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Concussor manual - Analogue Solutions

1. LEVEL o NSS Use The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The Tune CV input can be used to alter the tuning with any voltage E g use LFO for slow pitch sweeps Using audio or any other high frequency signals to modulate tuning allows wild cross modulated drum sounds to be produced This sort of modulation of pitch provides an extreme range of sounds to be produced aside from the standard TR909 style snare The trigger LED will light each time a trigger pulse is received Note when the HPF control is set very high some noise may low level hiss through This is because the HPF is being set far beyond the range originally intended We have allowed the range to be extended in this way to allow a much wider range of sounds to be produced Remeber the original 909 sound never allowed you to manually adjust the HPF cut off Controls Tune Tunes the two oscillator tone sounds Tone Sets the amount of noise Higher setting increases t
2. The power supply board has 9 Doepfer style con nectors and 3 Integrator sockets A 5V power rail is provided for those modules that require it It uses an external power suppy of 15VAC This case uses 15V AC NOT DC Use a minimum of 500mA external power supply not supplied We can only supply 230V external adaptors with either UK or Euro plugs As the power supply requires AC it does not matter which way round you fit the connector If you accidentally use a 15V DC power supply it will not cause any damage but the system won t work The case will generally supply a full set of modules unless there are too many power hungry modules Mounting The AS0084 case eliminates the use of tapped strips used in the metal case This saves a heck of a lot of money but it does mean you must drill your own mounting holes The modules are mounted with self tapping screws into plastic mounting blocks As plastic is not as strong as metal these cases are not ideal if you constantly are swapping modules around Although this can be done many times the thread in the plastic screw holes can weaken with time with constant screwing and un screwing If you do strip the plastic thread you can use thread lock or fill the hole with glue All that is needed is to position modules in the case mark the mounting holes remove modules drill pilot holes approx 1mm to 2mm diameter screw modules into position This is far easier than it sounds but if it puts you off t
3. Volume This sets the final output volume of the SY02 ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 33 Sockets IN1 IN2 These are both audio inputs to the filters Input 1 goes via the Input level pot HPF CV1 CV2 These are external CV inputs to control the HPF cut off frequency Input 1 goes via the HPF CV pot LPF CV2 These are external CV inputs to control the LPF cut off frequency Input 1 goes via the LPF CV pot VCA CV1 CV2 These are external CV inputs to control the VCA level Audio Out This is the audio output from the 5 02 Calibration There are 2 trimmer pots on the main board marked HPF Q and LPF Q These are used to adjust the intensity of the resonance feed back With these trimmers set at maximum fully anti clockwise it is possible to really self oscillate the filters when the resonance pot on the front panel is also at a high maximum setting Note however that if the resonance self oscillates at too higer level distortion may result although this is not always a bad thing Set the Q trimmers to a setting that gives you the amount of resonance you want balanced with an acceptable level of distortion This is done before 5 025 are sent out ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 34 SY03 VC LPF Inputs Outputs Power Signal x2 Signal 12V Doepfer socket Cut Off CV x2 VCA CV Controls Indicators Size Signal Level 12HP CV1 Level Cut Off Resonance VCA Level
4. CONCUSSOR synthesis percussion sequencing effects A NA ey GG LE SOLLTIONE Fr e E 9 9 9 9 o 9 9 9 9 9 9 9 9 9 9 9 B 8 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 a ae 9 9 9 9 9 3 o o eeee ee 606066006 02959995 j e 9eeete ee 1 eerie 4 4 B ALLL 06000666 lt 8 modular synthesisers modular percussion synthesisers rack effects oddities SAFETY INSTRUCTIONS Please read carefully before using Only use the correct power adaptor 230V or 115V whatever your country needs Never handle the adaptor with wet hands Never excessivly bend the adaptor cable or get it trapped or place heavy objects on it If the adaptor cable becomes damaged replace the adaptor Ensure the unit is disconnected from the mains before moving or cleaning Always disconnect the unit from the mains if there is lightning in your area Ensure the unit is a stable surface and never place heavy objects on top of it Never allow young children or animals to operate the unit or adaptor Do not use excessive force when using the controls or inserting cables to the connectors The unit should not be operated in the rain or near water and should not be exposed
5. Introduction SY03 LPF SY03 is a VC low pass filter and VCA in one module The VCA is hard wired in series after the filter output The filter is a transistor ladder Moog type filter Resonance can be set to feedback Controls In Detail SIG1 LEVEL Audio input signal attenuator for the signal coming into the SIG12 socket CV1 LEVEL CV input signal attenuator for the signal coming into the CV1 socket CUT OFF Alters the filter cut off frequency CUT OFF RESONANCE Alters the filter feedback level VCA LEVEL VCA CV level attenuator for the signal coming into the VCA CV socket When no jack plug is in that socket the control is used to attenuate a full CV level 12v Sockets In Detail SIG1 IN Signal input to the filter level affected by SIG1 control GUE SOLUTIONS SIG2 IN Second input to the filter There is no level control CV1 Cut Off CV input level affected by CV1 LEVEL CV2 Second CV input There is no level control VCA CV VCA CV level input level affected by VCA LEVEL control When no plug is in this socket the VCA receives a full 12V CV level which can then be attenuated by the VCA LEVEL control SIG OUT Signal out from the VCA i e filter ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 35 ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 36 Outputs Power Triangle 12V Square LFO Controls Size Triangle Level 6HP Square Level Speed Indicato
6. triangle or sawtooth wave that goes positive and negative in polarity is used the sequencer will step randomly backwards and forwards and also skip beats This can produce interesting musical results or is good for sound effects Reset In It can be taken from an source such as Gates from MIDI to CV converters synth s or other analogue sequencers Step Out It can be used individually to clock other analogue sequencers to trigger analogue percussion modules gate monosynths The step out is basically a divide by 8 clock divide relative to the clock input signal Any step output normally step one can be used to clock something else 8x slower CV Out If a very high frequency clock pulse is used to step the sequencer in audio frequencies the CV pots can be used as a waveform generator Because of the quantised steps it will sound digital in form unless an external slew rate generator portamento module is used to smooth the waveform ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 53 More SQ8 Example Patching Standard connection to a monosynth to control pitch and gate CV out to Synth CV in Clock Thru to Synth Gate in Filter control of monosynth CV out to Filter cut off input Connect CV and Gate of synth to another sequencer or MIDI to CV converter Alternative connections to a monosynth Plug CV out to Synth CV in Step 1 out to Gate in The synth will be triggered on the 15 step If the release time
7. TR808 rimshot sound The module is entirely discrete analogue circuitry based as closely as possible on the origi nal LEVEL ANALOGUE SOLUTIONS Use The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The trigger LED will light each time a trigger pulse is received Controls Tune Tunes the sound up or down HPF Changes the tone of the rimshot sound by adjusting the cut off of an internal HPF Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe 12 2007 17 CL88 Claves Module w CL88 CLAVE Inputs Outputs Power Accent socket 0 12V 3 5mm audio out 12V Trigger socket 5 12V 6 35mm audio out Controls Indicators Size Tune Trigger LED 10HP Level Introduction The CL88 is an accurate replica of the TR808 claves sound The module is en tirely discrete analogue circuitry based as closely as possible on the original LEVEL ANALOGUE SOLUTIONS Use The trigger input has a range of about 5 to 12V A trigger or gate sig
8. VCO itself is at fault The VCO responds to 1V per octave it could be the control source is not giving out exactly 1V per Octave With most control sources the output scaling can be altered This is the case with all MIDI to CV converters It is better and far easier to alter the output scaling of the source than the scaling of the VCO If you do need to calibrate the VCO scaling for some reason follow the guide lines below Firstly adjusting the trimmers inside the VCO may result in you voiding your warranty Electrical safety to yourself and to the module must be obsereved If you are not 100 confident and competant do not attempt You will need to let the VCO circuits to warm up for a period of time usually leave the systems on for 30 minutes to allow all the analogue ciruits to settle VCO Turn Glide zero Set the Tune pot to centre Connect a MIDI to CV converter to the VCO Pitch CV in The MIDI keyboard you use to control the VCO will need to have audio too so you can tune the VCO to your MIDI keyboard On the VCO circuit board are 2 trimmer pots Tune and Scale 1 Play a low key on the MIDI keyboard Adjust Tune so that the VCO is in tune with the MIDI sound source 2 Play a high key about 3 octaves up Adjust the Scale so that the VCO is in tune with the MIDI sound source 3 You will need to repeat steps 1 and 2 several times till tuning is spot on Your VCO should now be tuned to the outputs of your MIDI to CV co
