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Schippmann ebbe und flut User Manual

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Summary of Contents for Schippmann ebbe und flut

  • Page 2 Email: info@schippmann-music.com The manufacturer Schippmann electronic musical instruments is frequently looking for improvements and deve- lopements of their products. Therefore we reserve the right to change technical specifications, intended to impro- ve the products, at any time without notice. This includes the look of the units which might differ from pictures in this manual.

  • Page 3: Vcf

    It took me almost two years to finish the first prototype. Within this pe- riod, a couple of ’evolutional mutations’ from the basic idea to the final ’ebbe und flut’ used to exist. The core of this machine was intented to be a filter. I used to have a certain ’vision’ of a VCF’s sonic qua- lities and in parallel a circuit design, drawn on a simple sheet of paper just before i started my e- lectronics degree.
  • Page 4 These qualities and of course its powerful sound make ’ebbe und flut’ a perfect tool on stage as well as in the studio. ’ebbe und flut’ is a highly sophisticated device that offers many different ways of use. ’ebbe und flut’...

  • Page 5: Table Of Contents

    CONTENT 1. WARRANTY 1.1 Limited Warranty 1.2 Warranty regulation 1.3 Warranty transferability 1.4 Claim for damages 2. CE and FCC compliance statements 3. DISPOSAL 4. SAFETY INSTRUCTIONS 5. MAINTAINANCE / CLEANING 6. Preparations 6.1 Unpacking 6.2 Installation 6.3 Hook up and first use 6.3.1 BEFORE POWERING UP ! 6.3.2 Power requirements 6.4 Audio connections...
  • Page 6 PART II 10. TUTORIAL 10.1 Preparations 10.2 The filter 10.2.1 VCF 1 10.2.2 VCF 2 10.2.3 The ”inverse allpass“-function of VCF 1 10.2.4 Filter saturation 10.3 The distortion unit 10.4 The signalflow-switch 10.5 VCA and noisegate 10.6 The modulators 10.6.1 LFO 10.6.2 S&H 10.6.3 The dynamic-function (follower) 10.6.4 Audiotrigger and envelopes...

  • Page 7: Warranty

    30 days of the receipt of the product at Schippmann electronic mu- sical instruments. Damages or defects caused by improper handling or opening of the unit by un- authorized personnel (user included), are not covered by this warranty.

  • Page 8: Ce And Fcc Compliance Statements

    !! Nevertheless this product is special waste and shall not be disposed in ordenary household waste !! For disposal, please contact your local dealer or Schippmann electronic musical instruments. user manual e b b e f l u t...

  • Page 9: Safety Instructions

    AVOID MECHANICAL STRESS ON SOCKETS AND KNOBS / SWITCHES. • SAVE YOUR SPEAKERS AND EARS (!) OF EXCEEDING AUDIO LEVELS. ’EBBE UND FLUT’ IS CAPABLE TO GENERATE EXTREMELY LOW AS WELL AS EXTREMELY HIGH FREQUENCIES. BOTH MIGHT CAUSE SERIOUS DAMAGES ON EQUIPMENT AND EARS!

  • Page 10: Maintainance / Cleaning

    5. MAINTAINANCE / CLEANING • BEFORE CLEANING THE PRODUCT, PLEASE DISCONNECT THE POWER PLUG FROM THE OUTLET. • USE A DRY OR SLIGHTLY MOIST CLOTH FOR CLEANING. NEVER USE ANY CLEANER OR THINNER (E.G. PAINT THINNER OR ACETONE). PRINTS AND PAINTWORK WILL IMEDIATELY BE DE- STROYED!! ALSO AVOID ALCOHOL (ISOPROPANOL), GAS, SPIRIT OR HOUSEHOLD CLEANER! user manual e b b e f l u t...

  • Page 11: Preparations

    6.3.2 Power requirements ’Ebbe und flut’ works all over the world. Inside the enclosure is a line voltage selector to adapt the unit to your local power system. Qualified and authorised tech personal only is allowed to open the unit! Please contact your local dealer or Schippmann electronic musical instruments.

  • Page 12: Audio Connections

    Before you start hooking up the unit to your audio system, make sure that your speakers do not get any signal. Connect the audio-out ”OUTPUT” of ’ebbe und flut’ with your audiosystem, such as mixing desk, soundcard or active speakers. Connect the audio-in ”INPUT” of ’ebbe und flut’ with a soundsour- ce, such as e.g.

