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FutureRetro XS semi-mod lar analog synthesizer Operation Man Al

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Operation Man al

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  • Page 1 semi-mod lar analog synthesizer Operation Man al...
  • Page 2 Written and produced by Jered Flickinger Copyright 2007 Future Retro Synthesizers...

  • Page 3: Table Of Contents

    TABLE OF CONTENTS Introduction Patch Sheets 2. Welcome 38. Hand Clap Overview 39. High Hats Power 40. Distorted Bass/Lead Care 41. Funky Trance Lead Warranty 42. Classic Sync Lead Rack-Mount or Desktop 43. Phat Saw 3. Installing the side pieces 44.

  • Page 4: Welcome

    INTRODUCTION Welcome to the world of XS! Thank you for choosing the XS semi-modular analog synthesizer. Please take time to read through the entire manual for a complete understanding of the operations and procedures needed to master this instrument. Contents Included with your XS synthesizer, you should find an external power supply, optional desktop ends, owner’s manual, and warranty card.

  • Page 5: Rack-Mount Or Desktop

    RACK-MOUNT OR DESKTOP Have it your way The XS can be used as either a rack-mount or desktop unit. All units come assembled with the rack ear option installed at the factory. If you prefer to place the XS on a desktop, the rack ears may be removed and these desktop pieces may installed in their place.

  • Page 6: Getting Started

    GETTING STARTED I want to play now! To play the XS, follow these directions in order. 1. Connect the XS to an audio system as shown in the illustration below. 2. Connect the MIDI IN of the XS to the MIDI OUT of your controller keyboard or sequencer. 3.

  • Page 8: Connections

    CONNECTIONS MIDI IN: Information received at the MIDI IN jack can be used to play the sounds of the XS. Use a MIDI cable to connect this input to an external sequencer or keyboard’s MIDI OUT. MIDI THRU: All information received at the XS MIDI IN jack will be sent out the MIDI THRU jack.
  • Page 9 CONNECTIONS WAVE B: This is a dual-function output of the waveform selected for Oscillator B. This is a stereo output, although mono cables can be used here without any problem. If using a mono cable, you can insert it all the way for the tip signal or pull it out one notch for the ring signal. The tip of the jack provides a continuous output of Oscillator B’s selected waveform.
  • Page 10 CONNECTIONS ENV 1+/-: This is a dual-function output of Envelope 1. This is a stereo output, although mono cables can be used here without any problem. If using a mono cable, you can insert it all the way for the tip signal or pull it out one notch for the ring signal. The tip of the jack provides a positive polarity of Envelope 1 ranging from 0 to +10 volts.

  • Page 11: Overview Of Analog Synthesis

    OVERVIEW OF ANALOG SYNTHESIS The XS is a true analog synthesizer, which is capable of producing an infinite amount of sonic textures. All aspects of a sound can be changed instantly by the controls and switches located on the front panel. The settings of these controls are never digitized or stored in memory.
  • Page 12 OVERVIEW OF ANALOG SYNTHESIS A sawtooth waveform is one of the most complex shapes, since it contains a fundamental frequency and all harmonics of that frequency. Sawtooth waves are very full sounding and have a unique raspy quality to them. In addition to these four common waveshapes, there are other items which can also be used as audio sources which will be described in more detail later on.

  • Page 14: Controlling Your Xs

    CONTROLLING YOUR XS There are several ways to control your XS. One way is to use MIDI (Musical Instrument Digital Interface), a standard developed to allow one electronic instrument to talk to another using only a single 5-pin DIN cable. Nearly all modern electronic instruments have and support MIDI.

  • Page 15: Midi To Cv/Gate Converter

    CONTROLLING YOUR XS is converted to MIDI TO CV/GATE CONVERTER When MIDI information is received by the XS, the MIDI data is then converted into control voltages and logic gate signals that control the internal analog sound section. These control voltages and logic signals are also available at the 1/4”...

  • Page 16: Using Cv/Gate Control Signals

    CONTROLLING YOUR XS USING CV/GATE CONTROL SIGNALS External control voltage and logic gate signals can be used at any time in any combination to control the XS, even while MIDI note data is being received. Receiving MIDI data is the default way to play the XS.

  • Page 17: Analog Controls

    ANALOG CONTROLS PITCH CONTROL This section determines how the pitch control voltage affects the oscillators. GLIDE TIME: If more than one note is played at a time by a MIDI controller or sequencer connected to the MIDI input of the XS, the XS will activate its internal glide circuit which will slew the voltage from one note to another at the rate set by this control.

