System Approaches
I feel that a mix of technical understanding and experimentation is the best way to approach a
system like this. The modules are very much designed as distinct building-blocks with quite basic
functionality but which, when combined via subtle patching approaches, offer a wealth of
possibilities.
The system is built around voltages – static or fluctuating – and gaining an understanding of
approaches and behaviours should help to demystify such terminology. Remember that an
electronic sound is simply a voltage oscillating at a rate between 20 and 20,000 times per second
(20Hz to 20kHz).
The system Power is based on an external 12V DC brick connected to the rear DC socket, while
inside the frame this is converted to the bipolar (twin rail) +/-15V system power via a DCDC
converter. This supply is then distributed internally on a PCB distribution bus to individual
MTA100 power headers to which the module power cables are connected.
These system power voltages can be considered as 'boundaries' for signals within the system with
the 0 Volt being the central point. Signal amplitudes within the system are standardised to 10V
peak-to-peak (10V P-to-P) with the approach of outputting signals at full amplitude and applying
any attenuation at the destination. Signals are generally either Unipolar or Bipolar and it is
important to note these differences when it comes to patching:
•
+/-5V =
BIPOLAR
– the signal swings from -5V to +5V, centred around 0V
eg. VCO
•
0-10V =
UNIPOLAR
– the signal moves from 0V to +10V
eg. Envelope
Of course, there can be slight exceptions to note – signals coming from a VCA may well be less than
10V P-to-P (unless the VCA is 'fully open'), adding resonance via the Filters can increase amplitude
and mixing several full-scale signals together can result in larger total swings. But you always have
plenty of headroom before 'hitting the rails' (as signals can never exceed the bounds of the system
power).
