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Includes 2 independent GLIDE / SLEWLIMITER ( 1 msec. to 12 sec ) in and outputs and linear frequency modulation FM.
The basic waveforms are: pulse and saw with sync in and out for each VCO.
The COARSE frequency range is 31 Hz up to 3300 Hz without any modulation.
The sound is inspired by the legendary Oberheim SEM analog synth module from the 70th.
Any kind of input signal is allowed! The offset of the waveshaper is adjusted by the VCO 1 FINE / WAVEPRO knob.
You can modulate symmetrie and frequency of the inputsignal or blend from rising sawtooth over triangle to falling sawtooth.
This is the main interface to the outside world. Using patchable ¼" stereo jack sockets, the TINYSIZER connects to other systems. The sockets are laid out as bi-directional input / output connectors.
Each of the auxiliary jacks can be individually patched for TIP and RING connections. For instance, an external audio signal to be processed by the VCF can be assigned to AUX 1-TIP and LFO 3 triangle output to AUX 1-RING, using a stereo split-cable with AUX 1. It is also possible to use the jacks in a normal mono mode.
In total, this architecture results in 10 different routings to interface with external systems. VCA 4 SIGNAL OUT is hard wired to the output signal of VCA 4 and cannot be reassigned. Other "Standalone Synthesizers" may have some more jacks - but not soooo much more :-)
This are 'little helpers`in the analog modular system to support a normal life. At least, i am thinking to put 2 functions to some knobs that work similarlly. It is nice to couple the SUSTAIN from envelope 1 out and buffer it to a CV - SOURCE (control voltage source).
The regulated 0 to 5 volts can use for VCA opening, modulations, similar mastertune for VCO transpose or invert it with the mixer to offset any kind of signals. In general, this module will be usefull whenever you need a manually controllable CV on the modules. Very helpfull :-)
It will come up with an „Open Source Profile“. It means you can plug everything you want in every place. All parameters can be mix in real time with out scratches and distortions.
The big advantage is the mono to stereo conversion, big reverb rooms and very large delays.
The best way to rape all audio signals.
The LFO 1 & 2 are the same circuit design.
The LFO 1 and 2 includes now speedswitches with a high-mid-lo adjustment. The LFO frequencies can be turn now from 2,5 minutes to 720 Hz! The LFO 1 & 2 are adjustable in speed and symmetrie of the waveform. You can adjust from rising sawtooth over triangle to falling sawtooth.
The same will occoure with the square / pulse waveform ( 0 to + 5 volts). The 2 LFO´s are syncable and can use for envenlopes, LFO reset and Midi sychronisation... Each LFO includes a bicolour LED to indicate the rise and fall of the waves.
All ramp outputs (- 5 v to + 5 volts) have a output inverter to mirror the outgoing waveform. The LFO 3 is going into audio range (0,5 Hz to 310 Hz) and have a FM - CV input for the speed modulation, cool for drumsounds. The 2 waveforms are: triangle and square. The voltage output is here - 5 v to + 5 volts.
The TINYSIZER Midi Section is a MIDI-CV / SYNC Interface, with which you can control any module which has CV and gate / trigger input sockets by MIDI.
It provides a pc editor, 4 CV outs, CV 1 MIX IN to mix pitchbend or other signals to the CV 1, 6 GATE outputs (4 gates for controller funktion) The interface also has a clock output, controlled by MIDI clock. This can be divided down to provide a variety of clock outputs, and enable older sequencers or drum machines to be synced to Midi with GATE 5 start and stop trigger, GATE 6 for the midi clock signal.
The red LED show all the receiving Midi data and the incomming gates,sync or trigger signals. Midi channels can be learn by touching the pushbutton switch.
(The firmware v2.71 is the Basic in the Tinysizer.)
4 CV outputs + 6 Gate/Trigger outputs assignable to MIDI messages
Voltage range CV 0/+10V - Gate =0/+5V TTL logic
1V/Oct Pitch CV or Table of 48 independantly tunable notes
Midi Clock integrated with divide by N and sequencer Start/Stop/Continue Gate/Trigger
Trigger /Gate mode with adjustable pulse time for all Gate ouptuts
All parameters are editables by System Exclusive messages
"MIDI Learn" to setup quickly MIDI channel, reference note & controler
Flash Memory to keep config setup when power is off.
Config software (PC) available to edit MCV876's setup by SysEx message
It is designed as a 2 way mixer with independent outputs. A normal mixer is going to a single end. Here you can get every audio or modulation signal in seperat ways with single inverted channels, i.e.: you will use the IN 1 input and adjust the incomming signal with the IN 1 pot.
By this way you will receive a mix signal at the MIX 1 OUT, an inverted signal at the MIX 1 OUT (mirror), a signal at the ALL OUT and a overload distortion Signal at ALL OUT X 10.
The MIX 2 have the same behavior and can also handle audio and CV signals. Very nice for offset adjustment, crossfade and panning modulation. ok also for audio to :-)
Consists of three lines of multiples.
These are marked with A, B, C.
It has eight (A), six (B) and four (C) inter-connected sockets, so that you can patch more inputs or outputs into any module.
Multiples are useful to distribute a single signal like CV, audio or others to multiple receivers.