  • Page 18: Low Frequency Oscillator

    ANALOG CONTROLS LOW FREQUENCY OSCILLATOR A low frequency oscillator (LFO), is a modulation source whose frequency is generally below the range of human hearing. The LFO provides multiple waveshapes and a variable rate at which it can modify other parameters of a synthesizer. Common uses would be to add vibrato or tremolo to a sound, or to create slowly evolving sweeps or changes to parameter settings.

  • Page 19: Oscillator A

    ANALOG CONTROLS OSCILLATOR A Oscillator A is one of the main audio sources in the XS, although it can also be used as a modulation source. This is a wide range, ultra-stable oscillator capable of generating frequencies from approximately 0.5 Hz to more than 100 kHz. OCTAVE: This control is used to transpose Oscillator A through its different ranges.

  • Page 20: Oscillator B

    ANALOG CONTROLS OSCILLATOR B Oscillator B is similar to Oscillator A in that it can be an audio source or a modulation source. This is a wide range, ultra-stable oscillator capable of generating frequencies from approximately 0.5 Hz to more than 100 kHz.
  • Page 21 ANALOG CONTROLS FREQUENCY +/-: This control allows Oscillator B’s frequency to be offset approximately –9 to +9 semitones from Oscillator A. When this control is set to its mid position marked with a “0”, Oscillator B should be in tune with Oscillator A (as long as nothing is selected to modulate the frequency of either oscillator).
  • Page 22 ANALOG CONTROLS PULSE WIDTH MODULATION AMOUNT: The PWM control sets the amount of modulation that the PW MOD source will have on Oscillator B’s square/pulse waveform. When this control is rotated fully counter-clockwise, no modulation of the square/pulse wave will occur producing a true square wave. As you rotate this control clockwise, the affect of modulation will increase, causing the square wave to narrow its pulse width duration.

  • Page 23: Wave C

    ANALOG CONTROLS WAVE C Wave C can be used as an audio source or a modulation source. Consider this more of an accessory module to Oscillator A and B. This control provides three sub oscillators, a ring modulator, white noise source, and access to any external audio source.

  • Page 24: Oscillator A Modulation

    ANALOG CONTROLS OSCILLATOR MODULATION The oscillator modulation section is used to route internal and external modulation sources to modify the frequency of Oscillators A and B. With these sources one can create numerous effects such as vibrato, FM, cross-modulation, self-modulation, pitch sweeping, and more. When oscillators are modulated with an audio range source, this FM effect can alter a waveforms harmonic content quite drastically for new timbral possibilities.
  • Page 25 ANALOG CONTROLS The MOD W setting will route the Mod Wheel messages from a MIDI keyboard to modulate Oscillator A’s frequency. With your mod wheel set to 0, there will be no affect on Oscillator A’s pitch. Increasing the value of your mod wheel will cause Oscillator A’s frequency to increase accordingly. The WAV B setting routes Oscillator B’s waveform, as determined by the WAVE B control setting, to modulate the frequency of Oscillator A.

  • Page 26: Oscillator B Modulation

    ANALOG CONTROLS OSCILLATOR B MODULATION The B AMOUNT, B MOD SELECT, and B ENV 1 controls are used to modulate the frequency of Oscillator B. The B AMOUNT control sets the amount of modulation that the B MOD SELECT source will have on Oscillator B’s frequency.

  • Page 27: Mixer

    ANALOG CONTROLS The A ENV setting lets Envelope 1 control the amplitude of Oscillator A’s waveform, as determined by the WAVE A control setting, to modulate Oscillator B’s frequency. This provides a more traditional form of FM where the modulation source varies its amplitude over time. The B ENV 1 control sets the amount of pitch sweep that Envelope 1 will have on Oscillator B’s frequency.
  • Page 28 ANALOG CONTROLS FILTER The most common way to alter the harmonic content of a sound is by using a filter. The XS provides a 12 dB filter with four filter types including lowpass, highpass, bandpass, and notch responses. There is also a cutoff control for determining the frequency of the filter and a resonance control for accentuating these frequencies.

