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S1 MK2 User's Manual (Guide/Handbook)

1. 80 0 V 7 0k 3 00 4 00 5 0 Time mi 0 6 00 liseconds 7 00 8 00 M 1 0k 3 0k 5 0k 15 0k 17 0k 19 0k 35 Pulse Waveform The pulse wave is another classic waveform with variable pulse width and contains very strong overtones Unlike the sawtooth wave the overtone content of the pulse wave can be altered by changing pulse width For example a symmetrical pulse contains only odd overtones 3 5 7 See the illustration below OSCILLATOR OUTPUT BRDA A440 TS 440 00 Hz CWEJMAN Wr 10 0 50 20 0 25 30 0 a 5 2 400 i 0 0 a A 50 0 O 2 5 60 0 70 0 5 0 80 0 7 5 90 0 3 00 4 00 5 00 6 00 7 00 8 00 1 0k 3 0k 5 0k 7 0k 9 0 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz A pulse wave with 26 or 74 pulse width contains the following overtones 2 3 5 6 7 9 10 11 See the illustration below OSCILLATOR PULSE 26 A440 T5 0 00 Hz CWEJMAN NN 10 0 5 0 20 0 25 30 0 2 2
2. sees een nine nnne Master Amplifier acne Kei ra D rito kh ho a FF D IRAE RR S Tate aeo ood TIS CC ANDI ATION nda davis MIDE 21417 ET CVT and ao OR dY Gale2 THOU SR asza t e t NAK oO ROEE qur 827 EPIS Frogram Changes tere ab aal ache fea Hold Pedal Legato Pedal aded ieu aet All Notes Off Message orina tinte hn A a EA All Sound Off Message EO o e a ris Reset All Controllers MeSSQUBS d iti tee emp o tree o i ede Reset Message 29 CV Gate Trigg Configuration esses eene 29 SOHO for CV OUIDUES eii eris er NA tiec bes OO aay 30 Setting toe abore bye bpa eee poeta eia spa Dee Pese b 30 Routing the CVOUDUIS ids txt td pertinen Ursa dd ero on 31 Parameter Values Table 1 32 Upgrading SOU WAC et e 33 Possible Routing of CV Oulpuls eran tee tunes 33 MIDI Implementation 33 Inside the 5 34 34 Sine Waveform tsiera ads Ses
3. pU LPF MIXER Egger MMF 2 oD rte 4 6 4 Ae ATTACK TIME FILTER MIX bod 0 10 LEVEL 05 2 EAU 45 6 4 5 RS To DECAY TIME RIVI 6 4 54 3 1 4 lo o OUTF PUT LEVEL SUSTAIN LEVEL ENVELOPE MIX near toe ENVELOPE MODE o FM LEVEL 0563 RENE TE 456 sm XY CUTOFF MODULATION u 7 u e E 22 MASTERCV TRIGG GATE TRIGG L 3 POWER 0 0 0 9 9 9 A d K 4 X MODULATION INPUTS e WHITE NOISE ostiw LFO osci LFO MASTER CV TRACKING LEVEL BWM AUDIO AUDIO R wo ue uo waj 1 Q e MIDI CV OUTPUTS CUTOFF MODULATION OUTPUT OUTPUT OUTPUT OUTPUT EXT INPUT OUTPUT HI Z INPUT HIZ INPUT JOUL R RING MODULATOR Q on cz J cw MIDI GATES amp TRIGGERS B CEN ATTACK SUSTAIN DELAY ATTACK SUSTAIN DELAY 0 0 0 OHIO JIO GATE EXT INPUTS LEVEL CUTOFF LEVEL Q PEAK JJ DECAY RELEASE LEVEL DECAY RELEASE LEVEL EXT VELOCITY You can also use this setting as an initial reset patch to where you can go back to as a starting point for new sounds As soon you press a key on your keyboard or start your
4. Mode 1 Omni On Poly Mode 2 Omni On Mono Mode 3 Omni Off Poly Mode 4 Omni Off Mono 33 INSIDE THE SYNTHESIZER The S1 synthesizer is an analog instrument not including the MIDI Converter of course Most parameters such as frequency amplitude resonance Q PEAK attack time decay time etc are adjustable via potentiometers on the front panel and can also be voltage controlled via respective CV inputs The main voltage regulator is equipped with a highly stable reference circuit with a stability of 20ppm deg to guarantee long term stability In addition great attention has been taken to design of the oscillators to achieve the highest possible frequency stability a carefully chosen compensation circuits has been designed by simulation tool and practically verified to achieve high stability throughout the entire temperature range In addition to the application of know how from the analogue field modern simulation tools have been used to optimize and verify the characteristics and performance of all circuits inside the S1 Since the filters are among the most dominant sound processors in an analog synthesizer great effort have been taken in their design both in regard to the form of simulation and practical listening tests with the object of being able to offer two completely different types of acoustical characteristics in the LPF and MMF Via countless testing and listening it was determined that the filters in additio
5. OUTPUT Volts 3 00 4 00 5 00 6 00 7 00 8 00 1 0k 3 0k 50k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz NOISE GENERATOR There are three noise outputs white wide band unfiltered red lowpass filtered with 12 dB octave and low frequency noise slow random In the illustration below white noise and red noise is shown on the left side and spectrum density on the right side WHITE NOISE RED NOISE 0 0 CWEJMAN VA CWEJMAN Why dBV rms OUTPUT Volts FW 1 NL TY T TY 30 40 50 60 70 80 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz RING MODULATOR The multiplier even popularly called the ring modulator is a very useful sound processor for the creation of sounds with non harmonic overtones and undertones such as bell and wood sounds The ring modulator multiplies the amplitude of two incoming signals This results in two sine formed signals with the difference and sum frequencies of the incoming signals For exam
6. 2 D 2 90 20 0 2 2 2 4 4 4 6 6 6 0 0 3 0 6 0 9 0 0 3 0 6 0 9 0 0 3 0 6 0 9 Time seconds Time seconds Time seconds 47 OVERDRIVE The Output Mixer combines two signals a clean signal from the Master Amplifier and a saturated signal from a saturation stage The saturation stage is overdriven successively with the knob from clean to full saturated signal This gradually produces increasing distortion soft clipping and with hard overdriving successively changes the operating point as in a triode to cause increasingly unsymmetrical clipping This unsymmetrical clipping results in the retention of more so called musical material that would otherwise be lost in symmetrical clipping The illustration below shows the output signal and distortion just below the clipping limit and the clipped output signal and accompanying distortion components SATURATION STAGE SIGNAL UNDER SATURATION LEVEL CWEJMAN m 1 0 5 0k 7 0k 9 0k 11 0k 13 0k Time milliseconds Frequency Hz SATURATION STAGE SIGNAL LIGHT SATURATION LEVEL 15 0k 17 0k 19 0k 2 00 CWEJMAN 1 50 0 50 2 50 00 gt 1 00 1 50 1 00 2 00 3 00 1 0k 3 0k 5 0k 7 0k 90k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz SATURATION STAGE SIGNAL
7. Be a yt Oto Snes os 34 Triangle Waveform Hinc n loa ER Re denied 35 afia de edis ia e abeo e RS 35 Pulse EE LA s PADO BR M aa Red sede dead 36 Triangle Pulse octo rente cr tra ER RELY 37 Sync Frequency and Amplitude Modulation 37 INOISC Neal 39 POOOMOOUIANOF ANM LM 39 Low Pass FTO A nA E O A AO A 40 Mult Mode FINCK snide costal suat denen Eo 44 Master Ample addere Wiza d ka bdo 45 Envelope 46 ERO arene terete 47 CERTIFICATION Cwejman Sound certifies that this instrument was thoroughly tested and inspected and found to meet its published specifications when it was shipped from the factory WARRANTY AND ASSISTANCE All Cwejman Sound products are warranted against defects in materials and workmanship This warranty applies for 1 years from the date of delivery We will repair or replace products which prove to be defective during the warranty period provided they are returned to Cwejman Sound LIMITATION OF WARRANTY The foregoing warranty shall not apply to defects resulting from improper or inadequate maintena
8. GATE TRIGG GATE 2 TRIGG The three corresponding TRIGG amp GATE switches determinate the response of the envelope generators to incomming MIDI messages and or trigger gate signals MIDI channel 1 or MIDI channel 1 2 TRIGG GATE TRIGG 1 1 1 2 2 2 mm The MASTER CV TRACKING knobs control the cutoff frequency tracking and allow you to set the filters to track the master pitch CV from 0 to 200 you can e g make higher notes sound brighter than lower notes from no effect thru calibrated 1 Volt octave 1 1 to extreme 2 Volt octave 2 1 Each filter has the CUTOFF MODULATION switch that allows CV3 Modulation Wheel or CV4 Aftertouch to control the cutoff frequency of both filters LPF CUTOFF MMF CUTOFF 4 6 4 6 0 0 2 MASTER CV TRACKING CVA CUTOFF MODULATION MASTER CV 5 6 nz iom GLIDE o MODULATION LEVEL N MASTEk V TRIGG GATE TRIGG 1 1 N MOD _ATION INPUTS Moses 9 MIDI CV OUTPUTS CUTOFF MODULATION GATS GATE 2 9 Master modulation level c p 1 millisecond to 10 seconds 5 octave range TRANSPOSE 3 to 3 in one octave steps FINE TUNE 3 semitones rotes dira Lowpass Filter frequency corner tuning amount of master control voltage TRACKING 0 to 2 Octaves Volt detent at 1Octave Volt LPF CUTOFF Lowpass Filter frequency corner modulation source selector MODUL
9. STRONG SATURATION LEVEL 2 00 10 0 CWEJMAN W 0 0 10 0 20 0 1 50 0 50 2 0 00 E 20 gt 40 0 9 50 0 0 50 60 0 4 00 70 0 Ld 80 0 1 50 90 0 1 00 2 00 3 00 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz In the lower waveform it can be seen that distortion consists of both even and odd overtones with the second overtone as most significant Once again this brings to mind the characteristics of the electron tube amplifier with soft rising overtones strong signal and rapidly diminishing overtone spectrum The overdriven signal left portion of illustration recovers momentarily from the clipping mode the same property found in electron tube amplifiers but lacks the characteristic recovery time from clipped to linear condition found in hard coupled operation amplifiers 48 CWEJMAN SOUND BOX 669 442 71 KUNGALV SWEDEN E mail info cwejman com www cwejman com
10. m IB m tma Andino O E MOLYTIIOSO HLGIM 451 56 5 06 08 oc ot 09 gs HLGIM AS1Nd 56 5 06 ol os ez 07 gt oe 09 gs OF HLGIM AS1Nd 56 5 06 08 0 oL ot 09 gs OF Andino 13431 5 1X3 29181 31vo oon SW avo ICIN 250 2250 S1Nd LNO AJ 2250 2250 1250 6 m GD ED SLNdNl z nm EET ed ED z 9 v 7 l L 99151 ALV9 99hil M UHALSVW 713441 1 3NI3 ASOdSNVUL OEI Emo l d 13431 Wd 0 6 8 L 4 9 s 14 aolvT1iloso 5 E 9 o N 2 N No P g T 1 Toso fife Now begin to experiment Turn the LPF and MMF MIXER knobs clockwise to hear signals of all oscillators Change the waveforms and tunings of the oscillators Change the setting of the LPF and MMF sections CUTOFF Q PEAK POLE MODE and move the FILTER MIX knob in the MASTER AMP section See how timbres are changing Turn up the CUTOFF MODULATION CM knobs and experiment with the ENVELOPE GENERATOR settings to add dynamic timbre changes to the sound Experiment with the parameters and try to become familiar with the S1 If something migh
11. 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz Triangle Pulse Waveform This is a waveform created by combining a triangle waveform and pulse waveform in the ratio 3 to 1 Even the waveform has a unique character theflute pipe sound of the triangle wave combines with the overtone rich pulse wave See the illustration below OSCILLATOR OUTPUT TRIANGLE PULSE 50 A440 75 0 0 0 00 Hz CWEJMAN WH CWEJMAN WV 490 b Y 5 0 20 0 52 5 30 0 5 40 0 50 0 n 50 0 9 25 60 0 70 0 5 0 80 0 75 90 0 3 00 4 00 5 00 6 00 7 00 8 00 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz Sync Frequency and Amplitude Modulation The oscillators can be synchronized except for oscillator1 and also frequency and amplitude modulated by each other so that the basic waveforms sine triangle sawtooth pulse can be modified in a multitude of ways This is a very useful method in the creation of many fundamental waveforms with completely different character for further modification Some examples are shown in the illustration below OSCILLATOR2 SINUS out FM OSC1 SIN SYNC OSCILLATOR2 PULSE out FM OSC1 SIN CWEJMAN OUTPUT Volts OUTPU
