SMR User Manual
Contents
1. Patch all six Env Outs jacks on the first SMR to the six Level CV jacks on the second SMR If this is your first time keep them in the same order 1 gt 1 2 gt 2 Play with the rotation spread scale and bank of both SMRs You might want to start in the blue bank graphic EQ and with the channels positioned as shown in the diagrams above Play with the RES Q of both SMRs To fine tune the patch follow the technique outlined in the Re mix patches setting the note scale bank and resonance of each channel on both SMRs Usage Channels Six resonant filters The core of the SMR is six resonant band pass filters The six channels take their inputs from the audio IN jacks and their outputs are mixed together using the sliders and Level CV jacks The mix is then fed to the audio OUT jacks The audio IN jacks are normalized to a digital noise source so no input is necessary Channel color Each channel is given a color By default channel 1 is blue channel 2 is cyan channel 3 is green channel 4 is pearl channel 5 is orange and channel 6 is rose The colors can be changed by editing the Color Scheme see Advanced Features The color is shown on the light ring and also on the Env Out lights The easiest way to see the color of a channel is to glance at its Env Out light s color Another way is to slide its slider up and down and see which light on the light ring is going dim and bright you must be in Rotate mode Digital noise so2. Six CV inputs for level of each filter 0 to 5V Slider attenuates CV on jack Twenty full color LEDs indicate which filters are assigned to which channel Colors on light ring match colors of Env Out LEDs Brightness of each light shows level of each filter Resonance Q Res Q CV jack 0 to 5V Knob offsets CV jack Stereo input and output divided into even odd bands Odd input jack and Even output jack serve as Mono in out Clipping LED between IN jacks flickers when input is clipping about 20Vpp or 10V Rotation shifts frequency pattern up or down Rotate Clockwise trigger input 2V threshold Rotate Counter clockwise trigger input 2V threshold Rotate CV jack maps any waveshape to a rotation pattern 0 to 5V Spread sets the interval Spacing between channels Spread CV input jack 0 to 10V Knob offsets CV value Morph sets speed of cross fading rotating spreading or scale selection Morph CV input jack 0 to 10V Knob offsets CV jack scale CV input jack selects scale from current bank 0 to 5V Six Env Out jacks CV outputs that follow envelope of frequency content per band Fast Slow switch selects envelope tracking speed or Trigger output mode Pre Post switch selects whether Env Out jacks track the filter before or after the slider attenuates Oto 8V output Six Lock buttons lock the frequency of each channel Button is lit when locked Rotation Spread Freq
3. 1V octave Like Freq Nudge a switch selects whether the jack controls all odd or even channels or just one channel 1 or 6 The jacks have a 10 octave range so a voltage range of OV to 10V is accepted Since negative voltage on this jack does nothing the Freq jack only makes the pitch go up it will not lower the pitch Thus the note and scale setting for each channel defines the lowest pitch In most cases you should be able to passively mult a 1V octave signal into both Freq jacks it depends on the module supplying the 1V octave signal In order to increase stability the Freq input rolls off high frequencies Some classic FM sounds can be achieved by inputting low audio rate signals into the Freq jack but as the frequency increases the effect decreases Q Resonance FFT Spectral Plot of SMR output with white noise input W Le Oe Narrow Q RES knob at 100 Wide Q RES knob at 10 Each channel has a resonance setting Q When the Q resonance parameter is set high the six channels act more like resonators rather than what we normally think of as filters in that they produce a somewhat pure tone or pitch in the presence of even a tiny bit of that frequency on the audio input The digital noise signal that s normalized to the input contains all frequencies so no matter what note is assigned to a channel it will output sound Interestingly a trigger or gate also contains all frequencies so send
4. Nudge Scale and Bank will not change when locked Turning Q knob while holding a lock button also locks the Q value button flashes to indicate Q lock Lock jack locks unlocks even or odd channels when triggered 2V threshold Freq jacks 1V oct frequency input jacks for even and odd channels 10 octave range 0 to 10V 135 1 switch selects if Freq jack Freq Nudge knob and Lock jack control all odd channels 1 3 5 or just channel 1 246 6 switch selects if Freq jack Freq Nudge knob and Lock jack control all even channels 2 4 6 or just channel 6 Slew switch enables slew limiting of incoming CV on the level CV jacks click and pop prevention Amount of slew limiting is proportional to Morph setting at the time the switch is flipped on Scale Rotation switch enables channels to rotate into the next previous scale each time they rotate fully around 0 oO 0 O O ie Note The active voltage range for each Jack is given All jacks are tolerant of signals from 12V to 12V but signals outside the active range are clipped to the active range For example on a jack with an active range of 0 to 5V a voltage of 4V is seen by the SMR as OV and 8V is seen as 5V Advanced features e Program your own scale The frequency of each of the 20 notes can be assigned by setting the octave the semi tone and coarse and fine micro tone Up to 11 scales can be saved permanently in the user bank e Adjust c
5. is a powerful way to keep one or more channels from changing while allowing other channels to by dynamic To lock a channel tap the Lock button above that channel s slider When the channel is locked the button will be lit Tap the button again and the channel will unlock When locked a channel will not change its center frequency The channel will be impervious to rotating spreading changing the scale or bank or the Freq Nudge knob or Freq jack The slider and the Level CV jack will still control the channel s output level and if the channel is not Q locked then the RES Q knob and jack will still change how the channel is filtering and resonating See below regarding Q lock Lock jack You also can lock a channel using a gate or trigger signal There are two Lock jacks located near the 135 1 and 246 2 switches Like the Freq jack and Freq Nudge knob the channels that are effected by the Lock jack can be selected using these switches The rising edge of a gate or trigger signal will cause the selected channels to invert their lock state Thus locked channels will unlock and unlocked channels will lock O Lock flicker off periodically If the channel is not frequency locked then it will be mostly off and flicker on periodically To turn off Q lock for a channel tap the Lock button to frequency lock it and then tap again to unlock frequency and Q If the channel is frequency locked and Q locked and you just want to clear the frequency
