Oscillator Section; Filter Section - Mutable Instruments Anushri User Manual

Oscillator section

Oscillator section Oscillator section Oscillator section Oscillator section Oscillator section Oscillator section Oscillator section
FM FM FM FM FM FM FM FM controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM. controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM. controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM. controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM. controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM. controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM. controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM. controls by which amount the DCO signal modulates the frequency of the VCO. This modulation is linear FM.
Dissonant and metallic timbres can be achieved by setting Dissonant and metallic timbres can be achieved by setting Dissonant and metallic timbres can be achieved by setting Dissonant and metallic timbres can be achieved by setting Dissonant and metallic timbres can be achieved by setting Dissonant and metallic timbres can be achieved by setting Dissonant and metallic timbres can be achieved by setting Dissonant and metallic timbres can be achieved by setting
VCO with the VCO with the VCO with the VCO with the VCO with the VCO with the VCO with the VCO with the VCO range VCO range VCO range VCO range VCO range VCO range VCO range VCO range or or or or or or or or VCO detune VCO detune VCO detune VCO detune VCO detune VCO detune VCO detune VCO detune
VCO mod VCO mod VCO mod VCO mod VCO mod VCO mod VCO mod VCO mod controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at controls which modulation is applied to the VCO. In central position (the potentiometer has a detent at
12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of 12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of 12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of 12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of 12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of 12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of 12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of 12 o'clock), no modulation is applied to the VCO. When turning the knob clockwise, an increasing amount of
LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope
modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied.
PW PW PW PW PW PW PW PW adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12 adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12 adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12 adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12 adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12 adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12 adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12 adjusts the pulse-width of the square waveform. In central position (the potentiometer has a detent at 12
o'clock), the output signal is a square waveform. o'clock), the output signal is a square waveform. o'clock), the output signal is a square waveform. o'clock), the output signal is a square waveform. o'clock), the output signal is a square waveform. o'clock), the output signal is a square waveform. o'clock), the output signal is a square waveform. o'clock), the output signal is a square waveform.
PW mod PW mod PW mod PW mod PW mod PW mod PW mod PW mod controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12 controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12 controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12 controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12 controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12 controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12 controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12 controls the modulation applied to pulse-width. In central position (the potentiometer has a detent at 12
o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of o'clock), no modulation is applied to the pulse width. When turning the knob clockwise, an increasing amount of
LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope LFO modulation is applied. When turning the knob counter-clockwise, an increasing amount of AD envelope
modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied. modulation is applied.
Sync Sync Sync Sync Sync Sync Sync Sync resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when resets the cycle of the VCO every time the DCO completes a full cycle. This works particularly well when
the VCO is set to a higher pitch than the DCO (high value of the the VCO is set to a higher pitch than the DCO (high value of the the VCO is set to a higher pitch than the DCO (high value of the the VCO is set to a higher pitch than the DCO (high value of the the VCO is set to a higher pitch than the DCO (high value of the the VCO is set to a higher pitch than the DCO (high value of the the VCO is set to a higher pitch than the DCO (high value of the the VCO is set to a higher pitch than the DCO (high value of the
modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the modulation is applied to the VCO, for this ewwwwww sound. Note that when the VCO has a lower pitch than the
DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing! DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing! DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing! DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing! DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing! DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing! DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing! DCO, no sound can be heard. This is a useful trick if you want to disable the VCO for external signal processing!
Glide Glide Glide Glide Glide Glide Glide Glide adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to adjusts the portamento time between consecutive notes. This causes the pitch of the previous note to
slowly slide towards the pitch of the next note. slowly slide towards the pitch of the next note. slowly slide towards the pitch of the next note. slowly slide towards the pitch of the next note. slowly slide towards the pitch of the next note. slowly slide towards the pitch of the next note. slowly slide towards the pitch of the next note. slowly slide towards the pitch of the next note.
