RS370 Synthesizer User Manual: MIDI and CV Controls, Lecture notes of Voice

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RS370 V3.

POLYPHONIC HARMONIC GENERATORPOLYPHONIC HARMONIC GENERATORPOLYPHONIC HARMONIC GENERATORPOLYPHONIC HARMONIC GENERATORPOLYPHONIC HARMONIC GENERATOR

INTRODUCTIONINTRODUCTION INTRODUCTIONINTRODUCTIONINTRODUCTION

The RS370 v3 - which can be differentiated from its predecessor by the second line of annotation under the bottom row of sockets (START, STOP, START/STOP… and so on) is an updated version of the original RS370, with more facilities, a full implementation of wavetable synthesis, and an improved selection of factory sounds.

The principles of its operation are identical to those of the original RS370, but the menu structure is significantly enhanced, so this chapter describes its operation in full, rather than attempting to 'bolt on' the new menus and commands to the information contained in the previous chapter.

Note: All versions of the RS370 can be upgraded to v3.x capabilities by a simple firmware update.

ABOUT WAVETABLE SYNTHESIS

Imagine creating dozens of similar waveforms and placing them in some sort of order in digital memory. Now imagine that you can tell a sound generator to use any one of these waveforms as the basis of a sound, or even to sweep backward and forward through the memory, using one waveform for a fraction of a second, and then the next, and then the next…

MODESMODESMODESMODESMODES

Before starting, it's important to understand that the RS370 offers four modes of operation, and that the menu structure may differ slightly depending on which mode is selected.

You can split the modes into two groups: polyphonic , and real-time :

• The two polyphonic modes allow you to play all six voices simultaneously, but neither allows you to modify the harmonic content of additive waveforms while playing.
• The two real-time modes allow you to modify the harmonic content of additive waveforms in real-time (hence the name) but you are restricted to just a single voice, thus transforming the RS370 into a monophonic synthesiser.

THE MODES ARE:

Polyphonic MIDI

Polyphonic: The RS370 acts as a 6-voice polyphonic sound generator. MIDI: The RS370 also acts as a 6-channel MIDI/CV converter. The sockets marked CV1 to CV and TRIGGER1 to TRIGGER6 therefore become MIDI/CV outputs.

Polyphonic analogue

Polyphonic: The RS370 acts as a 6-voice polyphonic sound generator. Analogue: The sockets marked CV1 to CV6 and TRIGGER1 to TRIGGER6 become analogue inputs.

MIDI real-time

Real-time: The RS370 acts as a monophonic harmonic synthesiser with one voice comprising four oscillators. You can modulate the harmonic levels of a sound in real-time, immediately hearing the effect on the sound. MIDI: The RS370 also acts as a 6-channel MIDI/CV converter. The sockets marked CV1 to CV and TRIGGER1 to TRIGGER6 therefore become MIDI/CV outputs.

Note: This mode is useful only when used in conjunction with the RS375 Expander.

Analogue real-time

Real-time: The RS370 acts as a monophonic harmonic synthesiser with one voice comprising four oscillators. You can adjust the harmonic levels of a sound in real-time, immediately hearing the effect on the sound. Analogue: The CV 1 socket becomes a dedicated 1V/Oct pitch control input.

Note: This mode is useful only when used in conjunction with the RS375 Expander.

Copy from memory

Synthesiser

LFO

Apreggiator

Memories

MIDI/CV conversion

MIDI options

Special options

Default settings (^) NAVIGATING THE RS370NAVIGATING THE RS370NAVIGATING THE RS370NAVIGATING THE RS370NAVIGATING THE RS

The RS370 is controlled by the menus displayed on its graphic LCD. This display is backlit to aid its use in darkened conditions.

• Navigate through the menu structure by rotating the EDIT knob.
• Select a menu by pressing the EDIT knob.
• Navigate through any menu by rotating the EDIT knob.
• Move "down" to select a sub-menu or list of options by pressing the EDIT knob.
• Alter a value by rotating the EDIT knob.
• Save a change (and, where appropriate, return to the previous level) by pressing the EDIT knob.
• Jump "up" a level by pressing CANCEL.
• Leave an option or parameter unchanged and return to the menu containing it by pressing CANCEL.

Menu numbering

The menu hierarchy of the RS370 is quite extensive, so we rationalise it by thinking in terms of a major heading, followed by sub-menus, sub-sub-menus, and so on.

