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Schippmann ebbe und flut - HELLBONE

1. A VCA is a Voltage Controlled Amplifier and provides amplitude modulation or in other words dyna mic level changes of a signal The corresponding control elements are vea mod switch 39 balance knob 41 and the rearpanel socket OUTPUT 23 front 39 vca mod The vca mod switch 39 has three positions It selects one out of three modulation sources for the VCA Position ENV1 left Envelope generator ENV 1 Position noisegate center Noisegate Position ENV2 right Envelope generator ENV 2 front 41 balance The balance knob 41 lineary controls the mix of both filters VCF 1 and VCF 2 In fully counter clockwise position the VCA gets only the signal of VCF 1 in fully clockwise position only the signal of VCF 2 front 40 bypass The bypass switch 40 routs one out of two possible audio sources to the OUTPUT socket 23 Position ON left VCA output Position BYP center Signal at INPUT socket 24 attenuated of 5 6 db Please note 1 The bypass mode is an active one and no so called true bypass direct connection via e g relais When the unit is powered down the sockets 23 and 24 are disconnected Please note 2 After powering up the unit remains in bypass mode for approx 1 sec before the ON mode becomes active even if the bypass switch 40 is in ON position usermanual ebbe und flut 38 9 THE MODULATION MODULE
2. Dynamic voltage linear scale Dynamic voltage logarithmic scale Fig 9 1 1 dynamic scaling The upper graph in fig 9 1 1 describes a lineary increasing audio signal which falls down to a low level pops back to its original level and decays in a lineary way The second graph shows the result of the dynamic function with linear scaling The dynamic voltage rises and falls proportional to the input amplitude The time delay of the detector which depends on the position of switch 4 is clear to see The lower graph describes the dynamic voltage with logarithmic scaling Relatively low signal ampli tudes provide high dynamic voltages that will not increase much more at high signal amplitudes Position LIN linear scaling dynamic voltage is proportional to effective value of the input signal Position LOG logarithmic scaling dynamic voltage is proportional to the decibel value level of the input signal back 7 RING DYN OUT The dynamic voltage is available as a modulation signal at the rearpanel socket 7 ring and has the following scaling 1 level knob 1 fully clockwise position GAIN switch 22 in position 0 db Position LIN about 1 V Vrms lower limit 0 V output bei 0 Vrms input upper limit 6 8 V output bei 6 5 Vrms input usermanual ebbe und flut 40 Position LOG about 100 mV dbV lower limit O V output at 50 dbV input upper limit 6 6 V output at 16 dbV input 2 level
3. 9 14 12 15 13 VCF 1 2 provides the control elements 7 28 16 37 on the frontpanel and 14 15 18 16 19 17 on the rearpanel The switches 11 and 32 are part of the envelopes and will be covered in the corresponding chapter At first a short reminder A VCF is a Voltage Controlled Filter The first basic feature of a filter is its frequency characteristics The se typical and easily audible characteristics describe which frequency range is supressed and which one passes the filter Basically we make a distinction between lowpass highpass bandpasses and notch phaseshifter allpass ebbe und flut features 12 different characteristics for each filter selec table via the curve rotary switch Second parameter is the position of the cutoff frequency within the audiorange A bandpass has a center frequency The cutoff frequency of a VCF can be controlled over a wide range by a single con trol voltage This enables a modulation with the help of other signals A third parameter of a voltage controlled filter is quality or resonance This parameter is also voltage controlled and emphases frequencies close to the cutoff frequency This leads to properties of an oscillation circuit with increasing decay times unitil it finally starts to self oscillate Fig 8 5 1 shows VCF1 and VCF 2 as a block diagram with all connection capabilities vef mod1 15 vcf mod2 36 S amp H Sai DI i modu
4. The following figures provide a brief overview about the audio and modulation structure as well as the signalflow of ebbe und flut White labeling means functions to be found on the frontpanel dark grey labeling to be found on the rear panel Digits in brackets mean the number of the corresponding knob switch or socket A letter in postposition means the corresponding pin of a stereo socket t TIP r RING Light grey labeling underlines internal signals which are useful for understanding the units functionality Light grey labeling used at the same term on different positions means an internal con nection between these points e g all in and outputs of all modules which use the light grey labeling DYN are internally connected with each other Module overview VCF 1 Voltage Controlled Filter 1 with resonance capable to self oscillate 1 of 12 characteristics selectable via 12 position rotaryswitch 24 db lowpass 18 db lowpass 2x 12 db lowpass 2x 6 db lowpass 2x bandpass 6 db highpass 12 db highpass notch inverse allpass VCF 2 Voltage Controlled Filter 2 with resonance capable to self oscillate 1 of 12 characteristics selectable via 12 position rotaryswitch 24 db lowpass 2x 12 db lowpass 3x 6 db lowpass 2x bandpass 6 db highpass 12 db highpass notch allpass Automatic softknee compressor 2 Band distortion selectable separation frequency 96 Hz 1050 Hz VCA Voltage Controlled Amplifier 2x VC AHR AR V
5. Fig 8 5 22 HP 6db 6 db oct Fig 8 5 23 HP 12db 12 db oct Notch Increasing resonance emphases nearly the cutoff Notch and cutoff frequency are again separated with factor 0 6 11 db drop Fig 8 5 24 Notch usermanual ebbe und flut 34 Allpass This allpass filter equally passes all frequencies When changing the cutoff nothing is audible except a slight phase shifting effect Increasing resonance again results in a peak at the cutoff frequency 11 db drop Fig 8 5 25 Allpass Next you will find a description of all the filter s control elements front 7 28 frequency Both frequency knobs 7 28 control the cutoff frequency over a wide range from 2 04 Hz to larger than 25 kHz In fully counter clockwise position the cutoff is 2 04 Hz which is 5 octaves below C 65 4 Hz Please note In 1 o clock position of the frequency knobs 7 28 both filters have a cutoff fre quency of approx 1 kHz and a scaling of approx 1 5 octaves per mark 30 back 14 15 TIP FREQ1 FREQ2 The value of 2 04 Hz has a simple reason When using an external control voltage voltage alterations in 0 5 Volts steps always generate the note C in different octaves The rearpanel sockets FREQ1 14 TIP and FREQ2 15 TIP are inputs for external control voltages of the corresponding filter s cu toff frequency Filter scaling 0 5 Volts octave A scaling of 0 5 V oct makes se
6. Position ENV1 up Envelope generator ENV 1 back 14 15 RING RESO 1 RESO 2 The sockets on the rearpanel RESO1 14 RING and RESO2 15 RING are external control in puts for resonance of the corresponding filter back 19 17 VCF 1 IN VCF 2 IN The sockets on the rearpanel IN VCF1 19 and IN VCF2 17 are separate audio inputs of the fil ters As soon as a plug is inserted the internal signal is disconnected from the filter inputs This means that the filter is supplied with audio signals only via this socket and thus has become an inde pendent module back 18 16 VCF 1 OUT VCF 2 OUT The sockets on the rearpanel VCF1 OUT 18 and VCF2 OUT 16 are separate audio outputs of the filters They always provide the direct filter signal without regarding any other signalflow settings Please note In contradiction to the figures fig 8 5 2 fig 8 5 25 the output level is 10 db lower than the input level If e g a lowpass characteristic is selected fully opened filter frequency knob in fully clockwise position and no resonance resonance knob in fully counter clockwise position the out put level would be 10 db attenuated compared to the input level This affects the filters in general and not only the output sockets 18 19 37 usermanual ebbe und flut 8 6 The VCA and the BYPASS function 39 1ndino ANdNI 40 I OUTPUT es 23 INPUT
7. a s TZ i ESS i increase TAN resonance N Bi q increase n a Fig 8 5 3 LP 18db 18 db Okt Fig 8 5 2 LP 24db 24 db Okt a 2 A resonance 3 db drop Tit SN resonance 7 12 db Oet 3 db drep fesonance DR i SEZ increase H resonance increase N L AI Fig 8 5 4 LP1 12db 12 db Okt Fig 8 5 5 LP2 12db 12 db Okt 29 usermanual ebbe und flut resonance increase o resonan i gt Lee 3 db drop resonance j Saaran resonance 7 1a pa YI LI Fig 8 5 6 LP1 6db 6 db Okt Fig 8 5 7 LP2 6db 6 db Okt Bandpass Bandpasses attenuate frequencies above and below the cutoff or better center frequency The slope is also described in db octave but with two values right and left from the center frequency Increasing slope of the highpass section left from center frequency results in a more sharpened sound Increa sing resonance emphases the cutoff resp center frequency AT z SE ail ann aed iL Z tano Fe ance ali increase sn a o Fig 8 5 8 BP 6 6db 6 6 db Okt Fig 8 5 9 BP 12 6db 12 6 db Okt Highpass Highpasses attenuate all frequencies below the cutoff frequency Again slope is described in db octa ve Higher slope results in a sharpened sound Increasing resonance emphases the cutoff frequency usermanual ebbe und flut 30 Fig 8 5 10 HP 6db 6 db Okt Fig 8 5 11 HP 12d
8. 1 8t Trigger DYN SAHE Ey AMT 120 iT 1 12 DYN beets ae AMT 2 USO AT 2 13 env mod1 11 env mod2 32 Fig 9 5 1 ENV 1 and ENV 2 Fig 9 5 2 shows the basic curve of an AHR envelope The times apply for the value ranges with the con trol elements attack 1 17 hold 1 18 release 1 19 for ENV 1 resp attack 2 25 hold 2 26 release 2 27 for ENV 2 on the frontpanel usermanual ebbe und flut 46 hold phase lt 1 ms 35 sec release phase lt 1 ms 60 sec attack phase envelope lt 1 ms 60 sec output Trigger Fig 9 5 2 AHR envelope curve When receiving a trigger change from 0 Volts to 5 Volts at the trigger input the three states or phases of the started envelope are executed 1 Attack phase In the attack phase the envelope rises expotentially from zero to its maximum value within the adjusted attack time It is immediately followed by the hold phase 2 Hold phase Within the hold phase the maximum value is held over the adjusted hold time It is immediately followed by the release phase 3 Release phase In the release phase the envelope falls expotentially back to zero and re mains there until the next trigger The curves as well as start and final level of the envelopes are independent from the adjusted times 9 5 1 The re trigger mode In re trigger mode an incomming trigger resets the envelope curve back to zero and restarts the at
9. AHR 2 control input for changing mode of envelope generator AHR AR 10 ATTACK 1 HOLD 1 Tip Ring 4 stereo socket CV input for attack time CV input for hold time of AHR 1 11 ATTACK 2 HOLD 2 Tip Ring 4 stereo socket CV input for attack time CV input for hold time of AHR 2 12 AMT 1 Release 1 Tip Ring 4 stereo socket CV multiplication input of envelope amount CV input for release time of AHR 1 13 AMT 2 Release 2 Tip Ring 4 stereo socket CV multiplication input of envelope amount CV input for release time of AHR 2 14 FREQ 1 RESO 1 Tip Ring 4 stereo socket CV input for cutoff frequency CV input for reonance of VCF 1 15 FREQ 2 RESO 2 Tip Ring 4 stereo socket CV input for cutoff frequency CV input for reonance of VCF 2 16 VCF 2 OUT mono socket VCF 2 audio output 15 usermanual ebbe und flut 17 18 19 20 21 22 23 24 VCF 2 IN 4 mono socket VCF 2 audio input VCF 1 OUT mono socket VCF 1 audio output VCF 1 IN 1 4 mono socket VCF 2 audio input ENV 1 ENV 2 OUT Tip Ring Ya stereo socket output envelope1 envelope2 COMP DIST OUT Tip Ring 14 stereo socket audio output compressor distortion GAIN Toggle switch selects the amplification of the input stage 0 db 20 db OUTPUT 14 mono socket audio output VCA or bypass INPUT 4 mono socket audio input of input stage and compressor 7 3 Overview
10. OS H dn uonisodyoyms moyjeubis uoiss dwo9 Joss aadwop UYYOS olewony UOISSAJALUOO spy D Joss adwop UYYOS olyewoiny PART Il 10 TUTORIAL This is a consecutive tutorial would like to advise you to go entirely through it It might seem a bit exhausting or even boring at first but i am sure you will gain a lot of impressions and ideas about eb be und flut It is importand to work with all of the panel components at least one time The sockets on the rearpanel will not be covered here They will be almost self explaining as soon as you have been through the tutorial 10 1 Preparations Make sure that all devices mixer amplifier active speakers ebbe und flut are powered down Connect the unit with your other audio equipment just the way described in chapter 6 4 Use e g a synthesizer with a simple monophonic signal as a source Use a saw wave or something with equal overtone richness Use a simple organ like on off envelope on this sound It should not be a complex signal but just a simple sustained tone Power up all devices in succession best you start with ebbe und flut So a certain noise when powe ring up will remain inaudible Proceed with mixing desk amplifier resp active speakers Bring the control elements of ebbe und flut to a basic setting Settings on the frontpanel level 1 center position signalflow 2 vca mod 39 center position compress
