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150

The Pulsar-23 Notebook : Reference & Guide

NOTES

8.8 Shifting Hi Hats

Patch Name: Ticker

Technique

8

Clock driven Hi Hats can be shifted using the inverter module. The controlled inverter
will allow a shift in the timing, for example from quarter notes to eighth notes when
using the CV input. The falling edge is also recognised using the inverter control.

1.

Rather than directly trigger the HHT module, the clock ‘4’ divider output is used
as an input to the inverter.

2.

The inverter output is passed through the pulse transformer to generate short
triggers from the longer gate input.

3.

The pulse transformer output is patched to the ‘TRIG’ input on the HHT module.
This will drive the hat based on the clock, but is inverted, when control is active,
rather than directly patched.

4.

The CV input to the inverter will be the main connection which controls the
inversion. This could be set high by tapping a patch cable to the ‘10V’ pin, or
even patched to the resistance CV pads. However in this example, the SHAOS
1-Bit output is used to control the inverter and the hat pattern. Switching between
217, 63 and then back to 16 will define the pattern.

5.

For synchronisation the clock ‘CLK’ is connected to the SHAOS ‘CLK’.

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Summary of Contents for Pulsar-23

Page 1: ...I The Pulsar 23 Notebook Reference Guide PULSAR 23 A Guidebook A Notebook A Reference Book Ver 1 0 ...

Page 2: ...II The Pulsar 23 Notebook Reference Guide ...

Page 3: ...The Pulsar 23 Notebook Reference Guide Overview 5 Sound Generators 15 Looper Clock 49 Patching 75 SHAOS LFO 99 Master Out Effects 107 External Control 119 Technique 141 Index 165 Contents 1 2 3 4 5 6 7 8 9 ...

Page 4: ...IV The Pulsar 23 Notebook Reference Guide ...

Page 5: ...synthesis with defined elements that can be used discretely or together as per their default wired routing Each module can also be patched together with others using alligator clip cables or human touch Pulsar 23 also includes incoming MIDI control and the ability to interface to modular systems and other gear A dedicated master effect section with reverb delay plus a distortion option is also fea...

Page 6: ... very complex parallel circuit but are illustrated here as functions in the series Book Conventions The book uses a style to make it easy to understand the functions of Pulsar 23 and follow the guidance simply LRN Any dedicated front panel labelled function will be described with capital letters e g LRN AMT Rounded brackets parenthesis represent parameters that are adjustable using one of the 55 f...

Page 7: ...1 4inch Male Mono TR Jacks for external inputs and outputs Connected through 1 4 Jack Patchbay Main Output 1 4inch 6 35mm Mono and 3 25mm Stereo Headphones out 1 2 Hardware Overview Pulsar 23 is supplied as well as the unit with the 12V Power Supply Unit 20 x 65mm alligator clip patch cables 10 x 30mm alligator clip patch cables soft travel case and packaging 380 mm 280 mm 80 mm Including Controls...

Page 8: ...ooper Section also has Noise 10V GND SHAOS Chaotic sample hold generator SD Snare Drum Snare drum audio generator voice Mix In Additional external audio input MIDI CV Incoming MIDI learnt to pin points HHT Drum Hi Hat audio generator voice Voltage Controlled Amplifiers 2 VCA s controlled by CV Low Frequency Oscillator Single LFO modulation source Dynamic Sensors 2 CV Controls CV generated by touch...

Page 9: ...times CV or Audio patching with 3 5mm or 6 35mm plugs and cables Alligator clip cables and also human touch patching options Raised patch point pins for easy access Patching between CV and or Audio possible Variable grid based time signature step sequencing and recording Clock based sequencing and per channel loop recording options Multiple clock divider values and patch points Pads offer manual t...

Page 10: ...ters and audio over time Pulsar 23 has an ATT Attack and REL Release envelope assigned to each of it s four voices External External controls and audio can be connected from another separate device to Pulsar 23 The MIX IN and EXT patch points allow audio patching while MIDI and CV patching offers control interfacing Feedback This is a technique often found within effects and electronic instruments...

Page 11: ... drum machine This brings analog drum synthesis together with experimental and organic modulation and control SHAOS This is a cyclic pattern generator building on classic S H Sample and Hold and RNG Random Note Generator shift registers Sound Generators Pulsar 23 has 4 dedicated sound generators BD Bass Drum BASS SD Drum and HHT Hi Hat Sound can also be generated by other Pulsar 23 functions Switc...

Page 12: ...t follow a linear signal flow and these elements can be connected and combined in many ways Experimentation and just trying things is the way to go MAKE SOUND MOVE SOUND FX SHAPE SOUND NOTES Overview 1 BD CLOCK BD Tune Drive Tune Clap Tune Creation and generation of sound sources Sound is adjusted and shaped Modulation manipulation routing and control to create movement interest and connect elemen...

Page 13: ...f patching configurations This encourages wild and crazy experimentation However there is still a core underlying structure when unpatched This allows building around the default in the box wired routings Unpatched Hard Wired Routing Clock Generator Looper FX OUTPUT BD BASS Sound Modules SD HHT Overview1 NOTES ...

Page 14: ...14 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 15: ...n where they may appear less obvious is encouraged Remember a core principle of Pulsar 23 is that control functions can generate sound and audio functions can be used as controls all when patched with the right setup Each of the primary generator modules has its own set of parameters and controls to make the sound and to shape it to personal taste The synthesis features differ significantly betwee...

Page 16: ...e Percussion mode also helps generate percussive sounds too A low pass filter aids sound design as well as the dedicated SHAPE and WARP parameters SD Designed with a noise generator at its core to emulate the snap and timbre of snare drums and also introduce an additional clap sound Drones and soundscapes can also be generated A band pass filter is included for SD CLAP and MIX also offer more perc...

Page 17: ... pin carries the envelope trigger input and also the loop recorder channel output 3 Each module can be triggered by it s loop recorder which can record and then playback the triggering of sounds 4 Incoming MIDI signals from external gear can also trigger the sound generators MIDI LRN button will map the input to the sound module Sound Generators 2 NOTES Core Sound Source ADD Sensor Button PLAY Loo...

Page 18: ...iate the ATT Attack phase ramping up the sound level and when the trigger is off the REL Release time will control the audio ramp down This is typical for percussive hits and the envelope adjusted to suit A long trigger will initiate the ATT Attack phase ramping up the sound level and then will be sustained for the duration When the trigger is off the REL Release will control the audio ramp down t...

Page 19: ... functions can offer more precise sound design options and also to help move beyond just percussive sound design MANUALLY SETTING UP THE ENVELOPE 1 Ensure the sound module looper switch is in Play mode 2 Set the ATT and REL Knobs down fully counter clockwise 3 Tap ADD to trigger the sound to adjust It is advised to always tune the envelope settings to your desired objectives by ear 4 Start by incr...

Page 20: ... direction For example light or hard touch on a piano key will often correspond to its loudness Pulsar 23 can recognise velocity but is only controllable from an external MIDI controller Internally Pulsar 23 can trigger the sound generators at 3 manually selectable velocity levels Looper set to PLAY Switch Right or MUTE Switch Centred also when clock is stopped allows live real time triggering Tap...