  • Page 29: Filter Modulation

    ANALOG CONTROLS FILTER MODULATION The filter modulation section of the XS provides a way to animate the cutoff frequency of the filter. KEY FOLLOW: The key follow control allows the filter cutoff frequency to track the pitch of notes received from a MIDI keyboard, when this control is rotated fully clockwise. With this control rotated fully counter clockwise, no key tracking will occur.
  • Page 30 ANALOG CONTROLS AMOUNT: The amount control sets the amount of modulation that the MOD SELECT source will have on the filter’s cutoff frequency. When this control is rotated fully counter-clockwise, no modulation will occur. As you rotate this control clockwise, the amount of modulation will increase. MOD SELECT: The mod select control selects which modulation source will be used to alter the cutoff frequency of the filter.
  • Page 31 ANALOG CONTROLS The WAV B setting routes Oscillator B’s waveform, determined by the WAVE B control setting, to modulate the filter’s cutoff frequency. Use this to create direct FM modulations when Oscillator B is in its audio range, or to create slower sweeping effects when Oscillator B is producing frequencies below the audio range.

  • Page 32: Envelope 1

    ANALOG CONTROLS ENVELOPE 1 An envelope generator is designed to accurately and repetitively sweep sound parameters such as pitch, tone or amplitude in a way which would be physically impossible for human hands to do. Envelope 1 is the main modulation envelope in the XS. It can be used to modulate the frequency of the internal oscillators and filter, as well as control external devices.

  • Page 33: Accent

    ANALOG CONTROLS ACCENT The accent section determines how Velocity messages received from a MIDI keyboard will affect the envelopes in the XS. The exception here is that if an external control voltage is inserted into the VEL IN jack, this external control voltage will override Velocity messages received from the MIDI keyboard, allowing the external control voltages to trigger the accent circuit instead.

  • Page 34: Envelope 2

    ANALOG CONTROLS ENVELOPE 2 The XS provides four envelope types to help shape the amplitude of a sound passing through the amplifier. These envelope types include attack/decay, attack/sustain/release, accented decay/sustain/release, and accented decay/normal decay. Only two controls, however, are required to set these various envelope times.

  • Page 35: Amplifier

    ANALOG CONTROLS AMPLIFIER The amplifier is used to shape the overall volume or amplitude of a sound. The XS provides four envelope types to help shape the amplitude of sounds passing through the amplifier. These envelope types include attack/decay, attack/sustain/release, accented decay/sustain/release, and accented decay/normal decay.
  • Page 36 PATCH NAME: __________________________________...

  • Page 37: Noise Kick

    NOISE KICK Nice sine wave kick with white noise attack. Connect the WAVE B jack to the FILTER OUT jack.

  • Page 38: Techno Kick

    TECHNO KICK Tight kick using just the filter self oscillating.

  • Page 39: Snare Drum

    SNARE DRUM Electronic snare drum, similar to the classics. Connect the WAVE B jack to the FILTER OUT jack. Notice how we take the output of WAVE B and insert it into the FILTER OUT jack. By doing so we sum the output of the filter with WAVE B.

  • Page 40: Hand Clap

    HAND CLAP Electronic hand clap sound. Try varying the velocity of notes to change the duration of the clap.

  • Page 41: High Hats

    HIGH HATS Electronic high hat sounds. Try playing with the filter cutoff frequency, Oscillator B’s frequency and modulation amount to dial in the tone. Adjust envelope 2’s attack and decay controls to vary the open/closed high hat durations. Use varying velocity values to trigger open or closed high hat durations.

  • Page 42: Distorted Bass/Lead

    DISTORTED BASS / LEAD Nice and crunchy, just the way we like! Record mod wheel movements in your sequencer to animate the filter cutoff frequency. And experiment with play notes with different velocity values, and selecting different filter types.

  • Page 43: Funky Trance Lead

    FUNKY TRANCE LEAD Nice full lead sound. Play different velocity values to vary the attack portion of the sound. Adjust the mod wheel to change the filter frequency.

  • Page 44: Classic Sync Lead

    CLASSIC SYNC LEAD Your typical synced lead sound. For a more aggressive sound, try increasing the overdrive amount. Play notes with varying velocity values to change the brightness of the filter frequency.

  • Page 45: Phat Saw

    PHAT SAW Nice in-your-face bass sound. For bass bin rockers, try selecting Octave –1 and the sine wave for Oscillator B.

  • Page 46: Acid Bass

    ACID BASS Not quite a 303 but similar. Use Mod Wheel messages to control the filter cutoff frequency. Try using the different filter types, and increase the overdrive for a more aggressive sound.

  • Page 47: Jungle Bass

    JUNGLE BASS Nice warbling tones for your subs. Increase the mod wheel setting to increase the warble effect.

