Notes: This is the last module in Addac System's T-Networks series, a straight forward 4 voice module with frequency and decay controls for each of the voices. As the name already unveils , a noise source has been added, and 2 different circuits have been created, that explore the timbre of a t-network when used to filter noise.
There are 2 different circuits in this module, voices 1 to 3 have a pre-vca t-network filter while in voice 4 the t-networks filter applied post-vca.
At each voice input there's a switch which sets which type of input to use, this signal will be used to control an internal VCA hence why the type of setting defined here is important:
1. Trigger - Any incoming CV will be converted into a 1ms trigger as soon as it crosses it's fixed threshold.
2. Mute - This disconnects then incoming signal effectivelly muting the voice.
3. Envelopes - This can be used with CV sources as well as Gate sources and simply follows the input signal.
This incoming signal will then be processed by a slew circuit which adds a decay factor allowing the user to set the "Tail" of each voice.
Trigger mode is mostly dedicated for percussive sounds while the Envelope mode is open to any external enve- lope control and able to control noise swooshes, swirls, crackles and pops simply out of t-networks filtered noise.
Audio inputs are also welcomed to be used as a Trigger/Envelope input.
Diferences between voices:
The first 3 voices also feature a Timbre selector switch: Hat/Snare
In Snare mode all frequencies coming from the t-networks filter pass thru to the output .
In Hat mode it adds a High Pass circuit which removes the mid/bottom frequencies (characteristic of the snare strike) creating a higher spectrum output which is closer to a Hat timbre.
All of these 3 voices are also differently tuned from each other to offer more timbrical options.
Voice 4 is closer to a typical t-networks circuit but this time peculiar one where the noise is gated by the vca and then sent through the t-networks filter.
Hat and Snare are terms used very looselly here, they are timbrical references and do not in any shape or form try to effectivelly replicate the complex timbres of a real world Hat or Snare.
Notes: Following the ADDAC103 T-Networks, this new module is also inspired by Twin T-Networks circuits used in many lengendary drum machines. A simple 4 voice module with frequency controls for each of the voices. This new module also features CV inputs with attenuverters for each voice Frequency. Due to the specificities of the circuit, and to keep the module at a low price, these inputs are not callibrated to 1v/octave.
At each voice input there's a gate to trigger converter so any input source is possible.
Audio inputs can also be used as an input, in this case and due to the nature of the gate to trigger converter, each voice can be used as very destructive filters.
The top 2 channels feature a higher frequency range, the bottom 2 channels feature a lower frequency range.
Notes: This is our new VCO, we discontinued our ADDAC701 VCO a few years back and since we've been wanting to release a more stable version with better pitch tracking increasing pitch reliability further minimizing the detuning issues of analog VCO's.
For this new revision we chose to use the modern version of the CEM3340 ic from CoolAudio and add the triagle to sine circuitry of our previous VCO. This new version is extremelly stable over 7 octaves.
We also added a new Mix section which allows mixing of all waveforms controlled by 3 knobs SIN/TRI, MIX and SAW/RECT.
Notes: While developing the ADDAC105 4 Voice Cluster module, a new multimode filter to place after the summing mix stage- and the results were so postitive that it was released as a dedicated filter.
To make it more interesting, the circuitry was duplicated, to be able to use it in a stereo signal path.
To make it more versatile, a switch was added to set the working mode from Stereo to Dual Mono where both filters can be used independently.
In Stereo Mode the Left Cutoff is used to control the Right Cutoff.
In this case the Right Cutoff Knob and CV Input are simply bypassed and will have no impact on the Right Channel operation.
This allows immediate sync of both filter frequencies when the Stereo position is engaged.
Optionally there's a jumper in it's back that, when placed, connects the Right Controls back to the Right CV control allowing the possibility to control the offset of the Right Channel Cutoff.
Resonance is independent on both Modes and still has to be set manually to match both channels.
Both the Audio and CV inputs are normalled from the Left into the Right channels.
As standard plugging any input to the Right channels removes this connection.
Notes: Another addition to the ADDAC300's Expressive Controls Series.
Preceded by the release of the ADDAC303 Muscle Sensing module, this is the second module made to take advantage of the physical body as a control source.
This module originated from a simple idea: using one's heart beat as a control source.
Using a clip-on sensor, that can be attached to a finger or an ear lobe, the user's heart rate will be aquired by sensing the blood flow passing under the sensor. This pulse will generate a trigger and an AD envelope.
The ADDAC212 is a 4-channel VC attenuator and off-setter. It lets you deal with up to four parallel inputs as a single pack, modulating their amplitude and offset (± 10V) with the same control knobs, both with cv inputs and dedicated attenuators.
Features 4 parallel VCAs with the same amplitude and offset control knobs and cv inputs with dedicated attenuators.
Idealized to be the perfect companion for Envelope Generators, you can send 4 EGs through it and control the overall amplitude and offset of all 4 envelopes at once. This allows more control over the Envelopes when patching typical synth voices.
Notes: This is the VC Rotator, a stepped routing module for any type of signal (audio, cv, gate, trigger...)
Similar to a VC switcher but in this case there's the same number of inputs than outputs so, instead of 4 to 1 or 1 to 4, this module is always 4 to 4 but it can be patched for 2 to 2 and 3 to 3 step actions.
All four inputs get routed to the four outputs depending on the CV and Clock controls and are divided into 4 routing steps:
1. routes all inputs to the same number output: 1:1, 2:2, 3:3, 4:4
2. routes all inputs to an offset of 1: 2:1, 3:2, 4:3, 1:4
3. routes all inputs to an offset of 2: 3:1, 4:2, 1:3, 2:4
4. routes all inputs to an offset of 3: 4:1, 1:2, 2:3, 3:4
Direction determines if the clock input goes forward or backwards.
Going forward it can be set to 2-3 or 4 steps using the Rotate knob offset, going backwards always sync to 4 steps even if offseted by the Rotate knob.
For 2 & 3 step action input 1 is normalled to input 3 and input 2 is normalled to input 4.
Reset resets the internal clock to the first step.
Pendulum, external sequencing or any complex CV actions can be achieved using the CV input and dedicated attenuverter.
Notes: Inspired by our ADDAC701 VCO waveform mixing section, our new VC Signal Router also updates our legacy X-Fade/Panner to a stereo configuration that also allows 4 quadrant mixing.
Featuring two dedicated X-faders and a stereo VCA that can also be used as a third X-Fader. All controls have their own CV inputs and dedicated Attenuverters for precision control.
4 quadrant mixing is achieved by using the stereo Master as a X-fader between left and right channels, this way you can plug 4 audio sources and sweep/crossfade between each and any of them using the 3 x-faders. Plug any 4 sources (4 waveforms of a VCO, 4 LFOs, 4 envelopes...) and sweep through morph through or have them all mixed together.
For other configuration types Left and Right X-fader channels can be routed through the Master stereo VCA or sent directly to the outputs. A stereo Direct input can also be routed through the Master VCA or sent straight to the outputs.
The Mono Sum output always mix Left and Right outputs together allowing the possibility to use the module as a peculiar 6 channel mono mixer.