  • Page 13: Introduction

    There are lots of things to explore and even experienced users will need some gui- dance to get all ’ebbe und flut’s’ details. Next to that, this manual contains 51 figures that will (hopeful- ly) enable you to quickly understand even complex functionality. Nevertheless, for some of you there might totally new topics.
  • Page 14 [low/high] Distortion switch – selects between two separation-frequencies of the two-band distortion module: low 96 Hz / high 1050 Hz [frequency] Frequency knob – adjusts cutoff frequency of VCF 1 [resonance] Resonance knob – adjusts resonance of VCF 1 [pedal] Knob with center position – adjusts positive/negative (ccw/cw) modulation amount of a foot pedal, connected to socket 5, to cutoff frequency of VCF 1 [depth] Knob with center position –...
  • Page 15 [depth] Knob with center position – adjusts positive/negative (ccw/cw) modulation amount of envelope generator AHR 2 to cutoff frequency of VCF 2 [env-mod2] Toggle switch – selects between the two sources AMT2 / DYN (external / dyna- mic) to control the modulation amount of AHR 2 – envelope to cutoff of VCF2, after passing knob (31).

  • Page 16: Brief Description Of The Control Elements & Sockets On The Rear Panel

    7.2 Brief description of the control elements & sockets on the rear panel fuse – Fuseholder for line fuse type 5 x 20, 80/160 mA SLO-BLO Power Inlet C8 – Socket for power cord with C7 Outlet Powerswitch – Power supply switch [POLARITY] Toggle switch –...

  • Page 17: Overview

    The following figures provide a brief overview about the audio- and modulation-structure, as well as the signalflow of ’ebbe und flut’ . White labeling means functions to be found on the frontpanel, dark grey labeling to be found on the rear panel. Digits in brackets mean the number of the corresponding knob, switch or socket.
  • Page 18 Most of the modules can be used, above their prepatched internal signal connections, as separate de- vices. Within the prepatched internal signalflow, e.g. envelopes operate filtercutoffs, resonances or the VCA. The LFO modulates filtercutoffs, controls the sample & hold (gate) or is beeing chopped up as a signal source.
  • Page 19 A(H)R 1 (8r) A(H)R 2 (9r) ENV 1 (fix level) ENV 2 (fix level) attack 1 ATTACK 1 attack 2 ATTACK 2 to VCA, VCF1-Resonance to VCA, VCF2-Resonance (17) (10t) (25) (11t) hold 1 HOLD 1 hold 2 HOLD 2 ENV 1 (var level) ENV 2 (var level) (18)

  • Page 20: Part I

    PAR T I This chapter explains each module and its controls. You will find detailed descriptions of all functions and control elements. 8. THE AUDIO-MODULES 8.1 Input section The input section contains the frontpanel control elements [level] (1) and the elements (22), (23) and (24) on the rear panel.

  • Page 21: The Compressor

    8.2 The Compressor The compressor provides the frontpanel components [compression] (3) and [slow/fast] (4) and the socket ”DIST OUT“ (21) on the rearpanel. For better understanding of the compressor, we will have a look on its basic functionality. A compres- sor ”recognizes”...
  • Page 22 Another characteristic feature of a compressor is its response. It determines how fast the detector applies or removes gain reduction, once the input signal has exceeded or fallen below the threshold level. The typical parameters are attack and release. In ’ebbe und flut’ , they are set to fixed and musical- ly useful amounts.
  • Page 23 Fig. 8.2.2 shows the response characteristics of the compressor. Signalstart Signalend time 20ms/40ms 150ms/300ms Fig. 8.2.2 response time of the compressor The upper graph shows a signal with fast attack and decay. The lower graph shows the voltage curve, derived by the detector. In an ideal case, a ”perfect” detector would follow the signal level without any delay or inertia.

  • Page 24: The Signalflow-Switch

    8.3 The signalflow-switch The [signalflow]-switch (2) determines the internal signalflow of the three modules distortion unit, VCF 1 and VCF 2. This is a very powerful function, since it changes the entire signal routing with one ”click” . The following figures explain the signal flow of these three modules, depending on the position of this switch.
  • Page 25 Position „F2-D-F1“ (low) In contrast to the above position, VCF 1 and VCF 2 have been swapped. Both filters are still serially con- nected with the distorsion inbetween, and a variable mix via [balance]-knob is sent to the VCA. GAIN- Compressor VCF 2 Distortion...

