FutureRetro XS semi-modlar analog synthesizer Operation ManAl Download Page 1 | Manualshive

Page: 1 / 62

background image

Operation Manal

semi

-

modlar analog synthesizer

1
2
3
...
»

Summary of Contents for XS semi-modlar analog synthesizer

Page 1: ...Operation Man al semi mod lar analog synthesizer...

Page 2: ...Written and produced by Jered Flickinger Copyright 2007 Future Retro Synthesizers...

Page 3: ...se Kick 36 Techno Kick 37 Snare Drum Patch Sheets 38 Hand Clap 39 High Hats 40 Distorted Bass Lead 41 Funky Trance Lead 42 Classic Sync Lead 43 Phat Saw 44 Acid Bass 45 Jungle Bass 46 Winding Down 47...

Page 4: ...trol signals in a variety of ways so that interfacing it with other instruments old or new is simple The XS can also act as a MIDI to CV Gate converter allowing MIDI information received by the unit t...

Page 5: ...t the factory If you prefer to place the XS on a desktop the rack ears may be removed and these desktop pieces may installed in their place Remove the two Phillips screws on each of the rack ear end p...

Page 6: ...to a suitable listening level without overdriving the input of your mixer while you play your keyboard or sequencer 6 Now you can play around with the various analog parameter settings to adjust the...

Page 7: ...5...

Page 8: ...ulation inputs of any device you wish to control with Note Velocity LFO OUT The waveform currently selected in the LFO section will be available at this output All LFO waveforms have a range of 5 to 5...

Page 9: ...this jack you can use either the WAVE A or WAVE C control to select EXT which will select this external audio source as its waveform FILTER MOD This is the external modulation input for the filter Con...

Page 10: ...e main output of the Amplifier section Typically you will connect this output to the input of your mixing console or amplifier This output is monophonic Note All 1 4 connectors are monophonic unless s...

Page 11: ...ection of this manual Harmonic Content refers to the amount of frequencies contained within a sound The most dominant or perceived pitch in a sound is called the fundamental frequency All other freque...

Page 12: ...the cutoff frequency of the filter The cutoff frequency can be manually adjusted or animated by the use of modulation sources Modifying the harmonic content of your audio sources are key to breathing...

Page 13: ...11...

Page 14: ...MIDI keyboard or MIDI sequencer Simply connect the MIDI OUT of your keyboard or sequencer to the MIDI IN of the XS using a 5 pin DIN MIDI cable The XS can receive MIDI data on only 1 of the 16 possibl...

Page 15: ...d represents Note On Off messages When no notes are being played this logic signal will output 0 volts When a notes is being played this logic signal will output approximately 14 volts This output can...

Page 16: ...he internal envelope circuits Any time a cable is inserted into this jack it will override MIDI triggering of the envelopes Typically you will want to use any logic gate signal ranging from 0 to 15 vo...

Page 17: ...l determines which source each oscillator will use to control its pitch In the A B position both oscillators will be controlled by MIDI notes received In the A BX position Oscillator A will respond to...

Page 18: ...seful when you wish to create sounds which are rather unpredictable having parameters jump around to various settings RATE The RATE control determines the frequency at which the LFO will produce its w...

Page 19: ...n octave setting of 0 if we input 0 volts into the CV IN jack Oscillator A will produce a frequency of 32 703 Hz If the CV IN voltage changes to 5 volts with the octave control changed to 4 Oscillator...

Page 20: ...2 setting produces 130 81 Hz the 3 setting produces 261 63 Hz the 4 setting produces 523 25 Hz and the 5 setting produces 1 046 5 Hz If we were to leave this octave control in the 5 setting and play o...

Page 21: ...form contains a fundamental frequency and all odd harmonics 3rd 5th 7th and so on of that frequency This causes it to sound slightly fuller than a sine wave The SAWTOOTH waveform is one of the most co...

Page 22: ...be 10 to 10 volts PULSE WIDTH MODULATION SOURCE The PW MOD control selects which modulation source will be used to alter the pulse width duration of Oscillator B s square pulse wave A control voltage...

Page 23: ...l select the output of the ring modulator A ring modulator takes two different input signals determines the sum and difference of their frequencies and outputs the results to create new harmonic combi...

Page 24: ...clockwise the amount of modulation will increase The A MOD SELECT control selects which modulation source will be used to alter the frequency of Oscillator A In the EXT position any external control...

Page 25: ...orm of FM where the modulation source varies its amplitude over time The ENVELOPE setting selects the positive polarity of Envelope 1 to sweep the frequency of Oscillator A Since envelope 1 has a rang...

Page 26: ...reate vibrato like effects The LFO MW setting lets the Mod Wheel messages from a MIDI keyboard control the amplitude of LFO signal used to modulate Oscillator B s frequency In this way one could recor...

Page 27: ...er the mixer also allows you to overdrive the input of the filter section Notice how the tick marks around the mixer controls become increasingly thicker in appearance This is to indicate where overdr...

Page 28: ...are attenuated while all other harmonics are allowed to pass through the filter CUTOFF The cutoff control determines the point at which frequencies are attenuated by the filter The filter cutoff rang...

Page 29: ...lter s cutoff frequency The exception here is that if an external control voltage is inserted into the VEL IN jack this external control voltage will override Velocity messages received from the MIDI...

Page 30: ...frequency to rise above and fall below the normal frequency for the filter set by the cutoff control You can use this to create slow or fast sweeping type effects The LFO MW setting lets the Mod Whee...

Page 31: ...oise source waveforms range from 5 to 5 volts causing the filter s frequency to rise above and fall below the filter frequency set by the filter s cutoff control while all three sub oscillator wavefor...