11. PART III 11 TIPPS AND IDEAS FOR ADVANCED USE In the final section of the manual we would like to introduce some more advanced functions especial ly in regard of the modular stucture of ebbe und flut 11 1 Feedback It makes sense to use audio sources with low impedances If an electric guitar is directly connected to ebbe une flut internal feedback between its INPUT and OUTPUT socket might appear because of the high impedance of guitar pickups In worst case ebbe und flut might cause extreme amplification An example for a serial connection of all audio modules 20 db input stage 35 db compressor fully clockwise position amp no input signal 40 db distortion 40 db VCF 1 high resonance 40 db VCF 2 high resonance 175 db This means an amplification of approx 562 000 000 fivehundertsixtytwo millions There is hardly no useful way to savely avoid feedback between these two sockets If unexpected feedback might occur the VCA should be muted and the separate outputs of filters and the other modules should be used Of course this will only work as long as the VCA is not necessary The VCA can be muted by moving the threshold knob 38 of the noisegate to fully clockwise positi on while the vca mod switch 39 is set to position noisegate or by using the BYPASS function The impedance of the audio source should be under 1000 Ohms 11 2 Filtermix When mixing together both VC
12. amp lification of 0 db to the output Turning clockwise the curves show the signal driven more and more into saturation In other words an decreasing level is needed for a specific constant distortion resp a constant input level provides increasing distortion Settings close to fully counter clockwise position provide a soft saturation at increasing input voltages When turning clockwise the saturation becomes harder until it allmost turns into clipping 25 usermanual ebbe und flut Fig 8 4 2 shows as an example how a triangle waveform is treated with increasing distortion The Sig nal Output Voltage is shown for several positions of the distortion knob 5 Fig 8 4 2 Signal distortion on a triangle waveform By turning clockwise the original triangel signal initially becomes softer and nearly a sinewave which means their overtone content is degreased The signal sounds fatter Then it flattens out to a rectangu lar wave while overtones are heavily increased the sound becomes heavy distorted front 6 low high The distortion unit of ebbe und flut provides two parallel sections working in the way described abo ve fig 8 4 3 One section works in the lower frequency range while the second covers the higher ran ge It is a 2 band distorsion not unequal to a speakersystem The low high switch 6 selects the crossover frequency Distortion Distortion Fig 8 4 3 2 band distortion usermanu
13. knob 1 in fully clockwise position gain switch 22 in position 20 db Position LIN about 10 5 V Vrms lower limit 0 V output at 0 Vrms input upper limit 6 8 V output at 650 mVrms input Position LOG about 100 mV dbV lower 0V output at 70 dbV input upper 6 6 V output at 4 dbV input 9 2 The audiotrigger The audiotrigger consists of the control elements slow fast 4 on the frontpanel and the TRIG OUT 7 and 24 on the rearpanel To a certain extent the audiotrigger is a hidden function because there are no dedicated control elements on the frontpanel It derives a trigger puls from an incomming audiosignal at socket 24 under certain conditions This trigger pulse has a fixed duration of approx 40 ms In contrast to most other audio triggers this is a dynamic trigger It does not trigger at an adjusted threshold but responds to changes in level resp increasing levels Fig 9 2 1 explains the functionality of the audio trigger Signal level db Trigger Fig 9 2 1 Functionality of the audio trigger The upper graph shows any level course derived from the audiosignal at socket 24 The trigger re sponds only to increasing levels within a minimum lapse of time That means the buildup of level has 41 usermanual ebbe und flut to be fast enough to be detected by the trigger Slow level alterations will not be detected The sensiti vity could be measured as level buildup in db sec dec
14. level without any delay or inertia In music applications these delays can be sonically useful They are shown as curved lines before and after the maxima of the detector Increasing levels need an attack time decreasing levels provide a release time lasting until the detec tor level is aquivalent to the current signal level The low high toggle switch 4 doubles resp devi des both attack and release time in half Position fast up Attack time 20 msec Release time 150 msec Position slow down Attack time 40 msec Release time 300 msec These attack and release times are very useful for many kinds of musical applications such as guitars drums and percussion etc back 21 TIP COMP OUT The compressor has a separate direct out in the rearpanel This is a stereo socket the compressor is wired to the tip Please do not use a mono cable otherwise the output of the distortion unit wired to the ring of the socket would be shortened to ground You cannot damage anything but the functionality of the distortion unit might be affected usermanual ebbe und flut 22 8 3 The signalflow switch level 2 FI D F2 fa F2 D F1 The signalflow switch 2 determines the internal signalflow of the three modules distortion unit VCF 1 and VCF 2 This is a very powerful function since it changes the entire signal routing with one click The following figures explain the signal flow of th
15. purchaser and is not transferable No other person retail dea ler etc shall be entitled to give any warranty promise on behalf of Schippmann electronic musical instruments 1 4 Claim for damages Schippmann electronic musical instruments does not accept claims for damages of any kind especial ly consequential loss or damage direct or indirect of any kind however caused Liability is limited to the value of this product The general terms of business drawn up by Schippmann electronic musical instruments apply at all times usermanual ebbe und flut 6 2 CE and FCC compliance statements This device has been tested and found to comply with the DIN EN 60065 norms In compliancy to sa vety class II it does not need a power line ground This device has been tested and found to comply with the requirements listed in FCC Regulations part 15 The device complies with EN 55103 1 and EN 55103 2 norms Because of the entirely analogue construction this device does not generate radio frequencies and will not interference with radio frequencies generated by other electronic devices 3 DISPOSAL This device has been manufactured RoHS conforming in compliance with the requirements of the european parliament and council and thus is free from lead mercury and cadmium Nevertheless this product is special waste and shall not be disposed in ordenary household waste For disposal please contact your local dealer or Schippmann electronic mus
16. resonance knob 8 back counter clockwise and the resonance knob 29 to 1 o clock position The sawtooth becomes audible again because all the lowpasses show an at tenuation of approx 3 db in level when resonance is altered Re adjusting balance knob 41 to approx 1 o clock position restores the original condition Move both frequency knobs 7 and 28 back clockwise the resonance knob 8 counter clockwise resonance knob 29 to 1 o clock position and the balance knob 41 to approx 1 o clock in order to maximise the effect of phase cancellation Step through all the lowpasses by turning the curve rotary switch 37 clockwise and play with frequency knobs 7 and 28 Turn the frequency knob 7 clockwise and the frequency knob 28 counter clockwise Leave both resonance knobs in their current position Now select with the curve rotary switch 37 highpass HP 6db Adjust the balance knob 41 to 12 o clock again until the signal erasure has reached its maximum When you now move the resonance knob 29 the effect of the fre quency erasure does not change Play around with the frequency knob 28 At counter clock wise position the low frequencies are erased Select highpass HP 12db and play on Since the level of high and bandpasses is not affected by the resonance the erasure is still audible With bandpasses the effect is not as clearly because just partial Change the setting of resona
17. see also fig 7 3 1 This means a high routing flexibility of the distortion unit because of its separate output usermanual ebbe und flut 24 8 4The distortion unit level signalflow D ino eee ZAN3 LANI si 1510 dW02 DA ino ENV1 ENV2 5 OUT OUT COMP DIST The distortion unit provides the frontpanel components distortion 5 and low high 6 and the au dio output COMP OUT 21 on the rearpanel The distortion unit saturates signals more or less in a specific way in order to change their overtone structure front 5 distortion The following figure shows the characteristics curve of the distortion unit Each curve corresponds to a different setting of the distortion knob 5 There is allmost no distortion in fully counter clockwise position while saturation increases when turning clockwise Signal Output Voltage left to right Signal Input Voltage left to right Fig 8 4 1 Characteristics curve of the distortion unit Signal Input Voltage means the current signal voltage at the input This could be e g the voltage curve of a sinewave or the sound of an electric guitar generated at the pickup Signal Output Voltage means the corresponding output voltage The characteristics curves describe how distortion changes when the distortion knob 5 is turned clockwise In fully counter clockwise position the input signal is transferred almost linear with an
18. socket 14 tip and 15 tip for a source impedance of 0 Ohm Input impedance at sockets 14 ring and 15 ring Maximum input voltage at sockets 10 11 12 13 Maximum input voltage at sockets 8 and 9 Input impedance at socket 8 tip ring Input impedance at socket 9 tip ring Input impedance at socket 10 tip ring Input impedance at socket 11 tip ring Input impedance at sockets 12 and 13 tip switches 11 and 32 in position AMT DYN Scale at sockets 10 11 12 ring 13 ring Maximum input voltage at socket 6 Input impedance at socket 6 tip ring Scale at socket 6 ring Output impedance at socket 7 tip ring Output impedance at socket 4 tip Maximum input voltage at socket 4 ring Input impedance at socket 4 ring Maximum input voltage at socket 5 tip ring 10 dB 15V 60 kOhm 0 5 V Oct 100 kOhm 15V 5V 15V gt 100 kOhm gt 17 kOhm gt 100 kOhm gt 17 kOhm gt 30 kOhm gt 24 kOhm gt 30 kOhm gt 24 kOhm je 67 kOhm 1 nF 310 mV Time factor 0 5 15V 10 kOhm 17 kOhm 225 mV Oct 1 7 kOhm 1 kOhm 1 kOhm 15V 10 kOhm 15V usermanual ebbe und flut 68
19. tack phase again even if the final point of the curved has not yet been reached as shown in fig 9 5 3 envelope output Re Trigger Fig 9 5 3 AHR envelope in re trigger mode 47 usermanual ebbe und flut 9 5 2 The gate mode In gate mode there is no hold phase and no sudden restart As soon as the gate signal is activ 5 Volts at the gate input the attack phase starts exactly at the current level of the moment the trig ger was received When the gate signal becomes inactiv 0 Volt the release phase is started again As shown in fig 9 5 4 the envelope toggles between attack and release phase envelope output Gate Fig 9 5 4 AR envelope in gate mode 9 5 3 The envelope multiplier Both envelopes contain its own multiplier basically a slimmed down VCA It is used to modulate the final level of the envelope with a control voltage Fig 9 5 5 shows how the final level of the envelope is controlled from the AMT input of the multiplier The multiplier has two outputs 1 VCF output only internally AMT 5 V floating ENV output Voltage Fig 9 5 5 envelope modulation with the AMT input of the multiplier usermanual ebbe und flut 48 Four voltage levels 0 V 1 V 3 V 5V at the AMT input explain the voltage control of the envelope s final level amount The envelope can only be used to modulate the cutoff frequencies of the filters via knobs 10 and 31 Further control capab
20. won t drift within weeks These qualities and of course its powerful sound make ebbe und flut a perfect tool on stage as well as in the studio ebbe und flut is a highly sophisticated device that offers many different ways of use ebbe und flut shows multiple faces to the artist because of its wide spreaded sonic capabilities New sounds can be sculptured or existing sounds can be processed in various ways Instruments of all kinds synthesizer guitars brass vocals complete tracks or mixes fit perfect with ebbe und flut It can be easily con nected to or integrated into other electronic music setups such as modular synthesizer systems Be cause of its own modularity it can be seperated into several independant audio and modulation de vices easily accessable via aditional in and output sockets on the rear panel Nothing is cheap on ebbe und flut everything has been manufactured in highest available and af fordable quality Nevertheless some parameter settings might slightly drift in the first 3 to 10 minutes after powering on This is normal even when all audio and modulation modules are fully temperature compensated because ebbe und flut uses a fully descrete true analogue circuit design and no one chip solutions Components that are located on different sections on the board might slightly differ in temperature when the board s temperature rises after powering up the unit This may occur in slight d
