Nematic Labs Cloudlab 200t @trevorgavilan

CLOUDLAB 200t 2.0

Nematic Labs
Reference Manual
PLEASE CONSIDER MAKING A DONATION HERE: http://bit.ly/2DkL0EE

Disclaimer: This is not an official emulation by BEMI Buchla Electronic Musical

Instruments, Buchla and Associates or Eardrill. This ensemble has been created for
fun having a Buchla resemblance and workflow for inspirational purposes. 

Original trademark and copyright ©2005 by Buchla and Associates. www.buchla.com
Ensemble programing by Trevor Gavilan. www.trevorgavilan.com
Designed for the Native Instruments Reaktor platform. www.native-instruments.com

WARNING: RISK OF HEARING OR SPEAKER DAMAGE. USE THIS SYSTEM WITH

CAUTION.

Credits:
Original concept based on Donald Buchla's 200 and 200e system.
Ensemble programming - Trevor Gavilan.
GUI - David Frappaz http://bit.ly/2FHjTsJ
Technical advisor - Jesse Voccia.
Hardware notes - Jesse Voccia, Antonio Isaac and Leonardo Mendez.
Snapshots byTrevor Gavilan.

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Personal Notes

It took a fair amount of time to put the ensemble together and what happened along
the way has been quite enlightening, getting to know an instrument at a deep level is
always a wonderful thing and I have to say that in this case it opened up a whole world
of understanding what Don wanted to communicate through his instruments.

Most emulations now a days try to replicate original and existing hardware but the
reality is that so much things are put into the mix when soldering components and
letting electricity do its work that to me the concept might be very very far away from
where we are right now. Another factor that plays along is the human interaction with
an interface that could easily re-shape our workflow and in the case of a Buchla system
that concept comes naturally since many composers and synthesists around the world
continue to redefine the way of working through the philosophy that designers like
Donald put into their modules and their system's interface. I believe that's one of the
main reasons a hardware interface will always continue to be the preferred way of
working.

Of course I am not able to emulate a Buchla system to such extent but I took the liberty
of at least trying and making the interface respond and work almost like the real thing.
The sound engine and philosophy was the same as Don's, packing as much power
into a single module as possible. I'm certain that this ensemble will help people who
haven't had the chance to work with a real Buchla system understand the workflow
behind the brand and feel less intimidated by it.

Its is very important getting to know each individual module on itself so you can
appreciate what each one is capable of doing and also knowing what kind of signals
does it handle, ins, outs and even its name and code number which will be constantly
used in the signal administrator section. We'll cover that part further along but as in the
same nature as Buchla, each module has an individual character and lots of things to
offer on its own so I highly recommend getting personal with them.

I have to disclaim that this was done out of pure fun and for my own personal use but
decided to publish it for free so others could enjoy the capabilities that this ensemble
has to offer. I hope it inspires you or helps you learn and understand what West Coast
synthesis is all about.
A LOT of time and work was put into this project so if you wish to donate something to
support what I've put into not only this free ensemble but all of the other ones you can
find on the Reaktor User Library, please click on the PayPal "Donate" button on my
webpage. I'd deeply appreciate it. www.trevorgavilan.com

Thank you and happy patching.

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Signal Types

In Reaktor we can't use real world CV signals for those are electrical and Reaktor works
with events instead but the terminology CV is highly used in this ensemble.
CV stand for Control Voltage but in other words lets remember it as Control Signal.
The control signal is used to modify existing parameters within each module, for
example if we wanted to use a MIDI Keyboard or any other given signal to control the
Frequency or Pitch of an oscillator, we'd use only Control signals.
The Modules that handle control signals are the 245t, 256t, 281t and the 266t.
The Modules that handle audio signals are the 258t, 259t, 261t, 291t, 292t and the
207t. All of these signals are administrated on the Panel B and the Panel A
corresponds to the main front panel. MIDI P corresponds to MIDI Notepitch input, MIDI
G to the MIDI Gate Input and MIDI PB to the MIDI pitch bend input.

292t Quad Gesture Manager

The 292t has 4 channels (A,B,C,D) which are all identical to one another. They're
meant to receive audio and control the dynamics (volume) of any audio signal.
There are 3 modes on each channel which can be selected using the green push
button. The level knob controls one parameter of each mode and the CV inputs control
the same parameter via an external source.

Lo-Pass - 12 dB/Oct Low Pass Filter. Cut-off frequency is controlled by the level knob.

Combo - Low Pass Gate, which is a combination of a VCA and a VCF. It has its own
release response which sounds "organic" to some people and its one of the key
signature sounds created by Buchla. Cut-off frequency and amplitude is controlled by
the level knob.

