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Shruthi-1 user manual

1. mic arpeggio pattern 5 Press F4 the arpeggiator now plays F4 on the programmed rhythmic arpeggio pattern To summarize as long as keys are held new notes are added to the arpeggio As soon as a key is released the arpeggio will continue to loop the pattern but will forget whichever keys were being pressed when a new note is played Now the 1M question how to tell this crazy thing to shut up There are two ways of stopping a latched arpeggio sequence both of them kind of violent kicking the hold pedal or punching 8 notes at a time use your knuckles left hand on CDEF right hand on GABC Or you can just change the sequencer mode to another setting to leave the latched mode seq pattern player In this mode the pattern programmed in the sequencer is triggered by playing a note on the keyboard Roland calls this RPS Depending on the note you play the pattern is transposed play C4 to play the pattern as recorded C 4 to play it one semi tone higher B3 to play it one semi tone lower etc The pattern will stop whenever the key is released but the clock will continue ticking for the duration of a bar and if a key is pressed during this interval the pattern will resume in time This mode is most useful for playing and transposing a bassline seq lt pattern player This mode is similar to seq with one exception when you release a key the pattern will continue playing To make it stop press again the note corresponding t
2. the harder the note is pressed the harder the edges of the LFO are Here is another example showing how to quantize an envelope to create a low fi steppy modulation First route the operator 1 output to the filter cutoff Mod src dst amt 1 opi cut 63 Then specify that operator 1 is a quantized version of the envelope 1 Op ini in2 out 1 eni 4 qtz 2 2 Sequencer and arpeggiator Before going further let s get things straight the Shruthi 1 sequencer has little in common with the sequencer of say a TB 303 it is not intended to be a press play and let it do all the work thing Indeed there s no play button on the Shruthi 1 You have to think of it as an arpeggiator like tool something to help create complex riffs and patterns with limited keyboard action 2 2 1 Sequencer mode and clock Mod bpm gro amt stp 120 swi 0 e mod mode Sequencer arpeggiator mode This deserves some generous amount of explanations please read further e bpm bpm Arpeggiator step sequencer LFOs tempo in BPM Note that there are 8 super fast values 270 300 330 360 420 480 600 720 for sound effects extern will sync the Shruthi 1 clock to the ticks received from the MIDI input x2 ext will sync to a clock twice faster than the external MIDI clock double BPM 2 ext 4 ext and 8 ext will sync to divisors of the external MIDI clock e gro groove groove template The options are swing uneven distribution of pairs o
3. M My li A i MWh UN UTA hi na WJ This waveform uses phase distortion to recreate a sawtooth sent through a low pass filter with high resonance The parameter controls the resonance frequency Useful for doubly filtered sounds formants or anything where its synthetic cheesy feel will shine ztri Phase distortion resonant triangle monster IM I Nil ill I h il IM f il iit ik y Ml i in I AITA A I WN ih lh all lh JA This thing is hard to describe and must be experienced lt sounds like a resonant filter sweep but has a very hollow synthetic quality lt may or may not have been in the Casio CZ 101 This waveform is likely to result in whacky sounds vaguely evoking hardsync zpulse Phase distortion trapezoidal creature VA A ATUA Yet another waveform that makes little sense When the parameter is set to 0 it sounds like a fat superposition of a square wave and a sawtooth Sweeping the parameter value progressively increases what sounds like the resonance of an odd goofily saturated analogue filter NII ii zsync TIT trick ll IHHHHHHHHIHIHI You know the trick one oscillator playing a low frequency square wave and another oscillator a higher frequency sine wave the first one resetting the phase of the second and the two of them sent into a ring modulator Now roll this into on
4. be shown and its first parameter atk will become selected Once a parameter is selected click the encoder to edit it The encoder is now used to increment decrement the parameter value Once the value has been set click on the encoder again to move back to the 4 parameter summary Note that potentiometer and encoder editing can be combined For example use a potentiometer to quickly adjust a parameter and then while the parameter name is still displayed on the screen use the encoder to fine tune it A last trick if you hold S6 while rotating the encoder it will increment decrement by 10 instead of 1 This is particularly useful for browsing long lists of patches That s all you need to know about the pages navigation system 2 Reference The section describes one by one all the parameters accessible on the synthesis and sequencer pages 2 1 Synthesis Before digging into the pages details here is a diagram of the Shruthi 1 signal flow coarse coarse coarse pitch 1 vibrate PMi pichi vibrate balance Pik 2 pitch 2 vibrato Click sie Nois generator Sub oscillator Oscillator 1 Modulator ci generator Digital Analog ae En il id sublransient noise Mi in A T ev cve lavel level ae ae 2 eae Note Mod wheel Bender Velocity Aftertouch pitch Random DG offset Digital audio Keyboard Digital audio signal signal gate Analog audio signal Control signal The audio signal flow is represented
5. can find here some examples of MIDI files containing user wavetables Note that an extra set of 9 wavetables have been added at the end of the waveforms list Sbits bitwise anarchy A palette of 8 bits sounding waveforms obtained by applying bitwise operations to a basic sawtooth wave something now known as biscuiting crush bit crushed sine and triangle wave 4 i pF iz A E y dl Lu AAA AAA 7 1 F r DA E A E 1 4 LA From 0 63 this oscillator will produce a bit crushed sine wave 63 corresponding to the maximum amount of decimation From 64 127 this will produce a bit crushed triangle wave 64 corresponding to the maximum amount of decimation As a result the transition from the two waveforms is smooth since the bit crushing is very heavy when the two ends meet A parameter value near 120 yields a very typical NES bass sound pwm my first Arduino synth UBB duuu This waveform is a shamelessly naive square wave The parameter controls the pulse width Contrary to square this waveform stinks aliasing but for notes below C2 it is not a real problem it becomes much more aggressive and in your face than square noise Filtered noise generator The parameter controls the frequency of a simple 1 pole low pass high pass filter in which is sent Tm AAA white noise From 0 to 63 high frequency content is progressively added From 63 to 127 low frequency content is progressively removed Perfect as a raw
6. can be edited with the potentiometers P1 scrolls through the steps P2 changes the note at the current step P3 changes the rhythmic event and velocity value at the current step Finally P4 modifies the controller value The encoder can be used to scroll through the steps Clicking the encoder enters the edit mode a blinking cursor is shown and the encoder is now used to increase decrease the note value Clicking the encoder again leaves the edit mode While in edit mode pressing a key on the MIDI keyboard will record the note number at the current step and move to the next step This can be seen as a naive step by step recording mode which can be used while a sequence is playing Three important notes e The pattern length is by default 16 steps but this can be changed on the Rhythmic sequencer or Step sequencer pages e The note sequence rhythmic pattern and controller steps sequence all have the same length e The step sequence controller values have an effect only when the step sequencer is routed to a modulation destination in the modulation matrix 2 2 4 Rhythmic sequencer This page shows on a single screen the rhythmic content of the bar programmed in the pattern editor It is particularly useful when programming a rhythmic pattern for the arpeggiator a task for which the only information that really matter are the note velocities and rhythmic events The first line of the screen shows the rhythmic events the second li