6. it The Lock buttons will start flashing an animation will appear on the slider lights and all the Env Out lights will stay steadily lit To exit System Mode without changing anything tap the ROTATE SPREAD button quickly There are several things you can do in System Mode Color Schemes Each channel is given a color which is shown on the light ring to indicate which note and scale the channel is assigned to It s also shown on the channel s Env Out LED These six colors are arbitrary and there are 14 preset color schemes that can be selected For instance you might want all your LEDs to be red or to be white Or you might prefer pastel colors or a gradient between blue and orange You also can create a custom color scheme with any six colors you want To change the color scheme enter System Mode Then turn the ROTATE knob to cycle through the color schemes Some of the color schemes may be gray which means they are an empty slot that can be programmed with a custom color scheme When you find a color scheme you like you can try it out by tapping the ROTATE button once Or if you want to see this color scheme by default every time you power the SMR on then you can save it in the current settings slot by holding down the steadily lit Lock button for five seconds See Saving and Recalling Settings below for details Custom Color Schemes You can also edit a color scheme or create your own Enter System Mode as described above Turn the ROTAT
7. lock hold the Lock button down for two seconds To change the Q setting of a Q locked channel hold the Lock button down and turn the RES Q knob to a new position and then release the Lock button Q lock Q locking is an advanced feature that locks the channel s Q or resonance setting To Q lock a channel hold the Lock button down while you turn the RES Q knob When the RES Q knob is where you want the channel to be locked release the Lock RES Q button The Lock button will now flicker to indicate it s Q locked If the channel is also frequency locked normal locking then the Lock button will be mostly bright and will Env Out jacks Env Out jack signal at the three positions of the Fast Slow switch mim E ATNA A AFR E A SER E EEO EAEE wet LL Fast envelope Trigger Slow envelope Each channel has an Env Out jack which outputs a CV that tracks the frequency content This is useful for beat syncing vocoding spectral transfer or controlling other modules with triggers or CV based on the frequency spectral content of an audio signal Next to each Env Out jack is an LED that shows the signal present on the jack A brighter light indicates more signal The color of the Env Out jack also matches the channel s color on the light ring Fast Slow Envelope modes and Trigger mode The three way Fast Slow switch to the right of the Env Out jacks selects whether the jacks output CV envelopes fast or slow tracking or triggers c
8. on Scale CV U RES Q O o Te F 7 e O gD Scale SPECTRAL MULTIBAND RESONATOR BS 2 This patch idea is a powerful way to sync your modular system with an external audio source whether it s a pre recorded track or a feed from other instruments being played live The basic idea is to convert different frequency bands into trigger outputs with the rhythm of the triggers matching the rhythm of the original audio s instrumentation Start with step Ci to 4 of the Re mix patch on the previous page patch audio inputs and outputs turn down RES Q and select the EQ bank Set the 135 1 switch to 135 and the 246 2 switch to 246 Set Fast Slow to the center position triggers and set Post Pre to Post Set Scale Rotation down Let s say you have a dance track with a kick snare hi hat and some melody lines happening You can use the SMR to convert each kick drum hit into a trigger output which you can use to trigger your own kick drum or clock your master clock or trigger anything on the modular Start by patching the ENV OUT jack for channel 1 into something that makes sound when triggered Turn down all the sliders and bring up the slider for channel 1 to around 50 Listen to the SMR s output as well as the externally triggered module You might want to monitor the input audio too use a mult or splitter before the SMR There are four parameters to play with to get beat synced trigger outputs Rotation Freq Nudge Q an
9. or Level CV jacks This is useful in cases where you want to use the Env Out jacks to control or modulate other things in your patch while also using the sliders to control the mix on the SMR s audio outputs When the switch is set to Post the Env Out jacks will act as if the frequency content of the channel was attenuated by the slider and Level CV jack Therefore in Post mode the Env Out jack will output zero when the slider is all the way down and no Level CV is applied With Fast Slow set to Trigger center position the slider effectively sets the threshold level for which is a trigger is fired This is crucial for advanced beat syncing see example patch CV Slew CV Slew is a switch that smooths out rapid changes on the Level CV jacks allowing you to use gates and clocks into the Level CV jacks without hearing pops and clicks This is useful for patching a QCD RCD or SCM directly into the SMR To use CV Slew flip it to the left Any sharp transition on the Level CV jacks will be smoothed out The amount of smoothing is controlled by the position of the Morph knob at the moment that CV Slew switch is flipped on So if Morph is all the way up when the CV Slew switch is thrown more smoothing will be applied than if the Morph knob was all the way down when the switch is thrown Advanced Features Updating firmware with the Audio Bootloader The SMR contains a bootloader that is used to update the firmware by playing an audio file into o
10. the Morph speed and has no effect on locked channels Spread picks a center point and pushes the channels outward from that point until the desired spacing is achieved Some channels move CW some move CCW n firmware version 1 0 build 2015 07 15 channel 3 is taken as the center point so it is the anchor around which the other channels are spread When turned all the way down the channels will line up side by side Make sure all the channels are unlocked and then turn Spread to 0 Turning Spread up a hair will make the channels space themselves out with one empty spot in between each channel Turning Spread up a bit more causes two empty spots between each channel A little more causes three empty spots etc At a certain amount of Spread the first channel spreads around the light ring past the last channel and the channels start to overlap on themselves Thus the empty spots between two adjacent channels might be filled by other channels The maximum Spread value is 16 so lots of overlapping can occur If the Scale Rotation switch is flipped on then as a channel is spread past the top point of the light ring it will move into the next or previous scale in the bank depending on if it s moving clockwise or counter clockwise 12 Spread is also used to reset the position of the channels on the light ring During normal usage of locking unlocking rotating and spreading the channels can be mixed up in any imaginable order The easiest way to
11. the ROTATE button If you want you can spin the ROTATE knob to choose a new color scheme for these settings Each Lock button represents a Settings Slot 1 6 If you wanted to load a slot you could tap any of the Lock buttons But in this case we want to save our settings so press and hold any Lock button for 2 seconds The SMR will pause for a fraction of a second while it saves all the settings into that slot The next time you power on the SMR these settings will be loaded automatically Vocoding and other spectral transfers RES Q a VCO ator A SPECTRAL MULTIBAND RESONATOR monitor main out Using two SMR s you can create spectral transfer effects One type of spectral transfer is Known as Vocoding which is classically used with human speech and a sawtooth oscillator AL MULTIBAND RESO Ci Patch a human speech audio signal into the first SMR s odds IN Use a vocal sample or a microphone with an audio input module You are not limited to just using human speech but it s a great way to start playing with this technique Patch the carrier signal into the second SMR s odds IN Use a sawtooth VCO or perhaps an FM ed VCO You also could use another sample or a complex sound from another patch O Patch the second SMR s evens OUT to your mixer so you can listen You also may wish to patch the first SMR s evens OUT to the mixer for monitoring the modulating signal Flip Post Pre to Post on the first SMR