9. at what you are doing Many people pay little attention and just plug the power lead in without checking it is being plugged in correctly ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 7 AS1600 6U Rackmount case Fitting Modules The modules are fitted into place using No 4 2 9mm diameter 10mm long self tap screws When using a mounting hole for the first time firm pressure must be applied when turning the screw for about the first turn to tap a thread into the steel Excessive force is not necessary but a good fitting cross head type screwdriver should be used and a firm grip Once a thread has been broken the screw should screw in fairly easily If you have a module whose circuit board is really close to the edge its front panel in the far left or far right case position it may be necessary to place insulating tape over the nut in the side of the case rack mount ear nut to prevent the module shorting out with the case Ensure when you fit a modules on the far left or right that its PCB does not short out on the cases This is unlikely but depends on the design of the module being fitted It is advisable to only fit one module at a time and test each before fitting another Always ensure the mains cable is disconnected each time you fit a module The problem of testing all modules at once is that if there is a problem you will not know which one is causing the problem Problems are nearly always down to the user fitting a module inc
10. be used for a random output S H Clock In Each clock or gate pulse will make the S H sample the input signal then hold it till the next clock signal Normally a square wave signal would be fed into here like the LFO NZ square wave output S H Sig Out This is the output from the S H unit Noise Out This is an audio output from the white noise generator This can be fed into the S H signal input for random S H Obtaining a stepped random signal using the Sample and Hold Facility To create a stepped random voltage as indicated on the first position of the LFO wavform switch Patch a Square wave LFO output into the S H Clock input the Noise output to the S H Signal input Turn the Noise level up to about 30 50 A higher setting causes strange though not neccessarily output The S H output signal will appear at the S H Out socket ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 39 EG EG ASR Envelope Inputs Outputs Power Trig EG 12V ATTACK Controls Size Attack 6HP Decay Release Sustain on off switch DEC REL Introduction ASR Envelope generator in a compact module ANALOGUE SOLUTIONS Controls Attack Rise time of the EG Decay Release When Sustain is on this control alters Release time When Sustain is off this control alters Decay time Sockets TRIG This is trigger input OUT This is the EG output ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 40 01 Envelope Inpu
11. drum sound each time it is triggered 3 5mm and 6 35mm jack sockets with the exception of the HH88 hihat module all drum voices feature both sizes of jack socket on the audio output This enables the signal to be re routed back to the system or taken straight out to an external mixer or effects unit without the need for jack adaptors Jack adaptors are fine but contacts can be bad and with 6 35mm socket to 3 5mm plug adaptors the extra length of the adaptor with the cable plug combined with cable weight puts extra strain on the module socket 7 LUTION S 2 aa fa 12 2117 Q i e amp oe c 12 2007 9 ANALOGUE BD78 Bass Conga Bongo Drum Module o Iw BD78 BASS DRUM Inputs Outputs Power Trigger socket 5 12V x2 3 5mm audio out 12V TRIG 6 35mm audio out Controls Indicators Size TRIG TUNE Tune Trigger LED 10HP Decay Level Introduction The BD78 is an accurate replica of the CR78 bass drum sound The module is entirely discrete analogue circuitry based as closely as possible on the original The CR78 bass drum circuitry is identical to the CR78 Bongo and Conga sounds so these can also be produced with the BD78 2 The BD78 can produce more than just bass drum sounds The BD78 has the addition of a tune control This enables the pitch to be brought right up This in conjunction with short decay times allows CR78 style Bongos and Congas to be produced The BD78 can be tuned way low with lo
12. example to make the output of an envelope which only has one output socket available to lots of inputs Plug the EG output into the multiple then the other three sockets will also carry that EG signal The multiple is a passive module It takes no power When a signal is split by a passive device such as a multiple the output power level will be reduced This generally will not cause a problem as most modules inputs are buffered A multiple can be used as a simple passive mixer but there may be problems of impedance and level matching With both audio and CV s it is a case of try and see ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 62 ATT4 Quad 4x Attenuator Inputs Outputs Power Signal In x4 Signal Out x4 n a Controls Indicators Size Signal Level x4 s 12HP w ATT4 Attenuator Introduction 4 attenuators Four independent attenuators level controls in one module Attenu ators are passive controls they use no power that are used to decrease the level of an audio or CV signal LEVEL 1 The signal can be changed from full level right down to zero Use anytime you need to decrease the level of a signal A typical example is in conjunction with our MX61 6 input mixer As this mixer does not have level controls you can use the attenuators of the ATT4 to adjust the levels before they are mixed with the MX61 LEVEL 2 Controls In Detail The 4 Attenuators are identical LEVEL 1 4 LEVEL 3 Alters the i
13. is long you can still hear the pitch changing with each step but without the EG re triggering Miscellaneous Connections Step 1out is a divide by 8 clock divider Take step 1into the clock of another sequencer Use a quantiser if you want to precisely control to pitch of a synth Use a voltage scaler to scale down the control voltage to a smaller range when necessary When using a clock other than our MC01 master clock module as with all analogue sequencers you must manually step to the last step of the sequence before you start the clock This is done automatically when using the 01 To control transpose Use 2 5085 we ll call them A and B and a mixer Clock the SQ8 A 1 step every bar Clock SQ8 B as normal Feed the output CVs of both through a mixer like the 61 then take the output of the mixer to a synth as normal 608 A will control the transpose level changing every bar SQ8 B sets the pattern of notes as normal This is a handy and easy way of shifting the pitch of all 8 steps up or down with only one pot Using the SQ8 as a waveform generator By clocking the SQ8 at audio frequencies the output of the sequencer can be used to generate audio waveforms The simplest example is to create a square wave Simply set to 1st 4 pots to full and the following 4 to zero To double the frequency set the 1st two pots to full the next two to zero and repeat Now take the 1st example with 4 pots at full and 4 at zero No
14. is patched so that when you start the clock the sequencer starts on position 1 Note The step button will only work when any clock input signal is at a low state OV So it will note work when the clock input is high This situation will not arise in normal use as one would only normally use the step button when the master clock is stopped making the clock signal low If the sequencer is being clocked by a clock divider even when the clock is stopped it is possible that the clock signal may still be high until reseted Gate Switches There are 8 Gate Switches 1 for each step They have three positions When switched left Gate 1 is active right Gate 2 is active and centre is no Gate The voltage range is 0 to 5V LED Indicators There are 8 LEDs These will light in turn to show step position Alternative Applications Of Controls Clock In The sequencer does not have to be stepped through at normal regular intervals as is usual It can be clocked from any source such as the gate from a MIDI CV converter or monosynth the trigger out of a drum machine such as the TR606 808 or from the gate outputs of other analogue sequencers This allows it to step through the sequencer rhyth mically as and when you want If a sine triangle or sawtooth wave that goes positive and negative in polarity is used the sequencer will step randomly backwards and forwards and also skip beats This can produce interesting musical results or is good fo
15. react from buss signals ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 28 VCO SUB Voltage Controller Oscillator Introduction VCO is a single VCO laid out in a similar way to the VCO section you would find on a monosynth VCO includes a glide slew function so this is a great bonus The VCO can go down to low frequencies so they can be used as an LFO Controls In Detail Tune The VCO has a wide ranging tune control Turning Tune alters the basic pitch of the oscillator Glide Turning up Glide adds portamento to the oscillator so the pitch will bend slide up or down to each note as op posed to a sudden change The higher the setting the longer the oscillator takes to reach its new note Not many VCO modules give you the all important Glide control as standard Pulse Width You can alter the pulse width duty cycle of the square wave Turning this gives a sound similar to chorusing In the centre position a square wave is produced Sawtooth Level This sets the output volume of the sawtooth waveform output Square Level This sets the output volume of the square waveform output Sockets in Detail CV in This socket is the pitch CV control input and is used to control the pitch of the oscillator PW This is a pulse width control CV input Use a 12 to 12V voltage in this socket to alter the pulse width of the oscillator square wave Sync In This is an oscillator Sync reset input Sawtooth Out This is the aud
16. the clock input is high This situation will note arise in normal use as one would only normally use the step button when the master clock is stopped making the clock signal low If the sequencer is being clocked by a clock divider even when the clock is stopped it is possible that the clock signal may still be high until reseted CV Gate pots Range switch The CV and Gate functions are built into a single combined pot switch Turning the pot fully left will turn the Gate off You will fell the switch click off There are 8 CV pots 1 for each step When the range switch is HI the range is approximately 0 to 10V when LO the range is approximately 0 5V LO is best for use when controlling a VCO as this gives better abillity to fine tune each step The CV pots have a built in Gate switch Pull the knob out to turn off the gate for that step push it in to turn the gate on LED Indicators There are 8 LED s These will light in turn to show step position ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 52 Alternative Applications Of Controls Clock In The sequencer does not have to be stepped through at normal regular intervals as is usual It can be clocked from any source such as the gate from a MIDI CV converter or monosynth the trigger out of a drum machine such as the TR606 808 or from the gate outputs of other analogue sequencers This allows it to step through the sequencer rhyth mically as and when you want If a sine
