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LYRA • 8 USER MANUAL
HOLD function. Flipping up and down the Fast switch can be used to cut short the decay of
a sounding voice, sooner than its release ends. When the FAST switch is in upper position,
it only takes a light stroke to trigger a voice with the sensor.
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The TUNE knobs set the pitch of the voices. This was conceived as a fully functional
intonation tool, albeit a slow one. It uses a special alternate variable resistor that makes it
possible to set each voice's pitch in steps smaller than a semitone, in a range from tens to
thousands of hertz. To thoroughly use this instrument you need to learn how to build notes
and intervals with these knobs, as well as play simple melodies.
Voices 1 and 2 have a lower range than voices 3 through 6. 1 and 2 can be regarded as bass
voices, though they can generate higher notes as well.
Voices 7 and 8 are twice as high as voices 3 through 6. They're sort of high frequency voices,
though they can also sound low. 3 to 6 are mid-range.
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The SHARP knobs slowly change the waveform of a voice pair from triangle to square,
adding "sharpness" to the sound. The set waveform will also work for FM synthesis.
5
The MOD knobs set a selected voice pair's modulation depth. These knobs can make
things sonically extreme: in FM synthesis mode, higher settings have a bright-sounding
effect, and maximum settings will result in self-oscillation of the modulation loop.
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The FM modulation source switches. A central position means that the modulation for a
group is turned off and the MOD knob has no effect. Flipping the switch up will turn those
voice pairs into FM modulation sources. Flipping the switch down to LFO CV, with the TOTAL
FB switch also down, will turn the LFO into a modulation source. When the TOTAL FB is in
upward position, modulation will come from the device's output. When a cable is plugged
into the CV VOICES input, an external source is used for modulation.
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The PITCH knobs transpose all of group 1234 or 5678, preserving the intervals between
the voices. Close to maximum is the normal position for these knobs.
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The HOLD knobs set the minimal volume level for a voice group. This enables voices
to sound continuously at a given volume. With HOLD off, the voices will decay according
to their envelopes. The FAST switch makes a given voice pair less sensitive to the HOLD
knob. Unless the HOLD knob is all the way up, you can make the voices louder by touching
the sensors and launching the envelope that's limited from below by the HOLD function.
That's both the HOLD and sensor-controlled envelopes working in parallel.
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The 34>56 78>12 FM structure switch sets the overall structure for FM synthesis. If
voices are selected for all the FM modulation sources, the downward position of the switch
turns Lyra into two separate structures of cross-modulation, each group locked into itself.
The sources correspond to the numbers by the switch.
With the switch up, pair 34 becomes the mod source for pair 56, and pair 78 the mod source
for pair 12 (pairs 12 and 78 themselves are still modulated as indicated by their controls).
Thus all the voices make for one closed loop of FM synthesis. When the LFO is selected,
or the FM Mod source switch is set to a middle position on some voices, that loop will be
partially unlocked.
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The TOTAL FB switch causes the signal from Lyra's output (after distortion) to replace
the LFO signal. With TOTAL FB on, plus LFO CV set as the modulation source on some voices,
the entire instrument, including the envelope generators, delay and distortion, turns into
one single and complex FM synthesis structure.