Intellijel ATLANTIS Illustrated supplement by Demonam
Index 01... Introduction - part 1 02... Introduction - part 2 03... Introduction - part 3 04... Hard-linked synth voice Primary VCO section 01... Overview 02... Waveforms 03... SUB OSCillator 04... Range & tracking 05... Pulse WIDTH 06... Pulse Width Modulation 07... PWM chart - MODulator cancelling scan 08... Hard SYNC 09... Hard SYNC chart - WAVES 10... Hard SYNC chart - SUB 11... Frequency MODulation 12... EXP/LIN MOD response chart MODulator section 01... Overview 02... Waveforms 03...
Introduction - part 1 The Atlantis is heavily inspired by the architecture and sound of the classic Roland SH-101. It has always been one of our favorite synths and we really liked how the seemingly limited architecture allowed for all sorts of creative and musically useful sounds to be easily generated. Just like the 101 it is quick to dial in beautifully rich bass and lead sounds. This module uses triangle core VCOs (based on the Dixie core) instead of Saw core which respond much more musically to FM.
Introduction - part 2 In the mixer section you can adjust the balance of the primary oscillators waveforms including a sinewave which is normalled to the EXT IN jack. You could also patch in one of the modulation oscillators waveforms into this channel and be able to operate the Atlantis as a proper two oscillator synth. There is a switch labelled “LINK” which enables the modulation vco pitch to be based as an offset of the primary VCO.
Introduction - part 3 The filter section is a Roland style cascaded 4 pole multimode filter with LP, BP and HP modes. The LP Boost switch engages a special mode useful for the LP that produces a much fatter and prominent sound that is not drowned out by resonance (unlike the original SH-101). The filter self-oscillates to produce a very clean sine wave which also tracks 1V/Oct.
Hard-linked synth voice Here is a simplified representation of hard-linked voice of the Atlantis, that can be use as a full-featured classic synth voice. Now if you consider in/outputs for each section, you can see that you can use each of them independently and make them interact in DC or AC range. By this way, you can walk trough hyperspace.
Primary VCO section
Overview The Primary VCO section consists of a triangle-core VCO that produces pulse, saw, sine and sub waveforms. You can frequency modulate this section with MOD bus, in EXPonential or LINear manner. The pulse WIDTH can be manually adjusted and modulated by triangle wave of MODulation bus, ENVelope or an EXTernal signal. You can drive this VCO in 1V/OCT and adjust range with OCTAVE 6-positions switch and FINE knob. All waveforms are routed to the MIX section.
Waveforms 4 waveforms are available at Primary VCO outs : pulse, saw, sub octave (1 or 2, depending of SUB switch position in MIXER section) and sine. Those outs are unaffected by MIXER section levels settings.
Range & tracking Initial Primary VCO range is ~16Hz (0.063 sec.) to 1000Hz (audio). You can expand this range by using MOD bus with positive or negative signal control (AC or DC source) to go to slow LFO or fast audio range. Atlantis tracks very well over 8 octaves. Set the initial frequency with the OCTAVE knob and adjust with the FINE knob over one octave. Control it with the 1V/OCT input. FINE knob covers 1 octave range from CCW to CW.
SUB OSCillator SUB out is affected by SUB OSCillator switch position in the MIXER section. SUB can be 1 or 2 octaves down relatively to the Primary oscillator frequency, with an alternative pulse waveform for the -2OCT position.
Pulse WIDTH Pulse WIDTH produces a square wave at middle slider position. Note that the pulse doesn’t disappear at the min and max positions although this can be achieved via the PWM control (see page 07).
Pulse Width Modulation Pulse width can be adjusted by both the manual slider setting and the PWM signal. The PWM switch selects the source for the pulse width modulation signal : triangle wave from MODulator VCO, positive ADSR from ENVelope or EXTernal PWM signal.