12. 1 1 MIDI Control Change The CV function parameter is set to 0 119 which corresponds to controller 40 119 When a CV output is programmed for a Controller only 7 bit values are handled i e if both Coarse and Fine messages are received for the controller only the portion that has been programmed is used Controllers that are used for parameter programming or other predefined functions cannot be used for a CV output this applies to RPN NRPN controllers Data Entry controllers and Hold Legato pedal controllers When a CV output is programmed for a controller the CV Range parameter sensitivity is between 096 20096 2 Note On Velocity If the CV Function parameter is set to 121 the CV output produces a value corresponding to Note On Velocity for notes that are played The CV Range parameter determines sensitivity between 0 200 3 Accent If the CV Function parameter is set to 123 the CV output goes high 5V if the Note On velocity reaches a certain value The CV Range parameter determines the value at which the output goes high and can be 0 127 4 Key Aftertouch If the CV Function parameter is set to 124 the CV output produces a value corresponding to Key Aftertouch messages for notes that are played The CV Range parameter determines sensitivity between 0 200 5 Note Off Velocity If the CV Function parameter is set to 125 the CV output produces a value corresponding to Note Off Velocity for notes that are released The CV Range p
13. 2 40 0 0 0 R A 50 0 E 2 O 2 5 60 0 70 0 5 0 80 0 7 5 90 0 3 00 4 00 5 00 6 00 7 00 8 00 1 0k 3 0k 50k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz A pulse wave with 3396 or 6796 pulse width contains the following overtones 2 4 5 7 8 11 See the illustration below OSCILLATOR OUTPUT PULSE 33 A440 0 0 7 5 40 00 CWEJMAN 10 0 5 0 20 0 2 5 30 0 2 gt 2 40 0 0 0 gt A 50 0 3 O 2 5 60 0 70 0 5 0 80 0 7 5 90 0 3 00 4 00 5 00 6 00 7 00 8 00 1 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz For example if the pulse with 3396 pulse width is modified by the Multi Mode Filter Highpass mode Q peak 7 in series with the Lowpass Filter Q peak 7 the result can be as shown in the illustration below with dominant 4th and 5th overtones The basic tone is heavily suppressed and the modified pulse signal sounds completely different than the original signal OSCILLATOR SURUT EERE PULSE 33 A440 15 d CWEJMAN W 440 00 Hz CWEJMAN Wr 10 0 5 0 20 0 28 30 0 2 gt 2 40 0 0 0 A 50 0 O 2 5 60 0 70 0 5 0 80 0 7 5 90 0 WB 3 00 4 00 5 00 6 00 7 00 8 00 1
14. 9 10 Time milliseconds Time milliseconds SUSTAIN CV modulated by a an external signal ADSR AMPLITUDE 0 1 2 3 4 5 6 7 8 9 10 Time milliseconds 46 LFO s The Low Frequency Oscillator LFO can be used as modulation sources of all voltage controlled parameters such as oscillators frequency pulse width and cutoff frequency LFO s has a wide rate range of 60 seconds 0 01 Hz to 16 milliseconds 60 Hz The waveforms shapes can be modified by applying voltage control for rate speed and output level LFO can be gated by MIDI GATE s LFO s offer seven waveforms Sample 8 Hold with 2 additional slewed shapes Sinus Saw tooth Ramp inverted sawtooth Square LFO s basic waveforms are shown below SINUS WAVEFORM SAW TOOTH WAVEFORM My NN 2 5 D 2 5 4 4 6 6 0 0 3 0 6 0 9 0 03 06 09 Time seconds Time seconds SQUARE WAVEFORM RAMP WAVEFORM qr MW 4 4 2 2 o o 90 90 5 5 gt E 2 2 4 4 6 6 0 0 3 0 6 0 9 0 0 3 0 6 0 9 Time seconds Time seconds SAMPLE amp HOLD SLEW RATE 1 SAMPLE amp HOLD SLEW RATE 2 SAMPLE amp HOLD SLEW RATE 3 4 4 4 2 2 2
15. Factory preset Channel After Touch 0 to 5 Volts iP MASTER CV CV1 incl all controllers in the Master Controller GATE1 15 Volts active TRIGG1 15 Volts active GATE2 15 Volts active TRIGG2 15 Volts active S TRIG Inverted gate short circuit active MIDI channel selector CV Main tune 1 Volt octave ANALOG GATE Envelope generator gate 1 Volt threshold INPUTS TRIGG Envelope generator trigger 1 Volt threshold S TRIG Inverted gate short circuit active 4 OSC1 OSC2 OSC3 SCALE 1 Volt octave OSC1 OSC2 OSC3 RANGE RANGE octave steps MASTER SCALE general scale sensitivity calibration MASTER ANALOG CV INPUT 1 Volt octave CALIBRATION MAINS INLET Power cord inlet NEAR Switch for mains voltage selection BALANCED 16 dBVmax 600 ohm rear panel OUTPUTS SINGLE ENDED 10 dBVmax front and rear panel GETTING STARTED We guess that the first of all you want to hear how the S1 sounds Before you get deeper into this manual and all the functions of the S1 please take a short tour and make yourself familiar with some of the S1 basics Before you power up the S1 turn down the output level knob The S1 can produce high output levels and you should make sure not to burn your valuable preamp speakers or even more your valuable ears FIRST power up the S1 and then turn on your audio system Now please bring the controls of the S1 to a simple basic setting SOUND
16. Negative going 0 to 5 Volts Master Amplifier The envelope generators provide control voltages that can be used to dynamically change timbres This section provides the output stage of the S1 The internally routed audio signals are summed amplified and sent to the instrument s outputs FILTER MIX adjusts the mix ratio between LPF and MMF outputs in any proportion OVERDRIVE makes the S1 sound nasty and grungy OUTPUT LEVEL controls the overall signal level sent to your audio system AMPL MODULATION The level of the sound can be dynamically controlled by the envelope generators ENVELOPE MIX adjusts the mixing ratio between both envelopes in any proportion ENVELOPE MODE switch determines how much the signal is attenuated over time Logarithmic mode log is very useful for extremely percussive sounds The patch section provides AUDIO EXT INPUT can be used to process external audio material in the S1 amp section It is prepatched to the LPF output Its level can be adjusted by the FILTER MIX knob OUTPUT provides a master audio output in addition to the one on the backside CV ON OFF switch makes the S1 amp velocity sensitive since it is pre patched to CV2 MIDI velocity Using the EXT VELOCITY socket any other signal can be used to control the velocity 21 AMP i0 OUTPUT LEVEL AMPL MODULATION 4 4 mit Yaz ENVELOPE MIX LINEAR LOG ENVELOPE MODE POWER AUDIO E
17. Send an NRPN Coarse 99 message with value 0 u Send an NRPN Fine 98 message with value 03 to select the CV2 Function parameter Send Data Entry Coarse 06 message with value 04 to set the new function 30 Example 2 The CV2 Output Range is set to 32 as default To change this to 64 for a 20096 range instead do the following Presume that the instrument has not received any other messages and has not been turned off since the last parameter change The NRPN Coarse message need not be set since it will retain its last value m Send an NRPN Fine message with value 09 to select the CV2 Range parameter m Send a Data Entry Coarse message with value 64 to set the new range Example 3 The CV2 Output Range is now changed but is to be changed to 16 to provide 5096 range instead NRPN Fine message need not to be set since it will retain its last value Send Data Entry Coarse message with value 16 to set the new range Routing the CV Outputs CV outputs to the different modules are routed via switches on the front panel and or with patch cables Route with switches as follows u Turn off the switch on the front panel that the CV output is currently using Remove any patch cable that might be connected u Find the switch on the front panel that is to be used and select it Route with patch cables as follows Remove patch cable from the CV output that is currently in use and turn off any switch that is current
18. attached to the sides of the instrument by 4 M5 screws Installation of Instrument Stand optional An instrument stand can be attached to the unit using the instrument stand kit Instrument stand kit 2 stands right left that are attached to the sides of the instrument by 4 M5 screws same screws as for rack installation Repackaging for Shipment The following is a general guide for repackaging for shipment NOTE If the instrument is to be shipped to Cwejman Sound for service or repair attach a tag to the instrument identifying the owner and indicating the service or repair to be carried out include the serial number Place the instrument in its original container if available If the original container is not available wrap the instrument in heavy paper or plastic before placing in an inner container Use plenty of packing material around all sides of the instrument and protect panel faces with cardboard strips Place the instrument and inner container in a heavy carton or wooden box and seal with strong tape or metal bands Mark the shipping container DELICATE INSTRUMENT or FRAGILE Warm up time After start up the unit requires 5 to 10 minutes to allow circuits to stabilise Specification The following is an account of the entire unit and the technical performance of each individual module In addition there is a more detailed description of the characteristics of the unit s functions including descriptions of the modules measurem
19. inverts the control voltage of envelope generator 1 CM 2 adjusts the corner frequency modulation intensity by ENVELOPE GENERATOR 2 ENVELOPE GENERATOR 2 switch inverts the control voltage of envelope generator 2 OSC1 LFO adjusts the corner frequency modulation intensity by the triangle waveform of OSC1 respective to the LFO Maximum sweep reaching over 5 octaves OSC1 LFO switch selects the triangle waveform of OSC1 or the LFO as modulation source AUDIO In the patch section of the MMF you ll find the HI Z INPUT which is an additional and patchable input It is internally prepatched to the WHITE NOISE This level is adjustable in the MMF MIXER section OUTPUT socket allows the filtered audio signal be coupled to any input It s destinated to the audio input of the AMP section FILTER MIX CV Here you ll find patchable modulation inputs for the MMF CUTOFF can be used to provide other signals than the triangle waveform of OSC1 or the LFO to which it is internally routed see above as a modulation source for the cutoff frequency Use the OSC1 LFO knob to adjust the modulation intensity LEVEL can be used for gain control respective to the amplitude modulation output signal of the MMF Q PEAK enables the resonance to be voltage controlled Again using audio signals can provide interesting results 18 MMF Gils MODE FILTER fay POLE ne 0SC1 LFO AUDIO O HI Z INPUT OUTPUT
