Heckmann Audio Repro-1 100B, Руководство по эксплуатации

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Note priority : This jumper sets how Repro-1 reacts when you play more than one
note at a time. LOW plays the lowest note (like the original hardware as well as other
USA-designs), HIGH plays the highest note (EMS and most Japanese synths), LAST
plays the most recent note (modern, typical of digitally controlled synths).
Key Tracking Source : With this jumper in the KEY+PB position, cutoff also tracks the
pitch bender (PB).
6-2 SELECTORS
Apart from the jumpers, the TWEAK page includes 5 selectors – one for each oscillator,
one for the filter, and one for each envelope. Use these to change fundamental
characteristics that would have been “overkill” on the main SYNTH page. Here’s what
we have so far:
Oscillator tweaks
Both ‘ P’ options are warmer than the standard Ideal . The most obvious difference
between P1 and P5 is that the P5 pulse is inverted (that’s why P5 is much louder than
P1 if you use Saw and Pulse simultaneously). A less obvious difference is that OSC A
in P1 mode always retains some of the fundamental frequency when SYNC is on.
A disadvantage of P5 is that self-PWM of oscillator B simply doesn't work. You already
guessed that ‘P5’ was named after a closely related polyphonic synthesizer, right?
Finally, only available in OSC B: the
Bottom option emphasizes the TRIANGLE shape.
Filter tweaks
Crispy, Rounded or Driven : The first two options accurately model the filters in the
hardware synths we bought especially for Repro-1 analysis. Most obviously, the cutoff
in Rounded is a few semitones lower than it is in Crispy, and there are also significant
differences in the behaviour of the resonance. The Driven model is the result of
balancing internal filter parameters in search of a novel 3320 flavour – we like it!
Envelope tweaks
Normal : Regular old ADSR.
High Sustain : Models an interesting fault (or is it a quirk?) in some versions of the
original hardware: the end of the ATTACK doesn’t quite reach SUSTAIN levels above
about 85 – the envelope simply jumps up the last 15%.
One Shot : The gate is ignored, the Decay stage continues until it reaches the sustain
level, which is immediately followed by Release. This type of envelope is particularly
suitable for percussion sounds, fly-by effects etc..
Piano 1/2 : These two modes were implemented according to a rather geeky article in
the magazine Electronics and Music Maker (affectionately known as E&MM ) all about
the CEM 3310 envelope chip. In both Piano modes the Attack and Decay stages are
the same as in One Shot mode. However, if the key is lifted during the Release stage
there is an extra (true) release, which is longer in Piano 1 than in Piano 2 mode.
Tip: As the Attack and Decay stages are always completed, you can make an envelope
appear to hold for a while before it releases.
INTRO SYNTH SEQUENCER KEYS-PERF EFFECTS TWEAKS CONFIG NKS
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