User manual SHERMAN FILTER BANK 2R

[. . . ] ABUSER'S MANUAL 1 BEFORE USING THE SHERMAN FILTERBANK, READ THE FOLLOWING SAFETY INSTRUCTIONS USE ONLY THE ORIGINAL ADAPTOR (OUTPUT 15V AC, 500mA) SUPPLIED WITH THIS MACHINE. ALWAYS GRASP ONLY THE ADAPTOR WHEN PLUGGING INTO, OR UNPLUGGING FROM, AN OUTLET. ALSO, ALL CORDS AND CABLES SHOULD BE PLACED SO THAT THEY ARE OUT OF THE REACH OF CHILDREN AND ANIMALS. NEVER HANDLE THE ADAPTOR OR ITS PLUGS WITH WET HANDS WHEN PLUGGING INTO, OR UNPLUGGING FROM, AN OUTLET OR THIS UNIT. [. . . ] Transmit MIDI control messages to the Filterbank that affect the Attack, Decay and Release speed. When the Filterbank is powered up, the ADSR speeds are initialised 1/4 of their maximal speed = control value 63. Simply connect ADSR out to FM in and MIDI foot control will do the job. Even negative : send MIDI foot control half way (value 63) and anticipate that with the envelope amount knob(s) until no modulation is heard. Sending MIDI foot control above and under 63 will result in positive and negative modulation. 40 SECONDS 35 SECONDS 30 SECONDS 25 SECONDS 20 SECONDS 10 SECONDS 0 SECONDS 0 1 2 3 4 5 6 7 8 9 10 ATTACK KNOB POSITION Attack time in function of knob position, when midi controller 5 (porta time) value is 63 (=default value). R = ATTACK SENSITIVITY RELEASE An envelope follower basically creates an output voltage that follows the level of its input signal. Plug in a dynamic sound source, like a (bass) guitar, piano, organ with swell pedal, drum loop or any other device providing volume variations. Adjust sens in combination with the envelope modulation amount knobs of the filters, for good response. Watch the ADSR indication light, it should flash yellow when the envelope follower is active, weak red when there's no input signal. Try the envelope follower with different modulation amounts of filter 1 (filter 2 in sync). Repeat these exercises with filter 2 free running in parallel mode; experiment also with the envelope modulation amount knob of filter 2. NOTE : The trigger input of the ADSR here becomes the envelope follower input. You can plug in another signal source in this input, and use its volume variations for filter modulation. NOTE : Decay has no function in the envelope follower, and attack and release of the ADSR generator are not MIDI-controllable in envelope follower mode. 34 figure 23 HOW THE ENVELOPE FOLLOWER WORKS A D 5 4 3 5 4 6 7 8 9 1 10 2 1 10 6 7 8 9 5 6 7 8 9 1 10 HERE, IN ENVELOPE FOLLOWER MODE, DECAY IS NOT APPLICABLE. THE SUSTAIN KNOB FUNCTIONS AS SENSITIVITY. S SENS. R R Envelope follower output with SHORT ATTACK time and SHORT RELEASE time A Sens. R output voltage 3 2 A + 0 3 4 - 2 Time Input signal A A 5 4 3 5 4 3 2 1 10 6 7 8 9 2 1 D 6 7 8 9 10 S SENS. R R Envelope follower output with LONG ATTACK time and SHORT RELEASE time 5 6 7 8 9 + 0 3 4 - 2 1 10 A A 3 5 4 D 6 7 8 9 1 8 9 10 S SENS. R R Envelope follower output with SHORT ATTACK time and LONG RELEASE time 3 2 5 4 6 7 2 5 6 7 8 9 + 0 3 4 1 10 - 2 1 10 35 7 LESSON #7 FM FREQUENCY MODULATION FM equally modulates the frequencies of both filters. Set the knobs as shown in fig. 14, page 25, but without ADSR modulation. Work with different sound sources like bass, organ, sawtooth and square wave. take another synth or sampler output and experiment with this source playing the same melody as the processed melody, but now try different tuning intervals between input and FM source. a cv/gate output, a modular system's lfo or ADSR, the voltage output of any analog sequencer, any pedal or device that provides a variable voltage or signal output. You can use the FM amount knob as a common ADSR amount knob for both filters by connecting ADSR out to FM in. Now try out different harmonics (also "free") with different FM amounts. 36 figure FM THE PRINCIPLE OF FREQUENCY MODULATION Time Original resonating filter wave Time Frequency modulation signal or control voltage at FM input Time Resulting resonating filter wave 37 8 LESSON #8 AM AMPLITUDE MODULATION AM equally modulates both OUT 1 and MAIN OUT VCA's. [. . . ] 20 Link system. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Main out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Memory notation sheets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]