PWM chart - MODulator cancelling scan Min negative Zero-crossing Max positive +5V +5V +5V MODulator triangle MAX t t -5V -5V -5V +5V +5V +5V t MED t t -5V -5V -5V +5V +5V +5V t MIN t t t -5V -5V -5V +5V +5V +5V t -5V t -5V t -5V Primary VCO section - 07
Hard SYNC The SYNC switch allows the Primary VCO to be hard-synchronized to an external source or or the square wave from MODulator. SYNC of Primary VCO is normaled to the square wave of MODulator, you can break this normal with an external source patched at the SYNC input. SYNC signal resets triangle core to the start of rising edge. Note that SUB OSCillator can reset in negative or positive domain.
Hard SYNC chart - WAVES HARD SYNC Synced sync signal Slower sync signal +V Faster sync signal +V t +V t t Reset VCO to rising direction -V -V -V PULSE +5V +5V +5V min PW t SAW t -5V -5V -5V +5V +5V +5V t SINE t t t -5V -5V -5V +5V +5V +5V t -5V t -5V t -5V Primary VCO section - 09
Hard SYNC chart - SUB HARD SYNC Primary VCO frequency Slow sync signal +V Fast sync signal +V t +V t t Reset VCO to rising direction -V -V -V -1 OCTave +5V +5V +5V t -2 OCTaves 1st type t -5V -5V -5V +5V +5V +5V t -2 OCTaves 2nd type t t t -5V -5V -5V +5V +5V +5V t -5V t -5V t -5V Primary VCO section - 10
Frequency MODulation MOD bus as control over Primary VCO frequency, according to its slider position. You can make LIN FM or EXP FM, determined by the EXP/LIN switch position. At maximal slider position, MOD acts as a classic 1V/OCT FM if set in EXP mode. The MOD input of the Primary VCO is normaled to MODulator VCO section, a powerfull modulation source (LFO or VCO range). You can break this normal by patching an external modulation source in the MOD input of the Primary VCO section.
EXP/LIN MOD response chart You can set EXP or LIN response for MODulation frequency of the Primary VCO. LIN mode is best suited for FM sounds, while EXP response will act as a standard 1V/OCT control if MOD slider is set to the maximum position.
MODulator section
Overview The MODulator section is a triangle-core LFO/VCO that produces sine, triangle, saw, square waveforms combined with noise and Sample&Hold generators. You can frequency modulate this section at 1V/OCT over 8 octaves. The 6-positions knob selects the wave which is routed to the MOD bus. You can switch between LFO and VCO range and then use Atlantis as a dual triangle-core VCO generator. Sample&Hold input is linked to the noise generator and can be clocked by an external signal.
Waveforms Sine, triangle, saw, square, Sample & Hold and noise (white or pink) are available at the MODulator outputs.
Range & tracking MODulator range is ~0.01Hz (100 sec.) to ~200Hz (audio) in LFO mode and ~1Hz (1 sec.) to ~20kHz (audio) in VCO mode (you can expect an approximative x100 factor between LFO and VCO mode). You can adjust raw frequency with the RATE slider and set FINE frequency with rotary knob. You can control the MODulator frequency with the 1V/OCT input over 8 octaves with very good tracking.
NOISE NOISE generator can produce WHITE or PINK noise, depending on the position of the related switch in the MIXER section. NOISE is routed to the Sample&Hold to produce random voltages, so by switching between WHITE or PINK noise you can change the response range of the S&H section.
Sample & Hold Sample & Hold input is linked to the noise generator. With the PINK/WHITE switch you can set the S&H output range. S&H clock input is normaled to the square MOD output, you can break this normal by patching external CLocK source at the CLK input.
Hard SYNC The SYNC input allow the MODulator to be hard-synchronize to an external sync source. Because SYNC affects square wave reset, you can by this way synchronise the Sample&Hold if no signal is patched to CLK input. SYNC signal resets triangle core to the start of rising edge. Note that NOISE is unaffected.