Gate - Simple VCA. Amplitude is controlled by the level knob.

Lo-Pass Mode Combo Mode Gate Mode

Channels A through D have a Ring button which has a CV input. It affects the Damp of
the Low Pass Gate (LPG) when in Combo Mode and the Resonance of the filter when
in Lo-Pass Mode.

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Audio Ins:
- A to D: Individual Ins.
Audio Outs:
- A to D: Individual Outs.
-All: All channels mixed into a single output.

CV Ins:
- CV In A to D: Individual control inputs for modulating the level on each channel.
- Ring CV In: Individual control inputs for modulating the Damp or Resonance when
desired.

259t Abnormal Waveform Generator

As the name says, this oscillator has the power of invoking some very weird timbres
that might not be recommended for anyone with "golden ears" or with conservative
musical views.

This oscillator belongs to what we could consider the Complex Oscillators Family
which have a dual voice setting. It consists of two separate oscillators, one called the
Modulation Oscillator and another one called the Principal Oscillator. The Mod OSC is
designed primarily to serve as a modulation source for the Principal OSC which is
supposed to be the main audio source. Although the Mod OSC's primary use is mean
to be a modulator, it can also become a second full range oscillator. Let's look at the
details.

Modulation Oscillator (Mod. OSC)

Center frequency is controlled by the big knob and the fine tune is controlled by the
very small round knob to the upper right of the main frequency knob.

The Modulation Oscillator has three frequency settings, Low, High and Track. Low has
the typical range of an LFO, High completes the rest of the frequency spectrum to
make it a full range oscillator and Track has the same full range as high but it enables
the 1.2V/Oct input so there can be pitch tracking coming from any modulation source
but mainly one that outputs full pitch tracking like MIDI P or the 245t sequencer.
The gray push button selects between these 3 range modes.

Waveforms can be selected to the left of the main frequency knob, there are three
waveforms available, Saw, Square and Triangular. If none of them are selected then
there will be no wave at the output stage. There can be more than one wave selected
at the same time giving way to more interesting waveforms. This oscillator is able to
output both audio and control although the control signal will always be positive (DC).

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The FM knob controls the frequency modulation amount being received at the Mod
OSC FM In.

The way the Mod OSC affects the Principal OSC is through the Mod Index knob which
determines the amount of control signal being fed into any of the Mod Type (morph,
warp and frequency of the Princ. OSC) parameters. The Mod Index will create an
offset from the parameters original position, for example if the frequency is modulated
through the Mod Index, it will create a positive offset from the pitch's base frequency. If
the Mod Index if fully clockwise while modulating the freq. the result will give us an
offset of an octave above the Principal OSC's center frequency. The Mod Index knob
can be CV controlled by a control signal through the Mod Index CV In input.

Hard sync will truncate the waveform and make the Mod OSC follow the Princ. OSC.
Principal Oscillator (Princ. OSC)

The principal oscillator consists of 5 selectable waveforms and 3 original Buchla

wavetables. These waves are invoked by using the Green (G) and Red (R) Timbre
selectors and they are panned between one another through the Morph knob, hard left
being the Green bank, hard right the Red bank and both being mixed equally at 12 o'
clock.
The Morph knob can be modulated externally through the Morph CV In input and also
through the Mod Index function from the Mod OSC.

Warp acts as a not so typical Wavefolder with a less aggressive character, its more of a
Driver with partial harmonics and it can also be modulated through a CV input or the
Mod Index function. There are two LED's next to the Warp knob, the one on the left
indicates when signal from the Mod Index is modulating Warp and the one on the right
indicates when an external CV signal is modulating Warp.
The FM knob controls the frequency modulation amount being received at the Princ.
OSC FM In, this input works at exponential levels.
The center frequency is also controlled by the big knob and the small fine tune knob.
The 1.2V/Oct button will enable the full pitch tracking input on the 1.2V/Oct Princ. OSC
Input for regular pitch tracking purposes. For example the MIDI P Input.

Timbre banks 1 to 5 have sine variations while banks A,B and C are the original twisted
waveforms from the Buchla 259e, once any of them are selected, the Skew knobs are
enabled and an LED will light up. The Skew knob on the left corresponds to the Green
Bank and the Skew knob on the right to the Red bank. These knobs are used for
scanning between the "abnormal" waveforms and they can be CV controlled by an
external signal using the G (Green) or R (Red) Skew CV In inputs.

Audio Outs:
- Princ. OSC Out.
- Mod. OSC Out.