Page 21: ...evels and parameter settings correctly applied Some settings may mute audio 3 Tap the ADD sensor buttons for the desired sound modules to trigger A short tap is typically required for drum sounds 4 Tap and hold the ADD sensor buttons to generate elongated drone sounds The release of the envelope will be activated when hold is removed 5 Hold the REC COND L button Tap the ADD sensor button to genera...

Page 22: ...r and module control functions These functions such as the MIDI Learn external clock and the manual add del sensor buttons are replicated discretely per module Sound source and generator Each module will have some audio and modulation features specifically aimed at developing the Pulsar 23 character sound timbre and tone associated with it s unique synthesis function Many of the potentiometer rota...

Page 23: ...r input output TRIG Pin Trigger in to start the modules envelope generator and also the output for the loop recorder channel g Envelope attack ATT Knob Adjusts the attack time period for the modules envelope generator h Envelope Release REL Knob Adjusts the release time period for the modules envelope generator i MIDI Learn LRN Button Learn function to activate mapping of incoming MIDI to module j...

Page 24: ...drum labelled BD and is driven by a triangular wave oscillator While this function is based on classic analog bass drums there are many more avenues and options to explore and experiment with than just the traditional features NOTES Sound Generators 2 2 o 7 d h m 1 n 6 c g k 4 a e i l 3 5 b f j BD Bass Drum ...

Page 25: ... Output of the BD synth signal pre volume control when the module is triggered c Volume VOL Knob Controls the main volume of the BD Module audio level The EXT pin and FX Send outputs are before the volume control d FX Send FX Knob Controls the amount of BD signal that is sent to the FX section Output is pre fader i e before the volume control is applied e Envelope Output ENV Pin Output from the mo...

Page 26: ...quare using the DRIVE parameter knob Two circuit bending options called WTF operates on the pitch envelope and OMG affecting the VCO triangle NOTES Sound Generators 2 Voltage Controlled Oscillator Envelope Wave Shaping Volume Envelope Voltage Controlled Amplifier TUNE PITCH DRIVE ATT VOL REL MOD AMT FX MIDI TRIG Add Del LR Send OMG ENV OUT Mix Bus WTF EXT Synthesis Section KNOB Italics Pin In Out ...

Page 27: ...27 The Pulsar 23 Notebook Reference Guide BD Sound Design Examples Sound Generators 2 NOTES Hard Kick Electronic Kick Ambient Bass Drum Aggressive BD Sub Bass ...

Page 28: ...rate also as a percussion synth This synth is built on a DCO Digitally Controlled Oscillator which then passes through an analog signal chain including a LPF Low Pass Filter The mode switch selects pitch control from CV or MIDI or the percussion PRC mode NOTES Sound Generators 2 2 o 10 14 d h m 1 n 12 c g k 4 5 3 11 13 a e i l 7 6 8 9 b f j Bass Synth ...

Page 29: ...cy cutoff of the low pass filter 13 Low Pass Filter Freq LPF FR Knob Controls the cutoff frequency of the low pass resonant filter 14 Low Pass Filter Res Q Knob Controls the resonance level of the low pass resonant filter a External Signal EXT Pin Input of external signal which is processed in the Bass synthesis function Incoming signal applied before LPF b BD Output OUT Pin Output of the Bass syn...

Page 30: ...n synth A resonator drives the audio source also with control over the frequency tones and tuning The VCA and Filter section is identical in all modes SHAPE knob controls smooth transition of the waveform from Sine Anti clockwise Saw Centre and Square Clockwise WARP Wave shaping of oscillator to affect tone and timbre MOD Phase modulation of the DCO from a CV input plus control over the modulation...

Page 31: ...sis engine Volume Envelope Voltage Controlled Amplifier ATT VOL REL FX MIDI TRIG Add Del LR Send ENV OUT Mix Bus Sound Generators 2 Digitally Controlled Oscillator Wave Shaper Note Pitch CV 1V Oct 4V Range MIDI 1 2 Semitone SHAPE WARP TUNE MOD MOD MOD CV IN CV MIDI PRC MIDI MIDI KNOB Italics Pin In Out Arrow Internal Functions Function with control CAPITALS EXT Synthesis Section NOTES HPF MOD Low ...

Page 32: ...plifier ATT VOL REL FX MIDI TRIG Add Del LR Send ENV OUT Mix Bus NOTES Sound Generators 2 DCO Resonator Array Drive Cross Modulation Note Pitch CV 1V Oct 4V Range over 5 Octaves SHAPE WARP TUNE MOD MOD MOD CV IN CV MIDI PRC MIDI MIDI KNOB Italics Pin In Out Arrow Internal Functions Function with control CAPITALS EXT Synthesis Section HPF MOD Low Pass Filter Frequency Low Pass Filter Resonance LPF ...

Page 33: ...33 The Pulsar 23 Notebook Reference Guide BASS Sound Design Examples Sound Generators 2 NOTES Moody Bass Boomy Bass Drum Smooth Bass Screetch Gnarly Bass Steam Train ...

Page 34: ...s the snare drum as well as integrated clap synthesis This synth is built on a unique spectrum controlled noise generator which is the sound source The analog signal path includes a BPF Band Pass Filter NOTES Sound Generators 2 3 o d h m n c g k 1 4 7 6 a e i l 2 5 8 b f j SD Snare Drum ...

Page 35: ...t OUT Pin Output of the SD synth signal which is output before the volume control and when the module is triggered c Volume VOL Knob Controls the main volume of the SD Module audio level The EXT pin and FX Send is output before this control is applied d FX Send FX Knob Controls the amount of SD signal that is sent to the FX section Output is pre fader i e before the volume control is applied e Env...

Page 36: ...tor NOTES Sound Generators 2 Pink Noise Generator Digital Noise Generator Noise Spectrum Control TUNE MOD AMT Clap only operates with ADD and MIDI not the TRIG Pin Clap Envelope CLAP Synthesis Section MIX MOD EXT Band Pass Filter Frequency Band Pass Filter Resonance BPF FR BPF Q KNOB Italics Pin In Out Arrow Internal Functions Function with control CAPITALS Volume Envelope Voltage Controlled Ampli...

Page 37: ...37 The Pulsar 23 Notebook Reference Guide NOTES SD Sound Design Examples Clap does not activate from the TRIG pin Single Clap Echo Clap Flam Snare Noisy Snare Classic Snare Rim Snare Sound Generators 2 ...

Page 38: ...The final sound generator is the HHT Synthesis module which represents Hi Hat Shaker and Cymbal sounds again using a noise generator The analog signal chain includes a HPF High Pass Filter NOTES Sound Generators 2 o 6 b d h m n a c g k 1 4 2 5 e i l 3 f j HHT Hi Hat ...

Page 39: ...end is output before this control is applied d FX Send FX Knob Controls the amount of HHT signal that is sent to the FX section Output is pre fader i e before the volume control is applied e Envelope Output ENV Pin Output from the module s envelope generator which is available for modulation f Trigger input output TRIG Pin Trigger in to start the modules envelope generator and also the output for ...

