Quick Reference

A 'quick reference guide' is available, to assist in remembering the disting's many functions. Formatted for A6 paper, it can be conveniently printed out 4-up on A4 and folded into a compact booklet.

Download the version appropriate to your firmware here.

Algorithm Descriptions

If you have 38 minutes to spare, the video below details all 16 of the original disting's functions in turn. Otherwise, each feature has its own little video, further down the page.

Algorithm Overview

Bank 1/a

This bank contains the 16 'classic' disting algorithms found on the mk1/mk2 units.

	Group 1	Group 2	Group 3	Group 4
a	Precision Adder	Linear/Exponential Converter	Sample and Hold	LFO
b	Four Quadrant Multiplier	Quantizer	Slew Rate Limiter	Clockable LFO
c	Full-wave Rectifier	Comparator	Pitch and Envelope Tracker	VCO with linear FM
d	Minimum/maximum	Dual Waveshaper	Clockable Delay/Echo	VCO with waveshaping

Bank 1/b

This bank contains mostly audio effects & processes. Entries marked 'Placeholder' are reserved for future development, and currently run the same algorithm as a nearby non-placeholder entry.

	Group 1	Group 2	Group 3	Group 4
a	Precision Adder (fractional offsets)	Resonator	Placeholder	LP/HP Filter
b	Voltage Controlled Delay Line	Vocoder	Tape Delay	LP/BP Filter
c	Clockable Ping Pong (Z feedback)	Phaser	Waveform Animator	BP/HP Filter
d	Clockable Ping Pong (Z input pan)	Bit Crusher	State Variable Filter	BP/Notch Filter

Bank 1/c

This bank contains mostly envelope generators and random CV/trigger algorithms.

	Group 1	Group 2	Group 3	Group 4
a	AR Envelope	Dual AR Envelope	Clockable AD Envelope (with mute)	Shift Register Random CVs
b	AR Envelope (with push)	Dual AR Envelope (with push)	Clockable AD Envelope (with gate)	Shift Register Random Quantized CVs
c	AR Envelope & VCA	Euro to Buchla Converter	Clockable AD Envelope (with trigger)	Shift Register Random Triggers
d	AR Envelope & VCA (with push)	Buchla to Euro Converter	Clockable AD Envelope & VCA	Shift Register Random Dual Triggers

Bank 1/d

Entries marked 'Placeholder' are reserved for future development, and currently run the same algorithm as a nearby non-placeholder entry.

	Group 1	Group 2	Group 3	Group 4
a	ES-1 Emulation	Dual Quantizer (Z scale)	Crossfade/Pan	Dual Euclidean Patterns
b	ES-2 Emulation	Dual Quantizer	Dual Sample and Hold	Placeholder
c	Placeholder	Dual Delayed Pulse Generator	Placeholder	Placeholder
d	Placeholder	Noise	Placeholder	Placeholder

Bank 3/a

Entries marked 'Placeholder' are reserved for future development, and currently run the same algorithm as a nearby non-placeholder entry.

	Group 1	Group 2	Group 3	Group 4
a	Stereo Reverb	Stereo Chorus	Placeholder	Placeholder
b	Mono-to-Stereo Reverb	Mono Chorus	Placeholder	Placeholder
c	Dual Reverb	Placeholder	Placeholder	Placeholder
d	Placeholder	Placeholder	Placeholder	Placeholder

Banks 2/a, 2/b & 2/c

From firmware v3.3 onwards, the disting also includes algorithms based on sample & MIDI file playback from an installed MicroSD card. See this page for details.

The Algorithms

1-a Precision Adder

Output A is the sum of inputs X & Y; output B is the difference between inputs X & Y. With nothing plugged into input X, B is therefore simply an inverted copy of Y.

The Z knob/CV sets an offset which is applied to both A and B. The offset is a whole number of Volts. If X/Y are 1V/Octave pitch CVs, Z is therefore an octave shift control. The maximum shift is 10V, positive or negative.

When Z changes, the offset is displayed on the LEDs. While the offset is being displayed, LEDs 1 & 2 both light. After a short while the LED display reverts to showing the current algorithm. The offset is shown as binary on LEDs a-d, with a the least significant bit. If the offset is negative, LED 3 also lights. The patterns on LEDs a-d are as follows ('0' indicates lit, '-' indicates unlit):

Value	0	1	2	3	4	5	6	7	8	9	10
LED a	-	0	-	0	-	0	-	0	-	0	-
LED b	-	-	0	0	-	-	0	0	-	-	0
LED c	-	-	-	-	0	0	0	0	-	-	-
LED d	-	-	-	-	-	-	-	-	0	0	0

Precision Adder (fractional offsets)

This algorithm is basically the same as 1-a Precision Adder, except that where the other algorithm has offsets in steps of 1V, this algorithm allows you to set a divisor for the offset. This defaults to 12, so when used to offset a 1V/octave pitch CV the offsets correspond to semitones.

1-b Four Quadrant Multiplier

Output A is the result of multiplying inputs X & Y. Output B is the inverse of output A.

If for example X is a signal and Y is an envelope, then this algorithm is a VCA. If both inputs are signals, then this is a ring modulator.

The Z knob/CV sets a scale factor which is applied to both outputs. The scale is an integer (whole number) which either multiplies or divides the result, and ranges in value from 1-10.

When Z changes, the scale is displayed on the LEDs. While the scale is being displayed, LEDs 1 & 2 both light. After a short while the LED display reverts to showing the current algorithm. The scale is shown as binary on LEDs a-d, with a the least significant bit. If the scale is a divisor, LED 3 also lights. The patterns on LEDs a-d are as follows ('0' indicates lit, '-' indicates unlit):

LED 3 unlit	Scale	1x	2x	3x	4x	5x	6x	7x	8x	9x	10x
	LED a	0	-	0	-	0	-	0	-	0	-
	LED b	-	0	0	-	-	0	0	-	-	0
	LED c	-	-	-	0	0	0	0	-	-	-
	LED d	-	-	-	-	-	-	-	0	0	0
LED 3 lit	Scale		/2	/3	/4	/5	/6	/7	/8	/9	/10
	LED a		-	0	-	0	-	0	-	0	-
	LED b		0	0	-	-	0	0	-	-	0
	LED c		-	-	0	0	0	0	-	-	-
	LED d		-	-	-	-	-	-	0	0	0

1-c Full-wave Rectifier

This algorithm provides a full-wave rectifier or absolute value function. The Z knob/CV select between one of two modes. In 'independent' mode, A and B are the absolute values of X and Y, respectively. In 'combined' mode, A is the absolute value of the sum of X & Y; B is the absolute value of the difference of X & Y.

When Z changes, the mode is displayed on the LEDs. While the mode is being displayed, LEDs 1 & 2 both light. 'Independent' mode is indicated by LED 3 lighting; it is unlit in 'combined' mode. After a short while the LED display reverts to showing the current algorithm.

1-d Minimum/maximum

Output A is the minimum of inputs X & Y; output B is the maximum of the two inputs. If one input is zero (or disconnected), this is a half-wave rectifier.