Hard SYNC chart - part 1 HARD SYNC Synced sync signal Slower sync signal +V Faster sync signal +V t +V t t Reset VCO to rising direction -V -V -V SINE +5V +5V +5V t TRIANGLE t -5V -5V -5V +5V +5V +5V t SAW t t t -5V -5V -5V +5V +5V +5V t -5V t -5V t -5V MODulator section - 07
Hard SYNC chart - part 2 HARD SYNC Synced sync signal Slower sync signal +V Faster sync signal +V t +V t t Reset VCO to rising direction -V -V -V SQUARE +5V +5V +5V t Sample & Hold t t -5V -5V -5V +5V +5V +5V t -5V t -5V t -5V MODulator section - 08
LINK to Primary VCO With the LINK switch engaged you can set the MODulator base frequency as a multiple of the Primary VCO frequency. It's a nice feature for create FM sounds or stack VCOs. By this way you can track both Primary and MODulator VCO with the 1V/OCTave input.
MODulator bus The MODulator section outputs are normaled to Primary VCO, MIXER and VCF sections. You can use MOD inputs of VCO and/or VCF sections for break MODulator routing.
MIXer section
Overview In the MIXer section you can mix up to 5 channels fed by 9 differents sources : pulse, saw, SUB OSCillator -1OCT, SUB OSCillator -2OCT, SUB OSCillator -2OCT variation, white noise, pink noise, sine and EXTernal Input. Note that patching an external signal at the EXTernal INput will break the normal between Primary VCO sine wave and its related MIXer channel. The MIXer total sum is internally routed to the Voltage Controlled Filter input.
Mixed waveforms Pulse, saw, SUB OSCillator, noise and sine (or EXTernal INput if patched) channels are available in the MIXer section.
SUB OSCillator channel SUB OSCillator switch in the MIXER section sets the sub OCTave value. SUB can be 1 or 2 octaves down relatively to the Primary oscillator frequency, with an alternative pulse waveform for the -2OCT position.
NOISE channel NOISE generator can produce WHITE or PINK noise, depending on the position of the related switch in the MIXer section.
EXTernal INput [SINE] channel EXTernal INput allows you to use an external signal in the MIXer section. Note that of nothing is patched at the EXT IN, the SINE wave from the the Primary VCO is routed to the EXT IN channel.
MIX output All the 5 channels of the MIXer section are summed and routed to the VCF section. This normal can be broken by patching an External INput signal into the VCF section.
VCF section
Overview The Voltage Controlled Filter section consists of a combination of 3 types of filter (Low-Pass, Band-Pass and High-Pass) switchable to 2 different slopes (12 and 24 dB). So you dispose of 9 filtering methods, plus BOOST for the LP mode. Each mode can self-oscillate and then produces a clean sine-wave that can be controlled at 1V/OCT (from the Primary VCO).
Low-Pass 2-POLE Low-Pass 2-pole (12 dB/OCTave) mode. Increase of RESonance will decrease signal input level. set LP type set 2-POLE slope +V freq. -V cutoff frequency +V freq.
Band-Pass 2-POLE Band-Pass 2-pole (12 dB/OCTave) mode. Increase of RESonance will decrease signal input level. set BP type set 2-POLE slope +V freq. -V cutoff frequency +V freq.
High-Pass 2-POLE High-Pass 2-pole (12 dB/OCTave) mode. Increase of RESonance will decrease signal input level. set HP type set 2-POLE slope +V freq. -V cutoff frequency +V freq.
Low-Pass 4-POLE Low-Pass 4 -pole (24 dB/OCTave) mode. Increase of RESonance will decrease signal input level. set LP type set 4-POLE slope +V freq. -V cutoff frequency +V freq.
Band-Pass 4-POLE Band-Pass 4-pole (24 dB/OCTave) mode. Increase of RESonance will decrease signal input level. set BP type set 4-POLE slope +V freq. -V cutoff frequency +V freq.
High-Pass 4-POLE High-Pass 4-pole (24 dB/OCTave) mode. Increase of RESonance will decrease signal input level. set HP type set 4-POLE slope +V freq. -V cutoff frequency +V freq.
Low-Pass 2-POLE BOOST Low-Pass 2 -pole (12 dB/OCTave) BOOST mode. With the LP BOOST switch engaged, increase of RESonance will not cause signal input drop down. set LP type +V set 2-POLE slope freq. set LP BOOST -V cutoff frequency +V freq. -V cutoff frequency +V freq.