12. while you turn it The bottom six LEDs should change color each color represents a different bank Keep holding down and turning until the you ve selected the deep blue bank Any bank will work but the deep blue bank is nice for re mixing because the scales are set to common graphic EQ frequencies Slide channel 1 s slider up and the rest of the sliders down Turn the ROTATE knob to rotate channel 1 while you listen to the audio If you re in scale mode click the ROTATE button once to switch to rotate mode see Rotation section on page 10 for details Keep rotating until you find a frequency band you want to boost Adjust the RES Q knob to narrow the band and add resonance if you wish You may also want to adjust the left Freq Nudge pot to fine tune the frequency When you find the frequency setting you want tap the channel s Lock button This will lock the rotation as well as the Freq Nudge setting If you also want to lock the Resonance setting wiggle the RES Q knob while holding down the Lock button The Lock button will be lit if the channel is locked and also flicker if it s Q locked If you don t lock the Q then the channel s resonance will be controlled by the RES Q knob and jack along with all the other channels with unlocked Q Repeat this process steps 5 7 for channels 2 6 Note that for channels 2 4 and 6 the Freq Nudge knob on the right is used while for channels 1 3 and 5 the Freq Nudge knob on the left is us
13. E knob to select the color scheme you want to edit or select one of the grey color schemes to create your own Now press and hold the ROTATE button again for another five seconds You ve now entered Custom Color Scheme Mode The first three sliders will be flashing and the last three will off The six Lock buttons will be steadily lit The sliders represent Red Green and Blue respectively The Lock buttons select which channel you re currently editing Start by tapping the first Lock button so that Channel 1 is unlocked Play with the first three sliders as you watch the Env Out light and or the light ring The first slider controls the amount of red the second slider controls the amount of green and the third slider controls the amount of blue Billions of colors can be chosen with these three sliders When you find a color you like lock the channel and unlock the next channel you want to edit You also can edit multiple channels at once by unlocking them all while adjusting the sliders This is a quick way to set all the channels to the same color if you want a mono chromatic color scheme From there you could make fine adjustments to one channel at a time so that there s some variation between channels When you re done editing press and hold the ROTATE button for five seconds and the color scheme will be saved even after the SMR is turned off If you re saving and recalling settings in the settings slots see next section it might be helpful to
14. Spectral Multiband Resonator from 4ms Company Eurorack Module User Manual v1 0 1b October 2015 GCALE S RESQ a Bc ie ge SPECTRAL MULTIBAND RESONATOR The Spectral Multiband Resonator from 4ms Company is a versatile resonant filter with six bandpass resonators filters having variable frequency quantized to scales or 1V oct tracked and variable Q resonance Stereo inputs outputs and a host of unique features allows for many uses e Create beautiful moving chord structures quantized to selectable scales e Process audio like a classic filter bank EQ e Pluck ping strike to ring like a marimba gong or membrane e Beat sync to an audio track triggering modular sounds in sync with original audio e Vocode outputting spectral data to a second SMR e Re mix tracks e Harmonize to audio e Quantize audio to built in or custom programmed scales e and much more Check 4msCompany com for updates to the manual Basic features Six resonator filter channels Variable Q Resonance ranges from classic band pass to highly resonant ringing Ring of 20 full color lights displays the channel frequency Channel frequencies move about the scale using Rotation and Spread Rotation spins the frequencies around the scale Spread controls the gap between neighboring bands Morph creates a variable speed cross fade when the channels are rotated or spread Lock buttons prevent each channel from changing in freque
15. V at the same time creates a complex hexaphonic chord machine Scales and Banks SCALES A scale is a set of 20 notes or frequencies represented by the 20 spots on the light ring 6 7 There are 11 scales in each bank Each channel can be in any scale All the channels can be in the same scale or each can be in a different scale or some can be in the same scale and others in different scales To visualize the scales and banks tap the ROTATE SCALE knob to change to Scale mode The top half of the light ring represent the 11 scales and the bottom 6 LEDs represent the banks See diagram on the left Scales The LED at the left most point is the 1 Scale and the LED at the right most point is the 11 Scale see diagram at left Each channel s scale is shown by displaying that channel s color Seale mode lt node cuneul on the spot representing its scale If multiple channels are in the same scale the LED will banks and scales Lil flash between all the colors of the channels assigned to that scale When in Scale mode turning the ROTATE SCALE knob will change the scale of all the unlocked channels Turning it one click to the right moves all unlocked channels up one scale and when they hit the 11 Scale they stay there Turning it one click to the left moves all unlocked channels down one scale and when they hit the 1 Scale they stay there If you lock a channel it won t move so you can set each channel to a different scale by l
16. ach AD aO Al i spot represents a particular frequency or note The entire ring of 20 notes is 10 6k mom A ii L B 82 5Hz called a scale A mark at the top center 12 00 indicates the first note E Sat E2 which is typically the lowest pitch The frequencies typically increase as you 7 0k i ll0Hz rotate clockwise We say typically because you can create a custom scale AB J Ad that places any frequencies in any order 53k 65Hz E8 C E3 The diagram on the left is an example scale that ranges from a low A note 5 p to an E note about ten and a half octaves higher Channel 1 is set to 55Hz A7 C A3 channel is set to 82 5Hz channel 3 is set to 110Hz etc 25h a 220Hz This happens to be the default scale when the SMR is first run The SMR E7 inaa po pen E4 has many other scales representing a variety of musical types both modern 2 6k A on on JI0Hz and historical common and esoteric and custom See the next page for AB OM AA how to change the current scale and bank 76k EG E5 40Hz l 3k B80Hz 660Hz One feature of the SMR is that the six filters always are assigned to unique channels That is two channels cannot occupy the same spot on the light ring This is an intentional feature because richer sounds result from mixing together filters of different frequencies However if you want two channels to be at the same frequency for instance with a stereo input where you want the same filtering to happen to both left and right yo