7. in red digital path and then in orange analog path The oscillators 1 and 2 generate digital waveforms which are combined together by the modulator The default modulator is a balance control over the level of the two oscillators but more esoteric modulation methods are available The sub oscillator which is synchronized in pitch with the oscillator 1 but 1 octave lower also generates a basic waveform The click generator generates a short transient click at the beginning of the note Note that the sub oscillator and the click generator cannot be used at the same time It s bassy beefy or clicky not both The output of the modulator the sub oscillator click generator and some additional noise are mixed together You can adjust the balance of each ingredient The result is converted into a pseudo analog 10 MHz 1bit audio signal and mixed electrically with an external signal coming from the Audio in jack The result is then sent to an analog VCF and VCA to produce the final audio signal Note that the signal flow of this section depends on the signal processing board Some boards might include an additional CV controlled waveshapper FX section additional filter etc at different stages of the analog path Some boards might not even offer a VCF Each of these modules have parameters represented by the blue arrows which can be controlled by any of the modulation sources listed below However some connections are already h
8. mapped to the cutoff with a modulation amount of 20 the cutoff will go from 80 to 120 80 2 20 then down to 80 after the release This is something to remember if you want to do PWM for example If you set the PWM modulation amount to 40 you also have to set the oscillator pulse width value to 40 so it will oscillates between 40 40 0 and 40 40 80 Otherwise it will spend half of the time stuck at 0 But this makes things nicer for vibrato tremolo wah wah or growl effects 40 Ln 0 LFO A A J Pulse width OSC 1 Parameter a bad 0 0 LFO rp OSC 1 Parameter Pulse width good 16 Important Quirk ahoy The modulation amount of the last patch cord is adjusted by the modwheel Huh Let s say you set patch cord 12 to go from LFO 1 to the oscillators fine pitch with an amount of 16 Mod src dst amt 12 11 16 This modulation will be applied with an amount proportional to the modwheel position by default it won t be active until you start moving the modulation wheel and to get it at full strength you ll have to push the modulation wheel to the max 2 1 8 Operators Press the modulation matrix button twice to bring the operators page In this page you can configure the two operators An operator takes 2 modulation sources applies a fancy or not mathematical operation on them and the result is made available as a new modulation source in the modulation matrix Op ini in2 out 1 1
9. 11001122112233223344334455445566556677667 sikha Vedic recitation pattern 3 1 16 01221001212332112323443223434554334545665445656776556 ghana Vedic recitation pattern 4 1 16 0110012210012122112332112323322344322343 2glass Philip glass augmentation 1 8 01012301234501234567234567456767 2krama Vedic recitation pattern 1 1 8 012323454567 2jata Vedic recitation pattern 2 1 8 012323010123234545232345456767454567 2sikha Vedic recitation pattern 3 1 8 012345452301012345234567674523234567 2ghana Vedic recitation pattern 4 1 8 012323010123454523010123452345452323 Aglass Philip glass augmentation 1 4 0123012345674567 Akrama Vedic recitation pattern 1 1 4 01234567 Ajata Vedic recitation pattern 2 1 4 012301234567012345674567 Asikha Vedic recitation pattern 3 1 4 012345674567012301234567 Aghana Vedic recitation pattern 4 1 4 012345674567012301234567 20 2 2 3 Pattern editor The pattern editor page is very different from the other pages Here is how it looks like 00 C3 70 gt 01 C3 70 It contains 5 columns showing from left to right 1 The step number 2 The note at this step 3 The rhythmic event at this step note represented by a note icon tie slide represented by a sign or rest empty 4 The velocity applies only to steps with a note 5 The step sequencer controller value at this step from 0 to 15 values from 10 to 15 are represented by the letters a to f The pattern
10. 13 Oxe9 and is transmitted as Ox0e 0x09 5 5 1 Patch transfer For patch transfer command is equal to 0x01 and argument is null The payload is a 92 bytes 184 nibbles data structure described here Upon reception the Shruthi 1 checks the patch data and loads it in memory in place of the currently edited patch Warning When receiving a patch by SysEx the received patch is not written to persistent patch memory it is only temporarily loaded in memory so you can edit it and if you re happy with it save it yourself Since you don t risk overwriting stuff in memory when using SysEx patch transfer use it and abuse it For example embed at the beginning of each of your tracks a dump of the patch so your Shruthi 1 will always recall the correct patch settings when you play the track back 5 5 2 Sequence transfer For sequence transfer command is equal to 0x02 and argument is null The payload is a 32 bytes 64 nibbles data structure described here Upon reception the Shruthi 1 loads the sequence data in memory in place of the currently edited sequence 5 5 3 Waveform transfer For waveform transfer command is equal to 0x03 and argument is null The payload is a sequence of 8x129 bytes 2064 nibbles describing 8 single cycle waveforms each of them being 129 samples long The period must be 128 samples the 129th sample must be equal to the first one and is used for interpolation wrap around The waveform is described with 8 bits un
11. A ERE eee 31 5 5 3 _ Waveform transfer osos ers MSG Deo ee Ee SE oS Ge 31 5 5 4 Storage memory dump aa a a 31 5 5 5 Transfer request ocioso soso 84444 dK A woes 32 5 5 6 Write request 32 5 5 7 Firmware update 2 a 32 32 37
12. S Handshake Send SPS 1UM Name 505 DevHo Rec Format jo sos nee In From MIDI Yoke In From MIDI Yoke In From MIDI Yoke A MN E Oo Mi Be Out To MIDI Yoke Out To MIDI Yoke Out To MIDI Yoke Out To MIDI Yoke Out To MIDI Yoke Out To MIDI Yoke 28 AE MIDI Preferences MIDI In Misc Settings Interface EDIROL FA 66 1483 Plug 1 _ Reload files Delay ticks Turbo Limit 15 None a Midi Out Sample settings Interface EDIROL FA 66 1483 Plug 1 505 Handshake Send SPS 1UW Name 505 Device Number SD5 Rec Format 0 sos W 5 3 MIDI implementation A standard MIDI implementation chart 5 3 1 Received messages Note on off 0x80 and 0x90 aftertouch 0xa0 Oxd0 and pitch bend Oxe0 Note that the aftertouch is always global and that its effect depends on the patching of the afttch modulation source in the modulation matrix by default none Program change 0xc0 This loads a patch from the internal or external memory You can use the bank LSB CC 0x20 32 to load patches above 127 Note that the patch numbers shown in the load save page are numbered from 1 but the MIDI patch numbers are numbered from 0 so the first patch is loaded with program change 0 even if it appears to be 1 on the load save page Control changes Oxb0 The Shruthi 1 responds to the following system control chang
13. Shruthi 1 user manual Mutable Instruments 1 Getting started 1 1 Overview Let us familiarize ourselves with the Shruthi 1 Yours is probably not beige e The LCD display D shows most of the time the 4 parameters that can be directly edited with the potentiometers In some other circumstances it might display a confirmation messages the content of a sequence etc e The clickable encoder E can be used to navigate between parameters pages or to step through the values of a parameter e The four potentiometers P modify synthesis parameters in relation to the selection of parameters shown on the display e The 8 LEDs L1 L8 provide complementary information as to which editing page is active e The 6 switches S facilitate navigation between pages The switches S1 to S4 are used to cycle between groups of related pages S5 is used to switch between the synthesis pages and the sequencer system pages and S6 is used to bring the load save page to save or recall a patch a sequence or the system settings The following connectors are available on the rear panel e 1 2 1mm DC power jack The Shruthi 1 can be powered with a 7 5V 12V unregulated supply or with a 9V battery adapter Make sure that the connector has a center pin or tip positive outer collar or sleeve negative pin polarity Most universal power supplies allows the polarity to be selected the polarity being often represented by a diagram like this
14. a variety of MIDI configurations In particular different functions can be assigned to the MIDI out port through the midi out option of the midi settings page 5 1 1 off The MIDI out port is disabled This settings brings a tiny tiny improvement in responsivity to the MIDI input and to knob movements since no MIDI out means less work for the CPU 5 1 2 thru The MIDI out port outputs verbatim what was received on the MIDI input soft thru This setting is not very CPU intensive since no reformatting of the MIDI stream is done 5 1 3 seq The MIDI out port outputs only the note on and note off events processed by the synthesizer be they generated by the internal sequencer and arpeggiator or received by MIDI 26 5 1 4 ctrl The MIDI out port outputs only NRPN messages capturing knobs tweaking This mode is ideal for using the Shruthi with both its IN OUT ports connected to the same device The other modes are not suitable for operation in this configuration since they can cause unwanted MIDI loops 5 1 5 split The note messages below the split point defined by the split parameter are handled by the Shruthi 1 while the other notes are forwarded to the MIDI out All the other messages including notes from channels the Shruthi 1 is not listening to are forwarded to the MIDI out 5 1 6 full In this mode every incoming message is forwarded to the Midi output In addition NRPNs and Data entry messages capturing the knob mo