Low-Pass 4-POLE BOOST Low-Pass 4 -pole (24 dB/OCTave) BOOST mode. With the LP BOOST switch engaged, increase of RESonance will not cause signal input drop down. set LP type +V set 4-POLE slope freq. set LP BOOST -V cutoff frequency +V freq. -V cutoff frequency +V freq.
Filter tracking You can track filter's cutoff frequency up to 1V/OCTave, depending of the 1V/OCT slider position, which is normaled to the Primary VCO 1V/OCT input.
Self-oscillation All type of filter (Low-Pass, Band-Pass and High-Pass will self-oscillate for a RESonance slider set at last to mid position.
1V/OCTave sine oscillator The clean sinewave produced by VCF in self-oscillation state can be used as a safe-scale oscillator. You can control it at 1V/OCTave with the related slider set to the max, which is normaled to the 1V/OCT Primary VCO input.
FREQuency MODulation Amount of frequency modulation applied to the VCF cutoff frequency can be set with the MOD slider, that's acting as an attenuator for the MOD input if an external MOD signal is patched. MOD input is normaled to the MODulator VCO.
ENVELOPE modulation The cutoff frequency is normalled to the ENVELOPE section generator. Set the amount of ENVELOPE modulation with the ENV slider, and choose the polarity (positive or negative) with the ENV POLARITY switch. Note that you can engage the ENVELOPE generator by using a gate signal or with the CYCLE switch.
ENVELOPE section
Overview The ENVELOPE section is an ADSR generator with two timing ranges (fast x1 and slow x10) selectable with a switch. This ADSR can be re-triggered with the TRIG input. LEVEL input sets the ENVELOPE VCA level Envelope VCA level which means you can have control over ADSR global velocity. Amplitude range : 8V (positive or negative). The CYCLE switch sets the ENVELOPE in cycle mode, by this way the ADSR acts as an A, A/D, or D LFO/VCO, depending of the A/D/S/R settings.
Range The range switch allows you to select fast x1 or slow x10 time range for ADSR generator. You can expect an approximative 6.5 time factor between those two ranges. Positive out illustrated here. Range x1 : A/ 1.65 sec. - D/ 2.00 sec. - R/ 4.00 sec. Range X10 : A/ 10.7 sec. - D/ 12.7 sec. - R/ 26.0 sec. +8V t -8V ON OFF GATE signal +8V +8V t -8V 1.65s 2.00s 4V 4.00s x1 fast range t ~6.5 factor -8V 10.7s 12.7s 4V 26.
OR GATEs GATE signal input and manual GATE button from VCA section are combined in a logic OR relationship. You can use them both for triggering ENVELOPE section.
re-TRIGger Re-TRIGger input allows the envelope to be restarted by a pulse trigger if it is being held in A, D or S phase via a GATE signal. The re-triggered starting level is offset by the sustain slider.
CYCLE mode - waveforms With the CYCLE switch engaged, ENVELOPE will self-cycle. It can range from LFO rate right up to audio rate in the kHz range depending on the positions of the A and D sliders which primarily affect the rise and fall time of the cycling envelope.
CYCLE mode - Sustain offset In CYCLE mode, Sustain can be used as an offset generator. At max position, ENVELOPE section will deliver a constant voltage of about 8V (-8V in inversed polarity).
