Analogue Solutions Concussor AS1600, AS0084, Concussor BD78, BD88, BD99, Concussor SD78, SD88, SD99, Concussor HH88, Concussor RS88, Concussor CL88, Concussor TM88, Concussor CG88, Concussor CB88, Concussor CP88, Concussor VCO, VCO 6HP User Manual

Below you will find brief information for Concussor AS1600, Concussor AS0084, Concussor BD78, Concussor BD88, Concussor BD99, Concussor SD78, Concussor SD88, Concussor SD99, Concussor HH88. Concussor AS1600 is a 6U rackmount case, it features two 84HP power supplies. Concussor AS0084 is a 84HP Minimodular case; it uses an external power supply of 15VAC. Concussor BD78 is an accurate replica of the CR78 bass drum sound and it can produce more than just bass drum sounds. The BD78 can be tuned way low with long decays. Concussor BD88 is the accurate replica of the TR808 bass drum sound and it can produce more than just bass drum sounds. The BD88 can be tuned way low with long decays. Concussor BD99 is an accurate replica of the TR909 bass drum sound and it can produce more than just bass drum sounds; by modulating the pitch via the Tune CV input with a high-frequency signal. Concussor SD78 is an accurate replica of the CR78 snare drum sound. Concussor SD88 is an accurate replica of the TR808 snare drum sound and it can produce more than just snare drum sounds. Concussor SD99 is an accurate replica of the TR909 snare drum sound and it can produce more than just snare drum sounds. Concussor HH88 is an accurate replica of the TR808 hihat drum sound and it can produce more than just hihat drum sounds. Concussor HH88 has the addition of a decay control for the closed hihat.

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CONCUSSOR

s y n t h e s i s / p e r c u s s i o n / s e q u e n c i n g / e f f e c t s

modular synthesisers, modular per cus sion synthesisers, rack effects, oddities

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SAFETY INSTRUCTIONS

Please read carefully before using:

• Only use the correct power adaptor - 230V (or 115V whatever your country needs)

• Never handle the adaptor with wet hands

•

Never excessivly bend the adaptor cable or get it trapped or place heavy objects on it. If the adaptor cable becomes damaged, replace the adaptor.

• Ensure the unit is disconnected from the mains before moving or cleaning.

• Always disconnect the unit from the mains if there is lightning in your area.

• Ensure the unit is on a stable surface, and never place heavy objects on top of it.

•

Never allow young children or animals to operate the unit or adaptor.

•

Do not use excessive force when using the controls or inserting cables to the con nec tors.

• The unit should not be operated in the rain or near water and should not be ex posed to mois ture. If the unit is brought from a cold environment to a warm one, the unit should be left to reach the ambient temperature.

• Keep Concussor away from heat sources, such as radiators, ovens, heaters etc.

•

Never allow Concussor to get wet. Do not operate it near water, like pools, sinks, bathrooms etc. Do not place beverages on or near it.

• Never open the case or attempt to make repairs. Refer any servicing to a qualified service personnel.

Preventing damage to other connected devices

Concussor modules have a very high dynamic range. It is capable of produce loud signals of very high and subsonic frequencies that could blow inadequate speakers if played too loud. It is recommended that input levels to external equipement (mixers, amp's etc.) is kept low when first connected, and then sowly increased to a userable level.

Maintenance Instructions

Any cleaning of the Concussor case should be done with a clean lint-free cloth. DO NOT USE SOLVENTS OR

CLEANERS, as this will deteriorate the exterior appearance of the equipment.

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About The Manual

This manual will explain all details about each module, along with some standard and more complex patching ex-

am ples. With modular synths there are a near limitless range of patching possibilities. We can’t possibly tell you all the different patches possible, so if you need further help and information there are many great resources on the web.

The manual is constantly being updated with new patching ideas and other information, so there will never be a final version. Our web site has a copy of the latest manual freely available for download in PDF format.

Unlimted Customer Support

Owners of Concussor receive unlimited phone/fax/email support. We will do our best to help you get the best from your system. If you have a lengthy or complex problem, it is probably best to call rather than email, as some things are easier to explain than type.

Tel: 01384 35 36 94

Fax: 01384 35 36 94

In ter na tion al Tel: +44 1384 35 36 94

International Fax: +44 1384 35 36 94

www.analoguesolutions.com

56 Kingsley Road, Kingswinford, West Midlands, DY6 9RX,United Kingdom

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Cases & PSUs

AS0084................................................................................................ 84HP plastic case

AS1600................................................................................................. 2x 84HP, 6U case

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AS0084 84HP Minimodular Case

Module Power Connectors:

9x Doepfer, 3x Integrator

Power input:

12-15V AC external power supply 500mA or higher, 2.1mm DC socket.

230v mains adaptor only supplied for Euro models. 115V US adaptors are available from Noisebug.

Width:

84HP

Introduction

This is a lower cost alternative to the pricey aluminium style cases.

The AS0084 will take any combination of Concussor,

A100 or Integrator modules with no problems of gaps or lining up because it does not use tapped strips.

Power Supply

The power supply board has 9 Doepfer style connectors and 3 Integrator sockets. A 5V power rail is pro vid ed for those modules that require it. It uses an external power suppy of 15VAC. This case uses 15V AC (NOT

DC!) Use a minimum of 500mA external power supply (not sup plied). We can only supply 230V external adaptors with either UK or Euro plugs.

As the power supply requires AC, it does not matter which way round you fit the connector. If you accidentally use a 15V DC power supply, it will not cause any damage, but the system won’t work.

The case will generally supply a full set of modules unless there are too many power hungry modules.

Mounting

The AS0084 case eliminates the use of tapped strips, used in the metal case. This saves a heck of a lot of money, but it does mean you must drill your own mounting holes.

The modules are mounted with self tapping screws into plastic mounting blocks. As plastic is not as strong as metal, these cases are not ideal if you constantly are swapping modules around. Although this can be done many times, the thread in the plastic screw holes can weaken with time with constant screwing and un-screwing. If you do strip the plastic thread, you can use thread-lock, or fill the hole with glue,

All that is needed is to position modules in the case, mark the mounting holes, remove modules, drill pilot holes approx 1mm to 2mm diameter, screw modules into position. This is far easier than it sounds, but if it puts you off then pay the full cost for a metal case! (Nearly twice!).

Note: Integrator modules are a little wider than Concussor and A100, so it may not be possible to fill the case with only Integrator modules - the total width may be too wide by say 0.5mm. This is because Integrator modules do not fully stick to the Euro-rack standard. Their modules are just a tiny bit too wide, and they have positioned their mounting holes in the incorrect place.

Note: do not overtighten the self tap screws otherwise you will strip the thread in the plastic.

If you are plugging in non-Concussor modules - you may void warranty as we cannot be responsible for other manufacturer’s faults.

Rack Mounting

The AS0084 can be rack-mounted with optional rack-ears. The case is just a tiny bit over 3U in height.

Rubber Feet

The case come with four rubber feet. You can optionally fit these using the supplied M3 screws and nuts. It is best to fit these if required before fitting any modules.

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Handling and Inserting Modules

Modules can be placed in any position in the rack. It is a good idea to place one module in at a time and test it before going onto the next. This way if any module causes a problem, it can quickly be identified.

Some modules contain static sensitive circuitry . This circuitry is exposed when not fitted into the rack.

When handling any module, try and only handle it by the front panel. Try not to touch any part of the circuitry.

It is OK to handle the edge of the circuit board. Always disconnect the rack power supply from the mains when inserting modules or doing anything inside the rack. Note, just a few of the Concussor modules have the power socket up-side-down. This should not cause any confusion as the power cable is always supplied fitted when buying a Concussor module.

Concussor modules feature both Doepfer and Integrator power sockets. Please state which system you intended to use the Concussor module with so we can supply the correct power lead. Default is Doepfer.

The Concussor power supply also features sockets for both. If you run out of sockets on the power supply board, you can purchase ‘bus power cables’ from us. These are ribbon power leads that feature multiple power sockets - buss cables - enabling many modules to be plugged into only one power supply socket.

It is up to you to connedt modules to PSUs correctly. Whether you have bought one of our cases, power boards or adaptor leads, we cannot guarantee your handy work! Also we certainly won’t guarantee our modules if you are mixing and matching manufacters. To those who have bought our adaptor cables to connect In te gra tor modules to a Doepfer PSU, or vice versa:- Our adaptor cables are fully tested. However, we do not guarantee the modules or the power supply under ANY cir cum stance (including faulty cable).

Please refer to the following diagrams for details of connecting the power lead to the power sockets:

Power socket as used by the Integrator

Red or black stripe in di cates pin (wire) 1

STRIPE

Pin 1

When connecting the power lead to the sock et, ensure cor rect ori en ta tion (stripe to pin 1), and that none of the pins are bent.

Make sure all pins seat correctly into the socket.

16 pin power socket

(as featured on the Concussor mod ule, Concussor PSU, and

Integrator PSU)

16 pin ribbon power lead

- same at both ends.

On the Concussor module, the

Integrator power socket will be marked ‘AS-POWER’ and pin 1 is located by the word ‘STRIPE’.

we CAN tell when a module is blown due to incorrect fitting of power lead. Get it right!

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Power socket as used by Doepfer.

The red stripe on the cable indicates pin 1 (-12V). You may think of pin 1 as being at the top, but Doepfer have place it at the bottom, so Doepfer sockets appear UP SIDE DOWN!