15. and are very good at mimicking the sounds of machines or human organs e rat rate LFO rate e atk attack LFO rise time When this setting is non zero the LFO will take some amount of time to reach its maximum amplitude e mod LFO synchronization mode when set to free the LFO is free running When set to slave the phase of the LFO is reset every time a new note is played Finally when set to master the LFO will retrigger the envelope LFO 1 retriggers envelope 1 and LFO 2 envelope 2 Among the choices of LFO rates the first values which are prefixed by a x are tempo synchronized settings The number following the X corresponds to the number of sequencer steps that will be used to set up the LFO period x16 simply means that the LFO will go through one cycle over the duration of 16 sequencer steps 4 beats For example if you set the LFO to a ramp with a rate of x4 and map it to the cutoff the cutoff will raise over the duration of a beat and return to a low value at the beginning of each beat With a x2 or x1 rate square LFO mapped to the VCA you can get old school trancey gater effects With a x2 rate sample amp hold LFO mapped to the cutoff and the basic arpeggiator pattern with high resonance you get a random bleeping at every note 2 1 7 Modulation matrix In this page the routing between the modulation sources and destinations is configured The first important thing about this page is that it works a bit differ
16. apper with a warm tanh re sponse 4 Oscillator 1 and 2 are mixed and sent through Oscillator 1 2 balance a dirty 4x sample rate reduction 8 Oscillator 1 and 2 are mixed and sent through Oscillator 1 2 balance a dirty 8x sample rate reduction fold Oscillator 1 and 2 are mixed and sent through Distortion amount a foldback distortion bits Oscillator 1 and 2 are mixed and sent through Bit depth reduction amount a bit depth reducer duo Duophony Adjusts the oscillator 1 2 balance 2steps Oscillator 1 2 cycling Asteps Sound source cycling 8steps Sound source cycling seqmix Sound source cycling A few words about the last fancy modulation modes In duophony mode you can play two note chords or bass melody The first note of the chord will be assigned to oscillator 1 and the second note will be assigned to oscillator 2 like on the ARP Odyssey or the Polivoks This works best when mix is set to 32 and when oscillator 1 and 2 are set to the same settings otherwise small differences in timing can result in drastic changes as both notes of the chord will be assigned to different oscillators If you play more than 2 notes the least recently played note will be assigned to oscillator 2 the most recently played note to oscillator 1 and the other notes are ignored The sub oscillator follows the least recently played note Note that the Shruthi 1 is by design a monosynth with one set of envelopes amp LFOs and one filter VCA both
17. arameter If the current value of the parameter is set to 64 you ll hear a discontinuity since the value of the parameter will instantly jump to 0 or 1 when you start touching the pot When snap is on things will happen differently rotating the pot will have no effect until the position of the pot actually reflects the current value of the parameter After that the parameter value will track the potentiometer s position Another way to explain it when snap is on you have to move the pot to grab the current parameter value before the parameter is modified e fil filter Enables software extensions for a specific filter board The default Ipf must be selected for the CEM3379 SMR4 and IR3109 filter boards ssm must be selected for the SSM2044 filter board What does it do It enables a second filter page press S2 twice to bring it in which you can control the HPF frequency e cv cv mode Enables software handling of specific input devices connected to the CV inputs 4 cv in is the default the 4 voltages at the 4 CV ins are read and made available in the modulation matrix prgm must be selected to enable Frank Daniels programmer pedals directly map CV1 and CV2 to oscillator 1 and 2 s parameter and CV3 to the cutoff frequency It has been used for a custom built Shruthi with an expression pedal connector and a joystick 2 6 Trigger events Ch al ch2 n2 1 36 1 38 This page allows two notes to be defined as trigger events I
18. ardwired or rather softwired in the firmware The oscillators pitch always track the note played on the keyboard However this can be disabled by applying a negative modulation amount 63 from note pitch to oscillator pitch The filter cutoff frequency always tracks the note Again this can be disabled or attenuated by applying a negative modulation from note pitch to cutoff frequency The rationale behind this choice is that most of the time you want 1 1 tracking so this frees up a slot in the modulation matrix for something more interesting e Lfo 2 and Envelope 1 are always connected to the filter their modulation amount being controlled by dedicated parameters on the filter page The following routing programmed in the init patch Source Destination Amount S O Lfo 1 Oscillator 1 coarse pitch Lfo 1 Oscillator 2 coarse pitch Lfo 2 Oscillator 1 PWM Lfo 2 Oscillator 2 PWM Lfo 2 Oscillators balance Step sequencer Oscillators balance CV 1 Oscillator 1 PWM CV 2 Oscillator 2 PWM 0 Envelope 2 VCA gain 100 Velocity VCA gain 25 Bender Oscillator 1 2 fine pitch 2 semitones LFO Oscillator 1 2 fine pitch vibrato 2 semitones 2 1 1 Oscillator 1 Sha prm rng sub saw 0 0O sql e sha shape Oscillator 1 waveform shape e prm parameter Oscillator 1 parameter This changes the timbre of the generated waveform in a waveform specific way see below e rng range Oscillator 1 pitch from 24 semit
19. ase Envelope 2 attack Envelope 2 decay Envelope 2 sustain Envelope 2 release LFO 1 waveform LFO 1 rate LFO 1 rise time 26 LFO 1 master slave 27 LFO 2 waveform 28 LFO 2 rate 29 LFO 2 rise time 30 LFO 2 master slave 31 Modulation n source 32 3 n 1 Modulation n destination 33 3 n 1 Modulation n amount 34 3 n 1 Sequencer mode 100 Tempo 101 Groove template 102 Groove amount 103 Arpeggiator direction 104 Arpeggiator range 105 Arpeggiator pattern 106 Time warp 107 Using NRPN values outside of this table might result in unexpected behavior In addition to the data entry LSB MSB message described above you can edit the value of a parameter by sending increment decrement CC 5 5 SysEx data format SysEx messages all share the same format OxfO SysEx 0x00 0x20 0x77 unregistered Manufacturer ID for Mutable Instruments 0x00 0x02 Product ID for Shruthi 1 Command Argument Payload 31 Checksum Oxf7 End of SysEx Command indicates what the receiver should do with the data in the payload block and argument is a byte that might contain an additional piece of information about what to do with the data Payload is a sequence of bytes in nibblized form For example the sequence 0x80 0x56 0x13 is transmitted as 0x08 0x00 0x05 0x06 0x01 0x03 Checksum is equal to the nibblized sum modulo 256 of the bytes In the example above the checksum is equal to 0x80 0x56 0x
20. d slap organ male wavetables wavetables wavetables All these waveforms are wavetables comprising 16 single cycle waveforms The parameter scans the wavetable smoothly interpolating between each waveform Some of these tables are transwaves the single cycle waveforms were extracted from different stages of a sample and you can somehow recreate the original sample y using an ASI i m will sweep the parametr i i i i A N AN i yi Y j waves are 16 basic waveforms or rather two series of 8 basic is AN 0 16 are one cave ger i MN WN NN NN j Mi Ril Wit M 10 Ay i iy UN WW campus is a transwave extracted from a eee digitl is a PPG wave classic AN M metall is made from single cycle waveforms extracted from classic D50 patches bowed is a transwave extracted from cello sounds slap is a transwave extracted from an SQ 80 slap bass patch organ contains 16 different mixtures of pure tones ready for some Light my fire action male is another PPG wave classic it sounds vaguely like a human male voice user user wavetable This wavetable has two peculiarities it is smaller than the other ones 8 single cycle waveforms each of them being 129 samples long and it resides in RAM instead of residing in flash ROM By default it is loaded with the same content as digitl but its content can be altered by SysEx messages You
