. The project is now backed up. (h) Press and hold the navigation encoder until the Pro- Insert the SD Card (follow instructions above). -
Page 76: 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 77: 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 78: Scale Tables
SCALE TABLES Table 20: 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 79 Chromatic Hypophrygian hc Phri Chromatic Hypodorian hc Dori Chromatic Mixolydian hc Mixo Chromatic Lydian c Lydia Chromatic Phrygian c Phryg Chromatic Dorian c Doria hciPhry Chromatic Hypophrygian inverse hciLydi Chromatic Hypolydian inverse hciDori Chromatic Dorian inverse hciPhri Chromatic Phrygian inverse ci Lydi Chromatic Lydian inverse Chromatic Mixolydian inverse...
- Page 80 Table 22: 19-EDO and other 19-tone-per-octave temperaments. tone cents description t/oct display Chroma Chromatic Four Four out of 19 Five Five out of 19 qPenta Quasi-Equal Pentatonic Yasser’s Hexad 6 Yassr Oljare Diminished 7 Olj D Oljare Diminished 7 Olj A Oljare Octatonic 8 Oljar Oljare Pentaenharmonic...
- Page 81 Table 23: 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 Major 22 tone Major mMelodi 22 tone Melodic Minor mHarmon 22 tone Harmonic Minor MHarmon 22 tone Harmonic Major Astrolo 22 tone Astrology-10 22 tone Doublewide-10 DblWi10 22 tone Doublewide-14...
- Page 82 Raga Suddha Malhar raSuddh Raga Bhupali raBhupa Raga Hamsadhvani raHamsa Raga Durga raDurga Raga Malkauns raMalka Raga Gurjari Todi raGurja raBauli Raga Bauli raKambh Raga Kambhoji raTakka Raga Takka raTilan Raga Tilang raBilas Raga Bilashkhani Todi Raga Asavari raAsava Raga Rampurmat Pilu raRampu Raga Varali raVaral...
- Page 83 Table 24: 24-EDO and other 24-tone-per-octave temperaments. tone cents t/oc description display Chroma Chromatic en Mixo Enharmonic Mixolydian 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 84 mqAwgAr Maqam 'Awg 'ara (Aug-ara) Maqam Buselik mqBusel Dastgah-e Nava, Maqam Ushaq Masri DastNav Naghmeh Esfahan Naghmeh Maqam Neuter mqNeute Maqam Suznak (Soznak) mqSuzna Dance scale of Yi people: China YiPeopl Maqam Mahur mqMahur DanielM Daniel-mode of Spanish-Arab Jews Maqam Jahargah (Jiharkah), Naghmeh Bayat-e Tork, Naghmeh mqJahar Dashti Maqam 'Ajam Murassah...
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Page 85: Change Log
CHANGE LOG Added the quick initialization of all the track values: hold the pencil button for 3 seconds in Edit Pattern to This section contains the list of the firmware updates initialize to default all the stage values of the selected that required additions or modifications to the manual. -
Page 86: Brenso
BRENSO Figure 86: 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 87: 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 88: V/Oct And Integrator
in case a little adjustment is needed (for example, to com- Practice BRENSO’s integrator with these tech- pensate small detuning in extreme climatic situations). niques: Please note that the Frequency Lock offers a way to avoid Integrator #1 unintended touches: you still need to warm up your BRENSO Integrator #2 as for any other module before to use it. -
Page 89: Fm Routing
exponentially lower as the latter increases. This generates To achieve this result, BRENSO is equipped with two sounds that are rich in harmonics in the low and mid range, FM buses, one for the yellow and one for the green oscil- without becoming excessively harsh in the highest range lator (B.7 to B.12). -
Page 90: Lock
implemented in sawtooth-core oscillators. This circuit direction. This translates into a more mellow tone, which takes two oscillators, called ‘master’ and ‘slave’, and allows creative modulation without hearing the harsh forces the slave’s waveform to reset back to 0 at each mas- “spikes”... -
Page 91: Triangle Shaper
of the yellow oscillator. A switch (A.6) below the jack Pulse-Width Modulation (PWM) 3.2.1 The PWM circuit generates a pulse-wave through a socket (A.5) selects the output source: pure square wave, comparator. This technique requires a waveform and a or shaped-wave. voltage value used as a reference. -
Page 92: Waveshaper
are harder to obtain with more conventional PWM cir- When its knob (E.1) is set at the leftmost position, only cuits. the signal coming from the Triangle Shaper is sent to the Wavefolder. Rotate the knob clockwise to blend in the sig- nal coming from the Pulse Shaper: at noon, the blend will Practice the PWM with these techniques: be 50-50. -
Page 93: Symmetry