20. of the attenuated input signals and its inverted signal and sum These outputs are pre patched to the PWM inputs of OSC1 and 2 see above Especially when using the LFO signal this can be a useful choice since the mixers outs provide the LFO signal with opposite polarity to OSC1 s PWM respective OSC2 s PWM Consequently the oscillators pulse width sweeps in opposite directions which results in interesting sonic possibilities PWM PWM LFON 05 1 05 2 O0 OC zx INPUT1 OUTPUT OUTPUT INPUT2 EXT INPUT1 Pre patched to LFO triangle output gain 1 EXT INPUT2 Pre patched to Envelope Generator 1 output gain 1 Sum of input 1 and input 2 patched to SU Oscillator 1 PWM input Inverted sum of Input 1 and Input 2 patched to GAM Oscillator 2 PWM input 11 Ring Modulator A ring modulator is a classic audio effect device and due to the non harmonic character of the output signal very useful to create metallic timbres such as bells sweeping whistles and percussive sounds and tremolo effects modulated by low periodic signal like a LFO Two input signals are needed and pre patched to OSC 2 and 3 sine wave outputs Using the EXT INPUT sockets any other signal internal or external signal Source can be routed directly into the ring modulator The AM input enables amplitude modulation effects see Mixer The output signal of the ring modulator is routed internally into audio mi
21. poles for band pass mode 1 2 3 6 12 18 dB octave The diagrams below show the filter frequency response for all three modes Low pass mode 2 4 6 pole Q PEAK 7 High pass mode 2 4 6 pole Q PEAK 7 Low pass mode 2 4 6 pole Q PEAK 7 20 20 0 0 0 20 20 20 m m m 5 5 5 40 2 40 2 40 S 5 5 8 8 8 9 9 9 2 2 2 9 60 Q 60 9 60 80 80 80 100 100 100 20 64 256 1024 4096 20000 20 64 256 1024 4096 20000 20 64 256 1024 4096 20000 Frequency Hz Frequency Hz Frequency Hz The output signal of the filter in low pass and band pass mode is shown below the best way to illustrate the filtering effect is by using the low pass mode here with 2 4 and 6 pole Low pass mode 2 pole Q PEAK 0 Low pass mode 4 pole Q PEAK 0 Low pass mode 6 pole Q PEAK 0 6 6 6 4 4 4 2 2 2 z 2 2 2 go go 20 5 5 5 gt gt 2 2 2 4 4 4 6 6 0 0 001 0 002 0 003 0 0 001 0 002 0 003 0 001 0 002 0 003 Time seconds Time seconds Time seconds The filtering in band pass mode cutoff frequency is equal oscillators frequency square waveform is presented below Observe the difference in filtering effect with 2 4
22. sequencer you should hear the sound of a simple bass lead You may also copy the picture on next page and fill in your own settings AL1I20713A 1X3 g9 Andino AndNI XA ttu 3407 13AN3 901 __ avann 3d0 TJ3AN3 05 05 LS T43A41 3svaidH OE Nivisns MJVLLV Z A ANNOS 3svaidH 13437 ddon AV13 1505 mem mm Andino A A AVT3Q Ero om t N pru Neu 6 6 z s L 9 gt 3 gt AWIL 83573 3H EBOI Eno Nus dos 9 5 24 6 8 s L L b 9 b 031 1250 Elo ol 0 041 6 5 73441 NIVLSNS or 6 CA 8 8 L Lm 9 7 Avoad E10 yeli t t 14 AWIL MOVLLV 1 9 5 aaow AAOLNS OE 6 8 L 9 300W 3108 9 2108 1 MVAd O 18431 840102 CHEJ 330112 8104 YILT SSYd 3104 9 2250 1350 5 250 e e YaXIW dd7 Andino 31vo ba calvo C 141v9 AB m
23. 0 2 In the logarithmic mode attenuation X Volts 15 dB The illustration below shows what the signals look like in the two modes LINEAR MODE LOG MODE MASTER AMPLIFIER OUTPUT AMPLITUDE MODULATED BY ENVELOPE GENERATOR 7 5 CWEJMAN Wy 5 0 N u o OUTPUT Volts m un 5 0 50 100 150 200 250 300 Time milliseconds Performance at maximum attenuation of audio signals is shown in the illustration below MASTER AMPLIFIER ATTENAUTION RANGE Power Level 0 31 dBVrms VCA CV 5 Volts Power Level 84 91 dBVrms CV 0 Volts 0 0 10 0 20 0 30 0 40 0 50 0 60 0 70 0 f N 80 0 90 0 100 0 110 0 CWEJMAN dBV rms 1 0k Frequency Hz 45 ENVELOPE GENERATORS Both envelope generators are identical and provide control voltages that can be used to dynamic change of all voltage controlled parameters such as frequency amplitude pulse width cutoff The most common use is controlling a filters cutoff frequency and a voltage controlled amplifiers amplitude in order to achieve dynamic timbre and level changes The envelopes of the S1are internally pre patched to different modules such as Master Controller MIXER LPF and MMF and Master Amplifier All parameters such as Attack time Decay time Sustain level Release time Delay time and
24. 1 Same as for CV2 Same as for CV2 CV5 Range 12 Same as for CV2 Same as for CV2 CV6 Range 13 from 0 to 24 semitones Default is 24 semitones 32 Upgrading Software Software in the 51 CVGate interface can be upgraded via MIDI Software is upgraded via a programmer software that runs on any Windows machine This software can be downloaded from the official website The Windows machine must of course also have a standard MIDI interface New software versions for the S1 CVGate can also be downloaded from the official website further details see the website Possible Routing of CV Outputs CV Output Routings CV1 Front Back panel Ring modulator input LFO FM AM input Etc CV2 Front Back panel Same as for CV1 CV3 Front Back panel Same as for CV1 CVA Front Back panel Same as for CV1 CV5 n a n a CV6 n a n a For MIDI Implementation Chart Function Transmitted Recognized Remarks Basic Channel Default X 1 16 Changed 1 16 Mode Default 4 Messages 2 4 Note Number 0 127 True Voice 0 127 Velocity Note On X O Note Off X O Aftertouch Key X O Channel X O Pitch Bender X O Control Change 0 127 X O Program Change X O True 1 System Exclusive O SASS OAI System Common X X System Realtime X O Aux Messages Sound Off X O Reset Controllers X O All Notes Off X O Omni On X O Omni Off X O Reset X O O Yes
25. ATION CV3 off CV4 5 Octaves range CU Multi Mode Filter frequency corner tuning amount of master control TRACKING voltage 0 to 2 Octaves Volt detent at 1Octave Volt E Multi Mode Filter frequency corner modulation source selector CV3 off CV4 5 Octaves range FREQUENCY MODULATION Modulation inputs for Oscillators and Master Controller OSCILLATOR 1 Pre patched to LFO 1 Volt Octave RWC PE Pre patched to Oscillator 1 output 1 Volt octave OSCILLATOR3 Pre patched to Oscillator 2 output 1 Volt octave CEDE IER Pre patched to LFO 1 Volt Octave OSCILLATORS The Oscillators OSC1 3 are the main sound sources of the instrument They are identical except to their pre patched frequency modulation sources and the fact that OSC3 can be switched to LFO mode Oscillators are equipped with seven waveforms sync and different frequency and pulse width modulation routes Given that the oscillators offer a great flexibility in wave shaping process The oscillator s frequency is controlled by RANGE TUNE MASTER CONTROLLER and FM LEVEL RANGE determines the octave range of the oscillators within six octaves respective to the coarse tuning of OSC1 in LFO mode TUNE finetunes the oscillators 6 semitones FM LEVEL determinates the intensity of frequency modulation Frequency modulation for oscillators has different modulation sources see table on the page 10 for a maximal modulation flex
26. CU CUTOFF LEVEL Q PEAK Frequency corner 16Hz to 16kHz Flat to self oscillation 2 4 6 poles 12 24 36 dB oct low pass and high pass mode 2 4 6 poles 6 12 18 dB oct band pass mode POLES Envelope Generator 1 0 to 10 octaves Envelope Generator 2 0 to 10 octaves Oscillator 1 triangle LFO 0 to 5 octaves AUDIO High Z 4 Mohm input impedance JANAN 1 Volt input for gain dB Filter output Frequency modulation input 1 Volt octave AS to triangle LFO Amplitude modulation input 0 dB gain 5 Volts CV Resonance flat to self oscillation 4 to 5 Volts CV CM CUTOFF MODULATION 19 Envelope Generators The envelope generators provide control voltages CV s that can be used to dynamicy change of parameters such as frequency amplitude pulse width cutoff The most common use is in connection with a filter and a voltage controlled amplifier in order to achieve dynamic timbre and level changes Thus the envelopes of the S1 are internally connected to the oscillators filters and the amp but can be routed elsewhere via the patch panel Both envelope generators are identical ATTACK TIME Time needed to reach the envelopes full level after a key is pressed or the EG is started otherwise DECAY TIME Time needed to fall down from the full level to the sustain level SUSTAIN LEVEL Level that is held as long as a key is pressed RELEASE TIME Time ne
27. CWEJMAN SOUND WA S1 MK2 Users Manual Guide Handbook Table of contents Certification e xime EE ERE DEREN Before using this 2 Checking ACCESSON CS i255 iiiter te rdi cats ete tutu Oak Environmental CONOQHIONS nro Eu duse rere iesu nde Satety OVINDDIS rie ide ae e andi NAA OE nens Grounding Requirements Installation of Instrument Stand Repackaging for Shipment seen Warm UD TET Geo a ons Introduction du e Pred 8 delia FAR ERE aD e Started o d nS ipee itm rpm Master COMUOU GM mp 8 s Sw ciel o tp Sia add a Nani Ring 817 o CAO En Noise Generator Outputs and Oscillators Outpults Multi Mode Audio Input gil 2 WORRY NECI TRE LOWPASS MIB taxa UR Multi Mode T ooo hn AWCE RF DERE CE ARR Envelope
28. DI GATE 2 or to an external signal patched to the EXT GATE socket Additional sockets allow the modulation of RATE and LEVEL and provide the LFO OUTPUT Some interesting results can be achieved when the LFO OUTPUT is fed back to the EXT GATE input socket GATE1 GATE2 LEVEL EXT GATE OUTPUT RAE 60 seconds 0 016 Hz to 16 milliseconds 62 Hz Sample amp Hold random 3 speeds triangle sawtooth double rate inverted sawtooth double rate square all waveforms 5 Volts Frequency modulation input 1 Volt octave Amplitude modulation input 0 dB gain Q 5 Volts CV Synchronization to external signal 1V threshold or Gate1 Gate 2 Waveforms LEVEL 13 Low Pass Filter Audio Mixer Audio mixer for oscillator 1 2 3 ring modulator and pre patched multi mode filters output The output signals of the three oscillators the ring modulator and the output signal of the multimode filter has individual levels into the lowpass filter input The red labelling indicates the saturation level of the filter s input stage when one source is used Using more than one signal source leads to earlier saturation Multi Mode Audio Mixer The output signals of the three oscillators the ring modulator and pre patched white noise has individual levels into the multi mode filter input The red labelling indicates the clip level of the filter s input stage when one source is used with higf Q PEAK setting Using more than o
29. ECT LOWPASS FILTER SATURATION EFFECT LINEAR MODE SQR WAVE in 3Vp p LINEAR MODE SQR WAVE in 3Vp p SATURATED MODE SQR WAVE in EXTREME SATURATED MODE SQR WAVE in EXT AUDIO INPUT 7 5 TS CWEJMAN V CWEJMAN W 50 5 0 Bd 25 A A 25 N A a U U E 5 5 A c 5 0 0 5 0 0 P a E E 2 3 0 2 5 U 2 5 5 0 5 0 N U 7 5 7 5 3 00 4 00 5 00 6 00 7 00 8 00 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds Time milliseconds A complicated saturation effect can be seen amplitude amount of resonance and frequency corner are affected and altered by the input signal strength Spectrum analysis in the illustration below shows that the filter effectively suppresses the square wave overtones but also adds even harmonic overtones the most dominant being the 2nd overtone 2000 Hz This brings to mind certain characteristics in electron tube amplifiers that from a musical point of view can be advantageous It is well known that even overtones often add a musical timbre and electron tube amplifiers are valued for this among other things 42 LOWPASS FILTER OSC1 SQR WAVE IN LEVEL 7 7 1000 0 Hz CWeIMAN 30 0 dBV rms u A o o e 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz Parameters suc
