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vladosh



Joined: Aug 02, 2010
Posts: 422
Location: macedonia
Audio files: 6

PostPosted: Fri Feb 01, 2013 6:25 am    Post subject: Reply with quote  Mark this post and the followings unread

VCO with temperature compensation subcircuit presented by Juan Bermudez in his book Nueva Genration de instrumentos musicales Electronicos


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vladosh



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PostPosted: Fri Feb 01, 2013 7:38 am    Post subject: Reply with quote  Mark this post and the followings unread

Quadrature Trapezoid Voltage Controlled Oscillator by J. Donald Tillman , the full article on this circuit is featured on the website : http://www.till.com/articles/QuadTrapVCO/index.html ,short excerpt from the description given there :

One of the goals of this project is to create a break with tradition and provide an alternative VCO design with new features and new modes of operation. The VCO is the primary source for sounds and modulation sources in electronic music synthesizers, yet it is often said that the filter is the heart of a synthesizer. This is because there are more available variations in filter designs and each filter design has side effects that create an interesting sonic character. I'll claim that this situation is because VCO designs are too much alike, have been stuck in a rut for a few decades and need to jump in a new direction to be more imaginative and musically useful. So exploring new territory is important.

make sure you check the math and analysis of the trapezoid waveform : http://www.till.com/articles/QuadTrapVCO/trapezoid.html

Schematic is the core of the Quadrature Trapezoid Voltage Controlled Oscillator


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vladosh



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PostPosted: Fri Feb 01, 2013 9:32 am    Post subject: Reply with quote  Mark this post and the followings unread

VCO 4069 by Rene Schmitz ,visit his page for more details on this module http://www.uni-bonn.de/~uzs159/index.html from the page :


The circuit presented here is aimed towards simplicity and ease of construction. It can be an addition to a modular system, used in a standalone fashion or as a test oscillator for your bench. I found it interesting to use the gates of a 4069 CMOS inverter instead of opamps. Sort of a VCO complement to the WASP filter elsewhere on this site.


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vladosh



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PostPosted: Fri Feb 01, 2013 9:36 am    Post subject: Reply with quote  Mark this post and the followings unread

Scott Gravenhorst's version of VCO 4069 by Rene Schmitz ,with added linear cv input ,suboctave triangle output and lfo for driving the PWM , more details on his page : http://home1.gte.net/res0658s/fatman/VCO_pwm_tri_suboctave.html


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vladosh



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PostPosted: Fri Feb 01, 2013 10:16 am    Post subject: Reply with quote  Mark this post and the followings unread

VC Multiphase Oscillator by Ian Fritz presented in this thread : http://srv3.electro-music.com/forum/topic-19841-0.html&postdays=0&postorder=asc&highlight= from Ian himself on this circuit :

This multiphase oscillator may be switched between 6-phase and 8-phase operation. Of course by using appropriate subsets of the six or eight signals, 2-phase, 3-phase or 4-phase operation is easily achieved.

The circuit is illustrated below. At first glance this looks like a four-pole filter with feedback. But look again -- it is really quite different and more subtle than that. The difference? This circuit has negative feedback around each individual stage. The feedback resistors are carefully chosen so that the linear part of the system (small signals) oscillates, but just barely. On startup the oscillations build up slowly over dozens of cycles.

At large signal amplitudes the zener diodes begin to conduct, adding additional negative feedback that prevents further growth in amplitude. In other words, large amplitude signals decay over time. The delicate balance between these opposing forces cause the system to perform stable, high-purity sinusoidal oscillations at a finite amplitude. The amplitudes are adjusted by the two "Level" trimmers, which vary the strength of the nonlinear feedback.