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CV Ins:
- 1.2V/Oct Princ. OSC
- 1.2V/Oct Mod. OSC
- Princ. OSC FM In.
- Mod. OSC FM In.
- Morph CV In.
- Warp CV In.
- Mod Index CV In.
- G Skew CV In.
- R Skew CV In.
CV Outs:
- Mod. OSC CV Out.

261t Convoluted Waveform Generator

The 261t is an oscillator based on the original Buchla 259 which also consists on a
dual Complex Oscillator with a principal voice and a modulation voice.

Modulation Oscillator (Mod. OSC)

Center frequency is controlled by the big knob and the fine tune is controlled by the
very small round knob to the upper right of the main frequency knob.

The Modulation Oscillator has three frequency settings, Low, High and Track. Low has
the typical range of an LFO, High completes the rest of the frequency spectrum to
make it a full range oscillator and Track has the same full range as high but it enables
the 1.2V/Oct input so there can be pitch tracking coming from any modulation source.
The gray push button selects between these 3 range modes. This oscillator is also
able to output both audio and control signals.

Waveshaping is controlled through a knob that ranges from Sine to Square to Pulse but
this knob can also be CV controlled through the Mod. OSC Wave CV In input and the
CV Knob next to the FM knob controls the amount of modulation being sent to this
parameter.

The FM knob controls the frequency modulation amount being received at the Mod
OSC FM In.

The Mod Index knob determines the amount of control signal being fed into any of the
Mod Type (amp, timbre and frequency) parameters from the Principal Oscillator.
The Mod Index knob can be CV controlled by a control signal through the Mod Index
CV In input.

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Hard sync will truncate the waveform and make the Mod OSC follow the Princ. OSC.

Principal Oscillator (Princ. OSC)

The Principal Oscillator consists on three main knobs that control the shape of the
waveform and work as follows:

Timbre - Classic sine wavefolding.

Symmetry - Shapes the Sine wave to a Square wave.
High Order - Shapes the Sine wave to a Saw wave.
The main waveform produced by the 261t is a Sine wave but by altering the position of
those three knobs it can easily turn into a very complex and alien waveform. Let me
mention that the Saw wave is not exactly a very conventional one since it has a very
high and resonant shape cut. High Order, Symmetry and Timbre are all CV
controllable at their CV inputs on the Signal Administrator.

The FM knob controls the frequency modulation amount being received at the Princ.
OSC FM In, this input works at exponential levels.

The center frequency is controlled by the big knob and the small fine tune knob.
The 1.2V/Oct button will enable the full pitch tracking input at the 1.2V/Oct Princ. OSC
Input for regular pitch tracking purposes.

Audio Outs:
- Princ. OSC Out.
- Mod. OSC Out.

CV Ins:
- 1.2V/Oct Princ. OSC
- 1.2V/Oct Mod. OSC
- Princ. OSC FM In.
- Mod. OSC FM In.
- Timbre CV In.
- Symmetry CV In.
- High Order CV In.
- Mod Index CV In.
- Mod OSC Wave CV In.
CV Outs:
- Mod. OSC CV Out.

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258t Dual Generator

The 258t is a simple dual oscillator with a couple internal modulation capabilities which
compared to the 259t and the 261t might seem very less but come in handy for turning
this module into a simpler complex oscillator. It consists on an A Generator and a B
Generator which share cross modulation on one of their FM inputs and Shape
parameters.

Generator A/B

This is a Sine to Saw oscillator, the waveform's shape is controlled via the Shape Knob
and can be CV controlled externally through the A Morph CV In input and internally by
the Generator B by pushing the red xB button.

FM can be controlled externally or also internally by pushing the xB button next to it.
The external input can be found on the signal administrator under the A FM In input.
FM works in an exponential way.

CV is the linear frequency modulation input and can be externally controlled by CV at

the A CV In input.

The center frequency is controlled by the big knob and the small fine tune knob.
The 1.2V/Oct button will enable the full pitch tracking input at the 1.2V/Oct Princ. OSC
Input for regular pitch tracking purposes.

* Generator B is exactly the same as A, the only things that change are the internal
modulations, instead of being fed by B (xB), their being fed by A (xA)

Audio Outs:
- Gen A Out.
- Gen B Out.

CV Ins:
- 1.2V/Oct Gen A.
- 1.2V/Oct Gen B.
- A FM In.
- B FM In.
- A Morph CV In.
- B Morph CV In.
- A CV In.
- B CV In.
CV Outs:
- Gen A CV Out.
- Gen B CV Out.