Each power line (+12, -12, & +5) has 2 pairs of pins. The Ground (GND) line uses 2 pairs.

Note: With Doepfer systems, +5 power is an option. Some Concussor modules require +5, so check you have this option installed! With Concussor power supplys, +5 is always supplied as standard.

+12

Doepfer socket as it appears on the bus board.

GND

-12

The stripe on the cable MUST go to pin 1 (-12)

The socker on the lead may have more holes than there are pins on the PCB. On allConcussor modules, there are

12 pins on the board, and either 14 or 16 holes in the socket. The same applies though - match the striped end of the lead/socket to the work ‘STRIPE’ on the board. In this case the socket will over hang the board on the opposite end to the stripe end.

Pin 1

STRIPE

16 pin IDC header

(as featured on Concussor or Doepfer PSU/Bus board)

- this will be 14 pin on the

Concussor module.

Red or black stripe indicates pin (wire)

When connecting the pow er lead to the sock et, ensure cor rect ori en ta tion (stripe to pin 1). When the sock et has more holes than the header has pins, make sure the pin

1s of the con nec tor line up.

14 pin IDC socket at module end.

14 pin IDC socket at Doepfer PSU/Bus end.

12 pin IDC socket at Concussor PSU end.

On the Concussor mod ule, the Doepfer power sock et will be marked ‘DOEPFER’ and pin 1 is lo cat ed by the word ‘STRIPE’.

Warning:

The pin outs of our sockets are the same as Doepfer and Integrator. So if you plug them in correctly you will have no problems. Do not expect our sockets to necessarily look the same, or be in the same oreintation as either Doepfer or In te gra tor. Do not assume any thing. Always put the red stripe of the cable towards the word ‘STRIPE’ on the board.

Stripe indicates pin 1. Pin 1 on the cable must go to pin 1 of the socket. Look at what you are doing! Many people pay little attention and just plug the power lead in without checking it is being plugged in correctly.

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AS1600 6U Rackmount case

Fitting Modules

The modules are fitted into place using No.4 2.9mm diameter, 10mm long self tap screws.

When using a mounting hole for the first time, firm pressure must be applied when turning the screw for about the first turn to tap a thread into the steel. Excessive force is not necessary, but a good fitting cross-head type screwdriver should be used and a firm grip. Once a thread has been broken, the screw should screw in fairly easily.

If you have a module whose circuit board is really close to the edge its front panel in the far left or far right case position, it may be necessary to place insulating tape over the nut in the side of the case (rack mount ear nut) to prevent the module shorting out with the case. Ensure when you fit a modules on the far left or right that its PCB does not short out on the cases. This is unlikely, but depends on the design of the module being fitted.

It is advisable to only fit one module at a time, and test each before fitting another. Always ensure the mains cable is disconnected each time you fit a module. The problem of testing all modules at once is that if there is a problem, you will not know which one is causing the problem.

Problems are nearly always down to the user fitting a module incorrectly.

Rack Ears

These fit to the side of the case using the screws provided. There is no need to fit these when not rack-mounting.

Power Supply

Before plugging into the mains, ensure the switch on the bottom is selected for the correct voltage of your supply.

115V (USA) or 230V (Europe).

Ensure all empty spaces in your rack are covered over with blanking panels so access into the case is not possible.

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Percussion Voices

BD78, BD88, BD99 .......................................................................................Bass Drums

SD78, SD88, SD99...................................................................................... Snare Drums

HH88 ................................................................................................................Dual HiHat

CL88 ......................................................................................................................... Clave

RS88.................................................................................................................... Rimshot

TM88 ...................................................................................................................Tom tom

CG88 .......................................................................................................................Conga

CB88 .................................................................................................................... Cowbell

CP88...................................................................................................................Handclap

General note about all drum voices:

Trigger input:

a +5 to 12V trigger or gate signal will trigger the voice. The higher the voltage, the louder the voice will play, unless there is a plug in the Accent socket.

Trigger with our analogue Gate sequencers, or use our MIDI to Trigger (MT16) device for MIDI control.

Accent input:

a 5-12V CV signal controls the overall loudness of the drum sound each time it is triggered.

3.5mm and 6.35mm jack sockets:

with the exception of the HH88 hihat module, all drum voices feature both sizes of jack socket on the audio output.

This enables the signal to be re-routed back to the system, or taken straight out to an external mixer or effects unit, without the need for jack adaptors. Jack adaptors are fine, but contacts can be bad, and with 6.35mm socket to 3.5mm plug adaptors, the extra length of the adaptor with the cable plug, combined with cable weight puts extra strain on the module socket.

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BD78 Bass/Conga/Bongo Drum Module

Trigger socket 5-12V x2 3.5mm audio out +/-12V

Decay

Level

Introduction

The BD78 is an accurate replica of the CR78 bass drum sound. The module is entirely discrete analogue circuitry, based as closely as possible on the orig i nal.

The CR78 bass drum circuitry is identical to the CR78 Bongo and Conga sounds, so these can also be produced with the BD78.

The BD78 can produce more than just bass drum sounds...

The BD78 has the addition of a tune control. This enables the pitch to be brought right up. This in conjunction with short decay times allows

CR78 style Bongos and Congas to be produced.

☺

The BD78 can be tuned way low with long decays... watch your bass bins mate!

Use

The trigger LED will light each time a trigger pulse is received.

Controls

Tune Tunes the bass drum up or down

Decay Sets decay time

Level Sets output level

Due to the way the CR78 bass drum circuitry works (using a tuned-resonance ciruit), the Tune and Decay controls affect each other. At certain combinations of settings, the BD78 may go into self-oscillation, with loud results! The BD78 circuitry was never designed to have manually variable Tune and Decay controls, and as we wish to retain the original sound, this by-product has been left in and cannot be deisgned out anyway without such a re-design it would no longer be the same drum sound. Also, you may get some small noise when you rotate Decay pot. This is normal and not a fault with the control.

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BD88 Bass/Tom/Conga Drum Module

Accent socket 0-12V

Trigger socket 5-12V

3.5mm audio out

6.35mm audio out

+/-12V

Tone

Decay

Level

Introduction

The BD88 is an accurate replica of the TR808 bass drum sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

The BD88 can produce more than just bass drum sounds...

The BD88 has the addition of a tune control. This enables the pitch to be brought right up. This in conjunction with short decay times allows TR808 style Toms and Congas to be produced.

☺

The BD88 can be tuned way low with long decays... watch your bass bins mate!

Use

The trigger input has a range of about 5 to 12V. A trigger pulse of around 1mS is recommended, although the gate output of a synth can be used. A larger trigger pulse will increase the level of the sound (accent the notes). When the accent socket is used, the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket. The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The trigger LED will light each time a trigger pulse is received.

Controls

Tune Tunes the bass drum up or down

Tone Controls ‘click’ level (like stick hitting drum skin). The click you hear is actually the trigger pulse.

Decay Sets decay time

Level Sets output level

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BD99 Bass/Elec.Tom Drum Module

+/-12, 5V Accent socket 0-12V 3.5mm audio out

Trigger socket 5-12V 6.35mm audio out

Tune CV 0-12V

Tune1 (sweep)

Tune2

Attack

Decay

Level

Trigger LED 10HP

Introduction

The BD99 is an accurate replica of the TR909 bass drum sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

The BD99 can produce more than just bass drum sounds...

The original TR909 has a tune control. This really sets envelope sweep on the pitch, so we have named this control Sweep on the

BD99 for accuracy. We have added a true tuning control which enables the pitch to be changed. The pitch can be brought right up, enabling elec tron ic Tom and Conga style sounds to be produced.

Also, by modulating the pitch via the Tune CV input with a high frequency signal (CV or Audio), new and excinting waveforms can be produce. This radically changes the sound of the BD99, effectively turning it into a drun synth.

☺

The BD99 can be tuned way low... watch your bass bins mate!

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

This sort of modulation of pitch provides an extreme range of sounds to be produced, aside from the standard TR909 style kick.

The trigger LED will light each time a trigger pulse is received.

Controls

Sweep Called ‘Tune’ on original TR909. Sets the amount of envelope sweep on the pitch.

Tune Sets the initial pitch of the drum sound

Attack Controls ‘click’ level (like stick hitting drum skin). The click you hear is actually a burst of filtered

noise.

Decay Sets decay time

Level Sets output level

Note: the BD99 12pin power header is mounted up-side-down. Always en sure power cable is fitted correctly.Doefper power socket is upside down on this module, though this should not cause confusion as the module is always supplied with the power cable fitted.

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SD78 Snare Drum Module

Trigger socket 5-12V 3.5mm audio out +/-12V

Snappy

Introduction

The SD78 is an accurate replica of the CR78 snare drum sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

Use

Controls

Tune

Snappy

Level

Changes the tuning of the snare sound.

Sets the noise level.

Sets output level

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SD88 Snare Drum Module

Accent socket 0-12V 3.5mm audio out

Trigger socket 5-12V 6.35mm audio out

+/-12V

Snappy

Decay

HPF (High Pass Filter)

Level

Introduction

The SD88 is an accurate replica of the TR808 snare drum sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original. The snare sound is made up of two oscillators mixed with filtered noise.

The SD88 can produce more than just snare drum sounds...

The SD88 has additional controls to change noise decay (De cay) and High Pass Filter cut-off (HPF) on the filtered noise. This enables a wide range of snares, noise hits, and bongo/conga type sounds

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The white noise which is the source of the ‘snappy’ part of the sound is available at the NOISE output directly and unprocessed.