Fire ADSR ! - part 1 ENVELOPE triggering +V +V Sustain OFF - t CYCLE mode OFF -V ON OFF t -V +8V ON OFF +8V t -8V A D t -8V ON OFF Attack stage doesn't re-trigger if Release ON +8V +8V t -8V A D t -8V ON OFF ENVELOPE section - 07
Fire ADSR ! - part 2 ENVELOPE triggering +V +V Sustain OFF - t CYCLE mode ON -V ON OFF t -V +8V ON OFF +8V t -8V A D A t -8V ON OFF Attack stage doesn't re-trigger if Release ON +8V +8V t -8V A D A R t -8V ON OFF ENVELOPE section - 08
Fire ADSR ! - part 3 ENVELOPE triggering +V +V Sustain ON - t CYCLE mode OFF -V ON OFF t -V +8V ON OFF +8V t -8V A D S t -8V ON OFF Attack stage doesn't re-trigger if Release ON +8V +8V t -8V A D S R t -8V ON OFF ENVELOPE section - 09
Fire ADSR ! - part 4 ENVELOPE triggering +V +V Sustain ON - t CYCLE mode ON -V ON OFF t -V +8V ON OFF +8V t -8V A D A D A D A t -8V ON OFF Attack stage doesn't re-trigger if Release ON +8V +8V t -8V A D A D A D A R t -8V ON OFF ENVELOPE section - 10
LEVEL input The LEVEL input acts as Control Voltage input (0-5V input for 0-8V ADSR out range) for the VCA's envelope. With LEVEL input, you can have control over global velocity of the ENVELOPE section.
LEVEL input chart POSITIVE ADSR envelope 0V LEVEL in NEGATIVE ADSR envelope 0V LEVEL in +8V +8V t t -8V +2.5V LEVEL in -8V +2.
KEYBOARD control You can use any MIDI controller (like a keyboard) coupled with a MIDI CV converter for controlling GATE, re-TRIGger and VELOCITY of the played envelope.
ENVelope bus The ENVelope section outs are normaled to Primary VCO PWM, VCF cutoff and VCA level, in the related sections. Note that you can change ENVelope polarity in the VCF section.
VCA section
Overview The Voltage Controled Amplifier is the final stage of the Atlantis signal path. The input of this section is normaled to the VCF section out. You can set no, soft or hard clip for signal amplification to get more abrasive sounds. The ENV/GATE switch selects the source of the control voltage that open the VCA, between the positive ENVelope section out and GATE signal (from GATE input or with manual button). Output range : 10Vpp.
Normalled inputs The input of VCA section is normaled to the VCF section out. The control voltage of amplification is normaled to the ENVelope section (out and gate input) and manual GATE button.
ENVelope / GATE selection The input of the VCA section is is normaled to the VCF section out. The control voltage of amplification is normaled to the ENVelope section (out and gate input) and manual GATE button. NOTE : In GATE mode the VCA can be either fully open or fully closed, there is no modulation cv from the ADSR.
DRIVE amplification The input of VCA section is normaled to the VCF section out. The control voltage of amplification is normaled to the ENVelope section (out and gate input) and manual GATE button.
Patches & Tips
HOLD output - Mirrored offset generator Mirrored offset outputs HOLD OUT For holding VCA main output without GATE signal or GATE switch, set ENVELOPE section on CYCLE and adjust volume with Sustain. Set VCA CV source to ENV. You get at the same time mirrored offset generator (+/-8V range) at ENVELOPE section outputs.
Primary VCLFO Primary LFO raw OUTputs You can go to LFO range with the Primary VCO. To do this just apply a negative voltage to the MOD input of the Primary VCO set to 0 octave and control the speed with the MOD slider. You can use previous HOLD patch for generate the negative offset signal, as illustrated here.
Pseudo-digital noise Pseudo-digital noise OUT You can get a kind of digital noise by clocking Sample&Hold of MODulator at audio rate. Just set MODulator to VCO range and adjust tone of pseud-digital noise with the RATE slider.
Four layers patch keyboard controller PITCH CV GATE CV Four layers OUT Massive four oscillators layer can be generated by stacking primary, SUB , MOD and VCF sine VCOs. With the LINK switch, all the four can be driven at 1V/OCTave with the 1V/OCT input of Primary VCO section.
Keyboard controller keyboard controller PITCH CV GATE/TRIG VELOCITY Keyboard controlled OUT Use a keyboard controller to get control over pitch tracking, gate and velocity of the played notes.
Arpegiated sequence (Danjel van Tijn) sequencer arp. PITCH CV GATE CV Arpegiated sequence OUT Control Primary VCO and VCF at 1V/OCT with an arpeggiator, taste differents settings for VCF and MOD sections.
Longer notes played from keyboard (Danjel van Tijn) keyboard controller PITCH CV GATE CV Longer notes OUT Play longer notes with a CV keyboard.