Page 40: ...which can also be modulated Also by changing the spectrum by wave shaping using the WARP parameter for shaker like sounds KNOB Italics Pin In Out Arrow Internal Functions Function with control CAPITALS NOTES Sound Generators 2 Timbral Noise Generator Wave Shaping TUNE WARP MOD MOD EXT Synthesis Section High Pass Filter Frequency High Pass Filter Resonance HPF FR HPF Q Volume Envelope Voltage Contr...

Page 41: ...41 The Pulsar 23 Notebook Reference Guide HHT Sound Design Examples Hat Shaker Closed Hat Rattle Open Hat Crash Sound Generators 2 NOTES ...

Page 42: ...e audio through self oscillation NOTES Sound Generators 2 Cutoff Q 0 20Hz 100 20KHz ATTENUATION FREQUENCY LOW PASS FILTER Rolls off frequencies at the cutoff point Frequencies below the cutoff pass through unaffected A boost in Q Resonance can be applied Ideal for bass by reducing higher frequencies Cutoff Q 0 20Hz 100 20KHz ATTENUATION FREQUENCY BAND PASS FILTER Rolls off frequencies at either si...

Page 43: ...an be patched to the 1 4 inch rear outputs for access externally to each sound FX outputs can be patched to the 1 4 inch rear outputs for access externally to each sound The patch bay 1 4 JACKS connect between inputs and outputs from the 6 rear connections to the front panel The diagram shows a simplified illustration of the output summing principles Other elements that are not show here such as d...

Page 44: ...sically contains ALL frequencies White Noise has a constant energy level across the frequency range This sounds high pitched and can be described as a sounding like a wind rush This can be a harsh sound but is still useful in music making Pink noise decreases in intensity per octave and sounds deeper and more bass orientated than white noise Pink noise has less emphasis on higher frequencies Pink ...

Page 45: ...ome of the secrets it holds Bass Drum Grunge Modulation A simple example of modulating a control function using audio can be seen by patching the noise audio generator to the BD Pitch and increasing the TUNE parameter AMT 1 1 The pink noise audio output pin can be patched to the MOD input pin for controlling the tuning amount of the BD Bass Drum sound module creating crazy and chaotic pitch modula...

Page 46: ... output into the audio path mix This is a very basic but practical example of control as an audio source The metronome i e MIX IN will trigger on the rising and also the falling cycle of the clock pulse As such a division of 2 not 4 will give a metronome tick each quarter note Also consider using one hand to temporarily patch the metronome when needed instead of the fixed patch cable Patch a clock...

Page 47: ...d as a traditional oscillator sound source The Pulsar 23 LFO can operate at higher frequencies than traditional LFO s Set the switch to HI Use either of the square or triangle outputs to patch optionally through the attenuator right pin to allow control of the oscillator level Consider a hard synchronisation of the LFO by patching a TRIG output from a sound module or a clock divider output to the ...

Page 48: ...48 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 49: ...ards more organic drum sequencing The clock and looper recorder work together in harmony and each has a role to play in developing drum patterns The clock actually determines the looper recorder length MIDI control from an external sequencer and other external and internal modulation sources can be used to create rhythmic patterns too but these elements are not covered in this section It has been ...

Page 50: ... for driving drum triggers and creating patterns and controls The 8 labels indicate note duration from 16 8 4 2 1 0 5 0 25 Array represents looper length 3 Reset RST Button Resets the clock divider array and therefore the looper recorder is reset to the start and is synchronised to the clock Press before loop recording to ensure synchronisation between looper and clock dividers 4 Clock Source INT ...

Page 51: ... will be based on this internal master clock INT MIDI Switch is set to the centre EXT This will disable and stop the internal clock However an external clock 3V connected to CLK pin will be interpreted as the master clock input and operate to this control The looper and clock dividers will be based on this external input as the master clock INT MIDI Switch is set to the right MIDI This will use th...

Page 52: ... will trigger the drum module The drum module envelope will sustain for the duration of a high trigger and release on the falling edge Turn the TEMP knob to adjust the tempo This is only when the internal clock generator is used This is very precise and has a wide range from extremely slow to very fast tempo The clock LED or patched metronome will help guide in setting the timing needed This will ...

Page 53: ...equired frequency i e set to 2 for a metronome at every quarter note interval A Division of 2 will output 2 clock cycles per bar or measure Drum module envelope attack is triggered on the rising pulse and then released on the falling pulse Looper length is 4 bars 4 Measures with 128 ticks Diagram shows only 1 bar for illustration purposes LED Tempo indicator flashes each quarter note The CLK Pin w...

Page 54: ...e 1 Tick 1 32 Note 1 Tick 1 32 Note 1 Tick 1 32 Note 1 Bar 1 Measure 1 Bar 1 Measure 4 Bars 4 Measures 1 Bar 1 Measure Note Note Note Note Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Clock Tempo LED Pulse Bright at the start of the length and dimmer on the quarter note Clock Divisions Length 16 8 4 2 1 0 5 0 25 ...

Page 55: ...RST Looper reset pin The 0 25 division has only one high trigger over the 4 bars 4 measures and is therefore full length It is good practice to use LRST patched to a clock divider and to press RST before beginning loop recording Note that other clock divisions patched to the LRST looper reset will change the loop length This is useful for example to create a 1 bar loop use a division of 1 or try o...

Page 56: ...l patches will help to get an understanding of the clock module and real world applications Summing Clock Pulses Multiple clock pulse outputs can be connected together The resulting clock will generate a more interesting and complex pattern ideal for triggering a drum module or as a modulation source 3 1 1 2 2 ...

Page 57: ...verned by the tempo and clock divider Try using the clocks 16 output divider and patch to the HHAT without the pulse transformer The shorter pulses should be ideal for hi hats Clock is patched through the pulse transformer to convert the longer rectangular pulse to a short trigger Connect multiple clock dividers together to give a shuffle or skip to the hi hat instead of a straight rhythm 1 2 1 2 ...

Page 58: ...es for the full 4 bar length while the at the source i e LFO may be different This can add interesting combinations but also be careful to align if accurate synchronisation of timing is needed 1 1 The master clock can be controlled externally from a separate device or it can even be controlled by using another Pulsar 23 function such as the SHAOS or LFO module The clock has intelligence to recogni...

Page 59: ...rs individually or patched together with other dividers to generate interesting patterns The AMT knob will control the amount of modulation applied 2 1 1 The clock has a modulation input function This can be used with internal or external modulation source One example is to use the clock to modulate itself to create interesting patterns ...

Page 60: ... speed timing Try using the looper recorder to lay a bass line over the beat BD SD HHT The clock can be a powerful sequencer and control all 4 modules This example illustrates the 3 drum modules controlled to generate a repeated rhythm using a variety of clock outputs to establish timing of each drum module beat This is an interesting use of the clock with drum modules and adding the bass can give...

Page 61: ...resting and experimental patterns Press the RST Reset button to reset the Master Clock synchronisation SD HHT Rather than triggering modules from the clock each drum module has a separate clock input Setting different clock rates to each module can be a more elegant and simpler solution for multiple timing The drums would still require triggering and it can be assumed in this example they are reco...

