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Baloran Pool User Manual

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user's Guide
Version 1.2, February 2024

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  • Page 1 user's Guide Version 1.2, February 2024...

  • Page 2: Warning - Safety

    If you experience hearing loss, consult a specialist doctor immediately. 13. At the end of its life, as waste electronic equipment, The Pool must be entrusted to a waste collection and treatment sector.
  • Page 3 Notes _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________...

  • Page 4: Table Of Contents

    PRESENTATION AND FIRST STEPS _______________________________________________ 6 Presentation ............................6 First steps ............................. 7 III. THE ARCHITECTURE OF THE POOL _____________________________________________ 10 Voice and voice card .......................... 10 Links between the two synthesizers of a voice card ................11 Digital oscillators ..........................11 The modulations ..........................
  • Page 5 Create and import new waveforms for LFOs ..................71 Create an importer of Wavetables for Wave synthesis ..............72 Create and import soundfonts for Wave synthesis................72 The Pool Update ..........................73 MIDI implementation ......................... 74 FAQs ..............................74 Certification of conformity .........................

  • Page 6: Welcome

    Welcome I welcome you to the community of The Pool users and thank you for your trust. The Pool is the culmination of several years of reflection and work. I hope you have as much fun with it as I had creating it and now using it.

  • Page 7: Presentation And First Steps

    The Pool is the first synthesizer that offers a view of modulations as soon as a sound is loaded without having to consult a long list of modulations and virtual cords. This...

  • Page 8: First Steps

    First steps If you have not yet done so, carefully unpack your The Pool and store all transport items in a safe place. In the box, you must find: o The Pool with a microSD card inserted on the back...
  • Page 9 • Connect a master keyboard to the MIDI USB Host socket. Check that it is set to channel 1. The Pool can easily power up to two small keyboards at 500mA. Otherwise, use the dedicated power supply of your keyboard or the USB hub that will be connected to The Pool.
  • Page 10 Fast Autotune. It's time to take a quick look at the effects side: The Pool has two stereo digital effects that can be routed in series, in parallel. They are configured automatically when loading a sound. • Press the FX button To change an effect, touch the corresponding FX button (Fx1 or Fx2) then use encoder 1 to change the effect.

  • Page 11: The Architecture Of The Pool

    , they will allow you to choose the operating mode. o MONO : The Pool configures four bitimbral monophonic synthesizers. The CH1 , CH2, CH3 and CH4 buttons allow you to activate/select on which voice card the panel will act. By default, only CH1 is activated, so the panel acts on the two synths of the first voice card and we only hear it, that is to say a stack of the two timbres of its synths.

  • Page 12: Links Between The Two Synthesizers Of A Voice Card

    POLY 4 : The Pool configures a 4-voice bitimbral polyphonic. You can therefore play up to 4 notes simultaneously and, for each note, you will hear a stack of two synths/timbres. o MIDI : The Pool configures 4 bitimbral monophonic synthesizers. CH1 , CH2, CH3 and CH4 allow you to activate/select which card the panel will act on.
  • Page 13 For the moment, five types of digital synthesis are offered. : it is a digital generator that imitates an analog VCO very well. It additionally offers a ring modulator and frequency modulation using a digitized copy of the analog VCO. The Kernel parameter allows you to multiply the instances of this generator to enlarge the sound.

  • Page 14: The Modulations

    4. The modulations The Pool offers an exclusive ergonomic approach to modulations. Almost each potentiometer (68 exactly) has below it (or on the left for some) a two-color illuminated button (red and green). By pressing this button, the large screen displays all possible modulation sources for that potentiometer.

  • Page 15: Vca Saturation

    , it distorts the signal, adds harmonics, offers unique timbres. You will find many sounds in The Pool that exploit this possibility. Try for example the VCA_2164 sound. After loading, you will notice that the VCO1 and DIGIT 1 indicator lights are green: modulation is assigned to these two parameters.

  • Page 16: Serial Bus

    Encoder 6 allows you to choose an effect parameter that will be modulated. Encoders 7, 8 and 12 allow you to configure this modulation. The last choice of encoder 7 allows you to use the first voice card of The Pool as a modulation source.
  • Page 17 The sequencer adds 16 physical encoders and 16 illuminated buttons for direct access to the settings of a step as well as for sequential visualization of the progress of the sequence even if the screen is occupied by another use. The current step is illuminated blue, a set step is yellow, a silent step is off, and an ungated step is blue/yellow.