S&H modulation of VCF (Danjel van Tijn) sequencer arp. PITCH CV GATE CV S&H modulated VCF out Set MODulator section on S&H and adjust MOD slider in VCF section for random modulation of filter's cutoff frequency.
PWM+SUB (Danjel van Tijn) keyboard controller PITCH CV GATE CV PWM + SUB OUT Pulse with PWM layered with -1 Octave SUB.
Dual VCO pads - part 1 (Danjel van Tijn) keyboard controller PITCH CV GATE CV Dual VCO pads OUT SAW from MOD VCO patched to EXT IN to create a dual VCO. MOD link is on so that the MOD VCO tracks the primary VCO. Fine tune the offset between the two VCOs to get a lush sounding interval.
Dual VCO pads - part 2 (Danjel van Tijn) keyboard controller PITCH CV GATE CV Dual VCO pads OUT Add a third layer with -1 Octave SUB to the dual VCO stack.
VCO FM (Danjel van Tijn) keyboard controller PITCH CV GATE CV FM OUT Use the MOD oscillator FM the primary VCO. Try EXP or LIN frequency MODulation response.
Bell tones - part 1 (Danjel van Tijn) keyboard controller PITCH CV GATE CV Bell tones OUT Use LINK to maintain a constant FM ratio. This is great for classic analog bell.
Bell tones - part 2 (Danjel van Tijn) keyboard controller PITCH CV GATE CV Bell tones OUT Add in self-oscillating VCF for an additional sine wave.
Bell tones - part 3 (Danjel van Tijn) keyboard controller PITCH CV GATE CV Bell tones OUT Add Noise and Attack time to get spaced noisy bell tones.
Hard SYNC - part 1 (Danjel van Tijn) sequencer arp. PITCH CV GATE CV HARD SYNCED OUT Primary VCO is HARD SYNCED to the MOD VCO.
Hard SYNC - part 2 (Danjel van Tijn) sequencer arp. PITCH CV GATE CV HARD SYNCED OUT Add SAW form more fatter out.
Manual gate (Danjel van Tijn) sequencer arp. PITCH CV GATE CV GATE triggered OUT Using the manual gate button to trigger the envelope.
Kick drum patch - part 1 (Danjel van Tijn) sequencer arp. PITCH CV GATE CV KICK DRUM OUT KICK DRUM PATCH : envelope out patched to VCO mod input.
Kick drum patch - part 2 (Danjel van Tijn) sequencer arp. PITCH CV GATE CV KICK DRUM OUT Add a filter noise layer for more snap.
Self-cycling patch - part 1 (Danjel van Tijn) Self-cycling OUT External trigger removed and envelope in CYCLE mode.
Self-cycling patch - part 2 (Danjel van Tijn) Self-cycling OUT External trigger removed and envelope in CYCLE mode.
Space communication one Spaced com OUT Create feedback random GATEs with S&H out patched to MOD 1V/OCT input. MODulator RATE and FINE set the amount of feedback.
SH-101 original patches IMPORTANT NOTE : Those patches are direct raw conversion from patches the original SH-101 manual (sliders positions), you may have different results than those expected because of differences between Atlantis and SH-101.
01 - FLUTE keyboard controller PITCH CV GATE/TRIG VELOCITY FLUTE Setting the FREQ in the VCF is critical. Adjust the depth of the growl effect by using the MOD knob in the VCF.
02 - CLARINET keyboard controller PITCH CV GATE/TRIG CLARINET out VELOCITY The impression of the sound can be varied by adjusting the FREQ knob in the VCF. Adjust the depth of the vibrato effect with the MOD knob in the VCO.
03 - OBOE keyboard controller PITCH CV GATE/TRIG VELOCITY OBOE out Setting the FREQ and the RES knobs in the VCF and the PULSE WIDTH knob in the VCO is particularly important.
04 - TRUMPET keyboard controller PITCH CV GATE/TRIG VELOCITY TRUMPET out There will be a delicat change of the tone color by slightly adjusting the ENV knob in the VCF. Also, you can obtain the Trumpet sound you prefer by controlling the ENV and the FREQ in the VCF.