17. to moisture If the unit is brought from a cold environment to a warm one the unit should be left to reach the ambient temperature Keep Concussor away from heat sources such as radiators ovens heaters etc Never allow Concussor to get wet Do not operate it near water like pools sinks bathrooms etc Do not place beverages on or near it Never open the case or attempt to make repairs Refer any servicing to a qualified service personnel Preventing damage to other connected devices Concussor modules have a very high dynamic range It is capable of produce loud signals of very high and sub sonic frequencies that could blow inadequate speakers if played too loud It is recommended that input levels to external equipement mixers amp s etc is kept low when first connected and then sowly increased to a userable level Maintenance Instructions Any cleaning of the Concussor case should be done with a clean lint free cloth DO NOT USE SOLVENTS OR CLEANERS as this will deteriorate the exterior appearance of the equipment ANALOGUE SOLUTIONS CONCUSSOR e amp oe 12 2007 2 About The Manual This manual will explain all details about each module along with some standard and more complex patching ex amples With modular synths there are a near limitless range of patching possibilities We can t possibly tell you all the different patches possible so if you need further help and information there are many great resources on the
18. web The manual is constantly being updated with new patching ideas and other information so there will never be a final version Our web site has a copy of the latest manual freely available for download in PDF format Unlimted Customer Support Owners of Concussor receive unlimited phone fax email support We will do our best to help you get the best from your system If you have a lengthy or complex problem it is probably best to call rather than email as some things are easier to explain than type Tel 01384 35 36 94 International Tel 44 1384 35 36 94 Fax 01384 35 36 94 International Fax 44 1384 35 36 94 www analoguesolutions com mn 56 Kingsley Road Kingswinford West Midlands DY6 9RX United Kingdom ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 3 SOS ECT 84HP plastic case ty Mee 2x 84HP 6U case AS0084 84HP Minimodular Case Module Power Connectors 9x Doepfer 3x Integrator Power input 12 15V AC external power supply 500mA or higher 2 1mm DC socket 230v mains adaptor only supplied for Euro models 115V US adaptors are available from Noisebug Width 84HP Introduction This is a lower cost alternative to the pricey alu minium style cases The AS0084 will take any combination of Concussor A100 or Integrator modules with no problems of gaps or lining up because it does not use tapped strips Power Supply
19. 12 5V Trigger socket 5 12V 6 35 audio out Tune CV 0 12V e TRIG SVVEEP Controls Indicators Size Tune1 sweep Trigger LED 10HP Tune2 e CV Attack Decay TUNE Level Introduction The BD99 is an accurate replica of the TR909 bass drum sound The module is entirely discrete analogue circuitry based as closely as possible on the original LS The BD99 can produce more than just bass drum sounds The original TR909 has a tune control This really sets envelope sweep on the pitch so we have named this control Sweep on the BD99 for accuracy We have added a true tuning control which enables the pitch to be changed The pitch can be brought right up enabling electronic Tom and Conga style sounds to be produced Also by modulating the pitch via the Tune CV input with a high frequency signal CV or Audio new and excinting waveforms can be produce This radically changes the sound of the BD99 effectively turning it into a drun synth LEVEL o The BD99 can be tuned way low watch your bass bins mate Use The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from ano
20. By setting very short times an audio signal will be present Whether the repeat is short giving high frequencies audio signals or slow like an LFO by varying the Attack or Decay times you are changing the wave shape of the output Anything from Saw to Triangle to Reverse Saw wave froms can be created The unique way in which the EG01 repeat works is that it will only repeat as long as the Gate voltage is at the Trigger input i e the key is held down sustained This is a great bonus compared to other repeating envelopes in that rather than repeating indefinately it will only repeat as long as you want it to by controlling the length of the Gate signal One application of this is by setting the repeat function to create an audio signal The output will only produce audio when a Gate signal is present This gives you a gated audio signal effectively an Oscillator through a VCA ANALOGUE SOLUTIQNS CONCUSSOR e amp oe c 12 2007 42 VCA2 Dual 2x Voltage Controlled Amplifier Inputs Outputs Power Signal In 1 Signal Out 1 12V GND Signal In 2 Signal Out 2 CV In 1 CV In 2 Controls Indicators Size Signal Level 1 12HP CV Level 1 CV Level 2 Signal Out Level 1 Signal Out Level 2 CV LEVEL OUT LEVEL Introduction 2 modules in one Two independent VCAs in one module VCAs are amplifiers whose gains are under voltage control This means you can use a modulation CV such as an LFO or EG signal to modul
21. Width You can alter the pulse width duty cycle of the square wave Turning this gives a sound similar to chorusing In the centre position a square wave is produced Sawtooth Level This sets the output volume of the sawtooth waveform output Square Level This sets the output volume of the square waveform output This socket is the pitch CV control input and is used to control the pitch of the oscillator PW This is a pulse width control CV input Use a 12 to 12V voltage in this socket to alter the pulse width of the oscil lator square wave Sync In This is an oscillator Sync reset input Sawtooth Out This is the audio output for the sawtooth waveform Its level is affected by the sawtooth level pot Square Out This is the audio output for the square waveform Its level is affected by the square level pot ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 25 General Specification Inputs CV PW SYNC Outputs SAW SQUARE Controls Tune Glide Pulse Width Saw Level Square Level Size 12HP Power 12V GND using Doepfer power socket Our modules do not support Doepfer s buss system Therefore do not expect the module to react from buss signals ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 26 VCO RM Ring Modulation VCO Introduction VCO RM is a single VCO RM laid out in a similar way to the VCO section you would find on a monosynth VCO RM includes a glide slew function so this is
22. a great bonus VCO RM can go down to low frequencies so they can be used as an LFO It also has a complete and independent Ring Modulator This can be used on its own or you can patch the oscillator into the RM and along with another audio source gives you great Ring Mod d sounds Ring Modulation VCO RM features a high quality Ring Modulator very similar to those found in the Roland System 100m EMS VCS3 and ARP2600 RING MOD RING MOD ANALOGUE SOLUTIONS What the RM does is take 2 audio inputs which we will call X and Y then produce an output that contains the original frequencies X and Y as well as the sum and differences of X and Y X Y X Y In non technical speak the RM best produces metallic sounding bell and clang sounds The output is rich in harmonics and can often sound quite abbrasive So filtering is necessary and the sound is best used for effects The RM is a vital processor producing it s own unique sound vital in an system RM In Use Basically experiment with any two audio sources The type of input signal waveform and pitch will alter the output By slowly changing the pitch of one input some dramatic sounds can be produced Note the RM is completely independent from the VCO Controls In Detail Tune The VCO has a wide ranging tune control Turning Tune alters the basic pitch of the oscillator Glide Turning up Glide adds portamento to the oscillator so the pitch will ben
23. aaten elie ate oe emer EN nse nas en tren wT MIDI to CV Converter 6HP PCC ns ee MIDI to CV Converter 218 c saan ES 8 Step CV Gate sequencer EE 8 Step Dual Gate Sequencer ANALOGUE SOLUTIONS CONCI 2 2007 4 MT9 MIDI to Trigger Gate converter Inputs MIDI In Controls Program button Introduction Outputs Power supply 9 independent trigger outs 5V GND 1 Accnet out MIDI Thru Indicators Size 1 Actuiviry LED 10HP The MT9 is a MIDI to triggering module It allows triggering of a range of analogue devices drum voice modules envelope modules analogue sequencers analogue drum machines and anything else with a gate trigger or clock input It has 9 separate 5v trigger outputs so 9 devices can be independently triggered via separate MIDI keys There is also an ACCent output O MT9 MIDI TRIG N N N y e PROG ANALOGUE O SOLUTIONS Use Connecting Connect the MIDI sequencer or other MIDI device to the MIDI input of the MT9 Connect MT9 trigger outputs to device you wish to trigger Programming Programming the MT9 is a very simple proceedure Press and hold the PROGRAM button Then press a MIDI key The MT9 will set its MIDI receive channel which will be the same for all outputs to the MIDI channel the keyboard is tran
24. al of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The white noise which is the source of the snappy part of the sound is available at the NOISE output directly and unprocessed The trigger LED will light each time a trigger pulse is received Controls Tone Sets the mix between the 2 oscillators that make up part of the sounds Snappy Sets the noise level Decay Sets decay time of the noise HPF Alters filter cut off of the noise Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 14 SD99 Snare Drum Module o lIj SD99 SNARE DRUM Inputs Outputs Power supply Accent socket 0 12V 3 5mm audio out 12V Trigger socket 5 12V 6 35 audio out Tune CV 0 12V e TRIG TUNE Controls Indicators Size Tune Trigger LED 10HP Tone cv HPF Snappy Level Introduction The SD99 is an accurate replica of the TR909 snare drum sound The module is entirely discrete analogue circuitry based as closely as possible on the original 2 5099 can produce more than just snare drum sounds