The trigger LED will light each time a trigger pulse is received.

Controls

Tone

Snappy

Decay

HPF

Level

Sets the mix between the 2 oscillators that make up part of the sounds.

Sets the noise level.

Sets decay time of the noise.

Alters filter cut-off of the noise.

Sets output level

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SD99 Snare Drum Module

Accent socket 0-12V 3.5mm audio out

Trigger socket 5-12V 6.35mm audio out

Tune CV 0-12V

+/-12V

Tone

HPF

Snappy

Level

Introduction

The SD99 is an accurate replica of the TR909 snare drum sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

The SD99 can produce more than just snare drum sounds...

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The Tune CV input can be used to alter the tuning with any voltage. E.g. use LFO for slow pitch sweeps. Using audio or any other high frequency signals to modulate tuning allows wild cross-modulated drum sounds to be produced. This sort of modulation of pitch provides an extreme range of sounds to be produced, aside from the standard TR909 style snare.

The trigger LED will light each time a trigger pulse is received.

Note; when the HPF control is set very high, some noise may low level hiss through. This is because the HPF is being set far beyond the range originally intended. We have allowed the range to be extended in this way to allow a much wider range of sounds to be produced. Remeber, the original 909 sound never allowed you to manually adjust the HPF cut-off!

Controls

Tune Tunes the two oscillator ‘tone’ sounds.

Tone Sets the amount of noise. Higher setting increases the hold and decay time of the noise.

HPF Sets the cut-off level of the filter on the noise.

Snappy Sets the noise level.

Level Sets output level.

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HH88 Dual HiHat Drum Module

CH Accent socket 0-12V

CH Trigger socket 5-12V

OH Accent socket 0-12V

OH Trigger socket 5-12V

OH Decay CV 0-12V

CH audio out

OH audio out

Source

Power supply:

Controls: Indicators:

CH Decay

CH Level

OH Decay

Size:

Introduction

The HH88 is an accurate replica of the TR808 hihat drum sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

The HH88 has addition of a Tune control for both, and Decay on the closed hihat sound.

The two hihat sounds are made up of six filtered square wave oscillators, fed through separate VCA’s controlled by envelopes (a VCA and EG per hihat sounds).

The HH88 can produce more than just hihat drum sounds...

The HH88 has the addition of a decay control for the closed hihat, and the decay time for the open hihat has been extended. This en ables

TR808 cymbal style sounds to be produced.

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

When both hihat sounds receive a trigger at the same time, a muted hihat sound is produced.

The HH audio source - which is six detuned square wave tones - is available at the SOURCE output directly and unprocessed. The Tune control changes the tuning of one of the six square wave tones.

The OUT sockets are the audio outputs for the CH and OH sounds.

When using the (OH) Decay CV input, turn the OH Decay pot fully clockwise. The CV input subtracts from the control.

The SOURCE output is the source sound of the hihats, unfiltered. Use this in conjuction with a modular system to create new drum sounds.

Controls

Tune

CH Decay

CH Level

OH Decay

OH Level

Sets tuning of 1 of the 6 oscillators that makes up the sounds.

Sets the closed hihat decay time.

Sets closed hihat output level.

Sets the open hihat decay time.

Sets open hihat output level.

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RS88 Rimshot Module

Accent socket 0-12V

Trigger socket 5-12V

3.5mm audio out

6.35mm audio out

+/-12V

HPF (tone)

Level

Introduction

The RS88 is an accurate replica of the TR808 rimshot sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The trigger LED will light each time a trigger pulse is received.

Controls

Tune

HPF

Level

Tunes the sound up or down

Changes the tone of the rimshot sound by adjusting the cut-off of an internal HPF.

Sets output level

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CL88 Claves Module

Accent socket 0-12V

Trigger socket 5-12V

3.5mm audio out

6.35mm audio out

+/-12V

Level

Introduction

The CL88 is an accurate replica of the TR808 claves sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The trigger LED will light each time a trigger pulse is received.

Controls

Tune

Level

Tunes the sound up or down

Sets output level

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TM88 Tom Tom Module

Accent socket 0-12V

Trigger socket 5-12V

3.5mm audio out

6.35mm audio out

+/-12V

Noise

Level

Introduction

The TM88 is an accurate replica of the TR808 tom tom drum sound. The tune range has been extended so one module can cover low, mid and high Tom sounds. A Noise level control has been added, so that the noise element of the sound can be exaggerated.

Use

The trigger input has a range of about 5 to 12V. A trigger or gate signal of at least 5V will trigger the sound. A larger trigger pulse will increase the level of the sound (accent the notes). When the accent socket is used, the trigger input socket only triggers the sound and the level of the sound is controlled by the voltage of the CV at the accent socket. The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The trigger LED will light each time a trigger pulse is received.

Controls

Tune

Noise

Level

Sets the drum pitch. Note, the tune can be pitched down below a useful level!

Changes the level of the noise. This control can sound 'scratchy'. The pot is not at fault.

Sets output level

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CG88 Conga Module

Accent socket 0-12V

Trigger socket 5-12V

3.5mm audio out

6.35mm audio out

+/-12V

Level

Introduction

The CG88 is an accurate replica of the TR808 conga sound. The tune range has been extended so one module can cover low, mid and high Conga sounds.

Use

The trigger LED will light each time a trigger pulse is received.

Controls

Tune

Level

Sets the drum pitch. Note, the tune can be pitched down below a useful level!

Sets output level

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CB88 Cowbell Module

Accent socket 0-12V

Trigger socket 5-12V

3.5mm audio out

6.35mm audio out

+/-12V, 5V

Tone 2

Decay

Level

Introduction

The CB88 is an accurate replica of the TR808 cowbell sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

The sound is made up from 2 square wave oscillators whose pitch can manually be adjusted. To create the cowbell sound though, they are tune close together so they beat.

The CB88 can produce more than just cowbell sounds...

By tuning the 2 oscillators to equal pitch a synth sound is produced, which can be tuned to the melodies in your music.

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The trigger LED will light each time a trigger pulse is received.

Controls

Tune 1

Tune 2

Decay

Level

Tune oscillator 1 up or down

Tune oscillator 2 up or down

Sets decay time

Sets output level

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CP88 Clap Module

Accent socket 0-12V

Trigger socket 5-12V

3.5mm audio out

6.35mm audio out

+/-12V, 5V

Snap

Reverb

Level

Introduction

The CP88 is an accurate replica of the TR808 hand clap sound. The module is entirely discrete analogue circuitry, based as closely as possible on the original.

The sound is made up of two sounds. There is the 'clap' part which is formed by about 3 bursts of statacco noise, then the 'reverb' part which is a soft filtered noise with slower decay.

The CP88 can produce more than just clap sounds...

Mess with the controls to make a wider range of sound types!

Use

The accent voltage can be from another trigger pulse generator, or from an LFO or Envelope. When using for example an LFO, you can have the level changing with the LFO sweep.

The trigger LED will light each time a trigger pulse is received.

Controls

BPF

Snap

Filter adjustment of the clap sound

Level control for the clap sound. This control is sensative with the range squashed into the lower end. Turning over about half way you will get constant noise.

Decay Sets decay time of the reverb sound.

Level Sets output level

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Synthesizer Modules

VCO 6HP .................................................................................................................... VCO

VCO .......................................................................................................... VCO with glide

VCO-RM .................................................................................. Ring Modulator and VCO

VCO-SUB ...........................................................................................Sub-VCO and VCO

SY02 ............................................................................................. VC LPF, VC HPF, VCA

SY03 ............................................................................................................ VC LPF, VCA

LFO2 ...........................................................................................................................LFO

LFO-NZ .................................................................................................. VC LFO / NOISE

EG ............................................................................................................. ASR Envelope

EG01 ..................................................................................................................Envelope

VCA2 ............................................................................................................... Dual VCAs

RM ..................................................................................................................... Ring Mod

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VCO 6HP - Voltage Controller Oscillator

Introduction

VCO is a single VCO laid out in a similar way to the VCO sec tion you would find on a monosynth. The VCO can go down to low fre quen cies so they can be used as an LFO.

Voltage Controlled Oscillators (VCOs) in gen er al

The VCO or signal generator, commonly found on most music synthesizers consist of an ex po nen tial amplifier, a resetable in te gra tor and waveshaping circuitry. ‘Voltage Controlled

Os cil la tor’ means an oscillator whose frequency can be controlled by an ex ter nal voltage.

A VCO is responisble for the pitch of a sound and its basic tim bre. Most VCOs will offer a va ri ety of wave forms. Some VCOs offer the facility to alter the pulse width of a square wave either manually or with a voltage (pulse width modulation).

Controls In Detail

Tune

The VCO has a wide ranging tune control. Turning Tune alters the basic pitch of the oscillator.

Square Level

This sets the output volume of the square waveform output.

Sockets in Detail

CV in

This socket is the pitch CV control input and is used to control the pitch of the oscillator.

PWM

This is a pulse width control CV input. Use a -12 to +12V voltage in this socket to alter the pulse width of the oscillator square wave.

Sawtooth Out

This is the audio output for the sawtooth waveform. It ahs a fixed level output.

Square Out

This is the audio output for the square waveform. Its level is affected by the square level pot.

General Specification

Inputs

PWM

Outputs

SAW

SQUARE

Controls

Tune

Square Level

Size

6HP

Power

+/-12V, GND using Doepfer power socket.

