Cwejman S1 MK2 User Manual Download

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S1 MK2 User’s Manual

(Guide/Handbook)

Summary of Contents for S1 MK2

Page 1: ...S1 MK2 User s Manual Guide Handbook ...

Page 2: ...d Oscillators Outputs 12 LFO 13 Low Pass Filter Audio Input Mixer 14 Multi Mode Audio Input Mixer 14 Low Pass Filter 15 Multi Mode Filter 18 Envelope Generators 20 Rear Panel 23 Calibration 24 Oscillator scale 24 Master scale Analog CV 25 MIDI 26 Startup 26 CV1 and Gate1 Trigg1 26 Gate2 Trigg2 27 CV2 28 CV3 28 CV4 28 CV5 28 CV6 28 How MIDI Messages are Handled 29 Program Change 29 Hold Pedal Legat...

Page 3: ...ible Routing of CV Outputs 33 MIDI Implementation Chart Inside the Synthesizer Oscillators 34 Sine Waveform 34 Triangle Waveform 35 Sawtooth Waveform 35 Pulse Waveform 36 Triangle Pulse Waveform 37 Sync Frequency and Amplitude Modulation 37 Noise generator 39 Ring Modulator 39 Low Pass Filter 40 Multi Mode Filter Master Amplifier 45 Envelope Generators 46 33 34 44 Overdrive 48 LFO 47 ...

Page 4: ...d to Cwejman LIMITATION OF WARRANTY The foregoing warranty shall not apply to defects resulting from improper or inadequate maintenance by buyer unauthorized modification or misuse accident or abnormal conditions of operations No other warranty is expressed or implied Cwejman specifically disclaims the implied warranties of merchantability and fitness for a particular purpose Cwejman shall not be ...

Page 5: ... screws M5 4 The Instruction manual 1 Environmental Conditions Do not expose this unit to direct sunlight corrosive gas dust or vibration The ambient temperature must be 15 to 30 C and the relative humidity must not be greater than 85 The storage temperature of this unit is 0 to 50 C This unit is designed with the affect of AC power supply line noise taken into consideration However it is recommen...

Page 6: ...ight left that are attached to the sides of the instrument by 4 M5 screws same screws as for rack installation Repackaging for Shipment The following is a general guide for repackaging for shipment NOTE If the instrument is to be shipped to Cwejman Sound for service or repair attach a tag to the instrument identifying the owner and indicating the service or repair to be carried out include the ser...

Page 7: ...LTAGE SELECTOR POSITION ON THE REAR AUDIO Connect the INSTRUMENT OUTPUT of the S1 to your audio system Use a single ended or balanced output cable depending on what your audio system has to offer For best audio performance use the balanced output Please refer to your audio systems instruction for reference MIDI If you want to play the S1 via MIDI connect S1 s MIDI IN to the MIDI OUT of your MIDI c...

Page 8: ...the S1 please take a short tour and make yourself familiar with some of the S1 basics Before you power up the S1 turn down the output level knob The S1 can produce high output levels and you should make sure not to burn your valuable preamp speakers or even more your valuable ears FIRST power up the S1 and then turn on your audio system Now please bring the controls of the S1 to a simple basic set...

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Page 10: ...from one note to another in 5 octave span TRANSPOSE is the master octave setting 3 octaves FINE TUNE 3 semitones The three MASTER CV switches disconnect the corresponding oscillator from the incomming pitch CV The oscillators are not tracked anymore by an e g keyboard thus allowing the creation of sounds that are not related to a tonal scale All oscillators FM LEVEL controlled by knobs are calibra...

Page 11: ...ee corresponding TRIGG GATE switches determinate the activating of the envelope generators to received MIDI messages and or trigger gate signals selected MIDI channel 1 or selected MIDI channel 1 2 The first left switch selects the trigger signal starting ENVELOPE GENERATOR 1 and the third switch does the same for ENVELOPE GENERATOR 2 They choose between trigger signals generated from note on mass...

Page 12: ...S 1 2 3 ENVELOPE GENERATOR 2 SELECTOR GATE 1 main MIDI channel GATE 2 main MIDI channel 1 ENVELOPE GENERATOR 2 SELECTOR TRIGGER 1 main MIDI channel TRIGGER 2 mani MIDI channel 1 FREQUENCY CONTROL INPUTS OSCILLATOR 1 pre patched to LFO OSCILLATOR 2 pre patched to OSCILLATOR 1 OSCILLATOR 3 pre patched to OSCILLATOR 2 MIDI CONVERTER CONTROL OUTPUTS CV1 MASTER TUNING CV2 VELOCITY CV3 MODULATION WHEEL ...

Page 13: ...syncronized to OSC2 s frequency OSC2 s frequency is syncronized to OSC1 s frequency When the tuned frequency of sync ed oscillator has the same or multiple of frequency of controlling oscillator then sync ed oscillators waveform has no or very little glitch which results in a sync ed smooth waveform i e sinus waveform The sync ed waveforms with additional FM modulation are perfect for cutting edge...

Page 14: ...and noises The PWM inputs of OSC 1 and 2 are hardwired to the outputs of the MIXER described below The pulse width of all three oscillators can be modulated by any other signal OSCILLATOR 1 RANGE AUDIO mode 0 C2 to 6 C8 in 1 octave steps RANGE LF mode 8 seconds to 120 milliseconds TUNE 6 semitones PULSE WIDTH 5 to 95 Waveforms Sine Triangle Saw Saw Triangle Triangle Pulse Saw Pulse Pulse 5 Volts O...

Page 15: ...a useful choice since the mixers outs provide the LFO signal with opposite polarity to OSC1 s PWM respective OSC2 s PWM Consequently the oscillators pulse width sweeps in opposite directions which results in interesting sonic possibilities EXT INPUT1 Pre patched to LFO triangle output gain 1 EXT INPUT2 Pre patched to Envelope Generator 1 output gain 1 S OUTPUT Sum of input 1 and input 2 patched to...

Page 16: ...ovide the ring modulator signal for other applications EXT INPUTS Inputs pre patched to Oscillator 2 Sine Waveform and Oscillator 3 sine OUTPUT Multiplier output LEVEL Amplitude modulation input 0 dB gain 5 Volts Noise Generator and Oscillators Outputs Low frequency oscillator In addition to the internal routing these output sockets provide the oscillator signals and three sorts of noise WHITE noi...

Page 17: ... of RATE and LEVEL and provide the LFO OUTPUT Some interesting results can be achieved when the LFO OUTPUT is fed back to the EXT GATE input socket RATE 60 seconds 0 016 Hz to 16 milliseconds 62 Hz Waveforms Sample Hold random 3 speeds triangle sawtooth double rate inverted sawtooth double rate square all waveforms 5 Volts FM Frequency modulation input 1 Volt octave LEVEL Amplitude modulation inpu...

Page 18: ...urce leads to earlier saturation The output signals of the three oscillators the ring modulator and pre patched white noise has individual levels into the multi mode filter input The thick scale indicates the clip level of the filter s input stage when one source is used with higf Q PEAK setting Using more than one signal source leads to earlier clip Low Pass Filter Audio Mixer Multi Mode Audio Mi...

Page 19: ...sense to implement filters with switchable slope The S1 s filters with its two corresponding 3 slope settings are most versatile and musically useful The next basic parameter is the CUTOFF FREQUENCY or corner frequency It defines at which frequency the filter starts to work respective to attenuates frequencies On the S1 the cutoff of both filters can be adjusted from 16Hz to 16kHz by CUTOFF knob a...

Page 20: ...O adjusts the corner frequency modulation intensity by the triangle waveform of OSC1 respective to the LFO Maximum sweep reaching over 5 octaves OSC1 LFO switch selects the triangle waveform of OSC1 or the LFO as modulation source AUDIO In the patch section of the LPF you ll find the HI Z INPUT which is an additional and patchable input It is internally pre patched to the audio output of the Multi...

Page 21: ...s CV CV Q PEAK Resonance flat to self oscillation 4 to 5 Volts CV CUTOFF CORNER FREQUENCY TUNING 16 Hz to 16 kHz 4 POLE BANDPASS 6 POLE SELECTOR CORNER PEAK CONTROL FLAT to OSCILLATION CORNER FREQUENCY MODULATION by ENVELOPE GENERATOR 1 CORNER FREQUENCY MODULATION by ENVELOPE GENERATOR 2 CORNER FREQUENCY MODULATION by OSCILLATOR1 TRIANGLE LFO EXTERNAL AUDIO INPUT pre patched to MULTI MODE FILTER O...

Page 22: ...ered audio signal be coupled to any input It s destinated to the audio input of the AMP section FILTER MIX CV Here you ll find patchable modulation inputs for the MMF CUTOFF can be used to provide other signals than the triangle waveform of OSC1 or the LFO to which it is internally routed see above as a modulation source for the cutoff frequency Use the OSC1 LFO knob to adjust the modulation inten...