25. another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The trigger LED will light each time a trigger pulse is received Controls Tune 1 Tune oscillator 1 up or down Tune 2 Tune oscillator 2 up or down Decay Sets decay time Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 21 CP88 Clap Module u CP88 HAND CLAP Inputs Outputs Power Accent socket 0 12V 3 5mm audio out 12V 5V Trigger socket 5 12V 6 35mm audio out Controls Indicators Size BPF Trigger LED 10HP Snap Reverb Level Introduction The CP88 is an accurate replica of the TR808 hand clap sound The module is entirely discrete analogue circuitry based as closely as possible on the original The sound is made up of two sounds There is the clap part which is formed by about 3 bursts of statacco noise then the reverb part which is a soft filtered noise with slower decay LS The CP88 can produce more than just clap sounds Mess with the controls to make a wider range of sound types The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The a
26. ate the level of another signal A typical use would be the output from an envelope generator altering the volume level of a signal such as a fiilter output Controls In Detail The 2 VCAs are identical except that VCA 2 does not have a Input Signal level control IN LEVEL Alters the input signal level CV LEVEL Alters the CV level to adjust the amount of VCA modulation OUT LEVEL Alters the output signal level Sockets In Detail IN VCA Signal input Normally the signal would be audio but CV signals can also be modulated CV CV signal input for VCA modulation OUT Output from the VCA ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 43 General Specification Inputs IN 1 IN 2 CV 1 CV 2 Outputs OUT 1 OUT 2 Controls IN LEVEL 1 CV LEVEL 1 CV LEVEL 2 OUT LEVEL 1 OUT LEVEL 2 o 12HP Power 12V GND using Doepfer power socket ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 44 RM RING MOD ox ANALOGUE SOLUTIONS RM Ring Mod Inputs Outputs Power IN x 2 RM 12V Controls Size n a 6HP Introduction Compact Ring Modulator to give you those great metallic sounds Can be used as a signal processor To use simple feed two different audio signals into the inputs Normal use would be two VCOs at the inputs but you could use any audio signal ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 45 9 a rrr a ac MIDI to Trigger Gate 7164 St
27. ccent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The trigger LED will light each time a trigger pulse is received Controls BPF Filter adjustment of the clap sound Snap Level control for the clap sound This control is sensative with the range squashed into the lower end Turning over about half way you will get constant noise Decay Sets decay time of the reverb sound Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 22 sn dans PPP VCO with glide VCO RM asinine bomba Ring Modulator and VCO VC OS UB T A Sub VCO and VCO 02 M VC LPF VC HPF VCA cc VC LPF VCA lc m LFO Pier ne VC LFO NOISE lc ASR Envelope mc Envelope Y Y Dual VCAs M I Ring Mod VCO 6HP Voltage Controller Oscillator Introduction VCO is a single VCO laid out in a similar way to the VCO section you wou
28. d slide up or down to each note as opposed to a sudden change The higher the setting the longer the oscillator takes to reach its new note Not many VCO modules give you the all important Glide control as standard Triangle Level This sets the output volume of the triangle waveform output Sawtooth Level This sets the output volume of the sawtooth waveform output Square Level This sets the output volume of the square waveform output Sockets in Detail CV in This socket is the pitch CV control input and is used to control the pitch of the oscillator Sync In This is an oscillator Sync reset input Triangle Out This is the audio output for the Triangle waveform Its level is affected by the Triangle level pot Sawtooth Out ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 27 This is the audio output for the sawtooth waveform Its level is affected by the sawtooth level pot Square Out This is the audio output for the square waveform Its level is affected by the square level pot RM X input The X audio input to the Ring Modulator RM Y input The Y audio input to the Ring Modulator RM output The RM output General Specification Inputs CV PW RM X RM Y Outputs TRIANGLE SAW SQUARE RING MOD Controls Tune Glide Pulse Width Saw Level Square Level Size 12HP Power 12V GND using Doepfer power socket Our modules do not support Doepfer s buss system Therefore do not expect the module to
29. ecting the power lead to the power sockets Power socket as used by the Integrator Red or black stripe indicates pin wire 1 STRIPE N When connecting the power lead N to the socket ensure correct orientation stripe to pin 1 and that none of the pins are bent Make sure all pins seat correctly into the socket Pin 1 On the Concussor module the Integrator power socket will be 16 pin power socket 16 pin ribbon power lead marked AS POWER and pin 1 as featured on the Concussor same at both ends is located by the word STRIPE module Concussor PSU and Integrator PSU lt we CAN tell when a module is blown due to incorrect fitting of power lead Get it right ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 6 Power socket as used by Doepfer The red stripe on the cable indicates pin 1 12V You may think of pin 1 as being at the top but Doepfer have place it at the bottom so Doepfer sockets appear UP SIDE DOWN Each power line 12 12 amp 5 has 2 pairs of pins The Ground GND line uses 2 pairs Note With Doepfer systems 5 power is an option Some Concussor modules require 5 so check you have this option installed With Concussor power supplys 5 is always supplied as standard O O Gt Doepfer socket as it appears on zi the bus board O O GND O O O OJ z e sx The stripe on the cable MUST go to
30. eplica of the CR78 snare drum sound The module is entirely discrete analogue circuitry based as closely as possible on the original The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes Note the SD78 does not have a separate accent input Controls Tune Snappy Level Changes the tuning of the snare sound Sets the noise level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 13 SD88 Snare Drum Module o 6088 SNARE DRUM Inputs Outputs Power supply Accent socket 0 12 3 5 audio out 12V Trigger socket 5 12V 6 35mm audio out Noise out Controls Indicators Size Tone Trigger LED 10HP Snappy E NOISE Decay HPF High Pass Filter SNAPPY Level Introduction The SD88 is an accurate replica of the TR808 snare drum sound The module is entirely discrete analogue circuitry based as closely as possible on the original The snare sound is made up of two oscillators mixed with filtered noise The SD88 can produce more than just snare drum BS sounds The SD88 has additional controls to change noise decay Decay and High Pass Filter cut off HPF on the filtered noise This enables a wide range of snares noise hits and bongo conga type sounds The trigger input has a range of about 5 to 12V A trigger or gate sign
31. erence There are separate cut off and resonance controls for both the HPF and the LPF This means you can use the SY02 as aLPF a HPF or by combining the two you get a BPF When used as a BPF it has the advantage over others in that you have control over the band width and the added advantage of two separate resonance controls The SY02 can be used on its own as a filter by turning up the Initial Level but it includes a VCA this means straight away it can be used with envelopes without the need of a separate VCA The filter types used in the SY02 are 12dB roll CUT OFF off filters very similar to those used in the classic Korg MS20 CUT OFF BE General Use Overdrive The controls have not been limited so with certain level settings especially Resonance over driven sounds are possible This is great for a nice dirty distorted sound If overdriven sounds are not AUDIO OUT VOLUME required simply decrease the Input level or Reso nance level ANALOGUE SOLUTIONS No Sounds There are certain settings that will result in no audio output Apart from the obvious initial input or output level at zero this may occur when HPF cut off is set very high and LPF cut off set very low This is basically due to ALL the audio being filtered out ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 32 Controls Input Level This sets the level of the audio signal fed into the VCF audio input HPF CV This sets the l
32. es and bring them together to an external recording device or mixing desk It has 2 outputs a normal positive output and an inverted output Use Audio Mixer Use this to mix audio in instances where you have many sources you wish to mix to one mono channel e g several percussion modules When mixing audio use the normal output It would not usually be a problem to use the inverted output but watch it does not cause signal cancellation CV Mixer Several CV sources can be mixed to make a more complex control signal E g mix an LFO with an envelope signal Inverter When the inverted output is used the signal is inverted so it becomes a negative signal or a negative signal becomes positive For example put 5V through and you get 5V out An example of a useful application of this is to create auto pan Feed an LFO into the mixer Take the normal output to 1 VCA and the inverted output to another VCA Pan the 2 VCAs hard left and right Feed the same signal into both VCAs and it will pan between the speakers Gate Mixer By taking different Gate outputs from a pair of SQ8 sequencers and mixing them with the MX61 new step patterns can be created The MX61 has a 10 to 10V range ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 60 MX224 Mixer Inverter Buffer Inputs Ouputs Power 2x ins 2 inverted 12V GND 4 normal Controls Indicators Size none none 4HP Details The MX224 is a 2 input mixer inverter buffe
33. evel of external CV fed into HPF CV input that affects the HPF cut off Set at minimum the external CV has no effect set at maximum the external CV has full effect LPF CV This sets the level of external CV fed into LPF CV input that affects the LPF cut off Set at minimum the external CV has no effect set at maximum the external CV has full effect Initial Level This sets the initial level of the VCA It applies a voltage to the VCA that opens it up Set to maximum the VCA will pass signals through at full volume This would be the normal way of using this control As the control is turned to minimum the level of the VCA decrease finally to zero In this case an external CV is used to control the VCA level such as an envelope signal HPF Cut Off This control sets the cut off frequency of the HPF As the controls is increased more lower frequencies are filtered out only high frequencies are allowed to pass through HPF Resonance This alters the resonance of the HPF Set to maximum it will self oscillate producing a continuous sinewave In this way the 5 02 can be used as a VCO LPF Cut Off This control sets the cut off frequency of the LPF As the controls is increased more higher frequencies are filtered out only low frequencies are allowed to pass through LPF Resonance This alters the resonance of the LPF Set to maximum it will self oscillate producing a continuous sinewave In this way the 5 02 be used as a VCO
