Euterpe Synthesizer Laboratories Vertice, Руководство пользователя

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Occupying the central part of the VERTICE Filterbank, the Masters Section is a very important operational zone.
Handle with care for precision and clean results or with sugar-free spirit to achieve all the brutality hidden, but
not so deep, in this machine.
The Master Cutoff
As you know the cutoff is the cutoff, and the Master Cutoff is nothing more than a pot which manages all the
three Cƒs at the same time.
Our Master Cutoff is only that, one pot to rule them all. Simply turn the knob to virtually move the others. But
behind this obvious note there are a couple of concepts to know.
The first argumentation is about the position of the related controls . When you use the Master Cƒ it acts like a bias
for the three “slave Cƒs”, transporting them across the audio band. Obviously the start position of the slaves is
important. If you, when in LP mode , turn all the slaves fully clockwise then the Master Cutoff can't work so much.
The timbre is affected by some harmonic changes only when the Master reaches the fully counterclockwise
position. This is also true for the other Mode settings , obviously "adjusted" for the case.
We take care of the trimming bias levels between this four controls. The three slaves are set to give a full Master
Cƒ's range when they are in flat position. All the virtually infinite steps between the two extremes modifies the
Master 's range like its position does to the slaves. To achieve good musical intervals set the Master Cƒ to flat
(centered) position. Here is where we trim the three filterboard in calibration tests before shipping.
Another piece of advice concerning the modulations sent into the Master Cƒ CV port. Like the others Cutoffs it
accepts the st/-5V and the “irregular” 0/+10V. And just like the slaves it's attenuated by the related CV
level potentiometer, graphically connected on the panel.
But remember that the Master just controls the slaves: so, as a-moment-ago mentioned, it's affected by the
slaves position. For the widest modulation range set the three slaves in flat position. It is the place from where
you can start getting your Master Cƒ modulation sounds. Then, since modulation tend to "open" the Master Cƒ
initial state, eventually close (counterclockwise in LP mode) the Master Cƒ and the three Cƒ to reach perfect
balance between modulation amount and the central point of the cutting performance. These adjusting
movements seem difficult on paper but they are almost obvious when playing.
Setting the three slaves independently can be a great advantage:
• With a single source you can tune the three Cutoff frequencies to make a “Cutoff chord”. Use the Emphasis
control to boost the harmonic content near the cutoff zones and move it relatively to your mono line. Very
creative possibilities here. Try also the Parallel mode, very useful to "separate" the singular C f behaviors.
• With two or three different inputs and with the large flexibility of the VERTICE's routing you can sum+cut+
emmodulate three completely different (or very similar) signals. It maybe can be useful for
some complex timbres made by different sources which need to become one.
• The V/oct input on the connections panel is graphically linked at Master Cƒ for quick panel-looking
understanding. Although during the use this representation may seem correct, it is not the real way it
works. In fact the V/oct acts directly on the three slaves only, leaving the Master Cƒ fixed. The playing result
– keyboard tracking – is the same but the Master Cƒ remains widely available for external and manual
modulations, without a range reduction, which happen to slaves.
THE COMPONENTS [ 37 ]
the Masters section