When you press one of the options in the start-up screen, you will enter one of the menus as follows:

Menu 1: Copy from memory Menu 2: Synthesiser Menu 3: LFO Menu 4: Arpeggiator Menu 5: Memories Menu 6: MIDI/CV conversion Menu 7: MIDI options Menu 8: Special options

In most cases you will now have the option to select further sub- menus that we refer to as "menu x.x".

For example, if you press EDIT to enter the "Synthesiser" menu, and then press EDIT again to select the "Voice outputs" sub-menu (which is the first item in the list), you enter menu 2.1. This in turn offers sub-sub menus, which are numbered 2.1.1… and so on.

A bit of advice… The RS370 is a powerful module, so you may find it a little daunting at first. Nonetheless, it is remarkably simple to use once you have come to grips with the menu structures. Experiment freely, as this is the best way to learn the system. If you need help, please email Analogue Systems for support.

Synthesiser (press "EDIT")

Voice outputs

Envelope Generator

CTRL IN 1-

MIDI controllers

Expander

Mode

Transpose

MENU 2: SYNTHESISER

This menu provides access to the voicing of the synthesiser within the RS370, as well as to many of its control functions.

There are seven sub-menus:

Menu 2.1 Voice outputs Menu 2.2 Envelope Generator Menu 2.3 CTRL IN 1- Menu 2.4 MIDI Controllers Menu 2.5 Expander Menu 2.6 Mode Menu 2.7 Transpose

NOTES ABOUT SYNTHESISER CONTROLLERS

Menus 2.3.1 and 2.4.2 offer access to the internal destinations that you can modulate using external CVs and MIDI controllers. Most of these are self-explanatory, but be aware of the following:

- Mixing controllers

In short, you can't. If the value of a destination is subject to a CV CTRL IN, a MIDI controller or an LFO, you can't assign it as the destination of a second controller and mix the effect of the two. The second will always replace the first.

Note: Controlled destinations are shown by a "!" preceding the destination name in the Controls lists.

- Fine Pitch 1 & 2 / Harm Wave Morph 1 & 2

To overcome the above, the RS370 provides two Fine Pitch destinations that allow you to use two controllers to affect the pitch, and two Harm Wave Morph destinations to control the position in the wavetable. In each case, the operation of the two is identical.

- Harmonic Wave Morph

On the original RS370, this allowed you to sweep the synthesised waveform from a sine wave to a square wave and back again in an endless 'morphing' cycle. On the enhanced RS370, this facility has been expanded into true wavetable synthesis, allowing you to morph through sixteen complex wavetables, each containing 256 waveform variations, with full control over position plus the speed and depth of movement through the table.

MENU 2.1: VOICE OUTPUTS

There are up to ten sub-menus accessed from menu 2.1. These are:

Menu 2.1.1 Oscillators waveform Menu 2.1.2 Pulse Width Menu 2.1.3 Edit Harmonics Menu 2.1.4 Harmonic templates Menu 2.1.5 View harmonics Menu 2.1.6 Oscillator tuning Menu 2.1.7 Output mixing Menu 2.1.8 Vintage drift amount Menu 2.1.9 Vintage drift speed Menu 2.1.10 Morph table

The menu selection that appears is determined primarily by the MODE selected in menu 2.6, the waveform selected in menu 2.1.1, and the status of the RS375 Expander Control parameter in menu 2.5.1.

Note: In v3.7 and above, the selection will also be modified by the selection of "Harm wave morph" as a modulation destination in the LFO control section, as a destination in the MIDI controllers section, or as a destination in the Synthesiser CTRL IN section.