21. d override what was originally in the sequencer allowing some variations to be played on top of the sequenced pattern Release the first note to stop the pattern from playing or play another root note to transpose the pattern 19 2 2 2 Arpeggiator Dir rng pat wrp f 1 O gla e dir direction Arpeggiator direction The options are up down up down and random e rng range Arpeggiator range in octaves from 1 to 4 e pat pattern Arpeggiator rhythmic pattern 15 patterns are available see the chart below The last option in the list sequence uses the rhythmic pattern programmed in the sequencer e wrp warp This option modifies in which order the steps of a sequence are played Arpeggiator patterns 1 00 000000 2 000 000 000 000 3 O O 00000 O 0000 4 00 00 00 O 00 O 5 0000 00 0000 OO 6 0 O o o 7 0 O 00 O 0 8 0 0 0 O 00 9 00 0 0 O O 10 00 oo 0000 oo oo 11 00000 oo oo 000 12 o O O 000 13 o oo O O O OO 14 o 000000 OO 15 o O O OO Warp patterns This table shows how a 8 steps sequence 01234567 will be warped for each of the available warp settings Name Description Rek gt Forward 01234567 lt Backwards 76543210 gt lt Ping pong 1 0123456776543210 gt lt Ping pong 2 01234567654321 glass Philip glass augmentation 1 16 0010120123012340123450123456012345671234567234567345 krama Vedic recitation pattern 1 1 16 01122334455667 jata Vedic recitation pattern 2 1 16 0
22. done e Rotate the encoder to move the cursor to a letter of the patch name you want to modify Click and rotate the encoder to change the letter Click again when done e Once the patch number and patch name have been set move the cursor to the ok button When selected it will appear in brackets ok Click the encoder to confirm The patch is saved To cancel and leave the save page press any other switch 24 3 1 3 Special functions While the browse page is displayed hold S6 and press e Sl to revert the current patch to init e S2to program random values into all the parameters of the current patch e S3 to dump the current patch to the MIDI output as a SysEx block e S4 to bring up the global backup page e S5 to enable disable the combo feature When combo is enabled the loading and saving of sequences is paired That is to say whenever you load sequence 15 patch 15 will be loaded too Whenever you save patch to location 33 the current sequence will be saved to location 33 too This is for among others nostalgics of the first Shruti 1 in which sequence data was always saved along with the patch 3 2 Sequence load save page This page looks like this browse sequence 1 X K Loading and saving works just like for patches the only exception is that instead of showing the patch name the page shows the rhythmic content of the first two beats of the sequence Reset randomize MIDI dump functions are a
23. e If the current page is synthesis related oscillator 1 2 mix filter LFO envelope modulations the patch load save page will be displayed If the current page is sequencer related clock arpeggiator pattern editors the sequence load save page will be displayed Finally if the current page was related to MIDI or system settings the system settings load save page is displayed 3 1 Patch load save page This page looks like this browse patch 1 init The first line shows the action being performed load save or compare and the item to be loaded saved here a patch The second line shows the program number and its name 3 1 1 Browsing the patch library Rotate the encoder to browse through the patches Click the encoder to temporarily revert to the patch which was being edited before entering the load save page browse is replaced by compare on the screen Click the encoder again to resume browsing patches You can use the four knobs to tweak the sound parameters while browsing through the patches The mapping of parameters to the 4 knobs is that defined in the performance page The Shruthi 1 sends a MIDI program change message whenever a new patch is loaded 3 1 2 Saving When the browse page is displayed press S6 again to jump to the save page A blinking cursor is shown in front of the patch number save patch _1 init ok e Click and rotate the encoder to select the program number Click again when
24. e 0 will be mapped to 24 and the value 127 will be mapped to 24 There is a bit of resolution loss for parameters with a large range eg tempo This is not the case when using NRPN in this case the value in the data entry message will need to be exactly the requested value no scaling occurs Since most parameters have their range in a subset of 0 127 only a data entry LSB message has to be sent When the maximum value of the parameter exceeds 127 or when it accepts negative values a data entry MSB will have to be sent Negative values are represented using 2 s complement For example the MIDI messages to send to set the Oscillator 1 range to 12 176 99 O NRPN MSB set to 0 176 98 2 NRPN LSB set to 2 from the table below Oscillator 1 range 176 6 1 Data Entry MSB set to 1 value above 127 or negative 176 38 116 Data Entry LSB set to 116 because 116 128 12 The following table summarizes all the synthesis parameters with their NRPN and CC numbers 30 NRPN number Oscillator 1 shape Oscillator 1 parameter Oscillator 1 range Modulation operator Oscillator 2 shape Oscillator 2 parameter Oscillator 2 range Oscillator 2 detune Oscillator balance Sub oscillator volume Noise volume Sub oscillator transient generator shape Filter cutoff Filter resonance Envelope gt cutoff modulation amount Lfo gt cutoff modulation amount Envelope 1 attack Envelope 1 decay Envelope 1 sustain Envelope 1 rele
25. e messages e All sound off 0x78 e Reset all controllers 0x79 e All notes off 0x7b e Omni on off Ox7c Ox7d e Hold pedal 0x40 The following controllers are also received e Modulation wheel e Portamento time e Attack and release time 29 e Volume e Harmonic intensity mapped to resonance e Brightness mapped to cutoff frequency Finally many synthesis parameters are accessible by non standard control changes or NRPNs Please refer to the Parameters accessible by MIDI section Clock tick Oxf8 This advances the system clock when the bpm setting is set to external or one of its multiples Play and stop Oxfa and Oxfc The Play message must be sent to activate the LFO arpeggiator or sequencer when the bpm setting is set to external The Stop message kills all notes and stops the sequencer or arpeggiator System exclusive messages Oxf0 The Shruthi 1 sends or receives System Exclusive messages for the following operations e Patch data dump e Sequence data dump e Wavetable dump e Bulk memory dump e Firmware update e Post firmware update reset Please refer to the SysEx data format section for more information 5 4 Synthesis parameters accessible by MIDI Most of the synthesis parameters are accessible by NRPN or CC Editing a parameter by CC is fool proof send any value between 0 and 127 and it will mapped to the range of the parameter For example when adjusting the oscillator 1 range the valu
26. e oscillator type pwm2 Oscillator 2 parameter can be pulse width but also waveshapping phoneme etc de pending on the oscillator type oscl Coarse oscillator 1 pitch in a 16 16 semitones range Also affects the sub oscillator s pitch osc2 Coarse oscillator 2 pitch in a 16 16 semitones range oscl osc2 Coupled oscillator 1 2 pitch in a 4 4 semitones range Also affects the sub oscillator s pitch fine Fine oscillator 1 2 pitch in a 1 1 semitones range Also affects the sub oscillator s pitch mix Oscillator 1 2 balance or whatever the modulator does with the balance parameter noise Noise volume subosc Sub oscillator volume reso Filter resonance cvl Control signal for the CV output 1 cv2 Control signal for the CV output 2 attack Envelope 1 and 2 attack speed For example map velocity to this modulation destination to have a faster attack time on notes played with a high velocity Ifol Ifo2 Frequency modulation of the two LFOs envl env2 Envelope 1 and 2 triggers Whenever the modulation source goes up the envelope is retriggered One thing that requires a bit of clarification is the notion of centered modulation source Let s take an example We have a triangle LFO mapped to the filter cutoff with a modulation amount of 30 If the cutoff is set to 80 the actual value of the cutoff will oscillate between 50 80 30 and 110 80 30 On the other hand if we have an envelope