  • Page 26: The Distortion Unit

    8.4 The distortion unit The distortion unit provides the frontpanel components [distortion] (5) and [low/high] (6) and the au- dio output ”COMP OUT“ (21) on the rearpanel. The distortion unit saturates signals more or less in a specific way in order to change their overtone structure. front: (5) [distortion] The following figure shows the characteristics curve of the distortion unit.
  • Page 27 – the sound becomes heavy distorted. front: (6) [low/high] The distortion unit of ’ebbe und flut’ provides two parallel sections, working in the way described abo- ve. (fig. 8.4.3). One section works in the lower frequency range, while the second covers the higher ran- ge.
  • Page 28 low range, which usually happens at heavy distortion. In the ”low“-position, the result will sound sgini- ficantly fatter and warmer. This ”supression” happens when certain frequencies (mostly basses) of the signal appear in higher amplitudes than others. A distortion unit that treats all frequencies in an equal way, distorts more po- werful (low) frequency ranges earlier and thus erases higher frequencies.

  • Page 29: Filters Vcf 1 And Vcf

    8.5 Filters VCF 1 and VCF 2 Both filters VCF 1 and VCF 2 are the core of ’ebbe und flut’ . They are different from each other and pro- vide different sonic results. Both feature different selectable characteristics, but functionality is equal.
  • Page 30 front: (16) [curve] The following figures show the 12 different frequency characteristics (upper graph) of VCF 1, selectab- le with the [curve]-12-position-rotaryswitch (16). Each of these curves describes a different resonance setting (zero resonance to very high resonance). The first six filter characteristics are lowpasses with decreasing slope, followed by two bandpasses, two highpasses, one notch and a special allpass.
  • Page 31 Fig. 8.5.6 LP1 6db 6 db/Okt. Fig. 8.5.7 LP2 6db 6 db/Okt. Bandpass: Bandpasses attenuate frequencies above and below the cutoff- or better center frequency. The slope is also described in db/octave, but with two values, right and left from the center frequency. Increasing slope of the highpass section (left from center frequency) results in a more ”sharpened”...
  • Page 32 Fig. 8.5.10 HP 6db 6 db/Okt. Fig. 8.5.11 HP 12db 12 db/Okt. notch: Notch filters attenuate frequencies around a ’notch’ (see. fig. 8.5.12, upper graph). Other frequencies pass the filter. Since the ’notch’ is relatively narrow, there is no constant slope in contrast to the other filtertypes.
  • Page 33 Fig. 8.5.13 Inverse allpass front: (37) [curve] The following figures show the 12 different frequency characteristics (upper graph) of VCF 2, selectab- le with the [curve]-12-position-switch (38). Each of these characteristics describes a different reso- nance setting (zero resonance to very high resonance). The first six filter characteristics are again lowpasses with decreasing slope, followed by two bandpasses, two highpasses, one notch and an all- pass.
  • Page 34 Fig. 8.5.16 LP2 12db 12 db/oct. Fig. 8.5.17 LP1 6db 6 db/oct. Fig. 8.5.18 LP2 6db 6 db/oct. Fig. 8.5.19 LP3 6db 6 db/oct. Bandpasses: Although these bandpasses have the same attenuation as VCF 1, they sound different. The sound of this bandpass (fig.
  • Page 35 Highpass: In contrast to VCF 1, this 12db-highpass sounds clearly richer. Fig. 8.5.22 HP 6db 6 db/oct. Fig. 8.5.23 HP 12db 12 db/oct. Notch: Increasing resonance emphases (nearly) the cutoff. Notch- and cutoff-frequency are again separated with factor 0.6. Fig. 8.5.24 Notch user manual e b b e f l u t u n d...
  • Page 36 (attenuator with attenuation of ). A resistor of 60 kOhm in front of the corresponding control input (14/TIP), (15/TIP) will do the same job. Schippmann is planning to deliver an optional adapter ( ” plug), which provides 1 V/oct.-scaling with trimmer-calibration. If the standard...
  • Page 37 scaling of the unit would be 1 V/oct., an adaption to higher sensitivity would mean the need of active components (electronics with power consumtion) and an additional power supply. front: (9)/(30) [pedal] Knobs (9)/(30) have a center position. They modulate the cutoff frequency of VCF 1/2 and control the modulation amount of the control voltage, supplied via socket ”PEDAL“...
  • Page 38 front: (13/34) [reso-mod1/2] The toggle switches (13)/(34) select between two modulation sources via the above described knobs (12)/(33). Position “S&H” (down): S&H (Sample & Hold) Position “ENV1” (up): Envelope generator ENV 1 back: (14/15)(RING) RESO 1 / RESO 2 The sockets on the rearpanel ”RESO1“ (14)(RING) and ”RESO2“ (15)(RING) are external control in- puts for resonance of the corresponding filter.

