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LYRA

8

USER MANUAL

CONNECTIONS

1

 

PHONES: 

For headphones with a resistance of 8 to 64 Ohm.

2

 

OUT: 

A balanced mono output. Works as a typical TS jack output in unbalanced mode; 

can also be connected via an XLR adaptor directly to a multicore. This eliminates the need 

for DI boxes, which, if passive, can degrade the signal's bass and sub-bass.

3

 

EXT IN: 

Input for an external audio source. The external signal mixes with Lyra's voices and 

is processed by the delay and the distortion. It turns Lyra into a cool FX processor and also 

makes it possible to play a synth or drum line together with Lyra's voices through the internal 

FX units. When TOTAL FB or SELF in the delay section are turned on, the external signal will 

influence resonance and warp the modulation loops, thereby affecting overall synth behaviour.

4

 

HOLD GATE: 

A dynamic input for controlling the HOLD function. An input voltage of 

+5 volt will fully open the VCA. The more the voltage is lowered, the more it will close the 

VCA. With the control voltage at 0, the voice levels will decay according to their individual 

envelopes. Use the HOLD knob to adjust the level for each of the two voice groups. When 

set to FAST, the synth will react faster to a decrease in control voltage.

5

 

CV DELAY: 

This input allows using control voltage to modulate the delay time. When a 

cable is plugged in, the SELF and LFO modes are automatically disabled and delay modulation 

comes from an external source, regardless of the delay switch positions. Set the modulation 

amount with the individual MOD knobs for each delay line. The input signal must have a positive 

value and a 3 to 12 volt amplitude. The relation of delay time to the control voltage is linear.

6

 

CV VOICES: 

This input is for using control voltage to control the pitch of voices. The CV 

input will control the voice pairs with LFO CV chosen as their modulation source. Plugging in 

a CV source cable in the CV VOICES input will cause the control voltage to replace the LFO 

and TOTAL FB signals (which are bypassed automatically). The amount of modulation is set 

by the MOD knob in a given voice section. This CV input doesn't offer the standard 1V/oct 

logarithmic function necessary for achieving a tuned musical scale. It's a modulating input, 

not a tone-precise VCO control that covers the entire frequency range. Nevertheless, a step 

sequencer can be used to build melodic lines by ear. Combined with the internal modulation, 

this will yield interesting results. You can also try connecting an audio source to this input, 

e.g. a drum machine or another synth.

7

 

DC 12V:

 The plus is in the centre (centre positive). A 100-240V switching power supply 

with EU plug is included. In case of replacement, use a stabilised 12-volt power supply with 

a minimum of 200 mA (0,2A). It's recommended to use a recent switched-mode power 

supply with a wide input voltage range and excellent stability.

8

 

POWER SWITCH

7

8

6

3

4

5

2

1

Summary of Contents for LYRA 4

Page 1: ...USER MANUAL ...

Page 2: ... impact on FM synthesis will decrease along with the decay of its envelope There s a CV IN on the rear panel to modulate the selected voice groups with an external signal The HYPER LFO is a complex low frequency generator whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies It also has an FM synthesis mode The LFO can modulate the selected pairs of...

Page 3: ...nal state At high humidity levels e g an open air show at night when dew appears or in rainy weather humidity may affect the sensors circuit which could lead to some of the voices sounding continuously This won t harm the instrument just allow it to dry in a dry room or in the sun and it will be all right again Just note that it might affect the performance 2 The FAST switches in downward position...

Page 4: ...ill turn the LFO into a modulation source When the TOTAL FB is in upward position modulation will come from the device s output When a cable is plugged into the CV VOICES input an external source is used for modulation 7 The PITCH knobs transpose all of group 1234 or 5678 preserving the intervals between the voices Close to maximum is the normal position for these knobs 8 The HOLD knobs set the mi...

Page 5: ... synthesis of a complex LFO They re two simple LFOs in essence 13 The AND OR switch In downward position an LFO is synthesized by adding FREQ A to FREQ B In upward position FREQ A is multiplied by FREQ B which is the logical operation AND Both operations are conducted on a square waveform The addition is analogue and the LFO output signal has a gradient 14 The LINK switch Adds a soft FM between th...

Page 6: ...m available only for delay modulation It s a summation of two triangular signals with the frequency of FREQ A and FREQ B 19 The FB knob The delay line feedback This might get extreme At a setting just over the middle the delay starts to self oscillate At the verge of the self oscillation very interesting effects can emerge With self oscillation in full swing the delay becomes a synth unto itself 2...

Page 7: ...nd LFO modes are automatically disabled and delay modulation comes from an external source regardless of the delay switch positions Set the modulation amount with the individual MOD knobs for each delay line The input signal must have a positive value and a 3 to 12 volt amplitude The relation of delay time to the control voltage is linear 6 CV VOICES This input is for using control voltage to cont...

Page 8: ...sonant and dissonant scales and harmonies Try building some chords with the eight voices try interpreting the higher harmonies with lower bass notes Try soloing with one voice on top of an interval or a chord Now try slowly changing chords while playing E g in a C E G chord try raising G to A to get a C E A chord then raise E to F and get a C F A chord then lower C to Bb and get a Bb F A Now try t...

Page 9: ...D at zero For a chorus like effect set the delay times close to minimum Now listen to various types of modulation Add FB to a stage of self oscillation and try only playing the delay by changing the delay time and modulation depth Here the slightest turn of a knob will affect the sound dra matically There are standing waves in the delay lines now and changing or modulating the delay times will cha...

Page 10: ...velope generator can affect a voice s pitch or in some modes change the parameters of FM synthesis or even of the delay when it s set to self modulation mode SELF on MOD and FB high enough LYRA is a structure that reacts to your slightest touch It s a bizarre animal that twists and turns under your fingers rather than a precise mechanism This is why it s called organismic Another important source ...

Page 11: ... create unique scales play around with microtonalities and so on In other words LYRA is a complex futuristic electronic violin that can hear you The third source for LYRA s philosophy is taken from the North Indian musical tradition with its remarkable attention to the inner states of the player the listener and the world and the ability to interact with them LYRA was greatly inspired by a deep st...

Page 12: ... volt CV DELAY 6 3 mm TS jack CV VOICES unipolar range of 0 to 5 volt CV VOICES connector 6 3 mm TS jack Power supply stabilised 12 V 0 2 A centre positive Power Consumption 2 watt Dimensions 266 x 266 x 62 mm Weight without power supply and packaging 2 5 kg PACKAGING The box Lyra comes in should not be thrown away Its lightweight sturdy and durable con struction makes it an ideal transport case f...

Page 13: ... thanks for your invaluable help I would also like to thank everyone who supports the project with their sincere attention and interest and simply with kind words and wishes ABOUT SOMA The word SOMA is an abbreviation from SOund MAchines SOMA is also a psychedelic ritual drink used in ancient vedic Indian culture as well as in Iranian known as Haoma and Persian ancient traditions The drink is ment...

Page 14: ...Manual version 1 0 04 2017 Made in Russia ...

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