The six-pole switch (Sa-Sf) allows a choice between six phase and eight phase operation. Using alternating outputs give three and four phase operation.

visit Ian's homepage for more info on this circuit and demo : http://home.comcast.net/~ijfritz/sy_cir11_68phase.htm


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vladosh



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PostPosted: Fri Feb 01, 2013 11:46 am    Post subject: Reply with quote  Mark this post and the followings unread

4720A Voltage Controlled Oscillator by Paia , get the whole document on construction of this module on Paia Talk : http://www.paia.com/talk/viewtopic.php?f=6&t=191 and this link for troubleshooting guide by Scott Lee : http://www.paia.com/talk/viewtopic.php?f=29&t=209


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vladosh



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PostPosted: Fri Feb 01, 2013 12:33 pm    Post subject: Reply with quote  Mark this post and the followings unread

XR2207 VCO by Professor James J. Clark , the page dedicated to this module with full description ,scope shots ,and XR2207 Datasheet : http://www.cim.mcgill.ca/~clark/diy/jjclark_2207_vco.html , the specifications given there :


Inputs:
PWM (pulse width modulation control)
1V/oct (pitch control)
LinFM (adjustable AC-coupled linear frequency modulation)
ExpFM (adjustable exponential frequency modulation)

Outputs:
Pulse, Triangle, Sawtooth

Panel Controls:
PWM - pulse width modulation amount
FINE - fine pitch offset, roughly 1.2 octave range
COARSE - coarse pitch offset, roughly 5 octave range
LIN FM - linear FM amount
Exp FM - exponential FM amount
PW - pulse width

Size - 3U x 12HP (128.5mm x 60.6mm)

Power Supply Current (max) 35.8mA at +12V, 30.7mA at -12V

Frequency Range: 15 Hz to 7 KHz
Linear Frequency Range (linearity error less than 1%, average 0.13%): 30Hz to 4.2KHz (7+ octaves)


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vladosh



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PostPosted: Fri Feb 01, 2013 1:13 pm    Post subject: Reply with quote  Mark this post and the followings unread

VCO Function Generator Type B - Sine and Triangle from The Synthasystem design by Nyle Steiner ,visit Analogue Realities project page dedicated to the Synthasystem for details on this module ,BoM ,and availability on pcb's .This is the page dedicated to this VCO http://user.xmission.com/~dingebre/VCO_B_Sine_Triangle.html from there ,the description by David M. Ingebretsen who runs the Synthasystem clone project :

This module produces an oscillating signal whose frequency is based on a voltage input. Typically, this is an audible tone, but this module can oscillate from well below hearing to well above. The control voltage input is typically tuned to a 1 volt/octave scale. Two waveforms are available, Sine and Triangle. These two outputs are available at the same time. This module has a very wide useable frequency range from well below audible as a Low Frequency Oscillator to above hearing without re-tuning. Nyle really outdid himself on this module. Very unique and I will say I think it has the best sine wave I've heard.



visit the Synthasystem subforum for further information : http://electro-music.com/forum/forum-189.html


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vladosh



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PostPosted: Fri Feb 01, 2013 3:25 pm    Post subject: Reply with quote  Mark this post and the followings unread

Serge Triple Wave Shaper ,from the notes on http://www.cgs.synth.net/ :

This module is a variation on the 1973 Classic Serge Triple Wave Shaper module.

To quote the 1982 catalog: The Triple Wave Shaper (TWS) is a non-linear modifier which can transform a sawtooth wave into a sine wave. This module incorporates three independent wave shapers for modifying synthesizer waveforms or for processing signals from preamplified instruments. Although originally designed as a wave shaper for our early oscillators, this module has been found to be a excellent modifier of electronic and acoustic sounds, and is highly recommended for subtle timbrel modifications beyond the range of simple oscillator/filter patches.