VCO range VCO range VCO range VCO range VCO range VCO range VCO range VCO range adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to adjusts the pitch of the VCO relatively to the note played on the keyboard, from -12 semitones to
+36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band +36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band +36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band +36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band +36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band +36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band +36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band +36 semitones. This potentiometer is deliberately "steppy", with one step for each semitones, and a dead-band
at octaves (-12, 0, 12, 24, 36 semitones). at octaves (-12, 0, 12, 24, 36 semitones). at octaves (-12, 0, 12, 24, 36 semitones). at octaves (-12, 0, 12, 24, 36 semitones). at octaves (-12, 0, 12, 24, 36 semitones). at octaves (-12, 0, 12, 24, 36 semitones). at octaves (-12, 0, 12, 24, 36 semitones). at octaves (-12, 0, 12, 24, 36 semitones).
VCO detune VCO detune VCO detune VCO detune VCO detune VCO detune VCO detune VCO detune adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the adjusts the VCO pitch on a fine scale, to create a slight detuning effect between the VCO and the
DCO. DCO. DCO. DCO. DCO. DCO. DCO. DCO.
Mix Mix Mix Mix Mix Mix Mix Mix controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are controls the balance of the sawtooth and square waveshapers. In center position, both waveshapes are
mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise, mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise, mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise, mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise, mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise, mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise, mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise, mixed together. Fully turned clock-wise, only the square wave can be heard. Fully turned counter-clock-wise,
only the sawtooth wave can be heard. only the sawtooth wave can be heard. only the sawtooth wave can be heard. only the sawtooth wave can be heard. only the sawtooth wave can be heard. only the sawtooth wave can be heard. only the sawtooth wave can be heard. only the sawtooth wave can be heard.
Sub level Sub level Sub level Sub level Sub level Sub level Sub level Sub level controls the level of an additional signal added to the mix. This signal is selected with the controls the level of an additional signal added to the mix. This signal is selected with the controls the level of an additional signal added to the mix. This signal is selected with the controls the level of an additional signal added to the mix. This signal is selected with the controls the level of an additional signal added to the mix. This signal is selected with the controls the level of an additional signal added to the mix. This signal is selected with the controls the level of an additional signal added to the mix. This signal is selected with the controls the level of an additional signal added to the mix. This signal is selected with the
from one of these 3 sources: from one of these 3 sources: from one of these 3 sources: from one of these 3 sources: from one of these 3 sources: from one of these 3 sources: from one of these 3 sources: from one of these 3 sources:
The DCO. The DCO. The DCO. The DCO. The DCO. The DCO. The DCO. The DCO.
A square sub-oscillator running one octave below the VCO. A square sub-oscillator running one octave below the VCO. A square sub-oscillator running one octave below the VCO. A square sub-oscillator running one octave below the VCO. A square sub-oscillator running one octave below the VCO. A square sub-oscillator running one octave below the VCO. A square sub-oscillator running one octave below the VCO. A square sub-oscillator running one octave below the VCO.
A square sub-oscillator running two octaves below the VCO. A square sub-oscillator running two octaves below the VCO. A square sub-oscillator running two octaves below the VCO. A square sub-oscillator running two octaves below the VCO. A square sub-oscillator running two octaves below the VCO. A square sub-oscillator running two octaves below the VCO. A square sub-oscillator running two octaves below the VCO. A square sub-oscillator running two octaves below the VCO.
Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way Note that any pitch modulation applied to the VCO will also be applied to the sub-oscillator; but due to the way
the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can the sub-oscillator synchronizes its pitch to the VCO, interesting sync-like or quantization/arpeggiation effects can
be heard. be heard. be heard. be heard. be heard. be heard. be heard. be heard.

Filter section

Filter section Filter section Filter section Filter section Filter section Filter section Filter section
Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the Anushri's filter is a 2-pole multimode filter based on the State-Variable topology - a circuit made famous in the
synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values. synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values. synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values. synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values. synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values. synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values. synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values. synth world by the Oberheim SEM. The filter can self-oscillates smoothly when resonance is set to high values.
Cutoff Cutoff Cutoff Cutoff Cutoff Cutoff Cutoff Cutoff adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks adjusts the filter cutoff frequency, from 18 Hz to 22kHz. Note that by default, filter cutoff frequency tracks
the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri). the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri). the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri). the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri). the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri). the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri). the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri). the note played by the keyboard (this can be disabled by sending a specific CC message to Anushri).
