Semblance / 4Voice user manual english analogue solutions Semblance/4Voice V2 e&oe (c) 21-10-2004 1
Contents Note About This Manual .............................................................3 SPECIFICATION ...........................................................................4 INTRODUCTION ...........................................................................7 APPLICATIONS ............................................................................7 SAFETY INSTRUCTIONS ............................................................8 INITIAL TUNING ................................................
Note About This Manual This manual is for the Semblance synthesiser, but includes a section for the 4Voice version. As the 4Voice is literally four Semblances in a rack with a few extras, it is not neccesary to duplicate the information. Instead we have just added an addendum to outline the additional features of the 4voice. The main voice architechture of both are identical.
SPECIFICATION Brief Overview: Semblance / 4Voice is a self contained TRUE analogue synthesiser. The voice circuitry is entirely analogue, using all discrete and op-amp components. There is no voice DSP happening! Semblance / 4Voice has a similar sound and specification to the classic Oberheim SEM, but with many improvements such as MIDI, Noise, more modulation. Note however, Semblance is not intended to be and is not a clone of the SEM.
Sample and Hold For random modulation effects MIDI to CV Converter 16 bit high resolution with auxiliary controller CV2 output Many modulation possibilities. Rotary controls: 24 Rotary switches: 6 Push button: 2 LEDs: 4 Jack sockets (6.35mm, mono); 3 MIDI Sockets; 2 Rugged steel contruction 4Voice Additional Features; MIDI Poly mode, to allow all 4 voices to be played as one poly synth. Master Mixer Mono audio mixer with master level, headphone and main output.
Semblance Physical Specs; Dimensions: Height: 110mm Width: 242mm. Depth: 275mm Weight: 2.3Kg Power: Uses external 15VAC, 500mA mains adaptor, 2.1mm DC type barrel plug. Accessories: Manual, Mains adaptor (230v UK or Euro type). 4Voice Physical Specs; Dimensions: Height: xmm Width: xmm. Depth: xmm Weight: xKg Power: 115V 60hZ / 230v/50hZ, filtered internal power supply, IEC socket. Accessories: Manual, IEC mains lead (230v UK or Euro, or 115V USA).
INTRODUCTION Congratulations on buying the Semblance synthesiser. Semblance is part of the Analogue Solutions range of analogue music equipment. Semblance is a precision electronic musical instrument. It combines all the often needed music electronic circuitry to make a music synthesiser in one compact module. No compromise has been made with the construction of Semblance.
SAFETY INSTRUCTIONS Please read carefully before using: • Semblance: only use the correct power adaptor - 230V (or 115V whatever your country needs). • 4Voice: ensure the correct voltage is selected on the bottom of the synth. 115V or 230V depending on your supply. Disconnect the power cable before changing. • Never handle the adaptor/mains cable with wet hands • Never excessivly bend the adaptor/mains cable or get it trapped or place heavy objects on it. If the cable becomes damaged, replace it.
The following sections apply to the Semblance specifically, but in general also to the and single voice of the 4Voice too. INITIAL TUNING Once the MIDI and audio connections have been made it may be neccessary to tune in the VCOs to the rest of your music set-up. Allow a five minute warm up time. First set up the controls of Semblance to make a simple sound. It is usually best to leave the VCA at ON. Turn VCO2 to zero volume so you can only hear VCO1. Play, say middle C on the keyboard.
VCO1 The voltage controlled oscillators (VCOs 1 and 2) produce the raw audio waveform usually used as the initial source for sound creation. They provide cyclic audio waveforms that can be pitched. VCOs usually receive treatment from the VCF to turn their basic tones into pleasant sounds. FINE TUNE Controls fine pitch adjustment of VCO1. Use this to tune VCO1 to your other instruments or VCO2. TUNE Controls the course pitch of VCO1. Range is about +/- 2 octaves.