34. eys are held The Pitch CV out CV1 conforms to 1V per Octave The controller CV out CV2 responds to MIDI controller 1 mod Wheel It has a 0 to 10V range Controller number cannot be changed Resolution is 7 bit Legato When 1 or more notes are overlapped this output will change from 0 to 5V It will return to OV when no notes are overlapping This output is ideal for activating devices like portamento LFO reset Clock inputs VCF cut off etc ANALOGUE SOLUTIONS Accent When a MIDI velocity of over 99 is received the Accent output will go from 0 to 5V It will not return back to OV till it receives a MIDI note velocity value of less the 100 This output is ideal for accenting notes by connecting it to a VCA or filter cut off input It could also clock a sequencer or other device MIDI Channel Selection Programming the M2CV is a very simple proceedure Press and hold the PROGRAM button Then press a MIDI key The M2CV will set its MIDI receive channel to the MIDI channel the keyboard is transmitting on CV2 Control Source Assignment If a key was pressed to set MIDI channel then CV2 will assign to velocity If a controller was used to set channel then CV2 will assign itself to that controller number The Push button is a manual Gate trigger button ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 50 SQ8 8 Step CV and Gate Sequencer Inputs Outputs Reset In CV Clock In Gate Step 1 Clock Through Power Sup
35. from peak to zero at the Release rate ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 41 Use Sockets Trigger In A positive gate or trigger voltage in here will activate the ADSR sequencer EG Out A full level positive envelope signal from this socket Level pot has no effect EG Out The EG signal is positive By pulling out the EG knob the signal is inverted negative Controls Attack After receiving a Gate signal this sets the time is takes the envelope to reach full level Decay After reaching full level this sets the time it takes the envelope to decrease to the Sustain level Sustain The sets the Sustain level The envelope signal will remain at the Sustain level after decreasing from the maximum level as long as there is a Gate signal present at the Trigger in socket i e as long as a key is held down Release After the key is released the Gate signal no longer present this sets the time it takes for the envelope signal to decrease to zero Special EMS Style Repeat Function The EG01 has an EMS style repeat function which is easy to use and adds powerful modulation capabilities When the sustain level is set to zero the repeat function will be active The envelope will repeat re trigger itself so as soon as the envelope finishes its cycle it starts all over gain In this mode the EG becomes an LFO or Oscillator The speed is set by the Attack and Decay time The Release control will have no effect
36. he Pitch CV out CV1 conforms to 1V per Octave The controller CV out CV2 responds to MIDI controller 1 mod Wheel It has a 0 to 10V range Controller number cannot be changed Resolution is 7 bit MIDI Channel Selection Programming the MCV is a very simple proceedure Press and hold the PROG button Then press a MIDI key The MCV will set its MIDI receive channel to the MIDI channel the keyboard is trans mitting on CV2 Control Source Assignment If a key was pressed to set MIDI channel then CV2 will assign to velocity If a controller was used to set channel then CV2 will assign itself to that controller number ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 49 M2CV MIDI to CV Converter 2 MIDI CV 16bit Introduction CV1 TUNE Q PITCH The M2CV is a quick and easy to use module that allows control of analogue devices from a MIDI controller The M2CV is straight forward MIDI to CV conversion easy to use cv2orrsET Use Connecting Q Connect the MIDI sequencer or other MIDI device to the MIDI input GATE of the M2CV Normally CV1 PITCH goes to the pitch CV input of your synth CV2 goes to any other CV input like filter cut off CV Gate goes to Gate or Trigger input o your synth sure the 2 is on the right MIDI channel and away you go Details The MIDI activity light will be lit whenever there is a gate voltage present i e whenever 1 or more MIDI k
37. he hold and decay time of the noise HPF Sets the cut off level of the filter on the noise Snappy Sets the noise level Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 15 HH88 Dual HiHat Drum Module Inputs Outputs CH Accent socket 0 12V CH audio out CH Trigger socket 5 12V OH audio out OH Accent socket 0 12V Source OH Trigger socket 5 12V OH Decay CV 0 12V Power supply 4 12 5V Controls Indicators Tune None CH Decay CH Level OH Decay Size OH Level 10HP Introduction The HH88 is an accurate replica of the TR808 hihat drum sound The module is entirely discrete analogue circuitry based as closely as possible on the original The HH88 has addition of a Tune control for both and Decay on the closed hihat sound The two hihat sounds are made up of six filtered square wave oscillators fed through separate VCA s controlled by envelopes a VCA and EG per hihat sounds OH LEVEL 22 ANAR The HH88 can produce more than just hihat drum sounds The HH88 has the addition of a decay control for the closed hihat and the decay time for the open hihat has been extended This enables TR808 cymbal style sounds to be produced Use The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socke
38. hen pay the full cost for a metal case Nearly twice Note Integrator modules are a little wider than Concussor and A100 so it may not be possible to fill the case with only Integrator modules the total width may be too wide by say 0 5mm This is because Integrator modules do not fully stick to the Euro rack standard Their modules are just a tiny bit too wide and they have positioned their mounting holes in the incorrect place Note do not overtighten the self tap screws otherwise you will strip the thread in the plastic If you are plugging in non Concussor modules you may void warranty as we cannot be responsible for other manufacturer s faults Rack Mounting The 50084 can be rack mounted with optional rack ears The case is just a tiny bit over 3U in height Rubber Feet The case come with four rubber feet You can optionally fit these using the supplied M3 screws and nuts It is best to fit these if required before fitting any modules 5 ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 5 Handling and Inserting Modules Modules can be placed in any position in the rack It is a good idea to place one module in at a time and test it before going onto the next This way if any module causes a problem it can quickly be identified Some modules contain static sensitive circuitry This circuitry is exposed when not fitted into the rack When handling any module try and only handle it by the front panel Try no
39. ing with the LFO sweep The trigger LED will light each time a trigger pulse is received LEVEL ANALOGUE SOLUTIONS Controls Tune Sets the drum pitch Note the tune can be pitched down below a useful level Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe 12 2007 20 CB88 Cowbell Module o w CB88 COWBELL Inputs Outputs Power Accent socket 0 12V 3 5mm audio out 12V 5V Trigger socket 5 12V 6 35mm audio out Controls Indicators Size e TRIG TUNE 1 Tune 1 Trigger LED 10HP Tone 2 Decay Level Introduction The CB88 is an accurate replica of the TR808 cowbell sound The module is entirely discrete analogue circuitry based as closely as possible on the original The sound is made up from 2 square wave oscillators whose pitch can manually be adjusted To create the cowbell sound though they are tune close together so they beat LSS The CB88 can produce more than just cowbell sounds By tuning the 2 oscillators to equal pitch a synth sound is produced which can be tuned to the melodies in your music The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from
40. io output for the sawtooth waveform Its level is affected by the sawtooth level pot Square Out This is the audio output for the square waveform Its level is affected by the square level pot Sub 1 Out This is a Sub Osc output 1 octave below the main saw square out puts Sub 2 Out This is a Sub Osc output 2 octaves below the main saw square out puts Sub 3 Out This is a Sub Osc output 3 octaves below the main saw square out SUB OSC puts Note the Sub outputs run off the main square wave If PWM is applied to the square wave it may affect the Sub outputs ANALOGUE SOLUTIONS CONCUSSOR e amp oe 12 2007 29 General Specification Inputs CV PW SYNC Outputs SAW SQUARE SUB1 SUB2 SUB3 Controls Tune Glide Pulse Width Saw Level Square Level Size 12HP Power 5V 12V GND using Doepfer power socket If the Sub appears not to work it is probably because your Doepfer case does not have 5V This module requires 5V Our modules do not support Doepfer s buss system Therefore do not expect the module to react from buss signals ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 30 VCO Calibration It is fairly easy to tune in the VCO to another sound as you just have to alter the front panel VCO Tune control There may be instances though were the octave spacing scaling is out The VCO could go out of tune as you play up the keyboard As mentioned earlier this does not neccessarily mean the
41. ize 6HP Power 12V GND using Doepfer power socket ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 24 VCO Voltage Controller Oscillator Introduction VCO is a single VCO laid out in a similar way to the VCO section you would find on a monosynth VCO includes a glide slew function so this is a great bonus The VCO can go down to low frequencies so they can be used as an LFO o GLIDE Q N LEVEL Sockets in Detail CVin Voltage Conirolled Oscillators VCOs in general The VCO or signal generator commonly found on most music syn thesizers consist of an exponential amplifier a resetable integrator and waveshaping circuitry Voltage Controlled Oscillator means an oscillator whose frequency can be controlled by an external voltage A VCO is responisble for the pitch of a sound and its basic timbre Most VCOs will offer a variety of wave forms Some VCOs offer the facility to alter the pulse width of a square wave either manually or with a voltage pulse width modulation Controls In Detail Tune The VCO has a wide ranging tune control Turning Tune alters the basic pitch of the oscillator Glide Turning up Glide adds portamento to the oscillator so the pitch will bend slide up or down to each note as opposed to a sudden change The higher the setting the longer the oscillator takes to reach its new note Not many VCO modules give you the all important Glide control as standard Pulse