27. e read from the MIDI input 8 bender Pitch bend controller value read from the MIDI input centered 9 offset A boring constant value This is useful if you want to output a fixed value to one of the CV outs 10 cvl cv2 cv3 cv4 Control voltages read from the CV input pins By default the input pins are floating so it s likely that these modulation sources will sound just like noise 11 cc A cc B cc C cc D Value of the Control Change 16 17 18 and 19 12 noise Another noise generator Mapped to the VCA makes for some super snares 13 envl env2 Envelopes 14 velo Note velocity 15 random A random value updated every time a new note is played 16 note Pitch of the currently played note centered 17 gate Keyboard gate signal null when no key is currently pressed 18 audio Digital audio signal produced by the mixer Please note that since the modulation matrix is recomputed at 976Hz some serious aliasing is happening here You re not going to do FM with this thing most of the time it sounds like crap but it s something fun to experiment with 19 op 1 Operator 1 20 op 2 Operator 2 21 trg 1 Trigger 1 22 trg 2 Trigger 2 The modulation destinations are in modern lovers precise order 1 cutoff Filter cutoff 2 vca VCA gain 15 10 11 12 13 14 15 16 17 pwml Oscillator 1 parameter can be pulse width but also waveshapping phoneme etc de pending on th
28. e single sound generator the parameter of which controls the frequency ratio of the two oscillators we call it zsync The resulting sound is close to a Jew s harp or Morsing band passey and formantey pad Stack of 4 detuned sawtooth waves MAYA AA M Y MN yA ym W Ih My My May As the name implies this waveform made of four stacked sawtooth waves is useful for pads when a copious amount of filtering is applied or for harsh trance leads The parameter controls the amount of detuning between the four waves Note that no bandlimiting is happening here so this thing doesn t sound quite good above C5 but it s doing a perfect job in the bass range y fm Minimal 2 operators FM AR JT Jl IM UU UN AN lil Ml i ti WIT Hl The parameter controls the modulation strength This oscillator provides the base material for metallic sounds bells metallophones or the next 386 DX hit IN M Hh UN Warning When the fm oscillator is selected the range parameter plays a slightly different role than usual instead of controlling the main pitch of the note it controls the modulator frequency and has a drastic impact on the timbre waves tampur digitl metall bowe
29. ects 2 1 2 Oscillator 2 Sha prm rng tun saw 0 0 0 sha shape Oscillator 2 waveform shape The available waveforms are the same as for oscillator 1 e prm parameter Oscillator 2 parameter e rng range Oscillator 2 pitch transposition from 24 semitones to 24 semitones tun detune Fine detuning of Oscillator 2 2 1 3 Mixer Op mix sub noi sum 32 0 0 e op operator Modulation operator see below e mix osc bal Oscillator 1 2 balance Might do something different than balance when an operator different from sum is selected see the Oscillator 1 section e sub sub osc Sub oscillator or transient generator level e noi noise Noise level The operator parameter controls how oscillator 1 and oscillator 2 are blended together The different modulation modes are ri What does the mix parameter do Mixing Adjusts the oscillator 1 2 balance Mixing and synchronization oscillator 2 s Adjusts the oscillator 1 2 balance phase is reset whenever oscillator 1 s phase is reset You won t hear the detuning but instead a timbral modulation Ring modulation oscillators signals are scaled Balance between the original sound and the and multiplied output of the modulator XOR modulation The bits of oscillator 1 and Shifts the output with overflow 2 s digital values are exclusive or ed and the result is shifted Fuzz Oscillator 1 and 2 are equally mixed and Fuzz amount sent to a wavesh
30. ently from the others the potentiometer P1 is used to select a patchcord while P2 P3 and P4 are used to edit it Here is an example Mod src dst amt PL 1 0 This page means The patchcord 1 connects the LFO1 to the oscillator 1 pitch and the corre sponding modulation amount is set to 0 By turning the first knob you can scroll through the different connections in place for example mod src dst amt 9 en2 vca 63 The patchcord 9 connects the envelope 2 to the VCA gain and the corresponding modulation amount is 63 Once a patchcord is selected with the first knob the source destination amount are edited with the 3 other knobs Note that you can see in details the source and destination when tweaking one of those parameters 14 mod en2 gt vca amount When editing modulations L6 blinks is dimmed to reflect the value of the selected modulation source The modulation sources are in modern lovers precise order 1 Ifol Ifo2 LFO output centered 2 stpseq Step sequencer output 3 stpsql Step sequencer s little brother 1 it cycles on the first 8 steps of the sequence 4 stpsq2 Step sequencer s little brother 2 it cycles on the last 8 steps of the sequence 5 arp Rhythmic gate signal which outputs a high value when the arpeggiator or sequencer contains a note at the current step or O when there is no note 6 mwheel Modulation wheel value read from the MIDI input 7 afttch Aftertouch valu
31. f 1 8th notes shuffle uneven distribution of pairs of 1 16th notes push push the beat lag sloppy drummer human humanization and monkey humanization shuffle This setting only has an effect when amt is set to a non zero value e amt amount amount of groove to apply Now let s dig into the sequencer modes stp step sequencer only When stp is selected the arpeggiator and pattern sequencer are disabled The only pulsating mod ulating things running are the LFOs and the step sequencer arp arpeggiator When arp is selected the chords played on the keyboard are arpeggiated Releasing the keys for a short amount of time stops the arpeggio but keeps the clock ticking Releasing the keys for a duration greater than that of a bar stops the arpeggio and resets the clock it will restart from the first beat once a chord will be played this behavior is similar to the Shruti 1 arp lt latched arpeggiator This mode starts the arpeggiator in latched mode Here is an example of how it works 18 1 Press C4 and keep it held the arpeggiator starts and plays C4 on the programmed rhythmic arpeggio pattern 2 Now press E4 and keep it held the arpeggiator now plays C4 E4 on the programmed rhyth mic arpeggio pattern 3 Press G4 and keep it held the arpeggiator now plays C4 E4 G4 on the programmed rhyth mic arpeggio pattern 4 Release those 3 keys the arpeggiator continues playing C4 E4 G4 on the programmed rhyth
32. f1 1f2 add Use the first setting op to select which operator to modify The second and third options allows you to select which modulation destination you want to operate on The last setting is the operation to apply e add adds the values of two modulation sources e prd computes the product of the two modulation sources e max takes the maximum of the two sources e min takes the minimum of the two sources e xor totally messes up the two sources e gt outputs a large value if source 1 is above soure 2 0 otherwise e lt outputs a large value if source 1 is below soure 2 O otherwise e qtz source 1 is quantized into a number of values set up by source 2 e lag source 1 is low pass filtered with a cutoff frequency set up by source 2 There are plenty of things to experiment with Create a multi stage envelope by taking the max of envelope 1 and 2 mask a LFO by the step sequencer build a chaotic LFO using feedback and xor modulation between the two LFOs Square the value of a LFO to change its shape Here is a more precise example showing how to low pass filter a square LFO to create a soft modulation source routed to the filter First route the operator 1 output to the filter cutoff Mod src dst amt 1 opi cut 63 Then specify that operator 1 is LFO1 transformed by a lag processor Op ini in2 out 1 1f1 4 lag 17 The in2 is the filtering cutoff frequency You can try setting this to velocity too
33. g which knob does what in the current page For example if the filter page is active the display will show Cut res env lfo 110 O 10 The Shruthi 1 features 18 pages of parameters hence the page navigation is a bit more complex than on its predecessor Just like on the Shruti pages are bundled together in groups and repeatedly pressing one of the group switches cycles between the different pages in this group But now pages are also grouped into two large categories one category contains all the pages related to sound synthesis the ones you ll navigate in when creating a sound and another category contains all the pages related to sequencing and to system settings The switch S5 is used to toggle between the two categories When the synthesis category is active the LED on top of S5 is lit When the sequencer category is active this LED is not lit The switches 1 S2 S3 and S4 cycle through different groups of pages as shown on this diagram N eoosc 1 SEO f o0 OSC 2 ofilter on emod load save oolfo 1 O ich eomixer seifo 2 patc etunin y eoclock eedit eogate oMIDI 9 load save LJ ooarp oostep osystem O sequence The upper list shows the pages in the synthesis category accessible from each switch the lower list shows the pages in the sequencer category L7 indicates which page category is active and the leds L1 L6 show which page is active Here s an example The Shruthi 1 displays Cut res e
34. i 1 reboots into the newly updated firmware 6 Credits The following patches have been programmed by Florian Fourmy e Flo bass e Follow e ElectroB The following patches have been programmed by stuartm e woblbass e digobass e pythagor e noleleva e ahhparis e repliknt 33 e pwmstrng e dahkand e deetoon e cowgirl e voxelito e woodtock The following patches have been programmed by Trackdriver e bitbass e shorty e ViCdbass e sawwy e reason e puddle e blopbass e digattak e digibass e borg e fatbass e wowwy e pulsar e pwmsweep e slowswep e fatsweep e stringe e bigStrng e simplBra e pwmBrass e arpSynth e wasp e rendezVo e fullbell e belpiano e loFiFlut 34 e NESsie e noisBell e woice e wavesurf e lazrBird The remaining patches have been programmed by Olivier Gillet 35 Contents 1 Getting started ee enh ee eee eee eee eee aaa AAA 1 2 Controls and navigation 24 4 4 6 68 e eos SESE e RE Rew Eee 1 2 2 Editing 1 23 Using the encoder 2 0 a a a 2E SOVMENCSISS ass Ass ee 2A Oscillator cara CE RARE eee oe we DA OSI OP GG eh he eee E eee eee ed ee KA wee eR PO IMD 6 s 8a BS Eee RR e Oe Bee eS Ee eee eee ee Se eZ A IC ek a eS eee eee ake eee eee ee ae oe ee wees SEAN J sissors dee eee doe a eee ee ee eee Pees a Se ATA 2 1 7 Modulation matrix 218 QOpe rators a s a wwe co Bae bh Gk RRO AAA Sequencer and arpeggiator 2 2 1 Se
35. ing itself 10 times 25 4 Special functions Some functions are available by pressing the switches for a longer period of time greater than 1s 4 1 Test note Press S1 for a long period of time to trigger a C4 test note Press and hold again to stop the test note Coupled with the sequencer or arpeggiator this allows the Shruthi 1 to be used as a stand alone instrument without an external MIDI keyboard 4 2 Performance page The performance page allows you to gather 4 parameters from different pages and put them altogether in a single page so you don t have to jump continuously from one page to another while performing To assign a parameter to one of the knobs in the performance page 1 Adjust the value of the parameter you want to import to the performance page or use the encoder to scroll to its name The selected parameter is capitalized 2 Hold S2 for one second and release 3 Turn the knob to which you want to assign the selected parameter 4 The Shruthi 1 jumps into the performance page At step 2 the screen should display this touch a knob to assign parameter To jump to the performance page in which the 4 knobs control the user defined parameters hold S5 for more than 1s and release While in the performance page the LEDs indicate the current sequencer step x0x style Knob assignments for the performance page are saved with the patch data 5 MIDI 5 1 MIDI out modes The Shruthi 1 can be used in
36. ios to C are rational numbers pythagorean Pythagorean scale 1 4 eb E and B are 1 4 tone lower 1 4e E is 1 4 tone lower 1 4 ea E and A are 1 4 tone lower bhaira rasia A bunch of ragas of the Maihar gharana Note that it is not possible to play notes outside of the raga if you attempt to do so the previously played note will be retriggered The suggested mode of operation is to find out which keys are active in the raga and improvise with them 2 4 Master tune and MIDI settings Tun chn mid spl 0 1 ful C4 e tun tune Master tuning in the 1 1 semitone range e chn midi chan MIDI channel the Shruthi 1 is tuned to Use 0 to receive on all channels e mid midi out Data sent to the MIDI out Refer tolthis paragraph from the MIDI implementation section e spl split Split point Used in conjunction with the split midi out mode 22 2 5 System settings Pau sna fil cv 8 off lpf 4cv e pau pause Duration in increments of 0 128 seconds during which the long parameter name and value is shown on screen when a potentiometer is adjusted When set to 0 the screen always shows the four parameters summary e sna snap Enables potentiometers snap mode This mode makes it less likely to accidentally change a parameter value when switching pages Suppose you re tweaking the filter resonance with P2 you rotate it all the way down to 0 Then you switch to the oscillator 1 page to adjust the oscillator 2 p
37. l The payload is empty In other words the full SysEx string is Oxf0 0x00 0x20 0x77 0x00 0x02 0x11 0x00 0x00 0x00 Oxf7 the last pair of 0x00 being the checksum Upon reception the Shruthi 1 dumps the current patch to the MIDI out For a sequence transfer command is equal to 0x12 5 5 6 Write request For a patch write request command is equal to 0x21 argument is null and the payload is a 14 bits integer indicating a memory slot number 0 based indexing Upon reception the Shruthi 1 writes the current patch to the memory location designated by the number For a sequence write request command is equal to 0x22 For example to write the current patch to slot 303 302 in 0 based indexing 0x012e in hexadecimal the message is OxfO SysEx 0x00 0x20 0x77 Mutable Instruments 0x00 0x02 Shruthi 1 Ox21 Patch write command 0x00 No argument 0x00 0x01 0x02 Ox0e Patch number nibbles 0x02 Ox0f Checkum Oxf7 End of SysEx 5 5 7 Firmware update For firmware update command is equal Ox7e argument is null and payload contains a 256 bytes 512 nibbles block of code data to be written to flash ROM Upon reception of this message the Shruthi 1 writes the data block in flash ROM at the address pointer and increments the address pointer by 256 The address pointer is initialized at 0x0000 At the end of the update procedure a SysEx message with command 0x7f argument 0x00 and no payload is sent Upon reception the Shruth
38. lso available on this page and will operate on the sequence rather than on the patch Tip if you want to quickly reach a patch or sequence at the end of the list without loading all the other patches on your way click the encoder to enter the compare mode rotate the encoder to the target program number and click it again 3 3 Global settings save page The default values of global settings such as octave transposition MIDI channel MIDI out mode etc are read from internal memory every time the Shruthi 1 boots up To use the current settings as default settings press S6 while one of the tuning MIDI or system settings pages are displayed The display will show the following confirmation message save midi kbd settings no Leds L1 L3 L5 and L7 will be lit Rotate the encoder until ok is displayed instead of no Click the encoder to confirm 3 4 Global backup by SysEx The global backup function is accessible by holding S6 and S4 together from the sequence or patch load pages A confirmation message is displayed start full midi backup no Leds L1 L3 L5 and L7 will be lit Rotate the encoder until ok is displayed instead of no Click the encoder to confirm The entire content of the Shruthi 1 patch and sequence memory will be sent as a sequence of SysEx messages 80 SysEx blocks are sent each of them containing 128 bytes of data One LED is lit per block sent the row of LEDs will thus appear like a progress bar fill
39. material for percussions or sound effects vowel Low tech i win i pp y hn My Ril I NANG Iih pe Vial PPN by i Y Y US salt the parameter will sweep hs different hu al y vowels and 2 consonants Now Spell Daftpunk That s it for the oscillators waveforms Oscillator 1 is linked to a sub oscillator transient generator The first 6 settings correspond to the sub oscillator which is an oscillator of its own playing always one or two octave lower than the oscillator 1 The next settings disable the sub oscillator and enable various transient generators which will produce a short clicky sound at the beginning of the note nl iv ie i e sql square sub oscillator 1 octave below osc 1 e trl triangle sub oscillator 1 octave below osc 1 e pli 25 pulse sub oscillator 1 octave below osc 1 e sq2 square sub oscillator 2 octaves below osc 1 e tr2 triangle sub oscillator 2 octaves below osc 1 e pl2 25 pulse sub oscillator 2 octaves below osc 1 e click produces a discrete click more obvious on sine organ sounds e glitch produces a sound similar to that of a skipping CD 10 e blow is a burst of noise with a slow attack e metal adds a metallic sounding high pitched click e pop adds a low pitched discontinuity The transient generator can be used for instance to add some punch to metallic sounding or FM sounds or for percussive eff