30. Output level are voltage controlled These parameters can be modulated with various waveforms or governed from a voltage source For example when controlled from CV1 the higher one plays on the MIDI keyboard the more Decay time decreases In other words the lower the tones are the longer the Decay times are and the higher the tones are the shorter the Decay times are Envelope Generator Attack Decay amp Release 0 Sustain 4 Envelope Generator variable attack time o o ADSR AMPLITUDE ADSR AMPLITUDE 0 1 2 3 4 5 6 T 8 9 10 0 T 2 3 4 5 6 7 8 9 10 Time milliseconds Time milliseconds Envelope Generator variable release time Envelope Generator variable decay time ADSR AMPLITUDE ADSR AMPLITUDE N 0 1 2 3 4 5 6 7 8 9 10 0 1 2 3 4 5 6 T 8 9 10 Time milliseconds Time milliseconds The diagrams below show modulated ATTACK TIME DECAY TIME and SUSTAIN LEVEL by external CV sources ATTACK CV modulated by envelope generators output DECAY CV modulated by envelope generators output o o ADSR AMPLITUDE ADSR AMPLITUDE 0 4 2 3 4 5 6 T 8 9 10 0 1 2 3 4 5 6 8
31. Sinus Triangle Saw Saw Triangle Triangle Pulse Saw Pulse Pulse 5 Volts 8 O Hard synchronized to Oscillator 2 Waveforms OSCILLATORS CV INPUTS WAVEFORM SELECTOR SAW SAW TRIANGLE PULSE TRIANGLE These input sockets provide the use of external signals for amplitude AM and pulse width modulation PWM The LEVEL inputs provide amplitude modulation Modulation of oscillator s level amplitude can be provided by any low frequency or audio signal such as LFO Envelope Generators Oscillators or any other signal Source If audio signals are used the resulting waveforms are complex and contain in addition to the carrier frequency two inharmonic sidebands per spectral component The sound character is familiar to the results of FM and thus useful for generating of non harmonic sounds and noises The PWM inputs of OSC 1 and 2 are hardwired to the outputs of the MIXER described below The pulse width of all three oscillators can be modulated by any other signal 10 LEVEL PWM CV Amplitude modulation input 5 Volts wave 5Volts input CV Pulse width modulation input 5 pulse width 1Volt input CV CV LEVEL CV PWM Mixer This is a two input two output DC coupled mixer with input level controls The inputs are pre patched to the LFO triangle wave and to the ENVELOPE GENERATOR 1 but can be coupled to any other source The outputs deliver the sum
32. T Volts R a 5 0 7 5 3 00 4 00 _ 5 00 6 00 7 00 8 00 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds Time milliseconds 37 OSCILLATOR2 FM OSC1 SAW SYNC 0SC1 8 OSC2 SAW out OSCILLATOR2 SINUS out FM AM OSC1 SAW SYNC Volts OUTPUT Volts OUTPUT 3 00 4 00 5 00 6 00 7 00 8 00 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds Time milliseconds A simple yet acoustically interesting synchronized waveform that can be used as a template for creating Bass lead sounds is shown in the illustration below OSCILLATOR1 PULSE PW 5 OSCILLATOR2 PULSE PW 95 SYNC A440 CWEJMAN Wy OUTPUT Volts 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds It is possible to create many useful Bass leads with varying timbre and character by simply varying the pulse width of the oscillators and increasing the frequency of the synchronized oscillator Oscillator2 above the frequency of Oscillator1 and for example filter sweeping The sound will have more depth and life for example if Oscillator2 is re
33. Time milliseconds Triangle Waveform This waveform has a higher content of overtones than the sine wave and consequently sounds different The odd overtones are most prominent The amplitude of the overtones is higher than those in the sine wave but also diminish more rapidly OSCILLATOR OUTPUT TRIANGLE A440 7 5 CWEJMAN W CWEJMAN 5 0 N a o o OUTPUT Volts dBV rms 3 00 4 00 5 01 Time mil 0 6 00 liseconds 7 00 8 00 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz Sawtooth Waveform The sawtooth wave is the classic waveform and perhaps the most used in the creation of many characteristic bass and brass synthesizer sounds This is due to the fact that the sawtooth wave contains both even overtones 2 4 6 and odd overtones 3 5 7 that have high amplitudes even for overtones of higher order By dynamic and or static filtering the character of the sound can be altered in many ways See the illustration below OSCILLATOR OUTPUT SAW TOOTH A440 75 0 0 CWEJMAN m CWEJMAN 410 0 5 0 20 0 N a 30 0 2 40 0 2 e 50 0 OUTPUT Volts N a 60 0 70 0 9 0k 11 0k 13 0 Frequency Hz
34. Volts 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds LOW PASS FILTER The sound processor with greatest effect is the Low Pass Filter and every synthesizer has at least one as the foremost tool for sound modification The Low Pass Filter is a 6 pole construction The reason for this is as follows the slope of the filter must be as steep as possible to provide the greatest filter effect However since it is obviously not always desirable to use a filter with a steep slope the LPF is equipped with a switch that enables selection of either 6 pole or 4 pole operation The illustration below shows the LPF frequency response for both modes LOW PASS FILTER Q PEAK 0 4 POLE MODE 6 POLE MODE CWEJMAN Wr 30 50 70 100 200 300 500 1 0k 2 0k 5 0k 10 0k 20 0k Frequency Hz 40 The illustration below shows the suppression of square wave overtones in the LPF LOW PASS FILTER SQR WAVE IN 4 POLE MODE 6 POLE MODE 0 0 CWEJMAN W 10 0 20 0 30 0 40 0 dBV rms 50 0 60 0 70 0 80 0 90 0 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz Q peak affects the amplitude of the corner frequency from flat to self oscillation The illustrations below show the output signals with var
35. XT INPUT OUTPUT EXT VELOCITY AUDIO Panning mixer for Lowpass Filter and FILTER MIX Multi Mode Filter audio output Overdrive control from clean to full saturated OVERDRIVE audio signal output NU eM gt Audio input pre patched to Lowpass Filter output BNET TZ Instruments audio output AM Envelope1 and Envelope2 panning mixer RSS 1169 8 for amplifiers amplitude modulation AM Linear mode gain 0 dB 5 Volts CV 20 Volt Se zl 9 9 284 log mode gain OdB 5 Volts CV 15 dB Volt AM EXT VELOCITY Velocity control pre patched to CV2 22 REAR PANEL God iua uiua BR Lu l 5 Ha 1 7 8 BORG idiw AJ 31V0S 39NVH 37725 39NVN 3n90 VNV 31995 2250 29050 H1LSVW NOILVN8ITVO 299191 199141 91815 Ad 1 1 9 H31SVW ZAJ 91815 99141 e H4ZIS3HLNAS 3090 1VNV YVINGOW INAS ee LSGNNOSNYW WOO NVAC3MO2 MMM 3 01 38 1SNW 3AILO3LOHd HJMOd JHL MIOHS 21412313 OL IaNNOSH3d G3ldlTvNO OL 9NIDIAN3S 3334 H3A02 JAOW3H LON NOILNVS VA 02 2HO9 0S OV A 08 611 INIT 0129135 A 0 2 8 319NIS sindino LNAWNYLSNI 23 MIDI IN and programming MIDI OUT only program verification CV1 Fixed main tune 0 to 10 V
36. al parameters such as CUTOFF Q PEAK and LEVEL output Selectable 2 4 and 6 poles Low high band pass mode Very clean sound even in self oscillation mode deal as effect filter with external sound material Clean yet warm and smooth sound Low noise The Multi Mode Filter with a wide range of controllable parameters is especially useful as a tool to create various high quality sounds and recreate sounds from many classic synthesizers as well Those qualities make the Multi Mode Filter a perfect complement to the Low Pass Filter Configuration in series or parallel the LPF and MMF filters make it easy to create various vocal like sounds or filter with an extreme steep slope up to 72 dB octave in low pass mode FUNCTIONS CUTOFF controls the cutoff or corner frequency of the filter from 16Hz to 16kHz POLE selects between 2 4 and 6 pole configuration for 12 24 and 36dB octave slope Q PEAK determines the boost of the corner frequency From 9 on the filter starts self oscillating To create useful and interesting sounds the cutoff parameter has to be controlled dynamically This is mostly done by the later described envelope generators and or by modulating the cutoff with a periodical signal e g an LFO or an audio signal This is done with the cutoff modulation section CM CUTOFF MODULATION CM 1 adjusts the corner frequency modulation intensity by ENVELOPE GENERATOR 1 ENVELOPE GENERATOR 1 switch
37. and 6 poles the square signal has been filtered to an all most pure sinus signal with 6 pole band pass filter Band pass mode 2 pole Q PEAK 4 Band pass mode 4 pole Q PEAK 4 Band pass mode 6 pole Q PEAK 4 6 6 6 4 4 4 2 2 2 g g g 5 5 5 gt gt gt 2 2 2 4 4 4 6 6 6 0 0 001 0 002 0 003 0 0 001 0 002 0 003 0 0 001 0 002 0 003 Time seconds Time seconds Time seconds The frequency sweep of the MMF filter in oscillating mode is shown in the illustration below MULTI MODE FILTER 6 POLE MODE 5 SELF OSCILLATION MODE MODULATED by LFO SAW CWEJMAN Wh 5 0 ed 5 2 E 0 0 n E 5 VV 5 0 7 5 100 200 300 400 500 600 Time milliseconds 44 MASTER AMPLIFIER Attenuation in the voltage controlled amplifier VCA is controlled by Envelope Generator 1 and 2 via the panning mixer ENVELOPE MIX and the VELOCITY CONTROL CV2 There are two attenuation control modes Linear and logarithmic Log In linear mode the attenuation follows a linear relationship 1 volt increase or decrease of control voltage amplifies or attenuates 2096 of the incoming signal or expressed in a simple mathematical formula 7 X Volts
38. anels see the figures below Gate1 is accessible as an output on the rear panel in the MIDI CONVERTER OUTPUTS section Gate 1 can be complemented by the signal GATE in the ANALOG INPUTS section on the rear panel Trigg1 is accessible as an output on the rear panel in the MIDI CONVERTER OUTPUTS section TRIGG1 can be complemented by the signal TRIGG in the ANALOG INPUTS section on the rear panel Gate2 Trigg2 Function Gate2 and Trigg2 follow Note On messages on the selected MIDI channel 1 This is useful for example when using the selected MIDI channel for melodies and main rhythm patterns and the selected MIDI channel 1 for added rhythm patterns When a Note On message on MIDI channel 1 is received the corresponding Gate2 goes actively high and Trigg2 produces a short pulse When the corresponding Note Off message comes Gate2 goes actively low The notes with numbers lower than 24 are ignored by default but can be reprogrammed to provide a total register of 10 octaves If several Note On messages are received in sequence Gate2 is held actively high the entire time and a new Trigg2 pulse is generated Five simultaneous Note On messages can be stored in the memory Gate2 can control Envelope Generator 2 via MASTER CONTROLLER selector switch GATE 2 1 off 2 on the front panel Gate 2 can also control LFO Sync via a switch in the LFO Gate1 Gate2 sec tion Trigg2 is used to control Envelope Generator 1 or Envelope via MASTER CONTROLLER s