Page 62: ...r for recording and overdubbing played beats Mute central position mutes recordings Playback mode plays recorded loops and allows manual accompaniments 2 Bank LED Current bank selection indicator Each module also represents selection of a loop bank 3 Alternate Clock CLK Pin Control the clock of each drum module independently with an alternate patched pulse 4 Trigger Indicator LED Illuminates each ...

Page 63: ...Channel repeated per sound generator module Each looper channel is divided into 8 equal partitions Maximum length 4 bars Duration determined by tempo and recording The ADD button can play or record the drum module triggers and it s selected velocity Tap ADD button to overdub while playing Tap ADD button to accompany but not record Tap ADD button to manually play the drum module while the loop posi...

Page 64: ...rator channel ADD or DEL Can paste banks by holding BANK ADD DEL Hold with L to stop looper and with M to play the loop 2 Multifunction L Button Hold with the ADD button or when loop is playing will trigger a low velocity drum event Also held together with M will trigger a maximum velocity event Velocity can be recorded 3 Multifunction M Button Hold with the ADD button or when loop is playing will...

Page 65: ... they play Does not alter the recording Adjust Playback Velocity med Play Hold Adjusts while holding M the velocity to Mid for recorded notes while they play Does not alter the recording Select Bank Any Hold Tap Tap Either ADD or DEL of a module selected when holding BANK will select one of the 4 loop banks Paste Bank Rec HOLD HOLD HOLD Hold BANK ADD DEL to paste from the previous selected bank ch...

Page 66: ...er recorder control upscales the incoming clock by 96 times of its frequency Master clock hard wired to the looper recorders Manual reset to sync the clock and looper Clock patched to looper reset LRST will ensure synchronisation between clock and looper and also defines looper length Option to patch an alternative clock to LR CLK Pin This will override the internal clock if a rising edge is great...

Page 67: ... can be used to shorten the length Patch 0 25 to LRST as good practice for the full loop length Try other divisions to change loop length 1 1 1 Bar 1 Measure 1 Bar 1 Measure 1 Bar 1 Measure 4 Bars 4 Measures 1 Bar 1 Measure Note Note Note Note Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Qtr Maximum Looper Length 128 Ticks 4 Bars 4 Measures Patch 0 25 clock divider to LRST to retain...

Page 68: ...s to another device Bank LED is illuminated solid yellow when selected Flashing means looper is stopped Each bank has four independent looper channels Each channel represents a drum module looper Each of the drum modules hosts one bank Hold BANK ADD or DEL to select a Bank Bank 1 Bank 3 Chan 2 Bank 2 Chan 3 Chan 4 Bank 4 Chan 1 Sound Generators BD Bank BD BASS SD HHT BD BASS SD HHT BD BASS SD HHT ...

Page 69: ...Y switch for the looper channels to copy Only channels set to REC will be copied 2 Hold BANK Tap ADD or DEL button for the bank to select This bank can be played or edited and will be copied 3 The module LED located in the looper section to the left of the REC PLAY switch will illuminate yellow when the bank is selected and by default will be held in memory and is therefore the copy source 4 Hold ...

Page 70: ...ap ADD 3 Hold L Tap ADD to play or record at low velocity level The audio should distinguish between higher and lower velocity levels 4 Hold M Tap ADD to play or record at medium velocity level The audio should distinguish between the velocity levels 5 With the REC PLAY Switch in PLAY mode i e to the right holding the L or M buttons will temporarily change the velocity playback for the recorded no...

Page 71: ...Hold BANK M ADD for the BD Sound generator module This represents the first section of the looper 4 To restart the looper from one of the other 8 partition sections Hold BANK M ADD or DEL for the Sound generator module that represents the section 1 8 left to right This is useful for mashups and ad libs mixing loop sections on the fly 5 Stopping the master clock or grounding the module CLK will als...

Page 72: ...cord at the same time similar to punch in recording Also velocity and note length is recorded Tip Sounds can be designed also before the recording is performed Set Master Clock Tempo to desired speed Press master clock RST Select REC on first channel REC PLAY Switch e g BD Select PLAY on the recorded channel REC PLAY Switch Continue to record other channels if required Tap ADD to record a loop in ...

Page 73: ... Use the 8 looper recorder partition segments to mash up and remix a beat Stop the looper with BANK L and BANK M one of the channel ADD and DEL buttons to start the section Use a roving patch cable from the GND to touch on the channel clocks This can throw the synchronisation off and introduce creative ad libs and sections Press RST to re synchronise the master clock and looper Try modulating the ...

Page 74: ...74 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 75: ...made by use of human touch or use of conductive organic materials While this brings more interest it does also carry some technical benefits As with most modular or semi modular gear each patch will be different and once the patch has been deconstructed and removed it will be lost forever or at least it would need to be rebuilt from scratch There is no electronic memory or method to store the patc...

Page 76: ... by touch to another patch point There are 119 patch pins on the top panel Alligator Patch Cables The patch point pins are connected using alligator clip based patch cables These are supplied with Pulsar 23 but can also be easily purchased separately Multiple clips can be attached to the same patch pin The diagrams in the book shows a number to indicate the ends of the same patched cable Take care...

Page 77: ... the OUT Output to the WTF or OMG Pins on the BD module Advantages of Patch Pins Using patch pins as opposed to the typical 3 5mm jack plus has many advantages Generally this offers multiple connections to the same point and makes the patching accessible to touch In addition the cost and size of the Pulsar 23 is improved especially due to the number of patch points provided Finally the reliability...

Page 78: ... indicate the input output function using an arrow tag left or right of the pin Arrows on the patch pin label indicate if the pin carries an input left arrow output right arrow or both input and output left and right arrows This book will indicate patch cables with numbers that represent the clips on the same cable and also input output tags on the clip illustration to designate routing Input Patc...

Page 79: ...se that will activate an event For example a trigger may activate a note on In drum machines this would normally be a drum hit and therefore the short trigger duration seems logical Typical trigger levels are from 0V to 5V sometimes referred to as V Trig Voltage Trigger and also 5V to 0V referred to as S Trig Shorting Trigger switch to ground Clocks are often a series of time synchronised triggers...

Page 80: ...n Generic Control Voltage Applications NOTES Patching 4 1 Pitch 1 3 2 4 5 V Oct eg 1 Volt per Octave simplified example Volts 4 3 2 5 Volts per Octave The most common model in the control of pitch is often handled using the V Oct principle In essence every volt in the control will alter pitch by 1 octave Volts per Octave Another alternative control voltage method is the Pitch Frequency Hz per Volt...

Page 81: ... the function will respond based on its calibrated range Pulsar 23 can accept 20V but the operating range is 0 10V Inputs destinations can receive modulation from the voltage variation and or level Destination points will receive a CV or Trig Output sources can send modulation from the voltage variation and or level Destination points will receive a CV or Trig Where multiple inputs are connected t...

Page 82: ...t to allow connection to patch pins Connecting the alligator clip to the TS Mini Jack TIP also makes the connection Note The patch bay also acts as the ground connection between Eurorack and Pulsar 23 Ensure at least one signal is connected through the patch bay when connecting between Eurorack and Pulsar 23 devices NOTES Patching 4 2 1 Item Function Label Control Description 1 Mini Jack Socket 3 ...