  • Page 18: The Sequencer (Grid Mode)

    LATCH parameter (encoder 9) defines how the keyboard playing interferes with the sequence progress. the sequence continues execution as soon as a key is pressed. It stops when the key is released. No with Restart : the sequence resumes execution from step 1 as soon as a key is pressed. It stops when the key is released.

  • Page 19: The Arpeggiator

    The number below indicates the track currently displayed. Use the CH1, CH2, CH3 and CH4 buttons to change channels and change tracks at the same time. Press the SEQ button to switch to grid editing. Touching the displayed grid toggles the gate of the corresponding track/step. Direct access to the ENCODER command allows you to assign the function of the encoders of the 16 steps...

  • Page 20: The Microsd Card

    Once the job is done, replace the card on The Pool by pressing it until it locks and turn it back on.

  • Page 21: Some Other Important Features

    If you are in the general screen, the one which just displays the last modified parameter, then the copy will concern the parameters of this sound. In the multitimbral use of The Pool, it is very practical for example to copy the sound from channel 1 to channel 2, 3 and/or 4.

  • Page 22: The Sound Synthesis Screen

    c. The sound synthesis screen While waiting for the synthesizer to turn all the potentiometers itself when loading a sound, this screen allows you to have an overall view of the value of the potentiometers. Press PANEL once or twice to access this screen.
  • Page 23 Options. With the second keyboard/ split (MIDI channel 2) you can play freely above the arpeggio. The Pool offers a few dozen styles: they are defined in very simple text files and reside on the microSD card. So, you can create your own styles.

  • Page 24: References

    References 1. Load / Save a. Loading a sound To load a sound or certain elements of a sound, press the LOAD button. The following screen appears. If you press LOAD a second time, it loads the selected sound and exits the list. The list of sounds available in the selected BANK is displayed.

  • Page 25: Saving A Sound

    BANK : allows you to choose the BANK (the folder on the microSD card ) which contains the desired sound. The bank FACTORY is selected by default. See Manage sounds on the oSD microphone ACTION : in combination with the EXECUTE touch button, allows you to select an action to perform on the selected file.

  • Page 26: The Set Panel

    CH button on the corresponding card twice quickly. MIDI : Selects one of The Pool's MIDI modes: the voice cards respond to the MIDI channel that is defined in the selected mode. The panel is active on the selected channel. The CH button corresponding to the selected channel flashes.
  • Page 27 It allows you to quickly view the configuration of The Pool, the assignment of voice cards and the complete or partial use of the control panel. Touch-sensitive MODE, channel and map buttons allow you to quickly...

  • Page 28: Vcos

    3. VCOs The VCO is an analog oscillator driven by voltages. Each VCO allows you to mix three waveforms and an external signal. The sawtooth (SAWTOOTH) is the brightest wave, ideal for strings, brass or fat basses. The triangle wave is much softer, useful for fluted sounds or organs.
  • Page 29 When using an external source, it is important to understand that the latter is not continuous like an oscillator, it often has its own envelope. So, the influence of all the settings of The Pool's analog channel must take this point into account.

  • Page 30: Digital Oscillators

    4. Digital Oscillators Each of the two synthesizers of a voice card has its own digital oscillator: DIGIT1 and DIGIT2. The four illuminated buttons allow you to choose the type of synthesis or overall digital processing that will be applied to this digital oscillator. Some buttons have two functions: the second, written under the button, is obtained by pressing this button twice quickly.

  • Page 31: Add Summary

    PHASE/WIDTH ( 0..360 or 100) : For Pulse and Vari Triangle, this parameter allows you to vary the duty cycle of the waveform from 0 to 100. The signal is symmetrical at 50. For other waveforms, this parameter changes the phase from 0 to 360°. The PARAM potentiometer ( 0..255 ) acts on this parameter. For example, you can do pulse width modulation by selecting Pulse for WAVE and then selecting an LFO as the PARAM modulation source.

  • Page 32: Wave Synthesis

    LEVEL ( Auto.. 100) : adjusts the output level of the oscillators. Auto : in this mode, The Pool adapts the output level of the oscillators to the synthesis to prevent it from exceeding the maximum level of the digital to analog conversion.
  • Page 33 INDEX : allows you to move the selection bar to the file of your choice. The wavetable is activated immediately. You can also use the touch scrollbar then touch the line of your choice. MODE : allows you to choose the type of reader. Wave table : 64x256 wavetable reader.