The options are:

- MODE = Polyphonic MIDI or Polyphonic analogue

Menu 2.1.1 Oscillators waveform Menu 2.1.2 Pulse width ( Waveform = square ) Menu 2.1.3 Edit harmonics ( Waveform = synthesised ) Menu 2.1.4 Harmonic template ( Waveform = synthesised ) Menu 2.1.5 View harmonics ( LFO controls = Harm wave morph) Menu 2.1.6 Oscillator tuning Menu 2.1.7 Output mixing Menu 2.1.8 Vintage drift amount Menu 2.1.9 Vintage drift speed Menu 2.1.10 Morph table

- MODE = MIDI real-time or Analogue real-time

Menu 2.1.3 Edit harmonics ( Expander/Controls! Harmonic levels) Menu 2.1.4 Harmonic template ( Expander/Controls! Harmonic levels) Menu 2.1.5 View harmonics ( Expander/Controls = Harmonic levels) Menu 2.1.6 Oscillator tuning Menu 2.1.7 Output mixing Menu 2.1.8 Vintage drift amount Menu 2.1.9 Vintage drift speed Menu 2.1.10 Morph table

Voice outputs (press "EDIT")

Oscillator waveform

Pulse Width

Edit harmonics

Harmonic template

View harmonics

Oscillator tuning

Output mixing

Vintage drift amount

Vintage drift speed

Morph table

2.1.4 Harmonic template

Sixteen harmonic templates (wavetables) are provided. Each of these contains 256 variations.

The templates are:

• Analogue waves
• Hollow waves
• Digi-harsh
• Digi-harsh
• Digitana
• Highpass waves
• Glass waves
• New waves
• Vocaloid
• Disharmonix
• Disharmonix 2
• ORGANoid
• ORGANoid
• Xtremeharms
• Hollow waves 2
• Waveseries

Harmonic template (press "EDIT")

Analogue waves

Hollow waves

Digi-harsh

Digi-harsh

Waveseries

Selecting any of the templates displays the harmonic content and the waveform of wave #1. You may now select one of 256 variations by rotating the EDIT knob to step forward and backward through the wavetable.

The wavetables are:

Analogue waves

• a selection of waveforms (sine, triangle, sawtooth and square) usually found at the outputs of analogue oscillators, and 'morphing' stages that lie between them.

Hollow waves 1 and 2

• waves with primarily low harmonic content. Good for synthesising 'darker' sounds, flutey sounds and sounds that use modified pulse waves

Digi-harsh 1 and 2

• the name speaks for itself; digital sounding waves with lots of harmonics for bright, buzzing sounds of all kinds.

Digitana

• even more nasty than the digi- harsh waves; appropriate for 'cutting' sounds.

Highpass waves

• waves with little low-harmonic content. As the wavetable progresses, some low end eventually appears.

Glass waves

• waves of a rather calmer nature. Good for crystal-type and vibe- like sounds.

New waves

• primarily waves reminiscent of electric pianos.

Vocaloid

• waves with a vocal quality; good for synthetic choirs and formant-based sounds.

Disharmonix 1 and 2

• wavetables containing waves whose fundamental pitch is not clear. Great for effects, digital crystals, telephone tones, and so on.

Organoid 1 and 2

• organ waves suitable for all kinds of church, pipe, electric and vintage organs.

Xtremeharms

• waves containing lone harmonics with high volumes. Use for harsh wavetable sounds.

Wave series

• harmonically rich waves; good for use with analogue filters.

Selecting any of these inserts the waveform into the harmonic editor, whereupon you can modify it using menu 2.1.3.

2.1.6 Oscillator tuning

Every voice can comprise up to four oscillators. These all have the same waveform, but can be detuned with respect to one another to create lush textures.

- Level Each oscillator may have a level ranging from 0 (silence) to 127 (maximum) - Pitch Each oscillator can be detuned sharp or flat by approximately 10% (roughly a semitone in either direction).

Oscillator tuning (press "EDIT")

Oscillator x (1 to 8)

Level: 0 to 127

Pitch: -10.0 to +10.

2.1.5 View harmonics

This is a visual aid to programming, particularly useful when creating new sounds using an RS375 Expander (if connected) to control the amplitudes of the harmonics. It provides a visual display in three parts:

- Harmonic display The amplitudes of the first sixteen harmonics - Waveform display The waveform generated by the first sixteen harmonics - Programming display The Harmonic number and Level of the harmonic most recently edited using the knobs on the RS375 Expander

Note: This display is particularly useful for inspecting the changes introduced by Harm Wave Morph and other spectral modulations.

2.1.7 Output mixing

The RS370 provides six front panel outputs annotated as VOICE 1, VOICE 2 … VOICE 6.

- All outputs mixed To use the RS370 conventionally, with all voices accessible simultaneously from a single output, select "All outputs mixed". The full polyphony is then available from all six physical outputs. - Individual outputs There are occasions when it is useful to obtain individual voices from separate outputs, perhaps so that you can treat each of them differently using external effects units. To do so, select "Individual outputs", whereupon voice 1 will be available from the VOICE 1 output, voice 2 from the VOICE 2 output, and so on.