  • Page 48: Winding Down

    WINDING DOWN More of a typical sci-fi transition effect. Experiment with various control settings to suit to your taste.

  • Page 49: Buzzy Bass

    BUZZY BASS Nice bass with some added high frequency content.

  • Page 50: Bit Talking Bass

    8 BIT TALKING BASS Nice lo-fi bass sound. Try varying the velocity notes are played.

  • Page 51: Electric Bass

    ELECTRIC BASS More realistic bass sound. Try playing notes with different velocity values to achieve a pluck / strum effect.

  • Page 52: Phat Stack Phased

    PHAT STACK PHASED Thick lead sound. Here we use the notch filter to obtain a phased sound. Adjust the LFO rate to change the phasing rate.

  • Page 53: Grinder

    GRINDER Metallic-like tones, nice for low end trance pads.

  • Page 54: Midi Synced Pseudo Arp

    MIDI SYNCED PSEUDO ARPEGGIATOR Play notes on your MIDI controller or sequencer to control the pitch. Try setting the LFO to different clock divisions. Connect the LFO OUT jack to the GATE IN jack. If Envelope 1’s Key Sync control is set to ON, Envelope 1 can then be retriggered by both the LFO and any MIDI notes received by the XS. If the Key Sync control is set to OFF, only the LFO will trigger Envelope 1.

  • Page 55: Computer

    COMPUTER This is more of a chaotic beep generator patch. Connect the LFO OUT jack to the GATE IN jack.

  • Page 56: Strange Beats

    STRANGE BEATS Here’s one way to mangle your beats. If your drum machine has stereo outputs, route one channel to the AUDIO IN jack, and the other to the GATE IN jack. In this way the audio is also triggering the envelope generators. But you need to make sure the output of the drum machine is loud enough to trigger the envelopes in the XS. As an alternative, you could connect the FILTER OUT jack directly to your mixer, or you could use MIDI notes to trigger the envelopes as well.

  • Page 57: Tips And Tricks

    TIPS AND TRICKS LATCH A NOTE In some cases you may find it desirable to latch a Note On to create droning-type sounds without having to constantly play a note on a MIDI keyboard or sequencer. To do so, play a note on your MIDI keyboard and then change the MIDI Channel control to a different value, and then release the key of your MIDI keyboard.

  • Page 58: A/B Envelope Signals Are Velocity-Sensitive

    TIPS AND TRICKS USING CV IN AS AN ADDITIONAL MODULATION SOURCE Although the CV IN jack is designed for V/Oct control voltages to generate semitone steps of pitch in the oscillators, you can also use this input as an additional FM input to modulate the internal oscillators. Make sure you select which oscillator you want to modulate with the external control voltage using the CV Track control.

  • Page 59: Sub Oscillator Sync

    TIPS AND TRICKS SUB OSCILLATOR SYNC When you are syncing Oscillator B’s frequency to Oscillator A, listen to the effect this has on the different Sub Oscillator waveforms provided in the WAVE C section. The results can be quite pleasing with their pitches stepping in unusual ways.

  • Page 60: Trouble Shooting

    TROUBLE SHOOTING WARM UP Due to the nature of analog circuits, you will want to let your XS warm up for about 15 minutes before playing the unit. This allows the unit to reach its typical operating temperature, which will provide the best tuning and performance.

  • Page 61: Specifications

    SPECIFICATIONS MIDI Channel: 1-16 MIDI Messages Recognized: pitch C2 to C7, Note On/Off, Pitch Bend -/+ 2 semitones, Velocity, Mod Wheel, MIDI clock Waveshapes: triangle, saw, square, random Free Running Rate: (MIDI SYNC off) 4 seconds to 18 Hz MIDI Clock Divisions: (MIDI SYNC on) 8 bars, 4 bars, 2 bars, 1 bar; 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32 note divisions OSCILLATOR A Total Frequency Range: 0.5 Hz to 100 kHz...

  • Page 62: Filter Modulation

    SPECIFICATIONS FILTER MODULATION Key Follow: 0 to 100% Velocity: amplitude control for Envelope 1 Modulation Sources: external source, LFO, LFO controlled by Mod Wheel, Mod Wheel, Waveform B controlled by Mod Wheel, Waveform B, Waveform B controlled by Envelope 1, Waveform C Envelope 1: negative and positive polarity covering 10 octaves ENVELOPE 1 Key Sync: on/off (retriggering)

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