  • Page 34: Agen Synthesis

    This synthesis makes it possible to combine four oscillators which can be continuous, enveloped, delayed and/or sequenced by a Euclidean counter. The envelopes used here have no link, other than the keyboard gate , with the hardware or software envelopes of The Pool. The next six sliders act on the oscillator being edited (CURRENT from 1 to 4 ) .

  • Page 35: Fm Synthesis

    FM synthesis A2D button twice quickly to open this screen. This synthesis uses the technology popularized by Yamaha synthesizers: DX synthesis. The Pool offers a simplified version with four operators, 8 algorithms. The following seven cursors act on the operator currently being edited (OPERATOR from 1 to 4) .

  • Page 36: Formant Filter

    ALGORYTHM (1 to 8) : represented by a diagram, this parameter regulates the algorithm, i.e. the organization of the four operators for sound generation. 4 module 3 which modules 2 which modules 1. 4 and 3 are in parallel and modulate 2 which modulates 1. 3 module 2.

  • Page 37: Oscilloscope / Spectrum Analyzer

    FREQUENCY ( Off.. 7000Hz) : adjusts the frequency of the selected filter in the ensemble currently being edited. To deactivate the filter, you must set its frequency to the lowest. Q (0.7 .. 20) : adjusts the slope of the selected filter in the set being edited. LEVEL ( 0..100 ) : adjusts the output level of the selected filter .

  • Page 38: Pre-Filter Mixers

    threshold, the display begins. This is a particularly useful setting for stabilizing the display with complex waveforms. HORZ SCALE : For Oscilloscope mode , expressed in milliseconds, this setting allows you to select the duration represented on the width of the screen: for the value 10ms, a 100 Hz signal will display a complete period.

  • Page 39: Vcfs

    6. VCFs Each synthesizer on a voice card has two analog filters: the classic 3320 (VCF1 and VCF3) which equips many synthesizers such as Elka Synthex , Sequential Pro-One, Prophet 10, Prophet V, PPG Wave 2, Oberheim OB-x, OB 8.As for the 3350 (VCF2 and VCF4) with its strong character, it is used among others by the Rhodes Chroma, Crumar Spirit and Syrix .

  • Page 40: Vcas

    envelope F is selected. KEY ( 0..100 ) : modulation of CUTOFF by keyboard tracking. A higher value allows the filter to be opened more as you move up the keyboard, avoiding muffling high notes. If the filter is self-oscillating, this parameter adjusts the slope of the sine wave produced by the filter.

  • Page 41: Envelopes

    Each synthesizer on a voice card has an analog envelope ( ENV1 and ENV2) which controls the output VCA and can also be used for filter modulation. The Pool adds to your tools two digital envelopes ENVF ENVM which behave like the analog envelopes but add a CURVE setting which linearizes the segments.

  • Page 42: Lfos

    CURVE to 0 CURVE at 100 These two digital envelopes are also modulation sources available for all modulations. Finally, ENVF is the default modulation source for the filters ENV parameter. ATTACK ( 0..200 ) : sets the duration of the Attack segment. This parameter can be modulated (see Modulations DECAY ( 0..200 ) : sets the duration of the Decay segment .
  • Page 43 RATE (0…400) : LFO frequency. This parameter can be modulated (see M odulations LEVEL ( 0..200 ) : Amplitude of the LFO signal. This parameter can be modulated (see M odulations For each LFO, an RGB LED follows the frequency of the LFO and its color changes depending on the chosen waveform.
  • Page 44 RESET : sets the return to the start of the LFO generation cycle. None : Return to start zero occurs when the end of the wave is reached. Gate 1 : Return to the beginning is forced as soon as a note is played for Synthesizer 1. Gate 2 : Return to the beginning is forced as soon as a note is played for Synthesizer 2.

  • Page 45: Fx And Voice Card Routing

    10. FX and voice card routing To access the effect settings, press the FX/BUS button. The following screen is displayed. To set effect 1, touch the Fx 1 button, it turns red. To adjust effect 2, touch the Fx 2 button, it turns red. You can also use the PREV and NEXT buttons.
  • Page 46 The whole thing is available on the master outputs. Incidentally, we have effect 2 alone on the SUB output. This routing is important because The Pool offers a stereo insert on BUS 2 . You can therefore connect a stereo multi-effect to the insert sockets which will therefore be placed before effect 2. By switching from SERIAL to SERIAL BUS 2 you will activate the external effect.