Resonance Resonance Resonance Resonance Resonance Resonance Resonance Resonance adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff adjusts the filter resonance, progressively emphasizing the frequencies in the vicinity of the cutoff
frequency. frequency. frequency. frequency. frequency. frequency. frequency. frequency.
VCF env mod VCF env mod VCF env mod VCF env mod VCF env mod VCF env mod VCF env mod VCF env mod controls the amount of ADSR1 modulation applied to filter cutoff. controls the amount of ADSR1 modulation applied to filter cutoff. controls the amount of ADSR1 modulation applied to filter cutoff. controls the amount of ADSR1 modulation applied to filter cutoff. controls the amount of ADSR1 modulation applied to filter cutoff. controls the amount of ADSR1 modulation applied to filter cutoff. controls the amount of ADSR1 modulation applied to filter cutoff. controls the amount of ADSR1 modulation applied to filter cutoff.
VCF LFO mod VCF LFO mod VCF LFO mod VCF LFO mod VCF LFO mod VCF LFO mod VCF LFO mod VCF LFO mod controls the amount of LFO modulation applied to filter cutoff. controls the amount of LFO modulation applied to filter cutoff. controls the amount of LFO modulation applied to filter cutoff. controls the amount of LFO modulation applied to filter cutoff. controls the amount of LFO modulation applied to filter cutoff. controls the amount of LFO modulation applied to filter cutoff. controls the amount of LFO modulation applied to filter cutoff. controls the amount of LFO modulation applied to filter cutoff.
VCF mode VCF mode VCF mode VCF mode VCF mode VCF mode VCF mode VCF mode selects the filter mode: low-pass, band-pass, or high-pass. selects the filter mode: low-pass, band-pass, or high-pass. selects the filter mode: low-pass, band-pass, or high-pass. selects the filter mode: low-pass, band-pass, or high-pass. selects the filter mode: low-pass, band-pass, or high-pass. selects the filter mode: low-pass, band-pass, or high-pass. selects the filter mode: low-pass, band-pass, or high-pass. selects the filter mode: low-pass, band-pass, or high-pass.
The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be The audio input at the back of Anushri (6.35 jack) is routed to the filter input, allowing external signals to be
processed through the filter, fuzz and VCA. processed through the filter, fuzz and VCA. processed through the filter, fuzz and VCA. processed through the filter, fuzz and VCA. processed through the filter, fuzz and VCA. processed through the filter, fuzz and VCA. processed through the filter, fuzz and VCA. processed through the filter, fuzz and VCA.
Fuzz Fuzz Fuzz Fuzz Fuzz Fuzz Fuzz Fuzz
The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the The signal produced by the VCF can be sent to a fuzz circuit before getting into the VCA. Switch the
control on for a nasty overdriven sound. control on for a nasty overdriven sound. control on for a nasty overdriven sound. control on for a nasty overdriven sound. control on for a nasty overdriven sound. control on for a nasty overdriven sound. control on for a nasty overdriven sound. control on for a nasty overdriven sound.
FM FM FM FM FM FM FM FM to a high value, and by detuning the DCO and to a high value, and by detuning the DCO and to a high value, and by detuning the DCO and to a high value, and by detuning the DCO and to a high value, and by detuning the DCO and to a high value, and by detuning the DCO and to a high value, and by detuning the DCO and to a high value, and by detuning the DCO and
knobs. knobs. knobs. knobs. knobs. knobs. knobs. knobs.
VCO range VCO range VCO range VCO range VCO range VCO range VCO range VCO range pot), and when an envelope or LFO pot), and when an envelope or LFO pot), and when an envelope or LFO pot), and when an envelope or LFO pot), and when an envelope or LFO pot), and when an envelope or LFO pot), and when an envelope or LFO pot), and when an envelope or LFO
Sub Sub Sub Sub Sub Sub Sub Sub switch, switch, switch, switch, switch, switch, switch, switch,
Fuzz Fuzz Fuzz Fuzz Fuzz Fuzz Fuzz Fuzz