17. aded and you will instantly exit System Mode Saving Settings To save the current settings into a Slot enter System Mode and then hold down one of the Lock buttons for three seconds The SMR will beep for a fraction of a second The next time you power the SMR on it will boot into the last saved Slot Recalling a slot and then saving it is the way to set a default startup slot without changing any settings Table of Scales and Banks See Scales and Banks section and ROTATE SCALE knob section page 10 for details on how to change scales and banks The order of the banks is this table is left to right then top to bottom 9 O gih a D 7 H 1 Western scale white Just intonation Each scale contains a root note and one interval repeated over 10 octaves Each scale uses a different interval m2 to M7 and spans 27 5Hz to 15kHz 2 Indian pentatonic green Scales 1 8 have five notes per octave spanning four octaves Each is one octave above the previous Scales 9 11 contain selected notes t l on k i aa fim se gt we 3 Alpha scale selected notes lavender Each scale contains intervals from Wendy Carlos s micro tonal scale spanning roughly from 20Hz to 20kHz 4 Alpha scale selected notes cyan More variations All intervals are multiples of 78 0 cents perfect fifth split into nine equal parts so there are no octaves yet rich harmonies 5 Gamma scale selected not
18. ain to go back to Rotate mode so you can rotate the channels around to hear how the scale sounds If you like patch CV into the Scale CV jack to control the scale selection with another module Run CV into the Level CV jacks Gates from a QCD work great and you can flip the CV Slew switch to the left to smooth out the click that happens when a gate snaps up or down Setting Morph higher when you flip the Slew switch will cause more slewing to happen which means very fast CV in the Level CV jacks will be rolled off Try running a fast decaying envelope into one or both Freq jacks Time it to the trigger sources to get membrane drum sounds Or try a 1V oct melody line from a sequencer to track the pitches Flip the 135 1 and 246 6 switches to select which channels are modulated tracked and which stay steady Filtering audio basic re mixing TO MIXER Re mixing audio tracks often involves highlighting certain instrumentation and getting rid of others This can be done by boosting and cutting frequency bands with the SMR Note that if you re using a line level signal you need to first boost it to modular level Ci Input a modular level audio signal into the IN jacks use the odds jack for mono or both jacks for stereo Take the output from the OUT jacks to your mixer use the evens jack for mono or both jacks for stereo O Turn RES Q all the way down Unlock any Lock button that s lit by tapping the button Hold down the ROTATE knob
19. d Level steps 9 12 Turn ROTATE so that channel 1 is triggering the external module whenever the kick drum hits Probably for a typical kick drum channel 1 should be on the 2 3 or 4 note it depends on the pitch of the kick you re trying to tune into Set Freq nudge to dial in a frequency in between two rotation spots D Turn Q up to narrow the band Around 50 is a good place to start for syncing to drum sounds Set the Level slider to set the threshold at which the trigger fires If you set it too high the Env Out light will stay on and it it s too low it ll stay off If the slider seems to have no effect double check Post Pre is set to Post When you get a good lock press and hold the lock button while you wiggle the Q knob the release Press the Lock button again Now the channel should be locked and Q locked Its Lock button will be on with a quick periodic flicker off Repeat 9 12 for the next channel perhaps do the snare or a hi hat next Make sure the channel is locked before you move to a new channel or else you ll lose your settings Advanced Use an external CV source try a SISM into the Level CV jack with the slider all the way up This way you can mute unmute a channel using the slider and not lose your level setting since it s set on the SISM When you like what you hear save your settings Hold the ROTATE button down for 5 seconds until the Lock buttons flash and an animation appears on the slider LEDs Release
20. d pushing different sliders up and down you can make different chords Play with Morph as you continue to turn the ROTATE knob Morph sets the speed at which rotation happens With Morph at 100 when you turn the ROTATE knob the SMR will slowly fade from one position to the next With Morph at 0 the SMR will instantly jump from one position to the next Play with Spread which controls the number of empty spots in between each channel With Spread at 0 the channels occupy adjacent spots on the light ring As you turn Spread up slowly the channels will jump to having one spot between them then two spots then three etc As the spacing increases the channels will get pushed around and eventually the highest channel will wrap around the lowest Play with the Q Res knob The SMR has a digital noise source normalized to the audio IN jacks With Q set to 0 you should hear a filtered version of this noise Adjust the sliders ROTATE and Spread to bring in different bands of noise Notice how as you turn up Q the output slowly changes from filtered noise towards pure sine waves This is the effect of a tight bandwidth Q or resonance only very select frequencies from the noise source are allowed to pass to the output If you have a favorite noise module or any complex sound source try running it into the input jack s Finally try running a 1V oct melody line from a sequencer into one or both Freq jacks Flip the 135 1 and 246 6 switch
21. dds IN jack Firmware audio files can be downloaded at http 4mscompany com smr php 1 To enter bootloader mode power off the SMR and connect a computer or smart phone audio output to the odds IN jack Either a stereo or mono cable is fine Plug the evens OUT jack to an amp speakers so you can listen Remove your phone case it may be preventing the cable from fully plugging in 2 Set the computer phone s volume is at 100 and the audio player software is also at 100 volume Turn off all audio and vibrate notifications use Airplane mode 3 Hold the ROTATE button down while powering the SMR on Keep holding it down and release the button when you see just a single light on slowly changing color The SMR is ready to receive firmware 4 Begin playing the file Immediately you should see the slider LEDs do a sequential animation and the light ring slowly filling up with lights and then clearing then filling up again Do not interrupt the process You can monitor the audio by listening to the evens Lock jack or the audio OUT jacks 5 If at any time two of the Lock lights turn on channels 2 and 3 or channels 2 and 4 and the other lights stop animating then an error has occurred Verify the cable is not loose all sounds vibrate notifications are off and that you have downloaded the audio file completely avoid streaming or playing from the browser Check the volume is at 100 Remove the protection case from your smart phone Stop the audio f
22. e ROTATE knob one click in the other direction The SMR will forget the remaining rotations in the queue and just rotate once in the new direction 10 ROTATE SCALE kno oo Pen P O matt he L e Push knob n O VO aiin Pa 4 Seem pm b v o S i b O O O o bes ROTATE mode Press the button to switch between ROTATE SCALE mode Turn knob to rotate channels mode and SCALE mode Turn knob to change scale Changing the Bank Push ROTATE knob down and while still pressing down turn the knob The bottom six lights will change color The new bank selection takes effect when the button is released FEN i j b d zi o o o let cycle through all banks Rotate and Rotate lt trigger jacks A trigger on either jack will rotate the channels one step clockwise or counter clockwise respectively This is equivalent to turning the ROTATE knob one click to the right or left when in Rotate mode the Rotate trigger jacks have the same functionality whether you re in SCALE mode or ROTATE mode Rotate CV jack The rotation of the jacks will follow the CV applied to this jack If you input a OV to 5V triangle wave the channels will rotate all the way around through all 20 possible rotation positions then reverse direction and rotate back to the starting place and then repeat A sawtooth wave will cause them to rotate only in one direction A step wave will cause the channels to fade between diff