Output mixing (press "EDIT")

Individual outputs

All outputs mixed

MORE ON MORPHING:

If wavetable synthesis is new to you, the following examples should help:

Modwheel Morph

This example demonstrates how you can use an external control (the modulation wheel) to change the sound by moving through the selected wavetable.

At the topmost menu level, select Copy from memory , press Edit, and then scroll down to patch #18, Modwheel Morph. Press Edit to select this. If you are controlling the RS370 using a MIDI controller keyboard of some sort, you will now be able to use its modulation wheel to move forward and backward through the table on which this sound is based. If you now select Synthesiser followed by Voice outputs and then Morph table , you will find that the "Analogue waves" table is selected. Moving the modulation wheel, you will find that, when fully toward you, the output sounds much like a sine wave, and when turned fully away from you, it is discernably a square wave. You can verify what is happening by selecting menu 2.1.5 "View harmonics" and observing the change in the waveform display as you move the modulation wheel.

Morphing

This patch replaces human control (i.e. you, moving the mod wheel) with an LFO to sweep the waveform forward and backward through the table.

Return to the Copy from memory menu, and select patch #19, Morphing. If you investigate the menus, you will now find that LFO1 is assigned to the position in the wavetable, and that the modulation wheel is controlling the depth of LFO modulation within it. Hold a note and push the mod wheel fully away from yourself… the sound will exhibit a slow timbral sweep that would be quite impossible to obtain using a single waveform and conventional filtering. If you now navigate to the LFO section and the LFO1 gain menu, you can change the amount of gain (i.e. the range of the sweep) from zero to 127, and in LFO1 speed its rate from 0.05Hz to 12.80Hz. Experiment with these to learn how the LFO can be used to affect the nature of the wavetable "morph".

Once you have mastered these examples, you should consider other ways to position the sound in the wavetable and morph through it. Appropriate methods include using the output from an RS200 sequencer applied to an analogue CV input, applying the envelopes (internal and external), and applying all manner of MIDI controllers.

Envelope generator (press "EDIT")

Attack time Attack level Slope1 time Slope1 level Slope2 time Slope2 level Slope3 time Sustain level Release time Release level Track pitch Overall speed

MENU 2.2: ENVELOPE GENERATOR

Unlike analogue envelope generators, which are usually limited to four steps, the RS370's six, digitally generated envelope generators each offer six steps.

Each of the five Levels and each of the five Times can assume values in the range 0 to 127. What's more, there is no restriction that states that the Attack level must be the highest level, or that the Slope 2 level must be lower than the Slope 1 level… and so on. This means that the RS370 envelope generators are far more flexible than conventional ADSRs.

Two further parameters - Track pitch and Overall speed - affect the overall response of the contour determined by the other envelope parameters.

CTRL IN 1-

(press "EDIT")

CTRL IN x (1 to 8)

Controls xxx

Voltage range xxx

Voltage range (press "EDIT")

+/- 10V

+/- 5V

0 -> 10V

0 -> 5V

MENU 2.3: CTRL IN X

The RS370 offers four CV controllers that you can route to a variety of destinations.

CTRL IN 1 is a knob, whereas CTRL IN 2, 3 and 4 are sockets.

Menu 2.3 allows you to assign the destination controlled by the knob and the inputs. It also allows you individually to select the voltage range expected by each of CTRL IN 2, 3 and 4.

Note: A further four CV input sockets - CTRL IN 5 to 8 - are provided by the RS and RS376 Expanders.

2.3.1 Controls

There are thirty-two destinations, and each CV controller can affect one at a time. Use the "Controls" menu to determine the destination for each.

