Frap Tools CGM Manual 

valuable feedback i received — in alphabetical order: Tina Aspiala, Caterina Barbieri, Sebastian Baumann, Alessandro Bonino, Marco Ciccotti, Enrico Cosimi, Lorenzo Florissi, Tom Hall, René Margraff, Gianfranco Marongiu, Chris Meyer, Giulio Saltini, Alessio Santini, Stephan Schmitt, Brian Smith, Trevor Tunnacliffe, Giona Vinti, Andreas Zhu- kovsky. And thanks to the amazing people I’m working with — in alphabetical order: Fabrizio Benatti, Federico Foglia, Gio- vanni Grandi, Antonio Masiero. Simone Fabbri

Page 3 of 107 TABLE OF CONTENTS TABLE OF CONTENTS .......................................................................... 3 SAFETY AND WARRANTY .................................................................. 6 BEFORE STARTING ............................................................................... 7 1 Connecting the Power ............................................................... 7 2 Mounting the Module ................................................................ 7 3 Warm-Up and Working Temperature............................ 7 MODULAR SYNTHESIS: CORE CONCEPTS ................................ 8 1 Voltage (and Current) ................................................................. 8 2 DC And AC .......................................................................................... 8 3 Audio and CV .................................................................................... 8 4 Timing Pulses ................................................................................... 9 5 Polarity .................................................................................................. 9 6 Audio and CV Processing ........................................................ 9 7 Audio Levels ................................................................................... 10 SUGGESTED READINGS .................................................................. 10 INTERFACES .......................................................................................... 12 1 Arrows (Input, Output) ............................................................ 12 2 Square and Round Shapes .................................................. 12 3 Lines (Solid, Dotted, Dashed) ............................................. 12 4 Color Coding .................................................................................. 13 5 Combinations ................................................................................ 13 CGM – CREATIVE MIXER SERIES ................................................. 14 1 Philosophy and Design .......................................................... 15 2 The Link System .......................................................................... 15 Linking Groups and Channels ........................................... 15 2.1.1 Older Group-to-Channel Link Cables ........................... 15 Linking Masters and Groups ............................................... 15 2.2.1 Older Master-to-Group Link Cables............................... 16 3 Channel.............................................................................................. 16 Amplitude Controls and Direct Output ...................... 16 Effect Sends .................................................................................... 16 Pan ........................................................................................................ 16 Creative Functions ..................................................................... 16 3.4.1 Mute ..................................................................................................... 16 3.4.2 Solo in Place ................................................................................... 16 3.4.3 PFL ........................................................................................................ 17 4 Quad Stereo Channel .............................................................. 17 Amplitude Controls and Direct Output ...................... 17 4.1.1 Mono Auxiliary Input ................................................................ 17 Pan and Crossfade ..................................................................... 17 4.2.1 Pan ........................................................................................................ 17 4.2.2 Crossfade .......................................................................................... 17 Creative Functions ..................................................................... 17 4.3.1 Mute ..................................................................................................... 17 4.3.2 Solo in Place ................................................................................... 18 4.3.3 PFL ........................................................................................................ 18 5 Group ................................................................................................... 18 Amplitude Control ..................................................................... 18 Effect Sends/Returns ............................................................... 18 5.2.1 Sends ................................................................................................... 18 5.2.2 Returns ............................................................................................... 18 Group Output ................................................................................ 18 5.3.1 Group Jumpers Configurations ....................................... 18 Creative Functions ..................................................................... 19 5.4.1 Group Mute ..................................................................................... 19 5.4.2 Safe Solo ............................................................................................ 19 5.4.3 PFL ........................................................................................................ 19 6 Master (Discontinued) ............................................................. 19 Amplitude Control ..................................................................... 19 Auxiliary Stereo Input .............................................................. 19 Creative Functions ..................................................................... 19 6.3.1 Headphones ................................................................................... 19 6.3.2 PFL ........................................................................................................ 19 7 Masterone ........................................................................................ 20 Amplitude Control ..................................................................... 20 7.1.1 Pseudo-balanced TRS Outputs ........................................ 20 7.1.2 Balanced XLR Outputs ........................................................... 20 7.1.3 Mono Out ......................................................................................... 20 Creative Functions ..................................................................... 20 7.2.1 Headphones ................................................................................... 20 7.2.2 PFL ........................................................................................................ 21 8 Technical Data .............................................................................. 22 Flow Charts ..................................................................................... 22 Specifications ................................................................................ 24 SAPÈL ....................................................................................................... 25 1 Philosophy and Design .......................................................... 25 2 Noise Outputs ............................................................................... 26 3 Voltage Sampling ....................................................................... 26 Internal Clock and Clock Modulation .......................... 26 External Clock ............................................................................... 26 Clock Mix........................................................................................... 26 Manual Sampling ....................................................................... 27 External Gate Sampling ......................................................... 27 Clock Outputs (Main and Random) .............................. 27 4 Random Voltages ....................................................................... 27 Non-Quantized Random Voltages ................................ 27 Quantized Random Voltages ............................................ 27 Fluctuating Random Output and Global Rate of Change (random clock density control) .................... 28 5 Probability Distribution (Stored Random Voltages) ................................................................................................................. 29 6 Technical Data .............................................................................. 30 Flow Chart ....................................................................................... 30 Specifications ................................................................................ 30 FUMANA .................................................................................................. 31 1 Philosophy and Design .......................................................... 31 Spectral Transfer: A Brief History ..................................... 32 Panel Overview ............................................................................ 32 2 Audio Inputs ................................................................................... 32 3 Audio Outputs .............................................................................. 33 4 Audio Processing and Modulation Path .................... 33 Faders and CV ............................................................................... 33 Macro Spectral Editing ........................................................... 34 4.2.1 Tilt .......................................................................................................... 34 4.2.2 Parametric Scanning ............................................................... 34 Spectral Transferring: Modulation Filters and Envelope Followers ................................................................... 34 The ‘Unvoiced’ Section............................................................ 35 5 Filter Design ................................................................................... 36 6 Patch Examples ........................................................................... 36 16-Band Spectral Transfer................................................... 36 Dual 8-Band Spectral Transfer ......................................... 36 Hybrid Spectral Transfer ........................................................ 36 Vocoder-Like Behavior ........................................................... 37 7 Technical Data .............................................................................. 37 Transfer Function ....................................................................... 37 Specifications ................................................................................ 38 FALISTRI .................................................................................................. 39 1 Philosophy and Design .......................................................... 39 2 Function Generators ................................................................ 39 Times ................................................................................................... 40 Shapes ................................................................................................ 40 Trig and Modes ............................................................................ 40 2.3.1 Green Alternative Retrig (On Rest) ................................ 41

Page 4 of 107 Outputs .............................................................................................. 41 Additional Generator Features ......................................... 41 2.5.1 Quadrature ...................................................................................... 41 2.5.2 Max ........................................................................................................ 42 2.5.2.1 ADSR .................................................................................................... 42 3 Function Processors ................................................................. 42 Dual Cascaded Frequency Divider ................................. 42 Four-Quadrant Multiplier ..................................................... 43 3.2.1 Amplitude Modulation & Ring Modulation (2 vs 4 quadrants) ....................................................................................... 43 3.2.2 Trimming .......................................................................................... 44 Linear Slew Limiter .................................................................... 44 4 Technical Data .............................................................................. 45 Specifications ................................................................................ 45 Revisions ........................................................................................... 45 USTA ......................................................................................................... 46 1 Quick start ....................................................................................... 46 2 Philosophy And Design .......................................................... 47 Architecture .................................................................................... 47 Tempo Management ............................................................... 47 3 Basic Editing and Visual Feedback ............................... 48 Editing Projects − Project Menu ...................................... 48 Editing Tracks − Track Menu .............................................. 49 3.2.1 Clock Settings ............................................................................... 49 Editing, Playing and Looping Patterns ....................... 49 Editing Stages ............................................................................... 50 3.4.1 Length ................................................................................................ 51 3.4.2 Maintain Pattern Length on Variation ........................ 51 3.4.3 CV Layers .......................................................................................... 51 3.4.3.1 Red CV Layer: Value .................................................................. 52 3.4.3.2 Green CV Layer: Variation Index ...................................... 52 3.4.3.3 Blue CV Layer: Variation Range ........................................ 53 3.4.4 CV Stage Colors ............................................................................ 53 3.4.4.1 USTA Slide vs FALISTRI Slew ............................................... 53 3.4.5 Gate Layers ...................................................................................... 54 3.4.5.1 Red Gate Layer: Value.............................................................. 54 3.4.5.2 Green Gate Layer: Variation Index .................................. 54 3.4.5.3 Blue Gate Layer – Variation Range ................................. 54 3.4.6 Gate Stage Colors ....................................................................... 54 4 Quick Editing ................................................................................. 55 Set All and Shift All ..................................................................... 55 Coarse and Fine ........................................................................... 56 Combining the Buttons ......................................................... 56 5 Performing ...................................................................................... 56 Play/Pause, Reset and Master Track Settings ........ 56 5.1.1 Master Track ................................................................................... 56 5.1.2 Play/Pause ....................................................................................... 57 5.1.3 Reset .................................................................................................... 57 Stage Loop....................................................................................... 57 5.2.1 Infinite Stage Loop .................................................................... 58 Song Mode ...................................................................................... 58 5.3.1 Pattern to song while playing (and vice versa) ..... 59 Live Performance Tools: Pattern Recall ...................... 59 5.4.1 Full pattern recall ........................................................................ 60 5.4.2 Pattern Mix ...................................................................................... 60 Mute ..................................................................................................... 60 5.5.1 Mute Track ....................................................................................... 60 5.5.2 Mute Channel ................................................................................ 60 Hold ...................................................................................................... 60 6 Advanced Editing ....................................................................... 61 Composition Mode .................................................................... 61 Use an External CV/Gate Keyboard ............................... 61 Store Pattern: Last Played or Last Full ......................... 62 Rotate Pattern .............................................................................. 62 Cloning ............................................................................................... 62 6.5.1 Clone a Stage ................................................................................. 62 6.5.2 Clone a Structure ........................................................................ 63 6.5.2.1 Clone a Layer ................................................................................. 63 6.5.2.2 Layer Cross-Cloning .................................................................. 63 6.5.2.3 Clone a Pattern ............................................................................ 63 6.5.2.4 Clone a Track ................................................................................. 64 Quick Track Initialization ....................................................... 64 Quick Song Initialization ....................................................... 64 7 External Controls ........................................................................ 64 Clock Input ...................................................................................... 64 Auxiliary Trig/Gate Input ....................................................... 64 7.2.1 Reset .................................................................................................... 64 7.2.2 Run........................................................................................................ 65 External CV ...................................................................................... 65 7.3.1 Pitch Shift ......................................................................................... 65 7.3.2 Root Shift .......................................................................................... 65 7.3.3 Gate Shift .......................................................................................... 65 7.3.4 Stage Shift ....................................................................................... 65 7.3.5 Vari Shift (Variation Shift) ...................................................... 66 7.3.6 Pattern Shift ................................................................................... 66 7.3.7 Phase Shift....................................................................................... 66 8 Additional Operations ............................................................. 67 Select CV Mode (Raw or Pitch) ......................................... 67 CV Range .......................................................................................... 67 Gate Width % ................................................................................. 67 Swing................................................................................................... 67 Current Stage Data ................................................................... 68 9 Playing in Tune ............................................................................ 68 Root & Scale – Dynamic Quantization ......................... 68 Microtonalities .............................................................................. 69 Custom Scales .............................................................................. 69 Set the Reference Note .......................................................... 70 Custom Temperaments ........................................................ 70 9.5.1 Absolute or Relative Temperaments............................ 70 LED Pitch Tables ......................................................................... 72 10 Additional Maintenance ........................................................ 74 Remove / Insert the SD Card .............................................. 74 10.1.1 Remove the SD Card................................................................ 74 10.1.2 Insert the SD Card ...................................................................... 74 Analog Trimming ....................................................................... 74 10.2.1 CV Out Trimming ....................................................................... 74 10.2.2 CV In Trimming ............................................................................ 74 Project Management and Backups .............................. 74 Firmware Update ....................................................................... 75 11 CHARTS .............................................................................................. 76 Project Menu ................................................................................. 76 Track Menu ..................................................................................... 76 Project Hierarchy ........................................................................ 77 12 Scale Tables .................................................................................... 78 13 Change Log .................................................................................... 85 14 Technical Data .............................................................................. 85 Specifications ................................................................................ 85 BRENSO ................................................................................................... 86 1 Philosophy, Design and Signal Flow ............................ 87 2 Frequency ........................................................................................ 87 Oscillators ......................................................................................... 87 2.1.1 Fine and Coarse Tuning ......................................................... 87 2.1.2 Coarse Frequency Lock .......................................................... 87 2.1.3 V/oct and Integrator ................................................................. 88 Frequency Modulation ........................................................... 88 2.2.1 FM Routing ..................................................................................... 89 Sync ...................................................................................................... 89 2.3.1 Lock ...................................................................................................... 90 2.3.2 Flip Sync ............................................................................................ 90 3 Timbre ................................................................................................ 90 Triangle Shaper ............................................................................ 91 Pulse Shaper .................................................................................. 91 3.2.1 Pulse-Width Modulation (PWM) ..................................... 91 3.2.2 Waveshaper ................................................................................... 92

Page 5 of 107 Wavefolder ...................................................................................... 92 3.3.1 Sources ............................................................................................... 92 3.3.2 Folding ............................................................................................... 92 3.3.3 Symmetry ......................................................................................... 93 3.3.4 Ping ...................................................................................................... 93 Timbre Modulation Bus ......................................................... 93 4 Amplitude ........................................................................................ 94 Amplitude Modulation and Ring Modulation ........ 94 5 Trimmers .......................................................................................... 94 Accessible Trimmers ................................................................ 94 5.1.1 Coarse Frequency ...................................................................... 94 5.1.2 Sine Wave Symmetry .............................................................. 95 5.1.3 Sawtooth Wave Symmetry .................................................. 95 5.1.4 Exponential FM Zero ................................................................ 95 5.1.5 Triangle Waveshaper Shape ............................................... 95 5.1.6 Wavefolder Symmetry ............................................................ 95 5.1.7 Four-Quadrant Multiplier ..................................................... 95 5.1.8 Comparator..................................................................................... 95 Non-Accessible Trimmers .................................................... 95 5.2.1 Gain ....................................................................................................... 95 5.2.2 Base ...................................................................................................... 95 5.2.3 Symmetry ......................................................................................... 95 6 Technical Data .............................................................................. 96 Simple Signal Flow .................................................................... 96 Specifications ................................................................................ 97 Revisions ........................................................................................... 97 333 ............................................................................................................ 98 1 Design ................................................................................................. 98 2 Technical Data .............................................................................. 99 Flow Chart ....................................................................................... 99 Specifications ................................................................................ 99 321 ......................................................................................................... 100 1 Design ............................................................................................. 100 2 Technical Data ........................................................................... 101 2.1.1 Flow Chart .................................................................................... 101 2.1.2 Specifications ............................................................................. 101 PLUS ....................................................................................................... 102 1 PHILOSOPHY AND DESIGN ............................................. 102 Units .................................................................................................. 102 1.1.1 Closed .............................................................................................. 102 1.1.2 Windowed .................................................................................... 102 Sides .................................................................................................. 103 1.2.1 Thick Sides .................................................................................... 103 1.2.2 Thin Sides ...................................................................................... 103 2 Purchase Options .................................................................... 103 3 ASSEMBLY INSTRUCTIONS .............................................. 103 Single Unit to Wooden Sides .......................................... 103 Single Unit to Aluminum Sides ..................................... 103 Single Unit to Single Unit .................................................. 104 Single Windowed Unit to Single Windowed Unit (Row Extension) ........................................................................ 104 WHAT’S IN THE BOX ...................................................................... 105 LIST OF REVISIONS ......................................................................... 107

Page 6 of 107 SAFETY AND WARRANTY The Frap Tools srls warranty covers the following products (hereinafter ‘Frap Tools’), for two (2) years following the date of purchase. This warranty covers any de- fect in the manufacturing of this product. This warranty does not cover any damage or malfunction caused by incorrect use as described in the following instructions. The warranty covers replacement or re- pair, as decided by Frap Tools. Please con- tact customer service at [email protected] for a return authorization. Frap Tools warrants that your new Frap Tools product, when purchased from an authorized Frap Tools dealer, shall be free of defects in materials and craft for a pe- riod of two (2) years from the original date of purchase. Please contact Frap Tools for warranty and service outside of Europe. During the warranty period, Frap Tools shall, at its sole option, either repair or re- place any product that proves to be defec- tive upon inspection by Frap Tools. Frap Tools reserves the right to update any unit returned for repair and to change or im- prove the design of the product at any time without notice. This warranty can be transferred to anyone who may subse- quently purchase the product provided that such transfer is made within the ap- plicable warranty period and that Frap Tools is provided with all of the following items: · all warranty registration information for the new owner; · proof of the transfer within thirty (30) days of the transfer purchase, and a pho- tocopy of the original sales receipt. Frap Tools shall determine warranty coverage in its sole discretion: this is your exclusive warranty. Service and repair of Frap Tools products are to be performed only by Frap Tools or an authorized ser- vice company. Unauthorized service, re- pair, or modification will void this war- ranty. Please follow the given instructions for the use of the device because this will guar- antee the correct device operation. Since these instructions also include indications concerning Product Liability, they must be read carefully. Any claim for defect will be rejected if one or more of the following points is not observed. Any disregard of these instructions can void the warranty. The devices may only be used for the purpose described in this operating man- ual. Due to safety reasons, the devices must never be used for purposes not de- scribed in this manual. If you are not sure about the intended purpose of the devices, please contact an expert or Frap Tools at the email address above. Do not use or store the devices in humid places. Avoid contact with any liquid. Do not touch any component of the de- vices when it is power or connected to any power source. Do not place the devices on unstable carts, stands, tripods, tables, or other sur- faces, or on surfaces that are not perfectly plane. Such behavior may cause the de- vices to fall, which could result in human injury, property damage or improper functioning of the devices themselves. The devices are designed for use only when safely and tightly mounted in a proper Eurorack case, made of non-flam- mable materials. If you are not sure about the intended purpose of the devices, please contact an expert or Frap Tools at the email address above. Do not ever leave the devices switched on when not in use. To prevent fire, never place any candle, flame, or other sources of heat on or near the devices. Transport the devices only in the origi- nal box with original packaging or when safely and tightly mounted in a proper Eu- rorack case and handled with care. Never let the devices fall or topple. Make sure that during transport and while in use the devices and their case, have a proper stand and do not fall, slip or turn over because of potential human injury to persons or property damage. Any damage from phys- ical abuse such as dropping the unit, im- pact from hard objects or damage to ex- ternal components as a result of negli- gence will void this warranty. Never expose the devices to tempera- tures above +40°C or below 0°C. Before any operation, also verify the op- erating temperature ranges of all the mod- ules and the power boards in use. Do not keep or leave the case that hosts the de- vice, or the devices themselves near heat sources. Any modification must be carried out only by Frap Tools or an authorized ser- vice company. The devices may not be modified in any way by any parties not ex- pressly authorized by Frap Tools. Any re- pair, modification, tampering, or at- tempted repair made by unauthorized personnel will void this warranty. Frap Tools cannot be held responsible in any way for problems to persons or property or to the devices themselves, if the devices are installed improperly, or if they are improperly used, maintained, or stored. Any device shipped to Frap Tools for re- turn, exchange, warranty repair, update, or examination must be sent in its original packaging! Any other deliveries will be re- jected. Therefore, you should keep the original packaging, and any technical doc- umentation or manual provided. The de- vice must be shipped only with the original packaging. As specified on the product box, this box is not intended for shipment: if you bought the device directly at a phys- ical reseller’s shop, you should put the de- vice in the original packaging and put the packaging in a properly larger box with proper packaging destined for shipping. If you received the device via carrier or any post service, it should have come with a proper double box packaging. All non-warranty services are subject to a minimum fee of €50.00+VAT (within the European Union). The customer must pay for shipping to Frap Tools; Frap Tools will cover return shipping costs. It is important to note that the front panel of our modules may get warm and may warm up the case where it is mounted. Please do not be alarmed, as this is normal and is part of its standard oper- ation. Shut down your equipment immediately if it produces smoke, a strange odor, or un- usual noise. Continued use may lead to fire. Immediately unplug the equipment and contact your dealer or Frap Tools at the address above for advice. Never attempt to repair this product yourself. Improper repair work can be dangerous. Never disassemble or modify this product. Tampering with this product may result in injury or fire and will void your warranty. Do not allow foreign matter to fall into the equipment. Penetration by foreign ob- jects may lead to fire. If water or other liquid spills into this equipment, do not continue to use it. Con- tinued use may lead to fire. Unplug the power cord immediately and contact your dealer or Frap Tools at the address above for advice. The internal components of our mod- ules and power supplies can get very hot. Do not touch any internal components while it is connected and/or powered and after they completely cool down after use for at least 30 minutes.

Page 7 of 107 BEFORE STARTING 1 CONNECTING THE POWER To connect the power cable, carefully follow these two rules: · the power connector on the module is the keyed one in the top; · the red line on the cable should be placed matching the −12 V side on your power board: please double check with your power boar supplier that the marked side is the −12 V. Frap Tools may not be held responsible in any way for prob- lems or damage to persons or property or to the device itself, if the device is not connected as indicated above. 2 MOUNTING THE MODULE After connecting the power as explained in the previous section, install the module in your case using all the 2 or 4 screws provided. Make sure that the module is safely and tightly connected to your Eurorack case. Frap Tools modules use the standard Eurorack orienta- tion and color-coding: the red line on the power cables is placed at the bottom and stands for the −12 V. Please double check with the power system you want to use that it adopts the same powering system. Frap Tools may not be held responsible in any way for prob- lems or damage to persons or property or to the device itself, if the device is not connected as indicated above. Figure 1: Power connection. 3 WARM-UP AND WORKING TEMPERA- TURE For best performances, we suggest letting the Frap Tools modules warm up at least around 20 minutes prior to use it [tested at 25°C]. It is absolutely normal that they feel warm when touched.

Page 8 of 107 MODULAR SYNTHESIS: CORE CONCEPTS In this introduction we’ll go through the basics of ana- log modular synthesizers in their broader meaning, to make sure that all the technical jargon that we’ll be inev- itably using throughout the manual will be, hopefully, clarified for the newcomers. Modules in a modular synthesizer can be thought of as strangers sitting next to each other on a train compart- ment, sitting in an embarrassed silence. Creating music from a modular synthesizer is like start- ing a conversation on our hypothetical train compart- ment, by connecting modules with patch cables and mak- ing them “speak” to each other. For any conversation to happen we need two things: the people must have something to say (like an argument), and they must speak the same language. In modular synthesizers, the argument is your musical idea, and it is beyond the scope of this manual, while the common language to make your modules communicate is the voltage. 1 VOLTAGE (AND CURRENT) Even though this is not an engineering manual, a gen- eral introduction on the concept of voltage might be use- ful to better understand how these instruments work. Voltage is the difference in electric potential between two points of a circuit, or, oversimplifying, «what you ap- ply to cause currents to flow.»1 It is measured in volts, whose symbol is V. Without any other specification, the voltage is calculated between any point of the circuit and a reference point called ground (0 V). Electric potential brings in the concept of current, which is the actual flow of electric charge through a circuit. Electric charge is measured in coulomb (C), while the current is measured in amperes (A): 1 ampere equals to 1 coulomb of charge passing through a given point in 1 sec- ond. Enough for the technical stuff: now it’s time to see how voltage and current turn into (electronic) music. 2 DC AND AC There are two kinds of current, each of which implies a different kind of voltage. They are direct and alternating cur- rent, abbreviated DC and AC respectively, and we use both in modular synthesizers. In case of direct current, our charge flows only in one direction: if the current is steady, so will do the voltage. This kind of fixed voltages are what we use, for example, to send note information to the sound source. 1 (Horowitz 2019, 1, note 2.) In case of alternate current, our charge flows back and forth in our circuit. Its alternation over time can be dis- played with a waveform diagram. In case of alternate cur- rent, the voltage changes over time as well. We use this kind of varying voltages to generate, for example, wave- forms that ultimately will turn into sound. 3 AUDIO AND CV To hear music, we need some vibrating air. To make the air vibrate, we need a vibrating body: we can pluck a string, hit two wood sticks, blow into a pipe and so on. In case of electronic instruments, our vibrating body is the loudspeaker (or the headphones). More in detail, in the specific case of analog modular synthesizers, everything, from the sound generation, to its articulation, to the final audio output through the speaker cone’ vibration, is achieved through voltage that change over time. With our modular synthesizer we create a complex, electric signal that makes our cones move back and forth. The variation of voltage over time translates into the complex waveform that we call music. It goes without saying that the more control we have over our voltage, the more expressive and articulated will become our composition’s waveform. In modular synthesizers, we use voltage to generate sound, but also to control it. If a circuit generates a voltage that varies from, say, - 5 V to 5 V, 110 times a second, it will make our loud- speaker vibrate as many times, thus producing a sound whose frequency is 110 Hertz (Hz), corresponding to the note A. However, if the same circuit generates a voltage oscilla- tion of 10Hz, meaning that the voltage varies from -5 to 5 V ten times a second, we wouldn’t be able to hear it anymore. It’s because its frequency is below our audible range of human beings, that spans from 20 to 20.000Hz. This brings in a conventional distinction between volt- ages that we use for sound generation, which provide alter- nate current in the audio range, and voltages that we use for sound modulation or control, which are often called con- trol voltages, or CV. Generally speaking, we use CV to turn our modules’ knobs for us, in a sort of automated way. CVs can be of any kind: they can generate alternate current, such as low-frequency oscillators (LFOs, like the ones we use for tremolo effects) or direct current (like the fixed CVs that we use to send pitch information).

Page 9 of 107 It is nice to point out that in modular synthesis we use the same two or three principles to take care of every pa- rameter of the sound design.2 4 TIMING PULSES We use CV to distribute information (like pitch, ampli- tude, timbre) all over our electronic composition. For example, the information of “C#4” is not enough to generate a note: it generates just a pitch. To have a note, we need to give it some timing: when it begins, how long it lasts, when it ends. For this kind of information, which is essential to define any kind of musical event (note, melody, rhythm), we use a particular kind of CV called timing pulses, which are trigs and gates.3 Trigs and gates are pulses, because they can have only two values, off and on, and because the transition be- tween one value and the other is almost immediate. Off is usually 0 V, on is around 5 V. The main difference between trigs and gates is that trigs are very fast voltage bursts that go from 0 to 5 V and im- mediately (actually, after one or two milliseconds) back to zero, while gates can stay at 5 V as much as we want. A trig is thus a timing pulse that defines when a certain musical event should happen, while a gate is a timing pulses that tells when such an event should happen, but also exactly for how long. Trigs are the kind of pulses that we get out of clock gen- erators, such as SAPÈL, while gates are generated by modules such as FALISTRI or USTA, which are more focused on articulation and dynamics. 5 POLARITY We have said that voltage is a difference in electric po- tential that causes the current to flow through a circuit. Such a current can flow through a point in either direc- tion, depending on the voltage that we apply to the cir- cuit. A positive voltage will make the current flow in a direction, and a negative one in the opposite. (0 V will not have any current flow, and such is the value of the cir- cuit’s ground.) In case of alternating current, the voltages are also al- ternating. If such alternation oscillates above and below 0 V, the voltage would be bipolar. However, there are cases in which the change in voltage is only positive (or, more rarely, negative). In such cases, we say that the volt- age is unipolar. The most common bipolar voltages are the ones used for generating audio waveforms, since they need to move the speaker’s cone back and forth. A unipolar audio 2 On the importance of parametrical thinking when approaching analog sound design, see especially (Strange 1984, 4–5). signal would make the cone move in one direction only, with potential damages. Unipolar voltages are, for example, certain envelopes, or LFOS, especially the ones used for controlling a pa- rameter which needs to operate in one direction only, such as amplifiers (on which see the next chapter). 6 AUDIO AND CV PROCESSING In modular synthesis, we add dynamics and expressive- ness to our music through signal processing. We use quite a few concepts, but their combination provides many dif- ferent results. The most important element of signal processing is the control over a signal’s amplitude. Amplitude is, roughly, how loud we perceive the sound, which means how much the air vibrates, which also means how much our speaker cones vibrate, which, in turn, means how high is the volt- age oscillation that we generate with out synthesizer. Controlling the amplitude of a signal means being able to define the voltage range of our sound source, which is bipolar: for example, an amplitude of 5 V means that our waveform will go from 0 V to 5 V, and then from 0 V to -5v throughout each cycle. Since there is a difference of 10 V from 5 V to -5 V, we can also say that our signal has an amplitude of 10 V peak-to-peak (Vpp), i.e., measured from the highest to the lowest point of the waveform cycle (“peaks”). There is another way of measuring a signal’s amplitude, and it’s the root-mean-square amplitude (rms). In elec- tronics, this concept is useful because it expresses the the value of a periodic signal (like alternating current) as if it were a constant signal of equal average power (like direct current).4 It is not necessary to dive too much into this concept now, but we needed to introduce it because we’ll refer to Vrms values in the next section about signal levels. The circuit that allows us to control the amplitude is called amplifier: increasing or decreasing the amplifier value, usually through a knob, increases or decreases the amplitude of our sound, and eventually brings it to 0 V, where no sound is passing through the circuit. An ampli- fier is often capable of increasing a signal’s amplitude, thus providing a louder sound than the one generated by our sound source. A circuit that only reduces a signal’s amplitude is often called attenuator. Furthermore, amplifiers can also deal with signals that are not waveforms, such as control voltages. In this case, amplifiers control the voltage magnitude, and they can make controls sources and their modulations more or less effective in a patch. An amplifier that is we can control through voltage is called VCA, voltage-controlled amplifier. For example, if 3 (Strange 1984, 51–52, 61–62) 4 (Horowitz 2019, 14)

Page 10 of 107 we control an amplifier with an LFO, this will cyclically increase and decrease the signal’s amplitude, like a trem- olo effect. But we can also control the LFO’s amplitude through a second VCA, and now it will change the mod- ulation depth. Another useful concept to outline now is inversion, which relies on the fact that voltages, in Eurorack synthesizers, can be positive or negative. Inverters are circuits that change the polarity of a given signal: on a graphical rep- resentation, the result of an inverted continuous voltage will be a mirrored, upside-down version of the original signal. If the signal is bipolar, the positive values will become negative, and vice-versa. We can also invert audio signals, and in such case, we’ll invert their phase. 7 AUDIO LEVELS In the previous section, we said that a sound’s ampli- tude is related to how loud or soft we perceive it. Loud- ness, however, is a tricky value because it always needs to be measured against a reference point. Since the human ear is sensitive to dramatic pressure changes, to measure such changes it is always used a logarithmic unit called decibel (dB).5 Audio equipment marks with 0 dB the “reference value,” which is usually the point at which the signal can get the maximum strength without distorting. However, many circuits allow us to increase the sound loudness be- yond 0 dB: the range where we can push our sound is called headroom, and usually stretches at least until 12 dB. Since the dB is a relative unit, the 0 dB level can change from device to device. For this reason, such a reference value is often calculated on the circuit’s absolute voltage rms amplitude (see the previous section). There are some Vrms values that have now become standars, for example: Equipment 0 dB amplitude Consumer/Hi-Fi equipment (often with RCA connectors) 300 mVrms Professional equipment 1.228 Vrms Eurorack synthesizers 3.535 Vrms Table 1: Common 0 dB Reference Values The Eurorack Vrms value is calculated on a sine wave of 10 Vpp, i.e., a bipolar signal of +/– 5 V. A circuit’s headroom depends on the equipment’s power source. In the case of Eurorack systems, the avail- able voltage is less than +/–12 V, for a total of 24 V; stu- dio equipment is usually between +/–15 V (30 V total) and +/–18 V (36 V total), with some rare cases even be- yond +/–24 V (48 V total). SUGGESTED READINGS Bernstein, David W. The San Francisco Tape Music Center. 1960s Counterculture and the Avant-Garde. Berkeley: University of California Press, 2008. Bjørn, Kim. Patch & Tweak. Exploring Modular Synthesis. Copenhagen: Bjooks, 2018. Bode, Harald. “History of Electronic Sound Modification.” AES: Journal of the Audio Engineering Society 32, no. 10 (1984). Chowning, John M. “The Synthesis of Complex Audio Spectra by Means of Frequency Modulation.” AES: Journal of the Audio Engineering Society 21, no. 7 (1973): 526–34. https://web.eecs.umich.edu/~fessler/course/100/misc/chowning-73-tso.pdf Hordijk, Rob. “Designing Instruments for Electronic Music.” EContact! 17, no. 4 (2016). https://econtact.ca/17_4/hordijk_design.html Horowitz, Paul. The Art of Electronics. Third edition. New York: Cambridge University Press, 2019. Roads, Curtis. The Computer Music Tutorial. Cambridge, MA-London, 1996. Shapiro, Peter. Modulations. A History of Electronic Music. Throbbing Words on Sound. New York: Caipirinha Productions, 2000. Strange, Allen. Electronic Music: Systems, Technics, and Controls. Second edition. Dubuque: Brown, 1984. Wells, Thomas. The Technique of Electronic Music. Second edition. New York-London: Schirmer Books-Collier MacMillan, 1981. 5 For a description of the decibel units, see (Strange 1984, 142–143; Hor- owitz 2019, 15)

Page 12 of 107 INTERFACES Here at Frap Tools, we put a lot of effort into designing a proper user interface for each of our modules. By “proper user interface” we mean essentially three things: 1. it must convey the module’s identity at a glance; 2. it must allow for a smooth creative workflow; 3. it must be pleasant to look at. Moreover, we want our interfaces to be clear, but not self-explanatory (or, in other terms, cryptic, but not cha- otic). The reason for doing so is that, in our vision, the musi- cian should master the “code” of the instrument before playing it: a piano does not have the note names on its keys, a violin does not have marks on its neck — it is up to the musician to practice and learn how the instrument works. In the same way, our modules do not have labels such as ‘frequency’ or ‘decay time’: instead, they are replaced with a system of symbols and colors that try to be as con- sistent as possible. Moreover, a musician approaching our modules through a “conventional” labeling system might be tempted to assume that the module behaves in an ordinary way, which sometimes is not completely cor- rect. The modules are explained in detail further in this man- ual. However, to allow the musician to get acquainted with the overall symbol system, we provide here a brief guide to “decode” the most recurrent elements of the “Frap environment”. 1 ARROWS (INPUT, OUTPUT) An arrow can mean either an input or an output, ac- cording to its position: if it points towards one or more jack sockets, it is an input; if it points away from one or more jack sockets, it is an output. Figure 2: Arrows. 2 SQUARE AND ROUND SHAPES All the modular world revolves around voltage. The most basic distinction is, conventionally, between voltage used for timing pulses (trigs or gates) and voltage used for audio signals or CV. The former is a discrete signal with two levels only (“off” and “on”, “low” and “high”). In our modules it is associated with square shapes: the reason is that squares have only two kind of lines (vertical and horizontal), in the same way a gate or rig signal has only two possible states, on and off. Figure 3: Square shapes. The latter is a continuous signal (or ‘analog’ in its clos- est meaning). Is associated with round shapes because cir- cles can be thought of as having infinite sides, in the same way an analog signal has infinite values. Figure 4: Round shapes. A subgroup of audio analog section is the stereo audio. As you can notice in the CGM series, the group and mas- ter modules feature stereo in and out out: here, the left/mono is connected to the solid-colored area, while the right is connected to the ring that surrounds it. The reason is that the left output is always the primary (be- cause it can be used as a mono output as well), while the right one is more of an accessory to it. Figure 5: Stereo audio. 3 LINES (SOLID, DOTTED, DASHED) A solid line relates two or more elements of the circuit. It stands for manual control, which means that a given knob or switch directly affects the signal passing through the circuit from an input or to an output. Figure 6: Solid lines.

Page 13 of 107 A dotted line stands for external CV control, and it of- ten relates a jack socket to a manual control such as a knob or a slider. It means that the specific parameter can be voltage controlled. Figure 7: Dotted lines. A dashed line relates two or more inputs or two more outputs: it means that they are semi-normalled, or, in other terms, that the signal going to one input or coming from one output is mirrored by the other jack sockets con- nected by a dashed line. Such behavior is automatically overridden once a cable is plugged to another jack socket (thus “breaking” the normalization). Figure 8: Dashed lines. 4 COLOR CODING As a rule of thumb, if a module performs more than one function, the respective controls are marked with differ- ent colors. In other words, a given color relates to one and only one section of the module design. In case a module features two “mirrored” sections (such as SAPÈL’s or FALISTRI’s generators, or CGM Group’s FX sends), they are marked in yellow and green. 5 COMBINATIONS All the elements can be combined. For example, an ar- row within a square pointing towards a jack socket means that it is a gate/trig input; if a dotted line connects a jack socket to a knob, and a solid line connects the same knob to another jack socket, it means that the signal outputted from the second jack socket can be modified either man- ually via the knob or automatically via an external CV patched to the first socket.