The Z knob/CV provides a gate function. When Z goes higher than approximately 2.5V, the gate goes high and the outputs follow the inputs according to the min/max relationship. When Z goes below approximately -1.5V, the gate goes low and the outputs are frozen.

When the gate changes state, it is displayed on the LEDs. While the gate is being displayed, LEDs 1 & 2 both light. The state of the gate is reflected in LED 3. After a short while the LED display reverts to showing the current algorithm.

2-a Linear/Exponential Converter

This algorithm provides a linear-to-exponential converter and an exponential-to-linear converter. You might use this to interface 1V/octave modules (Eurorack standard) with Hz/V synths (e.g. old Korg or Yamaha synths), but it could also be useful within Eurorack e.g. to convert an LFO (commonly with Hz/V pitch control) to a V/octave oscillator, or to convert an exponential FM input on a VCO into a linear FM input.

Input X is the exponential input; its corresponding linear output is A. Y is the linear input, whose exponential output is B.

Z sets the scale factor which is common to both conversions. It sets the number of Hz per Volt, with arrange from near zero to about 2kHz. The Yamaha CS-15, for example, uses about 1100Hz/V, which is about half way on the Z knob here.

The zero Volt point on the exponential scale used is C3 (approximately 130.81Hz).

2-b Quantizer

Output A is a quantized version of input X; the closest whole-semitone value to the unquantized V/octave pitch CV X. Output B is a trigger signal which fires whenever output A changes - a 5V pulse approximately 10ms long.

As well as providing a chromatic scale, this algorithm can also constrain the quantized values to a musical scale or chord. This is controlled by the Z knob/CV.

When Z changes, the scale is displayed on the LEDs. While the scale is being displayed, LEDs 1 & 2 both light. After a short while the LED display reverts to showing the current algorithm. The patterns on LEDs a-d are as follows ('0' indicates lit, '-' indicates unlit):

Scale	chromatic	major scale	minor scale	major triad	minor triad	root +5th	major triad +6th	minor triad +6th	major triad +7th	minor triad +7th	root +5th +6th	root +5th +7th	pentatonic major	pentatonic minor	natural minor	harmonic minor
LED a	-	0	-	0	-	0	-	0	-	0	-	0	-	0	-	0
LED b	-	-	0	0	-	-	0	0	-	-	0	0	-	-	0	0
LED c	-	-	-	-	0	0	0	0	-	-	-	-	0	0	0	0
LED d	-	-	-	-	-	-	-	-	0	0	0	0	0	0	0	0

A further option is controlled by Z being positive or negative. When Z is negative, LED 3 also lights when displaying the scale.

When Z is positive input Y is a transpose control. The CV on input Y is quantized (to a chromatic scale) and added to the quantized result in one of two ways, controlled by parameter 1. If parameter 1 is zero, the transposition is applied to output A, after input X has been quantized to the chosen scale. If parameter 1 is one, the transposition is applied to input X before it is forced into the chosen scale. So, in mode zero the overall key of the quantization is transposed, whereas in mode one the transposition moves the notes around within the same key.

When Z is negative input Y is a trigger. In this mode, input X is only sampled and converted to a new quantized value when input Y rises over approximately 1V. (In non-triggered mode, X is constantly sampled and a new note is output as soon as X moves into the next semitone range.)

Parameter 2 sets the root key of the chosen scale. At zero, the first note of the scale (e.g. C in the key of C) corresponds to 0V. If the parameter is set for example to 2, the first note of the scale is at 2/12 = 0.1667V - or to look at it another way, if your VCO is tuned so that 0V gives you a C, the quantizer is now working in the key of D (D major, minor, triad etc. depending on the scale setting).

2-c Comparator

Output A is a gate signal (zero or +5V), high when input X has a higher voltage than input Y. Output B is an inverted copy of A (i.e. +5V when A is 0V and vice versa.)

The Z knob/CV input sets the hysteresis (for an explanation of hysteresis see here). It has an approximately 0-10V range. Negative values are clamped at zero.

2-d Dual Waveshaper

This algorithm provides two independent waveshaping functions. The Z knob/CV is a gain control, with a range of approximately 30x. Negative values of Z invert the signal.

Input X/output A provide what is usually termed a wavefolder. This increases the harmonic content of the sound in interesting ways, especially as the gain changes.

Input Y/output B provide a triangle-to-sine waveshaper. Used on most audio this is a relatively gentle form of overdrive/saturation. However, when fed with the right level of triangle wave, the output is exactly a sine wave, which is useful when you have a triangle wave VCO handy but really want a pure sine wave instead.

3-a Sample and Hold

If parameter 0 is 0 (the default):
Output A is a sample of input X, taken when the trigger input Y goes over 1V. (Sample and Hold)
If parameter 0 is 1:
Output A follows input X while input Y is over 1V. When Y falls below 0.5V, output A is held until Y goes over 1V again. (Track and Hold)

Output B is a white noise signal, with range ±8V. A noise signal is commonly fed into the input of a sample and hold device to generate clocked random voltages.

The Z knob/CV controls the slew rate of output A. At the minimum value of Z, changes in A are instantaneous. As Z increases, changes in A take place more slowly.

Pressing the Z knob triggers a sample manually.

3-b Slew Rate Limiter

Outputs A & B are both slew rate limited copies of the sum of X & Y. Output A uses linear slew rate limiting; a step change in the input will typically result in a ramp output, until the output reaches its desired value, at which point it will be constant. Output B uses logarithmic slew rate limiting; a step change in input results in a smooth curve that gradually approaches the desired value.

The Z knob/CV controls the slew rate for both outputs. At the minimum value of Z, changes are very rapid. As Z increases, changes take place more slowly.

3-c Pitch and Envelope Tracker

This algorithm provides pitch and envelope tracking of an incoming audio signal. It will track frequencies down to about 27Hz, which is just below the lowest note on a standard 88 key piano.

Output A is a 1V/octave pitch CV reflecting the pitch of the signal on input X. The 0V point is C3 (approximately 130.81Hz). Input Y is simply added to the pitch CV, providing a means of applying e.g. vibrato, or transposition.

Output B tracks the envelope of the signal on input X. It goes to zero when the algorithm fails to track a pitch.

Knob/CV Z sets the slew rate of the envelope, controlling how quickly it tracks changes in level. At the minimum value of Z, changes can be very rapid, which may produce undesirable effects, especially if pitch tracking is not working well. As Z increases, changes take place more slowly.

3-d Clockable Delay/Echo

This algorithm is a delay/echo effect, primarily intended for processing audio signals, where the delay time is set from a clock pulse. It operates at a quarter of the standard sample rate (i.e. at about 19kHz) and offers a maximum delay time of about 1700ms.

Input X is the signal input. Any audio signal can be fed in here.

Input Y is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the delay time. If the time between triggers is greater than the maximum delay time, the time is divided by two until it is small enough. This way, you always end up with a rhythmically useful delay time.