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VCO - Voltage Controller Oscillator

Introduction

VCO is a single VCO laid out in a similar way to the VCO sec tion you would find on a monosynth. VCO in cludes a glide

(slew) function, so this is a great bonus. The VCO can go down to low fre quen cies so they can be used as an LFO.

Voltage Controlled Oscillators (VCOs) in gen er al

The VCO or signal generator, commonly found on most music synthesizers consist of an ex po nen tial amplifier, a resetable in te gra tor and waveshaping circuitry. ‘Voltage Controlled Os cil la tor’ means an oscillator whose frequency can be controlled by an ex ter nal voltage.

A VCO is responisble for the pitch of a sound and its basic tim bre. Most

VCOs will offer a va ri ety of wave forms. Some VCOs offer the facility to alter the pulse width of a square wave either manually or with a voltage

(pulse width modulation).

Controls In Detail

Tune

The VCO has a wide ranging tune control. Turning Tune alters the basic pitch of the oscillator.

Glide

Turning up Glide adds portamento to the oscillator, so the pitch will bend (slide) up or down to each note (as opposed to a sudden change).

The higher the setting, the longer the oscillator takes to reach its new note. Not many VCO modules give you the all important Glide control as standard!

Pulse Width

You can alter the pulse width (duty cycle) of the square wave. Turning this gives a sound similar to chorusing. In the centre position a square wave is produced.

Sawtooth Level

This sets the output volume of the sawtooth waveform output.

Square Level

This sets the output volume of the square waveform output.

Sockets in Detail

CV in

This socket is the pitch CV control input and is used to control the pitch of the oscillator.

This is a pulse width control CV input. Use a -12 to +12V voltage in this socket to alter the pulse width of the oscillator square wave.

Sync In

This is an oscillator Sync reset input.

Sawtooth Out

This is the audio output for the sawtooth waveform. Its level is affected by the sawtooth level pot.

Square Out

This is the audio output for the square waveform. Its level is affected by the square level pot.

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General Specification

Inputs

SYNC

Outputs

SAW

SQUARE

Controls

Tune

Glide

Pulse Width

Saw Level

Square Level

Size

12HP

Power

+/-12V, GND using Doepfer power socket.

Our modules do not support Doepfer's buss system. Therefore do not expect the module to react from buss signals.

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VCO-RM - Ring Modulation / VCO

Introduction

VCO-RM is a single VCO-RM laid out in a similar way to the VCO sec tion you would find on a monosynth. VCO-

RM in cludes a glide (slew) function, so this is a great bonus. VCO-RM can go down to low fre quen cies so they can be used as an LFO

It also has a complete and independent Ring Modulator. This can be used on its own, or you can patch the oscillator into the RM, and along with another audio source gives you great Ring Mod’d sounds.

Ring Modulation

VCO-RM features a high quality Ring Modulator very similar to those found in the Roland System 100m, EMS VCS3 and ARP2600.

What the RM does is take 2 audio inputs, which we will call X and Y, then produce an output that contains the original frequencies X and Y, as well as the sum and differences of X and Y (X+Y, X-Y).

In non-technical speak, the RM best produces metallic sounding bell and clang sounds. The output is rich in harmonics and can often sound quite abbrasive. So filtering is necessary and the sound is best used for effects. The RM is a vital processor producing it’s own unique sound vital in an system.

RM In Use

Basically experiment with any two audio sources. The type of input signal (waveform) and pitch will alter the output. By slowly changing the pitch of one input some dramatic sounds can be produced. Note, the RM is completely in de pen dent from the VCO.

Controls In Detail

Tune

The VCO has a wide ranging tune control. Turning Tune alters the basic pitch of the oscillator.

Glide

Turning up Glide adds portamento to the oscillator, so the pitch will bend (slide) up or down to each note (as opposed to a sudden change).

The higher the setting, the longer the oscillator takes to reach its new note. Not many VCO modules give you the all important Glide control as standard!

Triangle Level

This sets the output volume of the triangle waveform output.

Sawtooth Level

This sets the output volume of the sawtooth waveform output.

Square Level

This sets the output volume of the square waveform output.

Sockets in Detail

CV in

This socket is the pitch CV control input and is used to control the pitch of the oscillator.

Sync In

This is an oscillator Sync reset input.

Triangle Out

This is the audio output for the Triangle waveform. Its level is affected by the Triangle level pot.

Sawtooth Out

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This is the audio output for the sawtooth waveform. Its level is affected by the sawtooth level pot.

Square Out

This is the audio output for the square waveform. Its level is affected by the square level pot.

RM X input

The X audio input to the Ring Modulator

RM Y input

The Y audio input to the Ring Modulator

RM output

The RM output

General Specification

Inputs

RM X

RM Y

Outputs

TRIANGLE

SAW

SQUARE

RING MOD

Controls

Tune

Glide

Pulse Width

Saw Level

Square Level

Size

12HP

Power

+/-12V, GND using Doepfer power socket.

Our modules do not support Doepfer's buss system. Therefore do not expect the module to react from buss signals.

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VCO-SUB - Voltage Controller Oscillator

Introduction

VCO is a single VCO laid out in a similar way to the VCO sec tion you would find on a monosynth. VCO in cludes a glide

(slew) function, so this is a great bonus. The VCO can go down to low fre quen cies so they can be used as an LFO.

Controls In Detail

Tune

The VCO has a wide ranging tune control. Turning Tune alters the basic pitch of the oscillator.

Glide

Turning up Glide adds portamento to the oscillator, so the pitch will bend (slide) up or down to each note (as opposed to a sudden change). The higher the setting, the longer the oscillator takes to reach its new note. Not many VCO modules give you the all important Glide control as standard!

Pulse Width

You can alter the pulse width (duty cycle) of the square wave. Turning this gives a sound similar to chorusing. In the centre position a square wave is produced.

Sawtooth Level

This sets the output volume of the sawtooth waveform output.

Square Level

This sets the output volume of the square waveform output.

Sockets in Detail

CV in

This socket is the pitch CV control input and is used to control the pitch of the oscillator.

This is a pulse width control CV input. Use a -12 to +12V voltage in this socket to alter the pulse width of the oscillator square wave.

Sync In

This is an oscillator Sync reset input.

Sawtooth Out

This is the audio output for the sawtooth waveform. Its level is affected by the sawtooth level pot.

Square Out

This is the audio output for the square waveform. Its level is affected by the square level pot.

Sub 1 Out

This is a Sub-Osc output 1 octave below the main saw/square outputs.

Sub 2 Out

This is a Sub-Osc output 2 octaves below the main saw/square outputs.

Sub 3 Out

This is a Sub-Osc output 3 octaves below the main saw/square outputs.

Note; the Sub outputs run off the main square wave. If PWM is applied to the square wave, it may affect the Sub outputs!

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General Specification

Inputs

SYNC

Outputs

SAW

SQUARE

SUB1

SUB2

SUB3

Controls

Tune

Glide

Pulse Width

Saw Level

Square Level

Size

12HP

Power

5V, +/-12V, GND using Doepfer power socket.

If the Sub appears not to work, it is probably because your Doepfer case does not have 5V. This module requires 5V.

Our modules do not support Doepfer's buss system. Therefore do not expect the module to react from buss signals.

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VCO Calibration

It is fairly easy to tune in the VCO to another sound as you just have to alter the front panel VCO Tune control. There may be instances though were the octave spacing (scaling is out). The VCO could go out of tune as you play up the keyboard. As mentioned earlier, this does not neccessarily mean the VCO itself is at fault. The VCO responds to 1V per octave, it could be the control source is not giving out exactly 1V per Octave.

With most control sources the output scaling can be altered. This is the case with all MIDI to CV converters. It is better and far easier to alter the output scaling of the source than the scaling of the VCO.

If you do need to calibrate the VCO scaling for some reason follow the guide lines below:

Firstly, adjusting the trimmers inside the VCO may result in you voiding your warranty. Electrical safety (to your self and to the module) must be obsereved. If you are not 100% confident and competant - do not attempt!

You will need to let the VCO circuits to ‘warm up’ for a period of time. I usually leave the systems on for 30 minutes to allow all the analogue ciruits to settle.

VCO: Turn Glide zero. Set the Tune pot to centre.

Connect a MIDI to CV converter to the VCO Pitch CV in. The MIDI keyboard you use to control the VCO will need to have audio too so you can tune the VCO to your MIDI keyboard.

On the VCO circuit board are 2 trimmer pots. Tune and Scale.

1/ Play a low key on the MIDI keyboard. Adjust Tune so that the VCO is in tune with the MIDI sound source.

2/ Play a high key (about 3 octaves up). Adjust the Scale so that the VCO is in tune with the MIDI sound source.

3/You will need to repeat steps 1 and 2 several times till tuning is spot on.

Your VCO should now be tuned to the outputs of your MIDI to CV converter.

Note, unless your MIDI to CV converter is also setup correctly, the VCO may sound out of tune when played with another CV source.

For details on how to use your MIDI to CV converter, contact the manufactuer, not us!

Oscillator Sync

The familiar and favourite oscillator sync sound is achieved by using two oscillators. One is the master oscillator and each time it begins a new wave cycle, it will reset the slave oscillator. Full details of the ins and outs of osc sync can be found various web resources.