40. n the example above MIDI notes 36 and 38 on channel 1 are used as triggers Any combination of note MIDI channel can be used When a note on message matching the trigger definition is received the Shruthi 1 does not emit any sound Instead it sets to its maximum value the trg 1 or trg 2 modulation source When a note off message matching the trigger definition is received the Shruthi 1 does not interrupt any sound Instead it sets to its minimum value the trg 1 or trg 2 modulation source Depending on which destination the trg 1 and trg 2 sources are patched to this can for example be used to e Retrigger an envelope every time the trigger event note is played destination envelope e Modify the rate of an LFO for dubsteppy effects destination Ifo rate e Simulate a snare drum hit by increase the volume of the noise source destination noise mix level As for the trigger event themselves you can send them from a sequencer probably from a channel different from the one the Shruthi 1 is played a MIDI foot controller or just set them to be two keys of your keyboard for example the lowest C and D 23 3 The load save page The Shruthi 1 can save in persistent memory the following information 1 Patches 16 in internal memory 64 or more on the external eeprom 2 Sequences 16 in internal memory 64 or more on the external eeprom 3 Global settings in internal memory Use the last switch S6 to enter the load save pag
41. ne the programmed velocities AXX E X gt 11 T 6 54443111 Use P2 to move the cursor P3 to change the rhythmic event velocity at the selected step and P4 to adjust the pattern duration The encoder can be used for editing too select a step click edit the step value and click again when done 21 2 2 5 Step sequencer This page shows a different view of the controller values programmed in the pattern editor step sequencer O000fffFcccc4444 Use P2 to move the cursor P3 to change the controller value at the selected step and P4 to adjust the pattern duration The encoder can be used for editing too select a step click edit the step value and click again when done P1 can also be used to shift and cycle the sequence 2 3 Tuning settings Oct rag prt leg O equ 0 off e oct octave Transpose every note by 2 1 0 1 or 2 octaves e rag raga Scale keyboard mapping e prt portamento Portamento time e leg legato Legato on off This option specifies how the Shruthi 1 will interpret overlapping notes When legato is off the envelope retriggers every time a new note is played and the portamento is always applied When legato is on the envelope retriggers only when the new note does not overlap with the previous one and the portamento triggers only on overlapping notes The different scales keyboard mappings are Name Description OO equal Equal temperament just Just intonation frequency rat
42. notes will go through the same filter and have the same envelope resulting in a kind of weird paraphonic effect Don t be surprised if you encounter pitch jumps envelope clicks weird voicing or if things do not sound and feel as good as on a polysynth all these are due to stubbornly trying to fit duophony into an essentially monophonic design Ironically the duophony mode works best with the arpeggiator it will move through the chord in pairs of notes Try it In 2steps mode oscillator 1 and oscillator 2 are alternatively on and off at each new note In 4steps mode oscillator 1 oscillator 2 the sub oscillator and the noise source are alternatively on and off at each new note The first note you play is played by the sub oscillator the second note by oscillator 1 the third by the noise source the fourth by oscillator 2 Try this with the arpeggiator and you get a mini drum pattern 8steps does the same thing but with a more complex cha cha rhythmic pattern Finally in seqmix mode the on off status of the oscillators sub noise is controlled by the values in the step sequencer 1 osc 1 2 osc 2 4 sub 8 noise and these values can be added up for combinations osc 1 noise 1 8 9 The following table enumerates all combinations 12 Step sequencer value Osct Ose2 sw 0 1 2 3 4 5 6 T 8 9 a b c d e f You can thus use this mode for programming simple drum patterns in the step seq
43. nv lfo 110 o 10 0 L7 is lit synthesis category and L3 is lit the filter page is active Press S1 to jump into the oscillators group L1 is lit and the LCD is now displaying Sha prm rng sub saw 0 O tri Press S1 again to move to the next page in the oscillators group L2 is now lit the LCD is displaying Sha prm rng tun squ 16 12 12 Now press S7 to switch to the sequencer category L7 is now off Ll is lit The active page is the clock page Mod bpm gro amt stp 120 swi 0O Press S7 again to get back to the synthesis category L7 is on and you are back to the oscillator 2 page 1 2 2 Editing When a page is active a summary of the four parameters modified by each potentiometer is displayed on screen While tweaking a potentiometer the full parameter name its value and the page name are temporarily displayed on the screen filter cutoff After a short delay the four parameters page summary is shown again 1 2 3 Using the encoder When the Shruthi 1 is displaying a page summary the rotary encoder can be used to scroll through the parameters The name of the active parameter is capitalized For example resonance is here the active parameter cut Res env lfo 110 O 10 y Rotate the encoder clockwise to make env the active parameter rotate the encoder counter clockwise to make cut the active parameter If you continue rotating the encoder clockwise for several steps the next page env 1 will
44. o or by the indication tip The power supply has a reverse polarity protection and can handle voltages up to 15V Note that VCF VCA boards distributed by third parties might not follow these specifications and have different power supply requirements e 2 MIDI in This input should be connected to the MIDI out port of a sound card master keyboard sequencer e 3 MIDI out This output can be used as a MIDI thru but also to transmit the notes generated by the Shruthi 1 s internal sequencer backup data or for polychaining units e 4 Line level mono audio output e 5 Line level mono audio input Note that the external audio signal flows through the VCF and the VCA you won t hear anything until a note or sequence is played by the Shruthi 1 to open the VCA Depending on how you have assembled the analog board a global power on off switch and gain pots for the audio input output might be available too on the rear panel on the sides or on the front panel 1 2 Controls and navigation 1 2 1 Pages The Shruthi 1 parameters are edited by blocks of four one per potentiometer A set of four related parameters are grouped together on a page For example the Filter page will assign the four following functions to the four potentiometers filter cutoff filter resonance envelope gt filter modulation LFO gt filter modulation The LEDs L1 to L6 display the currently active page Moreover the LCD display is constantly showin
45. o the current transposition level For example 1 You press C4 the sequence starts without transposition 2 You release C4 the sequence continues playing 3 You press and release G4 the sequence is now played one fifth higher 4 You press G4 again the sequence stops rec bar looper In this mode play any note to start playing the pattern programmed in the sequencer This note will become a kind of start stop button it is thus recommended to pick a note unlikely to be played later in the sequence you ll record I usually use the first or last key of the keyboard to start the sequence Once this key is pressed the pattern plays at its original pitch there s no transposition Then whenever a new key is pressed the Shruthi 1 jumps into recording mode and starts recording what is played on the keyboard for the duration of 1 bar Beware chords are not recorded and quantization is severe After a duration of 1 bar has elapsed the Shruthi 1 leaves the recording mode and continues looping what was just recorded How to stop Once the pattern is playing play again the start stop note the one you picked to start the sequence Another option is simply to kick the hold pedal impro pattern player with overrides In this mode the pattern programmed in the sequencer is started transposed by playing and holding a note on the keyboard just like in seq While this note is held any new note played on the keyboard will be played an
46. ones to 24 semitones relative the pitch of the MIDI note e sub subosc Sub oscillator shape see below The following is a list of all the available waveforms with some applications and a description of what adjusting the parameter setting actually does none Silence This simply switches off the oscillator This might be useful for filtering gating external signals or to temporarily mute an oscillator when editing a patch saw Sawtooth na F Fi Fa A A A Fa E Fa Fi F F F F j F F Fi F F j F F F F Fi Fi Fi Fi F F d Fi Fj Fa P F F e E ye F F f F F A i i F Fi f F Fi Fi F F Fi Fi j F F F F F Fi A F F ri E F ld F F ri F F F i ij Le F F F F L gt This waveform is perfect for basses and brass sounds The parameter controls the waveshapping when its value is increased an increasingly large section of the waveform is shifted up Note that this is not intended to be a perfect drawn with a ruler sawtooth It contains a bit of high pass filtering to make it sound more Juno y This waveform is band limited Thus only a limited amount of aliasing artifacts will be heard when playing high pitched notes square Square wave The parameter controls the pulse width This waveform is perfect for simulating a clarinet for basses hollow sounds or Depeche Mode like leads Note that this is not intended to be a perfect drawn with a ruler square wave It contains a bit of high pass filtering to make it sound more J