Symmetry Theoretically, any steep transition between a low and a high 3.3.3 A peculiar feature of a wavefolding circuit is that it can voltage can be used to excite the Ping, but practically some- times using signals different than trigs or gate may cause it be forced to fold the positive half-cycle before the nega- not to work as expected. -
Page 94: Amplitude
Some of them are meant to be operated by the Timbre section, while the other can be set by the mu- Frap Tools only, while others can be used by expert mu- sician. By default, the second input is semi-normalled to sicians who need to fine-tune certain parameters. -
Page 95: Sine Wave Symmetry
Sine Wave Symmetry Modulation section, and set the modulation amount fully 5.1.2 Close to the Coarse Frequency Trimmers lie two more clockwise, and trim it to reach the lowest possible amplitude. couples of trimmers, one per each oscillator, labeled + and x: they control the symmetry and gain of the stage Comparator 5.1.8... -
Page 96: Technical Data
TECHNICAL DATA IMPLE IGNAL Figure 87: BRENSO’s signal flow. Rev. 7 – Aug 2021 Page 96 of 107... -
Page 97: Specifications
PECIFICATIONS Parameter Details Unit +12 V Current Draw -12 V 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 (6) Suggested amplitude ±5 Timbre Modulation source... -
Page 98: 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 99: Technical Data
TECHNICAL DATA HART Figure 89: 333’s flow chart. PECIFICATIONS Parameter Details Unit +12 V Current Draw -12 V Size Input impedance >90 KΩ Output impedance <50 Ω <0.5 CV Tolerance global offset per section Frequency response (10) Harmonic Distortion (THD+N) <0.01 (11) (10) Within 1dB, measured at +10dBu onto a 1KΩ... -
Page 100: Design
It is capable of scaling any incoming signal, invert its phase, offset it, and combine with other signals. It is com- pletely DC coupled, so may work well for both audio and CV. It can also be used as a CV source. DESIGN The 321 is composed of three identical sections, the red, yellow and green, where each of those is capable of scal-... -
Page 101: Technical Data
TECHNICAL DATA Flow Chart 2.1.1 Figure 91: 321 flow chart. Specifications 2.1.2 Parameter Details Unit +12 V Current Draw -12 V Size Input impedance >90 KΩ Output impedance <50 Ω Frequency response (12) (12) Within 1dB, measured at +10dBu onto a 1KΩ load. Rev. -
Page 102: Plus
PLUS Single Unit Window 25mm M4 screws Dowel holes Row Extension holes Teethed washers Mounting brackets Thin felt strip M4 Hex nut Rails Thin Side Tools Row Extension Unit Wood Side Thick wrench Dowel holes Components Thin wrench Mounting brackets Dowels Hex key Rails... -
Page 103: Sides
The first three operations are the same with both closed IDES Currently, there are two factory options to complete and windowed units; the fourth one applies to windowed your PLUS case: thick wooden sides or thin aluminum units only. sides. Both of them fit perfectly the shape of the rows, look Any configuration of PLUS requires some or all of these gorgeous side by side and are mounted without external four operations to be assembled. -
Page 104: Single Unit To Single Unit
(a) Connect the first aluminum side (C) to the PLUS (b) Connect the first unit to the second unit by match- unit by inserting its two threaded fasteners to the ing the dowels with the holes. case’s mounting brackets. (c) Insert two M4x25 screws trough the mounting brackets of both units. -
Page 105: What's In The Box
CGM Link Cable − 1 Group to 8 Channels 10 poles IDC Link Cable − 1 Group to 8 Channels [NOW DISCONTINUED] CGM Link System – 1 Group to 2 Channel Mod- F-G1C2-LS 10 poles IDC Link Cable − 1 Group to 2 Channel Modules (C or QSC) ules CGM Link System –... - Page 106 PLUS closed unit Rubber Feet Dowel Pin M2x8 3 F-PL00-AB PLUS Unit 1 pc Teethed Washer M4 Hex Nut M4 Screw M4x25 Square Nuts M3 PLUS windowed unit Thin felt strip Rubber Feet Dowel Pin M2x8 F-PL05-AB PLUS Row Extension 2 pcs Teethed Washer M4 Hex Nut M4 Screw M4x14...
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Page 107: List Of Revisions
Improved cross-references Jun 2020 Fixed wrong labelling on BRENSO Nov 2020 Quad Stereo Channel added to CGM section Added Revisions for Falistri and Brenso Added the section Modular Synthesis: Core Concepts Added the section Suggested Readings Improved SAPÈL’s Philosophy and Design paragraph Revised the Specifications section and moved at the end of the individual module’s chapters...
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