Page 23: ...put 0 dB gain 5 Volts CV CV Q PEAK Resonance flat to self oscillation 4 to 5 Volts CV SOURCE SELECTOR POSITIVE NEGATIVE GOING ENVELOPE GENERATOR 1 CUTOFF FREQUENCY TUNING 16 Hz to 16 kHz 2 4 6 POLE SELECTOR CORNER PEAK CONTROL FLAT to OSCILLATION CUTOFF FREQUENCY MODULATION by ENVELOPE GENERATOR 1 CUTOFF FREQUENCY MODULATION by ENVELOPE GENERATOR 2 CUTOFF FREQUENCY MODULATION by OSCILLATOR1 TRIANG...

Page 24: ...y is pressed RELEASE TIME Time needed to fall down to zero level after key is released or other note off command has been received GATE DELAY TIME Delay time between note on command and start of the attack phase ENVELOPE OUTPUTS Provides the control voltages of the envelope and the inverted voltage CV INPUTS external controls of envelopes Allows the voltage control of all envelope parameters This ...

Page 25: ...be used to process external audio material in the S1 amp section It is prepatched to the LPF output Its level can be adjusted by the FILTER MIX knob OUTPUT provides a master audio output in addition to the one on the backside CV ON OFF switch makes the S1 amp velocity sensitive since it is pre patched to CV2 MIDI velocity Using the EXT VELOCITY socket any other signal can be used to control the ve...

Page 26: ...n Linear mode gain 0 dB 5 Volts CV 20 Volt log mode gain 0dB 5 Volts CV 15 dB Volt AM EXT VELOCITY Velocity control pre patched to CV2 LOW PASS and MULTI MODE FILTER AUDIO MIXER OVERDRIVE CONTROLLER CLEAN 0 to SATURATED 10 ENVELOPE GENERATOR 1 2 AMPLITUDE CONTROL MIXER AMPLITUDE CONTROL MODE LINEAR 20 Volt LOG 16 dB Volt EXTERNAL AUDIO INPUT pre patched to LOW PASS FILTER OUTPUT EXTERNAL VELOCITY ...

Page 27: ...REAR PANEL 23 ...

Page 28: ...230 V SELECTOR Switch for mains voltage selection INSTRUMENT OUTPUTS BALANCED 16 dBVmax 600 ohm rear panel SINGLE ENDED 10 dBVmax front and rear panel CALIBRATION OSCILLATOR SCALE Oscillator 1 1 Connect MIDI keyboard to synthesizer MIDI IN 2 Set oscillator 1 and 2 to sawtooth waveform 3 Set the LPF MIXER control knobs on oscillator 1 and 2 to position 8 and all other control knobs to position 0 4 ...

Page 29: ...ASTER ANALOG CV trim potentiometer on the rear panel NOTE All the trim potentiometers have limited trim ranges about 5 external control voltage must not deviate by more than 2 3 from 1 Volt octave Therefore the source of 25 OSCILLATOR RANGE Oscillator 1 1 On MASTER CV set switch for OSC1 and OSC2 to ON 2 On OSC 1 and OSC 2 set RANGE switch and TUNE to position 0 3 Press any key on the keyboard 4 C...

Page 30: ...f the instrument all CV outputs are at 0 Volt and Gate Trigg outputs are actively low 0Volt MIDI mode is Mono On Omni off CV1 and Gate1 Trigg1 Function CV1 is used to control the Main Tune and is permanently programmed for MIDI Note On Off messages When a Note On message is received a corresponding control voltage is sent to the CV1 output Gate 1 goes actively high and Trigg 1 generates a short pu...

Page 31: ...I channel 1 for added rhythm patterns When a Note On message on MIDI channel 1 is received the corresponding Gate2 goes actively high and Trigg2 produces a short pulse When the corresponding Note Off message comes Gate2 goes actively low The notes with numbers lower than 24 are ignored by default but can be reprogrammed to provide a total register of 10 octaves If several Note On messages are rece...

Page 32: ...ction CV4 is preprogrammed for Channel Aftertouch messages but can be reprogrammed to react on any MIDI message see Parameter Programming below CV4 is pre patched for Fixed Modulation CV Select for LOWPASS FILTER and MULTI MODE FILTER frequency corner modulation Default sensitivity is 100 but can be altered see CV Gate Trig Configuration below Connections CV4 is accessible from both the front and ...