Page 15 of 107 A Main Audio Routing A.1 Audio Mono Input A.2 Audio Input Left/Dual Mono A.3 Audio Input Right/Dual Mono A.4 Direct Out A.5 VCA Level A.6 VCA Level CV Input A.7 VCA Pre/Post A.8 Pan Level A.9 Pan Level CV A.10 Pan/Crossfade Switch A.11 Channel Fader A.12 Local Output Left A.13 Local Output Right A.14 Group Output Left A.15 Group Output Right A.16 Group Fader A.17 Master Output Left A.18 Master Output Right A.19 Master Fader A.20 Aux. Stereo Input A.21 Aux. Mono Input A.22 Aux. Input Level A.23 Phones Stereo Output A.24 Phones Level A.25 Line/Inst Switch A.26 Balanced Output Left A.27 Balanced Output Right A.28 Line/Mic Switch A.29 Mono Out A.30 Mono Out Fader B Send/Return B.1 Effect Send Level B.2 Effect Send Level CV B.3 Effect Send Pre/Post B.4 Effect Send Mono Output B.5 Effect Return Left Input/Dual Mono B.6 Effect Return Right Input/Dual Mono B.7 Effect Return Level B.8 Effect Return Level CV C Creative Functions C.1 Mute Button C.2 Solo-In-Place But- ton/Switch C.3 Safe Solo Switch C.4 Pre-Fader Listen (PFL) Button and LED C.5 PFL Blend 1 PHILOSOPHY AND DESIGN The CGM Creative Mixer is a modular mixing solution for Eurorack systems. It breaks down the main parts of a classic mixer console into three families of modules (chan- nel, group, and master), without sacrificing the pro audio quality of the signal treatment. The CGM is designed for a performance-oriented use in modular synthesizers: its modular structure allows for tailoring the size and kind of the mixer to the exact setup it must fit into, while the CV inputs over all the key pa- rameters encourage heavy patching and modulations. It is currently composed of four modules: the Channel, the Quad Stereo Channel, the Group, and the Master- one. A fifth module, the Master, is now discontinued. 2 THE LINK SYSTEM Some CGM modules, like the QSC, can efficiently work as stand-alone units. However, they unlock their full potential when connected to other units to build a com- plex mixing console. For this purpose, we designed a special set of connecting cables named Link System, which replaces the older Link Cables (now discontinued, but still compatible with newer products). There are three kinds of cables in the new Link System: • group-to-channel cable; • master-to-group cable; • group-to-group extension. Here’s how it works. Watch the assembly instructions with many configuration examples in the following video: How to Build a Frap Tools CGM Eurorack Mixer Setup LINKING GROUPS AND CHANNELS The first step to build a CGM configuration is connect- ing channels to a group. This connection happens through two special group-to-channel cables with 10-pole IDC sockets: connect the two rows of pin headers on the back with the two pin headers in the same position on the group’s PCB. The GC sockets are spaced so that they can accept modules up to 18 HP wide. For a better fitting, we rec- ommend folding the cables in a Ω shape. When connected to a group, all the channels share au- dio, power, and controls, so it is sufficient to connect to the PSU just one channel of those linked to such group. The GC Link System comes in three different sizes: F-G1C2-LS CGM Link System – 1 Group to 2 Channel Modules F-G1C4-LS CGM Link System – 1 Group to 4 Channel Modules F-G1C8-LS CGM Link System – 1 Group to 8 Channel Modules 2.1.1 Older Group-to-Channel Link Cables Back when the channels were all 6 HP wide, there were eight kinds of Link cables, connecting a group to 1, 2, 3, 4, 5, 6, 7, and 8 Cs respectively. The socket spacing was tai- lored to 6 HP, so the introduction of the QSC made a redesign necessary. If you still have some older Link cables, you can use them easily with newer products, even if some plugs will inevitably end up being unused. LINKING MASTERS AND GROUPS There are two cases in which you may need to connect groups and masters: to expand the functionalities of a sin- gle group or to mix more groups. There are two Link Sys- tem parts for this purpose: a strip and its extension, one for each use. By default, the Masterone ships with a master-to-group ca- ble, allowing you to link a group to it. The master-to-group cable has three IDC connectors: one for the master, one

Page 16 of 107 for the group, and one for extending the connection to other groups. To connect more than one group, you need the group- to-group extension. This cable has two IDC sockets and one IDC plug. Connect the plug to the third MG socket, and you’ll be able to link two more groups to a master. The group-to-group sockets are spaced to accepts group configurations of roughly 72 HP, allowing up to 4 QSCs. It is possible to chain more GG extensions to one an- other, such as to add a fourth group or connect groups with larger channel configurations (up to eight QSCs). The master-to-group cable ships with the Masterone and cannot be purchased separately. The group-to-group exten- sion is sold separately with the following code: F-G2GX-LS CGM Link System – Group to Group Extension 2.2.1 Older Master-to-Group Link Cables The previous way of connecting groups and masters, part of the Link Cables, consisted of four configurations that allowed you to connect a master to 1, 2, 3, or 4 groups respectively. The sockets’ spacing could fit up to 8 mono channels per each new group. The M module used to ship with a link cable to one group, and the G module with link cables to four chan- nels. Anyway, both the older Link Cables and the new Link System follow the same logic and are completely swappa- ble. If you have older cables, feel free to use them with the new CGM modules, and with the new Extension, if you follow the connection rules. If you accidentally connect more than one Channel to the PSU, fear not: it’s not going to damage your system! It’s just useless and may not be optimal for ground. It is imperative not to swap connectors! Frap Tools may not be held responsible in any way for problems or damage to persons or property or to the device itself if the device is not connected as indicated above. 3 CHANNEL The C module is the first member of the channel family. Its concept draws from the monophonic channel strip of a classic mixing console, with the crucial implementation of CV controls over every key parameter, which makes it fully suitable for the Eurorack environment. The signal routing is designed to provide the best audio quality and can be broken down to five color-coded main parts: VCA (red), two effect sends (yellow and green), pan (pink), and fader (white). AMPLITUDE CONTROLS AND DIRECT OUTPUT EFFECT SENDS The two Send Level knobs (B.1) define the amplitude of the channel signal to be routed to the group’s effect sends mono outputs (B.4). Just like the Main VCA, they can be voltage controlled by patching unipolar CVs (either 0÷5 V or 0÷10 V) to its CV input (B.2). This input allows you to automate the effects of each channel individually in a way that it is not possible on standard mixing consoles. Both the effect sends are equipped with a Pre/Post Fader switch (B.3), which improves the module’s usability. If set post-fader (lower position, white dot), signal sent to the external effects will be limited by the channel fader posi- tion (A.11). This option is useful when you want your dry/wet signal ratio always the same when you adjust a channel’s volume. If set pre-fader, the effect send will be defined by the knob or the CV only, thus being completely independent from the overall channel level. In this way, you can achieve some effect such as lowering the channel fader and leaving just the processed signal in the mix. Another way of looking at the pre/post effect send is that the former is an absolute level, while de second one is relative (to the main fader, in this case). PAN The Pan control lets you distribute the processed signal across the stereo image through the Pan knob (A.8). This parameter is provided with a CV input (A.9), which accepts both positive and negative signals (range −5 V÷5 V). The more the positive CV increases, the more the signal is distributed to the right, and vice versa for negative CVs and the left channel. Given that the Pan is a bipolar control, the CV input works slightly differently from the VCA and the Effect Sends. In this case, when a CV is patched to its input, the knob shifts the incoming CV towards the positive (right) or negative (left) side. In other words, it acts as an offset, not an attenuator. CREATIVE FUNCTIONS Every channel has three creative controls: the Mute but- ton (C.1), the Solo in Place (C.2), and the Stereo PFL (Pre- Fader Listening, C.4). 3.4.1 Mute The Mute button (C.1) closes the main VCA. It equals turning the VCA Level knob (A.5) all the way to zero. For this reason, muting a channel allows you to mute all of its outputs, including the effect sends.

Page 17 of 107 3.4.2 Solo in Place The Solo in Place button (C.2) selects the channels to keep active when the group is in Safe Solo mode (C.3, see below §5.4.2). 3.4.3 PFL The Stereo PFL button (C.4) selects the channels sent to the PFL circuit on the Master module (C.5, see below §5.4.3). 4 QUAD STEREO CHANNEL The Quad Stereo Channel (QSC) consists of four stereo channels, whit a design based on the Channel (§3) module that, however, also borrows some concepts from the G (§0) and the M (§6) modules. The color scheme reflects the same routing of the modules: VCA (red), two effect sends (yellow and green), pan (pink), auxiliary input (pur- ple), and main faders (white). The local sum outputs allow you to use the QSC also as a standalone stereo mixer with mono effect sends. The panning section can switch its behavior between stereo source panning and mono sources crossfading. AMPLITUDE CONTROLS AND DIRECT OUTPUT The main VCAs defines the input gain of the signal patched to the channel inputs (A.2, A.3) through the Level knob (A.5). The Channel Faders (A.11) set the volume of the audio signal to be sent to the Group module. Just like in the Channel module, the VCA controls the amplitude of the signal coming in, and the fader controls the amplitude of the signal going out. These two controls together, just like in classic mixing consoles, allow you to define not only the amplitude of the signal in the mix but also its “color.” The input VCA goes ~6dB above unity gain, which means that it can add a very smooth saturation to the in- coming sound, which is often translated to adjectives such as “fatter, punchier, warmer,” and so on. Furthermore, such input level can be voltage-controlled through the VCA Level CV Input (A.6), which accepts uni- polar signals whose range can be either 0÷5 V or 0÷10 V. When a signal is patched to this input, the Level knob (A.5) becomes its attenuator. Practice the VCA Level CV Input with this Technique: Sidechain #1 One of the differences between the QSC and the C is that it features a local stereo output (A.12, A.13) instead of individual Direct outputs (A.4). This allows you to use the QSC as a stand-alone, four-channel stereo mixer. 4.1.1 Mono Auxiliary Input The QSC also features an additional monophonic DC- coupled input (A.21). This is an audio input with no con- trols over the signal’s amplitude, and its signal routing is very straightforward, adding the sound as is to the overall sum routed to the Group or the two local outputs (A.13, A.14). The Mono Auxiliary input can be useful if you need a spare mono channel for an external source that does not need further amplitude processing. PAN AND CROSSFADE The Pan/Crossfade knob can perform two different tasks according to the Pan/Crossfade switch position. 4.2.1 Pan When the Pan/Crossfade switch (A.10) is set to the lower position, the knob (A.8) acts as a stereo panorama control, defining the balance of the (mono or stereo) au- dio input across the left and right channels. Two CV inputs (A.9) allow for external control of the leftmost and rightmost channels’ Pan with positive and negative voltages (range −5 V÷5 V). The more the posi- tive CV increases, the more the signal is distributed to right, and vice versa for negative CVs and the left chan- nel. Given that the Pan is a bipolar control, the CV input works slightly different than the ones of the VCA and the Effect Sends. In this case, when a CV is patched to its input, the knob shifts the incoming CV towards the posi- tive (right) or negative (left) side. In other words, it acts as an offset, not an attenuator. 4.2.2 Crossfade When the Pan/Crossfade switch (A.10) is set to the higher position, the knob works as a “dual mono” cross- fade that blends the signals patched to the two inputs and outputs the same result across the left and right channel. It can be useful, for example, for blending the sound of two waveform outputs of the BRENSO oscillator (see p. 87) for a punchier, mono bassline or to mix two elements of a drum pattern that do not need to be panned across the stereo image. Setting all the stereo channels to the Crossfade can even let you use the QSC as an almost-eight-channel-mono mixer. CREATIVE FUNCTIONS Every channel has three creative controls: the Mute but- ton (C.1), the Solo in Place (C.2), and the Stereo PFL (Pre- Fader Listening, C.4).

Page 18 of 107 4.3.1 Mute The Mute button (C.1) closes the main VCA. It equals turning the VCA Level knob (A.5) all the way to zero. For this reason, muting a channel allows you to mute all of its outputs, including the effect sends. 4.3.2 Solo in Place The Solo in Place button (C.2) selects the channels to keep active when the group is in Safe Solo mode (C.3, see below §5.4.2). 4.3.3 PFL The Stereo PFL button (C.4) selects the channels sent to the PFL circuit on the Master module (C.5, see below §5.4.3). 5 GROUP The Group is a stereo module that blends the signals coming from the channels linked to it (up to eight) and takes care of their signal routing. The group “puts into practice” all the information de- fined by the channel’s controls: volume, effect send vol- ume, stereo panning. It consists of three sections: the amplitude controls (white), and the two effect sends and returns (yellow and green). As of today, the Group is the only module that does not require power, as a Channel powers it through its IDC cable. AMPLITUDE CONTROL The main control is the Group Fader (A.16), which sets the Group’s final volume. This is the overall amplitude of the sum of the connected channels and the returns. It features a pair of peak LEDs on the top left and right of the knob that notifies when the left or right Channel (respectively) are clipping. EFFECT SENDS/RETURNS This section of the module is the CGM interface for ex- ternal signal processing. It consists of two specular sec- tions, marked yellow and green, each of which features a mono output (Send) and a stereo input (Return). 5.2.1 Sends The Send jack socket (B.4) outputs a mono signal, which is the sum of all the signals processed for that send by each Channel connected to the Group. 5.2.2 Returns The Return section is divided into two specular columns, the left one for the yellow return, the right one for the green return. The first two rows from the top are the Return inputs (B.5, B.6). They are semi-normalled, meaning that they can work either in stereo (when two cables are plugged) or in dual mono (when only one cable is plugged into any of the two inputs). When using two cables for stereo re- turn, the top jack carries the left signal and the bottom jack the right one. As soon as an audio signal is connected, it is routed to the stereo return: each Return section is equipped with its own stereo VCA, which is identical to the ones used in the red, yellow, and green sections of the Channel module. To control the amplitude of the effect return, use the Re- turn Level knob (B.7). The return level can be externally controlled through the CV inputs (B.8), which accept signals with a range of 0÷5 V or 0÷10 V, allowing any creative use of the stereo effect returns. When a CV is patched to any of these in- puts, then the Level pot (B.7) acts as an attenuator. Practice the Send/Return modulation with this Technique: Sidechain #1 GROUP OUTPUT Every group has two Group Outputs that are stereo paired (A.14, A.15). They can be configured to output just the sum of the processed signals (from the stereo returns) or the overall sum of the channels and effects. 5.3.1 Group Jumpers Configurations The Group L/R outputs (A.14, A.15) can be configured in two ways through the jumpers on the back of the PCB. In the first mode, they output just the sum of the two effect returns: this mode is especially useful for further processing of the effects. In the second mode, they output the same signal that is routed to the Master module: a sum of all the channels, plus the yellow and green effect return. This mode is es- pecially useful for smaller setups, where a Master module is not needed because it allows you to use the Group mod- ule as your final mixing unit. To set the modules to the first mode, place the two jumpers on the back of the PCB to pins 1 and 2 from the left (Figure 10). To set the modules to the second mode, place the two jumpers on the back of the PCB to pins 2 and 3 from the left (Figure 11). The signal routed to the Master module via IDC cable will not be affected by any of these jumper configurations.

Page 19 of 107 Figure 10: Pins 1 and 2. Figure 11: Pins 2 and 3. It is imperative not to connect the jumpers to any other con- nector except the two mentioned in this section and shown in the pictures below. Frap Tools may not be held responsible in any way for problems or damage to persons or property or to the device itself if the device is not connected as indicated above. CREATIVE FUNCTIONS Every Group has three creative controls: the Group Mute button (C.1), for all the connected Channels and send/re- turn signals; the Safe Solo switch (C.3), which enables the Solo In Place function on each of the connected Channels when moved to the left, and the Stereo PFL (C.4), accessi- ble via the Master module for all the connected Channels and Send/Return signals. 5.4.1 Group Mute The Group Mute button (C.1) shuts the whole group, including the effect sends and returns. It equals turning the Group Fader (A.16) all the way to zero. Please note that the group outputs won’t be affected by the mute button: to take advantage of the Group Mute function, the group needs to be routed to a master mod- ule, and the audio taken from this last one. 5.4.2 Safe Solo The Safe Solo function allows the musician to isolate cer- tain channels in the mix, thus muting all the remaining ones. It is achieved through two operations: pushing the Solo in Place button on the Channel module and moving the Safe Solo switch on the Group module: the Solo in Place button will determine which channels will be soloed (which will be marked with the white LED) and which ones muted; the Safe Solo switch will put this selection into practice (and the group too will display a white LED). It is called Safe Solo because it safely allows you to select the channels you want to solo in advance, without affecting the ongoing performance. 5.4.3 PFL The Stereo PFL button (C.4) allows you to prelisten the group when it is muted or when its fader is set to the lowest position. To take advantage of this function, you need to connect the group to the Master module with its PFL Blend (C.5, see below §). 6 MASTER (DISCONTINUED) The Master module is the last step in a CGM setup, and its main purpose is delivering the audio of the Eurorack system to the outside world. It consists of three sections: the amplitude control (white), the Headphones/PFL section (blue), and the Auxiliary input (purple). AMPLITUDE CONTROL The main control is the Master Fader (A.19), which sets the volume of the sound at the Master’s left and right out- puts (A.17, A.18). This is the overall amplitude of the sum of the connected group, which, at this stage, can gain an additional 6dB. The Master features two columns of five LEDs each (three green, one yellow, and one red) that act as a visual monitor of the audio levels on the left and right channel, respectively. It acts a LED VU-meter, with the LED val- ues being, from bottom to top: -6dBu, −1dBu, +4dBu, +7dBu, +10dBu. AUXILIARY STEREO INPUT The Master module’s purple section features a stereo 3.5 mm jack input (A.20) with a dedicated amplitude con- trol knob (A.22). Patching any audio source to this input will add it to the main mix. The Auxiliary Input features a PFL button (C.4) just like the Channels and the Groups which allows you to moni- tor the sound before blending it to the mix. CREATIVE FUNCTIONS The Master module features a Headphones section that is designed for two purposes: 1) monitoring the mix through a pair of headphones, with independent level, and 2) lis- tening to individual channels without them being mixed, through the Pre-Fader Listening controls. 6.3.1 Headphones The headphones must be connected to the stereo 3.5 mm jack output (A.23). The bottom potentiometer (A.24) sets the volume of the headphones, and the top one (C.5) blends the main out signal (white) with the PFL sig- nal (blue). 6.3.2 PFL PFL (PreFader Listening) allows the musician to send to the Headphones output any channel, group or the Aux input

Page 20 of 107 when their main fader is at 0, in order, for instance, to preview it before it is mixed. PFL is achieved through two operations: pushing the PFL button (C.4) on the Channel or Group modules or on the Aux input (the blue LED will light up) and adjust- ing the PFL level through the PFL Blend knob (C.5). PFL previews the Channel’s sound before the main fader: this means that its amplitude will be determined by the Red VCA level, which means that the green and yel- low Sends cannot be PFL’d from the Channel. This is when the Group PFL comes in handy: in order to pre-listen the effect sends and returns before sending them in the mix, you can mute the Group’s and activate its PFL button: from now on, everything that is managed by the Group will be safely pre-listened without affecting the main mix, including individual Channels’ Main Fader settings, sends and returns. Please note that Safe Solo overrides PFL: this means that you can perform Safe Solo when a Group is in PFL, but you cannot PFL a channel whose Solo in Place button is off when its Group is in Safe Solo mode: the reason is that, as explained above, the Safe Solo works as a “Mute region,” i.e., muting all the unselected channel’s red VCAs. 7 MASTERONE The Masterone replaced the Master module as the gateway from the modular system to the outside world. Following and expanding the Master concept, we de- signed it with the sole purpose of providing high-quality outputs in as many formats as possible. For this reason, since it is not meant to be connected to any other Euro- rack module, it is the only Frap module that does not have any 3.5 mm jack connection (as of today). It consists of two sections: the amplitude control (white), and the Headphones/PFL section (blue). An additional mono output (light green) is part of the amplitude section. Two arrays of 12 LEDs each act as a stereo VU meter: they measure the amplitude increments from –40 to 15 dBu, with peak memory. AMPLITUDE CONTROL The main control is the Master Fader (A.19), which sets the overall amplitude of the sounds coming from the con- nected groups. At this stage, it can add an additional 6 dB of gain: it is thus possible to saturate the circuit to intro- duce distortion and nonlinearities in the sound. The Master features two columns of 12 LEDs each that act as graphical VU-meter of the audio levels on the left and right channel, respectively. 6 See the Core Concepts chapter, section 7, p. 10. The Masterone has three kinds of outputs: pseudo-bal- anced stereo TRS, balanced stereo XLR, and pseudo- balanced mono. 7.1.1 Pseudo-balanced TRS Outputs These ¼" jack outputs (A.17, A.18) are technically identical to ones on the Master module. They output an unbalanced (or pseudo-balanced, see below) stereo signal (left and right channels, respectively). The line signal is at Eurorack level6, so, in case it is too hot for some destinations, it is possible to attenuate it through the Line/Inst switch (A.25). Once the switch is set to the lower position, the output is attenuated by ~15dB. Just like the Master outputs, these outputs are pseudo- balanced. If you use a standard ¼" mono jack, you’ll ob- tain an unbalanced output. If you patch a ¼" TRS jack, you can connect them to a balanced system with better performance since the ring and the sleeve are both con- nected to ground. However, the best option for balanced systems is to use the balanced outputs (see below). 7.1.2 Balanced XLR Outputs These XLR outputs (A.26, A.27) provide a balanced line signal that mirrors the one routed to the TRS out- puts. However, due to the nature of the balanced systems, their output will sound twice as louder as the pseudo-bal- anced one (+6 dB). Even in this case, if the signal is too hot, it is possible to scale it down. Once the Line/Mic switch (A.28) is set to the lower position, the signal will be attenuated by 30 dB. 7.1.3 Mono Out The bottom output (A.29) provides an additional, pseudo-balanced monophonic output with an attenuator. It outputs the sum of the left and right channels. It can be used for live monitoring, or for for more creative uses, such as patching it to a specific amplifier for parallel pro- cessing in a studio environment. An amplifying circuit provides an additional 6 dB of gain and 15 dB of attenuation calculated from the refer- ence 0, the Line level of the pseudo-balanced stereo out- puts. Rotate the mono out fader (A.30) to the left to at- tenuate the signal and to the right to amplify it. CREATIVE FUNCTIONS The Masterone features a Headphones section designed for two purposes: 1) monitoring the mix through a pair of headphones, with independent level, and 2) listening to individual channels without them being mixed through the Pre-Fader Listening controls.

Page 21 of 107 7.2.1 Headphones The headphones must be connected to the stereo jack output (A.23). The bottom potentiometer (A.24) sets the volume of the headphones, and the top one (C.5) blends the main out signal (white) with the PFL signal (blue). The headphones level is independent from the main fader’s one. 7.2.2 PFL PFL (PreFader Listening) allows the musician to send to the Headphones output any channel or group when their main fader is at 0, for instance, to preview it before it is mixed. PFL is achieved through two operations: pushing the PFL button (C.4) on the Channel or Group modules or on the Aux input (the blue LED will light up) and adjust- ing the PFL level through the PFL Blend knob (C.5). PFL previews the channel’s sound before the main fader: this means that its amplitude will be determined by the Red VCA level, which means that the green and yel- low Sends cannot be PFL’d from the channel. This is when the Group PFL comes in handy: to pre- listen the effect sends and returns before sending them in the mix, you can mute the Group’s and activate its PFL button: from now on, everything that the Group manages will be safely pre-listened without affecting the main mix, including individual Channels’ Main Fader settings, sends and returns. Please note that Safe Solo overrides PFL: this means that you can perform Safe Solo when a group is in PFL, but you cannot PFL a channel whose Solo in Place button is off when its group is in Safe Solo mode: the reason is that, as explained above, the Safe Solo works as a “Mute region,” i.e., muting all the unselected channel’s red VCAs.

Page 22 of 107 8 TECHNICAL DATA FLOW CHARTS Figure 12: Channel flow chart. Figure 13: Quad Stereo Channel simplified flow chart (one of the four sections).

Page 23 of 107 Figure 14: Group flow chart. Figure 15: Master flow chart. Figure 16: Masterone flow chart

Page 24 of 107 SPECIFICATIONS Parameter Details Min Typ Max Unit Current Draw (0) C +12 V 80 mA -12 V 80 QSC +12 V 170 -12 V 170 G +12 V 80 -12 V 75 M +12 V 62 -12 V 44 MONE +12 V 80 -12 V 80 With headphones at high level (250Ω) +12 V 110 -12 V 105 Size C 6 HP QSC 18 G 6 M 6 MONE 12 Audio Input Impedance C >25 KΩ QSC Mono >10 Stereo >20 Aux 10 G Mono >20 Stereo >40 M (2) >3 Audio Output Impedance MONE ¼" TRS Unbalanced ≥35 KΩ Pseudo-balanced ≥70 XLR Line level ≥220 Mic level ≥440 CV Input Impedance C >90 KΩ QSC >90 G >90 M >90 Gain scale C direct output (3) 7,5 dB Send output (3)(4) 4 G output (3)(5) 12,5 M/MONE outputs (3) 18 Headphones (3) 20 G output (5)(6) 9 M aux input (7) 27 Frequency response (8) 0,01 40 KHz Harmonic Distortion (9) <0.3 % Panpot Center Position Tolerance C <2 dB QSC <1.5 Max VCA attenuation C ≤70 dB QSC (1) Max data obtained with heavy driven output onto low impedance load. (2) Stereo signal on a single stereo jack. (3) Without any CV applied and all pot at maximum, gain scale, referred to channel input. Measures subject to ±2 dB tolerance. (4) With 5 V CV patched to main VCA. (5) Jumpers allowing output of sum of channels and return. (6) Without any CV applied and all pot at maximum, gain scale, referred to group return inputs. Measures subject to ±2 dB tolerance. (7) Referred to master outputs. Measures subject to ±2 dB tolerance. (8) Within 1 dB, measured at +10 dBu at master output onto a 1 KΩ load. (9) THD+N. On a complete system (Channel to group to master) measured at 1 KHz with output signal of +10 dBu onto 1 KΩ load with a 10 Hz to 80 KHz bandwidth measurement system.

Page 25 of 107 SAPÈL Figure 17: SAPÈL interface. A Clocks A.1 Clock Input A.2 Clock Rate A.3 Single/Both Switch A.4 Main Clock Output A.5 Random Clock Output A.6 Random Clock Mode A.7 Gate/CV Modulation Input A.8 Gate/CV Modulation Switch A.9 Sample-and-Hold (S&H) Button B Stepped Random Voltages B.1 S&H Output B.2 n+1 Output B.3 n+1 Value B.4 n+1 Value CV Input B.5 2ⁿ Output B.6 2ⁿ Value B.7 2ⁿ Value CV Input C Fluctuating Random Voltages (FRV) C.1 FRV Output C.2 FRV Rate and Global Rate of Change C.3 FRV Rate and Global Rate of Change CV Input D Noise Outputs D.1 Blue Noise Output D.2 White Noise Output D.3 Pink Noise Output D.4 Red Noise Output E Probability Distribution E.1 Probability Distribution E.2 S&H Probability Distribution Switch E.3 Fluctuating Probability Distribu- tion Switch E.4 n+1 Probability Distribution Switch E.5 2ⁿ Probability Distribution Switch 1 PHILOSOPHY AND DESIGN SAPÈL is an analog generator of random control volt- ages for Eurorack modular systems. It generates a wide variety of random values to add dynamics to your patches. Such values are sampled on analog thermal noise, to guarantee the truest random generation. Its main section is composed of two identical clusters of four Sample and Hold circuits each (yellow and green), which generate as many different random values at the same time. Three of the four S&H circuits in each cluster provide stepped random voltages: two are quantized (in “notes”) and one is unquantized; the last S&H circuit features an integrator to generate a fluctuating stream of random voltages. The three stepped voltage generators are synced, which means that they will output three different values at the same time. The yellow and green generators have two in- dependent internal clocks, which can be replaced with an external one, or temporarily overridden either via exter- nal gate or manual button. A copy of the trig used to sam- ple the stepped random values is available, as well as a random trig output. The fluctuating voltage generator, on the other hand, is independent and has its own potentiometer to define its rate. Each of the two S&H clusters samples its values from analog noise, thus providing a “true” and completely un- predictable randomness. The second section of SAPÈL features four analog noise outputs, which are derived from the analog noise used to sample random values.

Page 26 of 107 2 NOISE OUTPUTS This section features four analog noise outputs, which are, from top to bottom: · D.1 Blue Noise (+3dB/oct spectrum); · D.2 White Noise (0dB/oct spectrum); · D.3 Pink Noise (-3dB/oct spectrum); · D.4 Red Noise, also known as brown or Brownian (- 6dB/oct spectrum). Each noise “color” has its own distinct tone, which can be used for sound-designing purposes. Theoretically, White Noise has an equal distribution of intensity across all the frequencies per bandwidth. Prac- tically, in the analog domain, White Noise is a sound which has a flat spectrum in the audible range, or, in sim- pler terms, which can “hit” all the frequencies with equal amplitude at the same time. It is perceived as a highly inharmonic sound but, to the peculiar nature of the hu- man ear, it appears slightly unbalanced towards higher frequencies. For this purpose, SAPÈL features also a Pink Noise out- put. Pink Noise is basically a White Noise filtered through a −3dB/Oct filter, which “smoothens” its higher fre- quencies in order to deliver a more “balanced” sound for the human ear. Pink Noise features an equal distribution of intensity per octave, instead of bandwidth. Red Noise is similarly generated, but the filter has a slope of −6dB per octave. The result is a low, “rumbling” tone. Finally, Blue Noise is a kind of inharmonic sound whose intensity increases proportionally to the frequencies. In other words, the higher part of the spectrum will appear to be louder, and the overall result is a high-pitched hiss- ing sound which lacks bass frequencies. Practice the Noise Outputs with these Techniques: Percussion Sounds #1 Percussion Sounds #2 Percussion Sounds #3 Accents #2 Noise Oscillator #1 Noise Oscillator #2 3 VOLTAGE SAMPLING The yellow and green generators, as said above, work independently the one from the other. Each of them sam- ples three random values at the same time: one which is unquantized (i.e. with no fixed “pitch”), one quantized in semitones and one quantized in octaves. The sampling process happens when a trig or gate acti- vates the S&H circuit, which “picks” the value played by the noise source at a given time, and “holds” it until another trig or gate is generated. There are four ways to activate the S&H circuit for each of the two generators: internal clock, external clock, manual S&H button, exter- nal S&H gate, plus an “extra” mode which combines the clocks (let it be internal or external) of both the green and yellow generators. By default, each generator is driven by an internal clock. The clock section generates a regular clock signal (called Main Clock) and two Random Clocks (on which see below). Both the yellow and the green random sources have their own independent clock. The regular train of impulses provided by the Main Clock is used to sample the random values and is also routed to the Main Clock output (A.4). The Random Clock does not affect the S&H circuit, but it is available for advanced modulation purposes through the Random Clock output (A.5). INTERNAL CLOCK AND CLOCK MODULATION The built-in clock frequency is managed by the Clock Rate knob in the center of the module (A.1). Rotate the knob counterclockwise to decrease the sampling rate and clockwise to increase it. It is possible to modulate the frequency of the clock via the Gate/CV Modulation Input (A.7). This input can have two separate functions, selectable via the dedicated switch (A.8): it can route the incoming CV to modulate the clock frequency, or it can use any voltage higher than 3V to trig the S&H cluster (see below, §0). When such a switch is set to the right, the incoming CV will modulate the clock frequency: a positive CV will in- crease the clock speed, and a negative one will decrease it. EXTERNAL CLOCK It is possible to use any external trig to activate the S&H by patching it to the External Clock Input (A.1). Whenever a cable is patched to this input, the internal clock is bypassed (i.e. it will no longer trig the S&H cir- cuit). This input welcomes trigs and gates only: this means that in order to sample a value, it needs an incoming sig- nal with a really steep rising edge, such as square waves, pulse waves or sawtooth waves with negative ramp (be- side of course trig and gate impulses). Other kind of im- pulses such as sine or triangle waves will be ignored. CLOCK MIX It has been said that the green and yellow sections of SAPÈL have their own independent clock generation. It is possible, however, to blend them in a more creative way through the Single/Both switch (A.3), which feeds the other generator’s clock into the one currently in use. To

Page 27 of 107 activate the clock mix, set the switch to the position marked by a square of the other generator’s color. This feature works with both internal or external clocks, and it affects the sampling section only: all the clock out- puts will maintain their regular behavior. MANUAL SAMPLING No matter if you are using the built-in clock or an ex- ternal one, that stream can be temporarily bypassed with the manual S&H Button (A.9). By pushing the S&H button the stream of impulses is overridden by a gate high signal, which samples a value and holds it until it is released. A dedicated LED will light up as long as the button is pushed. The main clock out- put, however, will still output a trig signal. Practice some uses of the buttons with this Technique: Hold EXTERNAL GATE SAMPLING This last operation can be automated using the Gate/CV Input (A.7). When the switch (A.8) is set to the leftmost position, any CV signal higher than 3V can be patched in the Gate/CV Input and used to override the internal clock. With this configuration it is possible to use other signal than gates and trigs to drive the S&H cluster, such as sine or triangle waves or even the internal fluctuating random, however a gate or a square signal generally provide best results. CLOCK OUTPUTS (MAIN AND RANDOM) Every time the S&H Cluster samples a value, a 2ms trig is outputted from the Main Clock output (25A.4). If a steady pulse is used, such as the internal clock or an external one, this output will provide an exact copy of the clock. On the left of the Main Clock output lies the Random Clock output (A.5), which can either add or subtract trigs from the one in use through its switch (A.6), located between the two clock outputs. When the switch is up, or in additive mode, it outputs all the clock impulses generated from the clock with the addition of other random clocks; when the switch is down, or in subtractive mode, it randomly subtracts trigs from the ones generated to trig the S&H Cluster, i.e. it outputs only some of the trigs that are outputted by the Main Clock out. In both modes, the random clock density depends on the Global Rate of Change (See below, §4.3). Practice the clocks with these Techniques: Random Clocks #1 Random Clocks #2 Ratcheting-Like Effect #3 Clock Bursts #1 Clock Bursts #2 Double-Clock Trick Random-Clock Sequencing Since SAPÈL’s clock is 2 milliseconds long, it works really well if patched to FUMANA’s Mod- ulation Input: Percussion Sounds #2 4 RANDOM VOLTAGES SAPÈL is designed to provide a vast array of random voltages with different articulations at the same time. Each of the two S&H clusters (yellow and green) can be divided into two units: the first one generates three ran- dom voltages simultaneously, and it is activated by the clocks or gates described above; the second one generates continuous, fluctuating random values and it is com- pletely independent from the clocks and gates. NON-QUANTIZED RANDOM VOLTAGES The most basic stepped random values generator is the Sample and Hold circuit, which outputs its values through the S&H output (B.1) This generator is designed with an independent ran- dom generator and creates non-quantized stepped volt- ages with a range varying from 0 to 7.5 V. Non-quantized means that if the values are used, for example, to modify the pitch of an oscillator, the result will be a series of sounds whose frequency may not sit within the conven- tional 12-semitone Western chromatic scale. It can be used for more experimental music compositions or, more traditionally, to modulate other non-melodic parameters such as timbre, filter frequency, amplitude… QUANTIZED RANDOM VOLTAGES The other two stepped random voltage generators out- put voltages which are quantized (i.e., “forced”) to the 1V/octave standard. If applied to an oscillator’s fre- quency, the result will be a series of random “notes” The design of these two generators follows the historical Buchla module Source of Uncertainty Model 266, but with a substantial different approach. The circuit has been designed from scratch in order to obtain a more “random” voltages distribution and an extremely precise voltages quantization, capable of generating precise sem- itones or octaves. At first glance, the main difference with the S&H circuit mentioned above is that the quantized random voltage generator features a knob which controls the n parameter and whose range goes from 1 to 6, as in the original 266

Page 28 of 107 module. The role of the n parameter varies according to each generator’s label: 2n and n+1. The 2n Output (B.5) is quantized in 1/12 V steps, or sem- itones in the 1V/oct scale. In this case, the Value knob sets the exponent of 2 which, in turn, determines the number of different values that may be generated by the circuit. Given that n can be any number from 1 to 6, there are 6 possible ranges of values that this circuit can generate: n Knob value Number of generated voltages 2¹ 2 2² 4 2³ 8 2⁴ 16 2⁵ 32 2⁶ 64 Table 2: n values for 2n quantized random voltages. Please note that higher is the number, the larger be- comes the range of voltages (or “notes”) that are gener- ated, starting from 1 (0 V) up to 64 (5.25V). This will guarantee the musician more control over the final out- put and will lead to more expressive results: for example, a low n value will always generate smaller intervals and low pitches, while a high one may provide larger leaps from one semitone to the other, as well as higher notes. Please refer to the graph below (Figure 18) for a graphic representation of the exponential note distribution across all the n settings: Figure 18: 2 n quantization chart. The n+1 output (B.2) is quantized in 1V steps, or octaves in the 1V/oct scale. In this case, the Value knob (B.3) sets the number which will be summed to 1, which, in turn, determines the number of different octaves that may be generated by the circuit. Again, given that n can be any number from 1 to 6, there are 6 possible ranges of octaves that this circuit can generate: n Knob value Number of voltages generated 1+1 2 2+1 3 3+1 4 4+1 5 5+1 6 6+1 7 Table 3: n values for n+1 quantized random voltages. Even in this case, that higher is the number, the larger becomes the range of voltages (or “octaves”) that are gen- erated, starting from 1 (0 V) up to 7 (6V). Please refer to the graph below (Figure 19) which displays the linear in- crement of the octaves across the different n settings. Figure 19: n+1 quantization chart. Both the 2n and the n+1 can be controlled via external CV (B.4, B.7) thus allowing the musician to automatically vary the range of values to be outputted. Practice the use of the n+1 output with these Techniques: Ratcheting-Like Effect #2 Voice Spread #1 Random Delay FLUCTUATING RANDOM OUTPUT AND GLOBAL RATE OF CHANGE (RANDOM CLOCK DENSITY CONTROL) The main purpose of this section is to output (C.1) a continuous, fluctuating random voltage which ranges 0 to 7.5 V and whose rate of change (or “frequency”) is con- trolled by its potentiometer (C.2). This random generator is the only one (in both the S&H clusters) which is not affected by the main clocks or gates; however, on the other hand, it can affect the clock gener- ation itself. The second purpose of this section, is in fact, to control the rate of change of the random clocks: by rotating the C.2 knob clockwise, both the fluctuating voltage frequency and the random clock density (let it be in more than or less than mode) are increased, and vice versa. 2 4 8 16 32 64 -0,75 0,25 1,25 2,25 3,25 4,25 5,25 0 8 16 24 32 40 48 56 64 1 2 3 4 5 6 Volts Number of stages n value 2 3 4 5 6 7 0 1 2 3 4 5 6 1 2 3 4 5 6 7 1 2 3 4 5 6 Volts Number of stages n value

Page 29 of 107 Just like for the quantized voltage generators, this pa- rameter can be modulated with any CV using the its CV input (C.3). The external modulation will affect both the fluctuation rate and the random clock density. Practice the Global Rate of Change with this Technique: Fluctuating Random & Global Rate of Change 5 PROBABILITY DISTRIBUTION (STORED RANDOM VOLTAGES) The four S&H generators can be controlled as for mag- nitude of the voltages that are more likely to be generated: this parameter is called probability distribution, it is glob- ally set by the Probability Distribution knob (E.1) and it can be activated independently per each of the four S&H circuits through the four Probability Distribution Switches (E.2, E.3, E.4, E.5). The knob sets the magnitude of voltages which will be generated more frequently: by default, it is set to the mid- dle position, which means that medium voltages will be outputted more often than high or low ones. Rotate it to the left to raise the probability of generating lower volt- ages, and to the right for higher ones. Please note that this setting will not block the SH& cir- cuits to generate different voltages than the ones whose probability is set to be higher: they will just be generated less frequently. This is a significant difference, for example, from the n Knobs function of the quantized random voltages: in that case, the value defines the “pool” of values that may be picked; here, on the contrary, the Probability Distribu- tion Knob sets the magnitude of voltages that are more likely to be generated within the “pool” selected above.