39. angle saw Mixed triangle pulse Mixed saw pulse NI OSCILLATOR 1 OCTAVE SELECTOR AUDIO MODE RANGE from C2 32 7 Hz to C8 2093 Hz LOW FREQUENCY MODE RANGE from 6 seconds to 50 milliseconds FREQUENCY TUNE PULSE WIDTH 6 semitones 590 to 9590 0 1 I OSCILLATOR 1 AUDIO LOW FREQUENCY MODE SELECTOR FREQUENCY MODULATION LEVEL pre patched to LFO 4 5 OSC1 OSCILLATOR 1 OSCILLATOR 2 SYNC to OSCILLATOR 1 5 95 FREQUENCY MODULATION PULSE WIDTH LEVEL pre patched to 5 m OSCILLATOR 1 RA 40 60 OSCILLATOR 3 SYNC to OSCILLATOR 2 5 55 PULSE WIDTH FREQUENCY MODULATION 5 40 59 60 LEVEL pre patched to d 4 OSCILLATOR 2 5 55 PULSE WIDTH OSCILLATOR 2 3 OCTAVE SELECTOR AUDIO MODE RANGE C2 32 7 Hz to C8 2093 Hz OSCILLATOR 1 RANCE 0 C2 to 6 C8 in 1 octave steps AUDIO mode AMSA seconds to 120 milliseconds TUNE 6 semitones PULSE WIDTH 5 to 95 Wavef Sinus Triangle Saw Saw Triangle Triangle Pulse Saw Pulse averorms Pulse 5 Volts OSCILLATOR 2 RANGE 0 C2 to 6 in 1 octave steps t 6 semitones 5 to 95 Sinus Triangle Saw Saw Triangle Triangle Pulse Saw Pulse Pulse 5 Volts SYNC Hard synchronized to Oscillator 1 OSCILLATOR 3 RANGE 0 C2 to 6 C8 in 1 octave steps 6 semitones 5 to 95
40. arameter determines sensitivity between 095 20096 6 Channel Aftertouch If the CV Function parameter is set to 126 the CV output produces a value corresponding to Channel Aftertouch The CV Range parameter determines sensitivity between 0 200 7 Unused If the CV Function parameter is set to 120 122 or 127 the CV output is blocked and will not react to any messages The CV output is set to a constant OV See Table 1 for further details CV Output 6 is always Pitch Wheel Out and it is not possible to use it for anything else Pitch Wheel Range can be set either by changing the parameter as described below or by RPN message Pitch Bend Range 0x0000 Setting Parameters Parameters for the CV outputs are set by NRPN messages as follows m Initialize the NRPN Coarse part to 0 u Select the parameter by the NRPN Fine part See Table 1 for details Send Data Entry Coarse message with the required value Since parameters are always between 0 127 the Data Entry Fine message is not needed The NRPN Coarse and Fine values will be retained until another NRPN or RPN message is received or until the S1 is turned off Note When done with parameter changes NRPN Coarse and Fine should be set to Ox7f NRPN RPN zero value This is to avoid changing the parameters unintentionally Example 1 The CV2 Function is programmed for Note On Velocity as default To change this to react instead to the Foot Controller 04 do the following
41. as for Oscillator 1 using one of the other oscillators as reference MASTER SCALE This procedure tunes the entire instrument The object is to calibrate CV1 and MASTER CV rear panel for 1 Volt octave If the oscillators correspond internally over 4 5 octaves any one of them may be used for a reference tone otherwise an external source must be used Perform the calibration using the MASTER SCALE trim potentiometer MASTER ANALOG CV An external analog control voltage from e g an analog synthesizer or other instrument with an analog control voltage output can control the instrument Perform the calibration using the MASTER ANALOG OV trim potentiometer on the rear panel NOTE All the trim potentiometers have limited trim ranges about 590 Therefore the source of external control voltage must not deviate by more than 2 396 from 1 Volt octave CALIBRATION MASTER OSC3 OSC2 OSCI SCALE ANALOGUE RANGE SCALE RANGE SCALE RANGE SCALE CV INPUT 25 MIDI General The MIDI interface is a so called MIDI to CV amp Gate Trigger that converts MIDI messages to analog control voltages CV and Gate Trigger Gate Trigg control voltages There are six CV channels CV1 CV6 and two Gate Trigg ports Gate1 Trigg1 and Gate2 Trigg2 All the functions that have an external Control Voltage Input normally marked can be controlled via MIDI control voltages CV1 CVA The MIDI interface is preconfigured for certain functions see descripti
42. at it be used in a place where there is minimum noise If noise is unavoidable use a noise suppresser or the equivalent CAUTION Before turning this unit on check the supply voltage switch on the Rear Panel for proper position LINE 115 230 V AC 50 60Hz 20 VA Voltage selector in 115Vac position Safety Symbols DO NOT REMOVE COVER REFER SERVICING TO QUALIFIED PERSONNEL TO AVOID ELECTRIC SHOCK THE POWER CORD PROTECTIVE CAUTI O N GROUNDING CONDUCTOR MUST BE CONNECTED TO GROUND The WARNING sign denotes a hazard It calls attention to a procedure practice or the like which if not correctly performed or adhered to could result in injury or loss of life Do not proceed beyond a WARNING sign until the indicated conditions are fully understood and met The CAUTION sign denotes a hazard It calls attention to an operating procedure practice or the like which if not correctly performed or adhered to could result in damage to or destruction of part or all of the equipment Do not proceed beyond a CAUTION sign until the indicated conditions are fully understood and met Grounding Requirements The synthesizer is equipped with a three conductor power cord which when plugged into an appropriate receptacle grounds the instrument The offset pin on the power cord three prong connector is the ground wire Rack Installation This instrument can be rack mounted by using a rack mounting kit Rack Mounting kit 2 brackets that are
43. d MMF coupled in series and or in parallel creates a formant filter for various vocal like sounds LOW PASS FILTER The Low Pass Filter in 4 pole mode emulates the familiar lowpass filter in some analogue synthesizer S1 s Low Pass Filter expands sonic potential by adding a unique designed 6 pole low pass mode and quasi band pass mode LPF is characterized by a non linear transfer function so called saturation mode that is affected by the level of the incoming signal In the audio mixer the red markings on the potentiometer scales show the level at which the filter operates in the saturation mode For more details see LOW PASS FILTER page 40 The design quality of LPF s and new futures makes the LPF more flexible and precious than any other lowpass filter in analogue synthesizers and results in qualities such as CUTOFF Q PEAK and output level are voltage controlled 4 and 6 poles lowpass mode 24 dB octave and 36 dB octave Bandpass mode Saturable from warm and smooth sound at low to moderate level of incoming signal to heavy distorted nasty and aggressive at high level of incoming signals Ideal as effect filter with external sound material Low noise 15 FUNCTIONS CUTOFF controls the filters cutoff or corner frequency POLE selects between 4 pole lowpass quasi bandpass that sounds different than the true bandpass of the MMF and 6 pole lowpass Q PEAK determines the boost of the corner frequency F
44. d to react on any MIDI message see Parameter Programming below CV3 is pre patched for Fixed Modulation CV Select for LOWPASS FILTER and MULTI MODE FILTER frequency corner modulation Default sensitivity is 10096 but can be altered see CV Gate Trig Configuration below Connections CV3 is accessible from both the front and rear panels see the figures above CV4 Function CV4 is preprogrammed for Channel Aftertouch messages but can be reprogrammed to react on any MIDI message see Parameter Programming below CV4 is pre patched for Fixed Modulation CV Select for LOWPASS FILTER and MULTI MODE FILTER frequency corner modulation Default sensitivity is 100 but can be altered see CV Gate Trig Configuration below Connections CV4 is accessible from both the front and rear panels see the figures above CV5 Function CV5 is preprogrammed for Control Change 5 Portamento Glide Time but can be reprogrammed to react on any MIDI message see Parameter Programming below Default sensitivity is 100 but can be altered see CV Gate Trig Configuration below Connections CV5 is not accessible as an output CV6 Function CV6 is preprogrammed for Pitch Wheel messages but can be reprogrammed to react on any MIDI message see Parameter Programming below CV6 is prepatched to the Master Controller for modulation of oscillator pitch and frequency corners of the filters Default sensitivity is set to 24 semitones but can be set anywhere betwe
45. e is received on MIDI channel 1 All Sound Off Message Turns off a played note Gate1 is made inactive Pitch output is held at its latest value A played note is turned off even if the Hold pedal is active Gate2 is affected in the same way when the message is received on MIDI channel 1 Reset All Controllers Message Resets all controllers to default states All CV Outputs on the S1 programmed for a controller or other function output are cleared the output is set to OV and the Pitch Wheel is centered Omni On Off Messages Turns Omni mode on or off Note that the second byte in Omni On messages is not recognized since the 51 is a monophonic instrument currently played note is turned off by making both Gate1 and Gate2 inactive but the CV1 output is held at its latest value The Note Stack is also emptied Reset Message Received When the reset message is received the MIDI interface performs a warm reset The description regarding Power On describes what happens CV Gate Trigg Configuration Configuring the CV outputs is made in two steps First a parameter must be set to define which MIDI message is to control the output Then the CV output must be routed to the desired module 29 Settings for CV Outputs CV Output 1 is always Pitch Out and it is not possible to use it for anything else CV Outputs 2 5 can be programmed to react to MIDI Controllers or a number of pre defined functions These functions are listed below and in Table
46. e most fundamental signal tone that contains only the basic tone In an analog synthesizer the sine wave is produced by synthesis that results in a signal that is not completely perfect See the illustration below The left side shows the sine signal and the right side shows its spectrum density Aside from the basic signal 440Hz there are a number of harmonic overtones OSCILLATOR OUTPUT SINUS A440 7 5 CWEJMAN Wy CWEJMAN WH N 6 LT 5 8 8 o o o OUTPUT Volts N P gt KJ BV 70 0 5 0 7 5 90 0 3 00 4 00 5 00 6 00 7 00 8 00 1 0k 3 0k 50k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz 34 In other words the sine wave has its own character it sounds nearly clean but it can change its timbre by e g a filter sweep dynamic or by a filter with a peak frequency that corresponds with the harmonic overtones of the signal static The illustration below shows the result of modifying the signal with the Lowpass Filter and Q peak 7 FILTERED SINUS WAVEFORM BY LOW PASS FILTER PEAK SECOND HARMONIC PEAK THIRD HARMONIC PEAK FIFTH HARMONIC T5 CWEJMAN Wy 5 0 mew 2 E 0 0 3 A E 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00