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291t Triple Mutating Filter

The 291 is a Triple Band Pass filter with 8 stages per filter. Every stage can have
independent and adjustable parameters giving a total number of 24 different filter
states. These filters can be serial or independent depending on the selected signal
flow. Every filter which we also call Node is identical to one another so learning one
would be enough to learn them all.

Signal goes into the module through three different point, A, B and C. If signal goes
through input A it could be routed in a serial way to B and C but it could also be
independent and any signal going into B or C act only as individual filters passing
straight to their outputs. It is crucial to know that if the Filter is used in a serial way,
Input A could go into all three Nodes but if any other signal is added at the inputs then
those signals will be automatically mixed and when using it in independent mode, then
three different signals go into all three nodes and need to be outputted independently
but the Signal Path Selector should ALWAYS be in A mode if this routing is desired.

A
Input A Filter A A-B Main Out
A-B-C

Input B Filter B Output B

Input C Filter C Output C

The Main Amount knob controls how much of the original signals are passed and
affected by the 291t Filters. It works in a general mode, this means it controls all three
filters equally.

In order to edit or view each filter there's a Node Selector button than can scroll
between all 3 of them. A little display will display which filter is currently being viewed,
as the nodes are being changed the entire settings of the filter will change accordingly.
For example if we have Setting A on Filter Node A and Setting B on Filter Node B, the
parameters on the knobs, stage numbers and even A.M. settings will change
accordingly.

Every Node will have the same parameters and 8 stages, every stage represent a
different filter state and we can scroll through them with the red Edit button beneath the
stage numbers. Like mentioned before, whenever we change the stage, the
parameters will change accordingly. There are 3 main settings on every stage,
Amplitude which controls the general amplitude and "Drive" on the filter on every stage,

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Frequency which controls the cut off frequency and Band Width (Q) which controls the
filter's resonance. Frequency, Stage and Band Width are all CV controllable through
the signal administrator but only Freq. and Band Width (Q) have a CV amount knob
next to them. There's one individual CV amount knob in both parameter per stage, this
mean that there are 8 possible CV knob combinations per Node.
There is a way to sequence the stages as they scroll through one another both
internally and externally.

The run button with the ext. clock button deselected will enable the internal clock and
the speed of the clock can be controlled with the time knob. In order to do it internally,
the Ext. Clock button should be pushed and there should be a CV control signal being
received at the Ext. Clock In input of the desired Filter Node.

The length of the sequence is controlled through the Steps knob, 1 stage being
complete counterclockwise and 8 stages fully clockwise.
There is also another modulation input available at the Stages level and that is a Stage
CV In input that will make the sequence progress accordingly to the signal received at
the Stage CV In input, the blue CV button needs to be pushed in order for this function
to work, this is commonly referred to as Stage Addressing Modulation.

The A.M. section refers to a way of achieving Ring Modulation and the signal flow goes
as follows:

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The A.M. section receives an external input that is internally driven by a Sine Wave,
then its amplitude is modulated by the main filtered signal, the ring mod signal is then
summed up with the original filtered signal and passed through the output. The
Frequency of the Sine Wave and the Amount of the A.M. is controlled by the same
knob "mod. freq."
It is important that the A.M. green push button is engaged and audio signal is going in
to the A/B/C A.M. In input for this function to work. Also, the Sine Wave frequency can
be CV controlled through the A/B/C A.M. CV In and has an attenuverter knob for
controlling the amount (a.m. cv).
All Nodes have the same A.M. function and works exactly the same so there could
easily be 3 different Ring Modulations happening at the same time.
Audio Ins:
- A In.
- B In.
- C In.
- A A.M. In.
- B A.M. In.
- C A.M. In.
Audio Outs:
- Main Out.
- B Out.
- C Out.

CV Ins:
- Ext. Clock A In.
- Ext. Clock B In.
- Ext. Clock C In.
- A Stage CV In.
- B Stage CV In.
- C Stage CV In.
- A Freq. CV In.
- B Freq. CV In.
- C Freq. CV In.
- A Q CV In.
- B Q CV In.
- C Q CV In.
- A A.M. CV In.
- B A.M. CV In.
- C A.M. CV In.
CV Outs:
- None.

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281t Quad Action Generator

The 281t is a Quad Function Generator, each function consists of an Attack Knob, a
Decay Knob, CV Inputs for both of those functions and the ability to cycle on
themselves as well as to receive an external gate in order to be triggered in Transient
and Hold mode.

Cycle Mode : When in Cycle mode, the Action/Function (Envelope) will loop on itself.
Attack will control the rise speed and Decay the fall speed. The combination of two
could yield slow rising envelopes to very percussive and fast ones.