23. ed Make sure the 135 1 switch is set to 135 and the 246 6 switch is set to 246 otherwise the respective Freq Nudge knobs will only control channels 1 and 6 After setting all the channels to a useful frequency adjust the mix of the six sliders Play with adjusting the Q of each channel you can hold the Lock button and re adjust the Q knob to change a Q locked channel You can range from essentially a re EQ ed track to harmonizing resonant bowl sounds Since each channel has a different Q value both sounds can co exist To take the next step consider running LFOs envelopes or clock gates into the Level CV jacks Consider rotating some channels while keeping others still One technique is to manually unlock channels apply rotation and then re lock them To maintain the Q lock setting while unlocking rotation hold the Lock button for 2 seconds to unlock When one or more channel is unlocked turn the ROTATE knob or use a trigger into the Rotate Trig jacks The trigger could even be synchronized with the signals you re running into the Level CV jacks Or run an LFO or envelope into the Rotate CV jack Play with Morph to make the rotation slower or faster Another idea is to run a slow LFO into the Freq jacks to create a filter sweep effect Keep this patch going and continue on to the next patch idea Beat syncing advanced re mix techniques 3 _ me O ROTATE ed x TO MIXER p odds ri f Audio AN K track L d a ow yo
24. enter position In Envelope mode the jacks output a CV whose level is proportional to the amount of that channel s frequency present on the audio input For example if the channel is set to 440Hz any time the input signal contains 440Hz the Env Out jack will output some CV more voltage when the 440Hz is louder and less voltage when it s less present When the switch is set to Fast left the signal is tracked rapidly and small nuances are output With it set to Slow right the output is averaged such that small variations are smoothed out When the switch is in the center position the Env Out jacks are in Trigger mode Trigger mode also tracks the frequency content of the audio input signal but it outputs triggers instead of CV Whenever the amount of frequency present exceeds a certain threshold the jack will send a trigger The jack will remain high as long as the frequency content stays above the threshold This is very useful for beat syncing or triggering external modules that track percussive content of an audio signal 13 see example patch It s also useful for patching the SMR to itself Env Out Rotate Trigger jacks and Lock jacks Pre Post The Pre Post switch selects whether the signal to be analyzed is taken from the raw audio input or if it s attenuated by the channel s slider When the switch is set to Pre the Env Out jacks will respond to the frequency content of the input signal and not be effected by the sliders
25. er controls the volume of that band If the bands are spaced evenly across the range of human hearing then the SMR will function like a graphic EQ If the bands are rotated or swept up and down in frequency then the SMR will function somewhat like a traditional band pass VCF Rotation Rotation is a major feature of the SMR The light ring is important to watch when learning about rotation Rotation can happen in one of two directions clockwise or counter clockwise When rotated all six channels move in the same direction and the six lights on the light ring will fade to the next adjacent spot If a channel is locked it won t rotate see Locks below If a channel is rotated such that it would land on top of a locked channel or another channel moving in the opposite direction then it will move through the locked or moving channel and stop on the other side Rotation is closely linked to Morph which sets how quickly or slowly rotation can happen see Morph section below No matter how much rotation you tell the SMR to do it will only go as fast as the Morph setting allows Rotation is also queued so if you quickly turn the ROTATE knob ten notches to the right and have a very slow Morph setting the SMR will start rotating all the channels one step at a time until it s rotated a total of ten times Each of the ten rotations will happen at the Morph speed Reversing direction clears the queue so if you want the SMR to stop rotating you can turn th
26. er to 12V as shown above Getting started your first patch SPECTRAL MULTIBAND RESONATOR BG The easiest SMR patch is making droning chords Only one cable is needed Set up the SMR as shown e Turn all the Lock buttons off press any button that s lit to turn it off e Flip Scale Rotation switch off down e Freq Nudge to 0 both knobs in the upper left and upper right e Res Q knob to 100 e Spread to 0 e Morph to about 50 Ci Patch the black OUT jack into your mixer unpatch all other jacks C Turn RES Q to 100 There are six sliders Each one controls the volume of a filter resonator channel Push down all six sliders then slide each one up one at a time You should hear a pitch fade up in volume Each slider controls a different frequency as you adjust the slider watch the light ring Each slider is associated with a color The color gets brighter on the light ring as the slider moves up and down Each of the 20 spots on the light ring is associated with a pitch a frequency or a musical note Turn the ROTATE knob one click to the right Hear how the pitches shift up and the lights rotate one step clockwise Click the ROTATE knob down hear how the pitches shift down and the lights rotate counter clockwise Keep spinning the knob so that the lights move past 12 00 due north marked by a tick mark on the light ring Notice how the pitches go to the top and then start at the bottom By rotating an
27. erent positions without rotating through the in between positions Keep in mind that the Morph speed still applies so if the CV waveshape changes faster than the Morph setting the SMR will do its best to keep up with the CV but will never move faster than Morph allows This is a great way to turn a repeating rhythmic pattern e g a triangle wave into a new less repetitious but still related pattern simply turn Morph up so that it s slower than the rate of change of the Rotate CV signal There are 20 possible rotation positions and the jack is active in the range of OV to 5V so each rotation step has a window of 0 25V Applying 0 25V will cause the channels to rotate one step clockwise Dropping back to OV will cause them to rotate back one step counter clockwise Applying 1 0V will result in the channels morphing four positions clockwise Dropping from 1 0V to 0 75V will cause them to rotate back one step This kind of rotation is different than the ROTATE knob or the trigger jacks With triggers on the Rotate jack or when spinning the ROTATE knob the channels rotate one step at a time until they reach their destination On the other hand with Rotate CV rotating more than one step at a time will cause the SMR to Morph directly to the destination This type of rotation is nice for sequencing the SMR with a step sequencer Each voltage level corresponds to a different rotation position Sequencing Rotate CV and perhaps Spread CV and Scale C