Of course, it's uses go beyond this. When used in series, they can be used to add folds to the wave shape. Each extra wave shaper you put in series adds a fold to the waveform. As such, quite a lot of tonal variety/harmonic enrichment can be achieve.


visit : http://www.cgs.synth.net/modules/cgs85_tws.html for more details on this module ,BoM ,demonstration and pcb's


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vladosh



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PostPosted: Fri Feb 01, 2013 3:34 pm    Post subject: Reply with quote  Mark this post and the followings unread

Saw Animator by Yves Usson ,web page with details ,pcb layouts ,bill of materials and demo : http://yusynth.net/Modular/index_en.html

From the description given by Yves : The Saw Animator module is a very interesting module when you whish to get that FAT sound, usually obtained with two or more sawtooth VCOs, but you are short of VCOs. You can get this typical sound with only one sawtooth VCO, thanks to Bernie Hutchins (JAES, 1981). The Digisound 80 has this wonderful module and Scott Bernardi designed a version of its own. The present module is a somehow simplified but yet efficient version. To get the best of this module, it must be used in conjunction with a mixer. I chose not to integrate a mixer within the module in order to benefit from the dry outputs which are very useful when used with a LFO instead of a VCO. When used with a sawtooth LFO and inputing fixed CVs in the MOD inputs, one can achieve some interesting phase shifted modulators such as quadrature modulation. Well the possibilities are numerous and it's up to your imagination...


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bubzy



Joined: Oct 27, 2010
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PostPosted: Fri Feb 01, 2013 3:40 pm    Post subject: Reply with quote  Mark this post and the followings unread

this is a circuit i accidentally breadboarded while trying to get a comparator working properly.
super simple and probably been done before, triangle to square wave shaper.


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vladosh



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PostPosted: Fri Feb 01, 2013 3:43 pm    Post subject: Reply with quote  Mark this post and the followings unread

Ken Stone's Wave Multiplier ,page with details ,BoM , and pcb's http://www.cgs.synth.net/modules/cgs29_wave_multiplier.html from the notes there :

The idea for this project came from the fabled middle section of the Serge wave multipliers. At the time I designed this, I had never seen or heard one of these units, nor had I seen its schematic diagrams, but armed with descriptions and suppositions by various people who had seen them, and a couple of photos of CRO traces from the output of the module, I decided to design myself one.

The result as displayed on the CRO is very close to those of the Serge, with the exception of the final fold, where, in my design, the wave maintains more of its original shape. It can produce the most amazing, harmonically rich, filter-like sweeps.


In addition to this multiplier, there are two more simple multipliers, one created by adding lag to the feedback path of an op-amp, the other being the "Nonselective Frequency Tripler" by R. Lockhart. Its functionality is not unlike Moog's single transistor sawtooth to triangle wave converter. It's intended purpose is to convert a signal into another of three times the frequency. To do this it expects a +/-1.2 volt triangle or sine wave, and outputs a +/-0.4 volt complex waveform. Unfortunately, due to the uneven spacing of the frequency multiplied waveform, it does not sound like it is a fifth above the incoming signal. This of course in of no particular concern in this application, as the purpose of this module is to create a complex harmonic structure from a simple input, not to triple the frequency. See the Simple Wave Folder for further details on this circuit.


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vladosh



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PostPosted: Fri Feb 01, 2013 3:56 pm    Post subject: Reply with quote  Mark this post and the followings unread

Digisound 80-20 Waveform Multiplier ,more info and full documentation here : http://www.digisound80.co.uk/digisound/modules/80-20/80-20.htm


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vladosh



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PostPosted: Sat Feb 02, 2013 3:57 am    Post subject: Reply with quote  Mark this post and the followings unread

Juergen Haible's Living VCO ,the page dedicated to this module is here : http://www.jhaible.de/living_vcos/jh_living_vcos.html ,thread on the forum : http://electro-music.com/forum/topic-30749.html
This is how Juergen Haible describes this VCO design :

My goal was to build a set of VCOs that have the untamed bass range power of early EMS and Moog VCOs, but which are tracking a keyboard voltage over 5 or more octaves nevertheless. I found that "untamed" Beating in the bass range and controlled beating in higher octaves is not possible with standard exponential 1V/Oct oscillators. A good part of that special sound of early Moog and EMS oscillators is not because of any "randomness", "unstability", "instability" or "noisyness", as so often is said. A good deal of their behavior is because of that, but it is not the whole story. There are also some very deterministic factors in these old circuits which have been unpleasant side effects for the designers back then, but which are worth a closer analysis when we're designing a musical VCO today. This is implemented in form of three "linear detune" potentiometers on the JH-5A VCOs.