Transient Mode: In Transient mode, the action is ready to receive a gate or a pulse at
the Gate In Input to be triggered and react as a regular Attack Decay Envelope.

Hold Mode: When in Hold mode, the action will also be ready to receive a gate or a
pulse at the Gate In Input but it'll react as an Attack Hold Envelope.

When CV controlling the Attack and the Decay, new rhythmic and reactive capabilities
become possible so it is highly encouraged to experiment with both of these CV
Inputs.

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Quadrature Mode: There are two Quadrature modes, A to B (A-B) and C to D (C-D) and
what happens when one of these functions is triggered is that the four knobs
corresponding to the actions A and B turn into an ADSR envelope (A Attack = Attack,
A Decay = Decay, B Attack = Sustain, B Decay = Release). When the C-D Quadrature
is selected then the controls are assigned in the same way but starting at the C action.
When in Quadrature mode the actions must be in Transient mode and their signal flow
goes as follows.

A-B = Gate input at the A Gate In input and quadrature output at the B Blue Output.
The A Action is inserted in the middle of the ADSR and interacts with the B Action.
C-D = Gate input at the C Gate In input and quadrature output at the D Blue Output.
The C Action is inserted in the middle of the ADSR and interacts with the D Action.

The Quadrature push buttons engage the ADSR function for it work.

The OR's only work in Quadrature mode and what they do is that they insert a fragment
of one of the Actions (envelopes) in between the ADSR result in order to yield more
complex actions. The ORs have their own individual output (A-B or C-D OR CV Out)
and when Quadrature mode is not selected, their knobs behave as Biases or Amounts
for the Actions B or D depending on the selected OR Output. The OR knobs control
the main output for those functions.

The 281t creates two main output signals, the Blue outputs and the Red outputs.
Blue outputs correspond to the full CV signals with the whole Envelope forms whereas
the Red outputs will only give a Pulse at the end of every cycle. These Red outputs
come in handy when controlling other modules that require a pulse or a clock in order
to work but remembering that the trigger out will happen at the end of every cycle and
not at the beginning. This could yield some typical swing effects when clocking. If you
wish to have a precise output that will be in perfect sync with the Action, use the Blue
outputs instead.

CV Ins:
- A Gate In.
- B Gate In.
- C Gate In.
- D Gate In.
- A Attack CV In.
- A Decay CV In.
- B Attack CV In.
- B Decay CV In.
- C Attack CV In.
- C Decay CV In.
- D Attack CV In.
- D Decay CV In.

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CV Outs:
- A Blue CV Out.
- B Blue CV Out.
- C Blue CV Out.
- D Blue CV Out.
- A Red CV Out.
- B Red CV Out.
- C Red CV Out.
- D Red CV Out.
- A-B OR CV Out.
- C-D OR CV Out.

266t Source Of Confusion

The 266t is a random source module with three different flavors. The first ones (A,B)
are a couple of smooth or fluctuating random sources. They are Sine based in order to
achieve the round curves at the sampling points. Next we have Stepped random
voltages (C,D) which have a quantized fluctuation and are also know as Sample &
Hold. Finally we have a little portion inspired by a module by Eardrill which is called
The Pendulum Ratchet (Tick, Talk) and it consists on a series of continuous pulses with
an internal clock but these pulses can be starved by subdivisions giving them a feel of
a sort of Euclidean rhythm patterns.

Smooth Random Voltages - Outputs A and B correspond to two smooth fluctuating

random series of control signals. These two modules have individual clocking which is
controlled by the probability knobs, when completely counter clockwise the probability
stands at zero but the knob is slowly turned clockwise, the probable change of rate
increases from 0 cycles per second all the way to 80 but in order to get the sampling
going, the knob should pass 10 o Clock and then I can go back down or above that
position. There are three ways of outputting the random signal, Flat, Low (L) and High
(H). Flat correspond to all voltages passing through indiscriminately, Low outputs only
voltages that are lower to a certain threshold and High outputs only voltages above that
same threshold. Both Probability knobs can be CV controlled via their CV In inputs.

Stepped Random Voltages. - Outputs C and D correspond to two stepped quantized

random voltage generators that are controlled independently through the States knobs
which control from less to more the amount of states being sampled in order to
produce the random signals. These signals compared to the smooth ones have steps
and work almost like traditional Sample & Hold signals.
There is a general selector that will filter the signals for both outputs (C,D). This
function has a Flat mode which outputs all values indiscriminately, Low for only values
below a threshold and High for values above the threshold. This section has a unique
feature called H Fbck which stands for High Feedback and works only in High mode.