Page 83: ...ill be processed by the Eurorack module 3 The processed HHT audio from Per4mer is returned to Pulsar 23 and routed to the audio MIX IN input Eurorack Modbap Modular Per4mer is a quad audio effects processor Each effect can be triggered independently using the panel buttons or automatically through the mini jack trigger control CV inputs It is also possible to patch the audio in through a module us...

Page 84: ... TS Jack TIP also makes the connection Pulsar 23 Rear Panel Connections Note The patch bay also acts as the ground connection between external gear and Pulsar 23 Ensure at least one signal is connected through the patch bay when connecting between external devices and Pulsar 23 NOTES Patching 4 1 Item Function Label Control Description 1 Patch Pin 1 6 Pin Connects Pulsar 23 Patch Pins to the 6 rea...

Page 85: ...o outputs to an external mixer All modules audio out OUT Pins are connected to the 1 4 JACKS patch points The rear outputs are connected to mono inputs of an external mixer This allows each channel to have more precise audio control through the mixer and to any connected monitoring systems speakers Effects could also be connected in the set up 6 5 2 1 1 2 5 6 2 ...

Page 86: ... The amount of send can be controlled with an attenuator Module audio out OUT Pin are connected through an attenuator to control the amount of audio send to the 1 4 JACKS patch points Rear outputs connected to mono output to the effect processor and then the return back in through the rear connectors OTO BAM Reverb used as a send effect for the BD Module Amount adjusted with Pulsar 23 attenuator o...

Page 87: ...iometer rotary control knob These are passive functions so cannot amplify or boost the signal but can reduce the signal patched in Original Input Attenuated Output MAX MIN 2 1 3 Item Function Label Control Description 1 Input Pin Connection pin for audio or control input signal 2 Output Pin Connection pin for the audio or control output signal This is the level affected output 3 Level Knob Level o...

Page 88: ...in mix bus including the MIX IN audio It is recommended to use an attenuator patched in before the MIX IN pin if control over the audio is required Although not essential it is good practice to patch the MIX IN via a Attenuator to allow good control over the signal level sent to the main mix 1 1 2 1 1 2 1 Item Function Label Control Description 1 Audio Input MIX IN Pin Connection pin for audio mas...

Page 89: ...t Control Voltage Typical control sources include envelopes function generators LFO s Gain Affected Output 1 0 1 3 2 Item Function Label Control Description 1 Input IN Pin Connection pin for audio or control input signal 2 Output OUT Pin Connection pin for the audio or control output signal This is the gain affected output 3 Control Voltage CV Pin Control signal that adjusts the gain level This is...

Page 90: ...tion Label Control Description 1 Inverter Fixed INV Non controllable inverter module Inverts relative to a 5V reference 2 Input IN Pin Audio or control signal input 3 Output OUT Pin Inverted audio or control signal 4 Inverter Controllable INV CV Controllable inverter module Can only be used to invert trigger signals 5 Input IN Pin Audio or control signal input 6 Output Out Pin Inverted audio or co...

Page 91: ...h on and below will turn it off Input OFF ON Output 10V 5V CV ON OFF 0V 1 3 2 Item Function Label Control Description 1 Input IN Pin Connection pin for audio or control input signal 2 Output OUT Pin Connection pin for the audio or control output signal This is the switched output 3 Control Voltage CV Pin Control signal that triggers the switch This is a voltage input that will control switch on wh...

Page 92: ...o the diode component Typically this is a positive input 2 Diode Cathode Pin Connection to the diode component Typically this is the negative output 3 Capacitor Pin Non polarised capacitor connection This capacitor value is 0 1mf 4 Capacitor Pin Non polarised capacitor connection This capacitor value is 0 1mf 5 Capacitor Pin Non polarised capacitor connection This capacitor value is 10mf 6 Capacit...

Page 93: ...allow current in one direction and restrict it in the other direction Diodes are commonly used in electronics as a switch to rectify AC to DC current voltage protection and power control A LED is a light emitting diode emitting light when current flows What is a capacitor and what is a typical use A capacitor is an electronic device which stores electrical energy You can think of this as a fast ba...

Page 94: ...d signals into shorter trigger pulses This is especially useful for a semi modular drum machine where short pulse triggers are applied to drum hits Typically the gate will trigger each drum module s envelope In Pulsar 23 a common application is to use this with the clock divider The output will follow the initial transient of the input pulse then automatically decay at the output even if the input...

Page 95: ...temporary triggers Note that when patching between external Eurorack or desktop devices at least one connection should be made between the devices using the Pulsar 23 Eurorack 3 5mm Patch Bay or the 1 4 Jack Patch bay Essentially to avoid unwanted electrical noise especially in the audio signal it is technically good practice to ensure all devices are connected to a common ground Item Function Lab...

Page 96: ...n humidity and the nature of the body There are two sets of dynamic sensors each with a CV output pin from where to patch various destinations Item Function Label Control Description 1 CV Out Pin 0 10V CV output generated from sensor pair 1 touch and used as a modulation source 2 Touch Sensors Buttons Touch sensor pair 1 When finger pressure is applied to both a voltage between 0 10V is generated ...

Page 97: ...tion source For example patch to the BD WTF from the sensor module 1 2 Tap or press both of the two sensors in the module This will generate a voltage at the CV output pin This voltage will depend on the amount of resistance and conductivity of the touch Essentially this is an organic modulation source 3 Release the touch from the sensors to stop the CV modulation change Dynamic sensor manipulated...

Page 98: ...98 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 99: ...llator which traditionally is designed to operate at frequencies below audio levels to only act as a modulation source Pulsar 23 moves away from the traditional expectations and the LFO has a wider range than can be used in audio applications and in itself can also be modulated Pulsar 23 takes a try patching anything to anything approach including audio as a modulator for a control and a control a...

Page 100: ...ut Not affected by the sample and hold function 2 bit 4 output levels 3 S H Out 1 BIT S H Pin Shift register plus the sample and hold output 1 bit 2 output levels 4 S H Out 3 BIT S H Pin Shift register plus the sample and hold output 3 bit 8 output levels 5 3 Bit LED LED Indicates activity on the 3 Bit output 6 Seq length 63 16 217 Switch Determines length or the pseudo random sequencer and select...

Page 101: ...V on the MOD pin When an external clock is connected to the CLK pin the externally connected clock will take precedence and replace the internal clock The master clock and its divisions can be used as the external clock or try being more creative with other functions such as the LFO The S H pin is an alternate input for the sample and hold clock which will synchronise the sample and hold function ...

Page 102: ...e 16 steps from the 63 to memory Switch from right to centre to capture 16 steps from the 217 to memory By switching the switch to the 63 or 217 sequence position will play the pseudo random sequence Switching back to the 16 step central position will capture a 16 step snapshot of the sequence into the memory which is output at the DATA pin Throwing this switch left right to centre randomises the ...

Page 103: ...T value attributed to each output refers to the number of states generated across the sequence These states are effectively CV levels and are useful for melodic patterns such as controlling the pitch of tuneable functions In general the sequence consists of the steps which can drive triggers based on the clock and the randomisation plus the sample and hold on the two S H outputs Also the state bas...