The Z knob/CV controls the feedback, from zero to slightly more than 100%.

Output A is a mix of the dry (undelayed) signal and the delay effect. The amount of delay in the mix rises in direct proportion to the amount of feedback.

Output B is the delayed signal only. Use this and the input signal, plus an external mixer, if you need more flexibility in the dry/wet balance than is offered by output A.

The parameter applies a multiplier to the delay time, according to the following table:

Parameter value	Multiplier
-15	1/64
-14	1/48
-13	1/32
-12	1/24
-11	1/16
-10	1/12
-9	1/8
-8	1/6
-7	3/16
-6	1/4
-5	5/16
-4	1/3
-3	3/8
-2	1/2
-1	3/4
0	x1
1	x1.5
2	x2
3	x3
4	x4
5	x5
6	x6
7	x8
8	x16

4-a LFO

Outputs A & B are LFOs (low frequency oscillators), with CV control of frequency and waveshape. The output signals are ±8V (16V peak-to-peak) by default, but can be attentuated via the parameters. The scale factor is (1+parameter value)/32, so at the minimum parameter value of -1 there is no output at all.

The outputs can also have a DC offset applied. The offset in Volts is (parameter value)/4 i.e. the range is ±7.75, in steps of 0.25V.

Input X is a Hz/V frequency control, scaled at 1Hz/V. Note that the input is allowed to go negative, resulting in a phase-reversed output.

Knob/CV Z is a tuning control, with a range of approximately ±10Hz. This is simply added to the setting from input X (so with input X disconnected, the knob can be used to manually set an LFO rate).

Input Y controls the waveshape of the output signals. Signals in the range ±10V give the full range of possible waveshapes:

Input Y	-10V	0V	+10V
Output A	saw	sine	triangle
Output B	0% duty cycle pulse	50% duty cycle pulse (square)	100% duty cycle pulse

4-b Clockable LFO

Outputs A & B are LFOs (low frequency oscillators), with CV control of waveshape, and with the LFO cycle time set from a clock input. The output signals are ±8V (16V peak-to-peak) by default, but can be attentuated via the parameter. The scale factor is (1+parameter value)/32, so at the minimum parameter value of -1 there is no output at all.

Input X is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the cycle time.

Input Y controls the waveshape of the output signals. Signals in the range ±10V give the full range of possible waveshapes:

Input Y	-10V	0V	+10V
Output A	saw	sine	triangle
Output B	0% duty cycle pulse	50% duty cycle pulse (square)	100% duty cycle pulse

The Z knob/CV sets a scale factor which is applied to the cycle time. The scale is an integer (whole number) which either multiplies or divides the frequency, and ranges in value from 1-16.

When Z changes, the scale is displayed on the LEDs. While the scale is being displayed, LEDs 1 & 2 both light. After a short while the LED display reverts to showing the current algorithm. The scale is shown as binary on LEDs a-d, with a the least significant bit. If the scale is a divisor, LED 3 also lights. The patterns on LEDs a-d are as follows ('0' indicates lit, '-' indicates unlit):

LED 3 unlit	Frequency	1x	2x	3x	4x	5x	6x	7x	8x	9x	10x	11x	12x	13x	14x	15x	16x
	LED a	0	-	0	-	0	-	0	-	0	-	0	-	0	-	0	-
	LED b	-	0	0	-	-	0	0	-	-	0	0	-	-	0	0	-
	LED c	-	-	-	0	0	0	0	-	-	-	-	0	0	0	0	-
	LED d	-	-	-	-	-	-	-	0	0	0	0	0	0	0	0	-
	LED 4	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	0
LED 3 lit	Frequency		/2	/3	/4	/5	/6	/7	/8	/9	/10	/11	/12	/13	/14	/15	/16
	LED a		-	0	-	0	-	0	-	0	-	0	-	0	-	0	-
	LED b		0	0	-	-	0	0	-	-	0	0	-	-	0	0	-
	LED c		-	-	0	0	0	0	-	-	-	-	0	0	0	0	-
	LED d		-	-	-	-	-	-	0	0	0	0	0	0	0	0	-
	LED 4	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	0

4-c VCO with linear FM

This algorithm is a VCO with a 1V/octave pitch CV input (X), and a linear FM input (Y), scaled at 100Hz/V. Note that, if the FM input goes sufficiently negative, it will take the frequency through and below zero, resulting in a phase inversion ("thru-zero FM").

The 0V point for the pitch input is C3 (approximately 130.81Hz).

The Z knob/CV provides a tuning control, with a range of approximately ±0.5 octaves.

The A and B outputs provide sine and saw waves respectively. The output signals are ±8V (16V peak-to-peak) by default, but can be attentuated via the parameters. The scale factor is (1+parameter value)/32, so at the minimum parameter value of -1 there is no output at all.

4-d VCO with waveshaping

This algorithm is a VCO with a 1V/octave pitch CV input (X), and waveshape/PWM input (Y).

The 0V point for the pitch input is C3 (approximately 130.81Hz).

The Z knob/CV provides a tuning control, with a range of approximately ±0.5 octaves.

Input Y controls the waveshape of the output signals. Signals in the range ±10V give the full range of possible waveshapes:

Input Y	-10V	0V	+10V
Output A	saw (falling)	triangle	saw (rising)
Output B	0% duty cycle pulse	50% duty cycle pulse (square)	100% duty cycle pulse

The output signals are ±8V (16V peak-to-peak) by default, but can be attentuated via the parameters. The scale factor is (1+parameter value)/32, so at the minimum parameter value of -1 there is no output at all.

Voltage Controlled Delay Line

This algorithm is a voltage controlled delay line, with a maximum delay time of just over 200ms. As well as simple echoes, this can produce a wide variety of effects such as vibrato, chorus and flange.

A control signal of 0-8V on the Y input sets the delay time, with a linear voltage/time relationship. The parameter can be used to set this to a 'centre' value, which makes it easier to patch in an LFO to the Y input without having to add a DC offset to the LFO.

Z is a feedback control. It is zero at 0V input, and provides negative feedback for negative voltages.

A outputs the delay signal only. Use this for vibrato effects, or if you want a controllable mix of dry and delayed signal.

B outputs the delay and dry signals mixed in equal amounts. In combination with an LFO on the delay time, this is the quickest route to chorus/flange type effects.

Resonator

This algorithm implements a resonator, which is a kind of filter, but which is also often found as the basis for analogue drum synthesis.

X is the input for the signal to filter. If used as a drum synth, this is the trigger input. The amplitude and nature of the trigger signal will affect the resulting sound.

Y sets the pitch of the resonator, with a 1V/octave response. The 0V point for the pitch input is C3 (approximately 130.81Hz). Parameter 0 provides a pitch offset in semitones.

Z sets the gain. In terms of drum synthesis, more gain means a longer decay time.

A is the audio output.

B outputs the result of envelope tracking the audio output A.

Pressing Z simulates hitting X with a 1ms 5V pulse, and so works as a manual trigger of the 'drum'.