Page 30 of 107 6 TECHNICAL DATA FLOW CHART Figure 20: SAPÈL’s flow chart. SPECIFICATIONS Parameter Details Min Typ Max Unit Current Draw +12 V 250 mA -12 V 170 Size 18 HP CV input impedance >90 KΩ Clock input impedance on positive pulses >90 KΩ clamping negative pulses ~30 Built-in clock frequency (1) ~0.1 60 Hz Quantized Random Voltage Tol- erance <1 % global offset -10 10 mV Clock output period ~2 ms amplitude ~9 V Sampling Glitch on sample & hold <400 µs quantized outputs n.a. Colored Noise Output blue 10 dBU RMS white 10 pink 7 red 4 global tolerance -2 2 dB (1) Lower frequencies may be achieved (longer times) with a negative CV used as modulation.

Page 31 of 107 FUMANA Figure 21: FUMANA interface. A Audio Inputs A.1 Main Odd Input A.2 Main Odd Level A.3 Main Even Input A.4 Main Even Level A.5 Mod Odd Input A.6 Mod Odd Level A.7 Mod Even Input A.8 Mod Even Level A.9 Unvoiced Input A.10 Unvoiced Level B Audio Outputs B.1 All Output B.2 Odd Output B.3 Odd Output Phase B.4 Even Output B.5 Even Output Phase B.6 Individual Band Outputs C Controls and CV Inputs C.1 VCA Faders C.2 VCA CV Inputs C.3 Tilt Control C.4 Tilt CV Input C.5 Tilt CV Input Attenuverter C.6 Peak/Notch Control C.7 Peak/Notch CV Input C.8 Peak/Notch CV Input Attenuverter C.9 Center Control C.10 Center CV Input C.11 Center CV Input Attenuverter C.12 Width Control C.13 Width CV Input C.14 Width CV Input Attenuverter D Controls and CV Outputs D.1 All Envelope Followers Output D.2 Individual Envelope Followers Outputs D.3 Envelope Followers Rise Control D.4 Envelope Followers Fall Control 1 PHILOSOPHY AND DESIGN FUMANA is a dual all-analog fixed filter bank. Each filter bank is composed of an array of 16 independent bandpass filters tuned to specific frequencies. FUMANA is designed around one basic core principle: modify the spectral content of the incoming audio signal by filtering it through 16 bandpass filters in parallel and then vary the amplitude of each resulting band. Even though this core principle is relatively simple, the key feature of FUMANA is that it provides a wide set of controls over the bands’ amplitude: the spectral content of the incoming sound can be thus modified by the faders, which are individually CV-controllable; by the envelope followers which are generated by the analysis of the sound patched in the Modulation input; by the global paramet- ric controls such as Tilt and Scan. Furthermore, a flexible input/output signal routing al- lows the musician to “split” the 16 filters into two 8-band spectral processors by grouping the odd and even bands separately. It will be possible to process two independent signals, or to blend two signals into one output, or even to perform two different sonic treatments over the same signal and route it to two different output sections. Individual outputs are available for each band, both for the Main sound (i.e. the filtered one) and for the Mod sound (i.e. the resulting envelopes). Since a spectral transfer tool may be used as a “vocoder- like-effect”, the FUMANA provides an input for an

Page 32 of 107 external noise which may be used for fricative/sibilant sounds. SPECTRAL TRANSFER: A BRIEF HISTORY In the modular synth domain, the most famous device for performing spectral transfer was the legendary Model 296, designed by Donald Buchla in the seventies. It was a 16 bands equalizer, which featured one input for the odd bands and one for the even bands: this solution al- lowed the artist to process two different signals at the same time, but it also allowed to transfer the harmonic content of one to the other via dedicated switches. It was thus possible to analyze the odd bands and transfer their amplitude to the even bands, and vice versa. This design was clever because it took advantage of a single array of 16 filters, but the resulting spectral transfer was somehow “approximated” because the modulation signal came from the analysis of the adjacent band, i.e. another frequency area of the spectrum, albeit quite close. The FUMANA pushes this concept even further, but still within the analog domain. An additional bank of 16 filters is added, specifically for analysis purposes, with a different band-pass slope (see below §5). When performing a spectral transfer, it is fundamental to consider the harmonic content in both main and mod- ulation audio signals. Poor harmonic content on the Main signal: if a pure sine (one harmonic) or any signals with poor harmonic con- tent is used, there are not many chances to hear good re- sults exciting several bands. Supposing it is a sine wave with a frequency of 105Hz (which lies then on band 3), theoretically something happens only when band 3 is ex- cited from the modulation signal. Rich harmonic content on Main signal: this means more chances to have several bands excited by the envelope followers control voltages created by the modulator fil- terbank. Poor harmonic content on Modulator signal: allows cre- ation of very selective envelope followers signals, which translates in a very selective spectral transfer. If the mod- ulation signal changes pitch or has a very variable con- tent, it will for sure result in a more heterogeneous spec- tral transfer. Rich harmonic content on Modulator signal: allows a very rich spectral transfer. Just keep in mind that if you are using a square wave in the modulation with frequen- cies varying from 100 to 200 Hz, probably you won’t hear that much difference, due to the richness of harmonics of the square wave. Since this operation works on the individual bands’ am- plitude, the general settings for spectral transferring re- quires the faders all the way down, so that when the mod- ulator signal is silent, the main signal is silent as well. It is also possible, however, to combine the amplitude increments of spectral transferring with the faders, leav- ing the main signal a little or completely open and using the main one to add some accents to some or all the bands. PANEL OVERVIEW A consistent color and graphic coding make the front panel easy to understand at a glance, once properly un- derstood. The main graphic solution is the distinction between the odd and even bands: since the two groups can work independently, every input or output related to the even bands is marked by a circle around the jack socket. (The bands are numbered 1-16 from left to right: odd bands are band 1, 3, 5, 7, 9, 11, 13, 15; even bands are 2, 4, 6, 8, 10, 12, 14, 16). Another key coding is the distinction between the Main filter array and the Mod filter array. Everything that re- lates to the Main filter bank, which is the circuit directly affecting the sound that is heard, is marked by the color blue, let it be audio output, CV input or even the faders’ LED color. On the other hand, everything that relates to the Mod filter bank, which is the one that extracts the envelopes from the modulating signal and modifies the harmonic content of the main filter bank, is marked in grey, includ- ing the individual envelope output LEDs (which flash white when active). Finally, the green and yellow colors mark the Global Spectral Editing tools: the former relates to the Tilt con- trol, the latter to the Scan controls. 2 AUDIO INPUTS FUMANA has two pairs of inputs, which are called Main In (blue), and Mod In (gray), short for “modulation input”, plus a fifth input called Unvoiced. (A.1, A.3, A.5, A.7, A.9). Each pair is composed of inputs for the Odd and Even bands, which are semi-normalled together. This means that when only one patch cable is connected to one of the two inputs, it automatically feeds the other. If you want to use different sources for odd and even bands, simply use two different cables. If instead, you want to feed only the odd bands and not the even (or vice versa), simply feed the odd input, and plug a dummy cable to the other input (or vice versa). Each of the four inputs has its own amplitude potenti- ometer (A.2, A.4, A.6, A.8): different levels can thus be set for odd or even filters within each pair of input. This also means that if you want to emphasize even bands on the main signal, you can simply add more gain to them, and less to the odd ones.

Page 33 of 107 The fifth input, named Unvoiced, is designed for adding some depth to the fricative consonants that might be missed when performing vocoding-like operations. It fea- tures its gain control as well (A.10). The red LEDs connected to the odd and even inputs light up displaying the amplitude of the incoming audio after the gain level. 3 AUDIO OUTPUTS FUMANA’s main audio outputs are the three in the top left area: All (B.1) outputs all the bands, while Odd (B.2) and Even (B.4) output respectively only the odd and only the even bands. In addition to these, 16 direct outputs are also provided (B.6), which are located on the top of each band. The main difference between these and the other three out- puts is that, while the All, Odd and Even, are sums of groups of bands after their respective VCAs, these 16 band outputs are pre-VCAs outputs, directly from the bandpass filters. These are very useful in case it is needed to process in parallel only a single band or a group of selected bands. In that case the 333 module can be very helpful, since it is capable of summing perfectly up to 7 signals into a sin- gle jack. The use of the individual filter outputs does not affect their respective band’s presence in the Odd/Even/All out- puts: these stages are completely independent. The Odd and Even outputs also feature a phase inversion switch (B.5): this switch may be useful in case you want to merge one of that signal with the All output, and dynam- ically emphasize (phase summing) or dynamically atten- uate (inverted phase summing) for example only the Even bands (or Odd, depending on needs). Practice the various outputs with these Tech- niques: Fumana Feedback #1 Reverb Feedback Odd/Even Crossfade The result of the sum of Odd and Even outputs is slightly different from the All output. This is because the All out- put uses an additional low pass filter at 18KHz in order to obtain a less “edgy” upper end, often resulting when using dense signals and/or heavy modulations (you can have a clear view of this looking at the Transfer Function Details). In case you need a crispier sound, consider using the Odd+Even combination. 4 AUDIO PROCESSING AND MODULATION PATH FUMANA’s filterbank processes the sound patched to the Main input by varying each band’s amplitude through a VCA circuit. Such variation can be achieved in four different ways, many of which can easily co-exist: · through the individual band faders; · through the individual band CV inputs, right below the faders; · through the Macro Spectral Editing tools (Tilt and Scan) · through the spectral transferring function performed by any sound patched to the Mod input. The result of all these modulations is outputted by the All, Odd and Even outputs, and it is visually displayed by the 16 blue LEDs placed on the 16 band faders, whose intensity graphically displays the amplitude of the respec- tive band after any modulation applied. The relationship of the modulations is displayed in Figure 22, and it will be further explained in the next paragraphs. Figure 22: FUMANA’s modulation routing. FADERS AND CV The main CV comes from the 16 faders (C.1), one per band, on the main panel. In the lowest position the VCA is closed: raise the fader to increase the selected band’s amplitude. This operation can be automated through the 16 individual jack sockets below each fader (C.2), which provide inputs for external CVs. The CV inputs welcome any signal either bipolar or unipolar, even at audio rate, up to ~1000Hz (after which a lowpass filter is applied, see Figure 23): it is thus possible to perform AM over an in- dividual band!

Page 34 of 107 Figure 23: CV frequency roll-off. Practice the individual bands’ CV inputs with this Technique: Spectral Sequencing MACRO SPECTRAL EDITING The yellow and green areas at the bottom of the module are, respectively, bands parametric scanning and bands tilting. These two functions are totally independent the one of the other. These have been designed to quickly modulate multiple bands with a few controls. Each of these parameters has a main potentiometer (C.3, C.6, C.9, C.12) and its own CV input (C.4, C.7, C.10, C.13) with a dedicated attenuverter (C.5, C.8, C.11, C.14). 4.2.1 Tilt The green section is the Tilt parameter (C.3, C.4, C.5). Assuming a fixed fulcrum in the middle of the 16 bands (between band 8 and 9), the Bands Tilting allows to grad- ually emphasize half of the bands, as much as the band itself is far from the fulcrum and attenuate the other half in the same way. It is then possible to change the balance between lower or higher frequencies. The parameter has its rest at the center. Moving it counterclockwise the bands from 1 to 8 are emphasized, with an emphasis that gradually decreases from 1 to 8. At the same time, bands from 9 to 16 are progressively attenuated, from band 9 to 16. One of the possible uses of the band tilt is to use it to temporarily attenuate the lower frequencies’ presence when the mix is particularly “crowded” in that frequency range. In fact, feeding the CV with the envelope you use to create your basses, or passing the audio of the bass drum through an envelope follower, results in a tempo- rary emphasis on the higher frequencies. Balance the tilt with its main pot, and simply play with the attenuator and envelope follower times to obtain the desired effect. 4.2.2 Parametric Scanning The yellow section is called Parametric Scanning due to its similarity to the use of 3 variables as the parametric EQ. In any parametric EQ, it is possible to set the center fre- quency, the gain value, positive or negative, also called peak/notch in some cases, and the slope. Here it is simi- lar, but it doesn’t work directly as a filter, but as a voltage control which feeds each band VCA. The first control is called Peak/Notch (C.6, C.7, C.8) and it selects the amount of emphasis or attenuation of the scan: when the knob is at its center, no emphasis is ap- plied; when it is moved clockwise, a positive gain offset is applied; when it is moved counter-clockwise, a negative gain is achieved, which can be useful to perform notch- filter-like operations. The Center control (C.9, C.10, C.11) sets where this em- phasis/attenuation has its maximum/minimum level: when fully counterclockwise, no band is emphasized; by rotating it clockwise, the position shifts from band 1 to band 16; when fully clockwise, no band is emphasized as well. With the Width parameter (C.12, C.13, C.14) it is pos- sible to emphasize nearby bands: you can set a width from none to all 16 bands (16 bands are audible only if the Center knob is set to noon). To bypass the parametric scanning simply move the Width control completely counterclockwise. Practice the different parametric scanning controls with these Techniques: Percussion Sounds #1 Percussion Sounds #3 Raw CV SPECTRAL TRANSFERRING: MODULATION FILTERS AND ENVELOPE FOLLOWERS The modulation circuit is designed to perform spectral transfer between the modulation signal and the main one. The modulating signal must be patched to the Mod in- put, which feeds an array of 16 band-pass filters similar in design to the ones in the main array; then, each filter feeds a dedicated envelope follower; the resulting 16 en- velopes create as many different control voltages that are semi-normalled to the VCA input jacks (C.2). As said above in the paragraph about the Modulation Routing, patching a jack into any individual band CV in will break the semi-normalization of the envelope follow- ers. The duration of the resulting envelopes can be modified with the E.F. Attack and Release control knobs (D.3, D.4). The leftmost position offers the fastest envelope response; rotating it clockwise will result in slower envelopes. Usually, the only parameter in the time domain used to modify the envelope followers’ signals is the Release time. -48 -42 -36 -30 -24 -18 -12 -6 0 6 10 100 1000 10000 Amplitude (dB) Frequency (Hz)

Page 35 of 107 FUMANA is equipped with the Attack time as well, in order to have more control over the harmonic content modification and obtain more subtle results. The circuit response is non-linear, meaning that the knobs allow for more precise control over the fast times rather than the long ones, which is useful when a signal with fast transients is being processed. Furthermore, given that the more conventional use of this circuit is to perform vocoding-like operations, it is more frequent that fastest envelopes are required. Each envelope uses its own independent time-scaling factor, which is longer for lower frequencies and faster for the higher frequencies, in order not to cut any audio wave semi-period. The envelopes resulting from this spectral analysis are also available on the 16 E.F. outputs (D.2), which can be used as CV to be routed to different points of the patch without affecting their transfer to the VCAs of the main filters. An All E.F. output is also provided, which sums all the envelopes together (D.1). Practice the All EF out with this Technique: Sidechain #2 The amplitude of the Envelope followers also depends on the level of the modulation source: the FUMANA is designed to work with input potentiometers in center po- sition (12 o’clock) when modular levels are used (bipolar 10Vpp). Potentiometers can be used to amplify or atten- uate particularly hot signals. Practice some peculiar spectral transferring patches with these Techniques: Kick Drum #2 Percussion Sounds #2 FUMANA Feedback #3 TZFM Spectral Transferring Spectral LFO THE ‘UNVOICED’ SECTION Unvoiced sounds (fricative/sibilants) are common in human languages and can be found in words containing or starting with s, f, z, ch and other fricative sounds ([s] [z] [ʃ] [tʃ] [dʒ] [ts] [ʂ] [f] [v] [ɸ] [θ] [ʒ] etc.). Historically, all vocoders have an additional section to manage these kinds of sounds. Usually that section worked with a sort of “unvoiced detection circuit”: you can get an approximated idea of it imagining a “de-es- ser”, which detects the presence of certain frequencies in the sound spectrum, and instead of doing a selective band compression attenuating that frequencies, it controls a sort of mixer that changes the input of the filter from the main to a noise signal, and is capable of very fast transi- ents. The FUMANA has been designed to be a spectral edit- ing tool, more than a vocoder: for this reason, since its sketches shared a lot of things with vocoding circuits, we developed our own approach of the Unvoiced section, which for sure leads to different results. It works manag- ing the amplitude of the noise and summing the result with the main signal on 2 selected bands, instead of vary- ing the mix between main and noise signal. The two se- lected bands are the 14 and 15. The jack socket in the Unvoiced area is the input (A.9) for the noise audio signal, that may be provided by the SAPÈL (we tend to suggest pink noise or white noise). The potentiometer (A.10) sets the noise level. It is also important to specify that even if the input is one (mono), the detector and the amplitude manager of that noise is dual and totally independent. Band 14 has its own envelope follower signal controlling its own VCA, as well as band 15. This means that when used with two different modulation signals and two outputs (odd and even), the result of the unvoiced signal added to the main one is totally independent. Practice the Unvoiced input with this Tech- nique: Unvoiced Input Figure 24: FUMANA’s Unvoiced section. Also, we worked on the way these envelopes are achieved: in the FUMANA they tend to be much “softer” than normal to reduce risks of “envelopes bounces”

Page 36 of 107 resulting in really fast “noise sparks”. This approach al- lows to use the unvoiced section also for non-vocal pur- poses. A good example is using drums with cymbals/hats as modulation source: in this case, the unvoiced sections helps to detect when there is material and recreate cym- bals or snare wires. Anyway, this does not limit you to put any kind of waveform in the unvoiced input and start to experiment by yourself. 5 FILTER DESIGN Each of the two filter arrays is based on 16 parallel an- alog bandpass filters. The main filter bands from 2 to 15 are mainly based on Bessel calculation, while bands 1 and 16 are respectively a lowpass and highpass filter with a custom method to obtain better musical results. All bands on the main filter array use an 8th order slope (48dB/oct). Conversely, the modulation filter array uses a 6th order filter slope (36dB/oct), and an additional stage to com- pensate each band’s energy. The calculation method used was optimized for this specific purpose. The crossover frequency between each filter from band 2 to 15 is an approximation of an interval of ~5.5 semi- tones (or 11/24 of an octave). This results in a distance between odd bands (and also between each even band) of ~11 semitones (11/12 of an octave), or a Major 7th. The ratio is defined in order to limit the chance to obtain a recursive tone emphasis/attenuation over the whole au- dio spectrum. The first and last band’s frequencies are calculated in order to achieve the best regulation of “sub-bass” and “upper-end”. The filters are designed to guarantee the flattest fre- quency response on the ALL output, which within ±1.5dB from band 2 to 15, and globally between ±4.5dB. 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.

Page 37 of 107 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. 7 TECHNICAL DATA TRANSFER FUNCTION All tests performed after 30 minutes of warmup at room temperature of 23°C using pink noise at a sampling rate of 96KHz. The resolution used is 65’536 points which corresponds to ~0.732421875Hz of windowing. Please note that the transfer function of the module may vary from module to module, ±2dB is still accepted. The causes are the components tolerance and the trimming which is done manually per each band to define their amplitude. The trimming is done to achieve the flattest band on the all output. Results on odd or even are then a consequence of this setting. Figure 25: All bands output, complete. Figure 26: Odd bands output, complete. Figure 27: Even bands output, complete. Figure 28: All bands output, detail. Figure 29: Odd bands output, detail. Figure 30: Even bands output, detail.

Page 38 of 107 SPECIFICATIONS Parameter Details Min Typ Max Unit Current Draw +12 V 430 mA -12 V 390 Size 42 HP CV input impedance >90 KΩ CV output impedance <50 Ω Audio Input impedance >20 KΩ Audio Output impedance <50 Ω Individual Filters <250 Envelope followers’ amplitude from 0/10 V. (2) ±5 % (2) To avoid incorrect behavior when driving external VCAs, a slight negative BIAS voltage is applied to each envelope circuitry to prevent a minimum positive voltage on output due to components’ tolerances.

Page 39 of 107 FALISTRI Figure 31: FALISTRI interface. A Generators A.1 Trig/Gate input A.2 Trig/Gate Button A.3 End Of Rise A.4 End Of Fall A.5 Bipolar Output A.6 Unipolar Output A.7 Attenuverter A.8 Attenuverted Output A.9 Rise Time A.10 Rise CV Input A.11 Rise Shape A.12 Fall Time A.13 Fall CV Input A.14 Fall Shape A.15 V/oct Input A.16 Time Scale A.17 Play Mode A.18 Force Loop Input B Four-Quadrant Multiplier B.1 Four-Quadrant Multiplier Input 1 B.2 Four-Quadrant Multiplier Input 2 B.3 Four-Quadrant Multiplier Level B.4 Four-Quadrant Multiplier Output C Linear Slew Limiter C.1 Linear Slew Limiter Input C.2 Linear Slew Limiter Rise Control C.3 Linear Slew Limiter Fall Control C.4 Linear Slew Limiter Output D Dual Cascaded Frequency Divider (DCFD) D.1 DCFD Input 1 D.2 DCFD Input 2 D.3 DCFD Output 1 D.4 DCFD Output 2 D.5 DCFD Range 1 D.6 DCFD Range 2 E Quadrature Section E.1 Max Output E.2 Quadrature 1 PHILOSOPHY AND DESIGN FALISTRI is a fully analog multipurpose movement manager designed to generate and edit voltages to easily accomplish any patch. The module can be divided in two big parts: the upper two-thirds of the panel are occupied by two specular function generators, while the lower third is composed by a dual cascaded frequency divider, a lin- ear slew limiter and a four-quadrant multiplier. 2 FUNCTION GENERATORS The generators are designed to quickly and intuitively achieve the function needed, providing several outputs and inputs to dynamically change their times and trigs. The main peculiarity in this design is the way shapes are managed: · times are independent from shapes – when sculpting an envelope, you can freely morph from logarithmic to linear to exponential slope, without changing the time needed to complete Rise or Fall (and their Loop time when used as oscillator); · shapes are exclusive per each stage – you can have logarithmic Rise and logarithmic Fall, Linear Rise and Logarithmic Fall or any other combination of the modes. Of course, any blending in between these shapes is achievable, allowing deep sculptures of sound when used as Control Voltage as well as audio source. The time switch scales the time factor on both rise and fall stages in each generator. 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:

Page 40 of 107 · 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 The Trig/Gate Input and the Trig/Gate Button trig the en- velope: you can use either the manual button or an exter- nal trig or gate (for details concerning trig and gate

Page 41 of 107 thresholds see the technical specification section below, 4.1). If the function is running, any retrig signal recalls the function’s rise stage, this means that: · if the function is already in its rise stage, nothing changes; · if the function is in its hold stage, nothing changes; · if the function is in its fall stage, it goes back to rise, starting from the level on which it left the fall stage; · if the function is in its rest stage, it starts a new func- tion. It is useful to know that, being FALISTRI a triangle core generator, and having a wave shaper stage applied after the core, if the retrig happens during fall stage and you are using different wave shapes than linear, some in- teresting discontinuity will occur. Figure 32: FALISTRI’s retrigs with different envelope shapes. 2.3.1 Green Alternative Retrig (On Rest) The green function generator offers a unique feature which can be activated with a switch on the back of the module. It is up to the user to decide how it should be- have: · To Rise (lower position) – same behavior as the yellow one; · On Rest (higher position) – the retrig is effective only when the generator is at its rest stage. This last feature allows you to use the generator as a formant oscillator, maintaining roughly the spectral con- tent of the function you designed across several notes, and resulting in frequency divisions ( /2, /3, /4, /n… ) of the external frequency used to trigger it, when this “slave” period is longer than the “master” one. Since this switch is on the back of the module, it is meant to provide a set-and-forget option. However, in case of more than one FALISTRI on the same system, one might actually forget the setting: for this purpose, when the green generator is set On Rest and its play mode is Transient (see above, §2.3), the trig/gate LED will not light up. To check whether the green generator is set On Rest or To Rise, set the generator to Transient Mode and push the Trig/Gate button (A.2): if the LED lights up, it’s To Rise; if it doesn’t, it’s On Rest. Please note that the Quadrature mode forces the To Rise mode, so the switch is ignored (see below, §2.5.1). Practice the two behaviors with these Tech- niques: On Rest/To Rise Formant/Sync OUTPUTS Each generator provides 5 different outputs: two gates and three CV. The Control Voltage outputs are: · Bipolar (A.5, marked with two dots): range ±5 V, use- ful for bipolar LFO or when the function is used as an audio rate oscillator · Unipolar (A.6, marked with one dot): range 0/+10 V, useful for any traditional envelope modulation. · Attenuverted (A.8, connected to the A.7 attenuverter): ranges from 0 V to anything up to +10 V or 0 V to any down to −10 V. It is still unipolar, but with the polarity and amplitude you prefer. Practice the attenuverters with these Tech- niques: Complex Envelopes #2 Kick Drum #1 Gate outputs are, from left to right, End Of Rise (EOR) and End Of Fall (EOF). Figure 33: FALISTRI’s envelope shapes, EOR, EOF. ADDITIONAL GENERATOR FEATURES 2.5.1 Quadrature The Quadrature switch enables the quadrature mode when moved to the right. Quadrature is a peculiar function

Page 42 of 107 which allows to chain the stages of both generators to ob- tain more complex functions. You may want to think as a couple of envelopes whose stages are inter-depending. Here is the sequence: · begin of cycle → yellow starts to rise; · yellow rise ends → green start to rise/yellow in hold; · green rise ends → yellow start to fall/green in hold; · yellow fall ends → green start to fall/yellow in rest; · green fall ends → end of cycle. To achieve quadrature, move the Quadrature switch to the right, and set the green generator in Hold mode. You may now achieve three kinds of results, basing on the yel- low generator’s mode in use: Yellow in Loop: a looping quadrature, which automati- cally restarts from the yellow rise stage when the green ends its fall; Figure 34: Quadrature mode with the same yellow and green times. Figure 35: Quadrature mode with different yellow and green times. Yellow in Transient: a single shot quadrature cycle; Figure 36: FALISTRI’s Quadrature, yellow generator in Transient mode. Yellow in Hold: a single shot quadrature cycle, whose yellow hold stage depends from both green rise time and the length of the impulse/gate used to trigger the yellow generator. As described in the Green Retrig section (§2.3.1), the quadrature mode deactivates the retrig mode On Rest for the green generator. 2.5.2 Max The Max section outputs the higher value between the two attenuverted signals (also called Analog OR in some synthesizers). It is particularly useful to combine the yel- low and green function in order to achieve more complex envelopes or unconventional wave shapes. 2.5.2.1 ADSR With Quadrature enabled it is possible to obtain enve- lopes such as ADSR (Attack-Decay-Sustain-Re- lease)/AHDSR (Attack-Hold-Decay-Sustain-Release) by using the Max output (E.1) and the attenuverters (A.7) to set the relative levels. The Attack is performed by the yellow Rise. The Hold time, when needed, is determined by both the green Rise time and the yellow Hold time (when the yellow generator is in Hold mode). When the yellow Fall starts, the green generator enters in Hold mode until the yellow envelope reaches its end. The green Hold level is set by its Attenuverter (A.7). As long as the yellow Fall level is higher than the green Hold one, the envelope will be in its Decay stage. When the green Hold stage level is higher than the yellow Fall, the envelope will be in its Sustain stage, whose duration is set by the yellow Fall time. When the yellow Fall reaches its end, the envelope be- gins its Release stage, which is set by the green Fall time. Figure 37: AHDSR envelope with FALISTRI’s Quadrature. Practice the Quadrature mode and the Max output with these Techniques: Quadrature #1 Complex Envelopes #1 Accents #1 Bouncing Ball 3 FUNCTION PROCESSORS DUAL CASCADED FREQUENCY DIVIDER Also known as flip/flop or sub-octave processor, each of these processors changes its logic state every time a low to high transition is detected.

Page 43 of 107 The top left jack sockets (D.1, D.2) are inputs, the bot- tom right ones (D.3, D.4) are outputs. The first circuit is the top one, the second circuit is the bottom one. The two sections are semi-normalled in order to achieve 1/2 and 1/4 outputs from a single input. Output Range switches (D.5, D.6) are useful to obtain unipolar (0 V/+10 V) when the switch is high or bipolar signals (±5 V) when the switch is low. When an audio signal is used as input, it works as a sub- octave generator (a square or pulse wave is preferred as carrier). When a clock is used it works as a clock divider. Bear in mind that if the input is a trig, the output is always a gate, since the flip flop retains its state (high or low) until a new rising edge is detected at its input. Random clocks from SAPÈL create interesting varia- ble-length sequences of gates. The following example uses a clock as input, obtaining half and quarter of that clock frequency. Figure 38: FALISTRI’s DCFD as a double clock divider. The following example uses a random clock stream as input. Figure 39: FALISTRI’s DCFD as a random flip-flop. This last example uses a square-ish wave as audio rate source, obtaining −1 and −2 octave as output. Figure 40: FALISTRI’s DCFD as a sub-octave generator. Practice the DCFD with these Techniques: Ratcheting-Like Effect #1 Octave Blends FOUR-QUADRANT MULTIPLIER The Four-Quadrant Multiplier (4QM) is a circuit that mul- tiplies two signals by one each other. It is similar to a VCA, with the main difference that it welcomes bipolar signals on both inputs, allowing any possible combination of positive and negative polarities, which can be thought of as the four quadrants (hence its name) of a two-dimen- sional Cartesian plane. It can be thought of as a ring mod- ulator, a balanced modulator, or a through-zero VCA. With an exceptional linearity, and a bandwidth from DC to more than 20KHz, the result of this operation is completely up to the sources in use. The two inlets are the jack sockets on the left: the first from top (B.1) is semi-normalled to the yellow unipolar output; the second (B.2) is semi-normalled to the green bipolar one: in this way you can use the yellow as an en- velope and the green as an audio source, without patch- ing any cable. The Level knob (B.3) sets the amount of the two signals, affecting the Output as a whole (B.4). The 4 led matrix shows which of the quadrant is cur- rently in use: the Input 1 (B.1) moves the lights vertically (negative bottom, positive top), and the Input 2 (B.2) moves the lights horizontally (negative left, positive right. 3.2.1 Amplitude Modulation & Ring Modulation (2 vs 4 quadrants) When one of the signals is bipolar and the other is uni- polar, the 4QM works like an actual linear VCA: this is the default behavior. This means that if, for example, the green generator is working as an oscillator, the yellow one controls its amplitude. This configuration allows you to use FALISTRI as a simple, yet effective synth voice. Practice this Technique: Synth Voice

Page 44 of 107 If the yellow generator too is brought to audio rate, FALISTRI starts to perform amplitude modulation (AM), also called unbalanced modulation because one of the two signals is positive-only and only two of the four quadrants of our hypothetical Cartesian plane are in use. The result of the amplitude modulation is a signal which retains the carrier frequency with additional fre- quencies called ‘sidebands’: in case both signals are pure sine waves, these sidebands will be two, that is the sum and the difference of the Carrier and Modulator’s fre- quencies, whose amplitude depends on the amount of modulation, but in any case will not exceed half of the Carrier’s amplitude. In case the Modulator’s frequency is higher than the Carrier’s, and their difference results in “negative” frequency, they will be heard with inverted phase. Figure 41: Amplitude modulation (AM). In case both signals are bipolar, FALISTRI starts to perform the so-called Ring Modulation (RM), or ‘bal- anced modulation’ because it uses all of the four quad- rants (i.e. the combinations of positive and negative po- larities). The result of RM is quite similar to the one of AM, with the major distinction that in RM the carrier frequency is suppressed, being the sidebands the only audible output. Their amplitude, in this case, is equal to the Carrier’s one. Figure 42: Ring modulation (RM). Practice AM and RM with this Technique: VCA/AM/RM 3.2.2 Trimming The front panel features a trimmer in the 4QM area. This may be useful to set the zero level when used with a unipolar envelope that falls at zero, reducing possible DC offset that would cause a lower attenuation. By default, it is trimmed with the yellow unipolar signal. LINEAR SLEW LIMITER Also known as portamento or glide when using a quantized CV, this processor comes into play when any voltage smoothing is needed. This section smoothens any kind of voltage transition with independent controls over the ris- ing and falling edges of the incoming signal. The pot on the left (C.2) sets the slew of the rising volt- ages patched to its input (C.1), while the pot on the right (C.3) of the falling ones. The result is routed to the Output (C.4) The two LEDs are also helpful to display what is happening under the hood. Figure 43: Linear slew limiting. Practice this tool with the following Tech- nique: Pitch Smoothing

Page 45 of 107 4 TECHNICAL DATA SPECIFICATIONS Parameter Details Min Typ Max Unit Current Draw +12 V 170 mA -12 V 170 Size 18 HP CV input impedance > 90 KΩ Clock Input Input Trigger Threshold Amplitude > 1.5 V Maximum Frequency (at 1.5 V) > 6 KHz Minimum Pulse Period < 80 µs Impedance > 90 KΩ Loop input Input Trigger Threshold Amplitude > 3 V Maximum Frequency (at 3V) > 6 KHz Minimum Pulse Period < 80 µs impedance > 50 KΩ Times & Frequencies Single stage (Rise or Fall) with Long Times from > 0.9 ms to > 8 > 10 s Complete Cycle with Long Times from < 1.9 ms > 520 Hz to > 16 > 20 s <0.625 < 0.05 Hz Complete Cycle with Short Times from < 0.16 ms > 6.1 KHz to > 1 > 1.5 s < 1Hz < 0.67 Hz Generators Voltages Output Unipolar Amplitude > 10 V Bipolar Amplitude > ±5 V Unipolar Offset (in Rest) < 35 mV Impedance > 100 Ω Generators V/oct Tracking audible range < ±5 ȼ MAX output Tolerance % Impedance > 100 Ω Generators Gate Output Amplitude > 10 V Offset -20 20 mV EOF min positive pulse period 1 ms Impedance > 220 Ω Cascaded Flip-Flop(s) Input Trigger Threshold Amplitude > 3 V Maximum Frequency (at 3V) 40 KHz Minimum Pulse Period <10 µs Output Unipolar Amplitude (high) >9 ~9.5 V Bipolar Amplitude >±4.5 Offset <50 <100 mV Impedance Input >90 KΩ Output >220 Ω Four Quadrant Multiplier Dynamic Range (3)(4) 75 78 dB Residual THD+N (3) 0,015 0,02 % Maximum Allowable Gain (3)(5) 6 6,5 7 dB High Frequency Roll Off -3dB 36 KHz Impedance Input >90 KΩ Output >100 Ω Slew Limiter Slew Rate Minimum 1 1,25 V/ms Maximum 0,5 0,6 0,7 V/s Impedance Input >28 KΩ Output >100 Ω (3) Using a DC on one input and a sine wave at 2.4KHz at 3V rms on the other. Pot fully clockwise. (4) Filtered with 30KHz LPF and 400 Hz HPF. (5) 10Hz÷80KHz REVISIONS Starting from lot no. 201001 we rearranged the board layout to facilitate the calibration procedure in the lab. The functions of the modules and its tech specs have not been changed.