Page 104: ...LFO Rate indication LED Flashes at the LFO frequency rate 5 Input for synchronisation Pin Resets the start of the LFO This will synchronise the LFO to the pulse such as drum trigger or clock divider 6 LFO Square shape output Pin LFO output Square wave shape out 7 LFO Triangle shape output Pin LFO output Triangular wave shape out 8 Triangle Shape Knob Triangle wave shape from falling saw when fully...

Page 105: ...eresting patch options when used for example to trigger or independently clock sound modules or drive the SHAOS S H clock Time Frequency Rate SYNC SYNC Time Frequency Rate Ramp Down Anti Clockwise Ramp Up Clockwise Triangle Centre 12 O Clock Square Wave Triangle Wave Level Amplitude Level Amplitude The triangular wave can morph from a ramp down saw to ramp up saw gradually through the rotation of ...

Page 106: ...106 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 107: ...a time in the default state but both can be used if patched to the effects Delay and reverb as send effects in an audio set up is a common arrangement A delay is based on delayed output fed back into the input This creates an echo like effect Reverb is an emulation of a room and space dynamics where sound is reflected and has different time characteristics based on how the sound behaves in the roo...

Page 108: ... chain It is good practice to always start with the volume level low to avoid unexpectedly loud output Item Function Label Control Description 1 Power on PWR LED Illuminates yellow when powered on Power switch up at the rear to power on 2 Volume control VOLUME Knob Adjusts the volume level of the main output and headphones output 3 MIDI Input MIDI LED Indicates MIDI input activity Green LED indica...

Page 109: ...ed in the main output chain and therefore will apply to the full signal Outputs can also be patched to the inch outputs and bypass the main output This will allow better control for example with an external mixer if required Summing Bus All drum channels and FX returns Distortion Main Out Master Out Effects 6 NOTES Item Function Label Control Description 1 Drive amount DRIVE Knob Adjusts the amoun...

Page 110: ...rations known as operating modes determines how the effect operates and also the role of the controls The FX can be configured to operate as a delay or reverb in the default set up The other effect can be patched in to utilise both if required 4 10 5 13 17 6 14 18 1 9 2 7 11 15 8 12 16 3 Summing Bus All drum channels and FX returns FX Sound Module FX Send Main Out Return Distortion ...

Page 111: ...lation input for controlling the delay time 8 Delay amount TIME Knob Delay time setting 9 Delay Input DLY Pin Auxiliary delay input for processing external audio through the delay FX 10 Reverb Input REV Pin Auxiliary reverb input for processing external audio through the reverb FX 11 Modulation Input tune MOD Pin CV Modulation input for controlling the tuning Tune is multifunctional depending on t...

Page 112: ...ORKING WITH DELAY 1 Set the position of the FX switch to the left This will select the DLY function channel 1 as the primary effect 2 Select the operating mode using the BPF DBL PCH 3 way switch The option will depend on the application but experimentation with all options is encouraged 3 Adjust the FX control on each of the sound generation modules from which to send audio to the effect The effec...

Page 113: ...H The delay operates as a single tap delay with an adjustable feedback pitch shifter The pitch interval in the feedback is adjusted by using the TUNE knob when in PCH operating mode Voltage on the MAD Pin causes DSP madness 10V for permanent chaos BPF Band Pass Filter DBL Double PCH Pitch Master Out Effects 6 NOTES Operating Mode Mad Mad BPF DBL PCH Operating Mode Tune Tune Mad Stereo Mode 2 Tap D...

Page 114: ...e effect in operation WORKING WITH REVERB 1 Set the position of the FX switch to the left This will select the REV function channel 2 as the primary effect 2 Select the operating mode using the BPF DBL PCH 3 way switch The option will depend on the application but experimentation with all options is encouraged 3 Adjust the FX control on each of the sound generation modules from which to send audio...

Page 115: ...rmanent stereo The 3 Way switch is set to PCH The reverb operates with characteristics of a hall space The pitch interval in the feedback is adjusted by using the TUNE knob when in PCH operating mode Voltage on the MAD Pin causes DSP madness 10V for permanent chaos BPF Band Pass Filter DBL Double PCH Pitch Master Out Effects 6 NOTES Operating Mode Mad Mad BPF DBL PCH Operating Mode Mad BPF DBL PCH...

Page 116: ...up to x7 times This is a creative choice for a unique additional feature in sound design The CLK MOD amount for a modulation source connected at it s MOD pin will control the speed FX outputs for both channels are in mono by default Stereo mode is active in DBL operating mode when the MAD pin is set high for example patched to the 10V Pin In fact a voltage greater than 5V will activate The delay a...

Page 117: ...is option are 1 The operating mode BPF DBL PCH switch is set central to DBL The delay will be the 2 tap option and the reverb the alternate classic hall 2 The MAD Pin is patched with a voltage greater than 5V The 10V pin can be used to patch this permanently if required The MAD Pin is patched to the 10V Pin to keep the signal high This sets the FX to Stereo mode when DBL operating mode is selected...

Page 118: ...118 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 119: ...d has a set of defined standards although the implementation may vary between devices MIDI connects with 5 Pin DIN style connectors and this is the interface applied in Pulsar 23 where a MIDI input is available on the rear of the unit Many devices also use MIDI via USB but Pulsar 23 is limited only to incoming MIDI control from another device using the MIDI 5 Pin DIN Input MIDI Control output from...

Page 120: ... MIDI STANDARDS While there are MIDI standards defined many synth developers interpret this in slightly different ways Its always worth reviewing the documentation with each to fully understand each device level implementation SDS Sample Dump Standard This is an older transfer protocol used for transferring data to and from devices This is rarely seen nowadays MIDI DIN 48 This is often found for M...

Page 121: ... This controls the sound modules but does not record into the looper A MIDI controller used for control change CC messages With a MIDI interface a PC or Mac can be used used with digital audio workstation software A keyboard or pad controller can be used Velocity will be transmitted and interpreted by Pulsar 23 Pulsar 23 s MIDI Learn functions can map the external control to it s designated functi...

Page 122: ...Change CC data will communicate a value for a specific parameter setting Connect between devices using a 5 Pin MIDI Cable Use MIDI Out from the external device Sound modules can be played by external controllers and also will apply a fully velocity range The notes and CC cannot however be recorded in the looper recorder channels Functions which can be connected to the external device will host a L...

Page 123: ... BASS Warp Maps the external CC Control Change to the Bass Sound to control the warp function value 5 SD Sound Generator Maps the external device to the SD Sound module Used for triggering the drum using a keyboard or drum pads 6 HHT Sound Generator Maps the external device to the HHT Sound module Used for triggering the drum using a keyboard or drum pads 7 CV Ch 1 Key tracking Maps the external M...

Page 124: ...he MIDI Channel and message and assign this to the function represented by the LRN option pressed The external controller can now control the Pulsar 23 function The MIDI LED will be lit green when the incoming MIDI message is assigned to a function Any additional unassigned messages may still show the LED red 6 When powering Pulsar 23 off any assignments will be retained and will be available when...

Page 125: ...ulsar 23 to use the clock received from the MIDI in device 4 Remember several points of note when using an external MIDI clock The looper recorder and clock dividers will reference the incoming MIDI clock instead of the internal clock The looper recorder has an upsampled clock speed and as such needs settling time after the clock starts The time between an incoming start and stop of the sequencer ...

