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LYRA

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8

USER MANUAL

MASTERING THE INSTRUMENT

LYRA was conceived as a unique, fully-fledged instrument with controls and playing tech-

niques all its own. Its knobs and switches are not mere parameter controls to set-and-forget, 

they are hands-on musical controllers meant to be played in real-time. Particularly so, the 

TUNE, PITCH, MOD, TIME 1, TIME 2, FB knobs and the FM structure switches. 

The instrument will fully reveal itself when the player has developed an intuitive feel of the 

controls, much like feeling the strings on a guitar. This might require some time and dedication. 

To help you along with this process, a way to learn LYRA's key modes and techniques is 

described below.

Step 1. THE ORGAN

   

Set the FM modulation source selectors of the voices to the centre position (i.e. off), HOLD 

at zero, PITCH close to maximum, delay MOD at zero, TIME — 11 to 3 o'clock, FB below middle, 

delay MIX below 2 o'clock, overdrive mix at zero. 

Let's try to build a musical scale; the lower the number of the voice, the lower the pitch. If 

you know and hear the musical intervals, try to build scales or intervals. If not, just create 

a sound you find interesting.

Next, try to intentionally get consonant and dissonant scales and harmonies.

Try building some chords with the eight voices, try interpreting the higher harmonies with 

lower bass notes. Try soloing with one voice on top of an interval or a chord.

Now, try slowly changing chords while playing. E.g., in a C-E-G chord, try raising G to A to 

get a C-E-A chord; then raise E to F and get a C-F-A chord; then lower C to Bb and get a 

Bb-F-A...

Now, try transposing one of the voice groups right while you're playing, thus simultaneously 

shifting several voices down one-fourth. Use it as a harmonic tool.

Step 2. FM SYNTHESIS

Set the FM modulation source selectors upward to positions 34 12 78 56. Turn off (down) 

the FM structure switch 34>56, 12>72, set MOD of the voices to 12 o'clock.

LYRA is now locked into two cross-modulation loops. One loop, one group.

Let's explore the changes, listen how the synth now reacts to touching the sensors, and how 

voice pitch is influenced by which of the neighbouring voices are triggered.

Try changing the modulation depth. Important: the higher a voice is tuned, the less sensitive 

it is to FM modulation. The lower frequency range has the highest sensitivity.

Let's explore the near-maximum positions of the MOD knobs. The modulation chain will 

start to behave as a low-frequency oscillator — try playing with this. It's an extreme sort of 

mode, yielding spontaneous responses from the instrument.

Содержание LYRA 4

Страница 1: ...USER MANUAL ...

Страница 2: ... impact on FM synthesis will decrease along with the decay of its envelope There s a CV IN on the rear panel to modulate the selected voice groups with an external signal The HYPER LFO is a complex low frequency generator whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies It also has an FM synthesis mode The LFO can modulate the selected pairs of...

Страница 3: ...nal state At high humidity levels e g an open air show at night when dew appears or in rainy weather humidity may affect the sensors circuit which could lead to some of the voices sounding continuously This won t harm the instrument just allow it to dry in a dry room or in the sun and it will be all right again Just note that it might affect the performance 2 The FAST switches in downward position...

Страница 4: ...ill 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 7 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 8 The HOLD knobs set the mi...

Страница 5: ... synthesis of a complex LFO They re two simple LFOs in essence 13 The AND OR switch In downward position an LFO is synthesized by adding FREQ A to FREQ B In upward position FREQ A is multiplied by FREQ B which is the logical operation AND Both operations are conducted on a square waveform The addition is analogue and the LFO output signal has a gradient 14 The LINK switch Adds a soft FM between th...

Страница 6: ...m available only for delay modulation It s a summation of two triangular signals with the frequency of FREQ A and FREQ B 19 The FB knob The delay line feedback This might get extreme At a setting just over the middle the delay starts to self oscillate At the verge of the self oscillation very interesting effects can emerge With self oscillation in full swing the delay becomes a synth unto itself 2...

Страница 7: ...nd LFO modes are automatically disabled and delay modulation comes from an external source regardless of the delay switch positions Set the modulation amount with the individual MOD knobs for each delay line The input signal must have a positive value and a 3 to 12 volt amplitude The relation of delay time to the control voltage is linear 6 CV VOICES This input is for using control voltage to cont...

Страница 8: ...sonant and dissonant scales and harmonies Try building some chords with the eight voices try interpreting the higher harmonies with lower bass notes Try soloing with one voice on top of an interval or a chord Now try slowly changing chords while playing E g in a C E G chord try raising G to A to get a C E A chord then raise E to F and get a C F A chord then lower C to Bb and get a Bb F A Now try t...

Страница 9: ...D at zero For a chorus like effect set the delay times close to minimum Now listen to various types of modulation Add FB to a stage of self oscillation and try only playing the delay by changing the delay time and modulation depth Here the slightest turn of a knob will affect the sound dra matically There are standing waves in the delay lines now and changing or modulating the delay times will cha...

Страница 10: ...velope generator can affect a voice s pitch or in some modes change the parameters of FM synthesis or even of the delay when it s set to self modulation mode SELF on MOD and FB high enough LYRA is a structure that reacts to your slightest touch It s a bizarre animal that twists and turns under your fingers rather than a precise mechanism This is why it s called organismic Another important source ...

Страница 11: ... create unique scales play around with microtonalities and so on In other words LYRA is a complex futuristic electronic violin that can hear you The third source for LYRA s philosophy is taken from the North Indian musical tradition with its remarkable attention to the inner states of the player the listener and the world and the ability to interact with them LYRA was greatly inspired by a deep st...

Страница 12: ... volt CV DELAY 6 3 mm TS jack CV VOICES unipolar range of 0 to 5 volt CV VOICES connector 6 3 mm TS jack Power supply stabilised 12 V 0 2 A centre positive Power Consumption 2 watt Dimensions 266 x 266 x 62 mm Weight without power supply and packaging 2 5 kg PACKAGING The box Lyra comes in should not be thrown away Its lightweight sturdy and durable con struction makes it an ideal transport case f...

Страница 13: ... thanks for your invaluable help I would also like to thank everyone who supports the project with their sincere attention and interest and simply with kind words and wishes ABOUT SOMA The word SOMA is an abbreviation from SOund MAchines SOMA is also a psychedelic ritual drink used in ancient vedic Indian culture as well as in Iranian known as Haoma and Persian ancient traditions The drink is ment...

Страница 14: ...Manual version 1 0 04 2017 Made in Russia ...

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