28. es orange Each scale contains intervals selected from Wendy Carlos s non octave repeating Gamma scale spanning roughly 20Hz to 20kHz 6 17 note per octave yellow The first scale starts at 13 75Hz and each note is equally tempered to a 17 note octave Each scale is one octave above the previous 7 Chromatic purple The first scale starts at E2 82 4Hz and each note is one semi tone above the previous Each scale spans an octave and a half and is six semi tones above the previous 8 Diatonic 1 2 magenta Each scale is a diatonic scale spanning almost three octaves The first two scales start on A the next two start on A then B C C D In each pair the second scale is two octaves above the first 9 Diatonic 2 2 rose Continuation of previous bank starting at D E F F G G CO m i D z 10 Western dual interval light green Each scale starts on G1 49Hz followed by two intervals The triad is repeated across seven octaves an octave higher each time The pair of intervals varies per scale M2 P5 M3 flat5 m3 M5 M4 P5 m3 5 P4 P5 M3 M6 m3 flat6 M3 5 m3 m7 P5 M7 P 9 11 Mesopotamian Red Various ancient scales from Mesopotamia Scales 1 3 5 7 9 and 11 have six notes starting on A2 55Hz and then repeats over 3 octaves The remaining scales are copies of the previous scale but three octaves higher Q eae 12 Shrutis I
29. es to select which channels are tracked and which stay steady Patching percussion Marimbas gongs and wood blocks TO MIXER Trigger source l Trigger source 2 SPECTRAL MULTIBAND RESONATOR A This is a great patch for creating resonant percussive sounds You need a trigger or gate source A clock module such as the Quad Clock Distributor QCD or RCD or SCM from 4ms works well In a live setting you could use manual trigger gate sources such as the FSR 4 from Synthwerks or the Pressure Points from Makenoise Another option is a trigger recorder such as the Tri ger from Qu Bit Electronix Ci Patch the black evens OUT jack into your mixer un patch all other jacks For stereo output also patch the white odds OUT jack into your mixer and pan it to the left Pan the black evens signal to the right Patch your trigger sources into the IN jacks Two sources with different rhythmic content is ideal however if you only have one trigger source just patch into the odds jack To start have the triggers firing about once or twice per second The odds IN jack goes to channels 1 3 and 5 The evens IN jack goes to channels 2 4 and 6 So each trigger source can strike a chord of three notes O Listen to how the channels resonate when struck with a trigger or gate they should sound like a gong or marimba Adjust the Q Res knob to change how ringy the sound is low Q is like a wood block high Q is like a la
30. get them back to a known starting place is to unlock them all and turn the Spread knob The Spread CV jack can be used as Reset position jack giving a trigger into this jack will reset the unlocked channels positions to the Spread pattern set by the Spread knob Morph Morph is another central feature of the SMR Anytime the channels are rotated or spread the SMR performs a cross fade from the current spot to the new spot Morph controls the duration of the cross fade At minimum the cross fade is almost instant a few microseconds At maximum the cross fade is one second long Thus rotating all the way around the light ring would take 20 seconds Morph is real time so adjusting it in the middle of a cross fade immediately changes the speed of the cross fade Thus if you have a slow Morph time and queued a dozen or so rotations if you don t want to wait a dozen or so seconds for them to happen you can just turn Morph down and they ll happen much quicker Another trick with Morph is to send a rapid stream of triggers into the Rotate trig jack while adjusting Morph knob or CV As more CV is applied the rotation will slow down and with less CV it will soeed up Morph also controls the cross fade time when changing scales This applies to changing scales with the Scale CV jack or by manually turning the ROTATE knob in scale mode Morph controls the amount of slew when the CV Slew switch is thrown See CV Slew section Locking Locking
31. he filter type is saved with each setting slot Factory Reset To reset all SMR settings enter System Mode and hold down all six Lock buttons and the ROTATE button for 3 seconds Saving and Recalling Settings Settings Slots All of the internal settings of the SMR can be saved and recalled even after powering the SMR off There are six Settings Slots for you to save and recall settings When powering the SMR on the slot that was most recently saved into will be recalled The settings that are saved and recalled in each setting slot are the following e Channel note e Channel scale e Channel bank e Channel Res Q setting if g locked e Channel lock status e Channel Q lock status 15 e Channel Freq Nudge setting e Color Scheme selection e Filter type Additionally the following global settings are saved whenever a setting slot is saved e Default Settings Slot which Slot the SMR starts up in e Custom scales e Color schemes e Slider LED mode The six Settings Slots are represented by the six Lock buttons When you enter System Mode the Lock buttons will flash in a way to tell you their status e Dimly flashing Settings Slot is empty e Brightly flashing Settings Slot is full e Lit solidly not flashing Settings Slot is currently selected Recall Settings To recall settings from a Slot enter System Mode and then tap one of the brightly flashing Lock buttons The settings from that Slot will be lo
32. ile reset it back to the start and tap the ROTATE button to reset The single flashing light should come on and the Lock lights should turn off Play the file from the beginning again The open source licensed files for the firmware can be found at https www github com 4ms SMR Firmware Version To view the firmware version tap the ROTATE button 10 times rapidly to enter Custom Scales mode Starting with Firmware version 2 the Blue Green Red elements of the Env Outs LEDs read as a binary code of the firmware version number with Channel 1 Red being the least significant bit and Channel 6 Blue being the most significant bit Firmware version 1 All Env Out LEDs normal colors no binary code Firmware version 2 Channel 1 Green 000 000 000 000 000 010 Ch6 Ch5 Ch4 Ch3 Ch2 Chl BGR BGR BGR BGR BGR BGR Future firmware versions will follow the same format Firmware version 3 Channel 1 Yellow 000 000 000 000 000 011 Firmware version 4 Channel 1 Blue 000 000 000 000 000 100 etc Custom Scales Tap the ROTATE button 10 times rapidly All the Lock lights will illuminate and only one light in the light ring will turn on This is Custom Scale Edit mode There is one Custom Bank containing 11 Custom Scales You can choose which Custom Scale in the bank you are editing by tapping the Rotate button to select the scale just like you do in normal operation Tap it again to return to selecting the note Each note in the scale can be as
33. ing a pulse into the audio input causes all channels to make a sound Varying the Q value changes the clicky ness and ringy ness of the sound as well how rapidly the resonant sound decays see scope shots below If the pitches of the six channels are tuned to different notes in a scale chords can be played See Scales and Banks below If the pitches are controlled using the 1V octave inputs then the SMR acts like a six voice VCO Trigger fed into SMR audio input purple trace Resonant sound at output blue trace Gate fed into SMR i ii wu Mh i Wy Nb My MH LATENT ANT ATT ATA Nh i Niall hy mem a i Sn a 7 Wii il i i an HH HT j i in i AER H o tf Hl RES Q at 40 RES Q at 75 RES Q at 100 Both rising and falling edges of gate signal causes a resonant sound on the output When a channel is tuned to a particular frequency the SMR will be quiet until that frequency appears on the input at which point it will make a resonant sound exactly at the tuned frequency Try running a sine wave output of a VCO into the SMR and sweeping the VCO pitch up and down As the VCO pitch comes close to the frequency of any of the channels that channel will ring and continue ring for a bit after the VCO has left that frequency When the resonance is low the six channels act more like band pass filters Each slid