21. 8 Select high position up with the select switch 6 and move the distortion knob 5 at first to 10 o clock position You will recognice a slight attenuation in level since the distortion unit generates its own level When turning up to 1 o clock position the signal becomes fatter and more brilliant Up to the 3 o clock position it will sound like a square wave Up from the 3 o clock position to fully clockwise some artefacts will be added to the sound Switch the low high switch 6 to low down The signal gets a significantly different and warmer character Move the distortion knob 5 back counter clockwise and listen 19 Move the distortion knob 5 again to fully clockwise position the frequency knob 7 and the resonance knob 8 both to 1 o clock Play with frequency knob 7 the filtered distortion unit you are listen to gets a more powerful sound Select the other functions of the curve rota ry switch 16 by moving it clockwise and listen 20 Move the balance knob 41 further clockwise and repeat step 19 with VCF 2 usermanual ebbe und flut 60 10 4 The signalflow switch Start with the basic setting bypass to ON move both frequency knobs 7 and 28 fully clockwi se and the resonance knob 8 to12 o clock The figures 8 3 1 to 8 3 3 in chapter 8 3 explain the corre sponding signalflow 21 Now switch the signalflow switch 2 in upper position F1 D F2 this mea
22. 8 to 3 o lock modulation knob 14 and 35 to fully counter clockwise position and the dynamic switch 20 at first back to LIN position The filter usermanual ebbe und flut 62 now reacts inverted when the level knob 1 is moved and opens at the counter clockwise direction The whole thing of course also works with VCF 2 10 6 4 Audiotrigger and envelopes To activate the audiotrigger and therefore the envelopes an event has to appear at the INPUT 24 Switch the source signal sawtooth wave frequently on and off 0 5 sec on 0 5 sec off Recall the basic setting bypass to ON both frequency knobs 7 and 28 to 12 o clock both reso nance knobs 8 and 37 to 1 o clock env mod1 switches 11 and 32 in position AMT 1 2 down both reso mod1 2 switches 13 and 34 in position ENV 1 2 up and both depth knobs 10 and 31 to 3 o clock 33 Move the attack 1 knob 17 clockwise The filter opens fast and suddenly closes again resp jumps back Leave attack 1 knob 17 at 11 o clock and move the hold 1 knob 18 clockwise When the filter has opened it remains for the hold time until it jumps back Leave also the hold 1 knob 18 at 11 o clock and move the release 1 knob 19 clockwise The filter will close slowly instead of jumping back Play with attack 1 hold 1 and release 1 knobs Also move the modulation knob 12 clockwise Resonance of VCF 1
23. As no matter if an external mixing desk or the balance knob is used interesting sonic results may occur depending on the selected filter characteristics Even the mix of two lowpasses provides sonic details which would not occur if only one single filter would be in use This happens because of the different phase characteristics of both filters see also chapter 8 4 It is difficult to explain sonic results in detailed examples but i would like to attract your attention in this direction 65 usermanual ebbe und flut 11 3 LFO as audio oscillator When using its CV input socket 6 ring the LFO can cover a wide audio range If the external sync input socket 6 tip is triggered by a tuned synthesizer the result is the typical sync sound The sync input is capable to work with almost every kind of signal Specific trigger signals pulses are not requi red A trigger is generated either or not 11 4 LFO as trigger The LFO can be used as a trigger source to start the envelope generators via its external LFO output socket 4 tip This works with all LFO waveforms This way tremolo effects can be achieved with the VCA The LFO determines the frequency and the corresponding envelope generator works as a wa veshaper with its three parameters attack hold and release 11 5 Audio trigger as LFO sync just wanted to remind you that the audio trigger socket 7 tip can be used directly to sync the LFO 11 6 Envelop
24. FO OUT On the rearpanel socket LFO OUT 4 TIP the LFO signal can be accessed with an output amplitude of 5 Volts front 23a LED The blue LED follows the current waveform with it s brightness 9 5 The AHR envelopes The AHR envelopes contain the control elements 17 18 19 for ENV 1 and 25 26 27 for ENV 2 on the frontpanel and the rearpanel sockets 8 10 12 for ENV 1 and 9 11 13 for ENV 2 and socket 20 for both envelope generators Internally each VCF is prepatched to one envelope generator ENV 1 to VCF 1 via knobs 10 and 12 and ENV 2 to VCF 2 via knobs 31 and 33 An envelope generator generates an one shot voltage curve after receiving a trigger When this curve has ended a new trigger is needed to restart the envelope The envelopes offer two modes Re Trigger mode as AHR envelope or Gate mode as AR envelope Fig 9 5 1 shows the envelope generators as a block diagram A H R 1 8r A H R 2 9r attack T ATAR ENN GEIS attack 2 ATTACK27 __ LN ENV 2 fix level RE T 10t re to VCA VCF1 Resonance 25 1b to VCA VCF2 Resonance E HA SAA LO wd g PSE ENV 1 var level oe ae H wa EN ENV 2 var level ENV to VCF1 Frequency ENV2 to VCF2 Frequency release 1 RELEASE 1 H E release 2 RELEASE 2 H 2 ni 5 CIS es ENV TOUTO eo em ENV2 OUT 207 bip level bip level Trigger TRIG
25. MAGES CONTACT QUALIFIED SERVICE PERSONAL FOR EXCHANGING THE POWER CORD e ADULTS SHOULD MAKE SURE THAT CHILDREN FOLLOW ALL SAFETY INSTRUCTIONS e AVOID MECHANICAL STRESS OR IMPACT DO NOT DROP THE PRODUCT DO NOT USE THE PRODUCT WITH TOO MANY OTHER ELECTRONIC DEVICES ON ONE OUTLET ESPECIALLY IN CONNECTION WITH EXTENSION CORDS e NEVER USE EXTENSION CORDS WITH LOWER ELECTRICAL MAXIMUM PERMISSABLE LOAD THAN THE TOTAL POWER CONSUMPTION OF ALL DEVICES CONNECTED TO A SINGLE POWER OUTLET OVERLOADING EXTENSION CORDS MIGHT CAUSE FIRE e INCASE OF MOVING TO ANOTHER AREA OR ANY DOUBT ABOUT THE SUPPLY VOLTAGE IN YOUR AREA PLEASE CONTACT YOUR DEALER OR THE MANUFACTURER SCHIPPMANN E LECTRONIC MUSICAL INSTRUMENTS e AVOID MECHANICAL STRESS ON SOCKETS AND KNOBS SWITCHES SAVE YOUR SPEAKERS AND EARS OF EXCEEDING AUDIO LEVELS EBBE UND FLUT IS CAPABLE TO GENERATE EXTREMELY LOW AS WELL AS EXTREMELY HIGH FREQUENCIES BOTH MIGHT CAUSE SERIOUS DAMAGES ON EQUIPMENT AND EARS usermanual ebbe und flut 1 8 5 MAINTAINANCE CLEANING e BEFORE CLEANING THE PRODUCT PLEASE DISCONNECT THE POWER PLUG FROM THE OUTLET e USE A DRY OR SLIGHTLY MOIST CLOTH FOR CLEANING NEVER USE ANY CLEANER OR THINNER E G PAINT THINNER OR ACETONE PRINTS AND PAINTWORK WILL IMEDIATELY BE DE STROYED ALSO AVOID ALCOHOL ISOPROPANOL GAS SPIRIT OR HOUSEHOLD CLEANER 9 usermanual ebbe und flut 6 Preparations 6 1 Unpacking The box should contain t
26. MT 1 2 down AMOUNT external sockets 12 13 Position DYN up dynamic hold internal front 17 25 attack 1 2 The attack knobs adjust the duration of the attack phase between approx 800 us and approx 60 sec front 18 26 hold 1 2 The hold knobs adjust the duration of the hold phase between approx 800 us and approx 35 sec front 19 27 release 1 2 The release knobs adjust the duration of the release phase between approx 800 us and approx 60 sec back 8 9 TIP TRIG1 2 The TIP of both sockets 8 and 9 is the trigger resp gate input of the envelope generators This is a socket with a switch function If the socket in unused no plug inserted both envelopes are triggered by the audio trigger When a plug is inserted the audio trigger is disconnected at this point Exact triggering requires a Voltssage of at least 3 Volts back 8 9 RING A H R1 2 The RING of both sockets 8 and 9 enables the selection between the above explained modes AHR Re Trigger and AR Gate Both sockets have a switch function If the socket is unused no plug inserted the envelope is in AHR mode When a plug is inserted but remains open floating the AHR Modus is still active Socket 8 9 Ring 0 Volts or floating AHR envelope Re trigger mode Socket 8 9 Ring 5 Volts AR envelope Gate mode back 10 11 TIP ATTACK1 2 These are the control voltage inputs of t
27. O OO Ko i d Oe _ DUNN 09000000 19 19 19 20 23 25 28 38 39 39 41 43 44 46 47 48 48 50 53 54 55 4 PART Il 10 TUTORIAL 10 1 Preparations 10 2 The filter 10 2 1 VCF 1 10 2 2 VCF 2 10 2 3 The inverse allpass function of VCF 1 10 2 4 Filter saturation 10 3 The distortion unit 10 4 The signalflow switch 10 5 VCA and noisegate 10 6 The modulators 10 6 1 LFO 10 6 2 S amp H 10 6 3 The dynamic function follower 10 6 4 Audiotrigger and envelopes 10 6 5 Envelope multiplier and the dynamic hold function 10 6 6 Audio trigger and S amp H 10 6 7 The audio trigger 10 7 The compressor PART III 11 TIPPS AND IDEAS FOR ADVANCED USE 11 1 Feedback 11 2 Filtermix 11 3 LFO as audio oscillator 11 4 LFO as trigger 11 5 Audio trigger as LFO sync 11 6 Envelope generators as audio waveshaper 11 7 Pedal socket 12 TECHNICAL SPECIFICATION AND RATINGS 12 1 Technical specification in general 12 2 Signals and ratings 5 usermanual ebbe und flut 57 57 57 58 58 58 59 60 60 61 61 61 61 62 62 63 63 63 64 64 65 65 65 65 66 66 66 66 66 67 67 67 1 WARRANTY 1 1 Limited Warranty Schippmann electronic musical instruments warrants the machanical and electronic components of this product for a period of two 2 years from the original date of purchase in according to the warran ty regulation described below If the produ
28. S This chapter covers the various modulation capabilities The main part of the modulation section is located in the center of the front panel 18 17 21 20 26 25 20 ino ZANGU LAND ISI0 dNOD ino OUT COMP DIST 19 22 24 23a 23 27 9 N 13 9 1 The dynamic function The dynamic function covers the control elements slow fast 4 and dynamic 20 on the front panel and the sockets DYN OUT 7 and INPUT 24 on the rearpanel The function called dyna mic is basically a voltage follower This function is directly derived from the detector of the compres sor described in chapter 8 2 lt recognises detects the current signal level at the compressor input resp behind the gain amp and generates a voltage proportinal to the input level This voltage can have linear or logarithmic scaling db linear level linear and can be used for modulations front 4 slow fast This switch selects the attack and release time of the detector Position fast Attack time 20 msec Release time 150 msec Position slow Attack time 40 msec Release time 300 msec This means a certain delay of the Voltssage follower front 20 dynamic The dynamic switch 20 selects linear or logarithmic scaling of the dynamic voltage Fig 9 1 1 shows the approximate ratio between the linear and logarithmic scaling 39 usermanual ebbe und flut Audio wave time
29. T TRIG DYN E A FREQ pedal resonance RES Trigi Thresholi d A T A TRIGIA H R E asnon Fosciana if OUT AA cang SE Seen frequency modulation VCF 2 Hold A AH Envelope 1 ENVI Reso Control SOURCE VCF 2 In YA VCF 2 Pao gt 2 A AMT1R AMT1 wt Ne Sa LF A Attack Hold Release DYN fangen 3 modulation x gt Trig2 T ENV2 gt Multiplier zA TRIG A H R Envelope 2 ENV2 v Sa speed LFO LFO fig eS 2 pi DYN LFO S amp H AMT2 z LED LFO OUT Trig2 gt dyn AMT2 R AMT2 SYNC TRIG S amp H hold SPEED A lt da da DYN Attack Hold Release Fig 9 8 1 Complete circuitry signalflow sitch in center position 55 user manual e b be und flut signalflow switchposition up INPUT Automatic Reso Control wa Gain Softknee 2 VCF 1 7 4 level Compressor 20db E slow odb w fast compression Distortion 1 WA EA Reso Control VCF 2 5 signalflow switchposition down Reso Control VCF 1 4 Distortion 1 Reso Control INPUT Automatic 2 Softknee 3 VCF 2 5 level Compressor 20db E slow mani Odb Xo fast balance gt Wa compression Fig 9 8 2 Complete circuitry oversimplification signalflow switch in both remaining positions When using the rearpanel sockets the entire c
30. VCF 2 resonance Resonance knob adjusts resonance of VCF 2 pedal Knob with center position adjusts positive negative ccw cw modulation amount of a foot pedal connected to socket 5 to cutoff frequency of VCF 2 usermanual ebbe und flut 31 32 33 34 35 36 37 38 39 40 41 depth Knob with center position adjusts positive negative ccw cw modulation amount of envelope generator AHR 2 to cutoff frequency of VCF 2 env mod2 Toggle switch selects between the two sources AMT2 DYN external dyna mic to control the modulation amount of AHR 2 envelope to cutoff of VCF2 after passing knob 31 modulation Knob with center position adjusts positive negative ccw cw modulation amount of the selected modulation source to resonance of VCF 2 reso mod2 Toggle switch selects between the two resonance modulation sources for VCF 2 S amp H ENV 2 modulation Knob with center position adjusts positive negative ccw cw modulation amount of the selected modulation source to cutoff frequency of VCF 2 vcf mod2 3 way switch selects between three cutoff modulation sources for knob 35 dynamic LFO S amp H curve 12 position rotary switch selects between 12 different characteristics of VCF 2 24 db LP 2x12 db LP 3x6 db LP 2x6 6 db BP 6 db HP 12 db HP notch allpass filter2 threshold Noisegate knob adjusts level threshold to open resp close the noisegate vca
