The design consists of a high fidelity resonant filter, 2 stage slope generator (rise/fall) with independent slope shaping, a high fidelity VCA and discrete transistor saturation circuitry. Every parameter on the Entity Bass drum is voltage controllable.
By applying a trigger of any length and at least 2V amplitude, we excite the resonant filter to produce a percussive sine wave. The pitch control tunes the output with a range of 8Hz to around 2.2KHz. Both higher and lower levels are achievable using the FM input for modulation etc. The internal filter will track 3-4 octaves reliably and the tracking device is temperature compensated.
The slope generator (ENV) can be switched into the circuit via the 3 way switch below the FM LVL control. This control is a bipolar attenuator which affects the level of the slope generator and/or external modulator that affects the pitch of the output.
The 3 way switch selects FM, FM+ENV or just ENV as a mod source.
The rise/fall envelope is a two stage function generator. The controls provide slope timing from 1ms to about a minute. To the right of these controls is the shaping section where logarithmic, linear and exponential slope shapes are selected independently for the two envelope stages.
The envelope is designed to re-trigger at a set point. This allows for changing dynamics to occur to pitch and amplitude when the slope times are greater than the output transient time. For instance the sound can vary between any number of triggers that fire before the envelope set point is reached. Setting the slope time fast enough (below roughly 1 o'clock) provides for nominal operation. Settings will vary depending on trigger and ring decay timing.
The envelope can also be used exclusively or in a more complex patch via a direct +ENV output. Additionally, a novel DUCK output provides a means to control external VCAs - to work like slow compressors. DUCK is an inverted and positively offset version of the +ENV out. This keeps VCAs open when the envelope is off and effectively 'ducks' the VCA when the envelope fires. Of course, mod sources for these outputs are not limited to VCAs...
BODY is a subtle, yet novel control. This control simulates the tightness of a drum head. All the way tight, we get a softer and somewhat muted sound, to the right we achieve a more flabby sound. The middle region is the sweet spot for a nearly perfect resonant drum. BODY can have a greater effect depending on the other parameters and can be very useful for fine tuning the sound in a mix and designing original drum sounds.
RING controls the resonant decay time. Both short and plucky and an infinite ring are obtainable. The filter is tuned so that it will always resonate a little, even when RING control is all the way down.
Before the output section, we have the discrete transistor saturation. We like this because of the vintage low end distortion from overdriven class-A discrete amplifiers. This one is tuned a bit more aggressively and just a touch is necessary to add some bite. However, you can go over the top and get brutal if you so desire... ;-)
The saturator will overdrive the output stage for more of a hard clipping effect that can be tuned out by adjusting the output level control without sacrificing signal amplitude - its a hot signal by intention.
The OUTPUT section is a parallel signal processor design. The OUTPUT control blends the nominal output with a secondary input (or nothing) depending on the 2 way switch setting below the control and/or whether an external signal is patched into the AMP CV input. In 'AMP' mode, the OUTPUT control works like a volume control. If a signal is active on the AMP CV input, the control will blend between the nominal output and the CV control level. Similarly, in 'ENV' mode we get the same blending action using the internal envelope.
The VCA can also be accessed directly via the A-MIX input. This allows you to use the output section as a standalone VCA (modulated via the envelope or not) or to mix other sounds with the Entity. Feedback patching is a possibility using a stackable or mult to feed the output into the A-MIX input. This produces a juicy distortion effect of a different flavour, you may like it.
The filter can be used independently or in combination with the nominal output via the F-MIX input. This input is used as an aux trigger input that is sensitive to pulse/trigger width. As the effect is less dramatic than the main trigger, dynamic rhythms are achievable using both inputs and creative triggering.
The design consists of a high fidelity resonant band pass filter, two voltage controlled decay envelopes, multi-mode noise generator, a high fidelity VCA and a voltage controlled diode wave multiplier. Every parameter on the Entity Percussion is voltage controllable.