Page 46 of 107 USTA (Refer to firmware v. 152) Figure 44: USTA interface. A Stages A.1 Stage Encoders [1→16] A.2 Stage Arc A.3 Stage RGB LEDs B Buttons and LEDs B.1 Set All B.2 Shift All B.3 Coarse B.4 Esc B.5 Pencil Button and LED B.6 CV A button and LED B.7 CV B button and LED B.8 Length button and LED B.9 Gate A button and LED B.10 Gate B button and LED B.11 Track buttons and LEDs [1→4] B.12 Reset B.13 Play B.14 Navigation Encoder C Other Visual References C.1 Play LED C.2 Pattern LED C.3 Song LED C.4 Menu LED C.5 7-Segment OLED Display C.6 Stage Loop LED D Inputs D.1 Clock Input D.2 Auxiliary Gate Input D.3 CV A Input D.4 CV B Input E Outputs E.1 Track 1 – CV A E.2 Track 1 – CV B E.3 Track 1 – Gate A E.4 Track 1 – Gate B E.5 Track 2 – CV A E.6 Track 2 – CV B E.7 Track 2 – Gate A E.8 Track 2 – Gate B E.9 Track 3 – CV A E.10 Track 3 – CV B E.11 Track 3 – Gate A E.12 Track 3 – Gate B E.13 Track 4 – CV A E.14 Track 4 – CV B E.15 Track 4 – Gate A E.16 Track 4 – Gate B 1 QUICK START Once you have installed USTA and powered up your system, you will see a fast boot screen with the Frap Tools logo on the OLED Display (C.5), then a screen with var- ious details concerning the project you are about to cre- ate. Track 1 (B.11) and its CV A (B.6) are already selected and ready to be edited. Start rotating the 16 encoders (A.1) and you will see that the LEDs surrounding them (A.2) are progressively light- ing up, and at the same time a changing note name ap- pears in the lower-left corner of the Display, indicating the pitch of the selected stage of the sequence. This is the content of the sequence, which will be outputted by the CV A jack port of the first track (E.1).

Page 47 of 107 Patch it to the 1V/oct input of your oscillator and then push the Play button (B.13) to hear the sequence. Now you may need gate signals to separate the notes and add dynamics to your sequence. Push the Gate A button (B.9) to access the Gate Channel and rotate the Stage Encoder (A.1) as before. You are now defining the individual gate-high time for each of the 16 notes you entered. Patch the Gate A output of Track 1 (E.3) e.g. to an envelope controlling the VCA, or the filter. What you just obtained is a sequence of 16 notes with equal duration. Feel like something is missing? It actually is. To learn how to work with full polyphony, have faster or slower sequences at the same time, change the length of the notes, make a single note vary every time it is played, but still in the key you chose, have some random ratcheting on a given stage, loop a section within a song structure, and many other things, please take a deep breath and keep reading. 2 PHILOSOPHY AND DESIGN USTA is a 4×4 tracks, variable-stage-length sequencer for voltages and gates. Variable stage length means that every single stage dura- tion can be individually set in relation to the clock, instead of being constrained to a one-to-one ratio (i.e. one step per every clock impulse). 4×4 tracks means that every stage can store and generate up to four separate voltages (two CV and two gates) and that up to four independent sequences can be arranged as simultaneous tracks. USTA’s user interface is based on a straightforward 16- stage circular design with an array of multi-functional en- coders with push switch and buttons. This allows users to easily navigate within the sequencer’s flexible software architecture and to quickly display and edit relationships between the different stages. Those main features are what makes USTA the Euro- rack Voltage Score: its flexibility on the time, rhythm and harmony domain, its large set of independent outputs and its performance-oriented interface allow the user to achieve nearly any musical result, from fine Baroque po- lyphony to the most extreme polyrhythmic noise live per- formance. ARCHITECTURE USTA’s architecture is designed to provide a wide set of compositional tools without sacrificing the user-friend- liness. The smallest “brick” of the sequencer is the stage, which contains two separate control voltage values, two separate gate values and all the behavioral information necessary o generate four synchronous musical events, including pitch, volume, timbre, repetition, probability… A sequence of up to 16 stages (one per encoder) forms a pattern, in the same way that a series of individual musi- cal events forms a melody. Up to 32 patterns are contained in a track, which can be compared to a musical piece for solo instrument. Beside all the melodic content stored in a pattern, a track also contains the performance information, including which pattern is currently playing, which external control is used as modulator, and so on. Four tracks are simultane- ously available in USTA, and they can have different tempos, number of stages and patterns. Just like any musical piece, the track can be either im- provised, when the musician decides all these perfor- mance details on the go, or carefully composed first, and then played back: in order to accomplish this last task, USTA allows an alternative playing mode called song, in which all the patterns can be arranged in a pre-deter- mined set. This information can be independently set per each of USTA’s four tracks. All the four tracks along with their data and information are contained in a project, which is the general operational framework of the sequencer. A project can be stored on the included micro-SD and re- called whenever is needed (one project at a time). On the first startup an empty project is created (called NONAME), then at every other startup USTA automatically will re- call the last project opened how it was saved. Projects and trimming settings can be backed up on your computer from the micro-SD. TEMPO MANAGEMENT Conventional step sequencers use the reference clock to jump from one step to the other. This means that the step duration, which is the time from one step to the other, corresponds to the period between consecutive clock im- pulses. USTA, on the other hand, allows every stage to have a different length that can be set in relation to the reference clock (and this is one reason why the term stage is pre- ferred over step). Such relation is achieved through two deeply connected concepts, time units and time ratio. The unit is the shortest possible duration of a given stage, while the ratio defines the unit length in respect of the clock tempo. It is possible to have 16 different time ratios: 8 are clock divisions, thus providing units that are longer than the clock impulses; 7 are clock multiplications, thus providing units that are shorter than the clock impulses; one is the exact clock period, thus providing units that are as long as the clock impulses.

Page 48 of 107 The following chart displays the clock to unit ratios available: on the left is the number of clocks, on the right, the number of units. 24:1 Clock division (n clock impulses per 1 unit) 8:1 7:1 6:1 5:1 4:1 3:1 2:1 1:1 1 clock impulse per 1 unit 1:2 Clock multiplication (1 clock impulse per n units) 1:3 1:4 1:5 1:6 1:7 1:8 Table 4: Clock-to-unit ratio Each stage length can measure from 0 to 16 units, where 0 means that the stage has no length in the time domain, therefore it will skip. The combination of time ratio and units allows ex- tremely flexible sequences of stages. For example, with the same clock, it is possible to achieve fast sequences if the time ratio is set to 1:4 and the stage duration is set to 1 unit, or slow sequences of whole notes if the time ratio is set to 2:1 and the stage duration is set to 4 units. It is also possible to have extremely slow sequences by crank- ing up the stage length to 16 units and the ratio to 24:1… Another benefit of USTA’s architecture is the efficient use of stages to create melodies: in the image below, the melody (a) needs 16 steps and four gates to be performed on a standard step sequencer with a regular clock (b), while on USTA it takes only four stages, one per each musical event (or “note”), each one with its relative dura- tion and gate (c). Figure 45: Step versus stage sequencing. 3 BASIC EDITING AND VISUAL FEEDBACK The interaction between the musician and USTA hap- pens both through the navigation menu and more “man- ual” operations such as button and encoder combina- tions. Likewise, the visual feedback combines the color- coded LEDs and the information provided by the default screen on the display (C.5), called Dashboard. Figure 46: USTA’s Dashboard. F Dashboard F.1 Project Name F.2 Root Note F.3 Scale F.4 Clock Source and BPM/PPM F.5 Time Ratio F.6 Swing F.7 Total pattern length F.8 Selected pattern F.9 Playing pattern F.10 First pattern F.11 Last pattern F.12 CV A value F.13 CV B value F.14 Length Value F.15 Gate A value F.16 Gate B value F.17 Stage Loop From F.18 Stage Loop Length F.19 Stage Loop For As a rule of thumb, all the data regarding the general behavior of USTA (track settings) are accessed through the Project Menu and Track Menu (see below, §§3.1-3.2), while all the data concerning the very musical content, such as individual stage data, are set via dedicated encod- ers and buttons (§3.3 onwards). EDITING PROJECTS − PROJECT MENU On its first boot USTA automatically creates an empty project called NONAME, which is ready to be edited. All the editing is stored in a volatile memory: to avoid data loss, it is possible to save the project into an SD card. To per- form these tasks, push and hold the navigation encoder (B.14) for three seconds until the Menu LED (C.4) lights up red: this will open the project menu. Figure 47: Project Menu LED. Once there, rotate the same encoder to navigate through the menu items, and push it to select the desired one. CV GATE STEP C C C D D D D D D E E E E F F F 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 GENERIC SEQUENCER TARGET SCORE USTA b a c CV GATE STAGE LENGTH C D E F 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 3 6 4 3 0 0 0 0 0 0 0 0 0 0 0 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Page 49 of 107 It is possible to perform five operations concerning pro- jects: New… create a new project, which will be called NONAME Save as... save the current project with a new name Load... load a previously saved project; Save save the current project Delete... delete a previously saved project Rename... change the name of a previously saved project. When performing tasks such as Load..., Delete... or Re- name..., a new window will open in which all the projects are listed: rotate the navigation encoder to select the de- sired project and push it to perform the desired task. When saving the project as a new one, or when renam- ing an existing one, a new window will open to let you type in the new name. You will notice an angle bracket after the last character of the name ( < ): this is the delete symbol, and when it is present you may press the encoder to delete a letter or number. To add a new character, rotate the encoder and skim through the alphabetical series. Push the encoder again to confirm and move on to the next character. Once the new letter is confirmed, the delete symbol will appear again and it will be possible to delete the last entered character. Once the name is set, press the Play button (B.13) to save it and the Reset to cancel the operation. These operations are not designed for live performance; still, they can be easily performed while USTA is playing, without major issues. In case a project is saved while USTA is playing, the machine temporarily freezes on the current step, then gets back to play. When loading a project while playing, USTA does not stop, but all the user interface elements (LEDs, OLED screen, RGB LEDs and Stage Arc) are momen- tarily disabled for half a second. During these operations, USTA might slightly slow down or even miss a clock impulse when using an external clock, with direct consequences on the Clock-to-Unit Ratio calculation. Please note that you cannot rename a freshly created project unless you save it first. A high number of projects can be stored into USTA’s microSD, but only the first 128 projects in alphabetical order will be used/recalled. Once you are done editing the project, press Esc to re- turn to the dashboard: the name of the selected project will then be shown in the top section (F.1). If you happen to select Save instead of Save as… USTA will automatically save your current project as NONAME; however, this procedure is not recommended since any other project accidentally saved as NONAME will overwrite this last one. EDITING TRACKS − TRACK MENU Once a new project is created, you can start to compose or improvise. USTA allows you to edit one track at a time. Track 1 is selected by default: to select another track, press one of the four Track Buttons (B.11). Once the desired track is selected, the LED above its button will light up green. At this point, USTA’s interface displays the information relative to the selected track and it is possible to play or edit it. 3.2.1 Clock Settings To set the clock, push once the Navigation Encoder (B.14) to access the track menu: the Menu LED (C.4) will light up green. Figure 48: Track Menu LED First, it is possible to choose whether your clock will fol- low an internal or external clock (see below §7.1). If you choose to have the selected track controlled by the internal clock, you shall then define the internal tempo (expressed in BPM) by editing the Int BPM param- eter. Whether you choose to use an internal or external clock, you can select the time ratio on which calculates the step unit, through the Ratio parameter. If you want to apply the same Track Menu settings to all the tracks, hold the Set All button (B.1) before pushing the navigation encoder to save the setting (see below §4.1). Once you finished, press Esc (B.4) to exit the track menu and return to the dashboard: the information concerning BPM and time ratio is now displayed in the second row, right below the project name (F.4, F.5). If you chose to use the internal clock, the tempo value is expressed in BPM, after the abbreviation INT; if you chose to use an external clock, patch it to the Clock Input (D.1): USTA will calculate its Pulses Per Minutes, which will be displayed on the Dashboard after the abbreviation EXT. Practice the clock settings with these Tech- niques: Clock and Ratio Random-Clock Sequencing EDITING, PLAYING AND LOOPING PATTERNS Once the time dimension has been set, it is time to de- fine the content of your track, that is to say, the patterns. 32 patterns are available per track, which can be edited one at a time. Please note that the patterns are not “cre- ated”: instead, they are always present in each track, with all the values set to 0, and ready to be edited. The default play mode of USTA is Pattern Mode, where a loop of

Page 50 of 107 pattern is played in numeric order. (It is possible to change this order through the Song Mode, on which see §5.3) When a new project is created, only the first pattern is looping in Pattern Mode: let’s focus on this one for now. Pattern Mode is displayed by the Pattern LED (C.2) when it’s lit up green. USTA allows you to perform two main kinds of task with patterns: editing them and playing them back. These two operations can be performed separately (in a more “compositional” approach) or simultaneously (in an im- provised performance), but always require two different operating modes, respectively called Edit and Performance. These modes are accessed through the Pencil button (B.5), which switches from one to the other, and their sta- tus is displayed by the pencil-shaped LED: red when in Edit mode, green when in Performance. When the pencil LED is red, USTA is in edit mode, which is also the default setting once a project is created, and a track is selected. In this mode, you can modify whichever parameter you want. As said above, it is also possible to play the sequence while editing: the visual feedback for the current stage playing is provided by a cyan stage RGB LED, called playhead. The playhead is displayed only when the se- lected pattern is playing. For example, when editing pat- tern 2, if pattern 2 is playing, the playhead is displayed, but if pattern 1 is playing, no playhead will be displayed. In performance mode – the pencil RGB LED is green – the displayed pattern is always the one that is playing, according to the track: in this mode, it is no longer possi- ble to edit patterns, but other operations are possible (see below §5.4). The third row of the Dashboard (Figure 46, p. 48) dis- plays all the information concerning the patterns that are currently being edited or played. see (F.8) indicates the pattern that is currently selected for editing purposes. To select a pattern, make sure to be in Edit Mode, then rotate the Navigation Encoder (B.14). You will see this number changing accordingly. play (F.9) indicates the pattern that is currently being played. The two numbers separated by a slash indicate the be- ginning (F.10) and the ending point (F.11) of your pattern structure. By default, they are set to 01/01, which means that the pattern loop will be limited to the first pattern only. It is possible to edit any other pattern while pattern 1 is playing, however, the result of such operation will not be heard unless the newly edited patterns are included within the pattern loop. To change the extension of the pattern loop, enter Per- formance Mode, then hold the Set All button (B.1) and rotate the Navigation Encoder (B.14) to set the first pattern of your looping structure, or hold the Shift All button (B.2) while rotating the Navigation Encoder to set the last one. From now on, USTA will loop all the patterns contained within those two, including them. Please note that the last pattern needs to be higher than the first pattern (or the same), because in Pattern Mode the playhead moves from one pattern to the other in nu- meric order. To obtain different pattern orders, please re- fer to the Song Mode (§5.3). Another way of editing the pattern loop is through a button combination. When USTA is in Performance mode, every editing option is disabled: the 16 Stage Encod- ers (A.1) are now associated with the first 16 patterns, and while holding the Shift All button (B.2) they are associated with the last 16 patterns (or from the 17th to 32nd). They can be pushed to manually recall a given pattern (on which see Pattern Recall, §5.4), but they can also be used to define the pattern loop on the fly. Push and hold the Set All button (B.1) and then push the encoders correspond- ing to the first and last patterns to set the new ends of the pattern loop: remember to hold also Shift All (B.2) to set patterns no. 17-32. If you want to apply the same pattern loop settings (first and last pattern) to all the tracks at the same time, double click Shift All when in Performance Mode. Practice the Pattern Loop with these Tech- niques: Edit & Performance Mode Pattern Loop EDITING STAGES To modify the content of your pattern, you need to edit its stages. Each stage can have its own length, expressed in terms of units. Furthermore, each stage can store information for two separate control voltages and two gates, which form each stage’s channels. Value Variation Index Variation Range CV GATE Table 5: Channel LEDs To access and modify these data, it is required to select the desired channel through the four Channel Buttons (B.6, B.7, B.9, B.10) or the Length Button (B.8) and then modify its value with the respective stage encoder (A.1). Each en- coder corresponds to one and only one stage per pattern, numbered clockwise from the topmost one on the right. Both CV and Gate channels have three different layers of data: Value, Variation Index and Variation Range. By

Page 51 of 107 pressing a channel button (B.6, B.7, B.9, B.10) multiple times, the user cycles through its layers. The currently se- lected layer is indicated by the LED color above the chan- nel button (see Table 5). An arc of 16 yellow LEDs, the Stage Arc (A.2), provides visual feedback for the current value selected or edited per each stage. Furthermore, an RGB LED per each stage (A.3) provide information about the stage color, which defines the way a CV or gate is played (slide, freeze, ratchet, tie... see below §§3.4.4-3.4.6). This color is tem- porarily overwritten by the cyan playhead when that stage is played. All the data of the stage which is currently being edited are also displayed in real time in the fourth line from the top of the dashboard. The five numbers are in the same order of the channel buttons: from left to right, they display the value of the last edited stage’s CV A (F.12), CV B (F.13), Length (F.14), Gate A (F.15) and Gate B (F.16). When entering Performance Mode (green Pencil LED, B.5), this row of the dashboard can be set to display, in real time, the values of the stage that is currently being played (see below, §8.4). The four outputs per track are grouped on the right side of the front panel (E.1 to E.16). The number in each group refers to the track and the letters to the individual CV or Gate channels. As a rule of thumb, the symbols with a letter in a circle refer to CVs, while the ones with a letter in a square refer to gates. Each pattern by default has a sequence of 16 stages with equal length of one unit, whose speed depends on the clock and the time ratio previously selected. First, let’s edit the individual stage length. 3.4.1 Length The Length section determines the duration of each stage in terms of units (see above), and it is accessed by pressing the Length button (B.8). By default, the length of each stage is 1 unit. To increase it, turn the respective encoder (A.1) clockwise. Each step of the encoder increases the stage duration by 1 unit, up to a maximum value of 16: the Stage Arc (A.2) will light up accordingly, displaying the exact number of units per stage. Figure 49: Stage Length and stage phase. It is possible to turn the encoder counterclockwise until no LEDs is lit: in this case, the stage will have length 0, so it will be skipped during the playback. When a given stage's length is being edited, the unit number is displayed also by the third digit from the left of the fourth line from the top of the dashboard (F.14). The total length of a pattern is displayed at the right of the second row from the top, beside the letter L: this value may come in handy when you want to edit the length of two stages without changing the overall pattern length, as described in the following section. Practice these basic concepts with the follow- ing Techniques: CV, Gate, Length Stage Vs. Gate Then, move on to a more complex patch with this one: USTA Polymeter #1 3.4.2 Maintain Pattern Length on Variation While performing it may be useful to hold the length of your pattern fixed while editing stage lengths. Adding or subtracting units can unintentionally shift the pattern’s rhythm out of alignment. To reduce this chance, hold down the Coarse button (B.3) while changing the stage length. This causes a neighboring stage length to receive a compensating adjustment. For example, assuming your pattern has only the first 4 stages with length 1 and the others with length 0, rotating the stage 2 encoder clockwise will give stage 2 a 2-unit length for a pattern length of 5 units. Rotating the en- coder counterclockwise gives stage 2 a 0-length stage, re- sulting in a 3-unit length pattern. If these steps are per- formed while the Coarse button is held down, the clock- wise rotation will increase the stage 2 length to 2, but the 3rd stage will be reduced to length 0 to compensate. Like- wise, a counterclockwise rotation will decrease the stage 2 length to 0, while the 3rd stage will be increased to length 2. In both cases the pattern length of 4 units is re- tained. 3.4.3 CV Layers The CV channels’ parameters can be modified through three different layers, which are accessed by pressing the respective channel button (B.6, B.7) multiple times. Sets the stage CV value as notes or volts. Sets the chance to variate the defined value for the stage. Sets the bipolar range for the varia- tion as notes or volts. Table 6: CV Layers Comparison.

Page 52 of 107 The first layer is marked by a red LED and determines the CV value (such as the pitch), while the second and third layers (respectively marked by green and blue LEDs) manage possible variations of the red layer’s value. 3.4.3.1 Red CV Layer: Value Figure 50: CV A’s Value layer is selected. The red layer is displayed by default once a channel is selected. It contains the data concerning the stage value (i.e. the actual voltage that will be output by USTA). Such values can be quantized (as in 12 semitones) or raw (i.e., continuous voltages with down to 1mV of reso- lution). The default setting is Pitch for CV A, which can be used for generating melodic lines, and Raw for CV B, which can thus be used to add dynamics and to modulate other “musical” parameters such as filters, VCAs, tim- bre… It is possible to change these settings and have both CVs in raw or quantized mode (see below §8.1). In order to edit this value, select the desired channel (CV A or CV B) through its button (B.6, B.7), then rotate the encoder corresponding to the step you want to edit (A.1). Each time you edit a stage value, the fourth row from the top of the dashboard updates showing the CV A, CV B, Length, Gate A, and Gate B for that stage on that pattern of that track: this is helpful to understand relationships of the same stage across channels. Pitch CV channels display notes using the standard no- tation letters from A to G followed by the octave number, while Raw CV channels display Volts. The octave num- ber can be set to change on A or C through the reference note (see below §9.4). In Pitch mode, the Stage Arc (A.2) will also precisely dis- play the selected note. 12 LEDs from left to right display the note value in half steps: none for C, one for C♯/D♭ and so on until eleven lit LEDs stand for B. The note ref- erences apply when the project reference note is C. To change it to A (see below §9.4). The four remaining LEDs will display the octave, from right to left. For a precise chart of this visualization system see LED Pitch Tables, §9.6. Figure 51: The grey LEDs display the semitones. Figure 52: The grey LEDs display the octaves. By default, USTA works with the 12-semitone equal temperament, which divides the octave into 12 equally spaced intervals. It is possible, however, to change this setting and work with other more complex octave divi- sions such as 15, 19, 22 or 24 intervals, on which see be- low §9.2. For raw channels, such as channel CV B by default, the encoder increases the stage CV value by steps of 0.05V or 50mV when turned clockwise. In this mode, coarse and fine edit is possible: with the Coarse button held down, the encoder steps are of 0.5 V (500mV), while with the fine (Esc held down and Coarse held down) steps are of 0.001V (1mV). Visual feedback of the value is dis- played on the 16 yellow LED of each Stage Arc, scaling the 10 V of range to 0/16 LED: in other words, each LED shows 0.625V. Practice the Raw voltages with this Technique: Raw CV 3.4.3.2 Green CV Layer: Variation Index Figure 53: CV A’s Variation Index layer is selected. The green layer is accessed by pressing the channel but- ton (B.6 or B.7) a second time: it controls the probability that USTA will shift the red value up or down in a given bipolar range (see below, Blue CV Layer). By default, the stage values are at 0, with the Stage Arc (A.2) completely off: this means that there is no chance that the note (or voltage) will change, so USTA will stick to the value assigned in the red layer. By turning the Stage Encoders (A.1) clockwise, you in- crease the chance that the note will be replaced with an- other one (Variation Index), picked by a pool of values whose range is defined by the blue layer (Variation Range, see the following chapter). In this mode, USTA tosses a coin at every stage with an Index bigger than 0 and decides whether the stage will pick the Value defined in the red layer or shift it. When 8 LEDs out of 16 of the Stage Arc are lit up, the chances are 50-50: the probability that the defined value will be played or not are the same. When all the 16 LEDs are lit, it is certain that another note or voltage will be evaluated. It does not mean, however, that the Value defined in the red layer will not play at all, since it is still within the Var- iation Range defined by the blue layer, so it is possible that it might be picked by the coin toss.

Page 53 of 107 3.4.3.3 Blue CV Layer: Variation Range Figure 54: CV A’s Variation Range layer is selected. The blue layer is accessed by pressing the channel but- ton (B.6 or B.7) a third time: it determines the range of values which the variation index will refer to (the Variation Range, i.e., the values that may or may not be “picked” by USTA instead of the one defined in the red layer). The blue layer lets you choose the bipolar range of val- ues that could be selected by USTA after tossing the coin. Such values are expressed in semitones for the Pitch chan- nels and millivolts for the Raw ones. The range incre- ments by steps of ±2 semitones each for the quantized channels (up to ±32 semitones) and in steps of ±314 mV each for the raw channels (up to ±5.024 V). While some extreme settings of the green and blue layer might translate into a behavior comparable to the one of a random voltage generator such as SAPÈL, their overall approach is completely different, if not the opposite. SAPÈL is a true random module whose voltages are sam- pled using analog noise as a source, therefore there is no chance that a sequence of values will repeat itself over time. USTA, on the other hand, uses a digital “coin toss” algorithm to randomly pick a value within a given range defined by the user, whose result totally depends on the Value chosen as default. In other words, while SAPÈL shapes its stream of random voltages by “subtraction”, i.e. through sample-and-hold, quantization, probability dis- tribution, USTA progressively “expands” the range of values according to the musician’s instructions. 3.4.4 CV Stage Colors Each stage can be played in three different ways called Stage Colors, which can be accessed by pushing the Stage Encoder (A.1) multiple times. In order to better understand the relationship between Stage Colors and the Layers de- scribed in the previous chapters, one could say that Layers affect the content, i.e. the values that the stage will play, while Colors affects the form, i.e. the way in which such values will be played. The defined volt- age is generated for the whole stage length. A ramp is gener- ated for the whole stage length from the previous stage’s value towards the current. No voltage is gen- erated: the last pre- vious stage’s value is held for the whole current stage length. Table 7: CV Colors comparison. The first CV Stage Color, called Flat, is selected by default once a channel (CV A or CV B) is selected, and it is indi- cated by a blue Stage LED (A.3). It simply plays the stage value (whether selected or randomly shifted) for the whole stage duration. It is the normal behavior you would expect from a traditional sequencer. The second CV Stage Color, called Slide, is accessed by pushing the Stage Encoder (A.1) once, and it is indicated by a green Stage LED. In this mode, instead of playing the defined stage value, USTA will automatically generate a linear ramp from the previous value to the new one, in a sort of “glide” effect, interpolated for the whole length of the stage. Figure 55: Unit phase, Stage phase, and CV output. The third CV stage color, called Skip, is accessed by pushing the Stage Encoder a second time, and it is indicated by a red stage LED. In this mode the stage skips the volt- age generation, retaining its length (see below): USTA will simply play the last value generated by the previous stage. Push the Stage Encoder again to return to the blue color layer. Practice the CV Layers and CV Colors with these Techniques: CV Colors CV Variation USTA Envelopes #1 USTA Envelopes #2 3.4.4.1 USTA Slide vs FALISTRI Slew The slide color may be similar to a slew limiter circuit (see FALISTRI §3.3), but it is very different in design and concept. A slew limiter integrates two values and gener- ates an ascending or descending ramp with a fixed dura- tion (lag). Such lag time is arbitrarily set and often allows the target CV to be noticeably performed by the ma- chine. USTA’s slide, on the other hand, automatically calculates the lag time, which corresponds to the whole

Page 54 of 107 stage duration. This means that the stage value set in the blue layer is technically never played, becoming the tar- get point of an ascending or descending CV from the pre- vious stage value. Please note that if the gate value is shorter than the stage length, the slide will not be heard in full. This allows for more subtle nuances while com- posing and can create some interesting results while blended with peculiar Gate settings: a fully open gate will add more dynamic to the composition, while a ratcheting effect will create an ascending sequence of shorter notes, similar to a complex embellishment. 3.4.5 Gate Layers The other two outputs per track (E.3, E.4, E.7, E.8, E.11, E.12, E.15, E.16) are responsible for the gates. Just like in the CV channels, each stage can have three differ- ent Layers and three different Gate Colors. The first layer determines the number of gates that USTA will play within each stage, while the second and third layers add various degrees of variation to the red layer’s value, sim- ilar to the CV. Sets the gate value. Sets the chance to variate the defined stage’s gate num- ber. Sets the bipolar range for the varia- tion of the gate number. Table 8: Gate Layers comparison. 3.4.5.1 Red Gate Layer: Value Figure 56: Gate A’s Value layer is selected. The first layer is active by default. Once a gate channel is selected (B.9 or B.10), it is marked by a red RGB LED. It sets the “gate value”, which can be either the gate du- ration (if the stage color is blue) or the number of individ- ual gates (ratcheting) that are generated within the stage length (if the stage color is green). See below §3.4.6 for the Gate Stage Colors. In order to edit the gate number, turn the desired Stage Encoder (A.1) clockwise: it will select a value from 1 to 16, which is displayed by the Stage Arc surrounding the en- coder. It is possible to set the gate number to 0: in this case, no gate will be generated, and the output will re- main low for the whole stage duration. 3.4.5.2 Green Gate Layer: Variation Index Figure 57: Gate A’s Variation Index layer is selected. The second layer is accessed by pushing the channel button (B.9 or B.10) a second time and it is represented by a green LED: it controls the probability that USTA will randomly change the gate number, according to the range set in the blue (third) layer. Gate Variation Index works similarly to the CV variation index layer (see above): the Stage Encoder (A.1), when ro- tated clockwise, will increase the chance that USTA will change the value selected in the red layer. By default, no LED is lit in the Stage Arc (A.2), therefore there are no chances that USTA will change the gate value. When half of the LEDs are lit, the chances of a variation are 50-50, and when all the LEDs are lit it is 100% sure that USTA will not play the selected gate value: it is still possible, however, that the previously defined gate value will be played again as a result of the coin toss, being it still within the Variation Range (see below). 3.4.5.3 Blue Gate Layer – Variation Range Figure 58: Gate A’s Variation Range Layer is selected. The third layer is accessed by pushing the channel but- ton (B.9 or B.10) a third time and it is represented by a blue LED: it determines the range of values that USTA will consider when changing the default value after the “coin toss” set by the green layer. The Gate Variation Range layer selects the possible values that USTA can pick to vary the division of the stage length when the second layer probability is higher than zero. 16 numbers are possible, displayed by the Stage Arc (A.2) around the encoder. The default value is 0 (no LEDs are lit). For instance, if the gate number in the red layer is 2, and a variation range of 8 is selected, USTA will pick a pseudo-random number between −6 (2-8) and 10 (2+8). Every negative result corresponds to a gate-off (i.e. a pause). 3.4.6 Gate Stage Colors

Page 55 of 107 The Stage Arc shows how long the gate stays high The Stage Arc shows how many gate events are generated No gate events are generated. Table 9: Gate Colors comparison. The first Stage Color is called Gate Length. Gate Length is available by default once a channel (GATE A or GATE B) is selected, indicated by a blue Stage LED (A.3). In this mode, the encoder sets the gate length, which is the por- tion of the overall stage in which the gate stays high. 17 lengths are available, indicated by the 16 LEDs of the Stage Arc. If no yellow LEDs are lit, the gate will remain low for the whole stage duration, which is the equivalent of a musical pause. By rotating the encoder clockwise, the gate length will be progressively increased, until all the 16 yellow LEDs are lit: in this position, the gate will remain high for the whole stage duration and it will be tied to the next stage's gate. With the blue stage color selected, the Variation parameters set by the blue and green layers will modify the gate duration. The second Stage Color, called Gate Number, is accessed by pushing the Stage Encoder (A.1) once, and it is displayed by a green Stage LED. In this mode, the encoder sets the number of gate events that will be generated within the overall stage length, which is basically a ratcheting effect. Again, 17 options are available, displayed by the 16 LEDs of the Stage Arc. If no yellow LED is lit, the gate will re- main low for the whole stage duration, which is the equiv- alent of a musical pause. By rotating the Stage Encoder clockwise, the gate value will be progressively increased, until all the 16 yellow LEDs are lit. 1 LED means that 1 gate will be generated, and so on until 16 fast gates are outputted. This division is performed by USTA based on the stage duration set by the length parameter, therefore, if the gate number is 2, the individual gates will have different spacing and duration according to the stage length. With the green stage color selected, the Variation pa- rameters set by the blue and green layers will modify the gate numbers, thus creating a different number of gates (ratchet pattern). Figure 59: Gates in Repeat (green Color). Practice the Gate Layers and Gate Colors with these Techniques: Gate Colors Gate Variation Wavefolder Ratcheting By default, with the green color the gate length is the 50% of the time between two consecutive rising edges; it is possible to change this setting in the Track Menu (see above, §3.2), under the Gate Width % option. The third Color, called Skip, is accessed by pushing the stage encoder a second time, and it is displayed by a red Stage LED. In this mode USTA will not generate any gate signal for the whole duration of the stage: it is the equiv- alent of a musical pause. An identical effect can be obtained by setting the Gate Value to 0 (= no led on the LED Arc) either in the blue or green color; the Skip color, however, is useful in case you want to momentarily de-activate a stage while perform- ing, while still retaining its specific Gate Value. Practice the interaction of multiple tracks with these techniques: USTA Chords 4 QUICK EDITING Here are the functions that USTA provides to facilitate the compositional process. They are achieved through the three grey buttons to the left of the display, called Mod Buttons. SET ALL AND SHIFT ALL When in edit mode, the first two buttons allow you to edit multiple stages at the same time. Push them before

Page 56 of 107 rotating the stage encoders and hold throughout the op- eration. The topmost button, called Set All (B.1), allows you to set all stages in a pattern to the value of stage being edited, regardless of their original values. It can be held while editing values (rotating the Stage Encoder – A.1) or colors (pushing the Stage Encoder), for CVs, Gates, and Length. It is also possible to hold the Set All button while setting Track Menu options through the Navigation Encoder (B.14): in this way, the setting will be applied to all the four tracks at the same time. The second button, called Shift All (B.2), works similarly, but shifts all the stages by the same amount as the one being edited, thus transposing their values. Like Set All, this button works both for values (rotating the Stage En- coder) and colors (pushing the Stage Encoder). While shifting colors, all the following stages will change from one color to the next one relative to their previous setting. It is possible to change the Shift All behavior in the Project Menu (see above, §3.1) through the All Edits option: select From to edit all the stages after the one which is being ed- ited (it is particularly useful for quickly writing melodic lines); select All to edit all the stages of a pattern, including those before the one being edited. COARSE AND FINE In the Value CV layer (§3.4.3.1 above) it is possible to edit the stage values by increments of 1 octave or 1V (if the selected channel is working in Pitch or Raw voltages respectively): to do so, push and hold the Coarse button (B.3) while rotating the Stage Encoder (A.1) (see Figure 60). Figure 60: Coarse editing. It is also possible to fine-tune the Pitch and Raw voltages. Hold pressed Esc (B.4) then the Coarse button to access the Fine mode: now the Stage Encoders will change the stage value by cents of semitone in pitch mode, and by milli- Volts in raw mode. Figure 61: Fine editing. COMBINING THE BUTTONS It is possible to use the Coarse/Fine button (B.3) together with Set All (B.1) and Shift All (B.2) in order to perform tasks such as transposing the whole pattern by an octave or fine-tuning all the stages at once. Practice the Mod Buttons with these Tech- niques: Set All and Shift All Coarse and Fine Tuning 5 PERFORMING Once everything is set up according to your musical needs, you can start to perform with USTA. PLAY/PAUSE, RESET AND MASTER TRACK SETTINGS In order to perform with USTA you need to start, pause and reset your sequence. Such controls are deeply con- nected and rely on the Master and Slave relationship be- tween Tracks. 5.1.1 Master Track The Master Track is the track which other tracks refer to for play, pause and reset purposes. The Master/Slave rela- tionship is limited to these three operations: every other parameter such as tempo and time ratio will remain in- dependent per each track. There can be only one Master Track for every project loaded into USTA. To set the Master Track, enter the Project Menu by holding down the Navigation Encoder for three seconds (B.14), scroll to the Master Track option and then select one of the four tracks. By default, a project’s Master Track is track 1. To subordinate a track to the Master Track, enter the Track Menu by pushing the Navigation Encoder, scroll to the Reset On option and set it on Master. By default, all the tracks are Slave to the Master Track. The Master and Slave tracks together are called Master Track Group.