Phaser

This algorithm implements a phase shifter or 'phaser' effect.

X is the audio input.

Y is the sweep input. 0V to 8V covers the whole range; negative voltages are treated as 0V. You will almost always want to patch an LFO in here. A parameter can be used to set this to a 'centre' value, which makes it easier to patch in an LFO to the Y input without having to add a DC offset to the LFO.

Z controls feedback. More feedback results in more extreme phasing effects. When Z is negative, the feedback is inverted, which gives a different-sounding phasing effect.

A outputs the combination of the phase-shifted signal and the original signal, which is usually what you need for a classic phaser effect, since it's the interaction of the original signal and the phase-shifted version which produces the 'comb filtering' effect.

Output B provides just the phase shifted signal, if you need more contorl over how this and the original signal are mixed.

Parameter 1 sets the number of phase shifting stages. The more stages, the more notches there are in the comb filter, which results in a more pronounced effect.

Tape Delay

This is a delay/echo effect which simulates a variable speed tape loop echo device. The delay time at '1x speed', with the tape length parameter at maximum, is just over 400ms.

X is the audio input.

Y controls the speed of the 'tape', and thus the delay time. The voltage/speed relationship is 8V/octave. If you consider 0V as '1x speed', then +8V gives '2x speed' (the maximum) and -4V gives 'half speed' (the minimum). Parameter 1 can be used to set the speed manually; its value is added to that of the Y input.

The Z knob/CV controls the feedback, from zero to slightly more than 100%.

Output A is a mix of the dry (undelayed) signal and the delay effect. The amount of delay in the mix rises in direct proportion to the amount of feedback.

Output B is the delayed signal only. Use this and the input signal, plus an external mixer, if you need more flexibility in the dry/wet balance than is offered by output A.

Waveform Animator

This algorithm recreates a popular analogue circuit variously known as a waveform animator or wave multiplier. Such a circuit, when given (typically) a sawtooth waveform as input, uses a comparator to generate a square wave of suitable phase and pulsewidth such that when the square and saw waves are added together the result is a phase shifted saw waveform. This is usually done a number of times and the results added with the overall effect of turning the original, rather plain, waveform into a much richer one which to all intents and purposes is the same as if you'd started with a number of VCOs rather than just one, and so sounds "fatter". In combination with LFOs varying the comparator thresholds, very rich textures can be generated.

Here, four comparators and four LFOs are used.

X is the audio input.

The thresholds of the comparators are set by a combination of Y and Z. Y sets the 'centre' threshold; Z sets a 'spread' of the individual thresholds around the centre. Parameter 1 also sets the centre.

Parameter 0 sets the LFO depth. Parameter 2 scales the LFO rates; the four LFOs have preset individual speeds, which the parameter multiplies.

Parameter 3 sets the 'scale'. The recreation of phase shifted sawtooths works best when the square wave amplitude is matched to that of the saw. The default setting of -1 uses an envelope tracker to automatically set the square amplitude from the incoming audio. Other values directly set the amplitude (31 corresponds to ±8V). Fixing the amplitude of the square waves and varying the input signal's amplitude is a useful effect in its own right.

Output A is the animated output (sum of the orignal signal and the comparator outputs). Output B is just the square waves.

State Variable Filter

This is a 2nd-order filter, with a voltage controllable response type. By varying Z, the output can be low pass, band pass or high pass, or blends in between.

X is the audio input.

Y sets the filter frequency, with a 1V/octave response. The 0V point is C3 (approximately 130.81Hz).

Z sets the filter type output at A & B.

Output A blends smoothly between low pass (at minimum Z), through band pass (at zero Z), to high pass (at maximum Z).

Output B blends smoothly between high pass (at minimum Z), through band pass (at zero Z), to low pass (at maximum Z).

LP/HP Filter

This is a filter with simultaneous low pass and high pass outputs.

X is the audio input.

Y sets the filter frequency, with a 1V/octave response. The 0V point is C3 (approximately 130.81Hz).

Z controls the filter resonance.

LP/BP Filter

This is a filter with simultaneous low pass and band pass outputs.

X is the audio input.

Y sets the filter frequency, with a 1V/octave response. The 0V point is C3 (approximately 130.81Hz).

Z controls the filter resonance.

BP/HP Filter

This is a filter with simultaneous band pass and high pass outputs.

X is the audio input.

Y sets the filter frequency, with a 1V/octave response. The 0V point is C3 (approximately 130.81Hz).

Z controls the filter resonance.

BP/Notch Filter

This is a filter with simultaneous band pass and notch outputs.

X is the audio input.

Y sets the filter frequency, with a 1V/octave response. The 0V point is C3 (approximately 130.81Hz).

Z controls the filter resonance.

Clockable Ping Pong Delay (Z feedback)

This algorithm is a stereo ping-pong delay/echo effect, primarily intended for processing audio signals, where the delay time is set from a clock pulse. It operates at a quarter of the standard sample rate (i.e. at about 19kHz) and offers a maximum delay time of about 900ms.

Input X is the signal input. Any audio signal can be fed in here.

Input Y is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the delay time. If the time between triggers is greater than the maximum delay time, the time is divided by two until it is small enough. This way, you always end up with a rhythmically useful delay time.

The Z knob/CV controls the feedback, from zero to slightly more than 100%.

Outputs A & B are the left and right outputs respectively. If the output mode parameter is 0 (the default), they are a mix of the dry (undelayed) signal and the delay effect. The amount of delay in the mix rises in direct proportion to the amount of feedback. If the output mode parameter is 1, the outputs are the delayed signals only. Use this and the input signal, plus an external mixer, if you need more flexibility in the dry/wet balance than is offered by output mode 0.

Clockable Ping Pong Delay (Z input pan)

This algorithm is a stereo ping-pong delay/echo effect, primarily intended for processing audio signals, where the delay time is set from a clock pulse. It operates at a quarter of the standard sample rate (i.e. at about 19kHz) and offers a maximum delay time of about 900ms.

Input X is the signal input. Any audio signal can be fed in here.

Input Y is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the delay time. If the time between triggers is greater than the maximum delay time, the time is divided by two until it is small enough. This way, you always end up with a rhythmically useful delay time.

The Z knob/CV controls the left/right pan position of the input signal.

Outputs A & B are the left and right outputs respectively. They are a mix of the dry (undelayed) signal and the delay effect. The amount of delay in the mix rises in direct proportion to the amount of feedback.

The delay feedback is set via the parameter.

AR Envelope

This algorithm is a two-stage (attack/release or attack/decay) envelope generator.

Inputs X & Y are trigger inputs. A signal in excess of 1V on either input will trigger the envelope, according to the mode set by parameter 0. In trigger mode 0, the envelope will rise to full level and stay there as long as the input is high (AR mode). In trigger mode 1, the envelope will execute one full attack/decay cycle in response to a trigger input (AD mode). In trigger mode 2, the envelope will continually execute attack/decay cycles as long as the trigger is high (looped AD mode).