  • Page 47: Sound Options

    Encoders 1 to 4 allow you to select the destination bus of each voice card and therefore the effect if you have chosen INDEPENDENT SUMMATION routing. When you use encoder 11 to modify the routing, the voice card assignments are forced. 11.
  • Page 48 DETUNE ( 0..100 ) : In UNISSON mode, that is to say when The Pool is configured in Mono mode and the UNISS/DETUNE button is active, this parameter adjusts the detuning of the different voices which produce unison .
  • Page 49 SOFT SPLIT : adjusts the software split of The Pool. Turn encoder 9 to the right to choose the number of zones: Press one key will create two zones (channels 1 and 2), Press two keys will create three zones...

  • Page 50: Motion-S Sequencer

    To access the motion sequencer screen, press the OPT button twice quickly or use the NEXT button twice from the OPTION screen. Each channel of The Pool has its own motion sequencer. So, if you are in MONO MIDI mode , you will...
  • Page 51 o …and so on until the last step of your motion sequence. o Turn off CAPTURE. o Activate the execution of the motion sequence ( ACTIVE ) to listen to the result. CAPTURE (Off/On) : This setting enables parameter capture and parameter assignment to lines/buttons. LINE ( 1..

  • Page 52: Sequencer

    13. Sequencer For information on using the sequencer, it is important to first read The Sequencer a. The sequencer screen To access the sequencer screen, press the SEQ button. TRANSPOSE : defines how transposition works. : no transposition is performed. : transposition is active.
  • Page 53 ENCODER : selects the parameter which will be modified by the physical encoders of the 16 steps and also by tactile drawing on the screen. Note : the screen displays bars representing the pitch of the notes in the sequence. Velocity : the screen displays bars representing the velocity of the notes in the sequence.

  • Page 54: The Sequencer Control Panel

    PROBABILITY : adjusts the probability. This parameter affects 3 parameters: CHORD : at 100%, all requested notes are added. At 0%, no note is added. RATCHET : 100% all ratchets are executed. At 0%, no ratchet is executed. ORDER RAND : at 100% all steps are played in random order.

  • Page 55: Song Mode

    For sequences longer than 16, the assignment of these controls slides by page of 16. Example: when you are on step 24, the controls are assigned to steps 17.. 32 and it is number 8 (16 + 8) which is active. By pressing the button one step you mute/unmute it.

  • Page 56: Grid View

    STEP ( 1.. 32) : allows you to select the active step in the SONG and access all locations: the display of the four tracks will scroll horizontally. PLAY : Sets the play mode. Sequence : The sequence selected in the list of 16 sequences is played repeatedly. If a transpose sequence is selected, it will be active.
  • Page 57 DIVIDE : Sets the division of the tempo. : round. For a tempo of 60, the sequencer will advance every 4s. : white. For a tempo of 60, the sequencer will advance every 2s. : black. For a tempo of 60, the sequencer will advance every second. 1/4T triplet of triplet.

  • Page 58: Arpeggiator

    14. Arpeggiator For information on using the arpeggiator, it is important to first read The Arpeggiator a. The arpeggiator screen To access the sequencer screen, press the ARP button. LATCH/TRANS : Defines how the arpeggiator sustain and transpose. : as soon as you release the keys the arpeggiator stops. On the next chord, the arpeggio will start from the beginning.
  • Page 59 DURATION : defines the duration of the note gate , that is to say the percentage of total time of the step during which the note is “pressed”. The remaining time therefore corresponds to the “relaxed” note. Step value : default value or drawn value when ENCODER is on Duration. 10 %..

  • Page 60: The Arpeggiator Control Panel

    PROBABILITY : adjusts the probability. This parameter affects 3 parameters: CHORD : at 100%, all requested notes are added. At 0%, no note is added. RATCHET : 100% all ratchets are executed. At 0%, no ratchet is executed. ORDER RAND : at 100% all steps are played in random order.