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H Fbck acts as Bell distribution and can yield very different results that could affect
timbres and shaping when applied properly. Note that not all settings will respond the
same to this feature. Both States knobs can also be CV controlled through their CV In
inputs.

Chroniker is a section that outputs pulses that are controlled by an internal clock. In
order for the clock to start, the Run button should be pressed. The Ext. Clock button
should be engaged whenever there's an external source being sent to the Chroniker's
Ext. Clock Input.
The Chroniker main knob controls the rate of the clock and can be CV Controlled via its
input and has its own CV attenuverter knob.
The main constant pulses from the Chroniker are outputted through the Tick Out.
The Density knob controls the amount of pulses being produced at the Talk Out output
and the way that it works is that the more density (fully clockwise), the more constant
the pulses will be and the less dense (counter clockwise), the pulses will be
subdivided based on the Chroniker's own clock speed. These subdivisions could give
a Euclidean rhythmic feel. Density can also be controlled via its CV In input and has an
attenuverter knob for controlling the CV amount.
V2 Extras: The Chroniker is now able to be clocked externally and there are now 3
sets of individual subdivision outputs available from the Chroniker.

CV Ins:
- A CV In.
- B CV In.
- C CV In.
- D CV In.
- Chroniker CV In.
- Chroniker Ext. Clock
- Density CV In.

CV Outs:
- A CV Out.
- B CV Out.
- C CV Out.
- D CV Out.
- Tick CV Out.
- Talk CV Out.

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256t Triple Curve Processor

The 256t is a control signal (CV) processor that can offer a various sorts of functions
like Attenuation, Inversion, Addition and Non Linear signal transformation. There are
three identical sections (A,B,C) and all three work exactly the same.

The way that this module works is by receiving a control signal at its input and
processing through a section called Transfer Function and then is outputted.
There are two main knobs that control the process, the @0V Knob to the left and the
@10V Knob to the right.

When the 0V knob is fully counter clockwise and the 10V knob is fully clock wise the
signal passes unaffected from the input to the output. This is known as Pass Through
Mode. The two red dots on both edges indicate the state of both knobs, the left dot
belongs to the @0V knob and the right dot to the @10V knob.

By bringing down the @10V knob the 256t will begin to act as an attenuator, when the
knob is fully counter clockwise, the signal being process will cease to pass to the
output.

By bringing up the @0V knob and leaving the @10V knob down, the signal will begin to
be inverted. When the knob is fully clockwise, then the signal will be fully inverted.

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Modulating these two knobs and combining them will already process the signal in
more complex ways.
The mathematical representation of this operation si represented as follows:
Vout = Vin - 1 (@0V) + Vin (@10V)

By pressing the Breakpoint button a new dot will appear in between the 0V dot and the
10V dot. This dot represents a new processing offset that will happen in between the
two main processes. This breakpoint is controlled by the In and Out value knobs.
In V controls the X axis and Out V controls the Y axis.
The lower both of these knobs are, the harder the breakpoint will be, the higher the
values are, the wider the now created curve will be. By positioning this dot in different
places along the grid the results will become less linear and will directly interact with
the @0V values and the @10V values. This is what we would call a non linear
transformation.

There is one more function available and that is the ability to Add another control signal
to the mix. This can be achieved by inputing a second signal into the A/B/C 2 In input
and mixing it manually with the A/B/C 2 Knob. This second signal will also get
processed through the same setting and rules as the first signal.
The A/B/C 2 Knobs are all CV controllable through their CV Mix inputs and by pressing
the CV a/b/c 2 buttons.

CV Ins:
- A1 In.
- A2 In.
- B1 In.
- B2 In.
- C1 In.
- C2 In.
- A2 CV Mix.
- B2 CV Mix.
- C2 CV Mix.

CV Outs:
- A CV Out.
- B CV Out.
- C CV Out.

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245t Dual Sequential Control Source