31. ace stucture which means all functions can be intuitively found on ONE level No menu structures with subsubsub menus e All parameters have direct access and can be tweaked without any conversion delay or quan tisation e Pure true analogue concept this is most important The sonic differences to processor gene rated sounds are so obvious that they cannot be displaced or simulated e Directly connected is the dynamic control of parameters like e g cutoff frequency oscillator frequency by real analogue electric voltages This level of imediate parameter access and pa rameter value alteration is directly audible and cannot be achieved by any processor based system e Since one of the basic principles in music is modulation pitches are modulated into melo dies changes of overtone ratios or other musical parameters two basic ways of modulation should be provided One shot modulations transitions where a specific start level is led into a final level e g pitch cutoff frequency and periodic modulations e g vibrato Both ele ments can be found here in envelope generators and LFO e Modular structure Nearly all modules like VCFs compressor envelopes etc allow independent use by access via numerous in and output sockets e There is no total recall capability because ebbe und flut should be played like a real musicial instrument Nevertheless all of the parameter settings are very stable and once made settings
32. al ebbe und flut back 4 RING TRIG S amp H The socket TRIG S amp H 4 RING can be used as an external input for the gate On principle each alternating signal audio modulation can be used for the gate a minimum voltage of 3 Volts is requi ed Input 0 Volts no action inactiv Input transition from 0 Volts to 3 Volts activ sample 8 hold Each transition from 0 Volts to 3 Voltss at the TRIG S amp H input generates o n e sample of the source input and is held at the output 9 4The LFO The LFO contains the control elements wave 23 LED 23a and speed 24 on the frontpanel and the rearpanel sockets LFO OUT 4 and SYNC SPEED 6 An LFO is a Low Frequency Oscil lator that generates slow and frequent modulations like vibrato This LFO is voltage controlled and capable to generate periodes of many minutes up to the audio frequency range almost 20 kHz SYNC 6 tri mm J LFO OUT SPEED 6r Do ina Bai Lee Fig 9 4 1 LFO front 23 speed The speed knob controls the LFO frequency for the waveforms triangle and square 0 008 Hz 120 second periods 2 kHz for the waveform saw 0 016 Hz 60 second periods 3 2 kHz The scaling is approx 1 8 octaves x 3 5 per mark 30 This results in an entire range of approx 18 octaves x 250 000 Saw has the almost double frequency of triangle square in order to keep the ramps of saw and triang
33. al ebbe und flut 26 Position low low separation frequency 96 Hz Position high up separation frequency 1050 Hz In high position the signal will sound a bit cleaner and the mid range will be emphased because of the separation of high and mid frequencies from the low range They won t be suppressed from the low range which usually happens at heavy distortion In the low position the result will sound sgini ficantly fatter and warmer This supression happens when certain frequencies mostly basses of the signal appear in higher amplitudes than others A distortion unit that treats all frequencies in an equal way distorts more po werful low frequency ranges earlier and thus erases higher frequencies In order to distort the higher frequency ranges separately the entire range has to be devided with some kind of equaliser with two bands back 21 DIST OUT The distortion unit has its own direct output DIST OUT at the ring of the 4 stereo socket 21 on the rearpanel of the unit 27 usermanual ebbe und flut 8 5 Filters VCF 1 and VCF 2 Both filters VCF 1 and VCF 2 are the core of ebbe und flut They are different from each other and pro vide different sonic results Both feature different selectable characteristics but functionality is equal So we want to explain the following only once 29 28 31 32 N XcHpemann 30 33 35 36 34
34. audio inputsignal is fed into the INPUT socket 24 At first is attenuated by the level knob 1 Then it is amplified by the gain amp Amplification gain can be selected with the GAIN switch 22 between 0 db amplification 1 or 20 db amplification 10 This is a detailed description of the corresponding control elements back 24 INPUT The INPUT socket 24 is a mono audioinput It is connected to the gain amp and in BYPASS Mo de to the OUTPUT 25 front 1 level The level knob 1 attenuates the signal at the INPUT socket 24 between zero and one Then it is passed to the input stage back 22 GAIN The Gain switch 22 selects the amplification of the gain amp between 0 db amplification 1 or 20 db amplification 10 Position 20db should be used for low level signals like e g micropho ne or electric guitar Position 0 db left Gain 0 db Position 20 db right Gain 20 db back 23 OUTPUT OUTPUT socket 23 is a mono audio output supplied by the VCA output or in BYPASS Mode the input signal on socket 24 19 usermanual ebbe und flut 8 2 The Compressor ino TAN3 LAN3 1510 dW0 ino ENV1 ENV2 OUT Be OUT COMP DIST 21 The compressor provides the frontpanel components compression 3 and slow fast 4 and the socket DIST OUT 21 on the rearpanel F
35. ave a certain vision of a VCF s sonic qua lities and in parallel a circuit design drawn on a simple sheet of paper just before i started my e lectronics degree Nevertheless this idea lay fallow for the following twenty years it never went com pletely out of my mind Half a year before starting the project i finally took out the design again and realised it The filter should be well supported by a compressor distortion unit and a VCA Since modulation capabilities are even more important there should be lots of them in order to achieve highest sonic potential and dynamics Powerful envelopes LFO S amp H follower and an excellent audio trigger had to become part of the concept It was my very intention to create a machine totally free from any computer aided control that is capable to offer very flexible sonic results out of pure audio and is far ahead of just being a useful tool Both VCFs are NOT identical each of them has its own sonic qualities While VCF1 provides cutting edge powerful and loud sounds VCF2 surprises with a silky and warm character No need to say that the unit is made to process mono signals Of course a certain philisophy can be found in the whole concept but it seems more importand to me to encourage the user to become most familiar with the unit in order to explore its vast capabilities by himself The basic philosophy of ebbe und flut is simple e Flat user interf
36. b 12 db Okt notch Notch filters attenuate frequencies around a notch see fig 8 5 12 upper graph Other frequencies pass the filter Since the notch is relatively narrow there is no constant slope in contrast to the other filtertypes Increasing resonance emphases a frequency close to the cutoff but shifted higher with fac tor 0 6 since the resonance emphasis of course cannot be placed in the center of the notch Fig 8 5 12 Notch Inverse allpass An allpass filter passes all frequencies equally When changing the cutoff nothing is audible except a slight phase shifting effect Increasing resonance again results in an emphasis around the cutoff fre quency Special about the allpass is its phase characteristics lower graph in fig 8 5 13 All frequencies below the cutoff undergo a phase shifting of 180 Thus this allpass filter is called inverse allpass Mi xing with the original signal can result in complete phase cancellation of the phase shifted lower fre quency ranges which provides an equal result to a highpass characteristic 31 usermanual ebbe und flut Tesonance increase Fig 8 5 13 Inverse allpass front 37 curve The following figures show the 12 different frequency characteristics upper graph of VCF 2 selectab le with the curve 12 position switch 38 Each of these characteristics describes a different reso nance setting zero resonance to very high resonan
37. ce The first six filter characteristics are again lowpasses with decreasing slope followed by two bandpasses two highpasses one notch and an all pass The lower graph describes again the phase characteristics in degree Lowpass Increasing resonance emphases clearly audible the cutoff frequency up to a strong peak As with VCF 1 this emphases increases with lower slope but not as strong So the audible results of VCF 2 are softer and less aggressive compared to VCF 1 resonance increase db drop oreas 3 db drop 60 Fig 8 5 14 LP 24db 24 db oct Fig 8 5 15 LP1 12db 12 db oct usermanual ebbe und flut 32 a nance ase ERRE 3 db drop i pid drop resonance a increase n LP2 de dee Fig 85 17 LPI db 6 db oct LI SR LP2 NOE l j BP el i Bandpasses Although these bandpasses have the same attenuation as VCF 1 they sound different The sound of this bandpass fig 8 5 21 is not too far away from the 12 6 db bandpass of VCF 1 which means a bit sharpened Increasing resonance emphases cutoff resp center frequency stock l 6 db Oct 6 db Oct 6 db Oct n w 1k om Fig 8 5 20 BP1 6 6db 6 6 db oct Fig 8 5 21 BP2 6 6db 6 6 db oct 33 usermanual ebbe und flut Highpass In contrast to VCF 1 this 12db highpass sounds clearly richer 12 db Oct w w a
38. ch 22 to RAND At first move the modulation knob 14 clockwise until 3 o clock A randomly changing sound is audible every time the saw wave is present 37 Now move source switch 22 to LFO With each audio trigger the S amp H samples the current LFO level The LED shows the jumping filter changes Play around with the speed knob 24 38 Switch the source switch 22 to DYN and the dynamic switch 20 to LOG With each au dio trigger the S amp H samples the current dynamic level of the present sawtooth signal Play with level Regler 1 The modulation now depends on the input level 63 usermanual ebbe und flut 39 To repeat this with VCF 2 move the balance knob 41 fully clockwise 10 6 7 The audio trigger We now will have a closer look at the powerful capabilities of the audio trigger We need a polyphonic sawtooth sound for this exercise Recall the basic setting bypass to ON both frequency knobs 7 and 28 to 12 o clock both resonance knobs 8 and 37 to 12 o clock modulation knobs 10 and 31 to 3 o clock release knobs 19 and 27 to 12 o clock env mod1 switches 11 and 32 in posi tion AMT 1 2 and both depth knobs 10 and 31 to 3 o clock 40 The slow fast switch 4 has to be in position fast Play the low C1 65 Hz a trigger appears and VCF 1 is closed one time moved from high to low by envelope generator 1 Keep the key pres
39. ch may arise out of settings that provide high signal amplification A higher output noise may be audible e g if the GAIN switch 22 is in position 20 db the compression 3 and the distortion 5 knob on fully clockwise position and the filter is open for the entire audio range Another useful application is as gate with fixed gate time in order to cut reverb tails or long sustaining notes sounds The detector described in chapter 8 2 also detects the input level of the noisegate front 38 threshold The input level at which the noisegate responses again is called threshold With knob 38 it is lineary adjustable in db between always open fully counter clockwise position to alway closed fully clock wise position Fig 9 7 1 shows the several durations attack hold und release time of the noisegate Threshold Signal level on phase release time 35 ms Noisegate output Ume 200 ms Fig 9 7 1 Characteristics of the noisegate usermanual ebbe und flut 54 The upper graph describes any level curve of the input signal at socket 24 the straight line corre sponds to the threshold level As soon as the signal level exceeds the threshold the output of the noi segate switches to on within approx 1 msec As long as the signal level exceeds the threshold or falls below it for a duration under 200 ms the noisegate remains in the on phase When the signal level falls belo
40. ct shows any defects within the specified warranty period that are not excluded from this warranty Schippmann electronic musical instruments shall at its discretion either replace or repair the product This warranty is in addition to the general terms of business of the manufacturer Schippmann electronic musical instruments 1 2 Warranty regulation Schippmann electronic musical instruments reserves the right to furnish warranty services only if the product is accompanied by a copy of the original dealer s invoice Final determination of warranty co verage lies solely with Schippmann electronic musical instruments Any Schippmann electronic musi cal instruments product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within 30 days of the receipt of the product at Schippmann electronic mu sical instruments Damages or defects caused by improper handling or opening of the unit by un authorized personnel user included are not covered by this warranty Products which do not meet the terms of this warrenty will be repaired exclusively at the buyers expense and returned C O D with an invoice for labour materials return freight and insurance Products repaired under warranty will be returned freight prepaid by Schippmann electronic musical instruments Outside of Germany pro ducts will be returned at the buyers expense 1 3 Warranty transferability This warranty is extended to the original