Z sets the envelope times, according to the mode set by parameter 1. In Z mode 0, the full range of Z values sweeps from short A & D, through short A & long D, through long A & D, through long A & short D, and finally back to short A & D. In Z mode 1, Z sets the A & D times to the same value, from very short times (about 10ms) to very long times (about 8s).

A & B both output the envelope CV. Each has its own attenuverter parameter, which can attenuate and/or invert the signal. The maximum envelope level is 8V.

AR Envelope (with push)

This algorithm is a two-stage (attack/release or attack/decay) envelope generator.

Inputs X & Y are trigger inputs. A signal in excess of 1V on either input will trigger the envelope, according to the mode set by parameter 0. In trigger mode 0, the envelope will rise to full level and stay there as long as the input is high (AR mode). In trigger mode 1, the envelope will execute one full attack/decay cycle in response to a trigger input (AD mode). In trigger mode 2, the envelope will continually execute attack/decay cycles as long as the trigger is high (looped AD mode).

Z sets the envelope times. The full range of Z values sweeps from short A & D, through short A & long D, through long A & D, through long A & short D, and finally back to short A & D.

A & B both output the envelope CV. The maximum envelope level is 8V.

Pushing the Z knob has the same effect as triggering the envelope via the X or Y inputs.

AR Envelope & VCA

This algorithm is a combined two-stage (attack/release or attack/decay) envelope generator & VCA (voltage controlled amplifier).

Input X is the trigger input. A signal in excess of 1V will trigger the envelope, according to the mode set by parameter 0. In trigger mode 0, the envelope will rise to full level and stay there as long as the input is high (AR mode). In trigger mode 1, the envelope will execute one full attack/decay cycle in response to a trigger input (AD mode). In trigger mode 2, the envelope will continually execute attack/decay cycles as long as the trigger is high (looped AD mode).

Input Y is the VCA input. The signal here will be multiplied by the envelope and output on output B.

Z sets the envelope times, according to the mode set by parameter 1. In Z mode 0, the full range of Z values sweeps from short A & D, through short A & long D, through long A & D, through long A & short D, and finally back to short A & D. In Z mode 1, Z sets the A & D times to the same value, from very short times (about 10ms) to very long times (about 8s).

Output A is the envelope CV, and output B is the VCA output as mentioned above. Each has its own attenuverter parameter, which can attenuate and/or invert the signal. The maximum envelope level is 8V, which corresponds to unity gain for the VCA.

AR Envelope & VCA (with push)

This algorithm is a combined two-stage (attack/release or attack/decay) envelope generator & VCA (voltage controlled amplifier).

Input X is the trigger input. A signal in excess of 1V will trigger the envelope, according to the mode set by parameter 0. In trigger mode 0, the envelope will rise to full level and stay there as long as the input is high (AR mode). In trigger mode 1, the envelope will execute one full attack/decay cycle in response to a trigger input (AD mode). In trigger mode 2, the envelope will continually execute attack/decay cycles as long as the trigger is high (looped AD mode).

Input Y is the VCA input. The signal here will be multiplied by the envelope and output on output B.

Z sets the envelope times. The full range of Z values sweeps from short A & D, through short A & long D, through long A & D, through long A & short D, and finally back to short A & D.

Output A is the envelope CV, and output B is the VCA output as mentioned above. The maximum envelope level is 8V, which corresponds to unity gain for the VCA.

Pushing the Z knob has the same effect as triggering the envelope via the X input.

Dual AR Envelope

This algorithm offers dual two-stage (attack/release or attack/decay) envelope generators, with shared time settings.

Inputs X & Y are trigger inputs. A signal in excess of 1V on either input will trigger its respective envelope, according to the mode set by parameter 0. In trigger mode 0, the envelope will rise to full level and stay there as long as the input is high (AR mode). In trigger mode 1, the envelope will execute one full attack/decay cycle in response to a trigger input (AD mode). In trigger mode 2, the envelope will continually execute attack/decay cycles as long as the trigger is high (looped AD mode).

Z sets the envelope times, according to the mode set by parameter 1. In Z mode 0, the full range of Z values sweeps from short A & D, through short A & long D, through long A & D, through long A & short D, and finally back to short A & D. In Z mode 1, Z sets the A & D times to the same value, from very short times (about 10ms) to very long times (about 8s).

A & B are the envelope CV outputs. Each has its own attenuverter parameter, which can attenuate and/or invert the signal. The maximum envelope level is 8V.

Dual AR Envelope (with push)

This algorithm offers dual two-stage (attack/release or attack/decay) envelope generators, with shared time settings.

Inputs X & Y are trigger inputs. A signal in excess of 1V on either input will trigger its respective envelope, according to the mode set by parameter 0. In trigger mode 0, the envelope will rise to full level and stay there as long as the input is high (AR mode). In trigger mode 1, the envelope will execute one full attack/decay cycle in response to a trigger input (AD mode). In trigger mode 2, the envelope will continually execute attack/decay cycles as long as the trigger is high (looped AD mode).

Z sets the envelope times. The full range of Z values sweeps from short A & D, through short A & long D, through long A & D, through long A & short D, and finally back to short A & D.

A & B are the envelope CV outputs. The maximum envelope level is 8V.

Pushing the Z knob has the same effect as triggering both envelopes via the X & Y inputs.

Clockable AD Envelope (with mute)

This algorithm is a two-stage (attack/decay) envelope generator, whose overall time is set from an input clock pulse. The envelope is continuously output (starting on each new clock pulse) unless muted.

Input X is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the envelope time.

Input Y is a mute input. While this input is over 1V, the output is forced to 0V.

Z sets the envelope shape, from short attack & long decay, to long attack and short decay.

A & B both output the envelope CV. Parameter 0 is an attenuverter setting, which can attenuate and/or invert the signal. The maximum envelope level is 8V.

Clockable AD Envelope (with gate)

This algorithm is a two-stage (attack/decay) envelope generator, whose overall time is set from an input clock pulse. The envelope is continuously output (starting on each new clock pulse) while enabled by the gate.

Input X is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the envelope time.

Input Y is a gate input. While this input is below 1V, the output is forced to 0V.

Z sets the envelope shape, from short attack & long decay, to long attack and short decay.

A & B both output the envelope CV. Parameter 0 is an attenuverter setting, which can attenuate and/or invert the signal. The maximum envelope level is 8V.

Clockable AD Envelope (with trigger)

This algorithm is a two-stage (attack/decay) envelope generator, whose overall time is set from an input clock pulse. The envelope is triggered by a separate trigger pulse.

Input X is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the envelope time.

Input Y is a trigger input. Any clock pulse in excess of 1V can be used. A rising clock pulse triggers the envelope.

Z sets the envelope shape, from short attack & long decay, to long attack and short decay.

A & B both output the envelope CV. Parameter 0 is an attenuverter setting, which can attenuate and/or invert the signal. The maximum envelope level is 8V.

