Fenix II PP Manual

Modular synthesizer and audio processor

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Fénix Modular Synthesizer and Audio Processor

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Page 1 Fénix Modular Synthesizer and Audio Processor...
Page 2: Table Of Contents
TABLE OF CONTENTS 1 FÉNIX II HISTORY…………………………………………………………… 3 2 READ THIS FIRST…………………………………………………………… 4 3 INTRODUCTION……………………………………………………………… 5 4 INPUTS & OUTPUTS………………………………………………………… 7 4.1 Inputs 4.2 CV1 & CV2 4.3 Outputs 5 AUDIO SIGNAL GENERATORS……………………………………………. 8 5.1 Voltage-Controlled Oscillator………………………………………. 8 5.1.1 VCO 1 5.1.2 VCO 2 5.1.3 VCO 3 5.1.4 VCO panel controls and functions...
Page 3 6.10 Sample & Hold (S&H) …………………………………………….. 29 6.11 Slew Limiter ………………………………………………………… 30 6.12 CPR …………………………………………………………………. 31 7 MODULATION SOURCES…………………………………………………… 32 7.1 Low Frequency Oscillator…………………………………………… 32 7.1.1 LFO 1 7.1.2 LFO 2 7.1.3 LFO 3 7.1.4 LFO 4 7.1.5 LFO 5 7.2 Random Noise Generator and Very Low Frequency……………..
Page 4: Fénix Ii History
● VCF3 Formant has been updated significantly. In both the Fénix II and Fénix IId it was based on vactrols. The Fenix II PP uses filter chips instead. The VCF3 Formant has two separate resonance inputs, one for the 3 band-pass filters and another one for the low-pass filter.
Page 5: Read This First
The Fenix II PP enables sound experimentation not only as a standalone musical instrument. It can also be used as a processor for external signals, a generator of control voltages, or a modulation source for other synthesizers.
Page 6: Introduction
3 INTRODUCTION A synthesizer generates artificial sounds, the nature of which depends on the settings the user has programmed. A pre-patched synthesizer often uses one specific principle for generating sounds, for instance FM, additive synthesis or sampling. The Fénix, on the other hand, allows for many synthesis techniques to be used within one sound.
Page 7 high-level signal will correspond to a key which is pressed and a low-level signal when no key is pressed. In numbers: a signal larger than 5 volts is considered high, and a signal lower than one volt, low. Modules that produce such a signal include the square wave output of a low frequency oscillator (LFO), the gate output of a sequencer, a keyboard or from a MIDI interface.
Page 8: Inputs & Outputs
4 INPUTS & OUTPUTS The functions of a system like the Fénix can roughly be divided into four groups of modules: 1. Audio signal generators – such as oscillators and noise generators 2. Signal processors – such as filters, mixers and voltage-controlled amplifiers 3.
Page 9: Audio Signal Generators
Fénix. The Fénix II PP features three built-in VCOs, each with its own set of unique features. These VCOs offer a wide range of inputs and outputs. All of the green outputs can be mixed to create a variety of timbres.
Page 10: Vco
out of tune. The FM-d input can be used for low frequency sources or DC signals. This input has a small range. It can be used for small frequency modulations. Note B: Regarding the PW inputs: if the control voltages at these inputs are too high (either positive or negative), the square wave will not produce an audible signal.
Page 11: Vco
5.1.3 VCO 3 VCO 3 has a sub sawtooth output on the bottom right. The Mod input next to it can turn the sub saw into a normal sawtooth output. 5.1.4 VCO panel controls and functions CV1: 1V/Octave input CV2: Modulation input with attenuator ranging from 0 to +1 V/Oct.
Page 12: Sync Input
SPh: Phase modulation input – controls the phase of Sub1 and Sub2. Side effect: the pitch of these outputs shifts during modulation. Puls: Pulse output with one positive and one negative pulse per wave. Puls1: Only positive pulse Puls2: Only negative pulse FS1: Phase modulation input for PS1 FS2:...
