Erica Synths Black Code Source Bedienungsanleitung

Erica Synths Nicht kategorisiert Black Code Source

Lesen Sie kostenlos die 📖 deutsche Bedienungsanleitung für Erica Synths Black Code Source (4 Seiten) in der Kategorie Nicht kategorisiert. Dieser Bedienungsanleitung war für 13 Personen hilfreich und wurde von 2 Benutzern mit durchschnittlich 4.5 Sternen bewertet

Download PDF

Seite 1/4

THANK YOU FOR CHOOSING ERICA

SYNTHS BLACK SERIES MODULE!

Erica Black Series include high-end,

unique functionality and superior quality

modules. Only the best, highest quality

components are used, all inputs and

outputs are protected against undesired

overvoltage. When designing Black

Series, we put design and usability

superior. Big knobs are assigned to key

functions of the module, which makes

Black Series ideal for live performances.

Enjoy!

Erica Synths Black Code Source is

unique design true stereo digital noise

or dual random CV generator, using a

complicated calculation of polynomials of

various conﬁgurations. The module will ﬁt

ideally in percussion synthesis or random,

self generation patches. The Code Source

also can be used as an extreme eects

unit to bitcrush and destroy sounds in

radical ways.

Basically, you can consider it as a

sample&hold noise generator, that is

able to “rewind” or repeat incredibly long

sequences of seemingly random levels.

X, Y and S controls together provide over

4000 dierent dual CV sequences for

every MODE switch position, that can be

triggered via the S TRIG.

FEATURES:

Dual random CV generator

Up to 9 noise ﬂavours with

adjustable pitch

All parameters are CV controllable

Expandable features with an

Expander module

This is sample rate knob.

When sample rate clock is set to a

high value (or there is some VCO

plugged into CLOCK IN) , L&R

outputs provide stereo digital noise.

Noise is independent for the left

and right channels. When sample

rate is set to a low frequency (or

there is some LFO or sequencer

clock plugged into CLOCK IN), L&R

outputs provide two control voltages

that can be used as a pitch, ﬁlter,

eect or any other control

for external modules.

Set one of 16 polynomial feedback

conﬁguration aspects X.

X and Y basically represent 16x16

square ﬁeld, and you can move

around using the X and Y pots or CVs.

Every setting will behave dierently,

produce dierent sequence of codes

(output values), and have dierent

length of the sequence before it loops.

S TRIG input accepts all kind of

signals from single pulses to normal

full band audio, and (re)sets the

polynomial on the rising edge of

the triggering pulse or sound. When

module is used as a CV source with

sequencer ticks in the clock input,

this S TRIG input can be used to reset

the generated code sequence on,

for example, every single, second or

fourth. measure, or at the beginning

of the track.

These are Left and Right outputs. You can have

random CVs here, if Rate is set to low sample

rate, or digital noise,

if it’s set to higher sample rate.

Output level can be conﬁgured via jumper on

the back of the module. You can select bipolar

-5V - +5V output or unipolar 0 - +10V, especially

useful for random sequencing

of VCOs.

S TRIG button will restart the

polynomial from the SET point.

While holding this button,

S TRIG input will be ignored.

Set one of 16 polynomial

feedback conﬁguration aspects Y.

MODE switch will alter the

character of the sound, and allows

to achieve perfect recreation of

most kinds of classic computer

music chip noise. In LFO range it

sets how many CV levels

L and R outputs will provide. Refer

to the table below for

MODE settings!

This is Clock Input. The external clock

replaces internal one, and you can

sync the module with master clock

of the system or change pitch of the

noise in tune with your VCOs. Patch

LFO output or master clock form the

sequencer for random CVs on the

outputs or VCO or even vocals

for pitched noise.

These are CV Inputs

for altering Rate, X, Y and

S settings correspondingly.

Set the starting point of selected

sequence. This will be particularly

audible in low Rate settings, when

CVs are generated on the outputs.

These are X, Y and S CV

attenuators.

TECHNICAL SPECIFICATIONS:

Output level -5…+5V (or 0…+10V) ....................

CV level -10V - +10V ...........................................

Power consumption +143mA, -64mA ............

Module width ...........................................10HP

Module depth 35mm ........................................

CODE SOURCE

Erica Synths Black Code Source

Expander takes the Code Source to next

level by adding autobend feature and

more noise/CV modes.

Autobend provides a useful attack

envelope for the internal clock

generator’s pitch and some outside CV

control. This feature helps to quickly

achieve authentic chip-tune percussion

and oldschool electronic game sounds.

NB! Use the ribbon cable supplied with

the module to connect the Expander

to the Code Source! To connect the

Expander you will need to remove the

security jumper from the socket on the

Code Source module. Pay close attention

to the connector socket marking and do

not mix it up with the PSU connector!

The Code Source Expander will work only

with the Code Source module and is not

intended to work as standalone module.

Connecting PSU to the Expander will

permanently damage it.

FEATURES:

Autobend (attack) time control

Autobend depth attenuverter

Alternative mode switch

Autobend envelope output

Clock output

TECHNICAL SPECIFICATIONS:

Power consumption…..…….....+16mA, -11mA

Module width….....………………………………6HP

Module depth…..…………..………..………25mm

This is the send level from the

autobend envelope to clock

generator’s pitch. When set to

center, autobend does not a ect

the sample rate. CW settings send

positive envelope and increase clock

rate (pitch of the noise), while CCW

settings send negative envelope and

reduce clock rate.

ALTERNATIVE MODE switch

provides two additional modes for

every main MODE. Refer to the

table below!

Autobend Trigger IN - when nothing

is connected to this jack, autobend

envelope triggers from the main

module’s S TRIG and button. This

input accepts both trigger pulses

and conventional audio, and triggers

on the rising edge.

Adjust the envelope rate,

from very slow to rapid

AutoBend Manual Trig - This button

allows the envelope to be triggered

manually, as well as block incoming

trigger pulses while the button is

held.

This is Autobend envelope output —

use it for simultaneous control of

VCFs or any other modules.

CLOCK OUT jack outputs internal

generator’s clock for use on some

external modules that may need to

be synchronised. You can connect a

second codesource module’s

CLOCK IN there to make both

modules synchronised. This output

provides the internal generator’s

clock even when something else is

used as the main module’s clock

(other clock source connected to its

clock in), and therefore can be used

as an additional clock for something

else. However, since this output

always outputs internal clock, to

synchronise more than two modules,

you need to split the CLOCK OUT of

the master module using a splitter,

and then pass to all other module

clock inputs.

CODE SOURCE

ZX - in this mode, module outputs an encoded data in the very exact way a ZX Spectrum home computer tape loading did, only it’s now in stereo!

It has a very speciﬁc sound that cannot be mistaken with anything else. Just set the right samplerate (2 o’clock). For extra icing on the cake, adjust

polynomial conﬁguration to make it sound like loading real data (image, character color, sprites...). Some ZX Spetrum games featured a “fast

loader” that actually was just a form of protection, and had a slightly dierent sound. For a typical fast loader sound, set the rate to slightly below