  • Page 39: The Vca And The Bypass-Function

    8.6 The VCA and the BYPASS-function A VCA is a Voltage Controlled Amplifier and provides amplitude modulation or in other words dyna- mic level changes of a signal. The corresponding control elements are [vca-mod]-switch (39), [balance]-knob (41) and the rearpanel socket ”OUTPUT“ (23). front: (39) [vca-mod] The [vca-mod]-switch (39) has three positions.

  • Page 40: The Modulation Modules

    9. THE MODULATION MODULES This chapter covers the various modulation capabilities. The main part of the modulation section is located in the center of the front panel. 9.1 The dynamic-function The dynamic-function covers the control elements [slow/fast] (4) and [dynamic] (20) on the front panel and the sockets ”DYN OUT“...
  • Page 41 time Fig. 9.1.1 dynamic-scaling The upper graph in fig. 9.1.1 describes a lineary increasing audio signal, which falls down to a low level, pops back to its original level and decays in a lineary way. The second graph shows the result of the dynamic function with linear scaling.

  • Page 42: The Audiotrigger

    Position „LOG“: about 100 mV/dbV; lower limit: 0 V output at -50 dbV input, upper limit: 6.6 V output at 16 dbV input 2. „level“-knob (1) in fully clockwise position, gain-switch (22) in position +20 db: Position „LIN“: about 10.5 V/Vrms; lower limit: 0 V output at 0 Vrms input, upper limit: 6.8 V output at 650 mVrms input Position „LOG“:...
  • Page 43 to be fast enough to be detected by the trigger. Slow level alterations will not be detected. The sensiti- vity could be measured as level buildup in [db/sec] (decibel per second). The trigger is shown in the lower graph as short voltage pulses with a fixed duration of 40 msec. They frequently appear at a ”sudden”...

  • Page 44: S&H (Sample & Hold)

    9.3 S&H (Sample & Hold) The S&H modul consists of the control elements [gate] (21) and [source] (22) on the frontpanel and ”TRIG-S&H“ (4) on the rearpanel. A Sample & Hold uses an input (source), an output and a trigger input (gate).

  • Page 45: The Lfo

    back: (4)(RING) TRIG-S&H The socket ”TRIG-S&H“ (4)(RING) can be used as an external input for the gate. On principle, each alternating signal (audio, modulation) can be used for the gate, a minimum voltage of +3 Volts is requi- red. Input: 0 Volts / no action: inactiv Input: transition from 0 Volts to +3 Volts: activ (sample &...
  • Page 46 front: (23) [wave] The [wave]-switch (23) selects one out of three waveforms. Position “TRI“ (left): Triangle Position ”SAW“ (center): Saw falling Position ”RECT“ (right): Rectangular / Square (50 %) back: (6)(RING) SPEED The rearpanel socket ”SPEED“ (6)(RING) delivers a control voltage input for frequency modulation of the LFO-frequency.

  • Page 47: The Ahr-Envelopes

    Triangle: +5 Volts Saw: +5 Volts Square: - 5 Volts back: (4)(TIP) LFO OUT On the rearpanel socket ”LFO OUT“ (4)(TIP) the LFO signal can be accessed with an output amplitude of ±5 Volts. front: (23a) LED The blue LED follows the current waveform with it’s brightness. 9.5 The AHR-envelopes The AHR-envelopes contain the control elements (17), (18), (19) for ENV 1 and (25), (26), (27) for ENV 2 on the frontpanel and the rearpanel sockets (8), (10), (12) for ENV 1 and (9), (11), (13) for...