05 - HORN keyboard controller PITCH CV GATE/TRIG VELOCITY HORN out There will be a delicat change of the tone color by slightly adjusting the ENV knob in the VCF. Also, you can obtain the Trumpet sound you prefer by controlling the ENV and the FREQ in the VCF.
06 - TUBA keyboard controller PITCH CV GATE/TRIG VELOCITY TUBA out Play with the TRANSPOSE switch DOWN. The setting of the attack is particularly important. Adjust the ENV in the VCF as well.
07 - VIOLIN keyboard controller PITCH CV GATE/TRIG VELOCITY VIOLIN out By adjusting the FREQ into the VCF, you can produce both soft and hard sounds. (Set the PORTAMENTO mode switch to AUTO and the PORTAMENTO time knob to around 3, and use the [SINE] LFO knob to produce a vibrato effect.) If you add the [PWM], the impression of the sound will slightly change.
08 - ELECTRIC BASS GUITAR keyboard controller PITCH CV GATE/TRIG ELECTRIC BASS GUITAR out VELOCITY Play with the TRANSPOSE switch set to L. The impression of the sound varies depending how you set the FREQ and the ENV knobs in the VCF.
09 - HARPSICHORD keyboard controller PITCH CV GATE/TRIG HARPSICHORD out VELOCITY The tone color alters drastically depending how you set the PULSE WIDTH in the VCO. Please try the LFO and the ENV modes as well.
10 - ELECTRIC PIANO I keyboard controller PITCH CV GATE/TRIG VELOCITY ELECTRIC PIANO I out The tone color is determined by the setting of the FREQ and the ENV knobs in the VCF.
11 - ELECTRIC PIANO II keyboard controller PITCH CV GATE/TRIG VELOCITY ELECTRIC PIANO II out Adjust the depth of the growl by using the MOD in the VCF.
12 - ACCORDION keyboard controller PITCH CV GATE/TRIG ACCORDION out VELOCITY The tone color varies depending on the mixing portions of the SOURCE MIXER. Also, the setting of the FREQ in the VCF affects the tone color.
13 - XYLOPHONE keyboard controller PITCH CV GATE/TRIG XYLOPHONE out VELOCITY Setting the FREQ and the RES knobs in the VCF is important. (Pressing simultaneously 2 keys with the Arpeggio on might be interesting.
14 - VIBRAPHONE keyboard controller PITCH CV GATE/TRIG VELOCITY VIBRAPHONE out The tremolo effect is obtained by this setting of the MOD in the VCF.
15 - GLOCKENSPIEL keyboard controller PITCH CV GATE/TRIG VELOCITY GLOCKENSPIEL out Pay special attention to the setting of the FREQ and the RES knobs in the VCF. (This will sound most realistic within the highest octave of the keyboard.
16 - CLAVES keyboard controller PITCH CV GATE/TRIG VELOCITY CLAVES out Pay attention to the setting of the FREQ in the VCF, and the Decay Time and the Release Time of the ENV.
17 - SYNTHE DRUM keyboard controller PITCH CV GATE/TRIG VELOCITY SYNTHE DRUM out Also, it might prove interesting to set the WAVEFORM in the MODULATOR to [TRIANGLE] or [SQUARE], the MOD in the VCF to around 5, and the RATE in the MODULATOR to high.
18 - FUZZ GUITAR keyboard controller PITCH CV GATE/TRIG VELOCITY FUZZ GUITAR out The impression of the sound varies depending how you set the [SAW] in the SOURCE MIXER.
19 - FUNKY keyboard controller PITCH CV GATE/TRIG VELOCITY FUNKY out The tone color widely alters by adjusting the FREQ and the ENV knobs in the VCF.
20 - JAZZ ORGAN I keyboard controller PITCH CV GATE/TRIG JAZZ ORGAN I out VELOCITY To add a key click sound, control the VCF with the ADSR all set to zero. The level of the key click sound is adjusted with the ENV in the VCF.