To get this feature working on the VCO

•

patch a 2nd VCO’s waveform out into the 1st VCO's Sync In

•

Take your main audio out from the 1st VCO (this is where your sync sound will be)

•

To control the Sync effect, control the either VCO's pitch.

Note; it is important to balance the relative pitches of the 2 oscillators to get an effective sound. With certain settings you may not get an effect or even any audio!

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VCF Audio

HPF Cut-Off CV

LPF Cut-Off CV

VCA Audio

VCA CV

SY02 Multimode Filter / VCA- [ HPF / LPF / VCA]

VCF Audio

+/-12V, using Doepfer power socket.

HPF Input CV Level

LPF Cut-Off

LPF Resonance

LPF Input CV Level

Volume

Introduction

The SY02 is a multimode filter with a dif fer ence.

There are separate cut-off and res o nance con trols for both the HPF and the LPF. This means you can use the SY02 as a LPF, a HPF, or by com bin ing the two you get a BPF. When used as a BPF, it has the advantage over others in that you have control over the band width and the added ad van tage of two sep a rate resonance controls.

The SY02 can be used on its own as a filter (by turning up the Initial Level), but it in cludes a VCA, this means straight away it can be used with en ve lopes, with out the need of a sep a rate VCA.

The filter types used in the SY02 are 12dB rolloff filters very similar to those used in the classic

Korg MS20.

General Use

Overdrive

The controls have not been limited, so with certain level settings, especially Resonance, overdriven sounds are possible. This is great for a nice dirty distorted sound. If overdriven sounds are not required, simply decrease the Input level or Resonance level.

No Sounds

There are certain settings that will result in no audio output. Apart from the obvious (initial, input or output level at zero), this may occur when HPF cut-off is set very high and LPF cut-off set very low. This is basically due to ALL the audio being filtered out!

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Controls

Input Level

This sets the level of the audio signal fed into the VCF audio input.

HPF CV

This sets the level of external CV fed into HPF CV input that affects the HPF cut-off. Set at minimum, the external

CV has no effect, set at maximum, the external CV has full effect.

LPF CV

This sets the level of external CV fed into LPF CV input that affects the LPF cut-off. Set at minimum, the external

CV has no effect, set at maximum, the external CV has full effect.

Initial Level

This sets the initial level of the VCA. It applies a voltage to the VCA that opens it up. Set to maximum, the VCA will pass signals through at full volume. This would be the normal way of using this control. As the control is turned to minimum, the level of the VCA decrease finally to zero. In this case, an external CV is used to control the VCA level

(such as an envelope signal).

HPF Cut-Off

This control sets the cut-off frequency of the HPF. As the controls is increased, more lower frequencies are filtered out (only high frequencies are allowed to pass through).

HPF Resonance

This alters the resonance of the HPF. Set to maximum it will self-oscillate producing a continuous sinewave. In this way the SY02 can be used as a VCO.

LPF Cut-Off

This control sets the cut-off frequency of the LPF. As the controls is increased, more higher frequencies are filtered out (only low frequencies are allowed to pass through).

LPF Resonance

This alters the resonance of the LPF. Set to maximum it will self-oscillate producing a continuous sinewave. In this way the SY02 can be used as a VCO.

Volume

This sets the final output volume of the SY02.

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Sockets

IN1, IN2

These are both audio inputs to the filters. Input 1 goes via the Input level pot.

HPF CV1, CV2

These are external CV inputs to control the HPF cut-off frequency. Input 1 goes via the HPF CV pot.

LPF CV1, CV2

These are external CV inputs to control the LPF cut-off frequency. Input 1 goes via the LPF CV pot.

VCA CV1, CV2

These are external CV inputs to control the VCA level.

Audio Out

This is the audio output from the SY02.

Calibration

There are 2 trimmer pots on the main board marked HPF Q and LPF Q. These are used to adjust the intensity of the resonance feed back. With these trimmers set at maximum (fully anti-clockwise), it is possible to really self-oscillate the filters (when the resonance pot on the front panel is also at a high/maximum setting. Note however that if the resonance self-oscillates at too higer level, distortion may result (although this is not always a bad thing. Set the Q trimmers to a setting that gives you the amount of resonance you want balanced with an acceptable level of distortion. This is done before SY02s are sent out.

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SY03 - VC LPF / VCA

Cut-Off CV x2

VCA CV

CV1 Level

Cut Off

Resonance

VCA Level

Introduction

SY03 is a VC low pass filter and VCA in one module. The VCA is hard-wired in series after the filter output.

The filter is a transistor ladder 'Moog' type filter. Resonance can be set to feedback.

Controls In Detail

SIG1 LEVEL

Audio input signal attenuator for the signal coming into the SIG12 socket.

CV1 LEVEL

CV input signal attenuator for the signal coming into the CV1 socket.

CUT OFF

Alters the filter cut-off frequency.

RESONANCE

Alters the filter feedback level.

VCA LEVEL

VCA CV level attenuator for the signal coming into the VCA CV socket.

When no jack plug is in that socket, the control is used to attenuate a full

CV level (+12v).

Sockets In Detail

SIG1 IN

Signal input to the filter, level affected by SIG1 control.

SIG2 IN

Second input to the filter. There is no level control.

CV1

Cut Off CV input, level affected by CV1 LEVEL.

CV2

Second CV input. There is no level control.

VCA CV

VCA CV level input, level affected by VCA LEVEL control. When no plug is in this socket, the VCA receives a full

(+12V) CV level, which can then be attenuated by the VCA LEVEL control.

SIG OUT

Signal out from the VCA (i.e. filter).

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LFO2 - LFO

Outputs:

Triangle

Square

Power:

+/-12V

LFO Controls: Size:

Triangle Level 6HP

Square Level

Speed

Indicators:

LFO Speed

Introduction

A simple LFO module with 2 separate waveform output. Ideal for modulation. Small 6HP size and low cost.

Controls

Speed

This sets the LFO frequency

Triangle Level

Sets the output level of the triangle wave output.

Square Level

Sets the output level of the square wave output.

Sockets

Triangle

Outputs the Triangle wave.

Square

Outputs the Square wave.

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LFO-NZ - VCLFO / NOISE

Tri/Square

Noise

Ramp/Rev.Ramp Level/Select 6HP

Tri/Square Level/Select

Indicators:

LFO Speed

Introduction

An LFO module with 2 separate waveform outputs, out of a choice of 4. Use an LFO to control a VCO (to create vibrato), a VCA (for tremelo) or to control a filter's cut-off frequencer (wah-wah

/filter sweep). Use it any where you want to change a module's performance over time.

2 modules in one:

Separate LFO and Noise features

Controls

Speed

This sets the LFO frequency

Ramp / Reverse Ramp Level / Select Switch

Sets the output level to the Ramp out jack of the Ramp signal. Pull the control out to select

Reverse Ramp.

Triangle / Square Level / Select Switch

Sets the output level to the Triangle out jack of the Triangle signal. Pull the control out to select Square.

Sockets

Ramp / Reverse Ramp

Outputs the Ramp or Rev.Ramp signal depending which is selected.

Triangle / Square

Outputs the Triangle or Square signal depending which is selected.

Noise

Direct output of a white noise signal. Use this as a control source for interesting effects, or as an audio source for wind or percussive sounds when used with a filter/EG/VCA (such as our SY01)

Frequency CV In

This is a control voltage input. The level of the input voltage controls the speed of the LFO. This is good for creating even more interesting LFO effects. Feed the output of an envelope, like our EG02, into here for an LFO speed that changes over time. Or use a CV sequencer such as the SQ8 to change the speed on each beat.

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SH-NZ - Sample+Hold / Noise

Controls: Size:

Slew 6HP

Noise Level

Introduction

2 modules in one:

Sample and Hold and Noise features

The S+H and Noise units are in de pen dent so can be used en tire ly of each other.

Controls

S+H Slew

This adds slew (or portamento) between each changing voltage held by the S+H. So as each voltage is sampled, the changes in old to new voltage level will be smoothed out.

Noise Level

Alters the noise level.

Sockets

S+H In

This is the signal source for the S+H. Normally the noise output would be used for a random output.

S+H Clock In

Each clock or gate pulse will make the S+H sample the input signal then hold it till the next clock signal.

Normally a square wave signal would be fed into here, like the LFO-NZ square wave output.

S+H Sig Out

This is the output from the S+H unit.

Noise Out

This is an audio output from the white noise generator. This can be fed into the S+H signal input for random

S+H.

Obtaining a stepped random signal (using the Sample and Hold Facility)

To create a stepped random voltage (as indicated on the first position of the LFO wavform switch):

Patch a Square wave LFO output into the S+H Clock input, the Noise output to the S+H Signal input. Turn the Noise level up to about 30-50% (A higher setting causes strange - though not neccessarily - output). The S+H output signal will appear at the S+H Out socket.

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EG ASR Envelope

Decay/Release

Sustain on/off switch

Introduction

ASR Envelope generator in a compact module.

Controls

Attack

Rise time of the EG

Decay/Release

When Sustain is on this control alters Release time. When Sustain is off this control alters Decay time.

Sockets

TRIG

This is trigger input

OUT

This is the EG output.

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EG01 - Envelope

GND

Decay

Sustain

Release

Level with integrated push/pull switch for invert

Envelope Generators (EGs) in general

The EG produces a CV that varies over a pe ri od of time. It’s start is triggered by a Gate or Trig ger signal.