Features

Discrete (no opamp), noisy servo in expo converters (VCS3 feature)
Emulation the low frequency behaviour of linear (Hz/V) VCOs and of leakage (EMS VCOs)
Capable of very pleasant beat rates between the VCOs over the entire keyboard range
Allows rich and powerful animated bass sound, and smooth "phasing" slow-beating sound in higher octaves
Discrete (no opamp) pulse width modulators (capable of smooth audio rate PWM)
Limited PW range allows PWM overmodualtion (CS-80 feature)
Low level (Moog) or high level (MOTM) outputs
VCO driver with two CV inputs, LFO oscillator with limited speed range and voltage controlled amount
Accepts potentiometer (passive modulation wheel etc.) or CV for vibrato control
Exponential (RC-Shaped) Portamento
Either one shared, or 3 individual potentiometers for Initial Pulse Width


visit his page for detailed analysis : http://www.jhaible.de/living_vcos/jh_living_vcos.html


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vladosh



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PostPosted: Sat Feb 02, 2013 4:06 am    Post subject: Reply with quote  Mark this post and the followings unread

Sawtooth VCO by Ian Fritz ,visit his page for in depth overview on this circuit http://home.comcast.net/~ijfritz/sy_cir2.htm ,from the description given there :

The figure above shows my current implementation of the popular integrator-with-reset sawtooth VCO. Very briefly, the circuit operates as follows. Capacitor C2 and op amp OA3 form an active integrator which is driven by current from an exponential current source built around op amp OA2 and the differential transistor pair Q1-Q2. When the integrator output reaches the 4-V threshold set by OA4, the comparitor U1 puts out a short voltage pulse which turns on the FET switch Q3, thereby discharging C2. The charging cycle then begins again. The input control signals are summed and scaled by OA1, with temperature compensation provided by R11. Finally, OA5 scales the output to a 10-V peak value. The design is a modification of the original circuit of Terry Michaels (Electronotes, v. 62).

The main goals of the present design were to reduce the temperature drift and to improve speed and tuning accuracy by employing modern op amps. For improved stability and temperature drift, on-board +/- 6.9 V regulated supplies were added (circuitry around the LM329 chips in the upper right corner of the figure). These are used to supply the critical voltages in the circuitry for: 1) the coarse frequency control (R3), 2) the reference current in the exponential converter (OA2) and 3) the ramp reset point (OA4). For improved op-amp performance in critical parts of the circuit -- OA1, OA2 and OA3 -- I selected the Burr Brown OPA132. This chip was chosen for its combination of low input current (5 pA), fast slew rate (20 V/usec), high stability and moderate price (under $4).

this design is further discussed on this thread : http://www.electro-music.com/forum/topic-28633.html


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vladosh



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PostPosted: Sat Feb 02, 2013 6:56 am    Post subject: Reply with quote  Mark this post and the followings unread

Soundlab Mark II VCO by Ray Wilson ,visit the Music from outer space - Synth headquarters for details on the Soundlab ,PCB's ,tips on construction and lot more http://www.musicfromouterspace.com/forums.html?CATPARTNO=&PROJARG=SOUNDLABMINIMARKII%2Fpage1.php&MAINTAB=SYNTHDIY&VPW=1024&VPH=506 from the notes by Ray Wilson on this VCO :


The Sound Lab Mini-Synth Mark II has two identical VCOs. I will describe the operation of VCO1. VCO2 operates in an identical manner.

