Rev. 5 – Jun 2020 Page 26 of 91
Both the manual Buttons (for hands-on control) and the
external Trig/Gate Inputs are available, and are used in the
three possible play modes:
· Loop – where end of fall stage triggers the start of rise,
incoming triggers are not needed, but, if present, recall
the rising stage;
· Transient – only the low-to-high transition of the trig-
ger/gate signal is used to start the rise stage, while fall
stage is automatically recalled at the end of rise;
· Hold – the low-to-high transition of the trigger/gate
signal is used to start the rise stage, while the fall stage is
trigger by the high-to-low transition of the Trig/Gate sig-
nal.
A Gate input to force loop is also included, and it is pos-
sible to use Quadrature modes to add more complex rela-
tionship between yellow and green functions.
Practice some uses of the buttons with this
Technique:
Hold
TIMES
The stage times are managed by the Rise and Fall Time
knobs (A.9, A.12). The Rise knob lets you set how much
time the function takes to reach the maximum level. The
Fall knob let you set how much time the function takes to
decrease and “rest” after the rising stage (when in Transi-
ent mode) and/or after hold (when in Hold).
These parameters can be independently modulated via
any control voltage using the jack sockets connected to
them on the left (A.10, A.13). Any positive voltage in-
creases the knob value, while a negative one decreases it.
It is also possible to modulate these parameter simulta-
neously through the V/oct input (A.15), which is connected
to the rise cv in and fall cv in. This input works in the
opposite way; positive signals decrease the time and neg-
ative ones increase it. This socket is marked with a note
symbol to point out that it is the one you may want to use
as V/oct Input.
Keep in mind that to obtain a perfect behavior over various
octaves, you may want to keep both the Rise and Fall stages
at similar values to make them use the same portion of: the
V/oct converter.
It is possible to choose between two different time scales
using the switch on the left (A.16): the upper position has
longer times, and it is thus more suitable for envelopes
and LFOs; the lower position, on the other hand, pro-
vides extremely short functions on the microsecond time
scale, and when looping it can be used as an audio-rate
oscillator. This is just a general reference, as any possible
combination of fast/slow and transient/cyclical is at
hand for your sonic palette.
Practice the Rise and Fall CV inputs with
these Techniques:
Accents #2
Ratcheting-Like Effect #2
Percussion Sounds #1
SHAPES
Each stage’s shape can be independently selected. A
small potentiometer, below each time pot, allows you to
morph between three shapes, from logarithmic to linear
to exponential (A.11, A.14). It is extremely important to
specify that the change of shape is completely independ-
ent from the time factor: this means that you can freely
play with different wave shapes without changing the du-
ration of the envelope / LFO, or without affecting the
pitch when using FALISTRI as an oscillator. In this last
case, the two small pot will play the role of an actual
waveshaper.
Practice waveshaping with this Technique:
Waveshaping
TRIG AND MODES
The switch on the right (A.17) provides you the “play
modes”, which are, from left to right:
Loop – the function automatically retrigs when it reaches
the end of its cycle (use this for an LFO or a classic audio
oscillator);
Transient – creates one-shot rise-fall function, or AD en-
velope;
Hold – when the signal used to trig the function stays
“high” (more than 1.5v) for a longer time than the one of
the rise stages, the function generated has a “hold” stage,
thus being an AHR envelope. The time of “hold” is the
difference between the gate time and the rise time. After
that, when the gate goes low, the fall stage is recalled.
When the switch is in Transient or Hold mode, patching
a positive voltage into the jack socket will force the play
mode to Loop. This input welcomes also audio-rate sig-
nals, for more experimental effects.
If a gate-high signal is patched to the jack connected to
the switch (A.18) it forces the play mode to loop, ignoring
the physical position of the button.
Practice the Force Loop with this Technique:
Ratcheting-Like Effect #1
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