41. e frequency knob 7 to fully counter clockwise position and the frequency knob 28 to fully clockwise position 10 11 12 13 14 15 16 59 Move the frequency knob 7 slowly to fully clockwise position The lower frequencies of the signal are attenuated sonically equal to a highpss because of phase cancellation of all frequen cies below the cutoff frequency Turning clockwise the effect increases To get a most complete erasure of frequency portions search the exact position near 12 o clock with the balance knob 41 Move the frequency knob 28 slowly back and all signal portions return but this time inverted inaudible Since you are closing VCF 2 the signal portions that interfer with these of VCF 1 drift more and more to lower frequency ranges The high frequency ranges are attenuated by VCF 2 and thus cannot be erased by the inverted signals from VCF 1 Move both frequency knobs 7 and 28 back counter clockwise Now move the resonance knob 8 slowly clockwise to the 1 o clock position The sawtooth becomes immediately audible The reason is not the resonance effect but the fact that signals below the cutoff frequency are attenuated up to 14 db as soon as the resonance increases see fig 8 5 13 in chapter 8 5 This is because of technical reasons When you now move the balance knob 41 between 9 o clock and 10 o clock the original ratio up to signal erasure returns Turn the
42. e generators as audio waveshaper A logical progression of the last chapter would be the adaption to any kind of audio signal These are also capable to trigger the envelopes It will mostly make sense to work in AHR mode Please note that an entire AHR sequence needs at least approx 3 msec This results in a maximum frequency of 330 Hz to enable a complete AHR sequence of the envelope Of course even higher audio frequencies can be used to trigger the envelopes This would cause a sudden jump back in AHR re trigger mode see chapter 9 5 1 which can provide very interesting sonic results 11 7 Pedal socket The voltage of 5 Volts on one of both socket pins 5 can be used for sevaral applications POLARITY switch 3 in position left 5 Volts at RING POLARITY switch 3 in position right 5 Volts at TIP The impedance of this voltage source is 1 2 kOhm which means a reduced voltage if more compo nents like e g potentiometers are connected An example This 5 Volts source should feed 5 potentiometers of 10 kOhm each to provide 5 variable voltage devider Total impedance is 2 kOhm and the resulting voltage is not 5 Volts any more but just 3 1 Volts So it makes sense to keep these impedances high If 100 kOhm potis would be used instead of 10 kOhm impedance would be 20 kOhm and the usable voltage 4 7 Volts though usermanual ebbe und flut 66 12 TECHNICAL SPECIFICATION AND RATINGS 12 1 Technical specification in gen
43. e listened to all filter functions Please note Move the curve rotary switch as quickly as possible from position to position in order to avoid signal dropouts 10 2 2 VCF 2 6 Now move the balance knob 41 in fully clockwise position Initially there is no audible signal since VCF 2 is entirely closed 7 Turn slowly the frequency knob 28 clockwise The filter opens and the signal gets more and more brilliant again 8 Move the frequency knob 28 between both extreme positions and move the resonance knob 29 at the same time slowly clockwise The quality of the filter again increases and the emphasis of the frequencies contained in the signal behaves the same way as above In 1 o clock position resonance is very high again and upon 2 o clock the filter starts to self oscilla te 9 Select consecutively all 12 different positions of the curve rotary switch 37 by moving it clockwise Repeat the game with frequency and resonance describes above in step 8 until you have listened to all filter functions usermanual ebbe und flut 58 10 2 3 The inverse allpass function of VCF 1 Now we want to explore the effect of the inverse allpass function Move the balance knob 41 to center position both resonance knobs 8 and 29 to fully counter clockwise position Select inverse allpass with the curve rotary switch 16 and the LP 24db position with the curve rotary switch 37 Move th
44. ebbe und flut gt ER MANUAL NAN cHIPPMANN electronic musical instruments User manual by Carsten Schippmann Schippmann electronic musical instruments Copyright 2006 English version by Matthias Fuchs Visophon grafic www evis org Contact NSN cHIPPMANN electronic musical instruments Dipl Ing Carsten Schippmann Naumannstr 31 83 Haus 12 D 10829 Berlin Internet www schippmann music com Email info schippmann music com The manufacturer Schippmann electronic musical instruments is frequently looking for improvements and deve lopements of their products Therefore we reserve the right to change technical specifications intended to impro ve the products at any time without notice This includes the look of the units which might differ from pictures in this manual No part of this publication may be reproduced transmitted transcribed or translated in any form or by any means whatsoever without written permission by Schippmann electronic musical instruments Copyright C 2006 Schippmann electronic musical instruments PREFACE EBBE UND FLUT which means ebb and flow is the very first comercial product by SCHIPPMANN e lectronic musical instruments It took me almost two years to finish the first prototype Within this pe riod a couple of evolutional mutations from the basic idea to the final ebbe und flut used to exist The core of this machine was intented to be a filter used to h
45. effects fast and intuitively in every live situation and at least to use ebbe und flut like a real musical instrument 10 2 4 Filter saturation Recall the basic setting switch bypass to ON and move the frequency knob 7 to fully clockwise position Up to now the filter has been supplied with a nominal level because the center position of the compression knob 3 leads to a high compression and low threshold Switch the GAIN switch 22 to 20 db and move the compression knob 3 fully clockwise Now the signal should be au dible with a significant higher volume If not increase the output level of your audio source Recall the original level with the level knob 1 It should be adjusted counter clockwise from the center positi on 17 Move the frequency knob 7 to 1 o clock and the resonance knob 8 to 12 o clock When moving the level knob 1 slowly clockwise you will hear a more and more saturated filtersig nal Play around with the knobs frequency resonance and level Check out the curve rota ry switch 16 and the remaining filter characteristics Then repeat the whole exercise with filter 2 You will recognice a difference in the sound of VCF 2 10 3 The distortion unit Recall the basic setting switch bypass to ON and move the frequency knob 7 to fully clockwise position We want to have a first look at the distorsion unit again with the help of a simple saw wave signal 1
46. eral Power Requirements Fuse Power Consumption Enviroment Mains Connection Net Weight without box power cord Dimensions W x D x H 12 2 Signals and ratings Maximum input voltage at socket 24 Input impedance at socket 24 Output impedance at socket 23 depending see sticker on rear panel 100 V 125 V 50 Hz 60 Hz 200 V 250 V 50 Hz 60 Hz 80 mA SIoBlo 200 V 250 V 160 mA SIoBlo 100 V 125 V max 15W Operating 0 C 55 C Standart IEC receptable approx 6 53 Ibs 3 1 kg 19 x 7 29 x 3 66 inches 483 mm x 185 mm x 93 mm 30 Vpp 15 VAC 14 3 kOhm 1kOhm Ratio between output level at socket 23 to input level at socket 24 in bypass mode Output impedance at socket 21 Output impedance at socket 20 Maximum input voltage at socket 17 and 19 Input impedance at sockets 17 and 19 Output impedance at sockets 16 and 18 5 6 dB 590 Ohm each 1 KOhm each 50 Vpp 25 VAC each 100 kOhm each 590 Ohm each Ratio between output level at socket 18 to input level at socket 19 in high lowpass mode filter opened closed resonance 0 10 dB Ratio between output level at socket 17 to 67 usermanual ebbe und flut input level at socket 16 in low highpass mode filter opened closed resonance 0 Maximum input voltage at sockets 14 and 15 Input impedance at sockets 14 tip and 15 tip Scale at
47. ese three modules depending on the position of this switch front 2 signalflow Position D F center The signal flow starts always at the INPUT 24 followed by GAIN AMP and compressor From this point on different signal routings are possible In this position the distortion unit is located behind the compressor Its output feeds both filters VCF 1 VCF 2 in parallel The balance knob provides a vari able mix of both filter signals to the VCA input Distortion Fig 8 3 1 Position F1 D F2 up The compressor directly feeds VCF 1 distortion is located behind VCF 1 and feeds VCF 2 Both filters are serially connected with distortion inbetween Both filter outputs can be mixed before they are fed into the VCA Fig 8 3 2 23 usermanual ebbe und flut Position F2 D F1 low In contrast to the above position VCF 1 and VCF 2 have been swapped Both filters are still serially con nected with the distorsion inbetween and a variable mix via balance knob is sent to the VCA Fig 8 3 3 Please note If a VCF is fed from an external audio input IN VCF1 19 or IN VCF2 17 on the rear panel the internal routing to its input is disconnected In case that e g both filters are fed via their ex ternal inputs the signalflow switch would only determine if the outputs of the three modules com pressor VCF 1 or VCF 2 provide the input signal for the distortion unit
48. h modulation knobs 14 and 35 are moved into the same direction both cutoff frequencies oscillate up and down in phase If and modulation knob is moved clockwise and the other one counter clockwise the cutoff frequencies oscillate out of phase resp one filter closes while the other one opens and vice versa This is best audible with low LFO frequencies 10 6 2 S amp H Recall the basic setting bypass to ON Move frequency knob 7 and 28 back to 1 o clock positi on both resonance knobs 8 and 37 to 12 o clock speed knob 24 to 12 o clock both vcf mod1 switches 15 and 36 in position S amp H up the wave switch 23 to sawtooth center both reso mod1 switches 13 and 34 in position S amp H down gate switch 21 in position LFO center and the source switch 22 in position RAND right The S amp H unit is now triggered by the LFO and samples a random voltage 27 At first move the modulation knob 14 clockwise to 3 o clock A randomly tootling cutoff fre quency is audible Move the modulation knob 12 to 4 o clock the resonance becomes stronger at high cutoffs sometimes the filter starts to self oscillate Towards low cutoffs the re sonance is attenuated Now move the modulation knob 12 to 8 o clock Resonance becomes stronger at low cutoffs and vice versa 28 Equal results will be achieved when the modulation knob 14 is moved clockwise
49. h selects between three cutoff modulation sources for knob 14 dynamic LFO S amp H curve 12 position rotary switch selects between 12 different characteristics of VCF 1 24 db LP 18 db LP 2x12 db LP 2x6 db LP 6 6 db BP 12 6 db BP 6 db HP 12 db HP notch inver se allpass attack 1 Envelope knob adjusts attack time of envelope generator ENV 1 hold 1 Envelope knob adjusts hold time of envelope generator ENV 1 release 1 Envelope knob adjusts release time of envelope generator ENV 1 dynamic Toggle switch selects linear or logarithmic scaling lin log of the follower modu lationsignal which is derived from the incomming audiosignal at the compressor input gate 3 way switch selects between three sources to trigger the gate of the S amp H unit Sample amp Hold audiotrigger LFO external source 3 way switch selects between three input sources of the S amp H unit Sample amp Hold dynamic LFO random DYN LFO RAND wave 3 way switch selects between three LFO waveforms triangle sawtooth falling rectangular LED displays the momentary level of the LFO signal speed LFO knob adjusts the LFO frequency attack 2 Envelope knob adjusts attack time of envelope generator ENV 2 hold 2 Envelope knob adjusts hold time of envelope generator ENV 2 release 2 Envelope knob adjusts release time of envelope generator ENV 2 frequency Frequency knob adjusts cutoff frequency of
50. he attack times 51 usermanual ebbe und flut Scaling 310 mV half of duration resp positive voltages result in shorter attack times and vice versa back 10 11 RING HOLD1 2 These are the control voltage inputs of the hold times Scaling 310 mV half of duration resp positive voltages result in shorter hold times and vice versa back 12 13 RING RELEASE1 2 These are the control voltage inputs of the release times Scaling 310 mV half of duration resp positive voltages result in shorter release times and vice versa back 12 13 TIP AMT1 2 These sockets provide access to the above described multiplication input of the envelope generators They are also CV inputs Three different example voltages should again explain the effect on the enve lopes Voltage 5 V floating Final level at ENV1 2 OUT 5 V Final level at knob 10 31 maximum Voltage 2 5 V Final level at ENV1 2 OUT 0 V inactiv Final level at knob 10 31 devided in half Voltage 0 V Final level at ENV1 2 OUT 5 V inverted Final level at knob 10 31 zero inactiv The scalings are also shown in figures 9 5 5 and 9 5 6 Only positive voltages affect the AMT input back 20 TIP RING ENV1 2 OUT TIP and RING of socket 20 provide the envelopes voltages ENV 1 resp ENV 2 bipolar as explained in fig 9 5 6 usermanual ebbe und flut 52 9 6 The pedal A passive or active volume pedal can be connected v