Features and controls:
BODY control simulates the tightness of a drum head. From soft and muted to flabby and bass heavy.
PITCH affects the frequency of the resonant filter. The nominal control range is from about 8Hz to 2.2kHz. This range is expanded upon use of internal and external control voltage sources.
HARMONICS increases the number of overtones heard via the main resonant sound source. Subtle to extreme. A substantial function of the Entity PS.
RING controls the resonant decay time, independently from the modulation controls. Both short and plucky and very long rings are obtainable. The filter is tuned so that it will always resonate a little, even when RING control is all the way down.
OUTPUT section controls the resonator volume level and the overall output level when NOISE-FILTER mode in enabled. MIX switch selects processing the internal resonator, external source via the EXT IN jack or a mix of both, greatly enhancing the sound capabilities of the Entity PS.
NOISE generator inspired by the Quantum Rainbow 2, with three select-able noise modes - WHITE, PINK and FILTER. FILTER mode routes the noise into the resonator's signal path - to be processed through the resonant filter, harmonics processor and main VCA.
N-LEVEL independently controls the volume and CV level of the noise VCA.
Two voltage controllable decay envelopes are provided to modulate the frequency and/or volume of the resonator and noise. DECAY controls the FM/VCA decay time of the resonator, N-DECAY controls the VCA decay time of the noise generator.
DELAY provides voltage controlled delay of the resonator DECAY envelope with respect to the noise (N-DECAY) envelope - a useful feature for creating various snare, clap and snap sounds and layering internal and external sources.
FM LVL is a bipolar attenuator for controlling the frequency modulation depth of the resonator. The switch below selects the internal resonator decay envelope, a mix of the decay envelope and external FM CV source, or the external FM CV source only.
DUCK output jack provides an offset and inverted copy of the resonator DECAY envelope for ducking VCAs and other modulation duties.
PING! button to demo sounds without a trigger source.
RGB LED for visual feedback of trigger, FM and output waveform
All parameters are voltage controllable.
The saturator is completely user configurable, allowing independent adjustment over the positive and negative clipping threshold levels. The unique response and wide harmonic palette makes this saturator stand in a class of it's own.
- Four inputs, Four outputs
- 3U Eurorack module, 6HP wide, 23mm deep
- Maximum current draw: 39mA at +12V and -12V
The URA was designed to maximize routing options both within the module itself as well as within your modular system.
- Twin analog white noise generator sourced sample and holds: A and B for producing bipolar stepped and slewed random voltages. External input jacks are provided for both units - for processing external signals, random or otherwise. Sample level attenuators provided for each. These units will pass digitized analog white noise at the outputs when high sampling rate is achieved - using an internal or external clock.
- A third stepped output (TOGGLE A/B) provides another unique stepped random output which alternates sampling from two sources in time with the sample clock. This function can additionally splice two external sources together or a single source with one of the internal random sources. In essence, a double throw switch with synchronous sample rate reduction.
- Very smoothly fluctuating random voltage (R-FLUX) provides a very organic random output with voltage controllable (via vactrol) slew speed and voltage controlled output level probability. Internal or external clock timing.
- Random pulse/gate output (R-PULSE) operates from sub-sub audio well into the audio rate for use as a random gate/trigger sequence, additional random clock or digital noise generator. The frequency is variable via panel control and FM (density) input. R-Pulse features 7 selectable levels of randomness through 7 stage divisions. Scroll up/down through divisions. Saves selection every 60 seconds.
- Opto-Integrator - a vactrol based Integrator for smoothing voltages. This integrator features an input jack for processing external signals but processes the R-Pulse output through internal normalization when nothing is patched in. Panel control and CV input provided for altering the integration slope.
- Built in clock with hi and low range selector. Panel speed control and 1V/OCT FM input. Temperature compensated for low drift. Clock output for timing external devices. Clock doubles as a full range pulse VCO.
- External clock input for optionally timing S&H-B, R-FLUX and TOGGLE outputs.
- All packed into a comfortably designed 10hp width.