Page 13: Pwm Input
5.1.6 PWM input Pulse width modulation (PWM) affects only the square wave output of the VCOs. The Pulse width (or ratio) can be controlled using control voltages. Note: If the control voltage is too low or too high, the output will be silent. Use the Pulse width control knob to adjust for the best setting.
Page 14: Voltage-Controlled Filter
6.1 Voltage-controlled filter (VCF) The voltage-controlled filter (VCF) is one of the most recognizable synthesizer modules. It processes the incoming sound by filtering specific parts of its audio spectrum. The VCFs in the Fénix are more sophisticated than those in many pre-patched synthesizers. The control of the filter cutoff frequency is similar to that of the VCOs.
Page 15: Vcf
4. Notch filter. A notch filter is a reversed band-pass filter. Only the frequencies near the cutoff frequency are filtered out. Filters of this type can be used to create classic phasing effects. All four can be combined to achieve more complex filter characteristics. Additionally, you can invert the phase on the outputs before mixing them, providing even greater flexibility.
Page 16 Note: The LED indicator shows an overload when the input voltage is too high. The CVr input controls the amount of resonance that is added to the manual resonance setting. 6.1.2 VCF 2 VCF 2 is a 24 dB filter with 3 low-pass outputs. Lp12 is subtle, Lp24 more dramatic.
Page 17 Stereo out. If you connect Lp12 to one output, Lp24 to the other and modulate the filter frequency you will notice the difference in phase of the two outputs. 24 db High-pass filter. Using a mix inverter and a low-pass filter it is possible to create a high-pass filter.
Page 18: Vcf
6.1.3 VCF 3 VCF 3 consists of three band-pass filters and one 12 dB high-resonance low-pass filter, all sharing a single audio input (In). On the far left is the cutoff frequency control for the low-pass filter, followed by the controls for the three band-pass filters. Each filter’s center frequency can be adjusted individually using the rotary control and CV inputs.
Page 19: Phase
input that controls the VCF cutoff frequency, and it operates linear rather than being calibrated to 1 V/Oct. 6.2 Phaser The mono voltage-controlled Phaser module features 12 stages, with taps available at the 8th and 9th stages, and includes a feedback input (FB). It provides two outputs: positive and negative Mix.
Page 20: Mixer
either of the two delay lines, or both in the mid position. The delay time for each BBD stage is voltage-controlled. Additionally, the second CV input (td2) adjusts the clock frequency for one of the delay lines. Note: At low delay times, noticeable noise may appear at the output. Increasing the delay time slightly will reduce this noise.
Page 21: Mixer Control With Zero-Position In The Middle
6.4.2 Mixer control with the zero-position in the middle Between the mid position (12 o'clock) and the full clockwise position (5 o'clock), this control functions as a standard attenuator, varying from 0 to maximum attenuation. When rotated counterclockwise from the middle (12 o'clock) position, it also acts as an attenuator, but inverts the input signal: a positive input voltage produces a negative output, and a negative input yields a positive output.
Page 22: Cv Mixer
6.4.5 CV Mixer 3 CV1 is a calibrated unity gain input. In1 and In2 are mixed together and can be attenuated, both normally as well as inverted, using the rotary control. The offset control adds a constant voltage to the output. When nothing is connected to any of the inputs, the Offset can be used as a control voltage source for use in other modules.
Page 23: Mixer
6.5.2 A Mixer 2 This is a compact version of A Mixer 1, featuring two variable controls and one unity gain input. By connecting the output (Out) of A Mixer 1 to the input (In) of A Mixer 2, you can mix up to six inputs. There is no overload indicator, so you'll need to listen for distortion as a sign of overloading.
Page 24 VCA1 and VCA2 feature an additional sum input, which is added to the output and allows for level adjustment. This extra input enables crossfading or voltage-controlled mixing of audio signals. The input can be any signal, such as the outputs from a filter or various waveforms from a VCO (see example below).
Page 25: Ring Modulator (Rm)
6.7 Ring Modulator (RM) A ring modulator, also known as a product modulator (PRM), has two inputs, X and Y, which are combined to produce a single output. The Fénix ring modulator features a dual X input, with X2 having a lower gain compared to X. The output is calculated by multiplying the two input signals (A * B / 4).
Page 26: Waveshaper
6.8 Waveshaper The Waveshaper adds harmonics to the input signal through nonlinear amplification, with the most noticeable effects on sine and sawtooth waves. Because it’s a nonlinear amplifier, varying the input signal level will produce different results. The CV2 and CVS knobs control an internal VCA: at lower settings, the Waveshaper functions as an audio VCA.
Page 27: Patch Examples
The tDelay can introduce a delay at the end of the cycle, between step D and the repeat of step A. This also lowers the pitch. The Track switch determines whether the delay aligns with whole clock steps or operates as an independent delay time. Both settings affect the output tuning.
Page 28 Wave Multiplier that controls the cut off frequency of VCF 1 at audio rate. The LFO can be replaced by an envelope generator. Wave Multiplier controlling the VCA Complex waveforms can be achieved by processing through a VCA instead of a VCF. In this example VCO 1 clocks the Wave Multiplier –...
Page 29 In these examples an audio source is connected to the InA,C input. The different waves show what the setting of the Clk Div switch does to a triangle wave. There are three positions: No division, Div/2 and Div/4. If the switch is in the other position the audio signal will be chopped. The InA,C and InB,D accept only positive signals.
Page 30: Sample & Hold (S&H)
The tDelay can be adjusted by a regulator but also by control voltages. If you connect the Sequencer output or an LFO to the CVt input, you will notice a change of the signal pitch. Try it and notice the difference in using the Track switch in both positions. Of course, the Wave Multiplier can also function as a 4-step sequencer with a delay at the end of the 4th step.
Page 31: Slew Limiter
S&H example Creating a random voltage generator. The S&H uses the rate of the LFO to take samples from the analogue noise generator. The resulting output can be used, for instance, to control the pitch of a VCO. 6.11 Slew Limiter A Slew limiter limits the slope of an input signal.
Page 32: Cpr
Some Slew Limiter applications: ● It can be used to shape LFO signals, such as converting square waves into triangle or sawtooth waves. ● You can use the Slew Limiter as a basic envelope generator by connecting a gate signal to the input and use the rise control as attack, and fall as release. Because the Slew Limiter smooths rapidly changing signals while leaving slowly changing CVs largely unaffected, it can also function as a rudimentary low-pass filter.
Page 33: Modulation Sources
7 MODULATION SOURCES Every input of a voltage-controlled oscillator, filter, amplifier etc. can be modulated by sources of any kind. An envelope generator (EG) can be used to control the volume and also modulate the pitch of a signal. A low frequency oscillator (LFO) may be used to modulate the waveform of an oscillator or to periodically trigger an envelope generator.
Page 34 7.1.1 LFO 1 LFO 1 is a voltage-controlled LFO with a manually adjustable symmetry. This LFO has two square outputs, with one of them being inverted. All of these outputs are positive-only, making them easy to use with VCAs. 7.1.2 LFO 2 L FO 2 is a simple LFO providing three outputs and a Res input.
Page 35: Lfo
while a negative setting will lengthen the time. With this feedback setup, the duty cycle knob responds differently. Instead of using the square wave, the triangle wave can also be used for feedback. The result is a curve that is more or less exponential or anti-exponential, depending on the +/- position of the CV mixer.
Page 36 7.1.5 LFO 5 LFO 5 is a voltage-controlled LFO with three triangle wave outputs. The phase of outputs 2 and 3 can be shifted from approximately 0 to 360 degrees. You can use this LFO for applications such as crossfading between VCO waveforms with VCAs.
Page 37: Random Noise Generator And Very Low Frequency
7.2 Random Noise Generator and Very Low Frequency (RNG-VLF) The Fénix includes a random noise generator and a random function generator, both of which can serve as modulation sources. These random generators produce unpredictable signals with a maximum frequency of a few hertz, classified as very low frequency (VLF).