Clockable AD Envelope & VCA

This algorithm is a two-stage (attack/decay) envelope generator, whose overall time is set from an input clock pulse. The envelope is continuously output (starting on each new clock pulse). This algorithm also offers a VCA (voltage controlled amplifier) function.

Input X is the clock input. Any clock pulse in excess of 1V can be used. The time between rising trigger edges is used to set the envelope time.

Input Y is the VCA input. The signal here will be multiplied by the envelope and output on output B.

Z sets the envelope shape, from short attack & long decay, to long attack and short decay.

Output A is the envelope CV, and output B is the VCA output as mentioned above. Parameter 0 is an attenuverter setting, which can attenuate and/or invert the signal. This applies to both outputs. The maximum envelope level is 8V, which corresponds to unity gain for the VCA.

Shift Register Random CVs

This algorithm generates random CVs via the popular rotating shift register method. The joy of this method is that it generates a loop of CVs, with a controllable likelihood of change, including the possibility to lock the loop so it does not change.

X is the clock input. Any clock pulse in excess of 1V can be used. On each rising edge the shift register rotates and a new CV is output. On each rotation, there is the possibility that one bit of the shift register will be flipped, changing the pattern. The likelihood of a flip is set by Z. When Z is zero there is a 50% chance that the bit will flip, which is the most random setting. As Z rises, the chance of a flip reduces, until at around 5V the chance of a flip hits zero and the pattern is effectively locked. Conversely, as Z goes negative, the chance of a flip goes up, reaching 100% at around -5V. This also effectively locks the pattern. When Z crosses the ±5V boundaries, in either direction, all 8 LEDs light up for a short while to let you know that the pattern has been locked or unlocked.

Input Y allows for modification of the sequence, even when the loop is locked. If input Y is above 1V, the bit will always be flipped on a clock pulse, regardless of the setting of Z.

Output A is the random pattern interpreted as a unipolar CV i.e. it is always a positive voltage. Output B is the random pattern interpreted as a bipolar CV i.e. it can swing both positive and negative.

Parameter 0 sets the direction of rotation. The two directions have a different sound to the patterns they tend to generate.

Parameter 1 sets the length of the shift register, and so the length of the repeating CV pattern in terms of clocks.

Parameter 2 sets the output slew rate. This has the same effect as the Slew Rate Limiter algorithm being applied to the outputs.

Parameter 3 is an attenuator for both outputs.

Shift Register Random Quantized CVs

This algorithm generates random CVs via the popular rotating shift register method. The joy of this method is that it generates a loop of CVs, with a controllable likelihood of change, including the possibility to lock the loop so it does not change. The CVs are quantized to semitones or to a chosen musical scale.

X is the clock input. Any clock pulse in excess of 1V can be used. On each rising edge the shift register rotates and a new CV is output. On each rotation, there is the possibility that one bit of the shift register will be flipped, changing the pattern. The likelihood of a flip is set by Z. When Z is zero there is a 50% chance that the bit will flip, which is the most random setting. As Z rises, the chance of a flip reduces, until at around 5V the chance of a flip hits zero and the pattern is effectively locked. Conversely, as Z goes negative, the chance of a flip goes up, reaching 100% at around -5V. This also effectively locks the pattern. When Z crosses the ±5V boundaries, in either direction, all 8 LEDs light up for a short while to let you know that the pattern has been locked or unlocked.

Input Y allows for modification of the sequence, even when the loop is locked. If input Y is above 1V, the bit will always be flipped on a clock pulse, regardless of the setting of Z.

Output A is the random pattern of CVs, quantized to the scale chosen via parameter 2. The list of scales is the same as that for the Quantizer algorithm.

Output B is a trigger output.

Parameter 0 sets the direction of rotation. The two directions have a different sound to the patterns they tend to generate.

Parameter 1 sets the length of the shift register, and so the length of the repeating CV pattern in terms of clocks.

Parameter 3 is an attenuator for the random CV, applied before quantization.

Shift Register Random Triggers

This algorithm generates random triggers via the popular rotating shift register method. The joy of this method is that it generates a loop of triggers, with a controllable likelihood of change, including the possibility to lock the loop so it does not change.

X is the clock input. Any clock pulse in excess of 1V can be used. On each rising edge the shift register rotates and a new CV is output. On each rotation, there is the possibility that one bit of the shift register will be flipped, changing the pattern. The likelihood of a flip is set by Z. When Z is zero there is a 50% chance that the bit will flip, which is the most random setting. As Z rises, the chance of a flip reduces, until at around 5V the chance of a flip hits zero and the pattern is effectively locked. Conversely, as Z goes negative, the chance of a flip goes up, reaching 100% at around -5V. This also effectively locks the pattern. When Z crosses the ±5V boundaries, in either direction, all 8 LEDs light up for a short while to let you know that the pattern has been locked or unlocked.

Input Y allows for modification of the sequence, even when the loop is locked. If input Y is above 1V, the bit will always be flipped on a clock pulse, regardless of the setting of Z.

Output A is the random pattern of triggers. A trigger is emitted for every bit set in the shift register.

Output B is the inverse of A - a trigger is generated for every bit not set in the shift register.

Parameter 0 sets the length of the shift register, and so the length of the repeating trigger pattern in terms of clocks.

Shift Register Random Dual Triggers

This algorithm generates random triggers via the popular rotating shift register method. The joy of this method is that it generates a loop of triggers, with a controllable likelihood of change, including the possibility to lock the loop so it does not change. In this algorithm there are two shift registers for the two outputs, which share a common clock.

X is the clock input. Any clock pulse in excess of 1V can be used. On each rising edge the shift register rotates and a new CV is output. On each rotation, there is the possibility that one bit of the shift register will be flipped, changing the pattern. The likelihood of a flip is set by Z. When Z is zero there is a 50% chance that the bit will flip, which is the most random setting. As Z rises, the chance of a flip reduces, until at around 5V the chance of a flip hits zero and the pattern is effectively locked. Conversely, as Z goes negative, the chance of a flip goes up, reaching 100% at around -5V. This also effectively locks the pattern. When Z crosses the ±5V boundaries, in either direction, all 8 LEDs light up for a short while to let you know that the pattern has been locked or unlocked.

Input Y allows for modification of the sequence, even when the loop is locked. If input Y is above 1V, the bit will always be flipped on a clock pulse, regardless of the setting of Z.

Output A & B are the random patterns of triggers. A trigger is emitted on each output for every bit set in that output's shift register.

Parameters 0 & 1 set the length of the shift registers, and so the length of the repeating trigger patterns in terms of clocks.

Vocoder

This algorithm implements a vocoder. The spectral characterstics of the modulator input are applied to the carrier input. In classic usage, the modulator might be a human voice, and the carrier might be a synth sound, or simply noise.

X is the modulator input, and Y is the carrier input.

A is the audio output. B outputs a CV related to the envelope of the modulator signal.

The Z control sets the decay time of the internal envelope trackers, which track each band of the modulator signal. Use low values (negative Z) for most intelligible speech.

The parameter selects between alternative filter banks.