MODULATION SOURCE rotary switch This selects the modulation source for either PWM or FM and is routed to the control above. The source options are; EG1 EXT1 LFO VCO2 Square wave for pitch sweeps. Good for percussion sounds for sound effects and additional modulation for vibrato and trill effects for frequency modulation effects Select the source that you want to use to modulate PWM/FM. PULSE WIDTH This control allows manual shaping of the pulse wave output.
MODULATION This controls the amount of modulation to either pulse width or pitch from the modulation source selected by the SOURCE switch. Turn this knob clockwise in increasing amounts to apply pulse width modulation (PWM) to the square wave. This will have the affect of thickening up the VCO sound. Extreme settings of modulation may result in the sound cutting out. Turn this knob anti-clockwise in increasing amounts to apply frequency modulation (FM) to VCO2.
Oscillator sync is where the master signal will reset the waveform of the slave signal each time the master waveform starts a new cycle. Try the different settings and listen to their effect. Yo may have to modulate the pitch of either VCO1 or VCO2 to enhance the effect. There is a balancing act between the pitch of the two sound sources (usually the 2 VCOs) to get a good effect, once found you'll know you've found it! NOISE GENERATOR The noise generator produces white noise.
to the mixer. Turning the control anti-clockwise in increasing amounts sends VCO2s sawtooth wave signal to the mixer. In a central position no signal is sent from VCO2 to the mixer. Noise/EXT1 level Turning the control clockwise in increasing amounts sends the signal (if any) coming in off the rear panel EXT1 socket to the mixer. Turning the control anti-clockwise in increasing amounts sends white Noise to the mixer. In a central position no signal is sent from the Noise generator or EXT1 to the mixer.
RESONANCE Resonance is a feature of adding feedback to the filter circuit. The output of the filter is fed back into the filter input. Resonance sets the level of feedback. As the control is increased to higher levels the filter will self-oscillate. The oscillation frequency is set by the cut-off control. Use Resonance to alter the tone of the filter effect. It can be used to create 'squiggy' sounds and 'pulse hits'.
control. NOTCH This sets the relative mix between the low pass and high pass filters that is fed to the FILTER TYPE selection switch NOTCH position (see below). FILTER TYPE rotary switch This selects the modulation source that will affect the filter cut-off. There are 4 types of filter; LOW PASS LPF filter - signals above the cut-off frequency are attenuated 12dB/octave. BAND PASS BPF filter - signals above and below the cut-off frequency are attenuated 12dB/ octave.
ENVELOPE GENERATORS Manual TRIGger button Press this to manually trigger the envelopes (i.e. audition the synth). The pitch applied to the VCOs will be the last MIDI note received. (See MIDI for MIDI button use), LED indicators These will turn on each time the EGs are triggered. EG1 ASR EG1 is an ASR (attack / sustain / release) envelope generator. Use it to modulate various parameters of the synthesiser. EG1 is generally assigned for use with modulating VCO1 and the filter cut-off.
EG2 ASR EG2 is just the same as EG1. EG2 is generally assigned for use with modulating VCO2 and the VCA. ATTACK Controls the Attack time. This is the rate at which the envelope signal will take to reach full level when the MIDI note/key pressed. DECAY Controls the Decay or the Release time - the time it take the envelope signal to return to zero when the key is released. SUSTAIN Controls the level the envelope will hold at when a key is pressed and the attack cycle has completed.
envelope level is in turn controlled by CV2 (MIDI). This allows velocity/controller dynamics to change the volume. If CV2 source is MIDI volume (controller 7) then MIDI volume changes can be realised. GATE When GATE is selected, the MIDI note on/off information is used to modulate the VCA. With this, the VCA level is either off or full on. The audio envelope would be like an organ's, with no attack or decay time. ON When ON is selected, the VCA is left permanently on at full level.
MODE This sets the modulation source that is routed to 'LFO' points for modulation selection. The options are; SQUARE wave TRIANGLE wave MIDI control (CV2) SAMPLE AND HOLD Sample and Hold (S+H) is a flash term that in this instance basically means a modulation is created that has a new random signal level each time the LFO completes a cycle (each time the LFO LED lights up a new modulation level is set).