47. e sonic capabilities the S1 is also equipped with a multi mode filter that can work as low high and band pass see page 42 Next to the filter type the slope or NUMBER OF POLES defines the characteristics of a filter The slope defines how steep the filter cuts off the attenuated frequency range It is measured in dB octave and one pole is equivalent to 6dB octave That means that the most commen 4 pole lowpass filter cuts high frequencies with an attenuation of 24dB octave and more efficient 6 pole filter cuts 36dB octave The higher the slope the more effective the filter works cuts overtones or undertones Since lower slopes also produce very musical and sonically useful results it makes sense to implement filters with switchable slope The S1 s filters with its two corresponding 3 slope settings are most versatile and musically useful The next basic parameter is the CUTOFF FREQUENCY or corner frequency It defines at which frequency the filter starts to work respective to attenuates frequencies On the 51 the cutoff of both filters can be adjusted from 16kHz to 16Hz by CUTOFF knob and has a total frequency range from 5Hz to 30kHz Lets have a look on Q PEAK This parameter is also known as resonance or emphasis It boost the frequencies in the range of the cutoff and makes the tone sound more cutting From a certain level on the filter starts self oscillating and works as a sinewave oscillator The configuration of LPF an
48. eded to fall down to zero level after key is released or other note off command has been received GATE DELAY TIME Delay time between note on command and start of the attack phase ENVELOPE OUTPUTS Provides the control voltages of the envelope and the inverted voltage CV INPUTS Allows the voltage control of all envelope parameters This is very useful future for modelling of complex dynamic sounds NI ENVELOPE GENERATOR 1 2 ENVELOPE GENERATOR 2 5 6 3 7 i 2 m 8 1 29 720 1 500u TOON 20 4 5 6 M 4 z ie z hi 1 9 9 72 500us 20 O io SUSTAIN LEVEL 1205 500us RELEASE TIME 4 5 6 7 O zd 9 is 9 I 9 mso iom DELAY TIME OUTPUT OUTPUT OUTPUT OUTPUT ATTACK SUSTAIN DELAY ATTACK SUSTAIN DELAY 000000 RELEASE LEVEL DECAY RELEASE LEVEL ATTACKTIME 0 5 milliseconds to 20 seconds DECAY TIME 0 5 milliseconds to 20 seconds 0 to 5 Volts RELEASE TIME 0 5 milliseconds to 20 seconds DELAY TIME 1 millisecond to 10 seconds CV ATTACK 0 5 milliseconds to 20 seconds 0 to 5 Volts CV __ 0 5 milliseconds to 20 seconds Q 0 to 5 Volts CV 0 to 5 Volts 0 to 5 Volts CV 0 5 milliseconds to 20 seconds Q 0 to 5 Volts CV CV DELAY 1 milliseconds to 10 seconds Q 0 to 5 Volts CV Amplitude modulation 5 Volts signal peak 5Volts CV Positive going 0 to 5 Volts
49. elector switches TRIGG 1 1 off 2 and TRIGG 2 1 off 2 on the front panel Connections Gate2 is accessible as an output on the rear panel in the MIDI CONVERTER OUTPUTS section Trigg2 is accessible as an output on the rear panel in the MIDI CONVERTER OUTPUTS section The following two drawings show the MIDI GATES amp TRIGGERS at the bottom left of the front panel and the MIDI CONVERTER OUTPUTS on the rear panel MIDI CV OUTPUTS Cv2 MIDI GATES amp TRIGGERS 1 un TT NE GATES MIDI outputs and pre patched Envelope Generators Gate Trigg inputs at bottom left on Front Panel ANALOGUE MIDI CONVERTER INPUTS OUTPUTS O CV1 CV2 MASTER GATE2 TRIGG STRIG CV3 STRIG TRIGG1 TRIGG2 Rear Panel MIDI Converter outputs 27 CV2 Function CV2 is preprogrammed for Note On Velocity but can be reprogrammed see the following section Functions for CV Outputs CV2 is pre patched for amplitude control but can be de selected by a switch under the AMP CV section Default sensitivity is 10096 but can be altered see CV Gate Trig Configuration below Connections CV2 is accessible from both the front and rear panels see the figures above CV2 can also be substituted by an external control voltage via an input on the front panel under AMP CV section CV3 Function CV3 is preprogrammed for Control Change 1 Modulation Wheel messages but can be reprogramme
50. en 1 24 semitones in semitone steps see CV Gate Trig Configuration below Connections CV6 is not accessible as an output 28 How MIDI Messages are Handled Program Change Program Change messages with patch 01 restore the parameter settings to their default values A currently played note is turned off by making both Gate 1 and Gate 2 inactive the output is held at its latest value The Note Stack is emptied All CV Outputs on the S1 that are programmed for a controller or other function output are cleared the output is set to OV and the Pitch Wheel is centered All other patch numbers are ignored Note that restoring the parameter memory via the Program Change message takes a couple of hundred milliseconds and during this time no other messages will be handled Hold Pedal Legato Pedal The Hold Pedal message sustains a note being played by keeping the Gate1 output active regardless of Note Off messages The Gate2 output is affected in the same way when the message is received on selected MIDI channel 1 Legato Pedal messages cause a legato effect by not making the Trig1 output active for Note On messages The Trig2 output is affected in the same way when the message is received on MIDI 1 Notes Off Message Turns off a played note Gate1 is made inactive Pitch output is held at its latest value A played note is not turned off if the Hold pedal is active Gate2 is affected in the same way when the messag
51. ents of waveforms spectrum analysis frequency response etc ENT TENNIS 440mm L 215mm H 70mm D DIMENSIONS ___ 115 230Vac 10 20VA Introduction The S1 is a semi modular analogue monophonic synthesizer It is easy to get started with since it is pre patched for optimal use of its sound producing possibilities and eliminates the need for external connections between modules during use Each module can be disconnected and used separately e g to control or be controlled by other instruments This flexibility enables and simplifies experimentation with creation and reproduction of sound We can mention some important futures of the S1 Three oscillators with seven basic waveforms Ring modulator Noise generator with two three noise shapes Low pass filter with selectable 4 6 poles and quasi band pass mode Multi mode filter with selectable 2 to 6 poles and three modes Wide range envelope generators Master amplifier with build in overdrive stage LFO with seven basic waveforms and wide rate range Extensive modulation of virtually all synthesis parameters Build in MIDI to CV gate converter with 16 bit resolution Several parameters can be voltage controlled by external signals and simultaneously control external devices by MIDI converters voltage outputs see Rear Panel The S1 is a stand alone instrument and possibility with patching and integrating it into an external modu
52. gulated as FM with a little envelope or LFO Another example of what the oscillators can produce is noise By frequency modulating the oscillators in a ring Osc1 to Osc2 to Osc3 to Osc1 noisy signals can be created See the illustration below RING FREQUENCY MODULATION OSCILLATOR1 SINUS out C5 C2 0 0 CWEJMAN n CWEJMAN W 10 0 20 0 30 0 2 40 0 hi 2 50 0 OUTPUT Volts 60 0 70 0 80 0 90 0 3 00 4 00 5 00 6 00 7 00 8 00 1 0k 3 0k 50k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Time milliseconds Frequency Hz 38 Even though these waveforms do not look like noise they are synthesized noise By frequency modulating the oscillators in a ring a multitude of signals are created just like those found in noise However unlike random noise this synthesized oscillator noise can be manipulated in several ways e g varying the frequency illustration above or varying the degree of frequency modulation illustration below In other words this noise can be played with and noise with varying bandwidth can be created resonance effect RING FREQUENCY MODULATION VARIABLE FM LEVEL OSCILLATOR1 SINUS out WHITE NOISE SYNTHESIS BAND PASS NOISE SYNTHESIS CWEJMAN
53. h CV The oscillators are not tracked anymore by an e g keyboard thus allowing the creation of sounds that are not related to a tonal scale MASTER CV N All oscillators FM LEVEL are calibrated 1 Volt octave and can be controlled by an external sequencer or other CV source with calibrated 1Volt octave signal MODULATION INPUT sockets The frequency control of the three oscillators and the master tunning are internally pre patched to the LFO OSC1 OSC2 and LFO as you can see on the labelling of these sockets MODULATION INPUTS 0000 This allows you to modulate the frequency of all three oscillators and the master controller just by moving the FM LEVEL knobs in the oscillator section and of course the MODULATION LEVEL knob in the master controller section without any patch cords The MODULATION INPUT sockets breaks these pre patched signals and allow you to redirect any other signal to frequency control of the oscillators and the master tuning The MIDI CV OUTPUTS sockets provide four different control voltages generated by the internal MIDI CV converter of the S1 corresponding to incomming MIDI data MIDI CV OUTPUTS cv1 CV4 The MIDI GATES amp TRIGGERS sockets provide the gate and trigger signals that are internally sent to the envelope generators Gate and trigger signals can be overrided by inserting patch cords in gate amp trigger inputs MIDI GATES amp TRIGGERS
54. h as Q peak and Level are voltage controlled which enables the filter to modify signals with modulation of frequency corner It can also create other tone characteristics with e g modulation of Q peak and LEVEL by other means of control The illustrations below show some examples LOW PASS FILTER 6 POLE MODE OSC1 SQR WAVE in LOW PASS FILTER 6 POLE MODE OSC1 SAW WAVE in FREQUENCY MODULATED by OSC1 TRIANGLE LPF FREQUENCY MODULATED by OSC1 TRIANGLE 7 5 7 5 5 0 5 0 92 125 5 5 50 50 0 E E 5 5 O2 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds Time milliseconds LOW PASS FILTER 6 POLE MODE 5 1 SINUS WAVE in Q PEAK MODULATED by OSC1 TRIANGLE 7 5 z o OUTPUT Volts e 27 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 43 MULTI MODE FILTER This filter has musical characteristics that differ from the Low Pass Filter It has low pass high pass and band pass mode and is linear i e has no compression mode Acoustically it is different and provides a necessary complement to the Low Pass Filter Both filters can be connected in parallel or in series pre patched or cross connected No of poles for low pass mode 2 4 6 12 24 36dB octave No of poles for high pass mode 2 4 6 12 24 36 dB octave No of
55. iable Q peak the frequency response for varying Q peak and a swept filter in self oscillation mode LOW PASS FILTER 6 POLE MODE VARIABLE Q PEAK LOW PASS FILTER 6 POLE MODE VARIABLE Q PEAK Q PEAK 0 Q PEAK 4 Q PEAK 4 Q PEAK 8 7 5 5 0 a e o OUTPUT Volts OUTPUT Volts N un 5 0 5 0 7 5 7 5 3 00 4 00 5 00 6 00 7 00 8 00 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds Time milliseconds LOW PASS FILTER FREQUENCY RESPONSE VARIABLE Q PEAK Q PEAK 0 5 0 0 Q PEAK 8 10 0 20 0 30 0 a 40 0 gt 50 0 60 0 70 0 80 0 90 0 100 0 30 50 70 100 200 300 500 1 0k 2 0k 5 0k 10 0k Frequency Hz 41 LOWPASS FILTER 6 POLE MODE SELF OSCILLATION MODE MODULATED by LFO SAW 3 LINA t IN 5 0 100 200 300 400 500 600 Time milliseconds LPF is characterized by a non linear transfer function so called saturation mode that is affected by the level of the incoming signal In the audio mixer the red markings on the potentiometer scales show the level at which the filter operates in the non linear mode saturation mode The illustration below shows the saturation effect LOWPASS FILTER SATURATION EFF