Bank	Description
0	Half octave spacing, based on 100Hz.
1	Third octave spacing, based on 250Hz.

Euro to Buchla Converter

This algorithm is for interfacing Eurorack (or more generally, any analogue synths using the 1V/octave standard) with Buchla synths.

Input X/Output A convert a pitch CV from the 1V/octave standard to the 1.2V/octave standard.

Input Y is a gate input, triggering when the level exceeds 1V. From this, a Buchla-format combined gate & trigger is generated from output B. This is a 4ms pulse at 10V, followed by a sustained gate at 5V.

The Z knob/CV provides a tuning control, with a range of approximately ±0.5 octaves.

Buchla to Euro Converter

This algorithm is for interfacing Buchla synths with Eurorack (or more generally, any analogue synths using the 1V/octave standard).

Input X/Output A convert a pitch CV from the 1.2V/octave standard to the 1V/octave standard.

Input Y is intended to receive a Buchla-format combined trigger & gate signal (typically a 10V trigger pulse followed by a sustained 5V gate). From this, output B generates just the trigger pulse (at 5V). If you need the gate signal, you can directly use the Buchla output.

The Z knob/CV provides a tuning control, with a range of approximately ±0.5 octaves.

Bit Crusher

This algorithm is a 'bit crusher' - it applies sample rate and sample depth reduction to deliberately introduce quantisation and aliasing artefacts. It also optionally applies bitwise modification of the samples for non-linear distortion effects.

X is the signal input.

Y is the sample rate reduction CV input. It has a 1V/octave response i.e. the sample rate is reduced by a factor of 2 for every 1V rise in CV. This CV is offset by parameter 0, so you can set a rate reduction without a CV input.

A is the signal output.

B is the output of a comparator. Output A is compared against zero; output B is +5V if A is above zero, or 0V if A is below zero.

The Z control sets the bit depth reduction. There are two types of bit reduction available:

• Type I - the signal is quantised to a 16 bit word, and the low bits thrown away. The resulting signal uses a power of 2 bits. Changing between bit depths is therefore discontinous.
• Type II - quantisation is achieved via the limited precision of integer maths when dividing the signal by a factor. Since the factor can be continuously varied, this offers a smooth variation between 'bit depths'.

Furthermore, positive and negative values of Z have different effects.

• Positive Z treats the whole signal range as one number to be quantised.
• Negative Z treats positive and negative sections of the input signal differently. Negative sections are flipped positive, quantized, and flipped back.

Parameter 1 selects the type of bit reduction. The positive and negative sections of the input signal can have different types of reduction applied.

Parameter 1 value	Positive signal	Positive signal
0	Type I	Type I
1	Type II	Type II
2	Type I	Type II
3	Type II	Type I
4	Type I	None
5	Type II	None
6	None	Type I
7	None	Type II

Parameter 2 selects the bit mangling mode.

Parameter 2 value	Bit mangling
0	None
1	Bit swap variant 1
2	Bit swap variant 2
3	Bit swap variant 3
4	Bit rotation
5	Previous sample XOR variant 1
6	Previous sample XOR variant 2
7	Previous sample XOR variant 3

ES-1 Emulation

This algorithm provides a software implementation of the Expert Sleepers ES-1 module. The in conjunction with the Silent Way AC Encoder plug-in this allows you to pass CVs from your DAW to your modular via an AC coupled audio interface.

X & Y are the two inputs - connect these to outputs from your audio interface.

A & B are the corresponding outputs - connect these to CV inputs in your modular.

Z provides a trim control. Adjust this so that a zero CV entering the AC Encoder plug-in gives you a zero CV out of the disting (either with a voltmeter, or by eye, just looking at the colour of the disting's output jacks).

ES-2 Emulation

This algorithm provides a software implementation of the Expert Sleepers ES-2 module. The in conjunction with the Silent Way CV Input plug-in this allows you to pass CVs from your modular into your DAW via a regular audio interface.

X & Y are the two inputs - connect these to CV outputs from your modular.

A & B are the corresponding outputs - connect these to inputs on your audio interface.

Z provides a trim control, allowing adjustment of the ES-2's operating frequency. Start with this at zero (LEDs off) and adjust to minimise noise in the CV recovered from the plug-in.

Crossfade/Pan

Viewed as a stereo output, A & B provide a panned version of X, plus an oppositely panned version of Y.

Viewed as mono outputs, A provides a crossfaded mix of X & Y, while B provides a mix with an inverted mix control.

In both cases Z provides the pan position or crossfade amount. When Z is turned, a visual indication of the crossfade position is shown on the LEDs as a number between -16 and +16 (though this is approximate - the resolution is not quantized to 33 steps).

The parameter sets the pan/crossfade law.

0	Equal gain	Appropriate for crossfading phase-coherent material.
1	Equal power	Appropriate for crossfading non-phase-coherent material.
2	Transition	DJ-style crossfade where both sources are at full gain at the 50% position.

Dual Quantizer (Z scale)

Output A is a quantized version of input X; the closest whole-semitone value to the unquantized V/octave pitch CV X. Similarly output B is a quantized version of input Y.

As well as providing a chromatic scale, this algorithm can also constrain the quantized values to a musical scale or chord. This is controlled by the Z knob/CV.

When Z changes, the scale is displayed on the LEDs. While the scale is being displayed, LEDs 1 & 2 both light. After a short while the LED display reverts to showing the current algorithm. The patterns on LEDs a-d are as follows ('0' indicates lit, '-' indicates unlit):

Scale	chromatic	major scale	minor scale	major triad	minor triad	root +5th	major triad +6th	minor triad +6th	major triad +7th	minor triad +7th	root +5th +6th	root +5th +7th	pentatonic major	pentatonic minor	natural minor	harmonic minor
LED a	-	0	-	0	-	0	-	0	-	0	-	0	-	0	-	0
LED b	-	-	0	0	-	-	0	0	-	-	0	0	-	-	0	0
LED c	-	-	-	-	0	0	0	0	-	-	-	-	0	0	0	0
LED d	-	-	-	-	-	-	-	-	0	0	0	0	0	0	0	0

For each quantizer, a parameter provides a transpose control. The transposition is applied to the input before it is forced into the chosen scale i.e. the transposition moves the notes around within the same key.

Dual Quantizer

Output A is a quantized version of input X; the closest whole-semitone value to the unquantized V/octave pitch CV X. Similarly output B is a quantized version of input Y.

As well as providing a chromatic scale, this algorithm can also constrain the quantized values to a musical scale or chord. This is controlled by parameters 2 & 3.

Parameter value	Scale
0, ±1	chromatic
±2	major scale
±3	minor scale
±4	major triad
±5	minor triad
±6	root +5th
±7	major triad +6th
±8	minor triad +6th
±9	major triad +7th
±10	minor triad +7th
±11	root +5th +6th
±12	root +5th +7th
±13	pentatonic major
±14	pentatonic minor
±15	natural minor
±16	harmonic minor

Additionally, the parameter being positive or negative controls whether the quantizer works in triggered mode or not. The triggers are provided by input Z (approximately 1V is required to trigger it). If the parameter is negative, the quantizer is triggered - the input is only sampled and converted to a new quantized value when triggered by input Z. If the parameter is positive, the input is constantly sampled and a new note is output as soon as the input moves into the next semitone range.