Page 57 of 107 Once the Master Track Group is defined, the Play/Pause and Reset commands (see below, §§5.1.2-5.1.3) will affect all the tracks, no matter which one is currently selected. It is possible to detach a track from the Master Track: with this option, the Play/Pause and Reset commands per- formed within the Master Track Group will not affect this track, and vice versa. In case more than one track is de- tached from the master track, the Play/Pause and Reset commands will affect them all, whenever they are per- formed on one of these tracks. To detach one or more tracks from the Master Track, se- lect either the Local or Instant reset option in each track's Reset On menu item. 5.1.2 Play/Pause In order to start or arrest your sequence, push the Play/Pause button (B.13). By default, this button works as a global control: if at least one track is playing, it pauses it; if all the tracks are playing, it pauses all of them; if all the tracks are paused, it plays all of them. It is possible to play or pause only the selected track by holding Esc (B.4) before pushing the Play/Pause button. Additional operations can be performed by combining the Play/Pause button with the Set All (B.1) and Shift All (B.2) buttons. If the selected track belongs to the Master Track Group, pushing Play/Pause while holding Shift All will play or pause all the tracks of the group. In the case at least one track is paused, this combo will pause all the other ones within the group. Hold Set All to set all the tracks of the Master Track Group like the one currently selected: if it is paused, all the re- lated tracks will pause; if it is playing, all the related tracks will play. Each modification will happen after the current Master Track stage has ended. If the selected track does not belong to the Master Track Group, pushing Play/Pause while holding Shift All will play or pause all the tracks which are unlocked from the Mas- ter Track. In case at least one track is paused, this combo will pause all the other ones outside the Master Track Group. Hold Set All to set all the non-Master tracks like the one currently selected, as described above for the Master Track group. Each modification will happen according to the reset setting of the track currently selected: if Local, it will happen after the current stage of the selected track has ended; if Instant, it will happen instantaneously. The Play/Pause LED (C.1) will display the current state of the selected track: red if paused, green if playing. 5.1.3 Reset The Reset button (B.12) restores the playhead at the be- ginning of a pattern, i.e. at stage 1. It is possible to set whether the playhead returns to the first stage of the cur- rent pattern (Reset Stage) or to the first stage of the first pat- tern (Reset Stage&Pattern). To change this parameter, enter the Track Menu (see above, §3.2), scroll until the Reset What option, and select either Stage or Stage&Pa. It is also pos- sible to select the option Nothing, thus disabling the Reset button. Each track can respond to the Reset command in four different ways. The first two depend on the track’s rela- tionship with the Master track: · If the selected track is the Master track, the Reset button will reset it once the current stage has ended; · if the selected track is a Slave track, the Reset button will reset it once the current stage of the Master track has ended: both these options are achieved by entering the Track Menu, scrolling to the Reset On option and setting it on Master. This option is useful if you need to force several tracks to reset at the same time (for instance, if you are playing with different tempos or ratios). If you want to reset a track independently, you have two more settings of the Reset On option, called Local and In- stant: · Local resets the selected track once its current stage has ended, without resetting any of the Master/Slave tracks; · Instant resets the current track instantly, without waiting for it to end the current stage. The Reset function can be executed through external trigs, see below §7.2. When Pattern Shift is enabled for a track (see below, §), the Reset button will set the sequence back to the first pattern plus the pattern shift number determined by the CV offset. STAGE LOOP Figure 62: The Stage Loop section and controls (on the left). In addition to the options above, USTA gives the chance to loop a specific portion of your pattern structure independently for each track through the Stage Loop op- tion. Such a loop is nested within the main play mode and can work across different patterns. The looping function works only in Pattern Mode, and it interacts both with Full Pattern Recall and Pattern Mix (see below, §5.4). Once Song Mode is activated, the Stage Loop function will be automat- ically disabled. Three variables are used to control the loop behavior: FROM, or the stage/pattern from where the loop starts; LEN

Page 58 of 107 (Length), how many stages are involved in this loop, and FOR, how many times it loops. These variables are shown in the bottom line of the Dashboard (F.17, F.18, F.19). To define the Stage Loop FROM, hold the Set All button (B.1) and rotate the navigation encoder. The first number is the stage number, and the second one the patter number. To define the Stage Loop LENGTH, hold the Shift All but- ton and rotate the navigation encoder – length is ex- pressed stages, so the resulting length depends on each stage length. Values go from 1 to 16. To define the Stage Loop FOR, hold the Coarse button and rotate the navigation encoder − the FOR parameter express how many times these stages are looped until ex- iting this loop. Values go from 0 to 16 where 0 is no loop at all. The only anchor point of the Stage Loop is the FROM pa- rameter: it does not have a specific endpoint, but it is in- stead defined by a length which is expressed in number of stages. To enable or disable the Stage Loop, double click the Set All button (B.1). When Stage Loop is active, the Stage Loop LED (C.6) will light up: if the playhead has not yet reached the Stage Loop Section, it will be red; if the playhead is already within the loop section, it will be green. Stage Loop is disa- bled for the se- lected track Stage Loop is ena- bled for the se- lected track, but the playhead is not yet in the loop Stage Loop is ena- bled for the se- lected track, and it is in the loop Table 10: Stage Loop LEDs comparison. When Stage Loop is active, USTA will start the loop sec- tion once the playhead reaches the From point, it will play the stages within the Stage Loop for the defined number of times, then it will continue with the original sequence. A small example with the following settings: FROM02/03, LENGTH 04, FOR 02. This means that on Pattern 3 it will play the following stages: 1 2 3 4 5 [2 3 4 5 2 3 4 5] 6 7… The stages between square brackets are the Stage Loop. 5.2.1 Infinite Stage Loop If you set the FOR value to 0, the Stage Loop will loop end- lessly once engaged: in this way, its duration is completely up to you. To make the playhead “exit” the Infinite Stage Loop, double click the Set All button (B.1) to disable the Stage Loop. Practice the Stage Loop: Stage Loop SONG MODE The Song Mode allows you to arrange your track’s pat- terns in a custom sequence. It is an alternative mode of playing beside the default Pattern Mode: this means that Song and Pattern Mode cannot be active at the same time, but an option in the Track Menu lets you choose which one USTA will follow during the playback. The Song Mode is a series of patterns that are located into Slots. A song can host up to 4 Pages of 16 Slots each for a total of 64 Slots. One song per track is available. Once at least two patterns are composed in one track, the song mode allows you to arrange them in the desired order by fitting each of them into one or more slots. Each slot can be repeated up to 16 times before moving to the following one. Bear in mind that the song is not a structural part of the track but an alternative arrangement of items, therefore, it cannot be cloned. Figure 63: Edit Song combination. You can create a Song while USTA is still playing in Pat- tern Mode. To do so, enter Edit mode (if you are not there yet) by pushing the Pencil button (B.5) and then enter Edit Song Mode by holding Esc (B.4) and pushing the Pencil But- ton again. Now the guitar-shaped Song LED (C.3) will light up red, and the Patten LED (C.2) will be green: this means that you are editing the song, while still being in Pattern mode. Figure 64: Editing a song wile in Pattern Mode. In this configuration, each of the 16 Stage Encoders (A.1) edits a slot of the selected page by performing two opera- tions: selecting the pattern to be played in the desired slot and selecting the number of times that such pattern must be played (0 to 16). To change Page simply rotate the navI

Page 59 of 107 Once entering the Edit Song mode, all the five Param- eter LEDs will turn red: this means that now USTA is editing the pattern number per slot. Figure 65: The LEDS when editing the pattern number per slot. Rotate each encoder to select the pattern to be played, numbered 1 to 32: the Stage Arc (A.2) will display the se- lected pattern number. To edit the number of times that a pattern should be repeated per each slot, push any of the Layer buttons to access the repetition parameter: the Layer RGB LEDs will all light up green. Figure 66: The LEDs when editing the repetition number per slot. In this mode, each encoder sets the number of repeti- tions, from 0 to 16, and the Stage Arc will light up accord- ingly. To switch from Pattern to Song mode, enter the Track Menu, scroll to the Play Mode option and change the setting from Pattern to Song. Exit the menu, and you will notice a different layout of the LEDs: Figure 67: Editing a song while in Song Mode. This will indicate that the selected track is currently in Edit Mode (red pencil LED – B.5), it is in Song Mode (green guitar LED – C.3), and you are seeing/editing the pat- terns (red pattern LED – C.2). Once your song structure is set, push the Play/Pause but- ton (B.13) to start the playback: while playing, the playhead will display and behave differently depending on the mode selected. If the track is in Edit Song Mode, the stage LED: · will be blue when that slot has a repetition bigger than zero, · will be red only on the current playing slot · will be cyan on the stages that are playing on that pat- tern. In the example below slots 1, 2, 3, 4, 7, 8, (maybe 9) and 16 has a length, the song is playing the 3rd slot, and in that pattern, the 9th stage is playing; Figure 68: Stage LEDs in Edit Song. Note the playhead on Stage 9. If the track is in Edit Pattern Mode, the playhead will fol- low the rules of this mode as described above (see Editing, Playing and Looping Patterns): it will be visible only when USTA plays the pattern that is currently being edited; If USTA is in Performance Pattern Mode, the playhead will move through all the steps of all the patterns following the structure determined by the Song. When the Song Mode is enabled, the Pattern Loop indica- tors on the dashboard will be replaced by Rep followed by two numbers: these stand for ‘repetition’ and display the current repetition of the pattern/the total number of rep- etitions set for that slot. 5.3.1 Pattern to song while playing (and vice versa) It is possible to play in pattern or song mode, but it is also possible to change mode while playing without stop- ping the track or losing its sync: in the Track Menu, change the Play Mode option, and at the end of the pattern the selected mode will come into play. Get an overview of the Song Mode with this Technique: Song Mode LIVE PERFORMANCE TOOLS: PATTERN RECALL When USTA is in Performance mode, either in Pattern or Song mode, every editing option is disabled: the 16 Stage Encoders (A.1) are now associated with the first 16 pat- terns, and while holding the Shift All button (B.2) they are associated with the last 16 patterns (or from the 17th to 32nd). They work only as buttons, by pushing which it is pos- sible to recall any of the patterns on the fly, thus tempo- rarily bypassing the sequence of patterns you are expect- ing from the Pattern Loop rules or Song Mode set above. Once the selected pattern has been recalled and played, USTA will get back at the original sequence, with differ- ent outcomes according to the play mode in use and the pattern loop selected.

Page 60 of 107 USTA will memorize only one value: it means that if you push two encoders during this mode, only the latter will be effective. Furthermore, there are two options: Full Pattern Recall, which is the default one, or Pattern Mix, available by hold- ing down Coarse (B.3) before pushing the pattern encoder. These recall options affect the selected track only. 5.4.1 Full pattern recall With the Full Pattern Recall, USTA will wait until the ac- tive pattern has reached its end, then it will play the one selected by pushing its Stage Encoder (A.1). If the selected patter is within the Pattern Loop, USTA will continue to play the patterns after the selected one. (For example, if the Pattern Loop lasts from pattern 1 to 10, and you recall pattern 6 while being in pattern 2, the sequence would be: 2, 6, 7…). If the selected pattern is outside the Pattern Loop, USTA will play it once, then continue after the previous pattern. (In the same example as above, if you recall pattern 15, the sequence would be: 2, 15, 3, 4…) 5.4.2 Pattern Mix The Pattern Mix function is similar to the Full Pattern Recall, the main difference being when the pattern change happens. It is achieved by holding Coarse (B.3) be- fore selecting the pattern through the Stage Encoders (A.1– Remember to hold Shift All to select patterns no. 17-32). Once the new pattern is selected by pushing the encoder, the playhead will wait for the playing stage to end and play the consecutive stage on the selected pattern, instead of the current one. For example, if you are playing stage 7 of the second pattern and select the fifth pattern, USTA will wait until the end of stage 7, then move to stage 8 of pattern 5, mixing them. If the selected pattern does not have enough stages to maintain the sequence length of the current pattern, or if it is selected during the last stage of the current pattern, USTA will play the selected pattern starting with its first available stage. To sum up, Full Pattern Recall juxtaposes patterns, while Mix combines them. Practice difference between these two func- tions with this Technique: Pattern Recall and Pattern Mix MUTE One of the most popular features of live performances is the Mute function, i.e., being able to immediately re- move or add certain parts of the composition. USTA fea- tures two levels of muting: Mute Track and Mute Channel. 5.5.1 Mute Track This function temporarily disables all the outputs of the muted track. Figure 69: Mute Track button combination. Muting a track results in it having no Gate A and B out- put and no CV A and B output (all 4 outputs of the muted track provide a constant 0 V). To achieve this function, hold the Esc button (B.4) and push the button of the track you want to mute (B.11 see Figure 69). It is possible to mute any desired track, even it is not the currently se- lected one. A muted track shows the TRACK MUTED text on the current stage section of the Dashboard when selected. 5.5.2 Mute Channel On a more specific level, the Mute Channel function al- lows to mute solely the output of one or more channels per each track (CV A, CV B, Gate A, Gate B). This option may be useful in case you are using different channels of the same track to control different sound sources, such as Gate A for the kick drum and Gate B for the snare. To mute a channel, hold the Esc button (B.4) and push any Channel Button (B.6, B.7, B.9, B.10). Figure 70: Mute Channel button combination. HOLD

Page 61 of 107 It is also possible to “freeze” the current channel value in a specific track through the Hold function: by holding Set All (B.1) and pushing one of the Channel Buttons (B.6, B.7, B.9, B.10), USTA will hold the values as they are playing in that specific moment until the buttons are re- leased, see Figure 71. Figure 71: Hold button combination. If the selected channel is CV A or CV B, USTA will hold the given value (i.e. it will not calculate other stages’ val- ues); if the selected channel is Gate A or Gate B, USTA will perform a sort of legato (if the gate is high when the chan- nel button is pushed) or mute (if the gate is low). After releasing the buttons, the sequence will return to playing from the position reached by the playhead in the meantime. 6 ADVANCED EDITING COMPOSITION MODE If you prefer to compose when USTA is not playing, e.g. if you have to handle longer polyphonic sequences, crossing several patterns on multiple tracks, USTA pro- vides a system for asynchronous voltage monitoring called Composition Mode. When USTA is in Edit Pattern Mode and paused (red Play/Pause LED – C.1), select the CV layer you want to edit and double-click the desired track button: this will set Gate A and Gate B high, and the cyan playhead will light up on the last played stage. In case the last played stage is in a different pattern than the selected one, the first stage of the selected pattern will light up cyan and open its gate. Rotate the Navigation Encoder (B.14) back and forth to move the playhead across the different stages: this will al- low you to manually “scan” through the sequence in or- der to check and edit the current stage settings. This pa- rameter will work in both directions just like an analog reel-to-reel recorder, and it will work through different patterns: once the 16th stage is reached, further clockwise rotation of the Navigation Encoder will move the playhead to the first stage of the following pattern, while rotating counterclockwise past the first stage of a pattern different than the first move the playhead to last stage of previous pattern. The display will automatically update the stage data (CV A, CV B, Gate A, Gate B, and Length) according to the selected stage. Once you have finished your editing operations, dou- ble-click again the selected track: USTA will get back to the original sequence and it will play it starting from the last played stage (i.e., before entering the Composition Mode). In case you want to hear your sequence from the beginning, simply push the Reset button (B.12). If you push the Play/Pause button (B.13) while still being in Composition Mode, the sequence will play after the one currently selected. This feature can be very useful in case you want to hear portions of your sequence starting in other stages than the first one. Composition Mode is not available when the Track Menu is open, and it ignores Green or Red CV/Gate stage colors, being Gate on that track always high and CV always re- producing exactly the selected stage value. Practice this mode with the following Tech- nique: Composition Mode USE AN EXTERNAL CV/GATE KEYBOARD In order to compose your sequence with an external keyboard (or any other 1V/oct controller), you need the current track to be stopped (red Play/Pause LED – C.1) and in Composition Mode. Connect the keyboard gate output to the Auxiliary Gate input (D.2) and the keyboard CV output to the CV A in- put (D.3). From now on, pushing a key on the keyboard will overwrite the defined note (CV A) of the stage high- lighted in composition mode, and the keyboard gate out coming from the key release will move the playhead to the following stage. This method inputs only the pitch values, regardless of the stage length: to set the rhythm, refer to the section about setting the Length, see above §3.4.1). Bear in mind that when composition mode is enabled, the main function of the Auxiliary Gate input is bypassed to allow the use of the external keyboard composition mode. Practice with this Technique: Keyboard Input

Page 62 of 107 STORE PATTERN: LAST PLAYED OR LAST FULL Should you prefer a less deterministic compositional ap- proach, e.g., by progressively adding some degree of var- iation through the green and blue layers, while your se- quence is playing, or adding external modulations via CV, until you find the perfect combination, USTA stores the last played values of a pattern, allowing you to recall and reproduce them. Every time USTA plays a stage, its values are stored in volatile memory until the playhead crosses it again, over- writing it. This leads to a constantly updating 16-element array, one per stage, per each track, which can be trans- ferred anytime over the desired pattern. The data stored per last played stage are the values for all the Channels (CV A, CV B, Gate A, Gate B) as well as the Length: no data about Variation Index, Range, or Stage Colors is stored. There are two store modes, Last Full Pattern and Last Played. The difference between the two is that former up- dates the full array at the end of the pattern, while the latter updates the array every time a new stage is played, while removing the oldest array element. To access the stored values, select the track (B.11) whose stages you want to copy through the layer buttons, make sure you are in Edit Mode (Pencil button and LED, B.5) select the target pattern by rotating the Navigation En- coder (B.14 – you can also leave the current pattern and overwrite its values while playing), then push the Shift All button twice (B.2) for the last full pattern, or the Coarse button twice (B.3) for the last 16 played stages: the result is now dumped in the desired pattern. These actions work also when USTA is stopped, in case you want to dump multiple layer values or make more “copies” of a pattern. Every value is linked to its respec- tive stage and will be dumped only on it. All the values are set to 0 at start up. If you overwrite the cur- rent pattern, all the previous data concerning Variation (green and blue layers) will not be affected, so the resulting sequence might differ from the one you copied due to the Variation still being performed by USTA: if you want to hear the last played sequence, simply set all the Variation Index and the Variation Range to 0. The same approach is applied to possible CV modulations in use. If you perform the dump halfway through a pattern, which has for example stages 8- 16 with length 0, or if the store is performed straight after the start-up, the dumped value of the non-played stages will be 0. ROTATE PATTERN It may happen that, when improvising with various de- grees of unpredictability, you end up with the perfect se- quence, only to find out that it is one or two stages off- beat. To overcome this issue, USTA allows you to Rotate a pattern and align it to the other tracks, so that the be- ginning of your newly found sequence is exactly where it is supposed to be. Figure 72: Rotate Pattern button combination. To Rotate a pattern, push and hold the Track button (B.11) and rotate the Navigation Encoder (B.14) either clock- wise or counter-clockwise: you will see the 16 stages ro- tate accordingly, and, if your sequence is running, you will hear it changing immediately (see Figure 72). This function shifts the Length, Channels and Layers of a pattern at the same time (all the stage values, with their Variation Index and Range). CLONING 6.5.1 Clone a Stage It is possible to clone all the data of a specific stage onto another of the same pattern. By doing so, all the layers of the target stage (see above the section concerning editing stages, §3.4) will be replaced with the data contained in the source. To do so, hold the Esc button (B.4) and push Set All (B.1), then release both buttons. Figure 73: Cloning a stage. The Clone Stage menu will appear in the OLED display (C.5). First, enter the stage to clone: push the correspond- ing stage encoder (A.1, no. 12 in the example): its number will appear within the display.

Page 63 of 107 Figure 74: Cloning stage 12. From now on, push any other Stage Encoder to clone the data of the source stage. This last operation can be re- peated as many times, to clone a single stage towards multiple destinations. Figure 75: Cloning stage 12 to 14 The last cloned target will be updated on the display, as above (14 in the example). At any moment push Esc to exit the Clone Stage function. 6.5.2 Clone a Structure It is also possible to clone structures (STRUCT) of stages: these are in fact Layers, Patterns, and Tracks. Layers and patterns may be cloned within their track only. To clone any of these structures, hold the Esc button (B.4) and push Shift All (B.2), then release them. Figure 76: Clone Structure selection. The Clone Struct menu will appear in the display, pro- posing all structures that can be cloned. At any moment simply push Esc to exit the Clone Struct function. 6.5.2.1 Clone a Layer Figure 77: Cloning Stage 12’s Gate A value. To clone a Layer (CV A, CV B, Length, Gate A, Gate B) of a pattern, push and hold the button for the layer you want to clone (B.6-B.10), then push the Stage Encoder (A.1) to define the source pattern (encoder 1 for pattern 1, en- coder 2 for pattern 2 and so on). To access patterns from 17 to 32, push and hold also the Shift All button (B.2). From now on, push any other Stage Encoder to clone the selected layer of the source pattern to the desired target (the example shows cloning of Gate A data of pattern 12 of the selected track). Press other pattern encoders to re- peat the cloning to multiple targets without restarting the procedure. Figure 78: Cloning Stage 12’s Gate A value to Stage 14. The last cloned target will be updated on the display as above (14 in the example). 6.5.2.2 Layer Cross-Cloning It is also possible to clone a layer to a different CV or Gate channel than the original one, for example, cloning the CV A Value of Pattern 1 to CV B of pattern 3, or the Gate B Variation Index of Pattern 15 to Gate A of Pat- tern 22. To do so, follow the same procedure as for cloning a layer, but hold the target CV or Gate button (B.6, B.7, B.9, B.10) before pushing the target Pattern encoder. 6.5.2.3 Clone a Pattern To clone a Pattern, when the Clone Struct menu is dis- played, push the Stage Encoder (A.1) for the source pattern (encoder 1 for pattern 1, encoder 2 for pattern 2 and so on). For patterns from 17 to 32, first hold down the Shift All button (B.2). Figure 79: Cloning Pattern 12. From now on, push any other Encoder to clone the data of the source pattern to the desired target (the example shows cloning pattern 12 of the selected track). Push ad- ditional pattern encoders to clone to multiple targets without restarting the procedure.

Page 64 of 107 Figure 80: Cloning Pattern 12 to Pattern 14. The last cloned target will be updated on the display as above (14 in the example). 6.5.2.4 Clone a Track To clone a Track, when the Clone Struct menu is dis- played, select the source track by pushing its correspond- ing Track Button (B.11). Figure 81: Cloning Track 1. From now on, push any track to clone the data of the source track to any target track you want (the example shows cloning of track 1). Figure 82: Cloning Track 1 to Track 2. Press additional track buttons clone to multiple targets without restarting the procedure. The last cloned target will be updated on the display as above (2 in the example). Keep in mind that all clone functions are destructive editing and are similar to edit the stage with their encoders. QUICK TRACK INITIALIZATION Composition is a process that involves a certain amount of trial-and-error. In case you are not satisfied with what you came up with, you can always erase the content of a track, without having to manually do it, or worse, to start a new project from scratch. To initialize a track, select it (B.11), make sure to be in Edit Pattern mode (see above, §3.3), and then push and hold the Pencil button for three seconds (B.5). This procedure will restore the selected track to its orig- inal state, without affecting the other three. QUICK SONG INITIALIZATION On the same line, it is also possible to initialize a Song., in case you want to quickly arrange your patterns in a new order. To do so, select a track, then enter Edit Song mode (see §5.3); from here, push and hold the Pencil button for three seconds (B.5), and you will restore all the song Slot values to 0. 7 EXTERNAL CONTROLS Four jack sockets on the top of USTA’s front panel are dedicated to external modulation: two are designed to re- ceive external trig or gates, and two for external CVs. The external gate sockets are used for an external Clock Input (D.1) and Play/Pause or reset (the Auxiliary Gate, D.2); the CV inputs (D.3 and D.4) can be individually routed to four different modulations per track, called Varishift, Stage Shift, Gate Shift, Root Shift, and Pitch Shift. These four modulations are called Shift because they all increase (or decrease) a stage’s set value according to the incoming voltage. Please note that all these modulations are applied by USTA after a stage has ended, except Pitch Shift, which is the only one that can happen in real time, i.e., during a stage. CLOCK INPUT To use an external clock source, connect it to the Clock Input (D.1) and select External from the ClockSource option in the Track Menu (see above, §3.2.1). USTA will now op- erate just like with its internal clock, with some minor considerations. When an external clock is in use, the options of Swing (see below, §8.4) and Ratio (see above, §3.2.1) are always available: however, since they are calculated by USTA for each new stage over a median value of the previous impulses, the quality of the effect depends on a steady ex- ternal clock. In case Swing and ratios different than 1:1 are not needed, it is possible to use random or even manual trigs to animate the sequence. AUXILIARY TRIG/GATE INPUT USTA offers an additional input for external gates (D.2), whose effects can be chosen according to internal routing parameters. By default, it resets the sequence, but it can also be used to receive Run signals to sync USTA with other hardware. This setting is global and can be accessed through the Pro- ject Menu (§3.1), under the item Aux Target. 7.2.1 Reset When the Aux Target is set to Reset, the gate patched to the AUX input performs the same function as the manual

Page 65 of 107 Reset button (B.12), affecting the tracks according to the Reset What (Stage or Pattern) and Reset On settings (Master, Local or Instant – see above, §5.1). A gate high signal equals to pushing the Reset button, and a gate low signal equals to releasing it. 7.2.2 Run Any of the four Run option of the Aux Target menu is designed to control USTA with other devices while using an external clock. The gate signal patched to the Auxiliary input (D.2) now has three functions: play, stop and reset. Since different devices have different sync behaviors, USTA allows for three different options, as described in the table below: Gate High Gate Low Run 1 Reset, then stop Play Run 2 Play Reset, then stop Run 3 Stop, then reset Play Run 4 Play Stop, then reset Table 11: Run modes. Practice the reset input with this Technique: One-Shot Sequence EXTERNAL CV USTA has two inputs that welcome CV for modulation purposes. The destination of the modulation is routed through specific menu settings. One input can be as- signed to multiple modulation options. To enable the external CV modulation for a given track, enter the Track Menu, and scroll to the Shift section. The options available are PitchShiftA, PitchShiftB, Root Shift, Gate ShiftA, Gate ShiftB, Stage Shift, Vari Shift, Phase Shift, Pattern Shift. Choose the selected destina- tion, push the encoder and select the source among None, Ext CV A and Ext CV B. 7.3.1 Pitch Shift Pitch Shift can be performed witch CV layers in Pitch mode. In this mode, the input is continuously sampled and rounded to the smallest interval available in the quanti- zation scale selected (by default it is a semitone, but it can be changed, see below §9.1). Each time the quantized value changes, the modulated track will shift its pitch ac- cordingly, even while the stage is playing. If the Variation layers (Index and Rang) are used to modify a stage value, this will be taken into account by USTA at the beginning of the stage, before the Pitch Shift, and such variation will not be performed again during the stage, even when the external Pitch Shift changes value. The resulting value is then quantized in reference to the Scale, Root and Quantization Direction in use (§9.1). Example: in C major, a stage with Variation Range value 2 (so ±4 semitones) has a normal note Value of D. The Variation Range coin toss specifies +2 semitones, resulting in a note value of E. If the pitch shifting is 0 at the begin- ning of the stage, USTA will play an E. If the CV modu- lates mid-stage from 0 V to 0.5 V (+6 semitones), the re- sulting Pitch Shift would change the E +6 semitones to A#, which would then be quantized, according to the quantization direction preferences, to B or A. It is not possible to perform Pitch Shift when using Raw CV mode: it would make more sense to sum non-quan- tized voltages outside USTA, using, for instance, a 333 module. Pitch modulation “à la” mod wheel is suggested to be performed with a 333 as well, to avoid the stepped effect of the dynamic quantization. 7.3.2 Root Shift This CV destination lets you modify the root of the scale/mode selected for the Dynamic Quantization (see below §9.1). If, for instance, the selected mode is Locrian, any incoming CV will change the root and create other Lo- crian modes to which quantize the ongoing melody. It can be very useful to create modal pieces with CV auto- mations: if the same CV is routed both to the Root Shift and the Pitch Shift, the result will be an exact transposition. It goes without saying that if the selected scale is chro- matic the Root Shift will not produce any noticeable effect. 7.3.3 Gate Shift This parameter uses the incoming external CV to in- crease or decrease the gate values played by USTA in a given stage. The lower and higher values will still be 0 and 16: this means that if the stage has a defined value of 0 gates (i.e. it counts as a musical pause), a negative offset will not produce any audible effect; the same happens if the stage has a defined value of 16 gates and it receives a positive offset. It is possible to use this modulation to mute a given stage by providing a negative offset that will set the gate value to 0. 7.3.4 Stage Shift This modulation shifts the stage values of the four chan- nels of the track while retaining the original stage length defined by the sequence. In other words, while the playhead keeps the rhythmic structure, the melodic con- tent is changed according to other stage values further down the pattern. When Stage Shift is in effect, and any of the four channels are selected, the cyan playhead will display the target stage, i.e. the “shifted” one; when the Length parameter is selected, it will display the regular stage sequence.

Page 66 of 107 An example: a pattern is set up with a stage length of 1 unit from stage 1 to 8, and stage length 0 from stage 9 to 16. The normal behavior when playing it in loop is that the stages are played from the 1 to the 8 then back from the 1st and so on. The CVs and gates generated are the values set in their stages. With Stage Shift, the individual length of the stages is unaltered, but their CV and Gate values will be replaced with the one of the target stages, determined by the incoming CV offset. In this case, if a steady offset of 2 is detected, the pattern will have the length of stages 1-8, but the values of stages 3-10. The stage shift does not cross patterns, so whenever the result of the shifting is bigger than 16, the number is then folded back from stage 1. The stage shift is calculated on the stage change: this makes possible to obtain shifts, or drunk modes or any kind of strange stage sequence without affecting the rhythmic structure of your composition. In order to enable the Stage Shift mode, select the desired track, enter its menu and navigate until StageShift, select- ing the CV channel you want to use as a source for that shifting. Either CV 1 or 2 can be used for this purpose. 7.3.5 Vari Shift (Variation Shift) Another possible destination for external CV is the Var- iation Range for the CV A and CV B, which is manually set by the blue layer. With this option, it is possible to auto- matically increase or reduce the spectrum of values in which USTA can pick whenever the CV Variation chance parameter is higher than 0. As described in Blue Gate Layer above, the Variation Range is bipolar: a positive CV will increase such range both above and below the stage value, and a negative CV will decrease it. Please note that if the CV Variation Chance (green CV layer) is set to 0, this modulation will not produce any au- dible effect. 7.3.6 Pattern Shift It has been said that the default order of patterns in Pat- tern mode can be temporarily altered through Pattern Re- call and Pattern Mix or defined in a different structure through Song Mode. However, it is also possible to automatically recall other patterns though Pattern Shift. This function uses an exter- nal CV to change the pattern which would naturally fol- low the current one in the Pattern Loop: it does not recall, therefore, any pattern outside the defined Pattern Loop. For the same reason, the Pattern Shift is not designed to operate in Song Mode. By default, in Pattern Mode USTA moves forward by 1 pattern at a time. Pattern Shift adds an offset to the default +1 operation: for example, if a fixed CV offset equivalent to 1 is applied, USTA will skip a pattern out of two (thus moving from 1 to 3 and from 3 to 5); if the pattern loop contains only three pattern, USTA will skip from pattern 1 to 3, then it will loop back to 2, then back again to 1, 3, 2 and so on. If a pattern contains four patterns, and an offset of 3 is applied, usta will seem to keep looping only the pattern on which the Pattern Shift started, because the new offset will force the loop always back to it. When Pattern Shift is enabled, the Reset button will be- have accordingly: instead of resetting the loop to the First Pattern, it will reset to the pattern whose number is de- fined by first pattern + the pattern shift offset. 7.3.7 Phase Shift USTA allows you to use an external CV to shift the phase of a track, i.e. its position in relation to the expected timing: a positive voltage will shift a track up to half time unit “behind the beat”, thus allowing effects such as ru- bato or delays. The great advantage of the Phase Shift is that even if it may seem to slow down the track, it does not affect the clock: when the incoming CV goes back to 0, or when the cable is unplugged, the track will immediately get back to the usual position in time. Interesting effects can be obtained with manual offsets (like 321), envelopes (like FALISTRI) or clocked random voltages (like SAPÈL). Figure 83: Visual representation of Phase Shift. Practice some of the different CV modulations with these Techniques: Pitch Shift Root Shift Phase Shift Pattern Shift Varishift Stage Shift Offset USTA as a Quantizer

Page 67 of 107 8 ADDITIONAL OPERATIONS In addition to the previous operations, USTA allows you to perform deeper editing options. According to their position in USTA’s architecture, such options are located either in the Project Menu (§3.1) or in the Track Menu (§3.2). SELECT CV MODE (RAW OR PITCH) In each track, CV A and CV B can be set to work in Pitch or Raw mode, independently. These two modes have been created to fulfill any need depending on the address- ing of that control voltage: if a control voltage for an os- cillator’s pitch is needed, or for anything that responds in V/oct, it is suggested to use pitch mode, while Raw mode is suggested for any other application. By default, CV A is set to work in pitch and CV B in Raw. To change that, select the track you want to modify, push the Navigation Encoder to access the Track Menu (B.14), and scroll to reach the CV A Mode or CV B Mode menu item: push again the navigation encoder, scroll to select the de- sired mode, push again to confirm and push Esc (B.4) to exit. Remind that when CV A or CV B are set to work in Pitch mode, the dashboard will display the note; when they are set to work in raw mode, the dashboard will display the voltage on a milliVolt scale. CV RANGE USTA offers the option to set each CV output inde- pendently per track to work in unipolar range (from 0 V to 10 V) or in a bipolar range (±5 V). This setting is inde- pendent of the CV output being Pitch or Raw. The reason for this option is that sometimes it might be useful to have negative values for lower notes, such as if you want to tune your oscillators to 440Hz, but some other times it might be useful to have the CV working only into positive values, such as to modify the filter cutoff. By default, every parameter is set to work in a unipolar range. This setting is 100% software dependent, therefore dif- ferent settings for each track’s channel can be set, stored and recalled for each project. To set the range of a CV output of a track, push the Navigation Encoder to access the Track Menu (B.14) and scroll to reach CV A Range or CV B Range, then select the preferred Range (0/10 V or −/+5 V). Push again to confirm and Esc button (B.4) to exit. If it is necessary to trim a specific CV output, see the section about output trimming. GATE WIDTH % By default, when the Gate Color is green (see above, §3.4.6) the gate width (i.e. the time it stays high) is the 50% of the time between two consecutive gate rising edges. It is possible, however, to change this percentage independently for gates A and B for each track. In the Track Menu select Gate A % Width or Gate B % Width and choose the desired value: the selectable range spans from 10% to 90%. SWING USTA allows adding a swinging feel to each track inde- pendently through the Swing option. Traditionally, swing is a rhythmic style that implies an alteration of the standard eighth note pattern by playing the downbeat note longer than the upbeat one, thus providing a sort of “bouncing” feel. It is commonly played in blues and jazz styles, but it can be a useful tool to add some groove to an electronic composition too. There is no fixed rule to determine the swing ratio, or the relationship between the first and the second element of a couple of eighth notes played with a swing feel. Gen- erally speaking, the swing happens anywhere between 1:1 (no swing at all) and 3:1 (where the first note is a dotted eighth note and the second one a sixteenth note); the most common ratio is around 2:1, which sounds like a triplet of eighth notes where the first one is a quarter note and the second one is an eighth note. USTA implements Swing by delaying the second note in each pair. Delay amount is indicated in percentage of note length. For instance, a swing setting of 50% means that the second note will be delayed by half of its length, making the first one 50% longer, which translates in a swing ratio of 3:1; a swing setting around 33% or 34% translates roughly into a swing ratio of 2:1 and so on. The maximum setting allowed by USTA is 75%, which pro- vides an extreme ratio of 7:1 – this goes way beyond the conventional swing styles, and it can be used for more ex- perimental rhythmic structures. The Swing parameter operates between couples of units (see above, §2.2). If two stages have length of 1 unit each, the effect will be noticeable. If they have length of 2, the swing theoretically happens within the stages, so it will not be audible. If they have length of 3, the swing hap- pens between the last unit of the first stage and the first unit of the second stage, and so on. In other words, the swing can be heard only if the length of at least one out of two stages has an odd number of units. If the selected pattern has an even number of stages, the swing pattern will be repeated consistently across differ- ent loops; if the pattern has an odd number of stages, the last stage will be read by USTA as the first element of a pair of notes, whose second element will be the first note of the following pattern, or the same pattern if it is loop- ing. This last scenario results in alternating rhythmic var- iations on the same pattern, because on the second loop all the upbeats and downbeats will be flipped.