34. ir relative positions Scale Rotation switch When the Scale Rotation switch is up the channels will move into the next or previous scale when rotated past the zero point due north on the light ring This can happen whether a channel is rotated manually or with triggers or crosses the zero point due to Spread Some banks such as 17 note octave have the eleven scales arranged in a specific order so rotating with Scale Rotation on will sweep the frequencies the full spectral range N p Pan a z O gt ro oy I ro r a p i 5 i rj Pr 4 A Pi jr i er f LY Fia oy os Me St i TS KS N i i r I l K f I _ a ait saan Neg Nee a ey j if i i Fi l EON 3 I 1 kat ay hall oo roy oy ro N i l F l j he Maa St Sa os roy roy os ry J i i JF i ee Saat Naas Nee h N Paa Faaa Paa Faa Paa Famn Ly d O k d Lf l kW i i O D C C C C i L I L I f S Pms oo i P a re YO v C3 C gt B C3 j N ni hw na ht ht O D ry i 7 i ay i fy ows 7 t J 1s l P F L I f a J t d Nga I aa a A p Nga Spread Spread Spread Spread Spread Spread 0 Spread 1 Spread 2 Spread 3 Spread 4 continues to Spread 16 The Spread parameter controls the spacing between channels Like Rotation Spread is subject to
35. know that saving a color scheme in this way saves it to the currently active settings slot To try out your changes tap the ROTATE button once quickly and nothing will be saved permanently but you will be able to try out the new color scheme If you don t like it power the SMR off and back on to clear it or re load the current Settings Slot If you do like it save it to a Settings Slot Slider LED mode The Slider LEDs normally display clipping on the channels by flickering when the channel s contribution to the output mix approaches the clipping level To toggle between the two settings slide channel 1 s slider up and down 5 times rapidly when in System Mode You can tell which setting you re in by watching the animation on the slider LEDs when in System Mode e One slider LED is on at a time Night Rider sliders show clipping and level e Five slider LEDs are on at a time inverse Night Rider sliders show level only Filter Type Experimental feature that uses a different algorithm for the filter The timbre is subtly different and the decay when struck with a trigger is more exponential However the alternative filter type cannot be tracked 1V octave Thus the Freq jacks mimic the Freq Nudge knobs when using this filter type To change filter types turn the Freq Nudge knob up and down 5 times from 0 to 100 when in System Mode Make sure you are listening to the output because you will hear a change in sound when the filter type changes T
36. ncy resonance can also be locked Freq Nudge knobs create de tuning effects or are useful for picking out a precise frequency Frequency CV input 1V octave for even and odd bands flip switch selects single or multiple channel control Stereo inputs and outputs stagger the bands into evens odds for an immersive stereo field Spectral content outputs for each channel Env Out jacks allow for vocoding spectral transfer Switch selects Fast or Slow tracking speeds or trigger outputs Trigger output mode fires a trigger when envelope crosses a threshold useful for extracting a beat from music Sliders and CV jacks control each filter s level Slew switch applies slew limiting to the CV level jacks which prevents clicking from clocks or triggers Each bank has 11 scales of 20 frequencies notes each scale banks for Western Shrutis India Chromatic Diatonic Micro tonal 17 note octave Gamelan Pelog and Slendro Bohlen Pierce 13 note tritave Wendy Carlos s Alpha and Gamma scales Both equal tempered and just intonation tunings Rotation Spread moves about an entire bank or can be limited to a single scale White noise is normalized to the inputs so the SMR can be used without an external signal Settings and LED color scheme can be saved and recalled in multiple banks oO ie Controls and jacks Filter channel level Six sliders set the level of each filter White light on each slider indicates filter level flashes for clipping
37. ndian scales Yellow green Uses 20 notes from a 22 note octave so each scale spans one octave and is one octave higher than the previous scale CO 2 o 13 Graphic EQ blue These are common frequencies in Eqs The first scale is 20Hz 40 60 80 100 150 250 350 500 630 800 1k 1 3k 1 6k 2k 2 6k 3 5k 5k 8k 10k Each scale is the same as the previous scale shifted up about 3 14 Gamelan azure Scales 1 and 2 are the Gamelan Pelog 5 note scale repeated over 4 octaves Scales 3 4 and 5 are Slendro 7 note scales spanning 3 octaves each Scales 6 11 are a selection of five notes from the Slendro scale 15 Bohlen Pierce Lime Instead of octaves the BP scale is based on the tritave triple the root frequency with thirteen notes per tritave Each scale starts on C1 and contains four selected notes per tritave spanning five tritaves a E 7 C a F z Paiz p ee o 16 Custom scales gray pearl These are user programmable scales See section above for how to write and save your own scales By default they are chromatic scales 16
38. ocking one channel turning the SCALE knob locking another channel turning SCALE again locking a third channel etc Then if you unlock all the channels they will stay in their formation as you turn the SCALE knob up or down To force all the channels back to being in the same scale unlock all the channels and then spin the SCALE knob up or down until all the channels are at the 1 Scale or the 11 Scale Banks A bank is a collection of eleven scales Banks have a theme typically they represent a system of tuning with eleven variations or eleven parts of the frequency spectrum For instance the white bank is a collection of eleven scales with each scale built on a different interval found in western music major 3rds fifths minor 6ths etc They are tuned using just intonation and each scale has a range of 10 octaves On the other hand the yellow bank is a collection of micro tonal scales tuned to 17 equally tempered notes per octave Since each scale has 20 notes each one ranges just over one octave with the first scale starting around 20Hz and the last scale ending over 20KHz See the end of the manual for a table of all pre programmed banks In Scale mode the bottom six lights on the light ring show the banks the channels are assigned to The six lights correspond to the six channels in order from left to right See the diagram on the previous page By default the white bank is selected so all six LEDs on the bottom will be white If y
39. olor scheme of the lights Pick a pre programmed color scheme or create your own using the sliders to set red green blue values Custom color schemes can be saved permanently e Save your settings in one of six Settings Slots Note position scale and bank selection Q value lock settings and color scheme can be saved and recalled on the fly On startup the SMR loads settings from the last saved bank e Optional alternative filter type More exponential decay and different timbral qualities when plucked Freq jacks no longer track 1V oct in this mode e Slider LEDs can be selected to display clipping and level or just level e Firmware can be updated by playing encoded audio files from a computer into the SMR 0 0 0 O Specifications e 26 HP Eurorack format module e 16 to 16pin eurorack power cable included e 0 95 24mm maximum depth e Power consumption o 12V rail 86mA max jumper set to 5V 110mA max jumper set to 12V o 12V rail 28mA max o 5V rail 25mA jumper set to 5V OmA not used when jumper set to 12V Jumper P byes wt ah E r A gt P e s J SE Ean VSEL jumper 5V VSEL jumper 12V Most modern modular power supplies provide power on the 5V rail It s recommended to use the 5V rail when available If your system does not provide 5V or if your 5V rail is noisy the SMR can be set to generate an internal 5V from the 12V rail by moving the jump