51. he following items ebbe und flut Power cord This manual If the content of the box should be incomplete please contact your dealer or Schippmann electronic musical instruments imediately In case of transport damages please contact your responsible carrier and Schippmann electronic musical instruments imediately We will support you in this case 6 2 Installation Place the unit on a flat clean solid and sufficiently sized surface or in a suitable 19 rack The unit needs 2 RU space In order to make sure sufficient ventilation and cooling avoid the installation above heat radiating devices e g power amps tube gear 6 3 Hook up and first use 6 3 1 BEFORE POWERING UP MAKE SURE THAT THE REQUIRED SUPPLY VOLTAGE FITS TO THE AREA WHERE THE UNIT WILL BE IN USE YOU WILL FIND THE POWER REQUIREMENTS OF THE UNIT PRINTED ON A PLATE IN THE BACK OF THE UNIT 6 3 2 Power requirements Ebbe und flut works all over the world Inside the enclosure is a line voltage selector to adapt the unit to your local power system Qualified and authorised tech personal only is allowed to open the unit Please contact your local dealer or Schippmann electronic musical instruments On the backpanel of the unit a fuseholder can be found The specific fuse type has to fit to the local power supply voltage Power supply voltage 200 250 Volt AC Miniature fuse 5 x 20 80 mA SLO BLO slow blow Power supply voltage 100 125 Volt AC M
52. ia stereo cabel to the rearpanel socket PEDAL 5 TIP RING of socket 5 provides 5 Volts via an 1 2 kOhm resistor The respectively other pin of the stereo socket RING TIP feeds back the pedal controllable 5 Volts back 3 POLARITY TIP and RING at socket 5 can be exchanged with the rearpanel switch 3 in order to adapt to diffe rent brands When used e g a Roland pedal EV 5 FV 60 the left position of the switch 3 would be correct Fig 9 6 1 shows the cicuitry of socket 5 depending on the position of the polarity switch 3 POLARITY pos left POLARITY pos right Li Ring Ring Tip 100k internal 5M path internal 5 5V 100k path 1 2 k Fig 9 6 1 Pedal socket and polarity switch 5 Next to the pedal functionality the 5 Volts can be connected to e g external potentiometers in order to feed them back to the CV inputs The remaining pin of socket 5 can be used as a CV input in order to modulate the filters indepen dently This input is limitted to 30 Hz and thus unusable for audio or fast modulations 53 usermanual ebbe und flut 9 7 The Noisegate The noisegate provides simply one knob threshold 38 With the switch 39 in center position it controls the VCA depending on the input level at socket 24 and depending on the position of knob 38 It can be useful to clean noisy input signals as well as to eliminate high output noise whi
53. ibel per second The trigger is shown in the lower graph as short voltage pulses with a fixed duration of 40 msec They frequently appear at a sudden increase of level The trigger s sensitivity depends in a wide range on the position of the level knob 1 and is inde pendent from the position of the GAIN switch 22 and the current input level Only the level buildup counts The audiotrigger needs a minimum input level level knob 1 at fully clockwise position 1 25 dbV GAIN switch 22 in position 0 db 2 45 dbV GAIN switch 22 in position 20 db The audiotrigger is also derived from the above mentionend detector front 4 slow fast This switch is important for the sensitivity the time lapse between level buildup and trigger the ma ximum repetition frequency and the loss of flatter The maximum repetition frequency fw is reached when a frequently repeated audiosignal e g short kickdrum still generates precise trigger pulses just before becomming blurred The delaytime ta is the time lapse between the start of the kickdrum and the start of the trigger ta increases with closer signals Fast kickdrums have longer delaytimes as slower ones because of technical reasons Position slow fw 0 12 Hz ta 0 16 msec Position fast fw 0 19 Hz ta 0 9 msec back 7 TRIG OUT The audiotrigger an be accessed at the rearpanel socket TRIG OUT 7 TIP as a 5 V p
54. ical instruments 7 usermanual ebbe und flut 4 SAFETY INSTRUCTIONS BEFORE USING THIS PRODUCT THE FIRST TIME PLEASE READ THE ENTIRE USER MANUAL CARE FULLY e WHEN DISCONNECTING THE POWER PLUG FROM THE OUTLET PLEASE PULL THE PLUG NOT THE CORD e PLEASE AVOID SHARP BENDINGS OF THE POWER CORD e CORDS SHOULD NOT BE INSTALLED WITHIN THE REACH OF CHILDREN OR PETS DO NOT STEP ON THE ENCLOSURE OF THE PRODUCT DO NOT PUT HEAVY OBJECTS ONTO IT e BEVOR MOVING THE PRODUCT PLEASE DISCONNECT THE POWER PLUG AND ALL OTHER CAB LE CONNECTIONS e PLEASE DISCONNECT THE POWER PLUG FROM THE OUTLET WHEN THERE IS A HIGH PROBABI LITY OF LIGHTNING NEVER OPEN THE ENCLOSURE OF THE PRODUCT NEVER TRY TO MODIFY THE INTERNAL CIR CUITRY ONLY QUALIFIED SERVICE PERSONAL IS ALLOWED TO OPEN THE ENCLOSURE THE POWERSWITCH IS LOCATED ON THE BACK PANEL POWERSWITCH OR POWER PLUG OR ANY OTHER CENTRAL DISCONNECTION COMPONENT HAS ALWAS TO BE IN REACH OF THE USER DO NOT DAMAGE THE POWER CORD DO NOT STRETCH PINCH OR BEND IT DO NOT PLACE HEAVY OBJECTS ONTO IT AND TRY TO AVOID STEPPING ONTO IT DO NOT PLACE OPEN FIRE ON TOP OF THE PRODUCT CANDELS ASH TRAIS ETC e NEVER EXPOSE THE PRODUCT TO WATER OR MOISTURE e IN CASE LIQUIDS HAVE BEEN SPILLED INTO THE ENCLOSURE DO NOT POWER UP AGAIN CON TACT QUALIFIED TECH PERSONAL FOR SERVICE USING A DAMAGED POWER CORD CAN CAUSE ELECTRIC SCOCK AND FIRE NEVER USE A DAMAGED POWER CORD IN CASE OF DA
55. ilities of the multiplier will be covered later 2 Bipolar output only external AMT 5 V floating Fig 9 5 6 Bipolar envelope modulation with the AMT input of the multiplier Both envelope signals can be accessed at the rearpanel socket ENV OUT 20 They are provided bipolar in positive and negative directions as shown in fig 9 5 6 The final level of the envelope can be shifted in both directions positive up negative down As shown in fig 9 5 6 zero Volts at the multipli cation input results in an inverted envelope with 5 Volts as maximum value As also shown in fig 9 5 1 switches 11 and 32 of ENV 1 resp ENV2 2 select between two modulation sources for the multiplier The position of switches 11 resp 32 left in fig 9 5 1 leads to another function 49 usermanual ebbe und flut 9 5 4The dynamic hold function The dynamic hold function works as a gate With each trigger or active gate at the trigger input of the envelope generators the gate is opened for a short time 20 ms and passes the dynamic voltage see chapter 9 1 in front of the gate Then the gate is closed but the last voltage level is held behind this gate before it will be reopened by the next trigger time Bassdrum wave Dynamic voltage Gate dynamic hold Output Fig 9 5 7 The dynamic hold function The upper graph in fig 9 5 7 corresponds to the waveform of an e g kickdrum The graph below shows the
56. iniature fuse 5 x 20 160 mA SLO BLO slow blow In case of swapping the fuse disconnect the power plug before Use a suitable screwdriver Move the screwdriver into the slot press gently on the top while turning slowly counter clockwise The protecti ve cap s top with the fuse pops out Swap the fuse and mount it according to the procedure above Never try to replace the fuse by anything else or bridge it with metal components e g metal foil usermanual ebbe und flut 10 6 4 Audio connections Before you start hooking up the unit to your audio system make sure that your speakers do not get any signal Connect the audio out OUTPUT of ebbe und flut with your audiosystem such as mixing desk soundcard or active speakers Connect the audio in INPUT of ebbe und flut with a soundsour ce such as e g synthesizer drummachine cd player or effect send of your mixing desk 11 usermanual ebbe und flut 7 INTRODUCTION Even if studying manuals might not be not part of your favorite pastime my advice is to read the entire manual carefully There are lots of things to explore and even experienced users will need some gui dance to get all ebbe und flut s details Next to that this manual contains 51 figures that will hopeful ly enable you to quickly understand even complex functionality Nevertheless for some of you there might totally new topics I tried to find the best compromise between a simple manual for begin
57. ion 3 center position slow fast 4 position fast curve 16 37 LP 24db bypass 40 position BYP knobs 9 10 12 14 30 31 33 35 center position no modulation knobs 5 7 8 17 18 19 25 26 27 28 29 38 41 fully counter clockwise posi tion Settings on the rearpanel GAIN 22 position 0 db left 57 usermanual ebbe und flut 10 2 The filter 10 2 1 VCF 1 Play a low note on your synthesizer e g C1 at 65 Hz Since ebbe und flut is still in bypass mode you should now adjust the levels on your synth Switch from bypass to ON mode There should be no sound at all because VCF 1 is entirely clo sed and the current setting only allows audition via VCF 1 Move the frequency knob 7 slowly clockwise The filter opens and the sawtooth sound be comes audible and more and more brilliant Move the frequency knob 7 between both extreme positions and move the resonance knob 8 at the same time slowly clockwise The quality of the filter increases and the frequen cies of the audio signal equal to the filter cutoff become emphased In 1 o clock position the resonance becomes very high upon 2 o clock the filter starts to self oscillate Select consecutively all 12 different positions of the curve rotary switch 16 by moving it clockwise Repeat the game with frequency and resonance described above in step 4 until you hav
58. is almost complete Invisible is the internal wirering of both filter inputs via signalflow toggle switch 2 and their connection to the output of the distortion unit see chapter 8 3 17 usermanual ebbe und flut ENV 1 fixlevel to VCA VCF1 Resonance attack 1 17 hold 1 ENV 1 var level n ENV 1 var level 18 ENV1 2 to VCF1 Frequency release 1 18 Trager Besa dynamic a env mod1 11 BISI Trigger S amp H Sample amp Hold source 22 S amp H CDN LFO RAND Fig 7 3 2 Modulation paths attack 2 25 hold 2 26 release 2 27 Trigger ENV 2 5 2 5 E ENV 2 fix level to VCA VCF2 Resonance to VCF2 Frequency DYN dynamic ni o e wave wave 23 speed 24 Fig 7 3 2 shows the modulation paths as block diagrams Above you will find both envelope genera tors the S amp H Sample amp Hold and the LFO usermanual e b b e und flut 18 PARTI This chapter explains each module and its controls You will find detailed descriptions of all functions and control elements 8 THE AUDIO MODULES 8 1 Input section level signalflow DF anano 1NdNI OUTPUT INPUT The input section contains the frontpanel control elements level 1 and the elements 22 23 and 24 on the rear panel The
59. is getting stronger within the attack phase Move the modulation knob 12 counter clockwise and the resonance of VCF 1 will de crease within the attack phase 34 Move both frequency knobs 7 and 28 to 3 o clock and both depth knobs 10 and 31 to 9 o clock and repeat step 32 The filter now closes within the attack phase Also check out with VCF 2 Move balance knobs 41 clockwise and use attack 2 hold 2 and release 2 knobs 10 6 5 Envelope multiplier and the dynamic hold function Recall the settings of chapter 10 6 3 move the hold knob to 12 o clock position the dynamic switchs 20 to LOG and both env mod1 switches 11 and 32 to DYN up 35 The modulation amount now depends in the same way on the input level as described in chap ter 10 6 3 Move the level knob and switch slow fast switch 4 to slow Because of the de tector s delay a short attack is achieved and the modulation depht is slightly decreased becau se of technical reasons 10 6 6 Audio trigger and S amp H Recall the basic settings bypass to 7ON both frequency knobs 7 and 28 to 1 o clock resonan ce knobs 8 and 37 to 12 o clock speed knob 24 to 10 o clock vcf mod1 switch 15 and 36 in position S amp H wave switch 23 to triangle left and the gate switch 21 in position TRIG left The S amp H unit is now triggered by the audio trigger 36 Set source swit
60. l be faded When increasing the input level by moving the level knob 1 the signal becomes audible again When selecting right or left position of the vca mod switch 39 the output is muted again since the envelopes are not active 10 6 The modulators Please recall the basic settings of the beginning bypass to ON before we move on to the modula tion capabilities of the filters 10 6 1 LFO Now please move both frequency knobs 7 and 28 to 1 o clock resonance knobs 8 and 37 to 12 o clock speed knob 24 to 12 o clock both vcf mod1 switches 15 and 36 in position LFO center and the wave switch 23 to triangle left The saw wave signal is still audible 25 Move the modulation knob 14 from its center position slowly clockwise The cutoff frequency of VCF 1 gets a frequently modulation of approx 1 Hz The brightness of LED 23a displays this modulation The brighter the LED the more open is the filter Now move the modulation knob 14 from the center to counter clockwise the filter still oscillates slowly up and down but re 61 usermanual ebbe und flut versed to the brightness of the LED Also select the other waveforms with wave switch 23 and repeat the procedure Experiment with the speed knob 24 You will recognice the approx doubled frequency when saw waves are selected 26 Move the balance knob 41 to 12 o clock in order to make both filters audible When bot