The 245t is based on both the classic 245 module and the Music Easel Sequential
Voltage Source.
It consists of two identical 5 step sequencers that can output both Control CV signal
and Pulses that are controlled by their individual switches (note. these switches are not
mute switches for the Control Levels).
They have an internal clock that is controlled by the Internal Time knob but can also be
clock externally via their Ext. Clock In inputs.
Both sequencers can be turned on or off independently with their Run switches.
Stages can vary from 3 to 5 depending on the purpose. This is controlled by the gray
Stages button to the right and it controls both the Control Levels length as well as the
Pulse Sequence length.
The Pulse Sequence will output a pulse every time the sequence advances, these
pulses can be engaged or muted through their individual switches. When the switch is
up, the pulse is engaged and when its down, its muted. Like mentioned before, these
do not mute the Control Signal.
They can also receive CV signal that could alter the internal triggering sent by the
clock and create some erratic behaviors. Note that also, this CV function will not affect
the Control Levels progression.
The Edit button will advance manually through the sequence triggering a stage every
time its pushed. This function is intended for testing purposes.
The Clock selector to the bottom right can tell the sequencer to run Internally,
Externally or to advance every time a Gate is sent to it. For example a MIDI keyboard
could move the sequence forward every time a note is pressed. There is a CV input
called A Gate In to achieve this. The Gate action is only available in the A sequencer
where in B there are the same Internal/External options but instead of having the Gate
as a clocking choice, there's one named A, which will make the B sequence sync itself
to the A's tempo.

CV Ins:
- A Pulse CV In.
- B Pulse CV In.
- A Ext. Clock In.
- B Ext. Clock In.
- A Gate In.

CV Outs:
- A Control CV Out.
- A Pulse CV Out.
- B Control CV Out.
- B Pulse CV Out.
- A Clock Out.
- B Clock Out.

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SIGNAL ADMINISTRATOR
The way the system is connected is through the Signal Administrator located in the B
Panel of the Ensemble.

This is where all the possible Ins and Outs can be connected.

Inputs:

Every module has an equivalent back panel here with all its possible Inputs, both
Audio and CV. These are the Input Ports.
Every Control input will have a "CV In" included in the input's name and every Audio will
only say "In" after the parameter's name. Even though the system is ready to receive
audio at CV points just like a Eurorack would work, its important to keep in mind the
different types of signals the modules can handle.

There's a yellow LED on every Input Port that will the level of any signal coming in.
Sometimes the signal isn't strong enough for the LED to light up entirely but that
doesn't mean there's no signal coming in and that's why its important to always check
the connection not just visually but sonically.

Outputs:

Every output from every module is available in the form of a List which is accessible at
every Input port. The list will display every single possible output available and by
selecting one of the outputs listed in the Input port, a connection is made.

This is a simple concept by itself but when patches become more and more complex,
the signal flow can become a little bit hard to track but just as using cables, it is always
really important to keep track of the signal flow in the best way possible.

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LEMUR TEMPLATE

I've taken the liberty of creating an iPad template for the App Lemur with most of the
parameters needed for performance already mapped and ready to go.
It also includes a Keyboard and a Sequencer, both based on Softcore's iVCS3
template.

You'll find that the keyboard is available on all tabs and can be hidden but when
shown, it'll be super imposed at the bottom. Only the tab A has it permanently
showing.

*Sequencer Bug - There is a weird bug that you may encounter with the sequencer and
the way it works is that in order to get the scales moving and the pitch to change, the
major/minor buttons should be clicked once just to get it going. Another bug you might
encounter is that at some point it could stop sending pitch messages and all you have
to do is reset the lemur template so be sure to save it directly to you iPad.

There are 6 Tabs with all modules included, the only one I wasn't able to include was
the 245t, not because of anything else but the fact that 128 MIDI messages were just
not enough to map out the whole system. Maybe if you have another midi controller you
could map it out yourself, just make sure to use a different midi channel and device.

NOTE - ALL PARAMETERS THAT WERE NOT MAPPED FOR LEMUR WILL HAVE THEIR
MIDI IN OPTION IN THE CONNECT TAB DISABLED. If changes wish to be made, then
you'll need to access and configure those parameters yourself.

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V2 MODULES

227t Output Interface

This module is inspired on Buchla's 200e 227 System Interface. It is a six channel
mixer that allows the signals to be controlled in a more flexible way by integrating a
built in "Swirl" (Auto Panners) parameter on channels 1 to 4, having reverb sends on all
channels, stereo spread options on channels 5 and 6, an Envelope Follower and a built
in stereo Equalizer. We can still have independent Pan CV in on channels 1 to 4 like in
the 207t module and now we can also have CV Ins on the "Swirl" parameters, making it
possible to alter the Swirl's motion and speed. In order to make the Swirl work, its
green button must be engaged and the speed is controlled by the Rate knob bellow
that button. The motion of the panning will be of a sine wave with complete round
edges from left to right. The CV knob left to the rate knob controls the independent
Pan CV In so this means that if you connect a signal to the Swirl's CV In, the amount
will immediately be at 100%. You can always restrict the amount of signal going into
this parameter by using an attenuator from the 256t in between.
The Envelope Follower works exactly like the one on the 207t.
Another extra feature in this module is the ability to have built in VCA's on channels 1 to
4. In order to modulate the amplitude on those channels, a control signal needs to go
into the VCA CV Inputs on the Signal Administrator. The VCA CV's amount are set to
100%, in order to restrict the amount you would also need to use an attenuator.

