User manual
Using same patch as above, add a negative oset to the Cycling CH. 1 of MATHS, by adjusting CH. 2 panel control to full CCW.
Observe Balanced Modulation. Observe the low amount of Carrier Feed-Thorough. Depending upon the Negative Oset
added, the Carrier all but vanishes, making the resulting Sidebands more audible. This is the sound most commonly associated
with Ring Modulation. Experiment with dierent amounts of negative oset, which could said to control the Depth of the Ring
Modulation. Also experiment with dierent Carrier Strengths and observe the resulting timbre and amplitude changes.
Return the CH. 2 panel control to 50% (NULL). Set CH. 4 of MATHS for a slow Rise and Fall, and set the corresponding attenu-
vertor to about 10 o’ Clock. Initiate the cycling behavior at CH. 4. Observe voltage control over Ring Modulation Depth.
Experiment with combinations of DC Osets (MATHS CH. 2), triggered or Cycling Osets (CH. 4 MATHS) added to the Carrier
(MATHS CH. 1). Patch a sequencer from Pressure Points to CH. 3 MATHS and add that to the Carrier (as generated by CH. 1
MATHS). Experiment.
Patch Ideas:
Simple Mixer with Chaining
Patch two signals to be mixed to Ch1 and Ch2 Signal INputs. Adjust relative amplitudes with Ch1 and Ch2 STRENGTH controls.
Chain additional elements (such as an Optomix or another modDemix) via the AUX input. Mixed signal will appear at SUM
OUTput.
VCA
Patch signal to be processed (audio or control) to Signal IN. Patch uni-polar control signal such as Envelope, LFO, Pressure
Points CV or gates, to the corresponding Carrier/ CV IN. Take output from Signal OUT. Use Strength to set the level of the
resulting signal. If the Carrier/ CV Signal is oscillating at audio rate, you will achieve. Amplitude Modulation. Like Ring-Modula-
tion, AM produces audible sidebands. The main dierence is that the Carrier signal is not suppressed, so along with those
sidebands, you hear the Carrier. Musically speaking, this sound is quite useful when a complex timbre is desired, but not at the
loss of a strong root note.
Voltage Controlled Mixer
Use the VCA patch, apply control signals such as the CV outs from Pressure Points to the Carrier/CV Ins of both channels. Take
output from SUM out. Create larger mixes by chaining several ModDemix and/or Optomix together. To do this patch the SUM
out from one into the Aux. IN on the next one in the chain, and so on, to create 2, 4, 6, 8 channel mixes.
Balanced Modulation, aka “Ring Modulation,” aka Frequency Mixing
Patch audio signal to be processed to Signal IN. This will be the Program. The Carrier signal should be a bi-polar Audio Rate
Signal such as a VCO (so it needs to swing from positive to negative). The resulting signal, at Signal OUT, will be the result of
the Signal IN having both amplitude and phase directly related to that of the Carrier/ CV IN. To achieve single or double
sideband, the balanced modulator is followed by lters tuned so as to eliminate all but one or two sidebands. Obviously, this is
not entirely possible within the current synthesizer system, since it requires lters designed exclusively for the job, still many
interesting timbres may be heard by using two band pass lters in parallel after the modDemix, for “Stereo-Quasi-
Double-Sideband.” Modulating the lter cuto will animate the sidebands.
Control Signal Multiplication or Voltage Controlled Polarization
Same as Balanced Modulator patch, only both the Signal IN and Carrier IN are both Control Signals as opposed to Audio
Signals. Use the signal patched to Carrier/ CV IN to multiply the Signal patched to Signal IN. Take output from Signal OUT.
Remember the “Thru-Zero VCA” concept when trying to understand how to use this patch.
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