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OUTPUT KNOBS 
I - VII - These knobs control the level of harmonics present at the main output jack (they 
have no effect on the individual outputs (jacks II-VII) 
DIST - Amount of distortion applied to the main output (doesn

ʼ

t affect individual 

outputs II-VII) 
 
 

FREQUENCY MULTIPLICATION 

 
With a triangle wave input, you get 1X, 2X, 3X, 4X, 5X, 6X and 7X the 
frequency (with triangle waves as the output) Because of the way it works, there will likely be 
some of the original frequency in each output. Some channels aren

ʼ

t completely symmetrical 

triangle waves, but this allows for many of the other features. 
 
Each channel has its own character and responds differently depending on the amplitude and 
shape of the input, and although each channel is a multiple of the original frequency, 
they all have a slightly different shape and will likely contain some of the original 
frequency depending on the input amplitude. Some channels have a bit more “buzz” 
than others because the symmetry of each wave is slightly different. 
 
Other waveforms and sounds besides triangles can be used with different sounds 
resulting. 
 

 

Input a triangle wave VCO to the channel one input (IN I) 

 

 

Turn the IN I pot clockwise to correspond to the input amplitude. For most eurorack 

oscillators at 10V peak to peak (+/-5V), turn the IN I knob to 2 o

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clock. For pro audio 

line level signals (+/-2V), turn the IN I knob to 4 o

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clock. For regular line level signals 

turn the IN I knob all the way clockwise. Some signals may need to be amplified to work 
fully and adjustments to the input knob may be needed to get the desired result. 
 

 

Turn the knobs I-VII to mix different harmonics to the main output, or use the 

individual outputs at the bottom. 
 

 
WAVEFOLDER 
 

The Harmonic Multiplier can be used as a wave folder as well. 
 

 

Connect a VCO to IN I (triangle and sine waves work best). Turn the IN I knob 

clockwise. Turn the VII knob clockwise. 
 

 

The fold amount can be modulated by turning the IN I knob or using a VCA before 

the input (e.g. VCO output to VCA input, VCA output to harmonic multiplier input). 
 

 

The horizontal symmetry can be adjusted by applying a control voltage to the CV 

input of the harmonic multiplier. 
 
 

Summary of Contents for HARMONIC MULTIPLIER

Page 1: ...changing the amplitude of certain frequencies and the phase of others When used with the distortion circuit actual pulse width modulation is achieved When used in combination with feedback modulation between different distorted subharmonics can be achieved OUTPUT JACKS OUT Main output 5V max II VII Audio output for the individual harmonics levels vary 2 3V peak to peak max INPUT KNOBS IN I Control...

Page 2: ...each wave is slightly different Other waveforms and sounds besides triangles can be used with different sounds resulting Input a triangle wave VCO to the channel one input IN I Turn the IN I pot clockwise to correspond to the input amplitude For most eurorack oscillators at 10V peak to peak 5V turn the IN I knob to 2 oʼclock For pro audio line level signals 2V turn the IN I knob to 4 oʼclock For r...

Page 3: ...yboard can create a range of sounds DISTORTION There is built in distortion clipping circuit built in to the module that allows for additional tones Turning up the channel one knob I while the other channels are turned down II VII will create a basic distortion squaring effect on the inputs Pulse width generation can be achieved by applying a triangle sine or sawtooth VCO to the input and applying...

Page 4: ...complex and unpredictable tones Also control voltages may be applied to either the IN I or IN II jacks but because they arenʼt scaled for CV control the output signal may disappear completely when the CV signal is high Similarly audio rate inputs will work on the CV input but at a lower level While it wasnʼt specifically designed for this purpose in mind triangle wave LFOs can be multiplied using ...

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