Page 33: ... inactive Pitch output is held at its latest value A played note is not turned off if the Hold pedal is active Gate2 is affected in the same way when the message is received on MIDI channel 1 All Sound Off Message Turns off a played note Gate1 is made inactive Pitch output is held at its latest value A played note is turned off even if the Hold pedal is active Gate2 is affected in the same way whe...

Page 34: ...nction parameter is set to 125 the CV output produces a value corresponding to Note Off Velocity for notes that are released The CV Range parameter determines sensitivity between 0 200 6 Channel Aftertouch If the CV Function parameter is set to 126 the CV output produces a value corresponding to Channel Aftertouch The CV Range parameter determines sensitivity between 0 200 7 Unused If the CV Funct...

Page 35: ...to provide 50 range instead The NRPN Fine message need not to be set since it will retain its last value Send a Data Entry Coarse message with value 16 to set the new range Routing the CV Outputs CV outputs to the different modules are routed via switches on the front panel and or with patch cables Route with switches as follows Turn off the switch on the front panel that the CV output is currentl...

Page 36: ...CV2 CV4 Function 05 0 127 Default is 124 for Channel after touch Same as for CV2 CV5 Function 06 0 127 Default is 5 for glide time Same as for CV2 CV6 Function 07 CV 6 is always handled as Pitch Wheel out This parameter currently has no effect CV2 Range 09 0 63 Default is 32 which provides 5V full swing at data 127 63 provides x2 i e 5V at data 64 and 16 provides x0 5 i e 2 5V at data 127 This can...

Page 37: ... CV2 Front Back panel Same as for CV1 CV3 Front Back panel Same as for CV1 CV4 Front Back panel Same as for CV1 CV5 n a n a CV6 n a n a 33 MIDI Implementation Chart Function Transmitted Recognized Remarks Basic Channel Default Changed X 1 16 1 16 Mode Default Messages 4 2 4 Note Number True Voice 0 127 0 127 Velocity Note On Note Off X X O O Aftertouch Key Channel X X O O Pitch Bender X O Control ...

Page 38: ...elope generators have been developed by simulation in a computer environment All the parameters can be voltage controlled within a large time range Attack Decay Release times are adjustable from 0 5 milliseconds actually 350 microseconds to 20 seconds S1 is a so called semi modular synthesizer which means that all modules e g oscillators filters etc are interconnected in a certain configuration Th...

Page 39: ...so diminish more rapidly OSCILLATOR OUTPUT TRIANGLE A440 OUTPUT Volts 5 0 2 5 0 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 dBV rms 0 0 10 0 20 0 30 0 40 0 50 0 60 0 70 0 80 0 90 0 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz 440 00 Hz Sawtooth Waveform The sawtooth wave is the classic waveform and perhaps the most used in the creation of many character...

Page 40: ...0 A440 20 0 A pulse wave with 26 or 74 pulse width contains the following overtones 2 3 5 6 7 9 10 11 See the illustration below A pulse wave with 33 or 67 pulse width contains the following overtones 2 4 5 7 8 11 See the illustration below OUTPUT Volts 5 0 2 5 0 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz OS...

Page 41: ... combines with the overtone rich pulse wave See the illustration below 0 0 10 0 20 0 30 0 40 0 50 0 60 0 70 0 80 0 90 0 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz 440 00 Hz OSCILLATOR OUTPUT TRIANGLE PULSE 50 A440 OUTPUT Volts 5 0 2 5 0 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 dBV rms Sync Frequency and Amplitude Modulation The oscillators can be s...

Page 42: ...ny useful Bass leads with varying timbre and character by simply varying the pulse width of the oscillators and increasing the frequency of the synchronized oscillator Oscillator2 above the frequency of Oscillator1 and for example filter sweeping The sound will have more depth and life for example if Oscillator2 is regulated as FM with a little envelope or LFO Another example of what the oscillato...

Page 43: ...k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz WHITE NOISE SYNTHESIS BAND PASS NOISE SYNTHESIS dBV rms 0 0 10 0 20 0 30 0 40 0 50 0 60 0 70 0 80 0 90 0 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz 30 40 50 60 70 80 OUTPUT Volts Time milliseconds WHITE NOISE RED NOISE 39 RING MODULATOR The multiplier even popularly called the ring modulator is a very useful ...

