Rev. 5 – Jun 2020 Page 24 of 91
This achievement translates into an extremely transpar-
ent filter.
Each band has an individual trimmer to set its band ampli-
tude in case a different result is needed. The trimming pro-
cedure is NOT present in this manual since it MUST be per-
formed by Frap Tools authorized personnel only. Frap Tools
may not be held responsible in any way for problems or dam-
age to persons or property or to the device itself if any trim-
ming or disassembly is tried or performed without authori-
zation.
6 PATCH EXAMPLES
The following examples assume the same starting point.
The first time you use the FUMANA and you’re not
100% familiar with it, we suggest to keep these settings:
· set the 4 volumes of the Odd and Even bands of both
theMain and Modulation section to the middle (at 12
o’clock);
· keep the envelope followers’ rise and fall times at min-
imum (counterclockwise);
· put all volume faders to the minimum.
16-BAND SPECTRAL TRANSFER
The easiest thing to perform a 16 bands spectral trans-
fer is patching a square wave to any of the main input
(blue) and a triangle or sine wave to the modulation input
(grey). Patch only one cable to the inputs and leave the
other unpatched: this automatically feeds the other input
thanks to internal semi-normalization. Now patch only
one output (ALL output) to the input of your mixer to
hear properly what happens.
At this point, if the modulation signal is within the audio
range and has a “modular” amplitude level (bipolar
10Vpp), you will notice that at least one of the white
LEDs lights up. This means that an envelope follower CV
has been created in the modulation filter array and has
been transferred to the main filter section VCA of that
band.
DUAL 8-BAND SPECTRAL TRANSFER
Now you need 4 signals to do a proper dual 8 bands
spectral transfer. For this example, you can proceed with
a square and a pink noise into the main inputs (blue). The
modulation inputs (grey) may use, only for example pur-
poses, a simple triangle wave on the odd bands and a per-
cussive signal on the even bands. Now patch two outputs
(Odd and Even) to two different input of your mixer to
hear properly what happens.
At this point, if the modulation signals are within the
audio range and have a “modular” amplitude level (bipo-
lar 10Vpp), you’ll notice that, when varying the fre-
quency of the triangle wave onto the odd bands, the odd
LED will start to light up, and you will hear the result of
this spectral transfer via the odd output, while the even
bands LEDs will light up based on the amplitude and the
harmonic content of the percussive signal.
HYBRID SPECTRAL TRANSFER
You can do even a sort of hybrid spectral transfer using,
for example, two different signals for the main input and
one as a modulator. In that case, if they come both from
the same oscillator, and you pick up the output from the
All output, you’ll obtain a more “complex” signal, which
merges together two different waves, in-phase. Other-
wise, using different sound sources, and picking up the
signals from the Odd and Even outputs, you’ll obtain two
different signals, which can be processed independently,
but which shares a similar harmonic emphasis.
Of course, you can do the opposite, using two modula-
tors on the same single source applied onto the main filter
array.
VOCODER-LIKE BEHAVIOR
The easiest way to perform a 16 bands kind of vocoder
is very similar to the 16 bands spectral transfer: you can
patch a square wave, or any signal with rich harmonic
content (which may also vary in terms of pitch and tim-
bre), or a noise (i.e. a non-pitched sound) to any of the
main input (blue). Then, apply a voice to the modulation
input (grey). This automatically translates in a vocoding
effect. The use of the unvoiced section may also be of in-
terest.
Having 2 main signals and 2 separates voices translates
the FUMANA in a raw dual 8 band vocoder: of course,
the results cannot be at the level of the 16 bands, since it
is using only half of them.
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