Rev. 5 – Jun 2020 Page 76 of 91
Remind that the lowest level to which the Ping decay ends
is set by the Wavefolder knob: if it is set to the rightmost po-
sition, the effects of the Ping will be less noticeable.
The circuit detects any steep rising edge and uses it to
excite the wavefolder. It means that trigs are preferred,
but any gate signal can be used as well: the Ping circuit
will behave in the same way, regardless of the gate length.
Theoretically, any steep transition between a low and a high
voltage can be used to excite the Ping, but practically some-
times using signals different than trigs or gate may cause it
not to work as expected.
TIMBRE MODULATION BUS
The four parameters of this section (Triangle Shaper, Pulse
Shaper, Source, and Wavefolder) can be controlled both via
external CV and through an internal semi-normalized
routing called Modulation Bus.
The Modulation Bus is basically a multi-target VCA cir-
cuit: its input (F.1) is semi-normalled to the green oscilla-
tor’s sine wave output (A.1), and its output is semi-nor-
malled to the four CV Inputs listed above (C.2, D.6, E.2,
E.5). Its main knob (F.3) controls the VCA Level, which
can also be externally controlled through a CV input (F.4)
with a dedicated attenuverter (F.5). At its leftmost posi-
tion, the main knob closes the VCA, and at its rightmost
position, it reaches unity gain and outputs a sine wave al-
most identical to the one coming from the green oscilla-
tor's sine output.
At its most basic configuration, the Modulation Bus sets
the amount of the green sine signal to be sent to the four
Modulation Inputs: here, it can be independently regu-
lated for each of the four sections of the circuit. For ex-
ample, you can set the Level knob (F.3) to noon, which
will route to the CV Inputs a sine wave of half the ampli-
tude; then, you can set the Pulse Shaper Attenuator (D.7) to
a subtle level, and the Wavefolder CV Attenuator (E.6) to per-
form a deeper modulation. This allows you to carefully
dose the amount of internal modulation to each of the
four parameters.
The main purpose of the Modulation Bus, however, is to
dynamically control the amount of modulation sent to the
four CV Inputs at the same time, especially via external
CV. For example, you can set the Level knob (F.3) fully
counter-clockwise to close the VCA, then patch an enve-
lope to the Level CV Input (F.4) and adjust its amount
through the attenuverter (F.5): in this way, the envelope
will control the amount of modulation sent to the four
CV inputs, which, in turn, will scale it independently to
their destinations.
Further operations can be performed. First, the input
semi-normalization of the Modulation Bus can be broken
by patching any signal to the Input jack socket (F.1). The
new signal is treated in the same way: it is routed to the
four destinations, where it can be independently scaled,
and it can be further modulated via the Level CV Input
(F.4).
Then, the Modulation Bus Output (F.2) allows you to take
any signal processed by the VCA and send it wherever
you need in the patch. The most “extreme” configuration
of this circuit is as a stand-alone VCA, which can process
an external signal, using an external CV, and send the
processed signal to a different module, without even af-
fecting any component of the BRENSO.
Remember that the semi-normalization is broken only
through the inputs: if you patch the Modulation Bus Output
to any point of your patch, its signal will still be internally
routed to the four CV Inputs of the Timbre section, until a jack
is patched into them.
4 AMPLITUDE
We have described how BRENSO can generate com-
plex timbres by modulating the frequencies or the wave-
forms, but there is one additional section: following the
signal routing, after the waveshaping and wavefolding
sections, a further degree of modulation can be engaged
through the Amplitude Modulation section.
This section is a two- or four-quadrant linear multiplier
very similar in concept and design to the one that can be
found in the FALISTRI module (refer to FALISTRI’s
§3.2 for technical details).
One input of the multiplier is the signal coming from
the Timbre section, while the other can be set by the mu-
sician. By default, the second input is semi-normalled to
the green sine wave: patch a cable to this input to break
the internal semi-normalization.
Both inputs are unattenuated 10V peak-to-peak bipolar sig-
nals: when replacing the second input, you can use any sig-
nal you like, but its overall amplitude may lead to different
results.
The main control is the Amplitude Modulation/Ring
Modulation (AM/RM) knob (G.2), which is essentially a
crossfader between the signal coming from the Timbre sec-
tion and its amplitude-modulated copy. When the knob
is set fully counterclockwise, the signal from the Final out-
put will be exactly the one coming from the wavefolder.
Rotate it clockwise to blend in the amplitude-modulated
signal, until the rightmost position is reached: here, only
the signal coming from the four-quadrant multiplier will
be heard.
This crossfading can be externally controlled via exter-
nal CV, whose input (G.4) features a dedicated attenu-
verter (G.5) to scale or invert the incoming signal.
AMPLITUDE MODULATION AND RING MODULATION
Just like in the FALISTRI, this multiplier can work with
two or four quadrants. In simpler terms, while the signal
coming from the waveshaper is always bipolar, the
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