Again we see a control voltage summer followed by a voltage to exponential current convertor that looks very similar to the one used for the VCF. In this case we do not invert the sense of the current from the expo current generator. Instead the current that flows into the collector of Q8 is used to cause the integrator which functions as the heart of the oscillator to ramp up at a rate which is directly porportional to the amount of current flowing into the collector of Q8. Again we have the high frequency compensation circuit that helps to mitigate high end oscillator flatness. In this case two factors are compensated for at once. Both the bulk emitter resistance issue of Q8 and the ramp core reset time. (For an excellent article on Log and Exponential (Antilog) Circuits see Bernie Hutchins' ELECTRONOTES S-019) Both of those factors tend to cause the oscillator to become flat at high frequencies (high in this case being above about 2KHz). After the synthesizer if completed you must calibrate the VCO scale factor (using trimmer R49) and high frequency compensation (using trimmer R43). Again it is very important to use a well matched pair of discrete NPN transistors (2N3904, 2N2222, etc) or a chip containing matched NPN transistors (SSM2210 for example). For temperature compensation R59 should be a 2K +3300 ppm temperature compensator. To get things working you can use an unmatched pair of NPN transistors for Q7 and Q8 and a regular 2K resistor for R59. I sell both matched discrete NPN (and PNP) transistors and 2K 2% 1/4 watt +3300 ppm temperature compensators if you need them.


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vladosh



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PostPosted: Sat Feb 02, 2013 7:00 am    Post subject: Reply with quote  Mark this post and the followings unread

Sound Effect Oscillators by Ray Wilson as part of the Synth-DIY Experimenter Board ,page for this project is here with details ,pcb's on this project and BoM : http://www.musicfromouterspace.com/forums.html?MAINTAB=SYNTHDIY&PROJARG=SOUNDLABMINIMARKII/page2.php&VPW=1024&VPH=506 ,from the notes there :

The "Sound Effect Oscillators" are as the name implies basically for sound effects. They are simple oscillators not meant for equally tempered music but as a signal source to produce bird calls, sirens, bells (via intra-oscillator modulation), drones, etc.

I must emphasize again that the oscillator is linear in response to voltage and not logarithmic.


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vladosh



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PostPosted: Sat Feb 02, 2013 7:09 am    Post subject: Reply with quote  Mark this post and the followings unread

Linear VCO and CMOS Clock Driver by Scott R. Gravenhorst

In his note : VCO is less linear then musically desirable ,but will still be acceptable for use with a shift register noise generator ,it is capable of frequencies above the range of human hearing . CMOS logic is powered from + 15 V and Ground.


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vladosh



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PostPosted: Sat Feb 02, 2013 7:21 am    Post subject: Reply with quote  Mark this post and the followings unread

Paia 2720-2A VCO , more on Paia Designs on the Paia website : http://www.paia.com/ visit Paia talk for full documetation on Paia designs ,more info on this vco can be found on obsolete synthesis blog : http://obsolete-synthesis.blogspot.com/2010/01/paia-2720-2-vco-tests.html


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vladosh



Joined: Aug 02, 2010
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PostPosted: Sat Feb 02, 2013 7:25 am    Post subject: Reply with quote  Mark this post and the followings unread

Graphic Oscillator by D.G Walton ,published in E&MM 1983 April .


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vladosh



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PostPosted: Sat Feb 02, 2013 8:14 am    Post subject: Reply with quote  Mark this post and the followings unread

Harmony Generator by Paul Williams published in E&MM October 1981

From the article :

- Fixed accurate harmonies ,unison ,3rd and 5th
- Pitch shift up or down 3 octaves
- Ideal accessory for the synthesist
- Powered by single PP3 battery


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vladosh



Joined: Aug 02, 2010
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PostPosted: Sat Feb 02, 2013 8:30 am    Post subject: Reply with quote  Mark this post and the followings unread

COMPLEX WAVEFORM GENERATOR by Scott Gravenhorst ,follow this link for further details http://home1.gte.net/res0658s/fatman/complex_wave_gen.html as Scott describes the circuit :