Page 126: ...s instruction for MIDI configuration of the device 3 Press and hold the LRN button at the bottom of a Pulsar 23 drum module to ensure it is ready to map from the connected incoming controller MIDI 4 While holding LRN Initiate a command from the external device Press a keyboard key to issue a note trigger from the controller The Pulsar 23 module s envelope will be triggered and the sound is activat...

Page 127: ... example the rotary control would generate the CC messages Hold LRN then initiate a message from the controller or DAW by turning a control pressing a key or DAW mapping automation for MIDI output Note On Off messages plus velocity will be received by Pulsar 23 for the note envelope once the note is mapped using the LRN button In this example the pad would generate a note on off message for trigge...

Page 128: ... PRC Switch Select MIDI Centre position for mapping the pitch based MIDI control 2 Module Learn LRN Button Hold and trigger an external MIDI input to map to the module sound i e keyboard 3 Shape Learn LRN Button Hold and adjust an external MIDI CC input to map to the module SHAPE control 4 Warp Learn LRN Button Hold and trigger an external MIDI input to map to the module WARP control 4 1 3 2 1 1 T...

Page 129: ...ntrols on the BASS Module Hold LRN then initiate a message from the controller or DAW by turning a control pressing a key or DAW mapping automation for MIDI output Note If using an external synth to control CC and Notes consider setting it to Local Off to avoid triggering synth functions when controlling external gear Note On Off messages plus velocity will be received by Pulsar 23 for the note en...

Page 130: ...N button in the lower part of a Pulsar 23 BASS module to ensure it is ready to map from the connected incoming controller MIDI 5 While holding LRN Initiate a command from the external device Press a keyboard key to issue a note trigger from the controller The Pulsar 23 module s envelope will be triggered and the sound is activated The note and controller will be mapped to the module Playing any of...

Page 131: ... such values for the control are mapped from the device to Pulsar 23 MIDI LEARN FOR THE WARP FUNCTION 1 Press and hold the LRN button in the upper right part of the Pulsar 23 BASS module This is for WARP function to ensure it is ready to map from the connected incoming controller MIDI 2 While holding LRN adjust the external controller The control is mapped and as such values for the control are ma...

Page 132: ... control Item Function Label Control Description 1 Channel 1 KTR KTR Pin CV output from mapped MIDI control Used for key tracking for the same device mapped to the BASS module 2 Channel 1 Learn LRN Button Hold the learn button while activating a connected MIDI value to map to the pin 3 Channel 2 Out Pin CV output 2 from mapped MIDI control 4 Channel 2 Learn LRN Button Hold the learn button while a...

Page 133: ...ck module This should be generally OK for triggers but outcomes may be less predictable for CV control However experimentation may find some interesting sweet spots Selecting which device will be the primary lead for the master clock and which will be the secondary followers Pulsar 23 could be set to follow an external clock from another module as the primary control Alternatively Pulsar 23 could ...

Page 134: ...r ranges Eurorack Bipolar Offset Set to 5V Example Eurorack Module This Is Not Rocket Science Ardabil Output 5V to 5V Pulsar 23 connected to Eurorack via the patch bay Input 0 10V Pulsar 23 Unipolar A device can be used to adjust the range for Eurorack compatibility This could be as simple as just applying an offset to the incoming signal so that 5V is applied to offset the 0V level Some attenuato...

Page 135: ... shown The primary lead clock in this example Pam s would need to account for Pulsar 23 s 128 Tick resolution in order to match Pulsar 23 s tempo as secondary follower In this example the square wave output is set to a x8 modifier to ensure the tempo match As a tip in this example other outputs from Pam s could be connected to trigger the sound generator modules using the external module also as a...

Page 136: ...es Per Quarter Note In this example hold Pam s program button to set PPQN to 08 and therefore ensure that the tempo is matched from Pulsar 23 For many devices Pulsar 23 s clock may have a higher range than the receiving device As a tip in this example modulating other inputs on Pam s for example from Pulsar 23 LFO or SHAOS generator to CV 1 will give some crazy patterns on any connected modules to...

Page 137: ...rn generation Pulsar 23 is the primarily lead clock for this example but it makes sense for Ground Control to lead the clock Example Eurorack Module as Sequencer Endorphines Ground Control ALM Busy Circuits Pam s New Workout Primary lead of the clock is Pulsar 23 interfaced to Pam and in turn Ground Control Sync BASS BD SD BASS Module CV input is the pitch V Octave control from the ground control ...

Page 138: ...acing an iPad over MIDI and also by routing audio Hold LRN then initiate a message from the iPad application by adjusting a control pressing a key or starting a sequencer on an iPad application iPad compatible interface for connecting both Audio and MIDI This example uses the IK Multimedia iRig Pro I O a single channel iPad compatible interface iPad equipped with the right applications to interfac...

Page 139: ...ds grit and distortion while Fly Tape II offers on the fly effects such as slow down reverse and lo fi Finally Bram Bos Kosmonaut echo effect to add ambience MIDI chain would control Pulsar 23 through it s MIDI input The messages from iPad are assigned in Pulsar 23 using LRN This could be as simple as iPad keyboard or sequencing using an arpeggiator In this example Audiomodern s Riffer app is used...

Page 140: ...140 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 141: ...et the direction and speed up the learning and internalisation of knowledge It s a reference and the built in space for notes is designed to make the book personal with the option to add your own notes and learning points Some blank Pulsar 23 patch templates are also included to help you record your own patch creations This final section is designed to show some example patches and configurations ...

Page 142: ... in this case using the LFO as a Modulator This patch can be expanded and is a starting point to develop an FM orientated design Try tweaking the parameters to develop a sound 1 The 10V Pin is used to trigger the BASS module and to create a drone in order to sustain the sound which will help when tweaking and developing the sound 2 The LFO with a triangle wave is used as the modulator Set the LFO ...

Page 143: ...e LFO triangle output is patched through an attenuator to control the level before entering a voltage controlled amplifier 2 The attenuator controls the input to the VCA 3 The VCA output is shaped by the incoming CV and the audio is sent to the MIX IN Pin which will mix with the audio mix bus The EXT Pins on the sound modules also allow audio processing through the module function 4 The VCA CV inp...

Page 144: ...2 499 185 00 369 99 739 99 1479 98 38 891 77 782 155 56 311 13 622 25 1244 51 51 913 103 83 207 65 415 30 830 61 1661 22 58 271 116 54 233 08 466 16 932 33 1864 66 32 703 36 708 41 203 43 654 48 999 55 000 61 735 65 406 73 416 82 407 87 307 97 999 110 00 123 47 130 81 146 83 164 81 174 61 196 00 220 00 246 94 261 63 293 67 329 63 349 23 392 00 440 00 493 88 523 25 587 33 659 26 698 46 783 99 880 0...

Page 145: ...BD as the sidechain trigger patch the BD ENV envelope out to the Inverter INV Input Use the inverter module without the CV option 2 The Inverter output should be connected to the VCA CV Input This signal will be inverted creating a replicated but inverted envelope control of the VCA 3 Create a drone sound on the BASS module This can be any sound but to illustrate the ducking effect a drone or pad ...