Audio Ins:
- Inputs 1 to 6
Audio Outs:
- Output L&R MAIN OUTPUT
- Ext. In.
CV Ins:
- Swirl CV 1 to 4
- Pan CV In 1 to 4
- VCA CV In 1 to 4
CV Outs:
- Envelope Follower. (Outputs the Control Signal from the external in input.)

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248t Multiple Sequential Generator

This new module can be a little intimidating at first and specially when dealing with all
its ins and outs but bare with me and I'll try to explain as best as I can every parameter
available.
First off, it is a quad 16 step sequencer with 4 presets each, this means that there are
16 different sequences or combinations available. There's sequencer A,B,C and D
and you can view their parameters using the red "page select" button to the far right.
Like any sequencer, it can be used to control the frequency (pitch) of an oscillator or to
modulate any available CV parameter and for this there's one thing you need to take
into account, there are two main outputs to choose from: "Stage CV 1 and Stage CV 2"
CV 1 is specially scaled for pitch and CV 2 is scaled for modulation in general. This
means that every sequencer (A,B,C&D) have two outputs.
Each sequencer can have 4 different presets to scroll from and the way to edit and
scroll through them is with the blue "Scene Select" button and you can even CV control
this parameter so for example, every time a gate is sent, the preset "scene" changes or
advances.
Each sequence can last from 2 and up to 16 steps and this parameter can also be CV
modulated.
The "Edit" button will advance the sequence even when "Run" switch is turned off. The
"Run" switch is the start/stop control of each sequence.
On the top left of each sequencer you'll find the clock selector and you can choose
from sources, Internal "int" clock, External "ext" clock and Gate, what gate will do is that
the sequence will only advance every time you hit a note on the midi keyboard.
A new addition is an option called "Key Follow" which transposes (pitch) the scale in
which the sequence is playing to which ever note is played with the midi keyboard.
The speed of the sequence is controlled by the big white knob and the CV amount is
attenuated with the small blue knob right on top of it.
Finally the last parameter is a glide knob which comes in handy when wanting to
smooth out the transitions from step to step.
Last but not least, we have the faders (stage addressers) that work on a scale from 0 to
127 and are used as modulation amounts for every step and a switch on top of every
fader with can turn on or off their designated Stage.
All of these parameters are the same on all four sequencers, so learning one is
learning them all.

Now, things can become really confusing and complex when reviewing the CV ins and
outs that these sequencer have to offer. Starting with the CV Outs, each sequencer will
have a Stage CV Out 1 and 2 which we've talked about, 1 is scaled for pitch whereas 2
is for modulation, so maybe you want to control the pitch of an oscillator with output 1
and control the waveshaping parameters or a filter with output 2.
The next CV out that every sequencer offers is a Pulse Out, which outputs only a pulse
at the end of every step and can be restricted using the switches on top of every fader.
And finally a Clock out for every individual sequencer.

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Now going to the CV ins which are quite a few but remember, you'll always find these
inputs on the Signal Administrator panel.
Starting with Ext. Clock In which is self explanatory, then Speed CV which modulates
the speed at which the sequence advances, controlled by the Speed CV amount knob
and partially bypassing the main Speed knob. The next CV input would be the Reset
CV in which does what it says, resets the clock of the sequence every time a positive
signal hits that input. Following with a Start/Stop CV in that will allow us to temporarily
interrupt the sequence by stopping it and starting it again every time a positive signal
hits and finally the Scene CV in which we've talked about can be used to scroll through
the 4 presets (scenes) that every sequencer has.
Below those main 5 CV Ins we'll see a row of 16 CV ins that correspond to each stage
(fader) and the point of this allows us to temporarily alter the fixed initial parameter of
every stage by having a bias that doesn't have the fader's position on the front panel
but that can also open up the possibilities to a lot of random functions. So
summarizing this parameter, each fader can be modulated externally so the fader's
position is not altered if a variation is desired.

Thank you for taking the time to read this manual and I hope this instrument can inspire
and yield some unique and interesting results. Please consider making a donation on
my webpage if you find the amount of work that was put into this project worth it. You
can find the Donate button at www.trevorgavilan.com You can also follow my work
here:

www.trevorgavilan.bandcamp.com
www.instagram.com/trevorgavilan
www.facebook.com/trevorgavilan
@trevorgavilan

Thank you!

Trevor Gavilan, March 2018. Nematic Labs.

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