2.3.2 Voltage range

Select the appropriate range individually for each CV input. The options are:

• -10V to +10V
• -5V to +5V
• 0V to +10V Controls • 0V to +5V (press "EDIT")

Disabled Pulse width Fine pitch Fine pitch Coarse pitch Output level Oscillator 1 level Oscillator 2 level Oscillator 3 level Oscillator 4 level Oscillator 1 tuning Oscillator 2 tuning Oscillator 3 tuning Oscillator 4 tuning Attack time Attack level Slope1 time Slope1 level Slope2 time Slope2 level Slope3 time Sustain level Release time Release level Note latch Harm wave morph Arpeggiator On/Off Portamento On/Off Portamento time LFO1 speed LFO2 speed Arpeggiator speed Harm wave morph 2

MIDI controllers (press "EDIT")

Controller x (1 to 16)

Source xxx

Controls xxx

Source (press "EDIT")

Disabled

Pitch wheel

Aftertouch

MIDI CC:

MIDI CC:

MENU 2.4:

CONTROLLER X

You can further control the RS using up to sixteen simultaneous MIDI controllers.

Menu 2.4 allows you to assign the source of each controller, and the destination controlled by each.

Note: If you use multiple sources, each destination must be unique.

2.4.1 Source

There are 130 MIDI control sources. Select one for each controller that you wish to use.

Controls (press "EDIT")

Disabled Pulse width Fine pitch Fine pitch Coarse pitch Output level Oscillator 1 level Oscillator 2 level Oscillator 3 level Oscillator 4 level Oscillator 1 tuning Oscillator 2 tuning Oscillator 3 tuning Oscillator 4 tuning Attack time Attack level Slope1 time Slope1 level Slope2 time Slope2 level Slope3 time Sustain level Release time Release level Note latch Harm wave morph Arpeggiator On/Off Portamento On/Off Portamento time LFO1 speed LFO2 speed Arpeggiator speed Harm wave morph 2

2.4.2 Controls

There are thirty internal destinations. Select one for each controller that you wish to use.

Expander (press "EDIT")

Controls

Voltage range

Controls (press "EDIT")

Nothing

Envelope generator

Harmonic levels

Voltage range (press "EDIT")

+/- 10V

+/- 5V

0 -> 10V

0 -> 5V

2.5.2 Voltage Range

This sets the range of voltages accepted by the upper sixteen input sockets on the RS375. The options are:

• -10V to +10V
• -5V to +5V
• 0V to +10V
• 0V to +5V

2.5.1 Controls

The sixteen knobs and their associated CV inputs can control two sets of parameters:

- Envelope Generator Knobs 1 to 10 control the ten contour shape parameters in the Envelope Generator. (See menu 2.2.) You can modulate these parameters by applying CVs to the ten associated CV inputs. - Harmonic Levels (real-time modes only) Knobs 1 to 16 control the first sixteen harmonics. (See menu 2.1.3.) You can modulate these parameters by applying CVs to the ten associated CV inputs. - Nothing The knobs and CV inputs are defeated, and have no effect on the RS370.

MENU 2.5: EXPANDER

Select the sub-menus to determine what is controlled by the Expander's knobs and inputs, and what voltage range is used.

Mode (press "EDIT")

Polyphonic MIDI

Polyphonic analog

MIDI real-time

Analog real-time

MENU 2.6: MODE

The RS370 offers four modes of operation as follows.

- Polyphonic MIDI

Polyphonic: The RS370 acts as a 6-voice polyphonic sound generator. MIDI: The RS370 also acts as a 6-channel MIDI/CV converter (see menu 6). The sockets marked CV1 to CV6 and TRIGGER1 to TRIGGER6 become MIDI/ CV outputs.

- Polyphonic analogue

Polyphonic: The RS370 acts as a 6-voice polyphonic sound generator. Analogue: The sockets marked CV1 to CV6 and TRIGGER1 to TRIGGER6 become analogue inputs.

- MIDI real-time

Real-time: The RS370 acts as a monophonic harmonic synthesiser with one voice comprising four oscillators. You can modulate the harmonic levels of a sound in real-time, immediately hearing the effect on the sound. MIDI: The RS370 also acts as a 6-channel MIDI/CV converter (see menu 6). The sockets marked CV1 to CV6 and TRIGGER1 to TRIGGER6 become MIDI/ CV outputs.

Note: This mode is useful only when used in conjunction with the RS375 Expander.

- Analogue real-time

Real-time: The RS370 acts as a monophonic harmonic synthesiser with one voice comprising four oscillators. You can adjust the harmonic levels of a sound in real-time, immediately hearing the effect on the sound. Analogue: The CV 1 socket becomes a dedicated 1V/Oct pitch control input.

Note: This mode is useful only when used in conjunction with the RS375 Expander.