Dual Delayed Pulse Generator

Outputs A & B are pulse generators (0-5V) triggered by inputs X & Y respectively (1V required to trigger). The delay between the trigger and the output pulse, and the length of the pulse, can both be controlled.

Unless in a mode where they are set by the Z input/CV, the delay and length are set from parameters 2 & 3. Parameter 1 provides a range control, which scales both the delay and length times. When the range parameter is 0, the maximum time is 10ms. Higher settings for range progressively double the maximum time; at the maximum ranage setting of 12, the maximum time is therefore 40.96s.

Parameter 0 controls the function of Z:

Parameter 0 value	Z function
0	Z controls delay
1	Z controls length
2	Output override (high). Z over 1V forces both outputs high.
3	Output override (low). Z over 1V forces both outputs low.
4	Input enable. Z below 1V disables input triggers.
5	Input disable. Z above 1V disables input triggers.
6	Z is an additional trigger input which triggers both outputs.

Noise

Dual output variable-colour noise generator, with two optional VCAs.

Outputs A and B are noise, with colour according to the parameter values:

Parameter value	Noise colour
-1	Blended
0	Violet
1	White
2	Pink
3	Red

If 'blended' is chosen, the noise colour can be smoothly swept from violet to red with the Z knob/CV.

Parameters 2 & 3 set the attentuation of the outputs (31 corresponds to ±8V output for white noise). If the parameter is set to -1, the corresponding X/Y input is used to set the output amplitude (equivalent to following the noise output with a VCA driven by X/Y). The X/Y inputs are clamped at 0V i.e. negative input voltages yield silence.

Dual Sample and Hold

If parameter 0 is 0 (the default):
Output A is a sample of input X, taken when the trigger input Z goes over 1V. (Sample and Hold)
If parameter 0 is 1:
Output A follows input X while input Z is over 1V. When Z falls below 0.5V, output A is held until Z goes over 1V again. (Track and Hold)

Similarly for output B/input Y.

Pressing the Z knob triggers a sample manually.

Dual Euclidean Patterns

This algorithm generates rhythmic patterns of output pulses known as Euclidean patterns. For a detailed description of these patterns and how they are commonly found in music around the world see e.g. here or here.

A pattern is described by the total number of steps (controlled by parameter 0) and the number of pulses (i.e. the number steps on which a pulse is output) (controlled by parameter 1 for output A and by Z for output B).

Parameter 2 sets a 'rotation' of the pattern. At zero rotation, the first step in the pattern will always be a pulse, and the remaining pulses distributed according to the algorithm. The rotation setting moves the first pulse by a number of steps i.e. moves the down beat.

Parameter 3 sets the length of the output pulse. At zero, the pulse is a fixed length of 10ms. Values of 1-31 set the pulse length to a fraction of the clock time.

Input X is the clock input, advancing the pattern by one step each time the input exceeds 1V. Input Y is a reset input, resetting the pattern to step 1.

Stereo Reverb

A stereo reverberation effect.

X and Y are the stereo audio inputs. An equal mix of these is used to feed the reverberator.

A and B are the stereo audio outputs. These are a mix of the inputs and the reverb output.

Z is a wet/dry control. At zero, the output is 100% dry i.e. the input signals with no reverb added. For positive Z, reverb is added while holding the dry level constant. For negative Z, the dry and reverb signals are progressively crossfaded, until eventually the output is 100% wet i.e. just the reverberation signal.

Parameters 0 & 1 together control the reverb time.

Parameter 2 changes the reverb 'character' - it chooses between a number of options for the reverb algorithm's internal parameters leading to different sounding reverbs (some quite natural, others deliberately unnatural).

Parameter 3 applies a low pass filter to the reverb input. It does not affect the dry portion of the signal.

Mono-to-Stereo Reverb

A mono-to-stereo reverberation effect.

X is the audio input.

A and B are the stereo audio outputs. These are a mix of the input and the reverb output.

Z is a wet/dry control. At zero, the output is 100% dry i.e. the input signal with no reverb added. For positive Z, reverb is added while holding the dry level constant. For negative Z, the dry and reverb signals are progressively crossfaded, until eventually the output is 100% wet i.e. just the reverberation signal.

Parameters 0 & 1 together control the reverb time. Input Y also affects the feedback.

Parameter 2 changes the reverb 'character' - it chooses between a number of options for the reverb algorithm's internal parameters leading to different sounding reverbs (some quite natural, others deliberately unnatural).

Parameter 3 applies a low pass filter to the reverb input. It does not affect the dry portion of the signal.

Dual Reverb

A dual mono reverberation effect.

X and Y are the audio inputs.

A and B are the audio outputs. Each is a mix of its input and corresponding reverb output.

Z is a wet/dry control. At zero, the outputs are 100% dry i.e. the input signal with no reverb added. For positive Z, reverb is added while holding the dry level constant. For negative Z, the dry and reverb signals are progressively crossfaded, until eventually the outputs are 100% wet i.e. just the reverberation signals.

Parameters 0 & 1 together control the reverb time.

Parameter 2 changes the reverb 'character' - it chooses between a number of options for the reverb algorithm's internal parameters leading to different sounding reverbs (some quite natural, others deliberately unnatural).

Parameter 3 applies a low pass filter to the reverb inputs. It does not affect the dry portion of the signals.

Stereo Chorus

A stereo chorus effect.

X is the audio input.

A and B are the stereo audio outputs. These are a mix of the input and the chorus output.

Z is a wet/dry control. At zero, the outputs are 100% dry i.e. the input signal with no chorus added. For positive Z, chorus is added while holding the dry level constant. For negative Z, the dry and chorus signals are progressively crossfaded, until eventually the outputs are 100% wet i.e. just the chorus signals.

The chorus effect is generated via a number of LFOs. The LFO depth is set with parameter 0. The LFO speeds are set with a combination of parameter 1 and input Y.

Parameter 2 controls a feedback loop around the effect.

Parameter 3 applies a low pass filter to the chorus input. It does not affect the dry portion of the signals.

Mono Chorus

A mono chorus effect.

X is the audio input.

A and B are audio outputs. Output A is a mix of the input and the chorus output; output B is just the chorus output.

Z is a wet/dry control. At zero, the output A is 100% dry i.e. the input signal with no chorus added. For positive Z, chorus is added while holding the dry level constant. For negative Z, the dry and chorus signals are progressively crossfaded, until eventually the output is 100% wet i.e. just the chorus signal.

The chorus effect is generated via a number of LFOs. The LFO depth is set with parameter 0. The LFO speeds are set with a combination of parameter 1 and input Y.

Parameter 2 controls a feedback loop around the effect.

Parameter 3 applies a low pass filter to the chorus input. It does not affect the dry portion of the signal.