Page 68 of 107 CURRENT STAGE DATA In Performance Mode, either in Pattern or Song, the fifth row of the dashboard can be set to display in real time the five channels (CV A, CV B, Gate A, Gate B) of the stage that is currently being played by the playhead, instead of the last edited stage. To activate this option, enter the Project Menu, scroll un- til the ShowInPLay item, and select Yes (by default, this op- tion is set to No, as it could happen that it may slow down USTA). 9 PLAYING IN TUNE Figure 84: Visual representation of alternative octave divisions. 432 434 436 438 440 442 444 446 C A C A C A C A C A C A C A C A 32.11 27.00 32.26 27.13 32.41 27.25 32.55 27.38 32.70 27.5 32.85 27.63 33.00 27.75 33.15 27.88 64.22 54.00 64.51 54.25 64.81 54.50 65.11 54.75 65.41 55.00 65.70 55.25 66.00 55.50 66.30 55.75 128.43 108.00 129.03 108.50 129.62 109.00 130.22 109.50 130.81 110.00 131.41 110.50 132.00 111.00 132.60 111.50 256.87 216.00 258.06 217.00 259.25 218.00 260.44 219.00 261.63 220.00 262.81 221.00 264.00 222.00 265.19 223.00 513.74 432.00 516.12 434.00 518.49 436.00 520.87 438.00 523.25 440.00 525.63 442.00 528.00 444.00 530.39 446.00 1027.4 7 864.00 1032.2 3 868.00 1036.9 9 872.00 1041.7 5 876.00 1046.5 0 880.00 1051.2 6 884.00 1056.0 0 888.00 1060.7 7 892.00 2054.9 5 1728.0 0 2064.4 6 1736.0 0 2073.9 8 1744.0 0 2083.4 9 1752.0 0 2093.0 0 1760.0 0 2102.5 2 1768.0 0 2112.0 0 1776.0 0 2121.5 5 1784.0 0 Table 12: C and A frequency chart for different tunings. ROOT & SCALE – DYNAMIC QUANTIZATION In Pitch mode, the scale selected, according to the Root note, defines how to quantize the outgoing semitones in 1V/oct reference. (In Raw mode, the selected scale and root note are ignored, and no quantization is performed.) To select a Root for a track, press its track button, push the Navigation Encoder (B.14) once to access the Track Menu, and scroll up to reach the Root menu item: push the nav- igation encoder to view the root options, scroll to select the desired root note for your scale, and push again to confirm. Next, scroll to select the Scale menu item: push the nav- igation encoder again to view the scale options, scroll to select the desired scale, and push the encoder once again to confirm. It is also possible to choose one of four Quantization Di- rections, used to determine the quantized values for input voltages, first within the selected base scale (e.g. 12EDO), then within the specific scale version (e.g. Major Penta- tonic 1): Near Up – finds the nearest match in the selected base scale, starting from the first higher, then checks the first lower, then the second higher, then the second lower and so on until the first match for the selected scale version is found. Near Down – finds the nearest match in the selected base scale, starting from the first lower, then checks the first higher, then the second lower, then the second higher and so on until the first match is found. Up – finds the nearest match in the selected base scale, always increasing the pitch, so all lower semitones are ig- nored. It checks then the first higher, then the second, then the third and so on until a match for the selected scale version is found. Down – finds the nearest match in the selected base scale, always decreasing the pitch, so all higher semitones are ignored. It checks the first lower, then the second, then the third and so on until a match for the selected scale version is found. To do that, scroll to select the Qntz Dir menu item: push the navigation encoder to view the options, scroll to select the desired quantization direction for your scale, and push again to confirm. All the generated notes will be quantized following these four rules. Another useful feature is that when the Variation Range is active for a stage, the result of the variation is routed to

Page 69 of 107 the quantizer, in order to output a note that consistently matches the selected quantization settings. See the Scales section below (§12) for a table of the available scales. Practice the Dynamic Quantization settings with this Technique: Quantization MICROTONALITIES The fact that the equal temperament is the most com- mon in Western music does not mean that it should be the only harmonic framework for your compositions. For more experimental composers, USTA allows choosing octave divisions for microtonal music different from the standardized 12-EDO (Equal Division of Oc- tave). Four of them are available: 15-EDO, 19-EDO, 22- EDO, and 24-EDO. To select an alternate octave division, open the Track Menu and scroll until the TonesPerOct item. The default option is 12EDO, which is the standard Western equal tem- perament. When 12EDO is selected, the Scale and Root op- tions (described in the Scale&Root section, above) deter- mine the quantization. When another option is selected, scale and root are ob- tained from the menu items below, according the number of tones per octave desired. For example, when TonesPer- Oct is set to 19EDO, scale and root are determined by the options set in Root 19 and Scale 19, respectively: Root 15, Scale 15, Root 19, Scale 19, Root 22, Scale 22, Root 24, Scale 24. A wide variety of preset scales is available, but it is also possible for the user to define up to four custom scales per each octave division. The settings specified for the Quan- tization Direction will apply to every octave division se- lected. Whenever an octave division higher than 12 is selected, the visual feedback system of the Stage Arc (A.2) will change accordingly. After the encoder has reached the 11th tone, and the 11th LED of the Stage Arc has lit up, the following intervals will be displayed by the leftmost LEDs tuning off, until the last one (15th, 19th, 22nd or 24th) is reached; then, the following octave will begin from scratch with another LED lighting up on the right- most side. When the Coarse button is held down, the encoder will always shift the stage value by 1 octave per click and hold- ing the Fine button will always shift the pitch by cents. Please note that higher EDOs will result in a smaller octave range, because the total number of notes that can be per- formed by USTA stays the same. (For example, if a 24EDO is selected, USTA’s range will be 5 octaves instead of 10). External pitch shifting is still available, even if the 1V/oct standard is no longer in use. In these microtonal modes, 1/12v corresponds to a single interval, no matter the octave division: in other words, if a standard V/Oct keyboard is used to perform Pitch Shift, a semitone above will shift the melody of 1 microtonal interval. If the 24 EDO is selected, two octaves on a keyboard will corre- spond to one octave on USTA. This 1/12 V-per-interval is available also in Composi- tion Mode via external controller: each key of a standard V/Oct keyboard will input a microtone. If you change your Octave Division after you composed a melody in 12EDO, the input melody will still be available, but scaled to the first 12 tones of the new scale. To hear your original melody again, simply return to the standard 12EDO. CUSTOM SCALES Beside the built-in scales it is possible to create up to four scales per each octave division (12, 15, 19, 22 and 24 intervals), for a total of 20 user scales. This operation must be performed on a computer, as it requires the creation of a .csv file which must be then loaded into the SD card. To create the .csv file we rec- ommend to use a flexible text editor, such as Atom: other editors or word processors might add some unwanted data to the file, such as text formatting, which may make it unreadable for USTA. The .csv file must be made of four lines, one per each custom scale. Each line must have a succession of digits, which can be only 0 and 1 and must be separated by a semicolon ( ; ). The digit represents the semitones, which can be either active (1) or bypassed (o) during the quanti- zation process. The digits will be 12 for the 12-tone scales, 15 for the 15-tone scale and so on, up to the 24-tone scale. No space must be used between digits and semicolons, and no semicolon must be placed after the last digit. Here is an example of how a .csv file for four custom 12-tone scales will look like: the first scale is chromatic, the second major natural, the third minor natural, the fourth chromatic. 1;1;1;1;1;1;1;1;1;1;1;1 1;0;1;0;1;1;0;1;0;1;0;1 1;0;1;1;0;1;0;1;1;0;1;0 1;1;1;1;1;1;1;1;1;1;1;1 Please note that the four lines must be completed in full for the file to be properly read by USTA: if you need to create less than four custom scale, consider filling the other lines with e.g. chromatic scales (all 1s). If an interval is missing at the end of each line, it will be replaced with a 0. Values after the last one will be ig- nored.Once your file is ready, you must save it as follows: Number of tones per octave File name 12 12scales.csv 15 15scales.csv 19 19scales.csv

Page 70 of 107 22 22scales.csv 24 24scales.csv Table 13: Custom scales file names. Once the files are correctly saved, copy them to the root of the SD card, and insert the card into the card holder in the back of USTA. On startup, USTA will automati- cally read the new scales, which will be available as User1, User2, User3, and User4 under each of the five octave divi- sions’ scale section, at the end of the track menu. To un- mount the SD card and connect it to your computer, re- fer to the procedure listed in following sections about Pro- ject Management or Firmware Update (§§10.3-10.4). If no .csv file is found into the SD card, or if the file loaded is not readable by USTA, the four user scales will be replaced by chromatic scales, which is also the condi- tion of USTA at its first boot. SET THE REFERENCE NOTE Traditionally 0 V –in the V/oct tracking reference– is intended to be a C. Since the V/oct standard is not abso- lute but relative, and since that voltage reference truly de- pends on the tuning frequency at 0 V of the oscillator you are using, it seems that some people prefer the C at 0 V, while some others prefer the A: in the end, it’s just per- sonal taste, even here at Frap Tools we are divided. We thus decided to put a setting item in the project menu to define that per each project. This is only a visual reference but, in this way, everyone can maintain their preferred way of seeing things, to ease the creation and arrangement. The only thing that changes selecting the one or the other is the visualization on the display of the name value of the last edited stage and the current play- ing stage in a track that uses a Pitch mode for their CV A or CV B. To set the reference note, open the Project Menu, scroll to the item 0v is and select C or A. CUSTOM TEMPERAMENTS USTA by default divides an octave in equal tempera- ments, which means that the distance between each in- terval is the same across the whole scale, regardless of how many intervals per octave are chosen. It is possible, however, to create custom tunings to fine-tune certain scale intervals and obtain, for instance, more “perfect” intervals such as thirds or fifths. The procedure is like the one just described for custom scales: a .csv file is required for each of the octave divi- sions (12, 15, 19, 22, 24 intervals) and the custom scales will be available as option in the TonesPerOct menu item. By default, no file is loaded into the SD card, and these menu items will be a copy of their respective EDO tem- peraments. The .csv file must be made of four lines, one per each custom temperament. Each line must have a succession of digits, which represent the tuning offset from EDO, expressed in cents, and whose values can be anything from −50 to +50. They must be separated by a semicolon ( ; ) and there must be 12 for the 12-tone scales, 15 for the 15-tone scale and so on, up to the 24-tone scale. No space must be used between digits and semicolons, and no semicolon must be placed after the last digit. Please note that the custom temperaments will not be audi- ble in Composition mode, where they are replaced by the de- fault EDO. Temperaments are audible when USTA is playing the sequence either in Edit or Playback mode. Here is an example of how a single line of the .csv file for a custom 12-tone temperament will look like. 0;0;5;0;-7;0;0;11;0;-2;0;0 Here the major second is raised by 5 cents, the major third is lowered by 7, the fifth is raised by 11 and the sixth is lowered by two. Please note that the four lines must be completed in full for the file to be properly read by USTA: if you need to create less than four custom temperaments, consider fill- ing the other lines with 0s. If a value is missing at the end of each line, it will be replaced with a 0. Values after the last one will be ig- nored. Once your file is ready, you must save it as follows: Number of tones per octave File name 12 12temper.csv 15 15temper.csv 19 19temper.csv 22 22temper.csv 24 24temper.csv Table 14: Custom temperaments file names. Once the files are correctly saved, copy them to the SD card and insert the card into the card holder in the back of USTA. On startup, USTA will automatically read them and the temperaments will be available as 12User1, 12User2, 12User3, 12User4, 15User1, 15User2 and so on, within the TonesPerOct item in the track menu. To un- mount the SD card and connect it to your computer, re- fer to the procedure listed in following sections about about Project Management or Firmware Update (§§10.3-10.4). 9.5.1 Absolute or Relative Temperaments After defining your tuning, it is possible to choose whether quantization is calculated by USTA based on the 0 V note (absolute) or in relation to the Root note se- lected for the respective octave division (relative). The reason for doing so is that one may need a given temperament for different compositions in different keys. To set this option, enter the Project Menu, scroll until the Temperament item, and select Relative or Absolute as default behavior. Again, this setting affects USTA as a whole, and does not belong to a specific project.

Page 71 of 107 The .csv files created for Scales and Temperaments are global parameters, just like the trimming file. It means that they are not saved in each project, but they are recalled every time. If you need a specific scale or temperament for a pro- ject, make sure not to replace it on the .csv file!

Page 72 of 107 LED PITCH TABLES semi- tones 0 V is C C C# D D# E F F# G G# A A# B 0 V is A A A# B C C# D D# E F F# G G# Voltage 0 V 1/12 V ~0.083V 2/12 V ~0.166V 3/12 V 0.25V 4/12 V ~0.333V 5/12 V ~0.416V 6/12 V 0.5 V 7/12 V ~0.583V 8/12 V ~0.666 9/12 V 0.75V 10/12 V ~0.833V 11/12 V ~0.916V octaves Octave +0 +1 +2 +3 +4 +5 +6 +7 +8 +9 +10 Voltage 0 V 1V 2V 3V 4V 5 V 6V 7V 8V 0 V 0 V Table 15: 12-EDO LED chart. semi- tones 0 V is C C C# D D# E E# F F# G G# Ab A 0 V is A A A# B B# C C# D D# E E# F F# Voltage 0 V 1/15V ~0.066V 2/15V ~0.133V 3/15V 0.2V 4/15V ~0.266V 5/15V ~0.333V 6/15V 0.4V 7/15V ~0.466V 8/15V ~0.533 9/15V 0.6V 10/15V ~0.666V 11/15V ~0.733V 0 V is C A# B B# 0 V is A G G# Ab Voltage 12/15V ~0.8V 13/15V ~0.866V 14/15V ~0.933V octaves Octave +0 +1 +2 +3 +4 +5 +6 +7 +8 Voltage 0 V 1V 2V 3V 4V 5 V 6V 7V 8V Table 16: 15-EDO LED chart. semi- tones 0 V is C C C# Db D D# Eb E E# F F# Gb G 0 V is A A A# Bb B B# C C# Db D D# Eb E Voltage 0 V 1/19V ~0.052V 2/19V ~0.105V 3/19V ~0.157V 4/19V ~0.210V 5/19V ~0.263V 6/19V ~0.315V 7/19V ~0.368V 8/19V ~0.421 9/19V~ 0.473V 10/19V ~0.526V 11/19V ~0.578V 0 V is C G# Ab A A# Bb B B# 0 V is A E# F F# Gb G G# Ab Voltage 12/19V ~0.631V 13/19V 0.684V 14/19V ~0.736V 15/19V ~0.789V 16/19V ~0.842V 17/19V ~0.894V 18/19V ~0.947V octaves Octave +0 +1 +2 +3 +4 +5 +6 Voltage 0 V 1V 2V 3V 4V 5 V 6V Table 17: 19-EDO LED chart.

Page 73 of 107 semi- tones 0 V is C C C# Db D D# Eb E E# Fb F F# Gb 0 V is A A A# Bb B B# Cb C C# Db D D# Eb Voltage 0 V 1/22V ~0.045V 2/22V ~0.090V 3/22V ~0.136V 4/22V ~0.181V 5/22V ~0.227V 6/22V ~0.272V 7/22V ~0.318V 8/22V ~0.363 9/22V ~0.409V 10/22V ~0.454V 11/22V 0.5 V 0 V is C G G# Abb Ab A A# Bb B B# Cb 0 V is A E E# Fb F F# Gb G G# Abb Ab Voltage 12/22V ~0.545V 13/22V ~0.590V 14/22V ~0.636V 15/22V ~0.681V 16/22V ~0.727V 17/22V ~0.772V 18/22V ~0.818V 19/22V ~0.863V 20/22V ~0.909V 21/22V ~0.954V octaves Octave +0 +1 +2 +3 +4 +5 Voltage 0 V 1V 2V 3V 4V 5 V Table 18: 22-EDO LED chart. semi- tones 0 V is C C C^ C# Dv D D^ D# Ev E E^ F F^ 0 V is A A A^ A# Bv B B^ C C^ C# Dv D D^ Voltage 0 V 1/24V ~0.041V 2/24V ~0.083V 3/24V 0.125V 4/24V ~0.166V 5/24V ~0.208V 6/24V 0.25V 7/24V ~0.291V 8/24V ~0.333 9/24V 0.375V 10/24V ~0.416V 11/24V ~0.458V 0 V is C F# Gv G G^ G# Av A A^ A# Bv B B^ 0 V is A D# Ev E E^ F F^ F# Gv G G^ G# Av Voltage 12/24V 0.5 V 13/24V ~0.541V 14/24V ~0.583V 15/24V 0.625V 16/24V ~0.666V 17/24V ~0.708V 18/24V 0.75V 19/24V ~0.791V 20/24V ~0.833V 21/24V 0.875V 22/24V ~0.916V 23/24V ~0.958V octaves Octave +0 +1 +2 +3 +4 Voltage 0 V 1V 2V 3V 4V Table 19: 24-EDO LED chart.

Page 74 of 107 10 ADDITIONAL MAINTENANCE REMOVE / INSERT THE SD CARD For some operations it is required to remove and then reinsert the SD card. We won’t copy/paste the same pro- cess here every time so here’s how to do that. 10.1.1 Remove the SD Card (a) Turn off the module. (b) Unmount it from your case removing all the screws. (c) Unplug the module power cable. (d) Take off the SD card from the back of the module by pushing it (it’s a push-push mechanism). 10.1.2 Insert the SD Card (e) Safe remove the SD card from the computer. (f) Put the SD card back in place onto the module: if you are looking at the back of the module, the SD card contacts should look at you. Insert the SD card into the SD card holder and push to retain it. (g) Plug the module power cable. (h) Remount it safely in your case using all the screws. (i) You can now turn on the module. ANALOG TRIMMING The trimming routine is an alternative way to start the machine, to perform, set, adjust digital trimming on any of the CV output or input. Each unit’s CV inputs and outputs are software calibrated to guarantee the most precise response. For this purpose, it is highly recommended to make a backup copy of your USTA’s trimming file. To do so, unmount the SD card (see instruc- tions above), connect it to your computer and copy the file labeled trim.cfg, then place the SD card back into the mod- ule (see instructions above). Should you lose somehow the file on the SD card, USTA will automatically create a new trimming file with default values, which may cause impre- cise tracking. To access the Trimming turn off the USTA, hold the Play/Pause button (B.13), and turn on the USTA again. The trimming menu will show you 32 settings for the outputs and four settings for the inputs. Each output or input needs to be set for −5 V, 0 V, +5 V, and +10 V. Scroll through elements with the navigation encoder, push it to start to modify the value, and push again to confirm it. For best results, we strongly suggest warming up the USTA at least for 30 minutes inside the case where it will be used before performing any sort of trimming. 10.2.1 CV Out Trimming To perform the trimming on the outputs a multimeter is needed. Consider also the precision of the multimeter you are using. The USTA outputs are based on an octal 16-bit DAC, with 65’536 steps: the maximum output without trim- ming is from around −5.5 V up to around +10.5 V, which translates on 16V of range and an amplitude dif- ference between each step of around 0.244 mV. The CV outputs are numbered from 1 to 8, from top to bottom, like: · Track 1 CV A = OUT1 · Track 1 CV B = OUT2 · Track 2 CV A = OUT3 · Track 2 CV B = OUT4 … And so on. Each output has four values to calibrate: −5 V, 0 V, +5 V, and +10 V. Here’s how to perform the calibration. (a) Patch the desired output’s –5 V to a multimeter. (b) Push the navigation encoder on the corresponding value. (c) Check the current voltage output. (d) Rotate the navigation encoder to calibrate value. (e) Push the navigation encoder to confirm. Then repeat the operation for the three remaining volt- ages of the corresponding output. 10.2.2 CV In Trimming To perform the trimming on the inputs, a precise volt- age generator is needed, with the capability to generate from at least −5.5 V up to +10.5 V. In the Trimming page, you will see two updating num- bers at the bottom, these are the CV A and B input mon- itors. (a) Patch a -5V signal to your CV A input. (b) Scroll down to the IN1 row. (c) Check that the IN1 -5V value is close to the bottom- left updating number. If not, tweak it until it does. (d) Patch a 10V signal to CV A. (e) Scroll to the IN1 10V row. (f) Repeat point (c) for the IN1 10V values. (g) Repeat the operation for the CV B (IN2 -5 and IN2 10). For this procedure, use the input monitor on the bottom right. To save what you did, push the play button. When you are done, you can turn off and normally turn on again the USTA. PROJECT MANAGEMENT AND BACKUPS Projects can be backed up on your computer, and it is strongly suggested to back them up. To do so: Turn off and unplug your case. Remove the SD Card (follow instructions above). Connect the SD card to the computer you want to use for backups.

Page 75 of 107 Copy/paste the project files you want to save from the SD card root to your computer. The project is now backed up. Insert the SD Card (follow instructions above). FIRMWARE UPDATE (a) Turn off and unplug your case. (b) Remove the SD Card (follow instructions above). (c) Download the firmware file from https://frap.tools/firmwares/ to your computer (d) Connect the SD card to that computer. (e) Rename the downloaded file as USTA.bin (keep the extension .bin, it is important). (f) Place the renamed file on the root of the SD card – if there is another USTA.bin, replace it (if you have an older install in there and you don't replace it, you know what happens right?). (g) Insert the SD Card (follow instructions above) and turn on the module. (h) Press and hold the navigation encoder until the Pro- ject Menu is displayed. (i) Select Replace FW and push the encoder. A window will open, asking for confirmation. By default, the answer is NO, to prevent accidental misbehaviors. Rotate the navigation encoder counterclockwise to select YES, then push the encoder to launch the up- grade. The device will automatically reboot and begin the update procedure. You must wait for it to complete the update be- fore using it normally. DO NOT TURN OFF POWER FROM THIS POINT, OR IT WILL VOID YOUR MODULE’S WARRANTY!

Page 76 of 107 11 CHARTS PROJECT MENU Menu voice Selectable options Function New… — Creates a new file. Load… — Loads any existent file. Save — Saves the changes made to the current project. Save As… — Saves the current project as a new file. Delete… — Deletes any existent file. Rename… — Renames any existent file. Aux Target Reset / Run 1 / Run 2 / Run 3 / Run 4 Selects the behavior of the external gate signal. Master Track 1 / 2 / 3 / 4 Selects the Master Track. ShowInPlay No / Yes Enable to display in real time the playing stage in PerformanceMode in the dash- board. 0 V is C / A Selects the Reference Note. All Edits From / All Selects the behavior of the Set All and Shift All buttons. Temperament Absolute / Relative Selects if the User Temperaments are applied to the Reference Note only, or to the root note selected in each track (which may change). Replace FW — Updates the current firmware (when a new firmware file is loaded into the SD card). TRACK MENU Menu voice Selectable options Function Int BPM from 30 to 300 Select the internal clock speed expressed in BPM, the clock source, and the clock- to-unit ratio, as expressed in the chapters about Tempo Management and Editing Tracks. ClockSource Built-In / External Ratio … Swing 0 − 50 Sets the Swing ratio. Track Mode Pattern / Song Selects the track mode. CV A Mode Pitch / Raw Sets the CV mode for channel A and B to raw voltages or quantized notes. CV B Mode Pitch / Raw CV A Range 0/+10 V / −/+5 V Defines if the CV range for channel A and B is unipolar or bipolar. CV B Range 0/+10 V / −/+5 V Root C − B Defines the root note and the scale in the default 12EDO system. See also the 12- EDO scales section. Scale … Quantize Near Up / Near Down / Up / Down Selects the dynamic quantization direction. Gate A % Width 10 − 90 Sets the time a gate stays high when in ratcheting mode (green color), expressed in the % of the time between two consecutive rising edges. Gate B % Width 10 − 90 Reset What Nothing / Stage / Stage&Pa Select the reset options. Reset On Instant / Local / Master PitchShiftA None / CV A / CV B Sets the Pitch Shift source for CV A and B. PitchShiftB None / CV A / CV B Root Shift None / CV A / CV B Sets the Root Shift source. StageShift None / CV A / CV B Sets the Stage Shift source. Ptrn Shift None / CV A / CV B Sets the Pattern Shift source. PhaseShift None / CV A / CV B Sets the Phase Shift source. Gate ShiftA None / CV A / CV B Sets the Gate Shift source for GATE A and B. Gate ShiftB None / CV A / CV B Vari Shift None / CV A / CV B Sets the Variation Shift source. TonesPerOct … Sets the octave division unit or the custom temperament. Root 15 … Select the reset options. Defines the root and scale for each of the other four oc- tave divisions available. See also the following sections about. 15, 19, 22 and 24- EDO scales. Scale 15 … Root 19 … Scale 19 … Root 22 … Scale 22 … Root 24 … Scale 24 …

Page 77 of 107 PROJECT HIERARCHY Figure 85: USTA structure. Project 0V is AllEdit AuxTarget MasterTrack Track 1 First & Last Pattern Int BPM Clock Source Ratio Swing TrackMode (pattern/Song) Reset What Reset On RootShift StageShift PatternShift PhaseShift Track 4 Track 3 Track 2 CV A Mode Range PitchShift Gate A Width GateShift Gate B Song Slot 1 pattern repetition Slot 2 Slot 11 Slot 20 Slot 3 Slot 12 Slot 21 Slot 4 Slot 13 Slot 22 Slot 5 Slot 14 Slot 23 Slot 6 Slot 15 Slot 24 Slot 29 Slot 7 Slot 16 Slot 30 Slot 8 Slot 17 Slot 31 Slot 9 Slot 18 Slot 32 Slot 38 Slot 47 Slot 33 Slot 39 Slot 48 Slot 25 Slot 34 Slot 40 Slot 26 Slot 35 Slot 41 Slot 27 Slot 36 Slot 42 Slot 56 Slot 43 Slot 57 Slot 44 Slot 49 Slot 58 Slot 50 Slot 59 Slot 51 Slot 60 Slot 52 Slot 61 Slot 53 Slot 62 Slot 45 Slot 54 Slot 63 Slot 10 Slot 19 Slot 28 Slot 37 Slot 46 Slot 55 Slot 64 Pattern 1 Stage 1 length Gate A number of gates color (length all skip) variability index variability range CV A color (flat slide skip) variability index variability range Pitch semitone cent Raw voltage CV B Gate B Stage 2 Stage 5 Stage 8 Stage 11 Stage 14 Stage 3 Stage 6 Stage 9 Stage 12 Stage 15 Stage 4 Stage 7 Stage 10 Stage 13 Stage 16 Pattern 9 Pattern 10 Pattern 11 Pattern 12 Pattern 13 Pattern 14 Pattern 8 Pattern 3 Pattern 2 Pattern 5 Pattern 4 Pattern 7 Pattern 6 Pattern 15 Pattern 16 Pattern 17 Pattern 18 Pattern 19 Pattern 20 Pattern 21 Pattern 22 Pattern 23 Pattern 24 Pattern 25 Pattern 26 Pattern 27 Pattern 28 Pattern 29 Pattern 30 Pattern 31 Pattern 32 CV B tuning settings Root Scale Quantize Direction TonesPerOctave Root15 Scale15 Root19 Scale19 Root22 Scale22 Root24 Scale24

Page 78 of 107 12 SCALE TABLES Table 20: 12-EDO and other 12-tone-per-octave temperaments. tone 0 1 2 3 4 5 6 7 8 9 10 11 cents 0 100 200 300 400 500 600 700 800 900 1000 1100 description t/oct display Chromatic 12 Chroma 1 1 1 1 1 1 1 1 1 1 1 1 Major Pentatonic 1 5 5 Maj 1 1 0 1 0 1 0 0 1 0 1 0 0 Minor Pentatonic 2 5 5 Min 2 1 0 1 0 0 1 0 1 0 0 1 0 Minor Pentatonic 3 5 5 Min 3 1 0 0 1 0 1 0 0 1 0 1 0 Major Pentatonic 2 5 5 Maj 2 1 0 1 0 0 1 0 1 0 1 0 0 Minor Pentatonic 1 5 5 Min 1 1 0 0 1 0 1 0 1 0 0 1 0 Dominant Pentatonic 5 5 Domin 1 0 1 0 1 0 0 1 0 0 1 0 Whole Tone 6 6 Whole 1 0 1 0 1 0 1 0 1 0 1 0 Augmented 6 6 Augmt 1 0 0 1 1 0 0 1 1 0 0 1 Prometheus 6 6 Mystc 1 0 1 0 1 0 1 0 0 1 1 0 Hexatonic Blues 6 6 Blues 1 0 0 1 0 1 1 1 0 0 1 0 Ionian 7 Ionian 1 0 1 0 1 1 0 1 0 1 0 1 Dorian 7 Dorian 1 0 1 1 0 1 0 1 0 1 1 0 Phrygian 7 Phrygia 1 1 0 1 0 1 0 1 1 0 1 0 Lydian 7 Lydian 1 0 1 0 1 0 1 1 0 1 0 1 MixoLydian 7 Mixo 1 0 1 0 1 1 0 1 0 1 1 0 Aeolian 7 Aeolian 1 0 1 1 0 1 0 1 1 0 1 0 Locrian 7 Locrian 1 1 0 1 0 1 1 0 1 0 1 0 Harmonic Minor − Aeolian #7, m Harmonic Modes 7 mHarmon 1 0 1 1 0 1 0 1 1 0 0 1 Locrian #6 7 Locri#6 1 1 0 1 0 1 1 0 0 1 1 0 Ionian #5 7 Ionia#5 1 0 1 0 1 1 0 0 1 1 0 1 Dorian #4 7 Doria#4 1 0 1 1 0 0 1 1 0 1 1 0 Phrygian Dominant 7 PhryDom 1 1 0 0 1 1 0 1 1 0 1 0 Lydian #2 7 Lydia#2 1 0 0 1 1 0 1 1 0 1 0 1 Ultralocrian 7 uLocria 1 1 0 1 1 0 1 0 1 1 0 0 Melodic Minor, Jazz Minor 7 mMelodi 1 0 1 1 0 1 0 1 0 1 0 1 Dorian b9 7 Doriab9 1 1 0 1 0 1 0 1 0 1 1 0 Lydian Augmented 7 LydiAug 1 0 1 0 1 0 1 0 1 1 0 1 Lydian Dominant 7 LydiDom 1 0 1 0 1 0 1 1 0 1 1 0 Mixolydian b6 7 Mixo b6 1 0 1 0 1 1 0 1 1 0 1 0 Semilocrian, Aeolian b5 7 sLocria 1 0 1 1 0 1 1 0 1 0 1 0 Superlocrian 7 SuLocri 1 1 0 1 1 0 1 0 1 0 1 0 Double Harmonic Major 7 dHarmMa 1 1 0 0 1 1 0 1 1 0 0 1 Lydian #2 #6 7 Lyd#2#6 1 0 0 1 1 0 1 1 0 0 1 1 UltraPhrygian, Ultralocrian natural 5 7 uPhrygi 1 1 0 1 1 0 0 1 1 1 0 0 Double Harmonic Minor, Hungarian Minor 7 dHarmMi 1 0 1 1 0 0 1 1 1 0 0 1 Mixolydian b2 b5, Oriental 7 Mixb2b5 1 1 0 0 1 1 1 0 0 1 1 0 Ionian Augmented #2 7 IoAug#2 1 0 0 1 1 1 0 0 1 1 0 1 Locrian bb3 bb7 7 Locbb37 1 1 1 0 0 1 1 0 1 1 0 0 Hungarian Major 7 Hungari 1 0 0 1 1 0 1 1 0 1 1 0 Superlocrian bb6 bb7 7 SuLbb67 1 1 0 1 1 0 1 1 0 1 0 0 Harmonic Minor b5 7 mHarmb5 1 0 1 1 0 1 1 0 1 0 0 1 Superlocrian #6 7 SuLoc#6 1 1 0 1 1 0 1 0 0 1 1 0 Melodic Minor #5, Jazz Minor #5 7 mMelo#5 1 0 1 1 0 1 0 0 1 1 0 1 Dorian b9 #11 7 Dor#4b9 1 1 0 1 0 0 1 1 0 1 1 0 Lydian Augmented #3 7 LydAu#3 1 0 1 0 0 1 1 0 1 1 0 1 Harmonic Major, Ionian b6 7 MHarmon 1 0 1 0 1 1 0 1 1 0 0 1 Dorian b5 7 Doriab5 1 0 1 1 0 1 1 0 0 1 1 0 Phrygian b4 7 Phrygb4 1 1 0 1 1 0 0 1 1 0 1 0 Lydian b3 7 Lydiab3 1 0 1 1 0 0 1 1 0 1 0 1 Mixolydian b9 7 Mixo b9 1 1 0 0 1 1 0 1 0 1 1 0 Lydian Augmented #2 7 LydAu#2 1 0 0 1 1 0 1 0 1 1 0 1 Locrian bb7 7 Loc bb7 1 1 0 1 0 1 1 0 1 1 0 0 Neapolitan Major 7 MNeapol 1 1 0 1 0 1 0 1 0 1 0 1 Leading Whole-Tone 7 LeaWhol 1 0 1 0 1 0 1 0 1 0 1 1 Lydian Augmented Dominant 7 LydAuDo 1 0 1 0 1 0 1 0 1 1 1 0 Lydian Dominant b6 7 LydDob6 1 0 1 0 1 0 1 1 1 0 1 0 Major Locrian 7 MLocria 1 0 1 0 1 1 1 0 1 0 1 0 Semilocrian b4 7 sLoc b4 1 0 1 1 1 0 1 0 1 0 1 0 Superlocrian bb3 7 SuLobb3 1 1 1 0 1 0 1 0 1 0 1 0 Neapolitan Minor 7 mNeapol 1 1 0 1 0 1 0 1 1 0 0 1 Lydian #6 7 Lydia#6 1 0 1 0 1 0 1 1 0 0 1 1 Mixolydian Augmented 7 MixoAug 1 0 1 0 1 1 0 0 1 1 1 0 Aeolian #4, Hungarian Gipsy 7 Aeoli#4 1 0 1 1 0 0 1 1 1 0 1 0 Locrian Dominant 7 Loc Dom 1 1 0 0 1 1 1 0 1 0 1 0 Ionian #2 7 Ionia#2 1 0 0 1 1 1 0 1 0 1 0 1 Ultralocrian bb3 7 uLocbb3 1 1 1 0 1 0 1 0 1 1 0 0 Chromatic Hypolydian 7 hc Lydi 1 1 0 0 1 0 1 1 1 0 0 1