  • Page 48: The Re-Trigger-Mode

    hold-phase release-phase attack-phase envelope <1 ms - 35 sec <1 ms - 60 sec <1 ms - 60 sec output Trigger Fig. 9.5.2 AHR-envelope curve When receiving a trigger-change from 0 Volts to +5 Volts at the trigger input, the three states or phases of the started envelope are executed.

  • Page 49: The Gate-Mode

    9.5.2 The gate-mode In gate-mode, there is no hold-phase and no sudden restart. As soon as the gate signal is activ (+5 Volts) at the gate input, the attack-phase starts exactly at the current level of the moment, the trig- ger was received.
  • Page 50 Four voltage levels (0 V, 1 V, 3 V, 5V) at the ”AMT“-input explain the voltage control of the envelope’s final level (amount). The envelope can only be used to modulate the cutoff frequencies of the filters via knobs (10) and (31). Further control capabilities of the multiplier will be covered later. 2.

  • Page 51: The Dynamic Hold-Function

    9.5.4 The dynamic hold-function The dynamic hold-function works as a ”gate” . With each trigger or active gate at the trigger input of the envelope generators, the gate is opened for a short time (20 ms) and passes the dynamic-voltage (see chapter 9.1) ’in front of the gate’...
  • Page 52 front: (11)/(32) [env-mod1/2] The switches (11) resp. (32) select one out of two sources for the above described envelope multiplica- tion. The switches can be found in the filter section, since they are assigned to the knobs (10) and (31). Position “AMT 1/2“...
  • Page 53 Scaling: +310 mV/half of duration, resp. positive voltages result in shorter attack-times and vice versa. back: (10/11)(RING) HOLD1/2 These are the control voltage inputs of the hold-times. Scaling: +310 mV/half of duration, resp. positive voltages result in shorter hold-times and vice versa. back: (12/13)(RING) RELEASE1/2 These are the control voltage inputs of the release-times.

  • Page 54: The Pedal

    9.6 The pedal A passive or active volume pedal can be connected via stereo-cabel to the rearpanel socket ”PEDAL“ (5). TIP/RING of socket (5) provides +5 Volts via an 1.2 kOhm resistor. The respectively other pin of the stereo socket RING/TIP feeds back the pedal-controllable +5 Volts. back: (3) [POLARITY] TIP and RING at socket (5) can be exchanged with the rearpanel switch (3) in order to adapt to diffe- rent brands.

  • Page 55: The Noisegate

    9.7 The Noisegate The noisegate provides simply one knob [threshold] (38). With the switch (39) in center position, it controls the VCA, depending on the input level at socket (24) and depending on the position of knob (38). It can be useful to ’clean’ noisy input signals as well as to eliminate high output noise which may arise out of settings, that provide high signal amplification.

  • Page 56: Complete Circuitry

    The upper graph describes any level curve of the input signal at socket (24); the straight line corre- sponds to the threshold (level). As soon as the signal level exceeds the threshold, the output of the noi- segate switches to ’on’ within approx. 1 msec. As long as the signal level exceeds the threshold or falls below it for a duration under 200 ms, the noisegate remains in the ’on’-phase.
  • Page 57 signalflow -switchposition "up" Reso-Control Automatic IN PU T Gain Softknee- VCF 1 Compressor level 20db slow fast compression OU TPU T Distortion balance Reso-Control VCF 2 signalflow -switchposition "down" Reso-Control VCF 1 OU TPU T Distortion balance Reso-Control Automatic IN PU T Gain Softknee- VCF 2...

  • Page 58: Tutorial

    Power up all devices in succession, best you start with ’ebbe und flut’ . So a certain noise when powe- ring up will remain inaudible. Proceed with mixing desk, amplifier resp. active speakers.

  • Page 59: The Filter

    10.2 The filter 10.2.1 VCF 1 Play a low note on your synthesizer (e.g. C1 at 65 Hz). Since ’ebbe und flut’ is still in bypass mode, you should now adjust the levels on your synth. Switch from bypass- to ON-mode. There should be no sound at all, because VCF 1 is entirely clo- sed and the current setting only allows audition via VCF 1.