You want to connect CV 1 from the Midi interface to each VCO? You would like to patch keytracking to both VCF and LFO 3? No problem :-)
Includes 2 different kind of modulation and audio signals. The white noise produces a signal that includes all frequencies from the whole audio spectrum. Excellent for wind, flute´s and other effects that includes some noise in the sound.
This can be used as an audio source or modulation signal on every place. The pink noise is a filtered signal from the white noise with a lower spectrum and looks more like an envelope signal in the scope. It is very nice for some industrial and effect sounds.
White and pink noise can be used as audio sources, and also, in conjunction with a sample & hold module, as control voltages.
NOTE: The most problem on noise generators into synthesizers is the 'bleed through`effect in the audio ways. That means, that you have some noise at the audio outs.
The TINYSIZER is very far from this..
The ring modulator is a powerfull tool to generate metallic sounds and robot effects.
The core function of this module is modulation of the frequency FM of two input signals (X,Y) and their respective audio waveforms.
The resulting signal will contain both sum and difference of the input signals while suppressing the original signals at the same time.
Note: This TINYSIZER ring modulator module implements a very stable and highly accurate adjusted offset circuitry to generate ringmodulation effects without noise or cross-talk.
The sample & hold module generates a random control voltage CV modulation signal. It is designed to produce 'staircase' voltages. The CV output looks at the scope like a pulse wave with different jumping amplitudes.
The signal present at the sample input is sampled at a rate set by the signal at the S & H TRIGGER input, and held at that voltage at the Sample and Hold output. The exact shape of the staircase depends on the sort of signal at the sample input: an envelope produces rising or falling staircase modulation, white and pink noise or audio signals produce random patterns.
Most sounds and effects are living from these modulations.
Like the lovely R2D2 from starwars :-). With its S & H VCO frequency modulations FM.
The input for the 3 suboscillators is fix by the VCO 2 SAW output. When you mix the SUB with the original signal the sound become a lot of pressure.
The SUB 1 out: - 1 oct. lower square signal from VCO 2.
The SUB 2 out: - 2 oct. lower square. The SUB 3 is coupled with Sub 2 and generates a 25% pulse signal.
When you run the VCO 2 in low frequencies, the SUB 2 will act like a gate / clock and you can sync LFO´s or trigger envelopes.
Unspectacular they may be, but VCAs are very important modules used for controlling modulation depths as well as audio levels. Tinysizer has a total of 4 linear VCAs, one of which includes a pair of knobs on the panel:
VCA 1, 2 and 3 all have equivalent circuitry and exactly the same set of inputs and outputs. VCA 4 has more functionality: The amount of amplification is determined by a voltage at the CV input (patch point 15) as well as by a bipolar OFFSET and overall GAIN.
Note: The output of VCA 4 is connected directly to the VCA4 SIGNAL OUT jack socket - the only "prepatch" in the entire system.
Although this socket will often be used as Tinysizer's main audio output, remember that VCA 4 can also handle control voltages -
in which case one or two auxiliary outputs can be used for the audio signal(s)
This is the mainout of the TINYSIZER for audio (or control voltages) signals, or use it for your headphone.
The filter is the heart of any subtractive synthesizer, and Tinysizer's 12dB/oct, multi-mode design (based on the classic Oberheim SEM state variable filter) is one of the smoothest and most flexible available.
It offers three separate outputs (low pass, band pass, high pass), and resonance is voltage-controllable.
Distortion is an important characteristic of filters. I have taken special care to make the Tinysizer filter react very "musically" in this respect -
low level input remains pure, mid-level input becomes nicely crunchy, while high level input is strongly overdriven without losing resonance.
The TINYSIZER audio gate, envelope follower and microphone preamp analog modular synthesizer module.
This special section is dividet into 3 parts. The first is the high gain microphone preamp. REASON? It is very hard to connect a mic, guitar or other low signal sources to a modular because of the lacking output voltage.
The mic preamp will help and amplifired the low signals for modular levels.
The second part generates a envelope that follows the original input signal amplitude with a 0-5 volt modulation signal.
The third is the audiogate processor. It generates a 5 volt gate for every signal that reaches the threshold adjusted by the SENSE knob. The red LED show up the audiogates and the threshold adjustment.
Includes 2 similar envelopes with the classical A D S R, attack decay susutain release design. The only difference here is the response time in acting. The ENV 1 is made for bright sounds and smooth synthesizer pads. The second one for the snappy punch with drums and bleeps.
Every envelope generator have its own inverter output to create pannings and mirror modulations.
A blue LED indicate the envelope trigger and levels.
Envelope min / max response times:
The "SLOW" ENVELOPE
1 ATTACK 1= 3 msec. to 20 sec., DECAY 1= 3 msec. to 25 sec., SUSTAIN 1= 0 to 5 Volt, RELEASE 1= 3 msec. to 35 sec.
The "FAST" ENVELOPE
2 ATTACK 2= 0,8 msec. to 2 sec., DECAY 2= 0,8 msec. to 4 sec., SUSTAIN 2= 0 to 5 Volt, RELEASE 2= 0,8 msec. to 8 sec.
It is very important for me to include two complete envelopes to this synth because they are the most usefull for time modulations and sound design.