Page 32: ...k control determines the rate at which the envelope will transition from its current amplitude to 10 volts This attack time can vary from 0 5 milliseconds to 4 seconds When this control is rotated ful...

Page 33: ...nd this signal goes more negative than 0 volts it could cause the envelopes to use their normal times instead Settings of the sensitivity control other than the extreme high or low values will cause t...

Page 34: ...lope will begin at 0 volts unless a note was recently played and the envelope has not yet fully decayed to 0 volts DECAY RELEASE The decay release control determines the rate as which the envelope wil...

Page 35: ...y higher than normal envelope levels while lower Velocity settings will generate smaller envelope levels TIP Using external Velocity control signals which swing both positive and negative can have int...

Page 36: ...PATCH NAME __________________________________ 34...

Page 37: ...NOISE KICK Nice sine wave kick with white noise attack Connect the WAVE B jack to the FILTER OUT jack 35...

Page 38: ...TECHNO KICK Tight kick using just the filter self oscillating 36...

Page 39: ...snare drum similar to the classics Connect the WAVE B jack to the FILTER OUT jack Notice how we take the output of WAVE B and insert it into the FILTER OUT jack By doing so we sum the output of the f...

Page 40: ...HAND CLAP Electronic hand clap sound Try varying the velocity of notes to change the duration of the clap 38...

Page 41: ...filter cutoff frequency Oscillator B s frequency and modulation amount to dial in the tone Adjust envelope 2 s attack and decay controls to vary the open closed high hat durations Use varying velocit...

Page 42: ...ce and crunchy just the way we like Record mod wheel movements in your sequencer to animate the filter cutoff frequency And experiment with play notes with different velocity values and selecting diff...

Page 43: ...FUNKY TRANCE LEAD Nice full lead sound Play different velocity values to vary the attack portion of the sound Adjust the mod wheel to change the filter frequency 41...

Page 44: ...ASSIC SYNC LEAD Your typical synced lead sound For a more aggressive sound try increasing the overdrive amount Play notes with varying velocity values to change the brightness of the filter frequency...

Page 45: ...PHAT SAW Nice in your face bass sound For bass bin rockers try selecting Octave 1 and the sine wave for Oscillator B 43...

Page 46: ...ACID BASS Not quite a 303 but similar Use Mod Wheel messages to control the filter cutoff frequency Try using the different filter types and increase the overdrive for a more aggressive sound 44...

Page 47: ...JUNGLE BASS Nice warbling tones for your subs Increase the mod wheel setting to increase the warble effect 45...

Page 48: ...WINDING DOWN More of a typical sci fi transition effect Experiment with various control settings to suit to your taste 46...

Page 49: ...BUZZY BASS Nice bass with some added high frequency content 47...

Page 50: ...8 BIT TALKING BASS Nice lo fi bass sound Try varying the velocity notes are played 48...

Page 51: ...ELECTRIC BASS More realistic bass sound Try playing notes with different velocity values to achieve a pluck strum effect 49...

Page 52: ...PHAT STACK PHASED Thick lead sound Here we use the notch filter to obtain a phased sound Adjust the LFO rate to change the phasing rate 50...

Page 53: ...GRINDER Metallic like tones nice for low end trance pads 51...

Page 54: ...Envelope 1 s Key Sync control is set to ON Envelope 1 can then be retriggered by both the LFO and any MIDI notes received by the XS If the Key Sync control is set to OFF only the LFO will trigger Env...

Page 55: ...COMPUTER This is more of a chaotic beep generator patch Connect the LFO OUT jack to the GATE IN jack 53...

Page 56: ...need to make sure the output of the drum machine is loud enough to trigger the envelopes in the XS As an alternative you could connect the FILTER OUT jack directly to your mixer or you could use MIDI...

Page 57: ...vel C in the Mixer to determine the amount of Oscillator B signal we hear Now Envelope 1 shapes the amount of signal we hear from Oscillator B Try detuning Oscillator B s pitch to a fifth If we set En...

Page 58: ...lator B is not a Velocity sensitive envelope nor are the positive or negative polarity envelopes used to modulate Oscillator A However the ENV 1 jack does output Velocity sensitive envelopes So if you...

Page 59: ...that might not be so obvious is let s say when we overdrive the filter with square waves from both Oscillator A and B at the same time When these waveforms are in phase less or no resonance may be pr...

Page 60: ...ng you can turn the unit off and then back on again and playback should resume to normal Common causes for latched notes might be due to the XS not receiving a proper MIDI Note Off command or the rece...

Page 61: ...Waveforms sine triangle saw square pulse width Pulse Width Modulation Amount typically 50 to 3 Pulse Width Modulation Source external source LFO Mod Wheel manual adjust Velocity Envelope 1 WAVE C Wav...

Page 62: ...Release Time 3 milliseconds to 7 seconds AMPLIFIER Velocity 0 to 100 Envelope Shapes for Control attack decay attack sustain release accented decay sustain release accented decay normal decay INPUTS...

Reviews:

No comments

Related manuals for XS semi-modlar analog synthesizer

Brand: Malekko Pages: 2

Brand: XOXBOX Pages: 32

Brand: Dave Smith Instruments Pages: 104

Brand: E-Mu Pages: 307

Brand: Teisco Pages: 8

Brand: SCI Pages: 18

Brand: Casio Pages: 24

Brand: Casio Pages: 22

Brand: Casio Pages: 33

Brand: Casio Pages: 37

Brand: Casio Pages: 36

Brand: Casio Pages: 40

Cosmosunthesizer CZ-3000

Brand: Casio Pages: 42

Brand: Casio Pages: 42

Brand: Casio Pages: 45

Brand: Casio Pages: 50

Brand: Casio Pages: 49

Brand: Casio Pages: 59

Brands by name

0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Popular brands

Load more brands