Keyboard CV out -> VCO1, VCO2, VCO3, VCF3 (all CV1 in)
Keyboard gate out -> EG2 gate in
VCO1 sine out -> VCF3 audio in 1
VCO2 square out -> VCF3 audio in 2
VCO3 saw out -> VCF3 audio in 3
EG2 accent curve -> VCF3 CV2 in
VCF3 24dB out -> VCA audio in
EG2 AR curve -> VCA control in
VCA out -> out
Settings VCF3:
Audio inputs: 2 oclock
Frequency: 12 oclock
Resonance: 7 oclock
CV2: 2 oclock
Settings EG2:
Attack: 7 oclock
Release: 8 oclock
Accent: 9 oclock
Tune the VCO's to: VCO2 & 3 Fundamental, VCO1 Octave + 7 semitones.
Use the velocity out of the Midi-CV interface to control the accent-curve of EG2.
Set the audio input controls of the VCF to max for an overdrive sound.
Syrinx 1
This is a complex patch using 27 patch cords.
Connections:
Keyboard CV out -> VCO1, VCO2, VCF1, VCF2, VCF3 (all CV1 in)
Keyboard gate out -> EG1 gate in
Mod wheel (from midi interface) -> VCO1 CV2 in
LFO2 triangle -> VCO1 PWM in
LFO3 sine -> VCO2 PWM in
VCO1 square out -> Mix2A in
VCO1 saw out -> Ring2A in
VCO2 square out -> Mix2B in
VCO2 saw out -> Ring2B in
Mix2 out -> VCF1, VCF2, VCF3 (all audio in)
VCO sub1 out -> VCF3 Audio 2 in
Ring2 out -> VCF3 Audio 3 in
VCF1 Bandpass out -> Mix1 A in
VCF2 Bandpass out -> Mix1 B in
VCF3 24dB out -> Mix1 CV1 in
Mix1 out -> VCA1 audio in
EG1 accent curve -> VCF1, VCF2, VCF3 (all CV2 in)
EG1 ADSR curve -> VCA1 control in
VCA1 out -> out
Settings
VCO1: Set the sync-control to hard.
Tune VCO1 1-2 octaves above VCO2.
Set frequency of VCF1 to 2 oclock, high resonance.
Set frequency of VCF2 to 3 oclock, high resonance.
Set frequency of VCF3 to 12 oclock, no resonance.
Set VCF1&2 CV2 to 12 or 1 oclock.
Set VCF1&2 CV2 to 3 oclock.
Use the level-controls of Mix1 and of VCF3 to mix the sound-sources.
Try inverting the sound of VCF2 by setting the Mix1B control counter-clockwise for other filter characteristics.
For a different Syrinx-type sound:
Set VCO1 CV2 control fully counter-clockwise (off).
Set the VCO1 sync-control to off.
Tune the VCOs to unison.
808 bassdrum
Connections
Set up the following simple patch:
Trigger -> EG1 gate in
EG1 main curve -> VCF1 CV2 in
EG1 accent curve -> VCF1 audio in
VCF1 lowpass out -> out
Settings
EG1: Set the attack, peak, sustain to zero. Set accent, decay and release to short.
VCF: resonance high, just below oscillating. CV2 control slightly positive (2 oclock. The EG accent curve is used as audio-input to the filter. The envelope causes the filter to ring. The length of the sound is controlled by the resonance on the filter.
You can use a VCO to generate a tone this way, but there is an advantage to using a filter:
If you a trigger the VCF wave with the envelope curve, the initial phase of the sound is always the same. If you use a VCO, the sound starts at whatever phase the VCO is at the time of the trigger. This can cause clicks.
Prophet sync-sweep
Connections
Keyboard CV out -> VCO1, VCO2, VCF3 (all CV1 in)
Keyboard gate out -> EG1, EG2 gate in
VCO1 saw out -> VCF3 audio in 1
VCO2 square out -> VCF3 audio in 2
VCO2 saw out -> VCO1 sync in
EG2 accent curve -> VCO1 CV2 in
EG1 accent curve -> VCF3 CV2 in
VCF3 24dB out -> VCA audio in
EG1 ADSR curve -> VCA control in
VCA out -> out
Settings
First, tune VCO1 two octaves above VCO2 (set the sync level control to minimum during tuning). Then, set the sync level control to max. for hard sync effects.
Watch the overload LED on the filter. High input signal levels cause the filter to overload. This effect can be used to add harmonics to the sound before filtering.
This patch resembles the Sequential Pro-one voice architecture. The pitch of VCO1 is swept by the EG2 decay curve. Because VCO1 is in sync with VCO2, it's pitch does not change but the timbre does. For a variation on this patch, insert the portamento module between the CV-in and VCO1:
Keyboard CV out -> Port in, VCO2, VCF3
Port out 1 -> VCO1
The accent cv-input of EG1 can be controlled from the velocity CV-out of the Midi interface for dynamic filtering.
SOUNDS
Bass sound
This one-VCO sound provides a lot of low-end by adding a sine-wave to the filtered sawtooth.