47. quencer mode and clock 22 22 MVDCCRIAI e oo aes BRA e RE RR eG AAA Be 2 2 5 Padah edilo 6s marren rep eea Ge HE Ow Be ee Eee Bu HS 2 2 4 Rhythmic sequencer aooaa a a 220 Step E su cow e Be ee eee oaee est a a bee ee ee oe a 20 RS os ome ae eee ee aE eR ERM Oe eee oe Ree Se 2 4 Master tune and MIDI settings 2 5 System settings 44 es kw Re Rh RRS ee Oe ARE 20 ngger evens ross ross rss 3 The load save page 3 1 Patch load save page a 3 1 1 Browsing the patch library Bolo SAVING 3 du eses aro sa 3 1 3 Special functions 3 2 Sequence load save page 3 3 Global settings save page 3 4 Global backup by SysEx 4 Special functions 4AT Tet NOC comia aaa ea 8 A da e eS a 4 2 Performance page 5 1 MIDI out modes 02020200200000000000000000000000084 CET O E E E Dele Mths soso dass dadas 5 1 3 SOQ ecards cesen ASA SL 5 ara da AAA PLS SO aa Ass A HHA E ARA 5 16 full o oooooomprcnisrr radar a 5 1 7 py channel 5 2 Updating the Shruthi 1 firmware by MIDI o 5 3 MIDI implementation cisco odres ar 5 3 1 Received messages BR UO NN e m 5 4 Synthesis parameters accessible by MIDI a AS ad wap eee eeeeewr kad bteeesbedeaaeeeus eek ee eee 30 DHA Patch tonsic gh sone eee ence ea ave t anne be SO Pond es os 31 5 5 2 Sequence asi 4b eae kad Kee IR
48. raged Furthermore when a patch is loaded on the master unit it is dumped as a SysEx to each unit of the chain for synchronization purposes However this doesn t work the other way round if you tweak a parameter or reload a new patch on the last unit in the chain the other units upstream won t be aware of it 21 5 2 Updating the Shruthi 1 firmware by MIDI To update the Shruthi 1 firmware hold the S6 switch while the synth is being powered on Instead of being greeted by the splash screen or the filter page the screen remains empty and the LEDs L1 L3 L5 and L7 are lit The Shruthi 1 is now waiting for SysEx data containing firmware update commands This data is compiled into a MIDI file you can download on the Mutable Instruments website During the firmware update procedure the LEDs will light up one by one the last LED being lit will also blink as the data is received The update takes about 1 minute If something goes wrong during the update procedure the Shruthi 1 is not bricked it is possible to restart it with S6 held down to retry the update procedure If you want to use a dedicated SysEx transfer tool we recommend Elektron s C6 tool available for both Windows and OS X with the following timing settings MIDI Preferences X MIDI Ir In From MIDI Yoke In From MIDI Yoke ln From MIDI Yoke In From MIDI Yoke Misc Settings Reload files Delay me Turbo Limit 250 Nore Sample Settings Use SO
49. signed samples 5 5 4 Storage memory dump The storage memory of the Shruthi 1 is 2 8n kb large 2kb of internal eeprom and 8n kb of external eeprom It is partitioned as follows Logical range Physical medium Physical range 0x0000 0x0010 0x0010 0x05d0 0x05d0 0x07d0 0x07d0 0x0800 0x0800 Ox1f00 Ox1f00 0x2700 0x2700 0x2800 0x2800 0x3f00 0x3f00 0x4700 0x4700 0x4800 Internal eeprom Internal eeprom Internal eeprom Internal eeprom External eeprom External eeprom External eeprom External eeprom External eeprom External eeprom 0x0000 0x0010 0x0010 0x05d0 0x05d0 0x07d0 0x07f0 0x0800 0x0000 0x1700 0x1700 Ox1f00 0x1f00 0x2000 0x0000 0x1700 0x1700 Ox1f00 0x1f00 0x2000 System settings 16 internal patches 16 internal sequences unused 64 external patches 64 external sequences unused 64 external patches 64 external sequences unused And so on as the external eeprom size increases When doing a bulk backup command is equal 0x40 argument is a block index from 0 to 127 and payload is a 128 bytes 256 nibbles memory block Upon reception the Shruthi 1 copies the received 128 bytes block to the logical address argument x 128 Thus the first 16384 bytes of memory are addressed by this scheme The next 16384 bytes of memory are transmitted by using the 0x41 command and so on 32 5 5 5 Transfer request For a patch transfer command is equal to 0x11 and argument is nul
50. uencer using the sub oscillator as a bass drum and the noise as a snare drum and interweaving notes from the oscillators between the drum notes 2 1 4 Filter Cut res env lfo 66 O 16 37 e cut cutoff Filter cutoff frequency e res resonance Filter resonance e env envl gt vcf Modulation amount from envelope 1 to VCF If you want to set a negative modulation amount you can patch env1 to the VCF in the modulations section and ignore this parameter e Ifo Ifo2 gt vcf Modulation amount from LFO 2 to VCF Again if you want to set a negative modulation amount you can patch the LFO 2 to the VCF in the modulations section and ignore this parameter 2 1 5 Envelope 1 2 e atk attack Envelope attack time e dec decay Envelope decay time e sus sustain Envelope sustain level e rel release Envelope release time The predecessor of the Shruthi 1 used linear envelopes The envelopes are now piecewise linear with a knee to capture the feeling of exponential envelopes the same trick was used on the SID 13 2 1 6 LFO1 2 Sha rat atk mod tri b52 O fre sha shape LFO waveform The available LFO waveforms are triangle square sample amp hold ramp sawtooth step cycles through the sequence of values programmed in the step sequencer 16 additional waveforms named 1 to 16 are also available They are directly taken from one of the wavetables are intended to be used with slow frequencies
51. uno y This waveform is band limited and only a limited amount aliasing will be heard when playing high pitched notes Note that there s a slight difference in sound when moving the parameter from 0 to 1 To offer the best sound quality the pulse width 50 flavor is read straight from a wavetable at full sample rate while the pulse width gt 50 flavor is obtained from two dephased sawtooth waves evaluated at half the sample rate For bass sounds for which aliasing is not going to be a problem it is recommended to use pwm instead of square to get a beefier sound triang Triangle A A Fh EN i i e A ay A An J h i h j i i 1 fi 7 j i f ri r i Y r 4 i F N j N f Y M 4 fj ri l A 7 A vl Me J sf ae wu ks Fd Mal wu A A pure waveform which serves as a good basis for flute or soundchip like leads The parameter controls some kind of waveshapping clipping the bottom of the waveform This waveform is band limited and will still sound fine above C5 zsaw Phase distortion sawtooth with filter sweep This waveform uses phase distortion to recreate a low pass filtered sawtooth by progressively pinch ing the phase of a sine wave The parameter controls the brightness of the sound from a sine wave to a sawtooth then from a sawtooth to a sawtooth gone through an ugly transistor amp Good for dirty bass guitar sounds or clavinets zreso Phase ll i with i ih o ll IN h l Ii I ly Waal l ha
52. vements are inserted into the MIDI stream and written to the MIDI out These messages can be used to record knob movements in a sequencer or to synchronize 2 Shruthi 1 in Unison mode 5 1 7 polychaining In this mode several Shruthi 1 units chained together by MIDI can behave like a polysynth Each unit will implement a distributed voice stealing scheme in which they will either play a note or forward it to the chain To the this purpose each unit must be aware of the number of units that will follow in the chain This is done through one of the 8 polychaining settings 1 gt indicate that this unit is at the end of the chain 2 gt 1 indicates that this unit is followed by one unit 3 gt 2 indicates that this unit is followed by 2 units etc Here s an example of configuration to turn 3 Shruthi 1 units into a triphonic synth master keyboard out in out M in o WM n E 8000 Oo 6 00 amp O O oo 8 od a oo 4 Ooo 500 e O The 3 units obviously have to be sent to a common audio mixer or sound card Warning Some caveats regarding the polychaining mode 1 The arpeggiator and sequencer do not work in polychaining mode and the LFOs of each unit won t be synchronized with each other 2 There is a latency of up to 4ms between each unit Thus this feature works best on small chains 3 Any parameter change done on the first unit in the chain is forwarded downstream so tweaking is possible and encou

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