56. ibility Frequency modulation by an audio signal creates so called side bands that consist of sum and difference of signals frequencies These additional frequencies do mostly have a non harmonic sound Modulation by low periodic waveforms such as LFO or envelope generator creates momentary pitch shift of modulated oscillator common named vibrato by LFO or pitch bend by envelope generator More interesting things happen as soon as both frequencies are in the audio range The fast modulation of the frequency creates so called side bands that consist of sum and difference of signals frequencies These additional frequencies do mostly have a non harmonic sound or with extreme modulation noise Experiment first with sine waves at different frequency ranges and then go for more complex waveforms SYNC means that sync ed oscillators frequency is tracked by the frequency of controlling oscillator OSC3 s frequency is syncronized to OSC2 s frequency OSC2 s frequency is syncronized to OSC1 s frequency When the tuned frequency of sync ed oscillator has the same or multiple of frequency of controlling oscillator then sync ed oscillators waveform has no or very little glitch which results in a sync ed smooth waveform i e sinus waveform The sync ed waveforms with additional FM modulation are perfect for cutting edge lead sound and hard funky basses You want to know how to trigger oscillators at zero crossing to get most natural and static dr
57. ith MIDI note number 24 The tone it produces is selected by among other things transposing the Master Controller s selector and the oscillator Range switch see description of oscillators for more detail The notes with numbers lower than 24 are ignored by default but can be reprogrammed to provide a total register of 10 octaves If several Note On messages are received in sequence the most recently received note is played For each Note On message a new Trigg 1 pulse is generated if it is not inhibited by the Legato mode When a Note Off message is received the previous note is sent out and a new Trigg 1 pulse is generated Five simultaneous Note On messages can be stored in the memory CV1 controls via MASTER CONTROLLER selector switches on the front panel the frequency of the oscillators switches OSC1 OSC2 OSC3 and the frequency corners of the filters LPF TUNE and 26 Gate1 activates Envelope Generator 1 with fixed connection to Gate1 and or Envelope Generator 2 The selection is made by MASTER CONTROLLER selector switches GATE 1 1 off 2 and GATE 2 1 off 2 on the front panel Gate1 can also control LFO Sync via a switch in the LFO Gate1 Gate2 section Trigg1 is used to retrigger Envelope Generators attack and decay portion of envelope signal This can be disabled by MASTER CONTROLLER selector switches TRIGG 1 1 off 2 and TRIGG 2 1 off 2 on the front panel Connections CV1 is accessible from both the front and rear p
58. lar or semi modular synthesizer makes it extremely flexible Connections Power Connect the included power cable with a 115 230Vac outlet BEFORE YOU TURN ON THE MACHINE BE SURE TO CHECK THE VOLTAGE SELECTOR POSITION ON THE HEAR AUDIO Connect the INSTRUMENT OUTPUT of the S1 to your audio system Use a single ended or balanced output cable depending on what your audio system has to offer For best audio performance use the balanced output Please refer to your audio systems instruction for reference MIDI If you want to play the S1 via MIDI connect S1 s MIDI IN to the MIDI OUT of your MIDI controller Select the corresponding MIDI channels on both the S1 and your MIDI controller All MIDI functions of the S1 are explained in detail later in this manual Please also refer to the instructions of your MIDI system controller CV GATE If you want to play via CV GATE equipped devices please use the ANALOGUE INPUTS on the S1 backpanel Connect S1 s CV IN to the CV OUT 1 Volt octave of your analogue sequencer or keyboard and connect the GATE or Trigger or S Trigger to the appropriate output of your analog controlling device Please refer to the device instructions MIDI IN and programming MIDI OUT only program verification MIDI INTERFACE and MIDI THRU CV1 Fixed main tune 0 to 10 Volts 10 octaves CV2 Factory preset Note on Velocity 0 to 5 Volts CV3 Factory preset Control Change 05 Modulation Wheel 0 Volt 5 Volts CV4
59. ly used for the CV output Reroute the patch cable to the new CV output 31 Table 1 Parameter Values NRPN Fine Parameter Function EEN e Comment Coarse 0 Base Note 01 0 127 default is 24 Lewe possible note that will be played CV1 is always handled as main tune control This CV1 Function 02 parameter currently has no effect 0 119 respond to Control Change messages with this number 120 CV Output is unused 121 Note On 0 127 velocity CV2 Function 03 Default is 121 for pod Note On Velocity B 123 Accent 124 Key Aftertouch 125 Note Off velocity 126 Channel Aftertouch 127 CV Output is unused 0 127 CV3 Function 04 S Titor Same as for CV2 modulation wheel controller 0 127 CV4 Function 05 Default is 124 for Channel Same as for CV2 after touch CV5 Function 06 O T Same as for CV2 Default is 5 for glide time CV 6 is always handled as Pitch Wheel out This CV6 Function 07 parameter currently has no effect Scaling for 0 63 controllers or Default is 32 which provides 5V full swing at E data 127 caling for aftertouch 63 provides x2 i e 5V at CV2 Range 09 data 64 and 16 provides x0 5 i e 2 5V at data 127 Mens This can be viewed as 0 20095 scaling with about programmed values 5 resolution larger than 32 will be ignored and set to 32 instead CV3 Range 10 Same as for CV2 Same as for CV2 CV4 Range 1
60. n to the customary 12 and 24dB octave slope must also have a 36dB octave slope The difference between 24 and 36dB slope may seem to be slight but is highly pronounced to a listener and offers new and highly useful possibilities in sound modification Envelope generators have been developed by simulation in a computer environment All the parameters can be voltage controlled within a large time range Attack Decay Release times are adjustable from 0 5 milliseconds actually 350 microseconds to 20 seconds S1 is a so called semi modular synthesizer which means that all modules e g oscillators filters etc are interconnected in a certain configuration The configuration can be altered using patches Connections between the different modules can be broken and routed to other inputs or outputs For example to cross connect the filters the MULTI MODE FILTER external audio input is connected to the LOWPASS FILTER audio input which can produce unexpected effects such as the generation of sub octave tones The list of possible configurations is of course very long so the following is a description of the constituent parts of the instrument i e the modules OSCILLATORS There are three oscillators that are largely identical except that OSCILLATOR1 that can be used as an extra LFO in the LF mode with five basic waveforms sine triangle sawtooth variable pulse and triangle mixed with variable pulse Sine Waveform An ideal sine wave is th
61. nce by buyer unauthorized modification or misuse accident or abnormal conditions of operations No other warranty is expressed or implied Cwejman Sound specifically disclaims the implied warranties of merchantability and fitness for a particular purpose Cwejman Sound shall not be liable for any special incidental or consequential damages whether in contract tort or otherwise Copyright 2002 by Cwejman Sound Printed in Sweden All rights reserved No part of this manual may be reproduced in any form without written permission of Cwejman Sound 1 Before Using this Synthesizer Checking Accessories Upon receipt of this instrument run the checks shown below Run visual checks against any and all damages or imperfections Check the quantity and rating of standard accessories to assure their conformance with the table below Should there be any flaw or damage or missing or insufficient materials contact the dealer or the sales and support office Power cable Interconnection cables 3 5mm Rack holders Rack Holder screws M5 The Instruction manual Environmental Conditions Do not expose this unit to direct sunlight corrosive gas dust or vibration The ambient temperature must be 15 to 30 C and the relative humidity must not be greater than 85 The storage temperature of this unit is 0 to 50 C This unit is designed with the affect of AC power supply line noise taken into consideration However it is recommended th
62. ne signal source leads to earlier clip 0 OSCILLATOR 1 5 4 6 4 6 hy qu 7 3 27 2 8 2 8 Dad J 4 0 OSCILLATOR 2 g 4 5 4 6 s 3 T 3 7 17 17 4 0 OSCILLATOR 3 5 5 1 6 z AT 4 6 M 3 7 3 7 17 0 RING MODULATOR DIE O WHITE NOISE 14 Filters The most important sound shaping device of every substractive synthesizer is the filter It cuts off specific and adjustable frequency ranges and thus overtones which can result in drastic sonic changes of the filtered audio material In the following you will find a brief description of a filter in general more detailed and technical information can be found on page 38 of this manual We distinguish between different TYPES of filters Low pass High pass Band pass and Notch Low pass filter cuts off high frequencies and let low frequencies pass High pass filter cuts off low frequencies and let high frequencies pass Band pass filter cuts off high and low frequencies and let a more or less broad frequency bandpass A band pass filter is actually a lowpass and a highpass fliter in series Notch filters do the opposite and cuts out a more or less broad frequency band out of the frequency range A notch filter is a low pass and a high pass in parallel Low pass filters are the most common used for musicial applications and you ll find two in the S1 To gain most extensiv
63. ob to position LPF On MASTER CV set switch for OSC2 to off On OSC 1 set RANGE and TUNE to position O On OSC 2 or OSC 3 set RANGE switch to position 1 and TUNE to position 0 for 5 octave keyboard or position 0 for 8 octave keyboard Master keyboard 9 Press the lowest C on the keyboard adjust FINE TUNE the MASTER CONTROLLER until both oscillators have the same frequency and minimum phase shift 10 Press each successively higher C C3 C4 C5 etc Adjust trim potentiometer OSC1 SCALE on the rear panel for correct frequency The frequency of Oscillator 1 must correspond to C3 CA C5 etc When correctly adjusted the Oscillator 1 frequency is exactly 2 4 8 16 etc times higher than Oscillator 2 24 Oscillator 2 and 3 Repeat the procedure as for Oscillator 1 using one of the other oscillators as reference OSCILLATOR RANGE Oscillator 1 1 On MASTER CV set switch for OSC1 and OSC2 to ON 2 On OSC 1 and OSC 2 set RANGE switch and TUNE to position O 3 Press any key on the keyboard 4 Carefully adjust TUNE on Oscillator 1 until both oscillators have the same frequency and minimum phase shift 5 Step up the RANGE switch on Oscillator 1 and adjust trim potentiometer OSC1 RANGE for correct frequency When correctly adjusted the Oscillator 1 frequency must be 1 2 3 4 etc octaves higher than Oscillator 2 i e exact multiples of one octave Oscillator 2 and 3 Repeat the procedure