Page 146: ... the 80 s this patch generates a pitch drop when the BD drum module is triggered Ensure tweaking and adjusting the BD parameters to taste 1 Connect the BD or any other module ENV Output to the Tune MOD Pin The ATT Attack and REL Release can be tuned to suit the drop style 2 The settings are important and the PITCH specifically affects the sound 1 1 ...

Page 147: ...rom the pulse converter to the HHT TRIG input HHT parameter settings are important to achieve the right results 3 Modulate the clock by patching from the SHAOS module the 1 Bit output to the clock MOD Adjust the clock modulation AMT Amount which should be set around 10 O Clock The Tempo at around 9 O Clock approx 110BPM 4 Also from SHAOS patch the 2 Bit output to the FX module MOD Pin associated w...

Page 148: ...ut from BD is used here to adjust the clock in a pattern following the envelope shape and have an after effect through the release phase of the envelope 1 Connect the BD or any other module ENV Output to the FX CLOCK MOD MOD Pin Set the amount of modulation from the CLOCK MOD to 4 O Clock 2 Set parameters as illustrated Trigger the BD module 3 Optionally try the same patch with the SD module envel...

Page 149: ...t SHAOS Freq low switch to 217 and connect 1BIT Pin to the BD Module TRIG Ensure BASS settings match the illustration The SHAOS switch can be toggled to generate new patterns 2 Connect from the BASS Filter MOD Pin to the 2 Bit SHAOS Module This will ping the filter as resonance is set high 3 Connect the BASS CV Pin to SHAOS 3Bit pin Also ensure BASS is set to CV on the mode switch This will genera...

Page 150: ... transformer to generate short triggers from the longer gate input 3 The pulse transformer output is patched to the TRIG input on the HHT module This will drive the hat based on the clock but is inverted when control is active rather than directly patched 4 The CV input to the inverter will be the main connection which controls the inversion This could be set high by tapping a patch cable to the 1...

Page 151: ...t of the VCA is connected to the FX module delay DLY input This is the shaped and volume controlled noise The FX parameter settings are very important to generate the sound Set these as precise as possible shown on the illustration 5 The CV input on the VCA is controlled from the LFO via the Attenuator for better control over the sound shape 6 The triangle output of the LFO is set to a slow speed ...

Page 152: ... generate the correct sound The CLK MOD option patched to SHAOS is optional and will add the ability to generate patterns for the sound Noise as the core sound source Synchronisation of the Master internal clock LFO and generate modulation for the FX clock are centralised through SHAOS LFO operates at a slow speed to control the bowing of the strings 7 1 2 3 2 6 ...

Page 153: ...the pulse converter to the HHT TRIG input HHT parameter settings are adjusted to taste to achieve the desired results 3 The LFO clock is set low and is synchronised by connecting the clock divider 1 pin to the SYNC pin of the LFO This is modulate the HHT to provide the alternate sound The LFO speed can be tweaked to get the alternate state correct 4 The LFO triangle setting is adjusted to around 7...

Page 154: ...ntrol in the chain 2 The output of the attenuator is connected to the FX section DLY input The FX module is set to delay mode Start with attenuator low 3 The first modulation patch is the LFO triangle connected to the FX section TUNE MOD Pin The FX switches should be set to DLY and to PCH The LFO is set to operate as a standard triangle shape but can be adjusted to experiment as can the frequency ...

Page 155: ...ste A plucky deep bass usually works best as per the parameters illustrated 1 Use the BASS TRIG output to trigger the pulse converter input This will ensure a short trigger from the bass even if drone or notes are longer from BASS itself 2 The output of the pulse converter is patched to the trigger of SD This can be a TRIG on any of the other three sound modules to BASS This would be a freely avai...

Page 156: ...nctions and labels are included in the diagrams The official SOMA manuals and documents get you started on the Pulsar 23 journey This guide helps bridge the user experience Synthdawg producer guides intentionally have built in space for capturing personal notes and documenting your own experiences It makes the Pulsar 23 more personal to you and helps to expand the content on topics of relevance to...

Page 157: ...157 The Pulsar 23 Notebook Reference Guide Technique 8 Pulsar 23 Notes ...

Page 158: ...158 The Pulsar 23 Notebook Reference Guide Patch Name Technique 8 ...

Page 159: ...159 The Pulsar 23 Notebook Reference Guide Technique 8 Patch Name ...

Page 160: ...160 The Pulsar 23 Notebook Reference Guide Patch Name Technique 8 ...

Page 161: ...161 The Pulsar 23 Notebook Reference Guide Technique 8 Patch Name ...

Page 162: ...162 The Pulsar 23 Notebook Reference Guide BD Bass Drum Sounds SD Snare Drum Sounds Technique 8 ____________ ____________ ____________ ____________ ...

Page 163: ...163 The Pulsar 23 Notebook Reference Guide HHT Hi Hat Drum Sounds BASS Sounds ____________ ____________ ____________ ____________ Technique 8 ...

Page 164: ...164 The Pulsar 23 Notebook Reference Guide NOTES ...

Page 165: ...Index 9 165 The Pulsar 23 Notebook Reference Guide ...

Page 166: ...ng 92 Clock 50 52 55 56 135 148 Clock Divider 52 54 Control Voltage 80 D DATA 102 DEL 63 Delay 112 Distortion 109 Dynamic Touch Sensors 96 E Envelope Generators 18 19 Eurorack 82 134 137 External 86 External Clock 51 F FM Synthesis 142 FX 110 148 G Glossary 10 H HHT 16 HHT Sound Design 41 HHT Synthesis 40 Hi Hat 38 Human Touch 77 I Internal Clock 51 Inverter 90 iPad 138 L LFO 47 104 105 Looper Len...

Page 167: ...1 O OMG 77 Overview 8 P Patch Bay 84 Patch pins 78 Patch Points 95 Patch Templates 156 Patching 76 Pitch 146 Power Supply 7 108 PRC 30 32 Q Quantize 64 65 70 R REC CONT 64 Record 63 Reset 95 Reverb 114 S S H 100 Sample Hold 103 SD 16 SD Sound Design 37 SD Synthesis 36 Send 110 SHAOS 100 102 Sidechain 145 Snare 34 Sound Source 143 Stereo 117 Structure 12 22 24 28 34 38 42 44 Switches 91 T Trigger 1...

Page 168: ...168 The Pulsar 23 Notebook Reference Guide Index V VCA 89 Velocity 70 Volume 108 W Wave 105 WTF 77 ...

Page 169: ...Index 169 The Pulsar 23 Notebook Reference Guide ...

Page 170: ...170 The Pulsar 23 Notebook Reference Guide ...

Page 171: ... and images are either designed and created from scratch for this book by Synthdawg or supplied by SOMA and edited by Synthdawg This book is a collaborative production between Synthdawg and SOMA and any official endorsement or sponsorship by any other manufacturers named within has not been granted nor been sought Produced in the United Kingdom Version 1 0 July 2022 SOMA Pulsar 23 www synthdawg co...

Page 172: ...172 The Pulsar 23 Notebook Reference Guide www synthdawg com Making RTFM Cool ...

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