42. k In The SQ8 requires a 5V clock signal Each clock signal will advance the sequencer 1 step When the last step is reached it resets back to the first step Take the clock signal from a square wave LFO Clock module or MIDI to Clock converter Clock Thru The clock signal appearing at the CLOCK IN socket is buffered and transferred to the CLOCK THRU socket so it can be daisy chained to another sequencer Reset In A 5V signal in here will reset the sequencer to step 1 Step 1 Out Each time step one is played the step 1 gate socket will go high output 5V This socket can be used to trigger other devices such as a cymbal sound at the start of each bar or to trigger another sequencer The step 1 out will give a clock signal that is the main clock in divided by out CV Out This socket will output a control voltage set by the pot for the current step It can be changed in real time Gate Out This socket will output a 5V gate signal at each step where the CV control is not at the zero position i e Gate on Step Button This allows the sequencer to be manually stepped by one step at a time whilst the clock is not running It can also be used to reset the sequence As with most analogue sequencers step it to the last step 8 or whatever is patched so that when you start the clock the sequencer starts on position 1 Note The step button will only work when any clock input signal is at a low state OV So it will note work when
43. l the control out to select Square Sockets Ramp Reverse Ramp Outputs the Ramp or Rev Ramp signal depending which is selected Triangle Square Outputs the Triangle or Square signal depending which is selected Noise Direct output of a white noise signal Use this as a control source for interesting effects or as an audio source for wind or percussive sounds when used with a filter EG VCA such as our SY01 Frequency CV In This is a control voltage input The level of the input voltage controls the speed of the LFO This is good for creating even more interesting LFO effects Feed the output of an envelope like our EG02 into here for an LFO speed that changes over time Or use a CV sequencer such as the SQ8 to change the speed on each beat ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 38 SH NZ Sample Hold Noise Inputs Outputs Power SH Signal SH Signal 12V SH Clock Noise Controls Size SH Slew rate 6HP Noise Level Introduction 2 modules in one Sample and Hold and Noise features The S H and Noise units are independent so can be used entirely of each other Controls S H Slew This adds slew or portamento between each changing voltage held by the S H So as each voltage is sampled the changes in old to new voltage level will be smoothed ANALOGUE out SOLUTIONS Noise Level Alters the noise level Sockets S H In This is the signal source for the S H Normally the noise output would
44. ld find on a mono synth The VCO can go down to low frequencies so they can be used as an LFO Voltage Conirolled Oscillators VCOs in general The VCO or signal generator commonly found on most music synthesizers consist of an exponential amplifier a resetable integrator and waveshaping circuitry Voltage Controlled Oscillator means an oscillator whose frequency can be controlled by an external voltage A VCO is responisble for the pitch of a sound and its basic timbre Most VCOs will offer a variety of wave forms Some VCOs offer the facility to alter the pulse width of a square wave PULEVEL either manually or with a voltage pulse width modulation Controls In Detail Tune The VCO has a wide ranging tune control Turning Tune alters the basic pitch of the oscil lator Square Level This sets the output volume of the square waveform output Sockets in Detail CV in This socket is the pitch CV control input and is used to control the pitch of the oscillator PWM ANALOGUE This is a pulse width control CV input Use a 12 to 12V voltage in this socket to alter the Aco pulse width of the oscillator square wave Sawtooth Out This is the audio output for the sawtooth waveform It ahs a fixed level output Square Out This is the audio output for the square waveform Its level is affected by the square level pot General Specification Inputs CV PWM Outputs SAW SQUARE Controls Tune Square Level S
45. nal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The trigger LED will light each time a trigger pulse is received Controls Tune Tunes the sound up or down Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 18 TM88 Tom Tom Module w TM88 TOM Inputs Outputs Power Accent socket 0 12V 3 5mm audio out 12V Trigger socket 5 12V 6 35mm audio out Controls Indicators Size Tune Trigger LED 10HP Noise Level Introduction The TM88 is an accurate replica of the TR808 tom tom drum sound The tune range has been extended so one module can cover low mid and high Tom sounds A Noise level control has been added so that the noise element of the sound can be exaggerated Use The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage
46. ng decays watch your bass bins mate The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes Note the BD78 does not have a separate accent input The trigger LED will light each time a trigger pulse is received Controls Tune Tunes the bass drum up or down Decay Sets decay time Level Sets output level Due to the way the CR78 bass drum circuitry works using a tuned resonance ciruit the Tune and Decay ES controls affect each other At certain combinations of settings the BD78 may go into self oscillation with loud results The BD78 circuitry was never designed to have manually variable Tune and Decay controls and as we wish to retain the original sound this by product has been left in and cannot be deisgned out anyway without such a re design it would no longer be the same drum sound Also you may get some small noise when you rotate Decay pot This is normal and not a fault with the control ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 10 BD88 Bass Tom Conga Drum Module o BD88 BASS DRUM Inputs Outputs Power Accent socket 0 12V 3 5mm audio out 12V Trigger socket 5 12V 6 35mm audio out Controls Indicators Size e TRIG TUNE Tune Trigger LED 10HP Tone Decay Level Introduction The BD88 is an accurate replica of the TR808 bass drum sound The module is e
47. nput signal level Sockets In Detail IN 1 4 LEVEL 4 Attenuator input OUT 1 4 Output from attenuator ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 63 Specification subject to change without notice Warranty Concussor comes with a 1 year from purchase date back to base warranty i e customer must arrange and pay for carriage to and from Analogue Solutions or the dealer from which purchased This warranty shall not apply where the product has been subject to alteration misuse accident neglect such as extremes of temperature and or moistur or to wear resulting from normal use We will normally carry out most the labour or repairs free of charge for an extended period of an additional 4 years from purchase date but this may not included cost of any damaged parts which will be charged for At the sole discretion of Analogue Solutions the warranty is deemed to be void should the unit be or considered to have been opened or any other modifications or tampering be carried out by unauthorised parties The warranty is usually invalid when fitting Concussor modules in a 3rd party case or fitting 3rd party modules ina Concussor case or when mixing Concussor modules with 3rd party modules CE Compliance This unit complies with Complies with EU Directives 73 23 EEC and 89 336 EEC Standards EN55103 1 EN55103 2 EN60065 Concussor user manual Analogue Solutions web www analogues
48. ntirely discrete analogue circuitry based as closely as possible on the original The BD88 can produce more than just bass drum sounds 22 The BD88 has the addition of a tune control This enables the pitch to be brought right up This in conjunction with short decay times allows TR808 style Toms and Congas to be produced The BD88 can be tuned way low with long decays watch your LEVEL bass bins mate o ANA GHEns Use The trigger input has a range of about 5 to 12V A trigger pulse of around 1mS is recommended although the gate output of a synth can be used A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The trigger LED will light each time a trigger pulse is received Controls Tune Tunes the bass drum up or down Tone Controls click level like stick hitting drum skin The click you hear is actually the trigger pulse Decay Sets decay time Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 11 BD99 Bass Elec Tom Drum Module Iw BD99 BASS DRUM Inputs Outputs Power supply Accent socket 0 12V 3 5 audio out
49. nverter Note unless your MIDI to CV converter is also setup correctly the VCO may sound out of tune when played with another CV source For details on how to use your MIDI to CV converter contact the manufactuer not us Oscillator Sync The familiar and favourite oscillator sync sound is achieved by using two oscillators One is the master oscillator and each time it begins a new wave cycle it will reset the slave oscillator Full details of the ins and outs of osc sync can be found various web resources To get this feature working on the VCO patch a 2nd VCO s waveform out into the 1st VCO s Sync In Take your main audio out from the 1st VCO this is where your sync sound will be To control the Sync effect control the either VCO s pitch Note it is important to balance the relative pitches of the 2 oscillators to get an effective sound With certain settings you may not get an effect or even any audio ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 31 SY02 Multimode Filter VCA HPF LPF VCA Inputs Outputs Power VCF Audio VCF Audio 12V using Doepfer power socket HPF Cut Off CV VCF Audio LPF Cut Off CV VCA Audio VCA CV Mass Size 220g 18HP VCF Controls VCA Controls HPF Cut Off Input Level Resonance Initial Level HPF Input CV Level Volume LPF Cut Off LPF Resonance LPF Input CV Level SY02 MULTIMODE FILTER VCA Introduction The SY02 is a multimode filter with a diff