Connections
Keyboard CV out -> VCO1, VCF1
Keyboard gate out -> EG1, EG2
VCO1 saw out -> VCF1 audio in
VCF1 bandpass out -> VCA1 audio in
EG1 ADSR curve -> VCA1 control in
EG1 decay curve -> VCF1 CV2 in
VCA1 out -> Mix3 in A
VCO1 sine out -> VCA2 audio in
EG2 (AR) curve -> VCA2 control in
VCA2 out -> Mix3 in B
Mix3 out -> out
This sound uses only one oscillator. The two outputs of the VCO (saw and sine) form two components of the sound: The sine provides the bottom end of the spectrum, and the filtered saw provides harmonics. You can use a bandpass or highpass filter and high resonance without losing the low end: The sinewave provides the fundamental.
EFFECTS
Stereo sound 1
An easy way to make a stereo sound is to use the two outputs of VCF3. This can also be used for processing external sounds.
Connections
EG out -> VCA1, VCA2 control in
sound -> VCF3 audio in
VCF3 24dB out -> VCA1 -> Left out
VCF3 12dB out -> VCA2 -> Right out
The two outputs of the VCF are slightly out of phase causing stereo effect. he Fenix filters are low-noise, so you could exchange VCA and VCF to liberate a VCA for another purpose. The patch changes to:
EG out -> VCA1 control in
sound -> VCA1 -> VCF3 audio in
VCF3 24dB out -> Left out
VCF3 12dB out -> Right out
Stereo sound 2
Making a sound pan from left to right, controlled by an LFO requires a few VCAs: This, too can be used for panning external sounds.
sound -> VCA1 -> Left out
sound -> VCA2 -> Right out
LFO1 triangle out -> VCA1 control in
LFO1 triangle out -> CV mix 1 in
CV mix 1 out -> VCA2 control in
<The VCAs have a control voltage range of 0-8 volts. LFO1 triangle out has that range, and is fed directly to the VCA1.
For VCA2, the LFO-signal is inverted by setting the CV2 control counter-clockwise. The signal is now from -8 to 0 volts, so we use the offset-control to bring the range to 0-8 volts.
Variation:
You can use an envelope generator instead of LFO1 to make each note sweep from left to right.
Stereo sound 3
This patch creates different waveforms from one VCO and uses them for left & right outputs.
Connections
LFO3 sine -> VCO2 PWM
VCO2 square -> VCF1 audio in
VCO2 saw -> VCF2 audio in
LFO1 triangle -> VCF1 CV2
LFO1 triangle -> VCF2 CV2
VCF1 Band -> Ring1 A
VCF1 Low -> Ring2 A
VCF2 Low -> Ring1 B
VCF2 Band -> Ring2 B
Ring1 -> VCA1 ->Left out
Ring2 -> VCA2 ->Right out
Settings
Set CV2 control of VCF1 to positive range
Set CV2 control of VCF2 to negative range
Set VCF frequencies to middle positions
Voltage controlled resonance
The Fenix VCFs have no CV inputs for resonance.
Some simple patching can add this function:
Connections
sound -> VCF3 audio in 1 / 2
VCF3 out -> VCA -> VCF3 audio in 3
VCF3 out -> out
Try different filter outputs and inverting the sound (mixer 1 B) for other filter characteristics.
Chorus sound with VCO1
This works best in lower registers.
You can get a chorus-type sound out of VCO1 by patching:
Connections
LFO2 triangle -> VCO1 PWM
LFO3 Sine -> VCO1 Sub-phase
VCO1 Sub1 -> Ring1 A
VCO1 Square -> Ring1B
Ring1 AC out (the top one) ->VCF ->VCA
Settings
Set Symmetry of LFO2 halfway.
Set manual pulsewidth of VCO1 halfway.
Set PWM of VCO1 near max.
Combine Sync & FM
Connections
VCO2 square -> VCO1 Sync in
VCO2 saw -> VCO1 FM in
Tune VCO1 about 2 octaves above VCO2
Set VCO1 sync level to hard
If you put VCO1 in sync with VCO2 (or 3), try feeding one of the VCO2 (or 3) outputs to the FM input of VCO1 as well for a more extreme effect.
1/f Noise modulation
Connections
digital noise -> VCO FM in
VCO -> VCF ->VCA
This technique is used to cause randomness in the VCO pitch.
Use the noise output control to set the amount of modulation.
It sounds a bit like mixing noise in with the VCO, but it's more like band-filtered noise.
This works best with dull waveforms such as sine or triangle.
SOUNDEFFECTS
ADD-ON
The patches below are not complete sound setups but rather illustrate some techniques you may be able to use with your own sounds.
CPR as distortion
If you feed any audio signal through the CPR, you'll get a very harsh distortion. Whenever the input voltage is above zero volt, the output is 10 Volts. When the input is negative, the output is zero. Be sure to remove any offset by high pass filtering or subtracting a voltage before auditioning the output. Also, this is a very high audio level. The Fenix doesn't much care about overloads like this, but most audio processors, mixers and amps do. Please attenuate!
Sample & Hold as distortion
You can use a VCO as clock for the S&H module. Any audio-signal applied to the S&H input will be chopped into samples in tune with the clock-VCO. You may have to amplify the audio signal before feeding it into the S&H.
Modules used:
VCO square out -> S&H clock in
External audio signal -> Input amp -> S&H sample in
S&H out -> VCF or other processing -> audio out