Page 38 This module can be triggered in two ways: The Gate input is the standard method, initiating the envelope cycle through the Attack (A), Hold (H), and Decay (D) phases, and holding at the Sustain level until the gate input goes low. The Tr input, on the other hand, forces a new Attack, Hold, and Decay cycle while the gate remains high.
Page 39: Adsr
make the envelope repeat like an LFO. The A(l) input allows you to control the peak level of the output. Note: If you use the A(l) input and also let the AD act as an LFO, it could happen that the AD stops repeating.
Page 40: Attack, Decay And Release Inputs
Note: Like the AD module, the EoR (End of Release) output goes high at the end of the release phase. However, it cannot be directly connected to the trigger input to create a looping envelope like an LFO. This behavior only works when the gate input is active and the sustain level is low.
Page 41: Sequencer
7.4 Sequencer Clock CV: Control voltage input for the clock frequency Clock Out: Internal clock output. This is a sum output. In most situations you can use this signal directly. However, it is advised to use the buffer. S/R input: Single run input.
Page 42 Sequencer patch example: Here the sequencer modulates the pitch of VCO 1 and controls an envelope generator. Steps 4 and 6 of the 8 step sequence are either extended or shortened in relation to the control voltage received at the clock input, and the positive/negative setting of CV Mix 1. Gates 3, 5 and 7 trigger the ADSR that controls the Pan and the VCA of the output.
Page 43: Gate Delay
In the next example some gates are triggering the ADSR. The LFO’s duty cycle can set the gate time. 7.5 Gate Delay The gate delay provides a simple function: it delays a gate signal. The time can be controlled using the knob and/or the CV input. Note: The CV input only works when the tDelay is not set to 0 and the input gate is high.
Page 44: Rectifier
7.6 Rectifier This rectifier is a so-called full-wave rectifier. A rectifier can be used as a frequency doubler for any AC signal. The rectified output signal is positive-only because if you multiply a negative voltage by itself, you’ll get a positive output. Using an Audio mixer (e.g. A Mixer 1) will remove the DC component and turn this into a “normal”...
Page 45: Examples For External Signal Processing
The input processor extracts an envelope curve and generates a gate signal when the input signal surpasses the threshold value set by the control. It detects positive volume changes and produces a trigger pulse. The CPR module can also be used to generate a gate at a different threshold.
Page 46 Example using a CPR The CPR converts the input signal into a square wave, removing its envelope. The result is a heavily distorted signal with extended sustain. Example using a rectifier The full-wave rectifier doubles the frequency of the input.
Page 47 Example using a mixer Distortion will be created when the gain and input signals are high enough. The CPR and mixer patch change the envelope of the input signal. In this patch the envelope output is used to “restore” the envelope. VCA Patch First, set the threshold knob to maximum to prevent any trigger from being generated when an external signal is fed into the input.
Page 48: Audio Output
input 1 knob to -1 (7:00 o'clock position). You can fine-tune this setting later. Begin with a short attack on the EGR. VCF Patch This is exactly the same patch as before but with the VCA replaced by a VCF. 8.3 Audio output This module is designed to serve as an interface between the Fénix and a sound system.
Page 49: Front-To-Back Patch
If the VCA and PAN inputs are not used the VCA is “ON” and the Pan is adjusted by the control The final output signal levels at this jack can be adjusted using two gain controls. Mix-in inputs allow you to add an audio signal directly to the output after the VCA. If the VCA and PAN inputs are not in use, the VCA remains “on,”...
Page 50: Working With Midi
9.1 Working with MIDI The Fénix responds well to control voltages from other devices. If you want the synthesizer to understand MIDI messages, they need to be converted first, and can then be used for every imaginable connection. The picture shows a simple patch.
Page 51: Technical Specification
10 TECHNICAL SPECIFICATION Power supply: 19.5V, 3.90A, 75W. Please do not use a different power supply, or use the Fénix PSU for other applications. This is not covered by warranty. The external power supply is suitable for 115 volts and 230 volts. Front panel connectors Audio: 6,3 mm stereo jack (din) Interface: 3,5 mm mono jack (din)