REAR PANEL (Semblance) analogue solutions Semblance/4Voice V2 e&oe (c) 21-10-2004 21
REAR PANEL DETAILS The rear panel is shown above and detailed below; POWER IN This unit requires a 15v AC, 500mA wall adaptor. The socket requires a standard 2.1mm DC type plug. Note, the adaptor output must be AC not DC. DC will not work. MIDI IN Plug your MIDI cable in here. Connect this to the MIDI out or thru of your MIDI controller. MIDI THRU The MIDI data coming into the In socket is copied to the Thru socket.
REAR PANEL AUDIO CONNECTIONS The main signal output is on the rear panel. Connect this socket to a spare mixing desk input channel. If you want to feed external signals into Semblance, use the rear panel EXT1 socket. Maybe hardwire if from your desk's effect send. It is recommended to keep your MIDI and CV/audio cables as short as possible to keep the signal quality as high as possible. We recommend no more than 3 metre cable lengths. Semblance SOUND SOURCE Synth, sampler, guitar, etc.
NO SIGNAL? Check; Your mixing desk / monitoring equipement is on and working correctly. Check Semblance is switched on. Check it is connected to your monitoring equipment correctly and that the cable is not faulty. Ensure the output volume is high enough. Ensure the mixer level controls are turned to some sound source like the VCOs or Noise. Certain extreme filter settings may filter out all of the signal or produce low level signals. Try adjusting the filter cut-off.
Trimmers There are 3 trimmers per VCO, arranged in a vertical line accessed through small holes in the top panel. Top trimmer is Scale, Middle is Hi-Track, bottom is Tune. VCO1 1/ Monitor VCO1. 2/ Turn Fine and Course Tune controls to centre. 3/ With MIDI connected, play C4. 4/ Monitor the VCO1 output, and adjust bottom trimmer (tune) until the pitch of VCO matches your reference of a 'C' note (reference using guitar tuner, digital keyboard, etc.). 5/ Play C3.
MIDI CONNECTIONS Semblance can make sounds all by itself by leaving the VCA ON, but it is best played with a MIDI keyboard (or other MIDI device). Connect MIDI Out (or Thru) from your MIDI controller device to the MIDI In of Semblance. Additional MIDI devices can be daisy chained from Semblance's MIDI Thru socket. Ensure Semblance is set to the appropriate MIDI receive channel.
To Set MIDI Receive Channel Press and hold the Program button. Then do either; Press a MIDI key. This will set and store the receive channel to the channel received in the note data. CV2 will set itself to Velocity. Release the Program button. Or Move a Continuous Controller. This will set and store the receive channel to the channel received in the CC data. CV2 will set itself to the CC number received. Release the Program button.
4Voice front and rear (overleaf) analogue solutions Semblance/4Voice V2 e&oe (c) 21-10-2004 28
analogue solutions Semblance/4Voice V2 e&oe (c) 21-10-2004 29
4Voice Supplement Manual This section outlines the additional features of the 4Voice over the Semblance version. INTRODUCTION The 4Voice is literally four Semblances put in a rack-mount case. Their outputs are additionally connected together through a unity gain mixer. The MIDI for each is linked up to enable a polyphonic mode. Using each voice is basically the same as for using a Semblance. Using the Master Mixer should be obvious to even the complete novice.
NOTE PRIORITY There are many ways to deal with how to deal with assigning notes to voices (or voices to notes, which ever way you prefer to say it). No one way is neccessarily better than any other. The different methods have their own advantages, and personal preference will be different for different people. In an ideal world, all note assignment modes would be employed. But you rarely see this on even the most expensive polysynths. (Here I am apply to those with a low number of voices.
Specification subject to change without notice. Warranty Semblance / 4Voice 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.
Semblance ‘user manual’ Analogue Solutions web: www.analoguesolutions.com web: www.analoguesolutions.co.uk email: semblance@analoguesolutions.