61. lation a REANO et e 55 VEFZIN 7 ENV2 var level depth 31 pedal 30 pedal from 5 reso mod1 13 ENV1 fixed level Fig 8 5 1 VCF 1 and VCF 2 resonance reso mod 34 29 S amp H sal ENV2 fixed level modulation 33 i VCF 1 VCF 2 Qi ote Qi ore curve 16 curve 37 usermanual ebbe und flut 28 front 16 curve The following figures show the 12 different frequency characteristics upper graph of VCF 1 selectab le with the curve 12 position rotaryswitch 16 Each of these curves describes a different resonance setting zero resonance to very high resonance The first six filter characteristics are lowpasses with decreasing slope followed by two bandpasses two highpasses one notch and a special allpass The lower graph describes the phase characteristics in degrees Lowpass A lowpass passes frequencies below the cutoff frequency and attenuates higher ranges The slope is described in db octave Higher attenuation means a more and more dull and softer sound An increa singly high and steep peak in the graph shows the emphasis of the cutoff frequency as a result of hig her resonance levels This emphasis increases with falling slope providing clearly audible results A resonance A resonance increase a A jnerease 3dbdrop A 3dbdop resonance TONS n radi increase Sa 18 db Oct x Ni WN TRA db Oct SX Xx
62. le identical usermanual ebbe und flut 44 front 23 wave The wave switch 23 selects one out of three waveforms Position TRI left Triangle Position SAW center Saw falling Position RECT right Rectangular Square 50 back 6 RING SPEED The rearpanel socket SPEED 6 RING delivers a control voltage input for frequency modulation of the LFO frequency This control voltage is added to the position value of the speed knob 24 Input sensitivity ca 225 mV Octave At the fully counter clockwise position of the speed knob 24 a voltage of 5Volts would result in a frequency of approx 19 kHz A voltage lower than zero negative in connection with this knob positi on would result in period durations of many minutes back 6 TIP SYNC The rearpanel socket SYNC 6 TIP contains a sync input for the LFO It s functionality is explained in Fig 9 4 2 Triangle Output 5 V Rectangle Output Fig 9 4 2 LFO synchronisation The sync pulse requires a voltage level of at least 3 Volts The duration does not matter only the mo ment of jumping into the active 3 Volt condition forces the LFO to an immediate reset onto the star ting level The starting level depends on the waveform Starting levels of the waveforms after a sync restart 45 usermanual ebbe und flut Triangle 5 Volts Saw 5 Volts Square 5 Volts back 4 TIP L
63. mod 3 way switch selects between three modulation sources for the VCA ENV 1 noisegate ENV 2 bypass Toggle switch internally connects the VCA ON or the input signal 5 6 db BYP to the audio out socket 24 balance VCA knob blends between both filters VCF 1 and VCF 2 and routs the signal to the VCA usermanual ebbe und flut 14 7 2 Brief description of the control elements amp sockets on the rear panel om2 4 6 8 10 12 14 16 18 20 23 17 0 fuse Fuseholder for line fuse type 5 x 20 80 160 mA SLO BLO 1 Power Inlet C8 Socket for power cord with C7 Outlet 2 Powerswitch Power supply switch 3 POLARITY Toggle switch inverts swaps CV input and voltage supply at TIP and RING of socket 5 in order to provide the use of different pedal types 4 LFO OUT TRIG S amp H Tip Ring 4 stereo socket provides LFO waveform output S amp H ga te input 5 PEDAL 1 4 stereo socket for use of passive volume pedal or as CV input also suitable for active pedals 6 SYNC SPEED Tip Ring 14 stereo socket LFO sync input CV input for LFO frequency 7 TRIG OUT DYN OUT Tip Ring 4 stereo socket Audiotrigger dynamic modulation voltage 8 TRIG 1 A H R 1 Tip Ring 4 stereo socket Trigger input for envelope AHR 1 control input for changing mode of envelope generator AHR AR 9 TRIG 2 A H R 2 Tip Ring 4 stereo socket Trigger input for envelope
64. n two attack release time presets of the compressor slow 40 300 ms fast 20 150 ms 5 distortion Distortion knob adjusts amount of distortion usermanual ebbe und flut 12 17 18 19 20 21 22 23 23a 24 25 26 27 28 29 30 13 low high Distortion switch selects between two separation frequencies of the two band distortion module low 96 Hz high 1050 Hz frequency Frequency knob adjusts cutoff frequency of VCF 1 resonance Resonance knob adjusts resonance of VCF 1 pedal Knob with center position adjusts positive negative ccw cw modulation amount of a foot pedal connected to socket 5 to cutoff frequency of VCF 1 depth Knob with center position adjusts positive negative ccw cw modulation amount of envelope generator AHR 1 to cutoff frequency of VCF 1 env mod1 Toggle switch selects between the two sources AMT1 DYN external dyna mic to control the modulation amount of AHR 1 envelope to cutoff of VCF1 after passing knob 10 modulation Knob with center position adjusts positive negative ccw cw modulation amount of the selected modulation source to resonance of VCF 1 reso mod1 Toggle switch selects between the two resonance modulation sources for VCF 1 S amp H ENV 1 modulation Knob with center position adjusts positive negative ccw cw modulation amount of the selected modulation source to cutoff frequency of VCF 1 vcf mod1 3 way switc
65. nce knob 29 Select notch with the curve rotary switch 37 Move the frequency knob 7 clockwise and the frequency knob 28 counter clockwise both resonance knobs 8 and 29 counter clockwise Set the balance knob 41 to 12 o clock until the erasure effect reaches its maxi mum Play with the frequency knob 28 at the extreme positions is the effect most clearly inbetween signals are audible Now move the resonance knob 29 to 1 o clock position Play again with the frequency knob 28 at fully counter clockwise position the erasure effect re usermanual eb be und flut aches its maximum while clockwise the signal is most powerful Leave the frequency knob 28 clockwise and move the balance knob 41 to approx 2 o clock until the signal has faded Play again with the frequency knob 28 the signal increases in clockwise direction The whole thing also works when allpass is selected with the curve rotary switch 37 The sense behind this exercise is to get a feel for the special functionality the interaction between fil ter characteristics resonance parameters and the level balances when mixing both filter sections Your workflow will be much faster when you are able to recognice how e g the balance knob 41 has to be re adjusted out of the 12 o clock position when parameters like filter characteristics or resonance are changed After some practising you will be able to achieve all these
66. ncreases until it is flattened out close to a horizontal curve at a rate of 20 30 This is shown by the example left highest position which ends in a nearly flat curve When turning clockwise threshold also moves to lower input levels uniti approx 50 dbV The always gradual onset of gain reduction shows the behaving of a soft knee compressor The resulting output level is increased when turning clockwise A constant signal level is achieved and re adjusting is not needed The upper curve shows that an input level lower than approx 60 dbV is boostet with 40 db to 20 dbV Since compression rate is high the level increase at the output after the knee point is flat and therefore small front 4 low high Another characteristic feature of a compressor is its response It determines how fast the detector applies or removes gain reduction once the input signal has exceeded or fallen below the threshold level The typical parameters are attack and release In ebbe und flut they are set to fixed and musical ly useful amounts 21 usermanual ebbe und flut Fig 8 2 2 shows the response characteristics of the compressor Signalstart Signalend lt lt 20ms 40ms 150ms 300ms Fig 8 2 2 response time of the compressor The upper graph shows a signal with fast attack and decay The lower graph shows the voltage curve derived by the detector In an ideal case a perfect detector would follow the signal
67. ners and a guidance line for pro users Hopefully my task was successful The explaining section of this manual contains three parts Part one explaines consecutively all modu les their functionality and the corresponding controls Part two features a guidance line that covers all functions of the unit in order to get a first feel for each of them the interaction between modules and the audible results Part three gives some tipps and ideas for more advanced use There is lots of taking about modules in this manual A module means an internal section of the unit with a specific functionality e g an envelope generator the follower or a filter We will distinguish bet ween audio and modulation modules First of all we will introduce all control elements and in and output sockets An overview over ebbe und flut s modular structure and its ingrediences will follow straight after 7 1 Brief description of control elements on the frontpanel 1 2 78 10 11 16 18 17 21 20 26 25 29 28 31 32 37 39 38 3 S 6 14 12 15 13 19 22 24 23a 23 27 30 33 35 36 34 40 41 1 level Level knob controls level at the compressor input supplied from socket 24 2 signalflow 3 way switch determines signal routing behind the compressor via modules distortion filter 1 and filter 2 3 compression Compression knob adjusts compression threshold and level of the com pressor 4 slow fast Compressor switch selects betwee
68. ns the serial con nection Filter1 Distortion Filter2 There is no audible difference yet VCF 1 gets the signal di rectly not via the distortion unit Move the balance knob 41 clockwise The signal gets 10 db attenuated Play around with the frequency knob 7 and move the distortion knob 5 slowly to fully clockwise position Since the distortion unit is located post VCF 1 and its output is fed into VCF 2 you hear the distorted signal of VCF 1 Leave the frequency knob 7 in 1 o clock position and move the frequency knob 28 back counter clockwise The distorted signal is now filtered by VCF 2 Play around with curve rotary switches 16 and 37 and in crease the resonance of VCF 2 with resonance knob 29 22 Move the signalflow switch 2 in down position F2 D F1 corresponding to the serial con nection Filter2 Distortion Filter1 The signal flow now moves in reversed order To listen to the distorted VCF 2 the balance knob 41 has to be adjusted in fully clockwise position Experi ment according to step 21 23 Select center position of signalflow switch 2 Both filters are again connected in parallel and behind the distortion unit The balance knob 41 blends between both filters 10 5 VCA and noisegate 24 Until now the VCA has been working as a noisegate since the vca mod switch 39 was in noi segate position Move the threshold knob 38 slowly clockwise On some point the signal wil
69. nse since the modulation input can also be used with audio signals filter FM With a scaling of 1 V oct the input sensitivity would be much lower and FM effects eventu ally less spectacular sounding It is easily possible to change the scaling to 1 V oct with the help of simple passive components attenuator with attenuation of 1 2 A resistor of 60 kOhm in front of the corresponding control input 14 TIP 15 TIP will do the same job Schippmann is planning to deliver an optional adapter 4 plug which provides 1 V oct scaling with trimmer calibration If the standard scaling of the unit would be 1 V oct an adaption to higher sensitivity would mean the need of active components electronics with power consumtion and an additional power supply 35 usermanual ebbe und flut front 9 30 pedal Knobs 9 30 have a center position They modulate the cutoff frequency of VCF 1 2 and control the modulation amount of the control voltage supplied via socket PEDAL 5 Turned counter clockwise an increasing control voltage will provide an inverted modulation resp close the filter turning clock wise will open the filter front 10 31 depth Knobs 10 31 have a center position They adjust the modulation amount of the corresponding en velope generator ENV 1 resp ENV 2 to the cutoff frequency of VCF 1 2 Turned counter clockwise the envelope will provide an inverted modulation of the filter inverted envel
70. oltage Controlled Attack Hold Release Attack Release envelope ge nerators AHR retrigger mode AR gate mode VC LFO Voltage Controlled Low Frequency Oscillator with triangle saw square function syncable S amp H Sample amp Hold Dynamic voltage follower linear or logarithmic scaling Dynamic Audiotrigger Noisegate usermanual ebbe und flut 16 Most of the modules can be used above their prepatched internal signal connections as separate de vices Within the prepatched internal signalflow e g envelopes operate filtercutoffs resonances or the VCA The LFO modulates filtercutoffs controls the sample amp hold gate or is beeing chopped up as a signal source The sample amp hold itself can modulate the filtercutoffs and resonances 20 44 sockets most of them in stereo on the rear panel provide a total of 34 additional in and outputs for audio and modulation connections INPUT 24 GAIN AMP n OK Detector slow fast 4 VCF 2 2 Q ore Si g lt VCF2 OUT 16 DYN OUT 7r DYN ENV 2 fix level OUTPUT 23 F1 D F2 F2 D F1 distortion 5 Tow7high 6 Ju Distortion DIST OUT 241 signalflow 2 Fig 7 3 1 Modular structure of the audio processing Fig 7 3 1 shows a block diagram of the audio modules as modular blocks For better clarity most of the filter controls are hidden Concerning the audiopaths the figure