64. of OSC1 or the LFO to which it is internally routed see above as a modulation source for the cutoff frequency Use the OSC1 LFO knob to adjust the modulation intensity LEVEL can be used for gain control respective to the amplitude modulation output signal of the LPF Q PEAK enables the resonance to be voltage controlled Again using audio signals for cv duty can provide interesting results 16 LPF Eas gt 55 FILTER Q PEAK CM urn o OSC1 LFO AUDIO HI Z INPUT OUTPUT CV CUTOFF LEVEL Frequency corner 16 Hz to 16 kHz Q PEAK Flat to self oscillation POLES 4 6 poles 24 36 dB octave and additional BAND PASS mode CM CUTOFF Envelope Generator 1 0 to 10 octaves MODULATION Envelope Generator 2 0 to 10 octave Oscillator 1 triangle LFO 0 to 5 octaves High 2 4 input impedance XE 1 Volt input for gain 0 dB NU Filter output Frequency modulation input 1 Volt octave E or to Oscillator 1 triangle LEO CV LEVEL Amplitude modulation input 0 dB gain 5 Volts CV CV Q PEAK Resonance flat to self oscillation 4 to 5 Volts CV 17 MULTI MODE FILTER The MMF is the most flexible filter found in any monophonic synthesizer The whole circuit solution of the filter is an analogue state of the art and results in remarkable qualities such as Wide frequency range from 5 Hz to 25 kHz Vit
65. olts 10 octaves CV2 Factory preset Note on Velocity 0 to 5 Volts CV3 Factory preset Control Change 05 Modulation Wheel 0 Volt x 5 Volts 4 Factory preset Channel After Touch 0 to 5 Volts add MASTER CV Glide amp Pitch Bend control GATE1 15 Volts active TRIGG1 15 Volts active GATE2 15 Volts active TRIGG2 15 Volts active STRIG inverted gate short circuit active MIDI channel selector main tune 1 Volt octave ANALOG GATE envelope generator gate 1 Volt threshold INPUTS TRIGG envelope generator trigger 1 Volt threshold STRIG inverted gate short circuit active OSC1 OSC2 OSC3 SCALE for sensitivity 1 Volt octave OSC1 OSC2 OSC3 RANGE RANGE selectors octave calibration MASTER SCALE general scale sensitivity calibration MASTER ANALOG CV INPUT analog control voltage calibration 1 Volt octave 596 range MAINS INLET Power cord inlet 115 230 V SELECTOR Switch for mains voltage selection 9 BALANCED 16 dBVmax 600 ohm rear panel OUTPUTS SINGLE ENDED 10 dBVmax front and rear panel CALIBRATION CALIBRATION OSCILLATOR SCALE Oscillator 1 1 Connect MIDI keyboard to synthesizer MIDI IN 2 Setoscillator 1 and 2 to sawtooth waveform 3 Set the LPF MIXER control knobs on oscillator 1 and 2 to position 8 and all other control knobs to position O Set LPF CUTOFF control knob to position 10 Set AMP FILTER MIXER control kn
66. on below but can be re configurated by first programming the MIDI message that is to control the CV output and then routing the CV output to the module to be controlled For example CV2 can be configured to be controlled by a foot controller instead of Note On Velocity which is the factory preset configuration Or CV4 can be programmed to accentuate filter at a certain keystroke so called accent function instead of the preset configuration which is Channel After Touch See CV Gate Trigg Configuration below MIDI channels are selected by the MIDI CHANNEL switch on the Rear Panel This switch sets the address in binary form MIDI channel 1 all pins down 0000 MIDI channel 16 all pins up 1111 BEBE CHANNEL BE FUH Ea HEHE sau gu is mm mnm MIDI channel switch code pattern Startup After startup of the instrument all CV outputs are at 0 Volt and Gate Trigg outputs are actively low OVolt MIDI mode is Mono On Omni off CV1 and Gate1 Trigg1 Function CV1 is used to control the Main Tune and is permanently programmed for MIDI Note On Off messages When a Note On message is received a corresponding control voltage is sent to the CV1 output Gate 1 goes actively high and Trigg 1 generates a short pulse When a corresponding Note Off message is received Gate 1 goes actively low and CV1 retains its value CV is preprogrammed to produce 0 Volt out w
67. ple if the incoming frequencies are 1000 Hz and 200 Hz two signals with the same amplitude are created multiplier gain 1 one at 800 Hz and the other at 1200 Hz i e the sum and difference of 1000 Hz and 200 Hz The fundamental tones are suppressed However the real ring modulators is not so perfect so that there will always be residual products and the fundamental tones cannot be completely suppressed The illustration below shows typical outputs from the ring modulator 39 RING MODULATOR INPUTS OSC2 SIN 8 OSC3 SIN RING MODULATOR INPUTS OSC2 SAW 8 OSC3 SQR 75 55 5 0 5 0 25 2 5 g g d gt 0 0 0 0 a a 5 5 025 2 5 5 0 5 0 75 7 5 3 00 4 00 5 00 6 00 7 00 8 00 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds Time milliseconds With synchronized oscillators a signal can be created with harmonic character but with the characteristic ring modulator sound In addition if one of the oscillators is used to frequency modulate the synchronized oscillator the result can be as in the illustration below RING MODULATOR INPUTS OSC2 SIN amp OSC3 SIN 5 OSC3 SYNC ED and FREQUENCY MODULATED by OSC2 QUTPUT
68. rom 9 on the filter starts self oscillating To create useful and interesting sounds the cutoff parameter has to be controlled dynamically This is mostly done by the later described envelope generators and or by modulating the cutoff with a periodical signal e g an LFO or an audio signal This is done with the cutoff modulation section CM CUTOFF MODULATION CM 1 adjusts the corner frequency modulation intensity by ENVELOPE GENERATOR 1 ENVELOPE GENERATOR 1 switch inverts the control voltage of envelope generator 1 CM 2 adjusts the corner frequency modulation intensity by ENVELOPE GENERATOR 2 ENVELOPE GENERATOR 2 switch inverts the control voltage of envelope generator 2 OSC1 LFO adjusts the corner frequency modulation intensity by the triangle waveform of OSC1 respective to the LFO Maximum sweep reaching over 5 octaves OSC1 LFO switch selects the triangle waveform of OSC1 or the LFO as modulation source AUDIO In the patch section of the LPF you ll find the HI Z INPUT which is an additional and patchable input It is internally pre patched to the audio output of the Multi Mode Filter This level is adjustable in the LPF MIXER section as described above OUTPUT socket allows the filtered audio signal be coupled to any input It s destinated to the audio input of the AMP section FILTER MIX CV Here you ll find patchable modulation inputs for the LPF CUTOFF can be used to provide other signals than the triangle waveform
69. t behave unexpected please be patient All related issues will be explained in this manual and with some practice you will soon be able to manage the S1 and create a universe of great sounds Patchbay As we mentioned before the S1 is a semi modular system All modules inputs and outputs are pre patched and can be altered or added by the use of patch cords To make the use of the patching capabilities most easy there is a specific legend used on all sockets Since all outputs all short circuit protected Audio and CV outputs are revealed by red surround there ls np Pide to couple sca to output nputs are labelled in white text Where input is pre patched internally its source is labelled red in a white box These internal patches are bypassed as soon as you insert a plug Master Controller The Master Controller section determinates the master frequency and or modulation depth to all modules coupled to it such as oscillators and filters The four knobs are easy to understand MODULATION LEVEL is pre patched to the LFO and determinates the master modulation depth to all oscillators if coupled to the MASTER CV ON and filters thru MASTER CV TRACKING GLIDE determinates the time to glide from one note to another in 5 octave span TRANSPOSE is the master octave setting 3 octaves FINE TUNE x 3 semitones The three MASTER CV switches disconnect the corresponding oscillator from the incomming pitc
70. um sounds Simply tune the synced oscillator to a multiple number of cycles i e OSC1 110Hz and sync ed OSC2 880 2 Listen to the synced oscillator only with a sine wave only and tune it until the tone sounds most pure PULSE WIDTH adjusts the pulse width of the pulse wave from 5 to 95 WAVEFORM selects the waveform or a mix of waveforms from an oscillator PULSE WIDTH control works also on the waveform mixes where the pulse wave is included The different waveforms contain different harmonic structures respective to their overtone content Thus they sound different from each other and can be used as raw material for creating different types of sounds This is a brief description of waveforms Sine contains low order harmonics with low amplitude and sounds dull or pure It s very useful for creating of whistles flutes and other pure sounds Triangle contains more high order overtones than sine and sounds still dull and pure but with more edge It is great for flutes or vibraphone like sounds Saw Nvcontains many overtones and sounds rich and cutting It is especially useful for strings brass and vocal like sounds Pulse OL depends on the pulswidth A symmetric wave PW 50 contains only odd harmonics and is hollow sounding The more it differs from the symmetric wave the more it sounds edgy and nasal It is very useful for woodwind like pads bass and string like sounds Mixed tri
71. xer of the Low Pass Filter and Multi Mode Filter The OUTPUT socket provide the ring modulator signal for other applications RING MODULATOR EXT INPUT LEVEL OUTPUT Inputs pre patched to Oscillator 2 Sine Waveform and Oscillator 3 sine OUTPUT Multiplier output LEVEL Amplitude modulation input O dB gain 5 Volts Noise Generator and Oscillators Outputs Low frequency oscillator In addition to the internal routing these output sockets provide the oscillator signals and three sorts of noise WHITE noise has a balanced level of all frequencies It sounds like a FM radio noise RED noise contains more low frequencies and can be used to create thunder or ocean like sounds LOW is a random low frequency signal that can be used as a modulation source to achieve sounds with random character NOISE OSC s OO WHITE 05 1 OO 05 2 NOISE GENERATOR White noise red noise low frequency noise ZEN OSC1 OSC2 OSC3 outputs 12 LFO Low Frequency Oscillator The LFO provides a sub audio signal for modulation purposes It is used to achieve periodic modulations like sweeps vibrato effects or arpeggios RATE determines the frequency of the LFO and is indicated by the LED WAVEFORM SELECTOR provides seven different waveforms The patch section offers some more LFO functions The GATE SOURCE SELECTOR switch enables the LFO to start at a zero crossing and thus to sync the LFO to MIDI GATE 1 MI

S1 MK2 User's Manual (Guide/Handbook)

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