Page 79 of 107 Chromatic Hypophrygian 7 hc Phri 1 0 0 1 0 1 1 1 0 0 1 1 Chromatic Hypodorian 7 hc Dori 1 0 1 1 1 0 0 1 1 1 0 0 Chromatic Mixolydian 7 hc Mixo 1 1 1 0 0 1 1 1 0 0 1 0 Chromatic Lydian 7 c Lydia 1 1 0 0 1 1 1 0 0 1 0 1 Chromatic Phrygian 7 c Phryg 1 0 0 1 1 1 0 0 1 0 1 1 Chromatic Dorian 7 c Doria 1 1 1 0 0 1 0 1 1 1 0 0 Chromatic Hypophrygian inverse 7 hciPhry 1 1 1 0 0 1 1 1 0 1 0 0 Chromatic Hypolydian inverse 7 hciLydi 1 1 0 0 1 1 1 0 1 0 0 1 Chromatic Dorian inverse 7 hciDori 1 0 0 1 1 1 0 1 0 0 1 1 Chromatic Phrygian inverse 7 hciPhri 1 1 1 0 1 0 0 1 1 1 0 0 Chromatic Lydian inverse 7 ci Lydi 1 1 0 1 0 0 1 1 1 0 0 1 Chromatic Mixolydian inverse 7 ci Mixo 1 0 1 0 0 1 1 1 0 0 1 1 Chromatic Hypodorian inverse 7 ci Dori 1 0 0 1 1 1 0 0 1 1 1 0 BeBop Major 8 bbp Maj 1 0 1 0 1 1 0 1 1 1 0 1 BeBop Dominant 8 bbp Dom 1 0 1 0 1 1 0 1 0 1 1 1 BeBop Dorian 8 bbp Dor 1 0 1 1 1 1 0 1 0 1 1 0 BeBop Dorian Alternative 8 bbp DoA 1 0 1 1 0 1 0 1 0 1 1 1 BeBop Minor 8 bbp Min 1 0 1 1 0 1 0 1 1 1 0 1 BeBop Locrian 8 bbp Loc 1 1 0 1 0 1 1 1 1 0 1 0 BeBop Harmonic Minor − Natural Minor 8 bbp mHa 1 0 1 1 0 1 0 1 1 0 1 1 Diminished, Whole-Half 8 Diminis 1 0 1 1 0 1 1 0 1 1 0 1 Octatonic, Half-Whole 8 Octaton 1 1 0 1 1 0 1 1 0 1 1 0 12 User 1 1 1 1 1 1 1 1 1 1 1 1 1 12 User 2 1 1 1 1 1 1 1 1 1 1 1 1 12 User 3 1 1 1 1 1 1 1 1 1 1 1 1 12 User 4 1 1 1 1 1 1 1 1 1 1 1 1 Table 21: 15-EDO and other 15-tone-per-octave temperaments. tone 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 cents 0 80 160 240 320 400 480 560 640 720 800 880 960 1040 1120 description t/oct display Chromatic 15 Chroma 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Blackwood 6 6 Blckw 1 0 0 0 1 1 0 0 0 1 1 0 0 0 1 15 Tone Miller Porcupine 7 7 7 Millr 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 15 Tone Miller Porcupine 7 Major 7 7 MillM 1 0 0 1 0 1 0 1 0 1 0 1 0 1 0 Miller’s Kusiro 8 8 Kusir 1 1 0 0 1 0 1 0 0 1 1 1 0 1 0 15 Tone Major, Jones’s Porcupine 8 8 8 JoneM 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 Rempt’s Andal 9 9 Rempt 1 0 1 0 1 1 0 1 0 1 1 0 1 0 1 Blackwood 10 10Blckw 1 1 0 1 1 0 1 1 0 1 1 0 1 1 0 15 Tone Major-Minor Mix 10 10MmMix 1 0 0 1 1 1 1 0 0 1 1 1 0 1 1 12 Tone Chromatic 12 12Chrom 1 1 0 1 1 1 1 0 1 1 1 1 1 0 1 15 User 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 15 User 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 15 User 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 15 User 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Page 80 of 107 Table 22: 19-EDO and other 19-tone-per-octave temperaments. tone 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 cents 0,0 63,2 126,3 189,5 252,6 315,8 378,9 442,1 505,3 568,4 631,6 694,7 757,9 821,1 884,2 947,4 1010,5 1073,7 1136,8 description t/oct display Chromatic 19 Chroma 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Four out of 19 4 Four 1 0 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 Five out of 19 5 Five 1 0 0 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 0 Quasi-Equal Pentatonic 5 qPenta 1 0 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 0 Yasser’s Hexad 6 6 Yassr 1 0 0 1 0 0 1 0 0 1 0 0 1 0 0 1 0 0 0 Oljare Diminished 7 7 Olj D 1 0 0 0 1 1 0 0 0 1 1 0 0 0 1 1 0 0 0 Oljare Diminished 7 7 Olj A 1 0 0 0 0 1 1 0 0 0 0 1 1 1 0 0 0 0 1 Oljare Octatonic 8 8 Oljar 1 0 1 0 1 0 0 1 0 1 0 1 0 0 1 0 1 0 0 Oljare Pentaenharmonic 9 9 PenEn 1 1 0 0 1 1 0 0 1 0 0 1 1 0 0 1 1 0 0 Negri’s Ten Plus Nine 10 10 Negr 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 Keenan eleven out of 19 11 11 Keen 1 0 0 1 1 1 0 0 1 1 0 0 1 1 1 0 0 1 1 Krantz eleven out of 19 11 11 Kran 1 0 1 0 1 0 1 0 1 0 1 1 0 1 1 0 1 0 1 McLaren eleven out of 19 11 11 McLa 1 0 0 1 1 1 0 0 1 1 1 1 1 0 0 1 1 0 0 Gould Eleven out of 19 11 11 Goul 1 0 1 0 1 1 0 1 0 1 0 1 1 0 1 0 1 0 1 Meantone Chromat (1/3 comma) 12 MeanChr 1 1 0 1 0 1 1 0 1 1 0 1 1 0 1 0 1 1 0 Genus Diatonico-Chromaticum 12 GenuChr 1 0 1 1 0 1 1 0 1 1 0 1 0 1 1 0 1 1 0 Yasser’s Supradiatonic 12 SupraDi 1 0 1 1 0 1 1 0 1 0 1 1 0 1 1 0 1 1 0 Mandelbaum’s Eight out of 19 8 8 Mande 1 0 1 0 0 1 0 1 0 1 0 0 1 0 1 0 1 0 0 Mandelbaum’s Nine out of 19 9 9 Mande 1 0 1 0 1 0 0 1 0 1 0 1 0 1 0 1 0 1 0 Mandelbaum’s Ten out of 19 10 10Mande 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 0 1 0 Mandelbaum’s Eleven out of 19 11 11Mande 1 0 1 1 0 1 0 1 0 1 1 0 1 0 1 0 1 1 0 Mandelbaum’s Twelve out of 19 12 12Mande 1 1 0 1 1 0 1 0 1 1 0 1 1 0 1 1 0 1 0 Mandelbaum’s Thirteen out of 19 13 13Mande 1 0 1 1 0 1 1 0 1 1 0 1 1 0 1 1 0 1 1 Mandelbaum’s Fourteen out of 19 14 14Mande 1 1 0 1 1 1 0 1 1 1 0 1 1 1 0 1 1 0 1 19 User 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 19 User 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 19 User 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 19 User 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Page 81 of 107 Table 23: 22-EDO and other 22-tone-per-octave temperaments. tone 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 cents 0,0 54,5 109,1 163,6 218,2 272,7 327,3 381,8 436,4 490,9 545,5 600,0 654,5 709,1 763,6 818,2 872,7 927,3 981,8 1036,4 1090,9 1145,5 description t/oct display Chromatic 15 Chroma 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Twelve-tone Chromatic (1/3-comma positive) 12 12Chrom 1 0 0 1 1 1 0 0 1 1 0 0 1 1 0 0 1 1 1 0 0 1 22 tone Major 7 Major 1 0 0 0 1 0 0 0 1 1 0 0 0 1 0 0 0 1 0 0 0 1 22 tone Melodic Minor 7 mMelodi 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 22 tone Harmonic Minor 7 mHarmon 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 1 0 0 0 0 1 0 22 tone Harmonic Major 7 MHarmon 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 1 0 0 0 0 1 0 22 tone Astrology-10 10 Astrolo 1 0 0 1 1 0 0 1 0 0 1 1 0 0 1 1 0 0 1 0 0 1 22 tone Doublewide-10 10 DblWi10 1 1 0 0 0 1 1 0 0 0 1 1 1 0 0 0 1 1 0 0 0 1 22 tone Doublewide-14 14 DblWi14 1 1 1 0 0 1 1 1 0 0 1 1 1 1 0 0 1 1 1 0 0 1 22 tone Fleetwood-14 14 Fltwo14 1 1 1 0 0 1 1 1 1 0 0 1 1 1 0 0 1 1 1 1 0 0 22 tone Hedgehog-6 6 Hedge 6 1 0 0 0 0 1 0 0 1 0 0 1 0 0 0 0 1 0 0 1 0 0 22 tone Hedgehog-8 8 Hedge 8 1 0 1 0 0 1 0 0 1 0 0 1 0 1 0 0 1 0 0 1 0 0 22 tone Hedgehog-14 14 Hedge14 1 0 1 1 0 1 0 1 1 0 1 1 0 1 1 0 1 0 1 1 0 1 22 tone Jubilee-12 12 Jubil12 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 1 0 1 0 1 0 22 tone Pajara-12 12 Pajar12 1 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 1 0 1 0 22 tone Supra-5, Septimal Minor Pentatonic 5 Supra 5 1 0 0 0 0 1 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 22 tone Supra-7 7 Supra 7 1 0 0 0 1 1 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 22 tone Supra-12 12 Supra12 1 1 0 0 1 1 0 0 1 1 1 0 0 1 1 0 0 1 1 0 0 1 22 tone Urchin-14 14 Supra14 1 0 1 0 1 1 0 1 1 0 1 1 0 1 0 1 1 0 1 1 0 1 22 tone Wilson Pi-Meantone 12 WilsoPi 1 0 0 1 1 0 0 1 1 0 0 1 1 1 0 0 1 1 0 0 1 1 Ionian Porcupine 7 IoniaPo 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 1 0 0 1 0 0 Dorian Porcupine 7 DoriaPo 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 Aeolian Porcupine 7 AeoliPo 1 0 0 1 0 0 1 0 0 1 0 0 0 1 0 1 0 0 1 0 0 0 Major Porcupine 7 MajorPo 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 0 1 0 0 0 1 0 Major-Minor Porcupine 7 MajMiPo 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 1 0 0 0 1 0 0 Chameleon Porcupine 7 ChamePo 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 Symmetric Diminished Porcupine 7 SymDimP 1 0 0 1 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 1 0 0 Porcupine-15 15 Porcu15 1 0 1 1 0 1 1 1 0 1 1 0 1 1 0 1 1 0 1 1 0 1 Elevenplus 12 Eleven+ 1 0 1 0 1 0 1 0 1 0 1 0 1 1 1 0 1 0 1 0 1 0 Hexachordal 12 Hexacho 1 0 1 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 0 1 Noll Pseudo-diatonic 13 NollPsD 1 0 1 0 1 1 0 1 0 1 0 1 1 0 1 0 1 1 0 1 0 1 Ballooning Rushes 7 Balloon 1 0 0 1 1 0 0 0 0 0 1 0 1 0 0 0 0 0 1 1 0 0 Crushed Oranges 8 CrushOr 1 1 0 0 1 0 0 0 0 1 1 0 0 1 0 0 0 0 1 1 0 0 Kathartic Parts 7 Kathart 1 0 1 1 0 0 0 0 0 0 1 0 1 1 0 0 0 0 0 0 1 0 Rivetting Reds 9 Rivetti 1 1 0 0 0 1 1 0 0 0 1 0 1 1 0 0 0 1 1 0 0 0 Rodentalia 9 Rodenta 1 0 0 0 1 1 0 0 1 1 0 0 0 1 1 0 0 1 1 0 0 0 Rezsutek’s Percussion Scale 9 Rezsute 1 0 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 22 tone Magic-7 7 Magic 7 1 0 0 0 0 0 1 1 0 0 0 0 0 1 1 1 0 0 0 0 0 1 22 tone Magic-10 10 Magic10 1 0 0 0 0 1 1 1 1 0 0 0 0 1 1 1 0 0 0 0 1 1 22 tone Magic-13 13 Magic13 1 0 0 0 1 1 1 1 0 0 0 1 1 1 1 0 0 0 1 1 1 1 22 tone Orwell-5 5 Orwel 5 1 0 0 0 0 1 0 0 0 0 1 0 0 0 0 1 0 0 0 0 1 0 22 tone Orwell-9 9 Orwel 9 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 1 0 22 tone Orwell-13 13 Orwel13 1 1 0 1 0 1 1 0 1 0 1 1 0 1 0 1 1 0 1 0 1 0 22 tone SuperPythagorean 12 SuPytha 1 1 0 0 1 1 1 0 0 1 1 0 0 1 1 1 0 0 1 1 0 0 22 tone Miller’s Porcupine-7 Major 7 MillMPo 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 0 1 0 0 22 tone Jones’s Porcupine-8 8 JonesPo 1 0 0 1 0 0 1 1 0 0 1 0 0 1 0 0 1 0 0 1 0 0 Alternate Proper Decatonic 10 AltProD 1 0 0 1 1 0 0 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 Exotic Symmetrical Decatonic 10 ExotSym 1 0 1 0 1 0 0 1 1 0 0 1 0 1 0 1 0 0 1 1 0 0 Standard Pentachordal Major 10 StaPenM 1 0 1 0 1 0 0 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 Static Symmetrical Major 10 StcSymM 1 0 1 0 1 0 0 1 0 1 0 1 0 1 0 1 0 0 1 0 1 0 Alternate Pentachordal Major 10 AltPenM 1 0 1 0 0 1 0 1 0 1 0 1 0 1 0 1 0 0 1 0 1 0 Dynamic Symmetrical Major 10 DynSynM 1 0 1 0 0 1 0 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 Static Symmetrical Minor 10 StaSymm 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 1 0 1 0 0 1 0 Alternate Pentachordal Minor 10 AltPenm 1 0 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 1 0 0 1 0 Dynamic Symmetrical Minor 10 DynSymm 1 0 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 1 0 1 0 0 Major quasi-equal Heptatonic 7 quHeptM 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 0 1 0 0 1 0 0 Minor quasi-equal Heptatonic, Miller's Porcupine-7 7 quHeptm 1 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 Harmonic Whole-Tone 6 HarmWho 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 0 0 Nine-Limit Consonant WholeTone 6 NineLim 1 0 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 0 22 tone Blues 6 22Blues 1 0 0 0 0 0 1 0 0 1 1 0 0 1 0 0 0 0 0 1 0 0 22 tone mode of Tamil Matra 7 TamilMa 1 0 0 0 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 1 0 Raga Kanakangi 7 raKanaK 1 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 0 0 1 0 0 0 Raga Ramkali 8 raRamka 1 1 0 0 0 0 0 1 0 1 1 0 0 1 1 0 0 0 0 0 1 0 Raga Kharaharapriya, Bhimpalasi 7 raKhara 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 0 0 Twenty-two tone Natural Minor, Darbari Kanada, Gandhaara Grama (Damodara), Raga Darbari, Darbari Kanada 7 raDarba 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 Raga Vibhas (marva) 5 raVibha 1 1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 1 0 0 0 0 0 Raga Saveri 5 raSaver 1 0 1 0 0 0 0 0 0 1 0 0 0 1 1 0 0 0 0 0 0 0 Raga Deskar 5 raDeska 1 0 0 1 0 0 0 1 0 0 0 0 0 1 0 0 1 0 0 0 0 0

Page 82 of 107 Raga Suddha Malhar 5 raSuddh 1 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 1 0 0 0 0 0 Raga Bhupali 5 raBhupa 1 0 0 0 1 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 0 Raga Hamsadhvani 5 raHamsa 1 0 0 0 1 0 0 1 0 0 0 0 0 1 0 0 0 0 0 0 1 0 Raga Durga 5 raDurga 1 0 0 0 1 0 0 0 0 1 0 0 0 1 0 0 0 1 0 0 0 0 Raga Malkauns 5 raMalka 1 0 0 0 0 0 1 0 0 1 0 0 0 0 0 1 0 0 1 0 0 0 Raga Gurjari Todi 6 raGurja 1 1 0 0 0 1 0 0 0 0 0 1 0 0 1 0 0 0 0 0 0 1 Raga Bauli 6 raBauli 1 0 1 0 0 0 0 1 0 0 0 0 0 1 0 1 0 0 0 0 1 0 Raga Kambhoji 6 raKambh 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 1 0 0 0 0 0 Raga Takka 6 raTakka 1 0 0 0 0 0 1 0 0 1 0 0 0 1 0 1 0 0 0 0 1 0 Raga Tilang 6 raTilan 1 0 0 0 0 0 0 1 0 1 0 0 0 1 0 0 0 0 1 0 1 0 Raga Bilashkhani Todi 7 raBilas 1 1 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 1 0 0 0 Raga Asavari 7 raAsava 1 1 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 Raga Rampurmat Pilu 7 raRampu 1 1 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 0 0 0 1 Raga Varali 7 raVaral 1 1 0 0 0 1 0 0 0 0 0 0 1 1 1 0 0 0 0 0 1 0 Todi That 7 todiTha 1 1 0 0 0 1 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 1 Raga Lalita 7 raLalit 1 1 0 0 0 0 0 1 0 1 0 1 0 0 1 0 0 0 0 0 0 1 Bhairav That 7 bahiTha 1 1 0 0 0 0 0 1 0 1 0 0 0 1 1 0 0 0 0 0 0 1 Gandhaara Grama (Somanatha) 7 GandSom 1 0 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 Murchhana Harinasva, Bhairavi That 7 Murchha 1 0 1 0 0 0 1 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 Gandhaara Grama (Popley), Murchhana Matsarikrita 7 GandPop 1 0 1 0 0 0 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 Raga Multani 7 raMulta 1 0 1 0 0 0 1 0 0 0 0 0 1 1 1 0 0 0 0 0 0 1 Raga Marva 7 raMarva 1 0 1 0 0 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 1 0 Purvi That, Raga Shri 7 purvTha 1 0 1 0 0 0 0 1 0 0 0 0 1 1 0 1 0 0 0 0 1 0 Raga Puriya Kalyan 7 raPuriy 1 0 1 0 0 0 0 1 0 0 0 0 1 1 0 0 1 0 0 0 1 0 Gandhaara Grama (Sarngadeva der. ma-grama) 7 GandMag 1 0 0 1 0 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 0 Gandhaara Grama (Sarngadeva der. sa-grama) 7 GandSag 1 0 0 1 0 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 0 0 Murchhana Hrishyaka 7 MurchHr 1 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 1 0 1 0 0 0 Raga Jogiya 7 raJogiy 1 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 1 0 0 0 1 0 22 tone Minor, Superpyth-7, Raga Jaunpuri 7 raJaunp 1 0 0 0 1 1 0 0 0 1 0 0 0 1 1 0 0 0 1 0 0 0 22 tone "Just" Minor, Asavari That 7 asavTha 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 1 0 0 1 0 0 0 Gandhaara Grama (Narada der. ma-grama), Murchhana Pauravi 7 GandNaM 1 0 0 0 1 0 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 Gandhaara Grama (Narada der. sa-grama) 7 GandNaS 1 0 0 0 1 0 1 0 0 0 1 0 0 1 0 0 1 0 0 1 0 0 Murchhana Suddhasadja, Raga Harikambhoji, Palaiyazh 7 MurchSu 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 1 0 1 0 0 0 22 tone "Just" Major, Madhyama Grama, Bilaval That, Mur- chhana Suddhamadhya 7 Madhyam 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 1 0 0 0 1 0 Khamaj That 7 khamTha 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 0 1 1 0 0 0 Shadja Grama, Murchhana Uttaramandra, Shuddha Swara Saptaka 7 Shadiag 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 0 1 0 0 1 0 Murchhana Sauviri, Kalyan That 7 MurchSa 1 0 0 0 1 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 1 0 Murchhana Asvakranta 7 MurchAs 1 0 0 0 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 1 0 Raga Yaman 7 raYaman 1 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 1 0 0 0 1 Raga Saurashtra 8 raSaura 1 1 0 0 0 0 0 1 0 1 0 0 0 1 1 0 1 0 0 0 1 0 Raga Bhatiyar 8 raBhati 1 0 1 0 0 0 0 1 0 1 0 0 1 1 0 0 1 0 0 0 1 0 Raga Mukhari 8 raMukha 1 0 0 1 0 1 0 0 0 1 0 0 0 1 0 1 1 0 1 0 0 0 Raga Anandabhairavi 8 raAnand 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 1 0 1 0 1 0 0 Raga Mian Ki Malhar 8 raMianK 1 0 0 0 1 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 0 1 Raga Suddha Kalyan 8 raSuddh 1 0 0 0 1 0 0 1 0 1 0 1 0 1 0 0 1 0 0 0 1 0 Raga Yaman Kalyan 8 raYamKa 1 0 0 0 1 0 0 1 0 1 0 0 1 1 0 0 1 0 0 0 0 1 Raga Gaud Sarang 8 raGaudS 1 0 0 0 1 0 0 1 0 1 0 0 1 1 0 0 0 1 0 0 1 0 Raga Bihag 8 raBihag 1 0 0 0 1 0 0 1 0 1 0 0 1 1 0 0 0 1 0 0 0 1 Raga Khamaj 8 raKhama 1 0 0 0 1 0 0 1 0 1 0 0 0 1 0 0 1 0 1 0 0 1 Raga Ramdasi Malhar 9 raRamMa 1 0 0 0 1 0 1 0 1 1 0 0 0 1 0 0 0 1 0 1 0 1 Raga Chayanat 9 raChaya 1 0 0 0 1 0 0 1 0 1 0 0 1 1 0 0 1 0 1 0 0 1 Modern Indian gamut 12 MoIndGa 1 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 0 1 1 0 Old Indian gamut 12 OlIndGa 1 0 0 1 0 1 1 1 0 1 0 0 1 1 0 0 1 0 1 1 1 0 Murchhana Abhirudgata, Kafi That, Raga Bageshri 7 MurchAb 1 0 0 1 0 1 0 0 0 1 0 0 0 1 0 0 1 0 1 0 0 0 Raga Madhuvanti, Ambika 7 raMadhu 1 0 0 0 1 0 1 0 0 0 0 1 0 1 0 0 0 1 0 0 1 0 22 User 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 22 User 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 22 User 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 22 User 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Page 83 of 107 Table 24: 24-EDO and other 24-tone-per-octave temperaments. tone 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 cents 0 50 100 150 200 250 300 350 400 450 500 550 600 650 700 750 800 850 900 950 1000 1050 1100 1150 description t/oc t display Chromatic 24 Chroma 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Enharmonic Mixolydian 7 en Mixo 1 1 1 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 1 0 0 0 Enharmonic Lydian 7 en Lydi 1 1 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 1 0 0 0 1 Enharmonic Phrygian 7 en Phry 1 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 1 0 0 0 1 1 Enharmonic Dorian 7 en Dori 1 1 1 0 0 0 0 0 0 0 1 0 0 0 1 1 1 0 0 0 0 0 0 0 Enharmonic Hypolydian 7 enhLydi 1 1 0 0 0 0 0 0 0 1 0 0 0 1 1 1 0 0 0 0 0 0 0 1 Enharmonic Hypophrygian 7 enhPhry 1 0 0 0 0 0 0 0 1 0 0 0 1 1 1 0 0 0 0 0 0 0 1 1 Enharmonic Hypodorian 7 enhDori 1 0 0 0 1 1 1 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 Soft Diatonic Mixolydian 7 sd Mixo 1 0 1 0 0 1 0 0 0 0 1 0 1 0 0 1 0 0 0 0 1 0 0 0 Soft Diatonic Lydian 7 sd Lydi 1 0 0 1 0 0 0 0 1 0 1 0 0 1 0 0 0 0 1 0 0 0 1 0 Soft Diatonic Phrygian 7 sd Phry 1 0 0 0 0 1 0 1 0 0 1 0 0 0 0 1 0 0 0 1 0 1 0 0 Soft Diatonic Dorian 7 sd Dori 1 0 1 0 0 1 0 0 0 0 1 0 0 0 1 0 1 0 0 1 0 0 0 0 Soft Diatonic Hypolydian 7 sdhLidi 1 0 0 1 0 0 0 0 1 0 0 0 1 0 1 0 0 1 0 0 0 0 1 0 Soft Diatonic Hypophrygian 7 sdhPhry 1 0 0 0 0 1 0 0 0 1 0 1 0 0 1 0 0 0 0 1 0 1 0 0 Soft Diatonic Hypodorian 7 sdhDori 1 0 0 0 1 0 1 0 0 1 0 0 0 0 1 0 1 0 0 1 0 0 0 0 Neutral Diatonic Mixolydian, Maqam Ouchairan-Hussaini, Bayatan 7 nd Mixo 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 Neutral Diatonic Lydian, Dastgah-e Sehgah 7 nd Lydi 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 0 Neutral Diatonic Phrygian, Arabic Diatonic, Maqam Rast, Quasi- equal Heptatonic 7 nd Phry 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 Neutral Diatonic Dorian, Maqam Hussaini, Ushaq 7 nd Dori 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 Neutral Diatonic Hypolydian, Maqam Sikah (Segah) 7 ndhLidy 1 0 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 Neutral Diatonic Hypophrygian 7 ndhPhry 1 0 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 Neutral Diatonic Hypodorian, Miha'il Musaqa's mode: Egypt, Dastgah-e Sehgah, Maqam Nairuz 7 ndhDori 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 Diatonic + Enharmonic Diesis Mixolydian 7 dd Mixo 1 1 0 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 0 1 0 0 0 Diatonic + Enharmonic Diesis Lydian 7 dd Lydi 1 0 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 0 1 0 0 0 1 Diatonic + Enharmonic Diesis Phrygian 7 dd Phry 1 0 0 0 1 1 0 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 0 Diatonic + Enharmonic Diesis Dorian 7 dd Dori 1 1 0 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 0 Diatonic + Enharmonic Diesis Hypolydian 7 ddhLidy 1 0 0 0 0 1 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 0 1 Diatonic + Enharmonic Diesis Hypophrygian 7 ddhPhry 1 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 0 1 1 0 0 0 0 Diatonic + Enharmonic Diesis Hypodorian 7 ddhDori 1 0 0 0 1 1 0 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 0 Chromatic/Enharmonic Mixolydian 7 ce Mixo 1 1 0 0 1 0 0 0 0 0 1 1 0 0 1 0 0 0 0 0 1 0 0 0 Chromatic/Enharmonic Lydian 7 ce Lydi 1 0 0 1 0 0 0 0 0 1 1 0 0 1 0 0 0 0 0 1 0 0 0 1 Chromatic/Enharmonic Phrygian 7 ce Phry 1 0 0 0 0 0 1 1 0 0 1 0 0 0 0 0 1 0 0 0 1 1 0 0 Chromatic/Enharmonic Dorian 7 ce Dori 1 1 0 0 1 0 0 0 0 0 1 0 0 0 1 1 0 0 1 0 0 0 0 0 Chromatic/Enharmonic Hypolydian 7 cehLydi 1 0 0 1 0 0 0 0 0 1 0 0 0 1 1 0 0 1 0 0 0 0 0 1 Chromatic/Enharmonic Hypophrygian 7 cehPhry 1 0 0 0 0 0 1 0 0 0 1 1 0 0 1 0 0 0 0 0 1 1 0 0 Chromatic/Enharmonic Hypodorian 7 cehDori 1 0 0 0 1 1 0 0 1 0 0 0 0 0 1 1 0 0 1 0 0 0 0 0 Neutral Mixolydian, Iced Blizzard 7 ne Mixo 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 Neutral Lydian, Iced Major 7 ne Lydi 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 Neutral Phrygian, Iced Locrian 7 ne Phry 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 Neutral Dorian, Iced Fridgian, Misaelides 2nd Byzantine mode, Maqam Sikah Baladi, Maqamic-7 7 ne Dori 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 Neutral Hypolydian, Iced Lydian, Mohajira-7 7 nehLydi 1 0 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 Neutral Hypophrygian, Iced Mixolydian 7 nehPhry 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 Neutral Hypodorian, Iced Dark Lydian 7 nehDori 1 0 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 Ratio 1:2 Hemiolic Chromatic Mixolydian 7 rh Mixo 1 1 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 0 0 1 0 0 0 Ratio 1:2 Hemiolic Chromatic Lydian 7 rh Lydi 1 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 0 0 1 0 0 0 1 Ratio 1:2 Hemiolic Chromatic Phrygian 7 rh Phry 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 0 0 1 0 0 0 1 1 0 Ratio 1:2 Hemiolic Chromatic Dorian 7 rh Dori 1 1 0 1 0 0 0 0 0 0 1 0 0 0 1 1 0 1 0 0 0 0 0 0 Ratio 1:2 Hemiolic Chromatic Hypolydian 7 rhhLydi 1 0 1 0 0 0 0 0 0 1 0 0 0 1 1 0 1 0 0 0 0 0 0 1 Ratio 1:2 Hemiolic Chromatic Hypophrygian 7 rhhPhry 1 0 0 0 0 0 0 1 0 0 0 1 1 0 1 0 0 0 0 0 0 1 1 0 Ratio 1:2 Hemiolic Chromatic Hypodorian 7 rhhDori 1 0 0 0 1 1 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 0 0 Anchihoye: Ethiopia 5 Ethiopi 1 0 1 0 0 0 0 0 0 0 1 0 0 1 0 0 0 0 0 1 0 0 0 0 Spondeion 5 Spondei 1 0 0 1 0 0 0 0 0 0 1 0 0 0 1 0 0 1 0 0 0 0 0 0 Godzilla-5 5 Godzill 1 0 0 0 1 0 0 0 0 1 0 0 0 0 1 0 0 0 0 1 0 0 0 0 Quasi-equal Pentatonic, Semaphore-5 5 quasiPe 1 0 0 0 0 1 0 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 de Vries 5-tone 5 deVrie5 1 0 0 0 0 0 0 0 0 1 0 1 0 1 0 0 0 0 0 0 0 0 1 0 Spondeiakos 6 Spondko 1 1 1 0 0 0 0 0 0 0 1 0 0 0 1 0 1 0 0 0 0 0 0 0 Maqam Nawa 7 mq Nawa 1 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 Second plagal Byzantine Liturgical mode 7 Liturgi 1 0 1 0 0 0 0 0 0 1 1 0 0 0 1 0 1 0 0 0 0 0 0 1 Maqam Higaz-kar 7 mqHigaz 1 0 1 0 0 0 0 1 0 0 1 0 0 0 1 0 1 0 0 0 0 1 0 0 Maqam 'Ushshaq Turki, Urfa, Isfahan, Dastgah-e Shur 7 mqUshsh 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 0 Maqam Nahfat 7 mqNahfa 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 1 0 0 0 Maqam Saba 7 mq Saba 1 0 0 1 0 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 0 0 Maqam Sabr Jadid 7 mqSabrJ 1 0 0 1 0 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 0 0 1 0 Maqam Qarjighar, Bayati Shuri 7 mqQarji 1 0 0 1 0 0 1 0 0 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 Maqam Hizam (Huzzam, El Houzam), Rahat al Arouah 7 mqHizam 1 0 0 1 0 0 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 0 Maqam Su'ar, Naghmeh Abuata, Naghmeh Afshari 7 mqSu’ar 1 0 0 1 0 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 0 1 0 0 Dastgah-e Homayun 7 DastHom 1 0 0 1 0 0 0 0 1 0 1 0 0 0 1 0 1 0 0 0 1 0 0 0 Dastgah-e Chahargah, Athanasopoulos' Byzantine Liturgical Chro- matic, 7 DastCha 1 0 0 1 0 0 0 0 1 0 1 0 0 0 1 0 0 1 0 0 0 0 1 0

Page 84 of 107 Maqam 'Awg 'ara (Aug-ara) 7 mqAwgAr 1 0 0 1 0 0 0 0 0 1 1 0 0 0 0 1 0 1 0 0 0 0 0 1 Maqam Buselik 7 mqBusel 1 0 0 0 1 1 0 0 0 0 1 0 0 0 1 0 1 0 0 0 0 0 1 0 Dastgah-e Nava, Maqam Ushaq Masri 7 DastNav 1 0 0 0 1 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 0 0 1 0 Naghmeh Esfahan 7 Naghmeh 1 0 0 0 1 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 0 0 1 0 Maqam Neuter 7 mqNeute 1 0 0 0 1 0 1 0 0 0 0 0 1 0 1 0 1 0 0 0 0 1 0 0 Maqam Suznak (Soznak) 7 mqSuzna 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 1 0 0 0 0 0 1 0 Dance scale of Yi people: China 7 YiPeopl 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 0 0 0 Maqam Mahur 7 mqMahur 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 Daniel-mode of Spanish-Arab Jews 7 DanielM 1 0 0 0 1 0 0 0 1 0 1 0 0 1 1 0 0 0 1 0 0 0 0 0 Maqam Jahargah (Jiharkah), Naghmeh Bayat-e Tork, Naghmeh Dashti 7 mqJahar 1 0 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 0 1 0 0 1 0 0 Maqam 'Ajam Murassah 7 mqAjamM 1 0 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 Maqam Bayati 8 mqBayat 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 1 0 0 1 0 0 0 Maqam Saba 8 mq8Saba 1 0 0 1 0 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 0 Maqam Mansuri 8 mqMansu 1 0 0 1 0 0 1 0 1 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 Maqam Rast, Dilkashidah, Dilnishin 8 mq Rast 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 1 0 0 Maqam Suzidil 'ara 8 mqSuzid 1 0 0 0 1 0 0 1 1 0 1 0 0 0 1 0 0 0 1 0 1 0 0 0 Maqam Rahat al-Arwah 8 mqRahat 1 0 0 1 0 0 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 Maqam Iraq 8 mq Iraq 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 1 0 1 Maqam Hijaz 8 mqHijaz 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 1 0 0 1 0 0 0 Maqam Musta'ar 8 mqMusta 1 0 0 1 0 0 0 1 0 0 0 1 0 1 1 0 0 1 0 0 0 1 0 0 Maqam Farahnak 8 mqFarah 1 0 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 1 0 0 0 1 0 1 Maqam Bastanikar, Tarz Nuin 8 mqBasta 1 0 0 1 0 0 0 1 0 0 1 0 0 1 0 1 0 0 0 0 0 1 0 1 Maqam Farah Faza, Maqam Nakriz 8 mqFarFa 1 0 0 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 1 0 0 Maqam Jabburi 8 mqJabbu 1 0 0 1 1 0 1 0 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 0 Dalmonte 8-tone 8 Dalmont 1 1 0 0 0 1 0 0 0 1 0 1 0 0 0 1 0 0 0 1 0 0 0 1 Spongework 8 Spongew 1 1 0 0 0 0 1 0 0 1 1 0 0 0 0 1 0 0 1 1 0 0 0 0 Freivald Lament 8 Freival 1 1 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 0 1 0 0 1 0 0 Progressive Enneatonic 9 ProgEnn 1 1 0 1 0 0 1 0 0 0 1 0 0 0 1 1 0 1 0 0 1 0 0 0 Triforce-9 9 Triforc 1 0 0 1 0 0 1 0 1 0 0 1 0 0 1 0 1 0 0 1 0 0 1 0 Maqam Huzzam 9 mqHuzza 1 0 0 1 0 0 0 1 0 1 0 1 0 1 0 1 0 1 0 0 0 1 0 0 de Vries 9-tone, Semaphore-9 9 deVrie9 1 0 0 0 1 1 0 0 0 1 1 0 0 0 1 1 0 0 0 1 1 0 0 0 Godzilla-9 9 Godzil9 1 0 0 0 1 0 0 0 1 1 0 0 0 1 1 0 0 0 1 1 0 0 0 1 Maqam Shawq Afza 9 mqShawq 1 0 0 0 1 0 0 0 1 0 1 1 0 0 1 0 1 0 1 0 0 0 1 0 Xiangliu 9 Xiangli 1 0 0 0 1 0 0 0 1 0 1 1 0 0 1 0 0 0 1 0 0 1 1 0 Migration-10 10 Migrati 1 1 0 0 1 0 0 1 1 0 0 1 0 0 1 1 0 0 1 0 0 1 0 0 Neutral Hypolydian Decatonic, Mohajira-10 10 nhDecat 1 1 0 0 1 0 0 1 1 0 0 1 0 0 1 0 0 1 1 0 0 1 0 0 Young Decatonic, Decimal-10 10 younDec 1 0 1 0 0 1 0 1 0 0 1 0 1 0 1 0 0 1 0 1 0 0 1 0 Oljare Decatonic 10 OljaDec 1 0 1 0 0 1 0 1 0 1 0 0 1 0 1 0 0 1 0 1 0 1 0 0 Anguirus-10 10 Angui10 1 0 1 0 1 0 0 1 0 1 0 0 1 0 1 0 1 0 0 1 0 1 0 0 Neutral Dorian Decatonic, Maqamic-10 10 ndDecat 1 0 0 1 1 0 0 1 0 0 1 1 0 0 1 0 0 1 0 0 1 1 0 0 Breed Decatonic 10 BreedDe 1 0 0 1 1 0 0 1 0 0 1 0 0 1 1 0 0 1 0 0 1 1 0 0 Maqam Yakah 10 mqYakah 1 0 0 0 1 0 0 1 1 0 1 1 0 0 1 0 0 0 1 0 1 1 0 0 Maqam Basandida 10 mqBasan 1 0 0 0 1 0 1 1 0 0 1 0 1 0 1 0 0 0 1 0 1 1 0 0 Maqam Shawq Tarab 10 mqShawq 1 0 1 1 0 0 1 0 1 0 1 0 0 0 1 0 1 0 0 0 1 0 1 0 Freivald-11 11 Freiv11 1 0 0 1 0 1 0 1 0 1 0 1 0 0 1 0 1 0 1 0 1 0 1 0 Maqam Hayyan 11 mqHayya 1 0 0 0 1 0 1 1 0 0 1 0 1 0 1 0 1 0 1 0 0 1 1 0 Hemiaug-12 12 Hemiaug 1 0 0 0 0 1 1 1 1 0 0 0 0 1 1 1 1 0 0 0 0 1 1 1 Iceface 12 Iceface 1 0 0 1 1 0 0 1 1 0 1 0 0 1 1 0 0 1 1 0 0 1 1 0 Vaisvil's Mixed-Quarters 12 Vaisvil 1 1 0 0 1 0 1 1 0 0 1 1 0 0 1 0 1 1 0 1 0 0 1 0 Freivald-13 13 Freiv13 1 1 0 1 0 1 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 0 de Vries 13-tone 13 deVri13 1 1 0 1 0 1 0 1 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 Agmon Diatonic DS5 13 AgmonDi 1 0 1 0 1 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 0 1 Young Half-Octave Diatonic, Decimal-14 14 young14 1 0 1 0 1 1 0 1 0 1 0 1 1 0 1 0 1 1 0 1 0 1 0 1 Anguirus-14 14 Angui14 1 0 1 1 0 1 0 1 1 0 1 0 1 0 1 1 0 1 0 1 1 0 1 0 Godzilla-14 14 Godzi14 1 0 0 1 1 0 0 1 1 1 0 0 1 1 1 0 0 1 1 1 0 0 1 1 Triforce-15 15 Trifo15 1 1 0 1 1 0 1 0 1 1 0 1 1 0 1 0 1 1 0 1 1 0 1 0 24 User 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 24 User 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 24 User 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 24 User 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Page 85 of 107 13 CHANGE LOG This section contains the list of the firmware updates that required additions or modifications to the manual. V. 152 Extended the Store Pattern functionality to the Length parameter. Now USTA stores all the channels of the pat- tern, not only the one selected. Changed the shortcut for the channel Hold function: hold SET ALL and the desired channel – CV A, CV B, Gate A or Gate B. (The previous combination was: hold ESC and the desired channel.) Added external PPM (Pulses per Minute) value to the Dashboard to display how many pulses are received in a minute by the external clock input (up to 3000). Added the capability for the Dashboard to display the currently playing stage in Performance Mode. To acti- vate it, enter the Project Menu, scroll until the Show- InPlay option, and select Yes (by default, it is set to No). When engaged, USTA will use the fourth row of the Dashboard (which in Edit Pattern mode displays the last edited stage) to display in real-time all the five stage val- ues. This option might slow down the device. Rearranged the Dashboard design to include the total pattern length (in units). Added the Mute Channel function: hold ESC and press te desired channel (CV A, CV B, Gate A or Gate B). Added CW or CCW pattern rotation while editing it: hold the track button and rotate the navigation encoder on the selected pattern. It affects the values of CV A, CV B, Length, Gate A, Gate B, and the stage colors. Added the quick initialization of all the track values: hold the pencil button for 3 seconds in Edit Pattern to initialize to default all the stage values of the selected track: hold the pencil button for 3 seconds in Edit Song to in- itializes to default all the song slots of the selected track. Added infinite stage loop: set the stage loop length to 0 (now accessible): disable stage loop and continue the pattern by double- clicking SET ALL. Added cross-clone layer between CV A & CV B and Gate A & Gate B: hold the target layer button and press the cor- responding encoder to apply the clone to a specific pat- tern Added a new auxiliary gate target: Run. It uses the in- coming gate high/gate low signals to start, stop, and reset USTA with external devices. Four possible configura- tions are possible, named Run 1, Run 2, Run 3, Run 4. To activate it, enter the Project Menu, scroll until the Aux Target option, and select any of the four modes. V. 150 Added fast change of first/last pattern settings in Per- formance Mode on the selected track: hold Set All (B.1) and push an encoder for the first pattern and another for the last pattern. Added the cloning of first/last pattern settings, in per- formance mode, from the selected track to the others, by double-clicking Shift All (B.2). Navigating through stages in composition mode up- dates the stage values on the display across CV A, CV B, length, Gate A and Gate B. 14 TECHNICAL DATA SPECIFICATIONS Parameter Details Min Typ Max Unit Current Draw +12 V 260 mA -12 V 50 Size 36 HP Input Details CV Impedance > 90 KΩ Resolution 12 bit Amplitude steps ~4.15 mV Voltage span -5 10 V Gate Impedance >100 KΩ Minimum Trigger Amplitude > 1.5 V Minimum Pulse Period 800 µs Output Details CV Impedance < 50 Ω Resolution 16 bit Amplitude steps ~0.26 mV Voltage span -5 10 V Gate Impedance < 50 Ω Amplitude 10 V