  • Page 61: Setup (Midi, Clock And Cvs)

    POOL : Information received on the channel is sent to The Pool. POOL + USB : Information received on the channel is sent to The Pool and output simultaneously to the USB port. POOL + MIDI 1 : Information received on the channel is sent to The Pool and output simultaneously to the MIDI 1 jack.
  • Page 62 Gate 2 for the gate signal . You can therefore direct the stream from the MIDI and USB sources to the pool and or any other equipment connected to The Pool, independently for channels 1 to 4.
  • Page 63 The Pool Card 1 Uses the modulation sources available for voice card 1 as the source of the voltage available at the jack. You can export LFOs , envelopes, morphers or MPE expressiveness to this CV jack. In this case, to configure the sources, press the NEXT button two or three times...
  • Page 64 When a device receives an external clock, it is sometimes useful and nice to be able to divide this time. Example: The Pool sequencer is set to a fast tempo, in resolution 48. The connected BAR only supports 24. We must therefore already divide by 2. And if, despite this, the tempo received by the BAR is not yet adapted to the pattern used, we can increase the division.

  • Page 65: The Keyboard Screen

    KEY button once to access the keyboard screen. This keyboard allows you to use, briefly and only for a monophonic game, The Pool. Its use is very simple. Play the note just by touching the screen. Velocity is defined by the position of the touch on the note.

  • Page 66: System Settings

    USB LINK : controls the USB connection between The Pool and an Audio/Midi application on a computer. If necessary, check that the dip switches on the back of The Pool are in the PANEL position (1 and 2 down). None...
  • Page 67 HIGH : corresponds to an instrument or dynamic microphone input. The input is high impedance (100 kΩ ). MODE : sets the operating mode of The Pool. It is normally simpler to use the dedicated buttons in the SET panel...
  • Page 68 START AUTOTUNE launches the agreement of VCOs 3340 and VCFs 3320 of The Pool. Even if the 3340 is a rather stable VCO in temperature, its use in polyphony requires fair tuning of all VCOs . As for the VCF, when it is well tuned, with the KEY parameter at 100 and the resonance at maximum, you have a true sinusoidal generator.

  • Page 69: The Rear Panel

    POWER : The Pool on/off switch. Switched to the fuse, it is ON. Switched to the DIP contact row, it is OFF. If after switching to ON, The Pool remains off, check the indicator light on the power supply and, if necessary, the condition of the fuse.
  • Page 70 VCO1. The signal from jack 2 will be available on EXT of VCO2. The gain of these inputs is adjustable in System Settings CV AND GATE : The Pool manages two CV and Gate sets in 3.5 format. You will find all the information on using these connections in SETUP (MIDI, Clock and CVs ) MIDI : The Pool manages two DIN MIDI OUT sockets and one MIDI IN socket.

  • Page 71: Appendices

    1. Manage sounds on microSD and MIDI PROGRAM CHANGE All sounds are saved on the microSD card . The latter can be extracted from The Pool to read and organize it from a computer. This allows you with the greatest user-friendliness to rename sounds, organize sounds...

  • Page 72: Create And Import New Waveforms For Lfos

    List of 12 chords. Once you've edited or added styles, place the microSD card back into The Pool and turn it back on. The CHORD folder is limited to 200 entries. The file name must not exceed 40 characters, extension “.

  • Page 73: Create An Importer Of Wavetables For Wave Synthesis

    . For the moment these files are proprietary: the Soundfont format is widespread but the files must be adapted to be compatible with The Pool: contact us if you have specific needs. Likewise, if you have a set of 16bit mono waves files with looping information, the range of notes covered as well as the initial frequency of the files, we can compile a specific sfp file.

  • Page 74: The Pool Update

    On The Pool, press SYS and PANEL simultaneously to verify that the panel is in the version of the selected file. o Don't leave the application and on the back of The Pool, raise 1 and 2 and lower 3 then 4 . We will update the effects.

  • Page 75: Midi Implementation

    Don't exit the app and on the back of The Pool, raise 5 and 6 and lower 7 then 8 . We will update voice card 2. o Click Upload . A file selection window opens. Select the file Pool_VoiceCard_XXX.hex then click Open . A gauge indicates the end of the update procedure.

  • Page 76: Specifications / Dimensions

    10. Specifications / Dimensions 100% analog subtractive synthesis. • • 16-bit 96K multi-synthesis digital generator: A2D, ADD, FM, WAVES, AGE and formantic filters . • 2 analog filters per voice, mixable and routable in parallel or series. Analog and digital envelopes •...
  • Page 77 Operating mode • Polyphonic 8 voices Polyphonic 4 bitimbral voices • • MPE 8 voices • MPE 4 bitimbral voices MONO up to four bitimbral layers • • MIDI 4 bitimbral channels • MIDI 2 polyphonic channels 4 voices MIDI 4 polyphonic channels 2 voices •...
  • Page 78 Notes _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________...
  • Page 79 Notes _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________...

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