50. of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The trigger LED will light each time a trigger pulse is received LEVEL ANALOGUE SOLUTIONS Controls Tune Sets the drum pitch Note the tune can be pitched down below a useful level Noise Changes the level of the noise This control can sound scratchy The pot is not at fault Level Sets output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe 12 2007 19 CG88 Conga Module w CG88 CONGA Inputs Outputs Power Accent socket 0 12V 3 5mm audio out 12V Trigger socket 5 12V 6 35mm audio out Controls Indicators Size Tune Trigger LED 10HP Level Introduction The CG88 is an accurate replica of the TR808 conga sound The tune range has been extended so one module can cover low mid and high Conga sounds Use The trigger input has a range of about 5 to 12V A trigger or gate signal of at least 5V will trigger the sound A larger trigger pulse will increase the level of the sound accent the notes When the accent socket is used the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level chang
51. olutions com web www analoguesolutions co uk email semblance analoguesolutions com tel fax 44 0 1384 35 36 94 post 56 kingsley road kingswinford dy6 9rx uk ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 64
52. orrectly Rack Ears These fit to the side of the case using the screws provided There is no need to fit these when not rack mounting Power Supply Before plugging into the mains ensure the switch on the bottom is selected for the correct voltage of your supply 115V USA or 230V Europe Ensure all empty spaces in your rack are covered over with blanking panels so access into the case is not pos sible ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 8 BD78 BD85 BOG ovid Kao RE oC ac EA DEOR ER OR n RR Bass Drums SD75 5088 5090 css EX ERE envi Snare Drums HE EM I LN Dual HiHat t R Clave Rimshot TG C Tom tom M Conga CEB M M Cowbell i Handclap General note about all drum voices Trigger input a 5 to 12V trigger or gate signal will trigger the voice The higher the voltage the louder the voice will play unless there is a plug in the Accent socket Trigger with our analogue Gate sequencers or use our MIDI to Trigger MT16 device for MIDI control Accent input a 5 12V CV signal controls the overall loudness of the
53. oving resistor R13 100K on the main board Having this resistor in place makes the range 10V Changing this yourself is safe to do but will invalidate the warranty ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 55 Controls In Detail standard operation Clock In The GT8 requires a 5V clock signal Each clock signal will advance the sequencer 1 step When the last step is reached it resets back to the first step Take the clock signal from an LFO Clock module or MIDI to Clock converter Step Outs There 8 step out sockets As each step 1 to 8 is reached the corresponding step out socket will go high output 5V By patching one of these outputs into the Reset In socket the sequence length can be altered between 1 to 7 steps long For example to obtain a five step sequencer patch the next number up step output into the reset input i e step out 6 To have an eight step sequencer no reset patch is needed Gate 1 2 Outs Either of these two sockets will output a 5V gate when at a particular step the corresponding switch is in either position Gate 1 or Gate 2 Centre position will result in not Gate from either socket The pulse width of the clock input decides the pulse width of the Gate outputs Step Button This allows the sequencer to be manually stepped by step at a time whilst the clock is not running It can also be used to reset the sequence As with most analogue sequencers step it to the last step 8 or whatever
54. pin 1 12 The socker on the lead may have more holes than there are pins on the PCB On allConcussor modules there are 12 pins on the board and either 14 or 16 holes in the socket The same applies though match the striped end of the lead socket to the work STRIPE on the board In this case the socket will over hang the board on the opposite end to the stripe end When connecting the power Red or black stripe lead to the socket ensure indicates pin wire correct orientation stripe to STRIPE pin 1 When the socket has more holes than the header has pins make sure the pin 1s of the connector line up On the Concussor module the Doepfer power socket will be marked DOEPFER and pin 1 is located by the word STRIPE 16 pin IDC header 14 pin IDC socket at module end as featured on Concussor 14 pin IDC socket at Doepfer PSU Bus end or Doepfer PSU Bus board 12 pin IDC socket at Concussor PSU end this will be 14 pin on the Concussor module Warning The pin outs of our sockets are the same as Doepfer and Integrator So if you plug them in correctly you will have no problems Do not expect our sockets to necessarily look the same or be in the same oreintation as either Doepfer or Integrator Do not assume anything Always put the red stripe of the cable towards the word STRIPE on the board Stripe indicates pin 1 Pin 1 on the cable must go to pin 1 of the socket Look
55. ply 12V 5V GND using Integrator or Doepfer power sockets Additional 8 step outputs with optional expansion Controls Indicators 8 x CV knobs with 8x Step LED s built in Gate Switch Step Button Range Switch 5 10V Ww 508 CV GATE SEQUENCER O ANALOGUE SOLUTIONS O Size 18HP Introduction Analogue sequencers allow you to programme a set of voltages and Trigger events 8 in this case and allow you to step through them by using a clock signal or LFO square wave With each step the next voltage as set by the control is present at the CV output This way repeating melodic lines can be produced The sequencer need not control pitch it could be used to change the filter cut off volume or LFO speed The advantage analogue sequencers have over hardware sequencers is firstly their immediacy Hav ing all the controls switches and sockets in front of you allows quicker programming Secondly as the output is an analogue control voltage and not a digital MIDI signal the output of analogue se quencers can easly be mixed with other voltages or processed in some way The SQ8 is a single channel sequencer with 8 steps As it is single channel larger sequencing systems can be built up by doubling up on sequenc ers As they are all separate you can clock them at different speeds or clock divide ratios ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 51 Controls In Detail standard operation Cloc
56. r It can mix audio control voltages and gates with multiple normal and inverted outputs Ideal for splitting signals with no signal drop Use Audio Mixer Use this as a simple 2 input audio mixer CV Mixer Two CV sources can be mixed to make a more complex control signal E g mix an LFO with an envelope signal o0 H 2 o gt Buffer When a signal is continually split like with a multiple the signal level can drop A buffer is a device that will maintain the voltage so no drop is seen at the output Inverter When the inverted output is used the signal is inverted polarity is inverted so it becomes a negative signal or a negative signal becomes positive For example put 5V through and you get 5V out An example of a useful application of this is to create auto pan Feed an LFO into the mixer Take the normal output to 1 VCA and the inverted output to another VCA Pan the 2 VCAs hard left and right Feed the same signal into both VCAs and it will pan between the speakers The MX224 has a 10 to 10V range ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 61 Warn MULTIPLE O Multiple Inputs Outputs Size 2x 4 parallel connected sockets 4HP or 1x 8 parallel connected sockets if requested Introduction This is a device that is a row of jack sockets all wired together in parallel Use The main use of a multiple is to split signals making it available on more than one socket For
57. r sound effects Reset In The reset signal does not need to be taken from the step outputs It can be taken from an source such as Gates from MIDI to CV converters synths or other analogue sequencers Step Outs These can be used individually to clock other analogue sequencers to trigger analogue percussion modules gate monosynths Each step out is basically a divide by 8 clock divide relative to the clock input signal Any step output normally one can be used to clock something else 8x slower ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 56 More GT8 Example Patching Any step out is a divide by 8 clock divider Take step 1 or any other step output into the clock of another sequencer GT8 controlling open and closed hihats or 2 monosynths Gate out 1 to CH Gate out 2 to OH Use a pulse shaper on the clock input of the GT8 to change the Gate output pulse widths Take different step outputs from same or other GT8 sequencers and mix them with a multiple to get another gate sequencer When using a clock other than our MC01 master clock module as with all analogue sequencers you must manually step to the last step of the sequence before you start the clock This is done automatically when using the MC01 Using 508 amp Run one at 1 1 clock ratio and the other at a divided down clock ratio say 1 4 for interesting effects ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 57 3 inpu
58. rs LFO Speed ru Introduction AM Q A simple LFO module with 2 separate waveform output Ideal for modulation Small 6HP size and low cost Controls Speed This sets the LFO frequency Li Q Triangle Level Sets the output level of the triangle wave output ANALOGUE Square Level SOLUTIONS Sets the output level of the square wave output Sockets Triangle Outputs the Triangle wave Square Outputs the Square wave ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 37 LFONZ LFO NZ VCLFO NOISE Inputs Outputs Power Freq CV Ramp Rev Ramp 12V Tri Square Noise LFO Controls Size Ramp Rev Ramp Level Select 6HP Tri Square Level Select LEVELS SELECT Indicators LFO Speed EK Introduction x module with 2 separate waveform outputs out of a choice of 4 Use LFO to control 0 a VCO to create vibrato a for tremelo or to control a filter s cut off frequencer wah wah filter sweep Use it any where you want to change a module s performance over time FA 2 modules Separate LFO and Noise features O O Controls Speed F CV Ww This sets the LFO frequency ANALOGUE soLutions Ramp Reverse Ramp Level Select Switch Sets the output level to the Ramp out jack of the Ramp signal Pull the control out to select Reverse Ramp Triangle Square Level Select Switch Sets the output level to the Triangle out jack of the Triangle signal Pul