40. ou hold down the ROTATE SCALE knob and turn it while still holding it down all unlocked channels will change their bank The bank does not become active until you release the knob This is useful for live performance allowing you to select the bank you want without having each bank in between become audible In same way you can put each channel into a different scale by locking channels as you change the scale you also can put each channel in a different bank Try locking just one a channel and then changing the bank Five of the bottom six LEDs will change color but one will stay the same If you unlock that channel it will keep the same bank but when you change the bank again it will join the same bank as the rest of the unlocked channels Scale CV The scale can be changed via CV using the Scale CV jack Voltages in the range of 0 to 5V are accepted Since there are 11 scales in each bank a voltage increase of 0 45V causes all unlocked channels to move to the next scale Likewise a voltage decrease of 0 45V causes them to move to the previous scale The scale can also be set manually using the ROTATE SCALE knob see above section If enough voltage is applied to the Scale CV jack such that the scale would move past the 11 scale it will simply stay at the 11 scale and ignore all additional voltage The Scale CV jack works just like manual control of scale by keeping the moving each unlocked channel up or down the same amount and keeping the
41. rge bell The amplitude of the triggers also effects the sound try attenuating or boosting the triggers before they reach the SMR Notice that the SMR will be struck on both the rising and falling edge of a gate so two sounds will be heard for every gate Triggers will cause only one sound since the rising and falling edges are very close together Adjust ROTATE and Spread to change the pitches of the notes and play with the sliders to adjust the level of each note Input another trigger source into Rotate Trig or Rotate Trig If you don t have another trigger source you could input an LFO or envelope 0 to 5V into Rotate CV In and the rotation will track the waveshape of the incoming CV Play with slowing down the rotation from the external triggers by turning up Morph Try setting the rotation trigger source super fast and then turning Morph up and down to adjust the speed of the motion Morph is a powerful way to limit musical movement and it can be CV controlled The ROTATE knob is also a button push and release it and you will enter SCALE mode Notice how the LEDs change the bottom six LEDs are one color and there should be one LED that s slowly blinking colors in the top half of the ring This is SCALE mode Turn the ROTATE knob and the blinking LED will move each position in the top half of the ring represents a different scale there are eleven Listen to how each scale is different You may want to click the ROTATE knob ag
42. signed a frequency To choose the note for which you want to change the pitch turn the ROTATE knob and the light will move around the light ring indicating which of the 20 notes you are currently editing To edit the pitch of a note you just selected press any Lock button This will unlock the note and allow the pitch to be changed You may want to turn up Res Q so you can hear the pitch or you can keep Res Q turned down and run audio into the SMR to select a frequency based on what it filters out Slide the sliders to edit the pitch e Slider 1 Octave select 10 octaves e Slider 2 Semi tone select 12 notes within the octave e Slider 3 Micro tone select 52 micro tones within the semi tone e Slider 4 Nano tone select Fine tuning micro tone control e Sliders 5 and 6 not active 14 When you ve set the pitch you want press any lock button to lock it or turn the ROTATE knob to select a new note and it will be automatically locked You can rotate around all the notes to verify the scale sounds how you like it When you want to save your changes press and hold the ROTATE button for five seconds You will hear a beep indicating the Custom Bank was saved To access the Custom Bank select the grey pearl or dim white bank in the same way you normally select banks The Custom Bank functions in the same way as pre programmed banks System Mode To enter System Mode hold the ROTATE SPREAD button down for five seconds without turning
43. u can rotate them to adjacent spots on the light ring and turn Freq Nudge all the way up for the lower channel Alternatively you can program a custom scale with duplicate frequencies Freq Nudge knobs There are two Freq Nudge knobs one for the odd channels and one for the even channels A switch selects whether the Freq Nudge knob controls all the odd even channels or just channel 1 6 Freq Nudge s default position is at 0 this means the frequency is not nudged and the notes in the current scale will be unaffected Thus if you wish to keep the channels in tune with the scale as it was programmed keep the Freq Nudge knobs all the way down As you turn Freq Nudge up the frequency will bend towards the next note in the scale At 100 the frequency will be the same as the next spot on the light ring Thus you can dial in any frequency between two notes on the scale Note There is a hidden 21 note in each scale so nudging a channel at note 20 will bend it up towards note 21 not down to note 1 Locking a channel also locks the Freq Nudge setting So you can nudge a channel up to an exact frequency and then lock it continuing to use Freq Nudge to nudge other channels without effecting the locked channel Freq jacks There are two Freq jacks for controlling the frequency of the channels Each one is tuned to 1V octave Note in Firmware version 1 shipped prior to October 3 2015 the response is 1 5V octave Firmware version 2 and later is
44. urce A digital noise source is normalized to the odds IN jack With nothing plugged into the odds IN jack the SMR will filer resonate this digital noise source The noise source repeats its pattern and the frequency content fluctuates Stereo mono operation For mono operation patch into the IN and OUT jacks circled in black odds IN evens OUT The evens IN jack is normalized to the signal on the odds IN jack When just the odds IN jack is patched it feeds all six channels When both jacks are patched the odds jack feeds channels 1 3 and 5 while the evens jack feeds channels 2 4 and 6 The odds OUT jack is normalized to the signal on the evens OUT jack When just the evens OUT jack is patched all six channels are heard When both jacks are patched channels 1 3 and 5 feed the evens OUT jack and channels 2 4 and 6 feed the odds OUT jack Frequency Each channel is a band pass filter with a center frequency The frequency is controlled by several things e Note on the scale shown by the light ring and controlled by Rotation and Spread e Scale and bank selection e Freq Nudge knob e Freq jack 1V octave Each of these elements is discussed in detailed below Example scale western bank scale of ocatves and 5ths just intonation Notes scales and the light ring yik TSH aya The light ring displays what frequency or note in the current scale each ik EIO E e channel is assigned to Notice there are 20 spots on the light ring E
Download Pdf Manuals
Related Search