This device uses an XOR feedback shift register of 4 bits to generate 15 different repeating patterns of bits. The bits are translated to analog levels and are mixed and amplified. Twisting the mixer knobs changes the characteristic sound quite profoundly. Exactly what any knob does is interdependant on the rest of the knob and switch settings. The switches control the pattern being generated and the pots control the level and phase of the ever toggling parallel outputs of the shift register. The pattern selected will also perform an inherent divide down of the VCO clock to it. For example, you can select a pattern that has 3 states in it's sequence. This selection would provide a complex waveform with a division factor of 3. The VCO would be running at 3 times the waveform frequency, giving a nice perfect fifth relationship. The input was designed to be driven by the VCNGVCO system, which is a FatMan compatible VCO with a CMOS clock driver. The output circuit was designed to drive a FatMan by connecting the output to IC17 pin 3. It would be better, however, to build and connect through a FATMIXER. The schematics for these are in or near the same place you found this. The "reset" switch is there in case you generate an all ones pattern in the shift register. This will cause the generator to be silent. Once reset, the XOR feedback system will function continuously until the switches are again changed. I find the need to use this switch rare.

Power supply design, bypassing and connecting unused CMOS inputs to a rail is your responsibility and is left out of all of my schematics to keep them cleaner and more easy to read.


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vladosh



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PostPosted: Sat Feb 02, 2013 10:43 am    Post subject: Reply with quote  Mark this post and the followings unread

Model 144 Dual Square Wave Oscillator by Buchla from the 100 Series ,from the Buchla historical site http://www.buchla.com/historical/b100/144-squareosc.html described short as :

Two independent oscillators in one unit. Frequencies are continuously variable from 5 cps to 20 kc and may be controlled internally or with externally applied voltages. There is provision for wide band amplitude and frequency modulation.


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vladosh



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PostPosted: Sat Feb 02, 2013 11:48 am    Post subject: Reply with quote  Mark this post and the followings unread

Voltage Processor/Mixer by Nyle Steiner from the Synthasystem , for more details on this module and the rest of the Synthasystem Modular with BoM , PCB's visit : http://user.xmission.com/~dingebre/Synthasystem.html

Quoting from the Synthasystem Manual:

The Voltage Processor is a six input mixer with two outputs. Three of the inputs run through input level pots and the other three have a fixed gain.

DC voltages and or AC signals can be mixed (summed) together and taken out of the output jacks.

The Voltage Processor has two outputs A and B. A consists of 4 output jacks in parallel and output B consists of two output jacks in parallel.

Any signal, no matter what input is used, will appear in output A and B simultaneously but their phase relationship depends upon what inputs are used. When AC signals from separate sources are mixed and taken out of an output it is not, in most cases, important as to what their phase relationships are because a waveform will sound the same whether or not it is inverted. Therefore the polarity markings above the inputs can be disregarded.

When using the voltage processors to mix DC control voltages it is important however to understand how each input treats the input voltage.

The first two inputs are marked A+ B-. This means that a positive DC voltage fed into any of these two inputs will drive output A positive and output B negative in equal amounts simultaneously. This could for example drive two oscillators in perfect contrary motion. One of these two inputs marked VR1 is fed through an input level pot which can turn the input signal to zero. The other input is set at a fixed level.

The next two inputs marked A- B+ do just the opposite of the first two inputs. A positive voltage fed into any of these two inputs will drive output A negative and B positive. One of these is marked VR2 and goes through an input level pot. The other input is set at a fixed level.

The last two inputs marked A+ B+ mean that a positive voltage fed into any of these two inputs will drive both outputs A and B in a positive direction. One input marked VR3 goes through an input level pot. The other input is set at a fixed level. A front panel voltage pot can also be turned on with a switch to feed in a voltage which also drives both outputs A and B in the same direction simultaneously. All oscillators being driven can be shifted or tuned up or down in pitch exactly the same amount by turning this pot.


read the full description here : http://user.xmission.com/~dingebre/Voltage_Processon_Mixer.html


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vladosh



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PostPosted: Sat Feb 02, 2013 12:10 pm    Post subject: Reply with quote  Mark this post and the followings unread

CMOS VCO by Osamu Hoshuyama based on Rene Schmitz design ,more works by Osamu Hoshuyama on his page: http://www5b.biglobe.ne.jp/~houshu/synth/


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