4ms Shaped Dual EnvVCA, User Manual

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Self-patching ideas
Frequency Modulation (FM)
Turn both Cycle buttons on, and set all switches to Fast . Start with all sliders in the center position.
Use Channel B to modulate the frequency of Channel A by patching ENV B into Channel A’s Time CV
jack. Adjust both Rise and Fall CV knobs to around 9:00. Turn both Level knobs fully clockwise and
center Offset knobs. Listen to the output on ENV A , or for a mix of both oscillators, use OR jack. Slowly
adjust Channel B’s sliders and listen to how the sound changes. Then slowly adjust Channel A’s sliders
and Rise/Fall CV knobs to hear the effect.
The Rise and Fall sliders of Channel B control the modulation frequency, and Channel A’s Rise/Fall CV
knobs control the modulation amount. Channel A’s sliders control the base frequency, also known as
the carrier frequency.
Chaotic FM
For chaos, start with the FM patch above, and then use Channel A to modulate Channel B by patching
ENV A into Channel B’s Time CV. Start with Channel B’s Rise and Fall CV knobs set to about 10:00.
Take the output from the OR jack . To find interesting chaotic sounds, you probably will need to move
the sliders to a slower position and the Rise/Fall CV knobs more towards center than in the FM patch.
Utility Patches
Attenuator
Patch a signal that you want to attenuate into Audio In (either channel), and take the output from
Audio Out . Patch the channel's ENV output to VCA CV . Use Offset to adjust the attenuation amount.
Keep in mind that the VCA only responds to positive CV, so if Offset is anywhere left of center, the
output will be silent. If you are using the envelope portion of the channel ( Cycle is on or you are
triggering the channel), set Level to center or else the envelope will bleed into the attenuator output.
Trigger Delay With Pulse Width Control
Turn Channel A’s Cycle off. Send a trigger into Channel A’s Trig jack and flip the Trig switch to AR .
Take the output from EOR . Adjust the Rise slider and switch to set the trigger delay time (rising edge of
incoming trigger to rising edge of outgoing trigger). Set the Fall slider and switch to control the width of
the outgoing trigger. If you flip the Trig switch to ASR , the trigger output will be delayed from the falling
edge of the incoming trigger, and rise times shorter than the incoming trigger’s pulse width will not have
an effect.
Inverted Trigger Delay (With Pulse Width Control)
Same as the previous patch, but use Channel B’s Trig jack and EOF . Rise controls the amount of
delay (rising edge of incoming trigger to falling edge of outgoing inverted trigger)and Fall controls the
width of the inverted trigger.
DC generator (Manual CV)
When a channel is not running, the Offset knob will produce a steady DC voltage on the ENV output
jack. If the channel is running, set Level to center or else the envelope will bleed into the output.
Ducking (Sidechaining)
A ducking effect reduces the volume of a sound at the same time a secondary sound plays. If the
secondary sound is generated by triggers in your patch, you can easily create this on the Shaped Dual
EnvVCA by generating an inverted envelope and patching it into the VCA.
To achieve this effect, split the trigger that’s triggering the secondary sound and patch it into the Trig
jack of one channel. Turn Cycle off. Adjust Rise and Fall to create the envelope you want (typically the
rise will be shorter than the fall). Patch an audio signal into Audio In and take the output from Audio
Out . You should hear your sound play every time the trigger fires. In order to create the inverse
behavior (get more quiet when the trigger fires), patch the ENV output to VCA CV , turn Level to about
9:00 and Offset to about 3:00.
If the secondary sound source is not generated by triggers in your patch (perhaps because it’s an audio
track), you can, see Sidechaining (Envelope Following) on page 18.
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