The main use for an EG is to vary the vol ume of a sound, (when used to control a VCA), to re-

pro duce the way natural instruments sound. E.g. a piano sound starting loud when the key is struck, then gradually dieing away. It can also be used to change the timbre of a sound over time, by con-

trol ling the cut-off frequency of a VCF.

The most common EGs are ADSR, AD and AR

(Attack, Decay, Sustain, Release). The attack time adjusts the rate at which the envelope will rise to its peak value. This is initiated with a Gate signal.

The Decay adjusts the rate the signal takes to fall to the Sustain level. The Sustain level adjusts the lev el that the EG signal will sustain from the end of the Decay time till the end of the Gate signal (i.e. when the key is release). The Release time adjusts the rate the signal takes to fall from its current level to zero, after the end of the Gate signal (when the key was released). If a short Trigger signal is used to initiate the EG, there will be no Decay or Sustain portion to the EG signal. The signal will rise to peak level (Attack), then imidiately fall from peak to zero at the Release rate.

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Use

Sockets

Trigger In

+ EG Out

+/- EG Out

A positive gate or trigger voltage in here will activate the ADSR sequencer.

A full level positive envelope signal from this socket. Level pot has no effect.

The EG signal is positive. By pulling out the EG knob, the signal is inverted (negative).

Controls

Attack

Decay

After receiving a Gate signal, this sets the time is takes the envelope to reach full level.

After reaching full level, this sets the time it takes the envelope to decrease to the Sustain

level.

Sustain The sets the Sustain level. The envelope signal will remain at the Sustain level

(after

Release decreasing from the maximum level) as long as there is a Gate signal present at the

Trigger in socket (i.e. as long as a key is held down).

After the key is released (the Gate signal no longer present), this sets the time it takes for the envelope signal to decrease to zero.

Special EMS-Style Repeat Function

The EG01 has an EMS-style repeat function which is easy to use and adds powerful modulation capabilities.

When the sustain level is set to zero the repeat function will be active. The en ve lope will repeat (re-trigger itself) so as soon as the envelope finishes its cycle, it starts all over gain. In this mode the EG becomes an LFO or Oscillator.

The speed is set by the Attack and Decay time. (The Release control will have no effect). By setting very short times an audio signal will be present!

Whether the repeat is short giving high frequencies (audio signals) or slow (like an LFO), by varying the Attack or

Decay times you are changing the wave shape of the output. Anything from Saw to Triangle to Reverse Saw wave froms can be created.

The unique way in which the EG01 repeat works is that it will only repeat as long as the Gate voltage is at the Trigger input (i.e. the key is held down/sustained). This is a great bonus compared to other repeating envelopes in that rather than repeating indefinately, it will only repeat as long as you want it to (by controlling the length of the Gate signal). One application of this is by setting the repeat function to create an audio signal. The output will only produce audio when a

Gate signal is present. This gives you a gated audio signal - effectively an Oscillator through a VCA.

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Signal In 1

Signal In 2

CV In 1

CV In 2

VCA2 - Dual (2x) Voltage Controlled Amplfier

Signal Out 1

Signal Out 2

+/-12V, GND

CV Level 1

CV Level 2

Signal Out Level 1

Signal Out Level 2

Introduction

2 modules in one:

Two independent VCAs in one module. VCAs are amplifiers whose gains are under voltage control. This means you can use a modulation CV, such as an LFO or EG signal, to modulate the level of another signal.

A typical use would be the output from an envelope generator altering the volume level of a signal, such as a fiilter output.

Controls In Detail

The 2 VCAs are identical, except that VCA 2 does not have a Input

Signal level control.

IN LEVEL

Alters the input signal level

CV LEVEL

Alters the CV level, to adjust the amount of VCA modulation.

OUT LEVEL

Alters the output signal level.

Sockets In Detail

VCA Signal input. Normally the signal would be audio, but CV signals can also be modulated.

CV signal input for VCA modulation.

OUT

Output from the VCA

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General Specification

Inputs

IN 1

IN 2

CV 1

CV 2

Outputs

OUT 1

OUT 2

Controls

IN LEVEL 1

CV LEVEL 1

CV LEVEL 2

OUT LEVEL 1

OUT LEVEL 2

Size

12HP

Power

+/-12V, GND using Doepfer power socket.

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RM - Ring Mod

x +/-12V

Introduction

Compact Ring Modulator to give you those great metallic sounds. Can be used as a signal processor.

To use, simple feed two different audio signals into the inputs.

Normal use would be two VCOs at the inputs, but you could use any audio signal.

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Sequencer & Control Modules

MT9 ............................................................................................... MIDI to Trigger / Gate

MCV ........................................................................................MIDI to CV Converter 6HP

M2CV..............................................................................................MIDI to CV Converter

SQ8 ....................................................................................... 8 Step CV/Gate sequencer

GT8.....................................................................................8 Step Dual Gate Sequencer

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MIDI In

MT9 MIDI to Trigger / Gate converter

9 independent trigger outs +5V, GND

Introduction

The MT9 is a MIDI to triggering module. It allows triggering of a range of analogue devices; drum voice modules, envelope modules, analogue sequencers, analogue drum ma chines, and anything else with a gate, trigger or clock input.

It has 9 separate 5v trigger outputs, so 9 devices can be in de pen dent ly triggered via separate MIDI keys. There is also an ACCent output.

Use

Connecting

Connect the MIDI sequencer or other MIDI device to the MIDI input of the MT9.

Connect MT9 trigger outputs to de vice you wish to trigger.

Programming

Programming the MT9 is a very simple proceedure.

Press and hold the PROGRAM button. Then press a MIDI key.

The MT9 will set its MIDI receive channel (which will be the same for all outputs) to the MIDI chan nel the keyboard is transmitting on.

The outputs are pre-assigned, output T1 starting at middle C.

ACCENT

The ACC is an on (5v) / off (0v) output. When velocity of over 80 is received for any of the 9 triggers, then the Accent will go high (5v). Lower than 80 the output will go low (0v). Use this output to control other analogue modules.

Note: it is not directly compatible with the drum module ACC inputs. The naming of this socket is perhaps misleading if you use our drum modules.

The drum modules require a different type of accent signal; 12v on, about

5v off. We may (or may not) make an 'Accent' add-on module.

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Uses

Triggering Drum Voices

The most logical use for the MT16 is for easy programming of Concussor drum voice modules via a MIDI sequncer.

Electronic percussion patterns can be quickly created using for example Cubase’s grid editor or a rhythm sequencer such as the Akai MPC2000.

Gating Envelopes

The length of the trigger pulses is determined by how long the MIDI key is held down for (sustained). When you hold a MIDI key down, the trigger output will stay on (+5V) until the key is released. This makes the MT16 ideal for controlling envelopes.

Devices with Clock Inputs - MT16 is more advantagous than using a MIDI-Sync device!

The MT16 offers a much more flexible way of synchronising analogue sequencers and drum machines than using a MIDI-Sync device. MIDI-Sync devices have the problem that they run continually when your MIDI sequencer is running. Therefore you cannot stop and re-start your analogue sequencers mid-song. Using the MT16 this prob lem can be over come. By programming a bar of 16th notes and looping the bar, straight away you have created a clock signal that your analogue sequencers can lock on to. But there are several important advantages - you can have up to 16 clock signals, they can all be different divide ratios by changing the note pattern (so you could say have one sequencer running half the speed of the other). The string of notes does not have to be a steady pattern, it can be a syncopated rhythm, clocking you analogue sequencers in a particular changing pattern you decide.

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MCV - MIDI to CV Converter

Introduction

The MCV is a quick and easy to use module that allows control of analogue devices from a

MIDI controller.

Use

Connecting

Connect the MIDI sequencer or other MIDI device to the MIDI input of the M2CV.

Normally CV1 (PITCH) goes to the pitch CV input of your synth. CV2 goes to any other CV input, like filter cut-off CV. Gate goes to the Gate or Trig ger input o your synth.

Make sure the MCV is on the right MIDI channel and away you go!

Details

The MIDI activity light will be lit whenever there is a gate volt age present (i.e. whenever 1 or more MIDI keys are held).

The Pitch CV out (CV1) conforms to 1V per Octave.

The controller CV out (CV2) responds to MIDI controller 1 (mod Wheel). It has a 0 to 10V range. Controller number can not be changed. Resolution is 7 bit.

MIDI Channel Selection

Programming the MCV is a very simple proceedure.

Press and hold the PROG button. Then press a MIDI key.

The MCV will set its MIDI receive channel to the MIDI chan nel the keyboard is transmitting on.

CV2 Control Source Assignment:

If a key was pressed to set MIDI channel, then CV2 will assign to velocity. If a controller was used to set channel, then CV2 will assign itself to that controller number.

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M2CV - MIDI to CV Converter

Introduction

The M2CV is a quick and easy to use module that allows control of analogue devices from a MIDI controller. The M2CV is straight forward

MIDI to CV conversion - easy to use.

Use

Connecting

Connect the MIDI sequencer or other MIDI device to the MIDI input of the M2CV.

Normally CV1 (PITCH) goes to the pitch CV input of your synth. CV2 goes to any other CV input, like filter cut-off CV. Gate goes to the Gate or Trig ger input o your synth.

Make sure the M2CV is on the right MIDI channel and away you go!

Details

The MIDI activity light will be lit whenever there is a gate volt age present (i.e. whenever 1 or more MIDI keys are held).

The Pitch CV out (CV1) conforms to 1V per Octave.