Page 44: ... 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 LOW PASS FILTER the foremost tool for sound modification The Low Pass Filter is a 6 pole construction The reason for this is as follows the slope of the filter must be as steep as possible to provide the greatest filter effect However since it is obviously not always desirable to use a filter with a steep slope the LPF is equipped ...

Page 45: ...k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz LOW PASS FILTER SQR WAVE IN 4 POLE MODE 6 POLE MODE LOW PASS FILTER 6 POLE MODE VARIABLE Q PEAK OUTPUT Volts 5 0 2 5 0 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 Q PEAK 0 Q PEAK 4 LOW PASS FILTER 6 POLE MODE VARIABLE Q PEAK OUTPUT Volts 5 0 2 5 0 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 Q PEAK 4 Q PEAK 8 d...

Page 46: ...EME SATURATED MODE SQR WAVE in EXT AUDIO INPUT LOWPASS FILTER SATURATION EFFECT OUTPUT Volts 5 0 2 5 0 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 LINEAR MODE SQR WAVE in 3Vp p SATURATED MODE SQR WAVE in 6Vp p A complicated saturation effect can be seen amplitude amount of resonance and frequency corner are affected and altered by the input signal strength Spectrum analysis i...

Page 47: ...eak and LEVEL by other means of control The illustrations below show some examples LOW PASS FILTER 6 POLE MODE OSC1 SQR WAVE in LPF FREQUENCY MODULATED by OSC1 TRIANGLE OUTPUT Volts 5 0 2 5 0 0 2 5 5 0 7 5 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds 7 5 LOW PASS FILTER 6 POLE MODE OSC1 SAW WAVE in LPF FREQUENCY MODULATED by OSC1 TRIANGLE 3 00 4 00 5 00 6 00 7 00 8 00 Time milliseconds OUTPUT V...

Page 48: ...d band pass mode is shown below the best way to illustrate the filtering effect is by using the low pass mode here with 2 4 and 6 pole The filtering in band pass mode cutoff frequency is equal oscillators frequency square waveform is presented below Observe the difference in filtering effect with 2 4 and 6 poles the square signal has been filtered to an all most pure sinus signal with 6 pole band ...

Page 49: ...matical formula gain X Volts 0 2 In the logarithmic mode attenuation X Volts 15 dB The illustration below shows what the signals look like in the two modes Performance at maximum attenuation of audio signals is shown in the illustration below Time milliseconds 5 0 2 5 0 0 2 5 5 0 7 5 50 100 150 200 250 300 7 5 OUTPUT Volts MASTER AMPLIFIER OUTPUT AMPLITUDE MODULATED BY ENVELOPE GENERATOR LINEAR MO...

Page 50: ...decreases In other words the lower the tones are the longer the Decay times are and the higher the tones are the shorter the Decay times are 46 Envelope Generator Attack Decay Release 0 Sustain 4 Time milliseconds 0 1 2 3 4 5 6 7 8 9 10 ADSR AMPLITUDE 0 2 4 6 8 Envelope Generator variable release time Time milliseconds 0 1 2 3 4 5 6 7 8 9 10 ADSR AMPLITUDE 0 2 4 6 8 Envelope Generator variable dec...

Page 51: ... with 2 additional slewed shapes Triangle Saw tooth Ramp inverted sawtooth Square LFO s basic waveforms are shown below 47 Time seconds 0 0 3 0 6 0 9 Voltage V 6 4 2 0 2 4 6 SAMPLE HOLD SLEW RATE 1 Time seconds 0 0 3 0 6 0 9 Voltage V 6 4 2 0 2 4 6 SAMPLE HOLD SLEW RATE 2 Time seconds 0 0 3 0 6 0 9 Voltage V 6 4 2 0 2 4 6 SAMPLE HOLD SLEW RATE 3 Time seconds 0 0 3 0 6 0 9 Voltage V 6 4 2 0 2 4 6 T...

Page 52: ... 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz 1 00 2 00 3 00 Time milliseconds SATURATION STAGE SIGNAL LIGHT SATURATION LEVEL 1 0k 3 0k 5 0k 7 0k 9 0k 11 0k 13 0k 15 0k 17 0k 19 0k Frequency Hz 1 00 2 00 3 00 Time milliseconds dBV rms 10 0 0 0 10 0 20 0 30 0 40 0 50 0 60 0 70 0 80 0 90 0 SATURATION STAGE SIGNAL UNDER SATURATION LEVEL dBV rms 10 0 0 0 10 0 20 0 30 0 40 0 50 0 60 0 70 0 80 0 90 0 dBV rms...

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