Page 86 of 107 BRENSO Figure 86: BRENSO interface. A Outputs A.1 Sine Wave Output A.2 Triangle Wave Output A.3 Square Wave Output A.4 Sawtooth Wave Output A.5 Square/Shaped Pulse Output A.6 Square/Shaped Pulse Switch A.7 Final Output B Frequencies B.1 Coarse Frequency B.2 Fine Frequency B.3 Coarse Frequency Lock B.4 Phase Relationship LED B.5 Frequency Scale Switch B.6 Frequency Modulation (FM) Devia- tion B.7 FM Deviation CV Input B.8 FM Deviation CV Attenuverter B.9 Exponential FM Input B.10 Exponential FM Attenuator B.11 Linear Through-Zero FM Input B.12 Linear TZFM Attenuator B.13 V/Oct Input B.14 V/oct Integrator Level B.15 V/oct Integrator CV Input B.16 Sync Switch B.17 Sync Input C Triangle Shaper C.1 Triangle Shaper C.2 Triangle Shaper CV Input C.3 Triangle Shaper CV Attenuator D Pulse Shaper D.1 Pulse Width D.2 Pulse-Width Modulation (PWM) Source D.3 PWM CV Input D.4 PWM CV Attenuverter D.5 Pulse Shaper D.6 Pulse Shaper CV Input D.7 Pulse Shaper CV Attenuator E Wavefolder E.1 Wavefolder Source E.2 Wavefolder Source CV Input E.3 Wavefolder Source Attenuator E.4 Wavefolder E.5 Wavefolder CV Input E.6 Wavefolder Attenuator E.7 Wavefolder Ping Input E.8 Wavefolder Ping Decay E.9 Wavefolder Symmetry E.10 Wavefolder Symmetry CV Input F Modulation Bus F.1 Modulation Bus Input F.2 Modulation Bus Output F.3 Modulation Bus Level F.4 Modulation Bus Level CV Input F.5 Modulation Bus Level CV Attenu- verter G Amplitude G.1 Amplitude Modulation/Ring Mod- ulation (AM/RM) Input G.2 AM/RM G.3 AM/RM Switch G.4 AM/RM CV Input G.5 AM/RM CV Attenuverter

Page 87 of 107 1 PHILOSOPHY, DESIGN AND SIGNAL FLOW BRENSO is Frap Tools’ primary analog source of ar- ticulated audio waveforms whose degree of entanglement can be precisely set by the musician. Its concept developed from a reflection on the very meaning of the word ‘complex’, often used to describe this kind of oscillators after the famous Buchla 259 defi- nition. Complex comes from the Latin verb plector, liter- ally meaning ‘to braid’, or ‘to weave.’ The purpose of BRENSO is to update the usual approach to ‘complex oscillators’ by offering many threads to be woven to- gether, rather than a pre-defined plait of controls and waveforms: this to improve clarity, manageability, and to offer more sonic options to the artist. We designed a unique signal flow from scratch, in order to expand the modulation routing and offer to the musi- cian more access to the crucial parts of the circuit. BRENSO’s architecture consists of three main parts: two oscillators, which can modulate each other’s fre- quency, a timbre modulation section, dedicated to waveshaping, PWM and wavefolding, and a final stage of amplitude modulation. These sections will be described in the next chapters of this manual: Frequency, Timbre, and Amplitude. 2 FREQUENCY BRENSO generates sounds with two oscillators, whose pitch can be independently regulated. Their frequencies can modulate each other (linearly and exponentially – the linear FM is Thru-Zero), or they can be synced (with Flip Sync or Lock). OSCILLATORS The two sound sources are analog, triangle-core oscil- lators with excellent stability and tracking. The oscillators are labeled with green and yellow graphics on the front panel, respectively. Each oscillator features four outputs for different wave shapes. The output jacks are located at the top of the front panel. The green oscillator’s outputs are, from left to right: sine (A.1), triangle (A.2), square (A.3), and saw- tooth (A.4); the yellow one’s are sine (A.1), triangle (A.2), square/shaped square (A.5), plus a Final jack socket (A.7) that outputs the sine and/or the Shaped Square after their processing through the Timbre and AM sections. 2.1.1 Fine and Coarse Tuning The two largest knobs of the front panel (B.1) are the main control for the two oscillators’ Coarse frequency. Their range goes from ~27.5Hz to ~7040Hz, as dis- played by the graphics. The Fine Frequency knob at the top left of the green oscil- lator and the top right of the yellow one (B.2) finely ad- justs the frequency by adding or subtracting >1 semi- tones. The green oscillator can work at sub-audio rates as well, through the Frequency Scale switch (B.5). The graphics around the main knob display the LFO frequency range below the audio-rate one: when set in ‘Low’ scale, the green oscillator goes from ~0.15Hz to ~40Hz, ~176 times slower. Practice the green LFO with these techniques and ideas: Voltage-Controlled LFO Spectral LFO Study for BRENSO and FALISTRI #1 Self-Pinging BRENSO Please note that the oscillators are trimmed to match as close as possible the usage at audio rate: a consequence of this is that the green oscillator may not perfectly match the graphics when used as LFO due to components tol- erance (see below §0). A red LED (B.4) visually displays the acoustic beats gen- erated by the two oscillators’ frequencies. 2.1.2 Coarse Frequency Lock Sometimes the frequency knobs can be endlessly tweaked in a creative way during the performance, but some other times, they just need to do what they were originally designed for: tuning an oscillator before the performance, and nothing more. However, especially in crowded patches, the Frequency knob of an oscillator can be hit by mistake, causing an unwanted detune and jeop- ardizing the whole performance – especially when more than one oscillator is playing polyphonic melodies! To avoid this unfortunate circumstance, we designed a digital implementation that can be engaged to prevent accidental twists of the knobs from detuning the oscilla- tors: the Coarse Frequency Lock. It consists of two buttons (B.3), one per each oscillator, that, when pushed, digitally sample and hold the voltage of the Coarse Frequency knob (B.1), thus keeping the oscilla- tor's frequency steady. The two buttons are equipped with an LED: when the circuit is engaged, they will light up green or yellow, respectively. From this moment on, the Coarse Frequency knob will no longer change the fre- quency when moved, and the oscillator’s pitch will be changed only through external CV or internal frequency modulation. To restore the knob’s function, push the but- ton again: if the Coarse knob has changed position in the meantime, the oscillator’s coarse frequency will set ac- cordingly. Please note that the Fine Frequency knob (B.2) is not af- fected by the Frequency Lock, and it will always be available

Page 88 of 107 in case a little adjustment is needed (for example, to com- pensate small detuning in extreme climatic situations). Please note that the Frequency Lock offers a way to avoid unintended touches: you still need to warm up your BRENSO as for any other module before to use it. 2.1.3 V/oct and Integrator The frequency of each oscillator can be externally con- trolled through dedicated V/oct inputs (B.13): an external voltage patched to these inputs will offset the frequency set by the Coarse and Fine Frequency knobs (B.1 and B.2). Excellent tracking is guaranteed over more than 6 oc- taves: this feature provides not only good intonation for particularly spread melodic lines but also a more precise ratio between the two oscillators, which translates into richer and better harmonics when any modulation be- tween them is engaged, especially frequency modulation, which will be discussed in the next chapter. The two oscillators can be independently controlled with different voltages. However, it is also possible to ap- ply the same CV to both oscillators by patching it to the yellow V/oct input and routing it to the green oscillator through the V/oct Integrator (B.14), without further patch- ing. This circuit applies the same CV patched into the yel- low CV input to the green oscillator after a linear inte- gration, whose amount is set by the knob position (B.14). When the Integrator knob is at its leftmost position, the green oscillator is not affected by the yellow CV, because it would take an infinite time to reach the target voltage. When the integrator knob is at its rightmost position, the exact same voltage offset of the yellow oscillator is applied to the green one, with a very fast integration. When the knob is set to any other position, a time lag, similar to a glide effect, is applied to the voltage routed to the green oscillator: on the left, the glide effect will be longer, and it will be increasingly short as the knob is rotated clockwise. Please remember that the CV is always the same: the only difference is the time required for the green oscillator to reach the value. It is possible to combine the voltage routed through the V/oct Integrator with another offset applied to the green V/oct input: for example, the two oscillators can be used in unison and controlled with the same CV through the integrator, while an n+1 voltage coming from SAPÈL is patched to the green V/oct Input to randomly shift the green oscillator one or more octaves higher. Furthermore, it is also possible to modulate the integra- tion time with external CV through the V/oct Integrator CV Input (B.15): in this case, any external voltage will be summed to or subtracted from the current position of the knob. Practice BRENSO’s integrator with these tech- niques: Integrator #1 Integrator #2 FREQUENCY MODULATION The two oscillators of the BRENSO can be frequency- modulated, even at an audio rate. Such modulation can be linear or exponential (or both at the same time). You can use external sources to modulate the oscillators’ fre- quency, but every oscillator’s input is semi-normalled to the other oscillator’s sine wave. When an oscillator’s frequency is modulated at a sub- audio rate, this generates noticeable fluctuations of the pitch, similar to a vibrato effect. When the modulating signal runs at audio rate, the hu- man ear can no longer perceive the fluctuations: instead, the result of audio-rate frequency modulation (FM) is a more complex sound whose timbre is a result of the interaction of the two frequencies (the one of the oscillator being modulated, which is usually called ‘carrier’, and the one of the ‘modulator’). The change in timbre is due to the generation of other frequencies, called ‘sidebands,’ which are the sums and the difference of the carrier and the integer multiples of the modulator. If the ratio of the carrier frequency and the modulating frequency is an integer number, such as 3:1, the sidebands generated by FM will be harmonic, i.e., they will be integer multiples of the carrier and mod- ulating frequencies. If the ratio is expressed by a non-in- teger number, the sidebands will be inharmonic, i.e., non-integer multiples of the carrier and modulating fre- quencies. This latter circumstance produces the bell-like sounds often associated with this technique. FM in the analog domain is often an approximate pro- cess, because of the difficulty for the analog components to guarantee a precise ratio between carrier and modula- tor frequencies. The number and amplitude of sidebands is propor- tional to the amount of modulation that is applied to the carrier, which is often called ‘deviation’: this value defines the difference between the carrier’s frequency and the higher or lower frequency that it reaches when modu- lated. The more deviation, the wider will be the fluctua- tions of the carrier frequency, and the greater the number of sidebands. The relation between the deviation and the modulator’s frequency, both expressed in Hz, defines the FM Index. (For example, if the modulator’s frequency is 200Hz and the deviation is 400Hz, the FM index would be 400/200=2.) BRENSO allows you to control the FM deviation, not the In- dex: the reason is that the deviation is expressed in Hz, so its impact over the carrier’s frequency will become

Page 89 of 107 exponentially lower as the latter increases. This generates sounds that are rich in harmonics in the low and mid range, without becoming excessively harsh in the highest range (See §2.2.1). Depending on how the modulation is applied to the car- rier signal, FM can be exponential or linear. Linear FM modulates the carrier on the basis of the frequency: in other words, in linear FM, the modulator increases and decreases the carrier frequency by the same Hz value, ac- cording to the modulation amount. Exponential FM modulates the carrier on the basis of its frequency, i.e., with intervals: a symmetric bipolar signal will thus in- crease and decrease the carrier frequency by the same in- terval (for example one octave), according to the modu- lation amount. The main difference between these two techniques is that Linear FM generates sidebands which are equally spaced above and below the carrier frequency, while ex- ponential FM does not. This happens because the expo- nential modulation is asymmetrical: if an A=440Hz waveform is modulated exponentially, and the modula- tion amount is +/-1 octave, the carrier frequency will os- cillate between 220Hz and 880Hz, which is 220Hz below and 440Hz above the original frequency. Such modula- tion also causes a shift of the central frequency: in this case, it will be 550Hz, which is exactly 330Hz above 220Hz and below 880Hz. This, in turn, will generate a perceived detune of the original pitch, which will be dif- ferent every time the carrier frequency is changed. Sidebands are the sum and difference of the carrier and integer multiples of the modulator. There can be some cases, however, in which the difference between the car- rier and the modulator would provide a negative number. Since negative frequencies are not physically possible, these sidebands are usually inaudible. For example, if the carrier frequency is 150Hz and the modulator frequency is 200Hz, the first couple of sidebands would be at 350Hz and −50Hz. However, a conventional analog oscillator stops oscillating whenever it reaches 0Hz, thus removing part of the spectra. For this purpose, an approach called Thru-Zero FM has been implemented: with this technique, the negative sidebands (the ones located “below zero”) are generated, but with an inverted phase. The result is a richer and more natural musical timbre with even less pitch drifting than may occur with analog FM. 2.2.1 FM Routing Both oscillators of the BRENSO can work as carrier and modulator at the same time: this means that the green oscillator can modulate the yellow one, which in turn modulates back the green. This technique allows creating extremely complex sounds with just two oscilla- tors, whose final spectral content may even reach the realm of noise. To achieve this result, BRENSO is equipped with two FM buses, one for the yellow and one for the green oscil- lator (B.7 to B.12). The scope of each bus is to offer an explicit modulation routing with advanced capabilities. Each FM bus has three main controls: the big one is the FM Deviation knob (B.6) connected to its CV Input (B.7) and Attenuverter (B.8), while the other two smaller knobs are the Linear TZFM Attenuator, and the Exponential FM at- tenuator. The Deviation knob sets the overall modulation that it is applied to the oscillator, while the two attenuators (B.10, B.12) determine the specific amount of Linear Through-Zero (TZ) and Exponential FM. All the knobs in- crease the value through a clockwise rotation, starting from the leftmost position, where no modulating signal is routed. By default, the linear and exponential modulation source of each oscillator is the other one: the green oscil- lator is thus semi-normalled to the yellow Linear TZFM and Exponential FM inputs (B.9 and B.11), and vice versa. It is also possible to break the normalization and use an- other signal by patching it to the desired input. In this case, the respective attenuator knob will attenuate the ex- ternal signal amplitude. It is thus possible to use up to four different modulation sources at the same time. In order to produce audible effects, one must set both the Deviation knob and either the Linear TZ or Exponential attenuator to a value higher than zero (the leftmost posi- tion). This bus design offers two great advantages: on the one hand, it allows combining linear and exponential FM in- dependently per each oscillator. On the other, by having independent CV inputs on the two buses, it is possible to control the modulation amount over each oscillator with different sources, thus creating more articulated timbres. Practice BRENSO’s FM with these techniques: Linear Through-Zero Frequency Modulation TZFM Modulator Sequencing Noise Oscillator 1 SYNC Syncing refers to a variety of techniques originally devel- oped to improve and stabilize the relative intonation of two or more analog oscillators. The common ground is that one oscillator should be used as a reference to which other oscillators must be compared and, if different, corrected: different correction techniques translate into different syncing circuits. It soon became clear, however, that in certain sync cir- cuits, an exaggerated modulation of a “slave” oscillator introduced pleasant overtones to the final sound, and these techniques became widely employed in sound syn- thesis to generate more complex timbres. This is the case with, for example, Hard Sync, which is often

Page 90 of 107 implemented in sawtooth-core oscillators. This circuit takes two oscillators, called ‘master’ and ‘slave’, and forces the slave’s waveform to reset back to 0 at each mas- ter’s duty cycle. Modulating the slave oscillator’s fre- quency will result in a rich sound which changes timbre without changing pitch since the waveform still resets at the master’s rate. The downside of this process is that every time the slave wave resets and thus drops back to the beginning of the duty cycle, it may produce a sort of unpleasant “spike,” which becomes more and more no- ticeable as the modulation gets deeper. BRENSO is equipped with two different circuits, which provide different results and are designed to accomplish different tasks: they are called Lock and Flip Sync. They can be selected through a three-way switch for the green oscillator (B.16), and via a jumper on the back of the PCB for the yellow oscillator. 2.3.1 Lock The Lock circuit is designed to provide a precise but sub- tle correction of an oscillator’s pitch (the ‘slave’) when it is very close to an integer multiple or divisor of another oscillator’s frequency (the ‘master’). It is mainly used to compensate for slight tracking variations that may occur when CV controlling more oscillators with the same V/oct signal. The Lock system uses the master’s square wave to slightly change the thresholds of the slave oscillator’s core: it will shift them up when the master’s waveform is positive, and down when it is negative. As a result, the slave oscillator will gently rush and drag to follow the master’s frequency, without resets or abrupt changes in the waveform direction. Since this circuit is designed to correct very small differ- ences in frequency, we recommend using it mainly when the slave oscillator is within a semitone from its desired pitch. If the ratio between the two oscillators is not an integer number, some changes in the harmonic spectra may occur. By default, the green oscillator can be locked to the yel- low one by moving the three-way Sync Switch (B.16)to the Lock position. The yellow oscillator does not have any hardwired slave capability, but it can be synced to an external waveform by patching it to the Sync Input (B.17) and setting the back jumper to Lock. 2.3.2 Flip Sync It has been said that sometimes an extreme modulation of the synced oscillator may be deliberately used to create complex waveforms, as with Hard Sync. BRENSO’s tri- angle cores allow a different technique, typical of this kind of oscillator, called Flip Sync (or Reverse Sync): instead of forcing the slave oscillator’s waveform back to the begin- ning at every master’s duty cycle, it reverses the wave direction. This translates into a more mellow tone, which allows creative modulation without hearing the harsh “spikes” made by the slave oscillator’s waveform reset by sawtooth-based Hard Sync. Flip Sync is activated by moving the Sync Switch of the green oscillator’s section (B.16) to its rightmost position: when engaged, the green core will invert its waveform di- rection at every yellow duty cycle. As we said above, Flip Sync can be activated for the yel- low oscillator, too, by placing the jumper on the back of the PCB to the Sync position. In this way, the yellow os- cillator will become the slave of any signal patched to its Sync Input (B.17). This technique, in contrast to Lock, creates dramatic changes in the slave’s waveform and can be used for more expressive and creative purposes. Since it is not phase- based, and since preserving the original waveform is not a priority, there is no preferred frequency range for set- ting the slave oscillator to be synced properly. Of course, a master frequency higher than the slave one would result in a change of amplitude, of the slave since it will not al- ways be possible to reach the full cycle without a change of direction. Practice BRENSO’s Sync options with these techniques: Lock & Flip Sync Noise Oscillator #2 Double Flip Sync Flip-Flop Flip Sync 3 TIMBRE So far, we have seen several ways of generating complex timbres by just acting on the oscillators’ frequencies, but BRENSO is capable of much more. A whole section is dedicated to modulating the waveforms of the yellow os- cillator through a series of circuits. Here is an overview of the signal routing. · The yellow triangle wave is routed to a waveshaper called Triangle Shaper (C.1, C.2, C.3), which morphs be- tween a sine and a logarithmic wave. The resulting wave- form is sent to two destinations: a crossfader called Source (E.1, E.2, E.3), and a comparator for Pulse-Width Modula- tion (PWM – D.1, D.3, D.4). · The comparator takes the modulated waveform and derives a pulse-wave, which can be modulated; alterna- tively, the Pulse-Width Modulation (PWM) Source can be set to be the pure triangle wave of the yellow oscillator (D.2). · The PWM wave is sent to another waveshaper called Pulse Shaper (D.5, D.6, D.7), which emphasizes the high or low harmonics. The resulting signal is sent to two desti- nations, the Source crossfader, and the square wave output

Page 91 of 107 of the yellow oscillator. A switch (A.6) below the jack socket (A.5) selects the output source: pure square wave, or shaped-wave. · The Sources crossfader (E.1, E.2, E.3) receives signals from the Triangle Shaper and the Pulse Shaper and blends them together. The result is fed into a Wavefolder (E.4 to E.10). · The Wavefolder further processes the sound, and its output is sent to another crossfader for amplitude modu- lation (see below, §0) before being routed to the Final out- put (A.7). All the aforementioned waveshaping techniques are performed over the yellow oscillator’s waveforms, and their amount can be modulated (even at audio rate) by the green oscillator’s sine wave, through a circuit called Modulation Bus (F.1 to F.5). The following paragraphs will describe the modulation circuits, and the last one will de- scribe the role of the green oscillator and the Modulation Bus. TRIANGLE SHAPER The first waveform modulation circuit is the Triangle Shaper (C.1). It can be seen as a three-way mixer that blends three waveforms: a sine wave (leftmost position), an almost-pure triangle wave (noon), and a logarithmic waveform. (Both the sine and the log are generated by shaping the triangle wave, hence its name.) It is possible to control this parameter, even at audio rate, by patching an external signal to the CV input (C.2). An Attenuator (C.3) allows for precise scaling of the incom- ing signal. By default, the modulation input is semi-nor- malled to the Modulation Bus output (F.2). The signal coming from this circuit is then routed to the Source crossfader (E.1) and then possibly to the Wavefolder (E.4), which can be heard through the final output (more on this below, §3.3). Check out the Triangle Shaper in this tech- nique: Triangle Shaper PULSE SHAPER The other waveshaping circuit consists of two sections strictly connected: first, a comparator generating a pulse wave and capable of pulse-width modulation (PWM), and then another waveshaper to which the PWM output is routed. Check out the Pulse Shaper in this technique: Pulse Shaper 3.2.1 Pulse-Width Modulation (PWM) The PWM circuit generates a pulse-wave through a comparator. This technique requires a waveform and a voltage value used as a reference. The comparator, as the name suggests, compares the waveform to the reference voltage: every time the waveform is equal to or higher than the reference voltage, the output voltage will be high; conversely, every time the waveform is lower than the reference voltage, the output will be low. The alter- nation of high and low voltages produces a pulse wave- form, whose width depends, on the one hand, on the ini- tial waveform fed into the comparator, and on the other, on the value of the reference voltage. A classic example of pulse-width modulation is achieved by using a fixed triangle waveform and varying the comparator threshold: this operation changes the ref- erence voltage and thus the point where the output volt- ages are high and low, but without affecting the duty cy- cle, i.e. the frequency. It has been said that both the elements of the compara- tor (the waveform and the reference voltage) play a fun- damental role in a pulse-wave generation: the two main controls of BRENSO’s PWM circuit affect exactly these two parameters. The two-way Source switch at the bottom (D.2) selects the source to be fed into the comparator: when it is set on the left, the source is yellow triangle wave, straight from the oscillator’s core, and the result is a classic pulse wave; when it is set on the right, the source is the wave gener- ated by the Triangle Shaper according to its knob position (it can be a sine, a logarithmic wave or everything in be- tween). The Pulse Width knob (D.1) sets the comparator thresh- old and thus varies the pulse wave, or the ratio between the positive and negative side of the waveform (also called ‘symmetry’). When the source is the triangle wave, and the knob is centered, the ratio will be of ~50%, which translates into an almost perfect square wave. Moving the knob on the left or on the right will change this ratio, thus generating a positive or negative asymmetry). The CV Input at the bottom (D.3) accepts any signal to be used to vary the wave symmetry, with a dedicated At- tenuverter (D.4) to scale or invert it: when the attenuverter is set at noon, no modulation is applied; rotate the knob on the left or right to apply a negative or positive modu- lation, respectively. Patch any LFO-like signal to the modulation input and adjust the attenuverter to achieve the classic PWM sound. When the Triangle Shaper is used as a source for the com- parator, it can produce more complex results: for in- stance, the pulse wave symmetry can be varied by modu- lating the wave shape, without changing the comparator threshold. Modulate both the waveshaper and the sym- metry control to generate articulated modulations, which

Page 92 of 107 are harder to obtain with more conventional PWM cir- cuits. Practice the PWM with these techniques: PWM 1 PWM 2 3.2.2 Waveshaper The Pulse Shaper circuit is BRENSO’s second waveshaper. It further shapes the harmonic content of the pulse wave generated by the PWM circuit (§ 3.2.1). When its main knob (D.5) is at the leftmost position, it emphasizes the lower frequencies; the higher overtones will become increasingly higher until the noon position is reached: at this point, the waveform generated by the PWM circuit is almost purely reproduced. When the knob is rotated past noon, the higher frequencies will be progressively emphasized, until roughly two o’clock (75% of the knob stroke), where they will have the highest am- plitude. From this point onward, the lower frequencies will be emphasized again, but with an inverted phase, un- til the rightmost position is reached, where the signal is the same as at the leftmost position, but with inverted phase. It is possible to control this parameter, even at audio rate, by patching an external signal to the CV input (D.6). An Attenuator (D.7) allows for precise scaling of the incom- ing signal. By default, the modulation input is semi-nor- malled to the Modulation Bus output (F.2). The output of the Pulse Shaper is routed to two different points of the circuit. First, to the yellow square wave out- put (A.5), where it can be selected with a dedicated switch (A.6), instead of the regular, core-derived square wave; then, it is sent to the final wavefolding stage. WAVEFOLDER So far, we have described two signal paths: the one of the Triangle Shaper, and the one of the PWM through the Pulse Shaper. Both are further modulated through a Wave- folder. Practice the Source and Wavefolder parame- ters with these techniques: Source and Wavefolder Wavefolder Ratcheting 3.3.1 Sources The first stage of the wavefolding circuit is the Source control. It is essentially a crossfader between the two waveshaped signals: the one from the Triangle Shaper and the other from the PWM through the Pulse Shaper. When its knob (E.1) is set at the leftmost position, only the signal coming from the Triangle Shaper is sent to the Wavefolder. Rotate the knob clockwise to blend in the sig- nal coming from the Pulse Shaper: at noon, the blend will be 50-50. At the rightmost position, however, the signal sent to the waveshaper will not be purely the one coming from the Pulse Shaper, but a small amount of the other one will still be audible. This design choice has been made to improve the tonal characteristics of the folded signal. Because of its nature, any “pure” pulse waveform may produce some irrelevant results wen folded, or even some amplitude loss. To pre- vent this from happening, the Source control will always retain some of the triangle-shaped signal, which will dra- matically improve the behavior of the wavefolder. If you want to hear the pure sound of the Pulse Shaper, you can always use the Square/Shaped Pulse Output (A.5) and set its Source switch (A.6) to the leftmost position. It is possible to control this parameter, even at audio rate, by patching an external signal to the CV input (E.2). An attenuator (E.3) allows for precise scaling of the incom- ing signal. By default, the modulation input is semi-nor- malled to the Modulation Bus output (F.2). 3.3.2 Folding A wavefolder is a circuit that amplifies a waveform be- yond a pre-determined threshold: for this reason, it can also be classified as a distortion unit. Once its peaks reach the threshold (both on the positive and negative sides), in- stead of being clipped, they are “folded” on themselves. When they reach the opposite threshold, they are folded back again, and the cycle repeats, generating a number of folds which depends on the circuit design. The result of these folds is an increasing number of overtones that generate a richer sound. The main control of BRENSO’s wavefolder is the Wavefolder knob (E.4). Its range is divided into six layout graphic portions with increasing line thickness, which roughly reflect the number of folds performed by the cir- cuit. The first section is marked with a dotted line and spans from the leftmost position to the icon of a “clean” wave- form. In this range, the knob simply controls the ampli- tude of the incoming signal, from 0 to unity gain. Rotating the knob from this point onward will generate more and more folds, until the maximum is reached, at the rightmost position. It is possible to control this parameter, even at audio rate, by patching an external signal to the CV input (E.5). An Attenuator (E.6) allows for precise scaling of the incom- ing signal. By default, the modulation input is semi-nor- malled to the Modulation Bus Output (F.2).

Page 93 of 107 3.3.3 Symmetry A peculiar feature of a wavefolding circuit is that it can be forced to fold the positive half-cycle before the nega- tive one, and vice versa, by adding a voltage bias to the incoming signal. This translates into an unbalanced dis- tortion, which provides different overtone configurations. This technique can be performed on BRENSO through the Symmetry knob (E.9): at noon, the incoming waveform is perfectly balanced. Rotate the knob clock- wise to increase the folds of the positive half-cycle, and counterclockwise to increase the folds on the negative half-cycle. A CV Input (E.10) sums any external voltage to the value selected by the knob. 3.3.4 Ping In many natural sounds, a higher amplitude sound of- ten contains a higher number of harmonics in the sound spectra. Moreover, many natural instruments have a higher amplitude when they begin to generate a note, which gradually decays over time. The consequence of these two facts is that the timbre of many acoustic musical instruments evolves while a note is played, having richer harmonic content during the attack than during the de- cay. In other words, the harmonic content is often vaguely proportional to the amplitude of the signal: think, for example, about guitar strings, whose tone changes ac- cording to the strength it is plucked with. This peculiarity contributes to the dynamic range of any musical instrument, and it is often an issue with elec- tronically generated waveforms, whose harmonic content remains the same throughout different amplitudes. The wavefolder circuit can be very helpful for changing the harmonic content over time and achieve more dy- namic results, and, for this reason, BRENSO is equipped with a circuit specifically designed to dynamically change the fold numbers over time by responding to an external impulse. The Ping circuit uses an external trig patched to its input (E.7) to excite the wavefolder, then integrates it with a nonlinear decay curve. The result is that the folder, once excited, quickly opens the wavefolder circuit above its maximum value, and then gradually closes it to the level set by the Wavefolder knob (E.4). The amount of this decay is set through the Ping Decay knob (E.8): at its leftmost po- sition, it is extremely fast, while at its rightmost position, it becomes significantly longer. 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. Practice the Timbre Modulation Bus with these Techniques: Timbre Modulation Bus #1 Timbre Modulation Bus #2 Timbre Mod VCA and Self Modulation 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,

Page 94 of 107 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. Practice the main Timbre parameters with these Techniques: Timbre Sequencing Timbre Randomness 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 10 V 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 mod- ulator (semi-normalled to the green sine wave) can be ei- ther unipolar or bipolar. Further down the line, it can be said that the modulating signal can perform either Am- plitude Modulation (when unipolar) or Ring Modulation (Bipolar). The difference with FALISTRI’s Four Quadrant Mul- tiplier is that, while its modulation type changes accord- ing to the signal patched in (bipolar for RM, unipolar for AM), here the expected signal is always 10 V peak-to- peak, which is then internally scaled to perform the two tasks via a dedicated switch (G.3). At its upper position, the switch scales the modulating signal on the positive side only, thus engaging only two quadrants and performing amplitude modulation. Set it to the lower position to make it bipolar, engage the four quadrants, and perform ring modulation. Practice the Amplitude section with this tech- nique: Amplitude Modulation #1 For the differences between AM and RM, please refer to its section in the FALISTRI’s manual (§3.2). 5 TRIMMERS BRENSO is equipped with 23 trimmers for calibration purposes. Some of them are meant to be operated by Frap Tools only, while others can be used by expert mu- sicians who need to fine-tune certain parameters. The trimmers are not manual potentiometers, therefore not designed to handle a large number of twists. For this reason, you must be exactly sure about what you want to achieve when you put your hands on a trimmer, and you should limit any trimming operation to the strict necessary. ACCESSIBLE TRIMMERS There are 17 trimmers that an expert user can access, both on the front panel and on the back of the PCB. They control seven parameters, described in the following par- agraphs. 5.1.1 Coarse Frequency Underneath the two Coarse Frequency Knob, on the front panel, there are two couples of trimmers labeled m and M. They control the minimum and maximum value of the Coarse Frequency knobs of each oscillator, in order to make them match as close as possible the frequency scales of the panel label.

Page 95 of 107 5.1.2 Sine Wave Symmetry Close to the Coarse Frequency Trimmers lie two more couples of trimmers, one per each oscillator, labeled + and x: they control the symmetry and gain of the stage that shapes the triangle wave into a sine wave. By default, the sine wave is calibrated to be almost pure, but it may be interesting to alter its shape on purpose to bring in the second harmonic. 5.1.3 Sawtooth Wave Symmetry At the upper right corner of the back of the PCB, there is a trimmer that regulates the symmetry of the green saw- tooth waveform. As for the sine waves, this is factory cal- ibrated to an almost-pure sawtooth, but it can be altered on purpose. 5.1.4 Exponential FM Zero On the back of the PCB, two trimmers in the lower- right corner control the DC-Offset compensation for the external source of exponential frequency modulation. 5.1.5 Triangle Waveshaper Shape Two trimmers close to the Triangle Waveshaper knob control the shape of the logarithmic waveform that can be heard when the knob is at the rightmost position. This circuit is borrowed from the FALISTRI module. 5.1.6 Wavefolder Symmetry This trimmer is located on the back of the PCB and ad- justs the symmetry of the wavefolding circuit, i.e., the number of folds that appear on the positive and negative front of the waveform at a given position of the Wave- folder knob and when the Symmetry knob is at noon. 5.1.7 Four-Quadrant Multiplier This trimmer controls the symmetry of the amplitude and ring modulations: it is used to make sure that, when- ever the modulating signal reaches 0 V, the modulated one is as closest possible as its un-modulated version. To calibrate the Amplitude Modulation circuit, patch a dummy cable to the second input of the Amplitude Modulation section, and set the modulation amount fully clockwise, and trim it to reach the lowest possible amplitude. 5.1.8 Comparator This circuit prevents the oscillator core from stalling by controlling the direction of the negative front of the bipo- lar waveform. The trimmer regulates the position of the threshold below which the triangle wave is detected as negative by the oscillator core. Due to common factors such as power or ground distri- bution, it may happen that an oscillator stalls when set at low frequencies and modulated with a carrier with sharp transients. In this case, gently rotate this trimmer (labelled Core Comp) counterclockwise with a trim pot screwdriver until the oscillator is heard again. If you have troubles with this operation, contact us at [email protected]. NON-ACCESSIBLE TRIMMERS There are six more trimmers that must not be touched for any reason, because it will void the module’s war- ranty. They control the crucial parameters of the oscilla- tors and are carefully calibrated by our technicians: if modified, they may cause BRENSO to behave in a wrong way. They are all in couples (one per each oscillator core) and located on the back of the PCB. 5.2.1 Gain This trimmer controls the gain applied to the external CV patched to the V/oct input. The gain circuit provides the right scaling of the external CV before it is routed to the expo converter. 5.2.2 Base This trimmer regulates the offset that is added to the exponential conversion of the oscillator’s control volt- ages. It prevents the response curve from losing linearity as it gets close to 0, and the oscillator from stalling. 5.2.3 Symmetry This trimmer regulates the symmetry of the triangle core, from which all the other waveforms are derived.

Page 96 of 107 6 TECHNICAL DATA SIMPLE SIGNAL FLOW Figure 87: BRENSO’s signal flow.

Page 97 of 107 SPECIFICATIONS Parameter Details Min Typ Max Unit Current Draw +12 V 325 mA -12 V 235 Size 30 HP Input details (6) V/oct Impedance >90 KΩ FM source >30 Deviation CV >90 Integrator CV >40 Sync >60 Minimum amplitude 2 Vpp Suggested amplitude ±5 AM CV Impedance >40 KΩ AM source >90 Suggested amplitude ±5 Timbre Modulation source Impedance >40 KΩ Timbre modulation CV >90 Triangle Waveshape CV >60 Pulse Waveshaper CV >60 PWM CV >90 Sources CV >25 Wavefolder CV >60 Wavefolder Symmetry CV >50 Ping CV >90 Output Details Audio outputs Impedance >100 Ω Amplitude (7) ±5 Vpp Oscillators Knob range Audio rate 27.5 7040 Hz LFO mode 0.15 10 V ~6.6 25 ms Ratio (8) 176:1 Tracking (9) ±5 ȼ Fine tuning >1 st Core crosstalk -50 dB (6) All buffered. (7) Unloaded. (8) Subject to ±3% tolerance. (9) Measured at 440Hz over ±3 octaves. REVISIONS Starting from lot no. 200901 we rearranged the board layout to facilitate the calibration procedure in the lab. The functions of the module and its tech specs have not been changed.

Page 98 of 107 333 Figure 88: 333 interface. A In/Out A.1 Inputs A.2 Semi-Normalled Inputs A.3 Outputs A.4 -6dB Switches The 333 is an analog summing and distribution module for Eurorack modular systems. It is composed of three identical sections, each of those comprising a high-quality summing amplifier with 3 inputs, and three inde- pendently buffered outputs. The summing amplifier circuitry and the system opti- mization are derived directly from the CGM creative mixer series, with the additional ability to handle signals starting from DC. 1 DESIGN Each of the three sections, red, yellow, and green, sums up to three signals, plugged to any of its three inputs, and distribute this sum to three independently buffered out- puts. The first input of yellow and green sections (A.2) is semi- normalled to the after switch sum result of the previous section (so the yellow to the red, and the green to the yeow). All the inputs are DC coupled, so you can use each sec- tion to sum audio signals, control voltages as well as merging clocks. Practice the 333 in many forms with these Techniques: Voice Spread #1 -6dB Switches Sidechain #1

Page 99 of 107 2 TECHNICAL DATA FLOW CHART Figure 89: 333’s flow chart. SPECIFICATIONS Parameter Details Min Typ Max Unit Current Draw +12 V 48 mA -12 V 48 Size 6 HP Input impedance >90 KΩ Output impedance <50 Ω CV Tolerance <0.5 % global offset per section -20 20 mV Frequency response (10) DC 30 KHz Harmonic Distortion (THD+N) (11) <0.01 % (10) Within 1dB, measured at +10dBu onto a 1KΩ load. (11) Measured at 1KHz with output signal of +10dBu onto 1KΩ load with a 10Hz to 80KHz bandwidth measurement system.

Page 100 of 107 321 Figure 90: 321 interface. A 321 A.1 Inputs A.2 Outputs A.3 Sum Output A.4 Unpatched Sum Output A.5 Scale A.6 Phase Switch A.7 -6dB Switches A.8 Offset A.9 Offset Switch The 321 includes the most useful functions we always need in every patch, to edit and combine dynamically the signals in use. It is capable of scaling any incoming signal, invert its phase, offset it, and combine with other signals. It is com- pletely DC coupled, so may work well for both audio and CV. It can also be used as a CV source. 1 DESIGN The 321 is composed of three identical sections, the red, yellow and green, where each of those is capable of scal- ing any signal, from 0 up to 2 times (+6dB), flip its phase, and apply a DC offset, allowing to shift your audio or CV up or down. In case no signals are connected to the section input (A.1), the offset may act as a CV source too. The three sections are then summed together into two independent summing stages: the top right jack (A.3) out- puts the sum of all three sections, while the top left one (A.4) outputs the sum of the unconnected sections only (semi-normalled). The 321 is entirely DC coupled, allow- ing the process of control voltages as well as audio signals. In case CVs or audio signals are particularly hot, the two 6dB attenuators (A.7), one per each summing section might be helpful to reduce exactly by 50% the incoming signals. Practice the 321 in many forms with these Techniques: Octave Blends Sidechain #1 FUMANA Feedback #2 FUMANA Feedback #3 Offset