  • Page 60: The "Inverse Allpass"-Function Of Vcf

    10.2.3 The ”inverse allpass“-function of VCF 1 Now we want to explore the effect of the ”inverse allpass” function. Move the [balance]-knob (41) to center position, both [resonance]-knobs (8) and (29) to fully counter clockwise position. Select ”inverse allpass” with the [curve]-rotary-switch (16) and the ”LP 24db“ position with the [curve]-rotary-switch (37).

  • Page 61: Filter Saturation

    12 o’clock position when parameters like filter characteristics or resonance are changed. After some practising, you will be able to achieve all these effects fast and intuitively in every live situation and at least, to use ’ebbe und flut’ like a real musical instrument. 10.2.4 Filter saturation Recall the basic setting, switch [bypass] to ”ON“...

  • Page 62: The Signalflow-Switch

    10.4 The signalflow-switch Start with the basic setting ([bypass] to ”ON“), move both [frequency]-knobs (7) and (28) fully clockwi- se and the [resonance]-knob (8) to12 o’clock. The figures 8.3.1 to 8.3.3 in chapter 8.3 explain the corre- sponding signalflow. Now switch the [signalflow}-switch (2) in upper position ”F1-D-F2“ (this means the serial con- nection Filter1-Distortion-Filter2).

  • Page 63: S&H

    versed to the brightness of the LED. Also select the other waveforms with [wave]-switch (23) and repeat the procedure. Experiment with the [speed]-knob (24). You will recognice the approx. doubled frequency, when saw-waves are selected. Move the [balance]-knob (41) to 12 o’clock in order to make both filters audible. When both [modulation]-knobs (14) and (35) are moved into the same direction, both cutoff frequencies oscillate up and down in phase.

  • Page 64: Audiotrigger And Envelopes

    now reacts inverted, when the [level]-knob (1) is moved and opens at the counter clockwise direction. The whole thing of course also works with VCF 2. 10.6.4 Audiotrigger and envelopes To activate the audiotrigger and therefore the envelopes, an event has to appear at the ”INPUT“ (24). Switch the source signal (sawtooth wave) frequently on and off (0.5 sec on, 0.5 sec off ).

  • Page 65: The Audio Trigger

    To repeat this with VCF 2, move the [balance]-knob (41) fully clockwise. 10.6.7 The audio trigger We now will have a closer look at the powerful capabilities of the audio trigger. We need a polyphonic sawtooth sound for this exercise. Recall the basic setting ([bypass] to ”ON“), both [frequency]-knobs (7) and (28) to 12 o’clock both [resonance]-knobs (8) and (37) to 12 o’clock, [modulation]-knobs (10) and (31) to 3 o’clock, [release]-knobs (19) and (27) to 12 o’clock, [env-mod1]-switches (11) and (32) in posi- tion ”AMT 1/2“...

  • Page 66: Tipps And Ideas For Advanced Use

    ’ebbe une flut’ , internal feedback between its ”INPUT”- and ”OUTPUT” socket might appear because of the high impedance of guitar pickups. In worst case, ’ebbe und flut’ might cause extreme amplification. An example for a serial connection of all audio modules: +20 db (input stage) + 35 db (compressor, fully clockwise position &...

  • Page 67: Lfo As Audio Oscillator

    11.3 LFO as audio oscillator When using its CV-input (socket (6), ring) the LFO can cover a wide audio range. If the external sync input (socket (6), tip) is triggered by a tuned synthesizer, the result is the typical ’sync-sound’ . The sync input is capable to work with almost every kind of signal.

  • Page 68: Technical Specification And Ratings

    12. TECHNICAL SPECIFICATION AND RATINGS 12.1 Technical specification (in general): Power Requirements: depending (see sticker on rear panel) 100 V~ – 125 V~ /50 Hz – 60 Hz 200 V~ – 250 V~ /50 Hz – 60 Hz Fuse: 80 mA SloBlo (200 V~ - 250 V~) 160 mA SloBlo (100 V~ - 125 V~)
  • Page 69 input level at socket (16) in low-/highpass- mode, filter opened/closed, resonance = 0: -10 dB Maximum input voltage at sockets (14) and (15): ±15 V Input impedance at sockets (14)/tip and (15)/tip: 60 kOhm Scale at socket (14)/tip and (15)/tip, for a source’...

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