71. oncept is separated into independent audio and modu lation modules They can be used fully stand alone and independently from each other If e g both filters are fed via their separate inputs the signalflow switch simply determines the sour ce modul compressor VCF 1 or VCF 2 of the distortion unit usermanual ebbe und flut 56 Indino lt LANI Je odiq VEDI NI Na OSHOA S 10 SIS H dn jind I O GLINV ose Z ANA eJebosion ANA INdLNO 101 U09 0OS H H8S 031 NAG Letal e lee QI uonejnpow Ul 3 JOA pe66nid u ym INI o SUONOUNY CLIO L H8S 031 NAG uoejnpow UL SOA peb6nid u ym INI 3523 34 PIO MOSH OO YS 703348 JONAS 7 paads c ANg ZH H V C se j 4 PIOH MOEHY O O ZIV U ZLNY HM p bfnjd uayM jna cu H v IDIUL ce Y LL HV pa66njd vem I Lu H y iL Hora LNO NAC OIHL x no x 196611 01pny x Josseidwoy UYYOS onewoyny uoILIO SIq LNO Buu A9 4 LAdNI J A UOISOd piu ay ul SI Z uoneinpow Aouanbay Sl t youUms moy eubis 94 WEISEIP Sty 104 fe suomoun4 O O Q Zh JO GoUEUOSAI OS J Nuejog LANJ H3S uonisod Z yo ms moyjeubis ay uo Buipuad p Kren o O S UIOd y Je suonosuuos SUL LNdLNO LNdLNO ne eourjeq eourjeq ul ino uolo siq 101 U09 0S H UMOP UOIISOdyoMs moyjeubis 101 U09 0S H ul No UOINO SIC 101 U09
72. ope symbol The increasing attack phase provides a decreasing cutoff closing filter Turned clockwise envelope symbol the en velope will increase the cutoff open the filter within the attack phase front 14 35 modulation The knobs 14 35 have a center position with the same functionality as described above They con trol the modulation amount of the selected modulation source via select switch 15 36 front 15 36 vcf mod1 2 The vef mod1 2 switches 15 36 have three positions and connect one of the following modula tions sources to the above described knobs 14 35 Position DYN down Dynamic Position LFO center LFO Position S amp H up S amp H front 8 29 resonance The knobs 8 29 control the resonance or quality of the filters up to self oscillation Please note In approx 2 o clock position the filters start to self oscillate front 12 33 modulation Knobs 12 33 also have a center position with the described functionality for inverse and non inver se modulation amount They provide resonance modulation with one out of two selectable modulati on sources via reso mod1 2 switches 13 14 usermanual ebbe und flut 36 front 13 34 reso mod1 2 The toggle switches 13 34 select between two modulation sources via the above described knobs 12 33 Position S amp H down S amp H Sample amp Hold
73. or better understanding of the compressor we will have a look on its basic functionality A compres sor recognizes the level of its input signal and is capable to follow fast transients e g of a kickdrum This is done by a so called detector which derives a voltage analog to the current signal level This information about the current signal level is used to control the dynamics of this signal Compres sion means that a certain change in level at the input leads to a reduced change in level at the output The so called compression rate is the quotient or ratio between input level change in db and output level change in db A rate of 2 means that the output level rises falls with 10 db while the input level has been rising falling with 20 db In case you are planning to become an expert we would like to distinguish between some technical terms The Amplitude of a signal is equivalent to its maximum peak to peak amount It is measured in Volts The effective level of a signal is also a unit of measurement for its energy amount It depends from its specific waveform and is also measured in Volts The level of a signal is the logarithmic ratio quantity with effective quantity refered to a reference va lue From this ratio the logarithm is taken and measured in decibel front 3 compression The compression rate is mostly named ratio This can be adjusted over a wide range with the knob compression 3 Anothe
74. r important parameter is the so called threshold or knee point of the compressor It determines the level at which the compression starts to work resp higher levels are reduced in dynamics Thres hold is also controlled with the compression 3 knob A third parameter is the output level of the compressor When a low threshold is chosen e g 20 dbu in connection with a high ratio e g 20 the output level would hardly exceed a level of 20 dbu In order to avoid this reduction in level resp restore the original level an overall amplification of e g 20 dbu is added This level is also controlled by the compression 3 knob Fig 8 2 1 shows what happens when the compression knob 3 is turned clockwise usermanual ebbe und flut 20 _left to right left to right Output level dbV ATE lees Va A 80 70 60 60 40 30 20 10 0 10 20 Input level dbV Fig 8 2 1 compression knob Each curve corresponds to another setting of the compression knob 3 The horizontal axis shows the input level while the vertical axis shows the output level Is the compression knob 3 in fully counter clockwise position lowest curve left from point of intersection of all curves the compressor processes signals with input levels under approx 10 dbV as a linear amplifier and starts with a soft gain reduction This is shown by an almost straight curve When turning clockwise the compression rate i
75. resulting voltage curve derived from the dynamic module see chapter 9 1 When a gate pulse at the start of every kickdrum 3 graph is sent to the trigger input of the envelope generator each kick opens the gate of the dynamic hold function This is explained in the lower graph The 20 msec gatetime of the gate preserves an useful basic value After the first incomming audiosig nal here kickdrum at the input 24 the detector needs a short attack time until it is in tune If e g a plucked guitar string triggers the audiotrigger a control voltage equivalent to the initial volume of the audiosignal is generated and held by the dynamic hold function This voltage can be used to control the multiplier and thus the modulation depht of the envelopes resp the filter cutoff The effect of the dynamic hold outputs see also fig 9 5 7 down on the envelope see chapter 9 5 3 is equal to the AMT1 2 input according to the graphs in fig 9 5 5 and fig 9 5 6 To determine explicit voltage levels see the values at the sockets DYN OUT 7 RING s chapter 9 1 We proceed with a description of the control elements of the envelope generators usermanual ebbe und flut 50 front 11 32 env mod1 2 The switches 11 resp 32 select one out of two sources for the above described envelope multiplica tion The switches can be found in the filter section since they are assigned to the knobs 10 and 31 Position A
76. rifting am positive that this product at least will offer the same fun and pleasure for you as it did for me I am looking forward that this instrument will guide you a whole livetime with creative power and inspira tion Have lots of fun while you now go to explore your ebbe und flut Berlin june 5th 2006 pai Dipl Ing Carsten Schippmann C E O CONTENT 1 WARRANTY 1 1 Limited Warranty 1 2 Warranty regulation 1 3 Warranty transferability 1 4 Claim for damages 2 CE and FCC compliance statements 3 DISPOSAL 4 SAFETY INSTRUCTIONS 5 MAINTAINANCE CLEANING 6 Preparations 6 1 Unpacking 6 2 Installation 6 3 Hook up and first use 6 3 1 BEFORE POWERING UP 6 3 2 Power requirements 6 4 Audio connections 7 INTRODUCTION 7 1 Brief description of control elements on the frontpanel 7 2 Brief description of the control elements amp sockets on the rear panel 7 3 Overview PARTI 8 THE AUDIO MODULES 8 1 Input section 8 2 The Compressor 8 3 The signalflow switch 8 4 The distortion unit 8 5 Filters VCF 1 and VCF 2 8 6 The VCA and the BYPASS function 9 THE MODULATION MODULES 9 1 The dynamic function 9 2 The audiotrigger 9 3 S amp H Sample amp Hold 9 4The LFO 9 5 The AHR envelopes 9 5 1 The re trigger mode 9 5 2 The gate mode 9 5 3 The envelope multiplier 9 5 4 The dynamic hold function 9 6 The pedal 9 7 The Noisegate 9 8 Complete Circuitry usermanual ebbe und flut CON N AAA
77. sed and play a second note at the same time e g C2 and G2 Another trigger is generated because the dynamic audio trigger is independent from a threshold Now play chords e g C2 Dis2 G2 C3 only one trigger is generated Play C1 and D1 or Dis1 at one time The audio trigger toggels since it cannot destinct between new events or unstable level because of phase cancellation effects 41 Leave both keys pressed and switch the slow fast switch 4 to slow The toggling stops The audio trigger has become less sensitive and will not work as fast in this setting Experiment further on according to step 39 42 Generate frequently triggers by playing on the keyboard and change the setting of the level knob in both directions The trigger will be generated very reliable over a wide range The set ting of the compression knob 3 does not matter 10 7 The compressor You have become familiar with the compressor working as a limiter To explore its full capabilities you should use a simple snaredrum sound Recall the basic setting bypass to ON and move the com pression knob 3 fully counter clockwise 43 Play the snaredrum frequently and move the compression knob 3 slowly clockwise From 9 o clock position on an audible effect should appear At 12 o clock heavy compression should become audible Change the slow fast switch 4 position between slow and fast usermanual ebbe und flut 64
78. to the 9 o clock position and the modulation knob 12 is on 8 o clock Resonances become stronger at high cutoff frequencies With modulation knob 12 at 4 o clock the process is inverted 29 Proceed with VCF 2 by moving the balance knob 41 to fully cclockwise position 10 6 3 The dynamic function follower Recall the basic setting bypass to ON both frequency knobs 7 and 28 to 12 o clock both re sonance knobs 8 and 37 to 1 o clock the dynamic switch 20 in position LIN left both vcf mod1 switches 15 and 36 in position DYN down and the modulation knobs 14 and 35 to fully clockwise position 30 Move the level knob 1 clockwise VCF 1 should be fully opened not later than at fully clockwi se position If not increase the level of your sound source or switch the GAIN switch 22 to 20 db Since the compression knob 3 is in center position you will not recognice a change in volume while you move the level knob The filter is now opened and closed lineary depen ding on the input level 31 Move the dynamic switch 20 to position LOG level knob 1 clockwise and move the mo dulation knob 14 back until the filter is just opened Now move the level knob 1 slowly counter clockwise and back You will notice that the filter now closes slower and softer as in LIN position of the dynamic switch 20 32 Move both frequency knobs 7 and 2
79. uls As long as no separate trigger inputs are in use the envelopes are started from the audio trigger usermanual ebbe und flut 42 9 3 S amp H Sample amp Hold The S amp H modul consists of the control elements gate 21 and source 22 on the frontpanel and TRIG S amp H 4 on the rearpanel A Sample amp Hold uses an input source an output and a trigger input gate The input can be fed by any altering voltage signal audio or modulation As soon as the gate is triggered by a pulse the current voltage level at the input is sampled transferred to the output and held Continous signals can be sliced with this module Fig 9 3 1 shows the structure of the S amp H unit TRIG S amp H 4r CORE Trigger S amp H Sample S amp H amp Hold RAND e i source source 22 Fig 9 3 1 Sample amp Hold S amp H front 21 gate The gate switch 21 selects one out of three signals for the gate Position TRIG left Audiotrigger Position LFO center LFO Position EKT right externeral input socket 4 RING front 22 source The source switch 22 selects one out of three sources for the gate Position DYN left Dynamic Position LFO center LFO Position RAND right Random Please note After powering on the unit the randomgenerator needs approx 8 sec to become opera tional 43 usermanu
80. w the threshold the noisegate closes after a hold time of approx 200 msec with a release ti me of 35 msec which is described in the lower graph Since the noisegate controls the VCA the output level at socket 23 is affected from the noisegate output curve 9 8 Complete Circuitry Fig 9 8 1 shows an overview of the complete circuitry including all audio and modulation paths Since the internal routing of both filters and the overdrive depends on the position of the signalflow switch 2 the signal flow in the figure corresponds to its center position Fig 9 8 2 shows the respective audiopath for both other switch positions in an oversimplification S amp H ENV 1 voy The Connectingpoints N are variable Polarity 4 FREQ depending on signalflow switchposition padal resonance RES Roatan 1 not shown in this diagram Pedal CE d Functions OUT For the actual diagram the frequency modulation Vea signalflow switch is in the mid A position OUT Reso Control COMP DIST VCF 1 In VCF 1 4 INPUT Automatic 5 PI Gain Softknee 1 Distortion 2 modulation level Compressor ENV 1 gt Multiplier ia e 20db J slow low Odb 1 N tf fast compression high Distortion ja AMTI balance le VCA OUTPUT dyn Trigi gt ji ENV2 aA A A hold UN Dynamic ENV1 bipolar output DYN LFO S amp H A Detector ow DYN controled by DYN LOG gt AMT 1 2 e extern or DYN Noise intern l l a gt Noisegate Se ENV2 ENV1 Noisegate ENV2 OU

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