21 - JAZZ ORGAN II keyboard controller PITCH CV GATE/TRIG VELOCITY JAZZ ORGAN II out The self-oscillation of the VCF is the sound source as well as the VCO and the SUB Oscillator. The self-oscillation sound of the VCF should differ from the VCO's by an octave, a third or a fifth.
22 - EFFECT SOUND I keyboard controller PITCH CV GATE/TRIG VELOCITY EFFECT SOUND I out Adjust the Decay time and the Release Time in the ENV.
23 - EFFECT SOUND II keyboard controller PITCH CV GATE/TRIG VELOCITY EFFECT SOUND II out The VCO is modulated with the Noise. Adjust the MOD in the VCO.
24 - FUNNY CAT keyboard controller PITCH CV GATE/TRIG VELOCITY FUNNY CAT out It is most desirable to play in a non-legato manner. Set the Decay Time in the ENV to 3 and the Sustain Level to 2, and the impression of the sound will change.
25 - PULSAR keyboard controller PITCH CV GATE/TRIG VELOCITY PULSAR out The tone color varies drastically depending on the position of the FREQ in the VCF.
26 - GONG keyboard controller PITCH CV GATE/TRIG VELOCITY GONG out The tone color varies drastically depending on the position of the FREQ in the VCF.
27 - FUNKY BASS keyboard controller PITCH CV GATE/TRIG VELOCITY FUNKY BASS out The tone color changes drastically depending how you set the FREQ, RES end ENV in the VCF.
28 - SYNTHE VOICE keyboard controller PITCH CV GATE/TRIG VELOCITY SYNTHE VOICE out Adjust the FREQ in the VCF as you like. Also, it might prove interesting to add a slight portamento effect.
29 - WHISTLE keyboard controller PITCH CV GATE/TRIG VELOCITY WHISTLE out It may be interesting to add a vibrato effect by using the [SINE] LFO MOD knob (in the Controllers section). Also, a slight portamento effect may work effectively.
30 - BARKING keyboard controller PITCH CV GATE/TRIG VELOCITY BARKING out If setting the Sustain Level in the ENV to around 7, you can obtain a howling sound.
31 - CHIRPING keyboard controller PITCH CV GATE/TRIG VELOCITY CHIRPING out It makes the sound more realistic to slowly move the RATE slider in the MODULATOR up and down.
32 - WIND keyboard controller PITCH CV GATE/TRIG VELOCITY WIND out (Turn the HOLD button on.) The impression of the sound varies depending on the position of the RES in the VCF.
33 - SURF keyboard controller PITCH CV GATE/TRIG VELOCITY SURF out (Turn the HOLD button on and) adjust the MOD end the ENV knobs in the VCF.
34 - STEAM LOCOMOTIVE keyboard controller PITCH CV GATE/TRIG VELOCITY STEAM LOCOMOTIVE out (Turn the HOLD button on.) The impression of the sound differs depending how you set the FREQ and the ENV in the VCF, and which key you are pressing.
35 - MACHINE GUN keyboard controller PITCH CV GATE/TRIG VELOCITY MACHINE GUN out Setting the FREQ end the RES knobs in the VCF is a delicate task. Please adjust them while actually listening to the sound.
36 - SPACE SOUND I keyboard controller PITCH CV GATE/TRIG VELOCITY SPACE SOUND I out It may be interesting to set the Attack Time in the ENV to 10.
37 - SPACE SOUND II keyboard controller PITCH CV GATE/TRIG VELOCITY SPACE SOUND II out (Turn the HOLD button on.) If you turn up the [PWM] in the SOURCE MIXER, the impression of the sound will slightly differ.
38 - BOAT keyboard controller PITCH CV GATE/TRIG VELOCITY BOAT out By pressing the lowest key, you can obtain the most realistic engine sound of a boat. Adjust each knob in the VCF.
39 - THUNDER keyboard controller PITCH CV GATE/TRIG VELOCITY THUNDER out SH-101 original patches - 39
40 - RANDOM NOTES keyboard controller PITCH CV GATE/TRIG VELOCITY RANDOM NOTES out SH-101 original patches - 40