The controller CV out (CV2) responds to MIDI controller 1 (mod

Wheel). It has a 0 to 10V range. Controller number can not be changed.

Resolution is 7 bit.

Legato

When 1 or more notes are overlapped, this output will change from

0 to 5V. It will return to 0V when no notes are overlapping. This output is ideal for activating devices like portamento, LFO re set, Clock inputs,

VCF cut-off etc.

Accent

When a MIDI velocity of over 99 is received, the Accent output will go from 0 to 5V. It will not return back to 0V till it receives a MIDI note velocity value of less the 100. This output is ideal for accenting notes by con nect ing it to a VCA or filter cut-off input. It could also clock a sequencer or other device.

MIDI Channel Selection

Programming the M2CV is a very simple proceedure.

Press and hold the PROGRAM button. Then press a MIDI key.

The M2CV will set its MIDI receive channel to the MIDI chan nel the keyboard is transmitting on.

CV2 Control Source Assignment:

If a key was pressed to set MIDI channel, then CV2 will assign to velocity. If a controller was used to set channel, then CV2 will assign itself to that controller number.

The Push button is a manual Gate trigger button.

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Reset In

Clock In

8 x CV knobs with

built in Gate Switch

Step Button

Range Switch (5/10V)

SQ8 8 Step CV and Gate Sequencer

Gate

Step 1

+/-12V, +5V, GND using

Integrator or Doepfer

power sockets.

Additional 8 step outputs with optional expansion

8x Step LED’s 18HP

Introduction

Analogue sequencers allow you to programme a set of voltages and Trigger events (8 in this case), and al low you to step through them by using a clock sig nal or LFO square wave. With each step, the next volt age as set by the control is present at the

CV out put. This way repeating melodic lines can be produced. The sequencer need not control pitch, it could be used to change the filter cut-off, vol ume, or LFO speed.

The advantage analogue sequencers have over hardware sequencers is firstly their immediacy. Having all the controls, switches and sockets in front of you allows quicker programming. Sec ond ly, as the output is an analogue control voltage and not a digital MIDI signal, the output of analogue se-

quenc ers can easly be mixed with other volt ag es, or pro cessed in some way.

The SQ8 is a single channel sequencer with

8 steps. As it is single channel, larger sequencing sys tems can be built up by doubling up on sequencers. As they are all separate, you can clock them at dif fer ent speeds or clock divide ratios.

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Controls In Detail – standard operation

Clock In

The SQ8 requires a +5V clock signal. Each clock signal will advance the sequencer 1 step. When the last step is reached, it resets back to the first step. Take the clock signal from a square wave LFO, Clock module or MIDI to Clock converter.

Clock Thru

The clock signal appearing at the CLOCK IN socket is buffered and transferred to the CLOCK THRU socket, so it can be daisy chained to another sequencer.

Reset In

A 5V signal in here will reset the sequencer to step 1.

Step 1 Out

Each time step one is played, the step 1 gate socket will go high (output +5V). This socket can be used to trigger other devices, such as a cymbal sound at the start of each bar, or to trigger another sequencer. The step 1 out will give a clock signal that is the main clock in divided by out.

CV Out

This socket will output a control voltage set by the pot for the current step. It can be changed in real time.

Gate Out

This socket will output a 5V gate signal at each step where the CV control is not at the zero position (i.e. Gate

‘on’).

Step Button

This allows the sequencer to be manually stepped by one step at a time whilst the clock is not running. It can also be used to reset the sequence. As with most analogue sequencers, step it to the last step (8 or whatever is patched) so that when you start the clock, the sequencer starts on position 1.

Note: The step button will only work when any clock input signal is at a low state (0V). So it will note work when the clock input is high. This situation will note arise in normal use, as one would only normally use the step button when the master clock is stopped (making the clock signal low). If the sequencer is being clocked by a clock divider, even when the clock is stopped, it is possible that the clock signal may still be high until reseted.

CV / Gate pots / Range switch

The CV and Gate functions are built into a single combined pot/switch. Turning the pot fully left will turn the Gate off. You will fell the switch click off.

There are 8 CV pots, 1 for each step. When the range switch is HI the range is approximately 0 to 10V, when LO the range is approximately 0-5V. LO is best for use when controlling a VCO as this gives better abillity to fine tune each step.

The CV pots have a built in Gate switch. Pull the knob out to turn off the gate for that step, push it in to turn the gate on.

LED Indicators

There are 8 LED’s. These will light in turn to show step position.

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Alternative Applications Of Controls:

Clock In

The sequencer does not have to be stepped through at normal regular intervals as is usual. It can be clocked from any source, such as the gate from a MIDI-CV converter or monosynth, the trigger out of a drum machine such as the

TR606/808, or from the gate outputs of other analogue sequencers. This allows it to step through the sequencer rhythmically, as and when you want.

If a sine, triangle or sawtooth wave (that goes positive and negative in polarity) is used, the sequencer will step randomly (backwards and forwards), and also skip beats! This can produce interesting musical results or is good for sound effects.

Reset In

It can be taken from an source, such as Gates from MIDI to CV converters, synth’s or other analogue sequencers.

Step Out

It can be used individually to clock other analogue sequencers, to trigger analogue percussion modules, gate monosynths.

The step out is basically a divide by 8 clock divide (relative to the clock input signal). Any step output (normally step one) can be used to clock something else 8x slower.

CV Out

If a very high frequency clock pulse is used to step the sequencer (in audio frequencies), the CV pots can be used as a waveform generator. Because of the quantised steps, it will sound digital in form, unless an external slew rate generator (portamento) module is used to smooth the waveform.

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More SQ8 Example Patching

Standard connection to a monosynth to control pitch and gate;

CV out to Synth CV in.

Clock Thru to Synth Gate in.

Filter control of monosynth;

CV out to Filter cut-off input.

Connect CV and Gate of synth to another sequencer or MIDI to CV converter.

Alternative connections to a monosynth;

Plug CV out to Synth CV in

Step 1 out to Gate in

The synth will be triggered on the 1 st step. If the release time is long, you can still hear the pitch changing with each step, but without the EG re-triggering.

Miscellaneous Connections;

Step 1out is a divide by 8 clock divider.

Take step 1into the clock of another sequencer.

Use a quantiser if you want to precisely control to pitch of a synth.

Use a voltage scaler to scale down the control voltage to a smaller range when necessary.

When using a clock other than our MC01 master clock module, (as with all analogue sequencers), you must manually step to the last step of the sequence before you start the clock. This is done automatically when using the MC01.

To control transpose:

Use 2 SQ8s (we’ll call them A and B) and a mixer.

Clock the SQ8 A 1 step every bar. Clock SQ8 B as normal. Feed the output CVs of both through a mixer (like the

MX61), then take the output of the mixer to a synth as normal. SQ8 A will control the transpose level, changing every bar. SQ8 B sets the pattern of notes as normal. This is a handy and easy way of shifting the pitch of all 8 steps up or down with only one pot.

Using the SQ8 as a waveform generator

By clocking the SQ8 at audio frequencies, the output of the sequencer can be used to generate audio waveforms.

The simplest example is to create a square wave. Simply set to 1st 4 pots to full and the following 4 to zero. To double the frequency, set the 1st two pots to full, the next two to zero, and repeat.

Now take the 1st example with 4 pots at full and 4 at zero. Now if you start to change the the levels away from their setings, you will hear the timbre change. All combinations of settings are useable, so just play around live as the sequencer plays.

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GT8 8 Step Dual Gate Sequencer

+/-12V, +5V, GND Reset In

Clock In

2 x Gate. Range 0-5V

8 x Step Outs (on=5V)

Step Button

8 x Gate switches

8x Step LED’s

(left=channel 1, middle=off, right=channel 2)

18HP

Introduction

Analogue sequencers allow you to programme a set of trigger events (8 in this case), and al low you to step through them by using a clock sig nal or

LFO square wave. With each step, the gate (trigger) voltage is at the output for the length of the clock pulse. The gate pattern can be used to trigger VCAs,

Envelopes and percussion modules.

Main Applications

For triggering envelopes, clocking other devices, or controlling CV’s like VCA control inputs. The GT8 comes with a

5V range as standard. This range is ideal for triggering most monosynths and envelopes.

If requested when ordering, the GT8 can be given a 10V range. It is possible to change to range between 5 and

10V by adding or removing resistor R13 (100K) on the main board. Having this resistor in place makes the range 10V.

Changing this yourself is safe to do but will invalidate the warranty.

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Controls In Detail – standard operation.

Clock In

The GT8 requires a +5V clock signal. Each clock signal will advance the sequencer 1 step. When the last step is reached, it resets back to the first step. Take the clock signal from an LFO, Clock module or MIDI to Clock converter.

Step Outs

There are 8 step out sockets. As each step 1 to 8 is reached, the corresponding step out socket will go high (output

+5V). By patching one of these outputs into the Reset In socket, the sequence length can be altered between 1 to 7 steps long. For example, to obtain a five step sequencer, patch the next number up step output into the reset input, i.e. step out 6. To have an eight step sequencer, no reset patch is needed.

Gate 1/2 Outs

Either of these two sockets will output a +5V gate when at a particular step, the corresponding switch is in either position Gate 1 or Gate 2. Centre position will result in not Gate from either socket.

The pulse width of the clock input decides the pulse width of the Gate outputs.

Step Button

This allows the sequencer to be manually stepped by step at a time whilst the clock is not running. It can also be used to reset the sequence. As with most analogue sequencers, step it to the last step (8 or whatever is patched) so that when you start the clock, the sequencer starts on position 1.

Note: The step button will only work when any clock input signal is at a low state (0V). So it will note work when the clock input is high. This situation will not arise in normal use, as one would only normally use the step button when the master clock is stopped (making the clock signal low). If the sequencer is being clocked by a clock divider, even when the clock is stopped, it is possible that the clock signal may still be high until reseted.

Gate Switches

There are 8 Gate Switches, 1 for each step. They have three positions. When switched left, Gate 1 is active, right,

Gate 2 is active, and centre is no Gate. The voltage range is 0 to 5V.

LED Indicators

There are 8 LEDs. These will light in turn to show step position.

Alternative Applications Of Controls:

Clock In

TR606/808, or from the gate outputs of other analogue sequencers. This allows it to step through the sequencer rhythmically, as and when you want.

Reset In

The reset signal does not need to be taken from the step outputs. It can be taken from an source, such as Gates from MIDI to CV converters, synths or other analogue sequencers.

Step Outs

These can be used individually to clock other analogue sequencers, to trigger analogue percussion modules, gate monosynths.

Each step out is basically a divide by 8 clock divide (relative to the clock input signal). Any step output (normally one) can be used to clock something else 8x slower.

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More GT8 Example Patching

Any step out is a divide by 8 clock divider.

Take step 1 (or any other step output) into the clock of another sequencer.

GT8 controlling open and closed hihats (or 2 monosynths);

Gate out 1 to CH, Gate out 2 to OH.

Use a pulse shaper on the clock input of the GT8 to change the Gate output pulse widths.

Take different step outputs (from same or other GT8 sequencers) and mix them with a multiple to get another gate sequencer.

Using a SQ8, GT8 & MC01;

Run one at 1:1 clock ratio, and the other at a divided down clock ratio, say 1:4 for interesting effects.

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Utility Modules

HP01......................................................................3 input mixer / Headphone Pre-Amp

MX61 .......................................................................................... 6 input / 2 output Mixer

MX224 ................................................................................2 input Mixer/Buffer/Inverter

Multiple ..............................................................................................2x4 or 1x8 Multiple

ATT4 .................................................................................................... Quad Attenuators

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HP01 3 Input Mixer / Headphone Pre-Amp

Details

HP01 is a handy output device. It has three main functions;

Small mixer to take outputs from other sub-mixers in the system.

Headphone Pre-Amp for those that wish not to use speakers.

1/4" / large jack output so the main output signal from the system can be taken to a mixing desk without the need for special cables or adaptors.

Controls In Detail

LEVEL

Alters theoutput level

Sockets In Detail

IN (1-3)

Mixer signal inputs.

PHONES

Mixer output from the headphone pre-amp. This socket is for Headphone use. Uses a stereo socket, but a mono signal.

OUTPUT

Output from mixer.

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6x ins

MX61 6 Input Audio / CV / Gate Mixer with Inverter

3.5mm out (normal) +/-12V, GND

Details

The MX61 is a 6 input unity gain mixer. It can mix audio, control voltages and gates. It allows you to bring many signal source together to be sent to another module, such as several VCOs into one filter, or to be used to mix audio sources and bring them together to an external recording device or mixing desk. It has 2 outputs, a normal (positive) output, and an inverted output.

Use

Audio Mixer

Use this to mix audio in instances where you have many sources you wish to mix to one mono channel, e.g. several percussion modules. When mixing audio use the normal output. It would not usually be a problem to use the inverted output - but watch it does not cause signal cancellation!

CV Mixer

Several CV sources can be mixed to make a more complex control signal. E.g. mix an LFO with an envelope signal.

Inverter

When the inverted output is used, the signal is inverted so it becomes a negative signal (or a negative signal becomes positive). For example, put 5V through, and you get -5V out. An example of a useful application of this is to create auto-pan. Feed an LFO into the mixer. Take the normal output to 1 VCA, and the inverted output to another VCA. Pan the 2 VCAs hard left and right. Feed the same signal into both VCAs and it will pan between the speakers!

Gate Mixer

By taking different Gate outputs from a pair of SQ8 sequencers and mixing them with the MX61, new step patterns can be created.

The MX61 has a -10 to +10V range.

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MX224 Mixer / Inverter / Buffer

Details

The MX224 is a 2 input mixer/inverter/buffer. It can mix audio, control voltages and gates with multiple normal and inverted outputs. Ideal for splitting signals with no signal drop.

Use

Audio Mixer

Use this as a simple 2 input audio mixer.

CV Mixer

Two CV sources can be mixed to make a more complex control signal. E.g. mix an LFO with an envelope signal.

Buffer

When a signal is continually split, like with a multiple, the signal level can drop. A buffer is a device that will maintain the voltage so no drop is seen at the output.

Inverter

When the inverted output is used, the signal is inverted (polarity is inverted) so it becomes a negative signal (or a negative signal becomes positive). For example, put 5V through, and you get -5V out.

An example of a useful ap pli ca tion of this is to create auto-pan. Feed an LFO into the mixer. Take the normal output to 1 VCA, and the inverted output to another VCA. Pan the 2 VCAs hard left and right. Feed the same signal into both VCAs and it will pan between the speakers!

The MX224 has a -10 to +10V range.

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Multiple

2x 4 parallel connected sockets

(or 1x 8 parallel connected sockets if requested)

4HP

Introduction

This is a device that is a row of jack sockets all wired together in parallel.

Use

The main use of a multiple is to split signals, making it available on more than one socket. For example, to make the output of an envelope which only has one output socket, available to lots of inputs. Plug the EG output into the multiple, then the other three sockets will also carry that EG signal.

The multiple is a passive module. It takes no power.

When a signal is split by a passive device such as a multiple, the output power level will be reduced. This generally will not cause a problem as most modules’ inputs are buffered.

A multiple can be used as a simple passive mixer, but there may be problems of impedance and level matching.

With both audio and CV’s it is a case of try and see.

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Signal In x4

ATT4 - Quad (4x) Attenuator

Signal Out x4 n/a

Introduction

4 attenuators.

Four independent attenuators (level controls) in one module. Attenuators are passive controls (they use no power) that are used to decrease the level of an audio or CV signal.

The signal can be changed from full level right down to zero. Use anytime you need to decrease the level of a signal.

A typical example is in conjunction with our MX61 6 input mixer. As this mixer does not have level controls, you can use the attenuators of the

ATT4 to adjust the levels before they are mixed with the MX61.

Controls In Detail

The 4 Attenuators are identical.

LEVEL (1-4)

Alters the input signal level

Sockets In Detail

IN (1-4)

Attenuator input.

OUT (1-4)

Output from attenuator.

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Specification subject to change without notice.

Warranty

Concussor comes with a 1 year (from purchase date) back to base warranty, (i.e. customer must arrange and pay for carriage to and from Analogue Solutions or the dealer from which purchased).

This warranty shall not apply where the product has been subject to alteration, misuse, accident, neglect (such as extremes of temperature and/or moistur) or to wear resulting from normal use.

We will normally carry out most the labour or repairs free of charge for an extended period of an additional 4 years from purchase date, but this may not included cost of any damaged parts which will be charged for.

At the sole discretion of Analogue Solutions, the warranty is deemed to be void should the unit be or considered to have been opened or any other modifications or tampering be carried out by unauthorised parties.

The warranty is usually invalid when fitting Concussor modules in a 3rd party case, or fitting 3rd party modules in a

Concussor case, or when mixing Concussor modules with 3rd party modules.

CE Compliance

This unit complies with Complies with EU Directives 73/23/EEC and 89/336/EEC. Standards: EN55103-1, EN55103-

2, EN60065

***Concussor* *‘user manual’***

Analogue Solutions web: www.analoguesolutions.com

web: www.analoguesolutions.co.uk

email: [email protected]

tel/fax: +44 (0) 1384 35 36 94 post: 56 kingsley road, kingswinford, dy6 9rx, uk

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Hello! I am an AI chatbot specifically trained to assist you with the Analogue Solutions Concussor AS1600 AS0084, Concussor BD78, BD88, BD99, Concussor SD78, SD88, SD99, Concussor HH88, Concussor RS88, Concussor CL88, Concussor TM88, Concussor CG88, Concussor CB88, Concussor CP88, Concussor VCO, VCO 6HP User Manual. I have thoroughly reviewed the document and can help you locate the exact information you need or explain the content in clear and simple terms. Whether you’re looking for guidance on specific features, troubleshooting steps, or general usage, feel free to ask your questions. The more details you provide about your concerns or needs, the more accurately and effectively I can assist you!

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Key features

Modular synthesizer
Modular percussion synthesizer
Rack effects
Oddities
High dynamic range
High and subsonic frequencies

Frequently asked questions

Concussor is a modular synthesizer, modular percussion synthesizer, rack effects, and oddities.

Concussor modules have a very high dynamic range, so it is recommended to keep input levels to external equipment low when first connected, and slowly increase them to a userable level.

Clean the Concussor case with a clean lint-free cloth. Do not use solvents or cleaners as this will deteriorate the exterior appearance of the equipment.

Owners of Concussor receive unlimited phone/fax/email support. Call +44 1384 35 36 94 or email [email protected].

Drill pilot holes approximately 1mm to 2mm diameter and screw modules into position.

Ensure correct orientation (stripe to pin 1) and that none of the pins are bent. Make sure all pins seat correctly into the socket.