59. run continually when your MIDI sequencer is run ning Therefore you cannot stop and re start your analogue sequencers mid song Using the MT16 this problem can be overcome By programming a bar of 16th notes and looping the bar straight away you have created a clock signal that your analogue sequencers can lock on to But there are several important advantages you can have up to 16 clock signals they can all be different divide ratios by changing the note pattern So you could say have one sequencer running half the speed of the other The string of notes does not have to be a steady pattern it can be a syncopated rhythm clocking you analogue sequencers in a particular changing pattern you decide ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 48 THRU MIDI CV1 PITCH CV2 CNTRL GATE ANALOGUE SOLUTIONS MCV MIDI to CV Converter Introduction The MCV is a quick and easy to use module that allows control of analogue devices from a MIDI controller Use Connecting Connect the MIDI sequencer or other MIDI device to the MIDI input of the M2CV Normally CV1 PITCH goes to the pitch CV input of your synth CV2 goes to any other CV input like filter cut off CV Gate goes to the Gate or Trigger input o your synth Make sure the MCV is on the right MIDI channel and away you go Details The MIDI activity light will be lit whenever there is a gate voltage present i e whenever 1 or more MIDI keys are held T
60. smitting on The outputs are pre assigned output T1 starting at middle C ACCENT The ACC is an on 5v off Ov output When velocity of over 80 is received for any of the 9 triggers then the Accent will go high 5v Lower than 80 the output will go low Ov Use this output to control other ana logue modules Note it is not directly compatible with the drum module ACC inputs The naming of this socket is perhaps misleading if you use our drum modules The drum modules require a different type of accent signal 12v on about 5v off We may or may not make an Accent add on module ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 47 Uses Triggering Drum Voices The most logical use for the MT16 is for easy programming of Concussor drum voice modules via a MIDI sequncer Electronic percussion patterns can be quickly created using for example Cubase s grid editor or a rhythm sequencer such as the Akai MPC2000 Gating Envelopes The length of the trigger pulses is determined by how long the MIDI key is held down for sustained When you hold a MIDI key down the trigger output will stay on 5V until the key is released This makes the MT16 ideal for controlling envelopes Devices with Clock Inputs MT16 is more advantagous than using a MIDI Sync device The MT16 offers a much more flexible way of synchronising analogue sequencers and drum machines than using a MIDI Sync device MIDI Sync devices have the problem that they
61. t mixer Headphone Pre Amp 6 input 2 output Mixer 2 input Mixer Buffer Inverter 2x4 or 1x8 Multiple Quad Attenuators Inputs 3x ins Controls Output Level HP01 MIXER HEADPHONE AMP PHONES OUTPUT ANALOGUE SOLUTIONS 01 3 Input Mixer Headphone Pre Amp Ouputs Power 6 35mm Headphone 12V GND 6 35mm Line Indicators Size none 6HP Details HP01 is a handy output device It has three main functions Small mixer to take outputs from other sub mixers in the system Headphone Pre Amp for those that wish not to use speakers 1 4 large jack output so the main output signal from the system can be taken to a mixing desk without the need for special cables or adaptors Controls In Detail LEVEL Alters theoutput level Sockets In Detail IN 1 3 Mixer signal inputs PHONES Mixer output from the headphone pre amp This socket is for Headphone use Uses a stereo socket but a mono signal OUTPUT Output from mixer ANALOGUE SOLUTIONS CONCUSSOR c 12 2007 59 MX61 6 Input Audio CV Gate Mixer with Inverter Inputs Ouputs Power ins 3 5mm out normal 12V GND 3 5mm out inverted Controls Indicators Size none none 4HP Details The MX61 is a 6 input unity gain mixer It can mix audio control voltages and gates It allows you to bring many signal source together to be sent to another module such as several VCOs into one filter or to be used to mix audio sourc
62. t only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket The accent voltage can be from another trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep When both hihat sounds receive a trigger at the same time a muted hihat sound is produced The HH audio source which is six detuned square wave tones is available at the SOURCE output directly and unprocessed The Tune control changes the tuning of one of the six square wave tones The OUT sockets are the audio outputs for the CH and OH sounds When using the OH Decay CV input turn the OH Decay pot fully clockwise The CV input subtracts from the control The SOURCE output is the source sound of the hihats unfiltered Use this in conjuction with a modular system to create new drum sounds Controls Tune Sets tuning of 1 of the 6 oscillators that makes up the sounds CH Decay Sets the closed hihat decay time CH Level Sets closed hihat output level OH Decay Sets the open hihat decay time OH Level Sets open hihat output level ANALOGUE SOLUTIONS CONCUSSOR e amp oe 12 2007 16 RS88 Rimshot Module m RS88 RIM SHOT Inputs Outputs Power Accent socket 0 12V 3 5mm audio out 12V Trigger socket 5 12V 6 35mm audio out Controls Indicators Size Tune Trigger LED 10HP HPF tone Level Introduction The RS88 is an accurate replica of the
63. t to touch any part of the circuitry gt It is OK to handle the edge of the circuit board Always disconnect the rack power supply from the mains when inserting modules or doing anything inside the rack Note just a few of the Concussor modules have the power socket up side down This should not cause any confusion as the power cable is always supplied fitted when buying a Concussor module Concussor modules feature both Doepfer and Integrator power sockets Please state which system you intended to use the Concussor module with so we can supply the correct power lead Default is Doepfer The Concussor power supply also features sockets for both If you run out of sockets on the power supply board you can purchase bus power cables from us These are ribbon power leads that feature multiple power sockets buss cables enabling many modules to be plugged into only one power supply socket 2 It is up to you to connedt modules to PSUs correctly Whether you have bought one of our cases power boards or adaptor leads we cannot guarantee your handy work Also we certainly won t guarantee our modules if you are mixing and matching manufacters To those who have bought our adaptor cables to connect Integrator modules to a Doepfer PSU or vice versa Our adaptor cables are fully tested However we do not guarantee the modules or the power supply under ANY circumstance including faulty cable Please refer to the following diagrams for details of conn
64. ther trigger pulse generator or from an LFO or Envelope When using for example an LFO you can have the level changing with the LFO sweep The Tune CV input can be used to alter the tuning with any voltage E g use LFO for slow pitch sweeps Using audio or any other high frequency signals to modulate tuning allows wild cross modulated drum sounds to be produced This sort of modulation of pitch provides an extreme range of sounds to be produced aside from the standard TR909 style kick The trigger LED will light each time a trigger pulse is received Controls Sweep Called Tune on original TR909 Sets the amount of envelope sweep on the pitch Tune Sets the initial pitch of the drum sound Attack Controls click level like stick hitting drum skin The click you hear is actually a burst of filtered noise Decay Sets decay time Level Sets output level Note the BD99 12pin power header is mounted up side down Always ensure power cable is fitted correctly Doefper power socket is upside down on this module though this should not cause confusion as the module is always supplied with the power cable fitted ANALOGUE SOLUTIONS CONCUSSOR e amp oe c 12 2007 12 o w SD78 SNARE DRUM e TRIG TUNE SD78 Snare Drum Module Inputs Outputs Power supply Trigger socket 5 12V 3 5mm audio out 12V 6 35mm audio out Controls Indicators Size Tune Trigger LED 10HP Snappy Introduction The SD78 is an accurate r
65. ts Outputs Power Trig In x out 12V GND out Controls Indicators Size Attack Trig LED 12HP Decay Sustain Release Level with integrated push pull switch for invert 01 ENVELOPE Envelope Generators EGs in general The EG produces a CV that varies over a period of time It s start is triggered by a Gate or Trigger signal The main use for an EG is to vary the volume of a sound when used to control a VCA to re produce the way natural instruments sound E g a piano sound starting loud when the key is struck then gradually dieing away It can also be used to change the timbre of a sound over time by con trolling the cut off frequency of a VCF The most common EGs are ADSR AD and AR Attack Decay Sustain Release The attack time adjusts the rate at which the envelope will rise to its peak value This is initiated with a Gate signal The Decay adjusts the rate the signal takes to fall to the Sustain level The Sustain level adjusts the level that the EG signal will sustain from the end of the Decay time till the end of the Gate signal i e when the key is release The Release time adjusts the rate the signal takes to fall from its current level to zero after the end of the Gate signal when the key was released If a short Trigger signal is used to initiate the EG there will be no Decay or Sustain portion to the EG signal The signal will rise to peak level Attack then imidiately fall
66. w if you start to change the the levels away from their setings you will hear the timbre change All combinations of settings are useable so just play around live as the sequencer plays ANALOGUE SOLUTIONS CONCUSSOR e amp oe 12 2007 54 GT8 8 Step Dual Gate Sequencer Inputs Outputs Power Supply Reset In 2 x Gate Range 0 5V 12V 5V GND Clock In 8 x Step Outs on 5V Controls Indicators Size Step Button 8x Step LED s 18HP 8 x Gate switches left channel 1 middle off right channel 2 Introduction GT8 8 STEP GA TE SEQUENCER Analogue sequencers allow you to programme a set of trigger events 8 in this case and allow you to step through them by using a clock signal or 5 LFO square wave With each step the gate trigger voltage is at the output for the length of the clock pulse The gate pattern can be used to trigger VCAs Envelopes and percussion modules N C Qu a 4 gt 1 OFF 2 1 DFF 2 00000 STEP xa you STEP OUTS ANALOGUE SOLUTIONS a o i Main Applications For triggering envelopes clocking other devices or controlling CV s like VCA control inputs The GT8 comes with a 5V range as standard This range is ideal for triggering most monosynths and envelopes If requested when ordering the GT8 can be given a 10V range It is possible to change to range between 5 and 10V by adding or rem

Concussor manual - Analogue Solutions

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