11.0

BV512 VOCODER576
This is essentially the required connections, but for best results it’s a good idea to add some distortion and/or com-
pression to the carrier signal - this increases the amount of high frequencies in the carrier signal:
5. Press [Shift] and create a Scream 4 distortion device.
6. Connect the distortion device as an insert effect between the Spider and the carrier input of the vocoder.
Now, the carrier signal will be processed in the distortion device, but not the modulator signal.
7. Play back the pattern and experiment with the settings on the vocoder and distortion device.
D This technique can also be used to process vocals and speech.
D Try adjusting the Shift parameter for new effects and sounds.
Remember that you can route CV to the Shift parameter on the back of the BV512 - use e.g. a Matrix or an LFO
output on a synth device!
Controlling the Hold function
As described in “Hold button”, pressing the Hold button on the front panel “freezes” the current filter spectrum until
you deactivate it again. This can be used for creating sample & hold-like effects, stuttering or garbled vocoder
sounds:
D Connect e.g. the Gate output on a Matrix device to the Hold input on the back of the BV512.
By playing back a gate pattern on the Matrix, the Hold function will repeatedly be turned on and off according to
the programmed rhythm in the pattern. Hold will be active for the length of each gate signal.
D Automate the Hold function with the main sequencer, either by recording it or by drawing in its controller lane.
• If you route MIDI to the BV512 you can control the Hold function in two ways by default: By pressing a damper
pedal connected to your MIDI controller or by playing the note C4.
In both cases, the Hold function will be momentary - Hold is on until you release the pedal or key.
Using the individual band level connections
As described in “Individual band levels”, the individual band level connectors on the back are CV output and input
jacks. The upper row sends out the CV signals from the envelope followers for the different frequency bands, while
the lower jacks are CV inputs for controlling the individual bandpass filters (breaking the internal connection from the
envelope followers). There are several interesting things you can do with these connections:
Crosspatching frequency bands
By connecting outputs to inputs in alternative configurations, you can drastically change the result of the vocoding.
For example, you could have low frequencies in the modulator signal give high frequencies in the vocoded sound and
vice versa. Note: