Nyborg
-12
Contents
Safety Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Nyborg Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Brief Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Initial Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Circuit in Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Voltage Controlled Oscillators VCO 1& 2 . . . . . . . . . . . . . . . . . 10 - 11
Audio Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Voltage Controlled Filter VCF . . . . . . . . . . . . . . . . . . . . . . . . . . 13 - 14
Envelope Generators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Voltage Controlled Amplifier - VCA . . . . . . . . . . . . . . . . . . . . . . 16
Low Frequency Oscillator - LFO . . . . . . . . . . . . . . . . . . . . . . . . 17
Patch Sockets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Setting Midi Channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Rear Panel Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . 20
Configuration (Rack Ears Optional). . . . . . . . . . . . . . . . . . . . . . 21
Configuration (Wood Panels Optional) . . . . . . . . . . . . . . . . . . . 22
Configuration (Horizontal / Vertical) . . . . . . . . . . . . . . . . . . . . . 23
2 Voice / Poly Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Specification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Calibration of VCOs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Safety Instructions
PLEASE READ CAREFULLY BEFORE USING:
• Only use the correct power adaptor - 230V for UK/EU (110V for N.America).
• Never handle the adaptor with wet hands
• Never excessively bend the adaptor cable or get it trapped or place heavy
objects on it. If the adaptor cable becomes damaged, replace the adaptor.
• Ensure the unit is disconnected from the mains before moving or cleaning.
• Always disconnect the unit from the mains if there is lightning in your area.
• Ensure the unit is on a stable surface, and never place heavy objects on top of
it.
• Never allow young children or animals to operate the unit or adaptor.
• Do not use excessive force when using the controls or inserting cables to the
connectors.
• The unit should not be operated in the rain or near water and should not be exposed
to moisture.
• If the unit is brought from a cold environment to a warm one, the unit should be
left to reach the ambient temperature.
• Keep away from heat sources, such as radiators, ovens, heaters etc.
• Never allow it to get wet. Do not operate it near water, like pools, sinks,
bathrooms etc.
• Do not place beverages on or near it.
• Never open the case or attempt to make repairs. Refer any servicing to
qualified service personnel.
PREVENTING DAMAGE TO OTHER CONNECTED DEVICES
Nyborg has a very high dynamic range. It is capable of produce loud signals of very
high and sub-sonic frequencies that could blow inadequate speakers if played too
loud. It is recommended that input levels to external equipment (mixers, amp's etc.)
are kept low when first connected, and then slowly increased to a useable level.
MAINTENANCE INSTRUCTIONS
Any cleaning of the Nyborg case should be done with a clean lint-free cloth.
DO NOT USE SOLVENTS OR CLEANERS, as this will deteriorate the exterior
appearance of the equipment. Do not use a car wash or jet wash to clean this synth.
MOUNTING
Mounting does not mean 'place on the wall' or 'to make love to' in this instance.
PLACE
Nyborg soundly on any stable surface so it cannot fall off or over, causing it or yourself
injury.
POWER
The unit needs a 12 to 15V AC supply, minimum 500mA. DC Power supplies will not
work.
Introduction
Congratulations on buying the Nyborg synthesiser. Nyborg is part of the Analogue
Solutions range of analogue music equipment. Nyborg is a precision electronic
musical instrument. It combines all the often needed music electronic circuitry to
make a music synthesiser in one compact module.
No compromise has been made with the construction of Nyborg. Cheaper options in
parts have not been used
• Full rugged steel/aluminium case - no plastic mouldings
• Good quality smooth potentiometers, fully sealed against dust
• Good quality knobs with spun aluminium caps
• High grade double sided circuit board
• High Quality 16bit DAC for MIDI-CV conversion
• Very stable MIDI to CV
• Very stable analogue oscillators
• Hand built by humans
• True retro analogue voice and modulation circuits to
give an authentic retro sound
Nyborg Layout
Envelope Generators
Voltage
Controlled
Amplifier
Voltage
Controlled
Filter
Low Frequency Oscillator
Voltage
Controlled
Oscillator
Audio
Mixer
Patch Sockets
Overview
NYBORG: SYNTH – PERCUSSION – AUDIO PROCESSOR
Nyborg is a compact analogue synthesizer. Analogue - as in really analogue. Aside
from the MIDI chip (which has to be digital), everything else is totally analogue using
real transistors and op-amps. There are no CPU stabilised and quantised circuits, no
DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths.
The circuitry is based on designs dating back to the mid-1970s. So Nyborg has a
genuine old sound.
AUDIO APPLICATIONS
MONO SYNTHESISER
Nyborg is for use any time you need analogue sound effects, fat basses, screaming
leads, beeps, tones, zaps, and all the other crazy sounds associated with analogue
synthesis. Use in place of your boring digital synths and DSP soft synths.
EFFECTS PROCESSOR
Nyborg has an audio input socket, so you can feed external sounds through the onboard analogue filters for analogue processing.
DRUM SYNTHESISER
Nyborg is able to produce electronic percussion – kick, snare, hihats, cymbal, etc.
MODULAR SYNTHESISER
Nyborg is pre-patched – but has such a wide range of modulation routing possibilities
that it is almost as versatile as a modular and can produce the same types of sounds,
without the mess and confusion of cables. It has some patch sockets that enable you
to connect it to an external modular.
POLYSYNTH
It’s possible to daisy-chain two Nyborg together and play them as a two voice polysynth. It’s even possible to bolt the two units together and fit them in a 19” rack (using
optional rack ears).
It’s possible too to use four units as a four voice polysynth (using optional software,
since as standard, only two units can be daisy-chained).
MIDI or CV & Gate?
This unit can be used with a MIDI keyboard (or DAW, or sequencer) or you can use it
with an analogue sequencer, such as Oberkorn.
It can also be used by MIDI and CV at the same time! So you could have an analogue
step sequencer such as Oberkorn playing a little melody, then using a MIDI keyboard
(or MIDI sequencer) transpose the Oberkorn sequence.
Overview - contd
CIRCUITS INCLUDED
OSCILLATORS
There are two VCOs – each providing a wealth of features and modulation choices.
Controls include: TUNE, OCTAVE, MODULATION depth and destination, MOD.
SOURCE (EGs, VCO audio, External CV, LFO), manual pulse WIDTH, VCO Sync
LOW FREQUENCY OSCILLATOR
The LFO has triangle and Square wave modulation signals. The MODE switch can also
be used to route Sample And Hold or CV2 (velocity) signals to the VCF and VCOs.
FILTER
Nyborg uses a 2 pole 12bB per octave multimode filter. What does this mean? It uses
the same filter as the legendary Telemark synth, which is similar (but not the same,
having its own character) to the old Oberheim SEM. The filter is actually four types in
one. Low pass, Band pass, High pass and Notch filters.
Controls include: CUTOFF, RESONANCE, MODULATION depth (- and +), MOS.SOURCE
(EG, LFO, VCO audio, External CV), KEY voltage, CV2 voltage (velocity), NOTCH
high/low, FILTER TYPE (high, low, band, notch).
MIXER
Audio choices are the Saw or Square wave of each VCO, Noise or, for added fatness,
Sub-Oscillator.
AMPLIFIER
The VCA can be controlled from Gate or Envelope. It can be set to BYPASS so it is
always ‘open’. This allows Nyborg to be used as an effects processor. Finally there is
a CYCLE option. This sets the envelope to be constantly re-triggered by the LFO
allowing for hands-off sound effects.
ENVELOPES
There are two EGs – each having control over ATTACK, SUSTAIN, and combined
DECAY/RELEASE.
MODULATION
Great thought has been placed into modulation route choices, allowing a wide range
of sounds to be produced, including percussion and ‘modular’ style sounds.
MIDI
MIDI is intentionally kept simple – so you can concentrate on making new sounds
and making music – not getting tied up with SYSEX programming.
You get the all important control over filter cut-off using MIDI Velocity (or a MIDI
controller).
Overview - contd
EXTERNAL CV CONTROL SOCKETS
Nyborg can be controlled via an external analogue sequencer, such as Oberkorn, using
the top panel CV sockets.
There are pitch CV sockets for each VCO PITCH1 and PITCH2, filter CUTOFF, GATE (to
trigger the EGs), EXT (to feed an external CV to various circuits).
Also, on the rear panel are two spare 6.35mm big jack sockets. Using these you can
route external audio through the filter. Set the VCA to BYPASS and use Nyborg as an
effects processor!
MOUNTING OPTIONS
Nyborg can be orientated and configured in several ways;
VERTICAL (TALL)
As standard, it comes as a vertical desktop unit just like it’s big brother Telemark.
HORIZONTAL (FLAT)
It is possible to reconfigure it so that it is a flat table top unit, like its cousin LeipzigS can be. This requires some minor screwdriver work.
WITH WOOD SIDES
In either of the above two configurations, optional wood side panels can be fitted.
These screw on from the inside of the unit, so no ugly screws will be visible on the
beautiful wood.
TWO (OR MORE!) SIDE BY SIDE
Two (or more!) units can be bolted side by side. And of course you can also fit the
optional wood sides to these, or, reconfigure them to be horizontal flat units. Two
units can be MIDI daisy chained for a duo-phone synth.
TWO UNITS RACKED
Two units can be bolted together (like above) and then you can also fit the optional rack
ear brackets, and rack mount the whole assembly.
Initial Tuning
Once the MIDI and audio connections have been made it may be necessary to tune in
the VCOs to the rest of your music set-up. Allow a five minute warm up time as these
are true analogue VCOs – that’s why they sound so great!
First set up the controls of Nyborg to make a simple sound. It is usually best to leave
the VCA on BYPASS. Turn VCO2 to zero volume so you can only hear VCO1.
Play, say, middle C on the keyboard. Using a digital keyboard as a reference, adjust the
tuning of VCO1 until it plays in tune with your reference.
Finally, turn up VCO2 so both VCOs can be heard. Using the tune controls of VCO2,
tune it to VCO1.
Circuit in Detail
Here follows details on the sockets and controls, with brief simplified explanations of
what the circuits do. We have not gone into technical details on how or exactly what
each circuit does but tried to explain each control's function and effect.
This synth has been designed to be simple and intuitive to use, just like the original
analogue synth’s of the 70s and 80s. There are no multi-layered menus to work
through.
Anyone who has used synthesisers before should be familiar with the terms used and
therefore be able to predict their behaviour and how they affect the sound. The best
way to learn how to use Nyborg is to go straight ahead and play with it. Reading of
this manual may only be necessary for finer operational detail.
VCO 1& 2
The voltage controlled oscillators (VCOs
1 and 2) produce the raw audio
waveform usually used as the initial
source for sound creation. They provide
cyclic audio waveforms that can be
pitched. VCOs usually receive treatment
from the VCF to turn their basic tones
into pleasant sounds. Both VCOs have
almost identical controls. Both are
described below.
TUNE
Controls pitch adjustment of the VCO.
Use this to tune the VCOs to each other,
and to themselves.
OCTAVE
The VCOs can be transposed up one or
two octaves.
When VCO1’s Octave switch is on the
first setting FREE, then MIDI-CV Pitch
will no longer change the pitch. FREE
(run) allows VCO1 to be used like a LFO
– that is as a CV control source,
unaffected by pitch. Or, it is good for VCO
Sync effects.
When VCO2’s Octave switch is on the
first setting WIDE, then the Tune range of
the TUNE control becomes extremely
wide. It will be harder to set a specific
pitch, but the wide range allows some
great effects when used in conjunction
with other settings.
MODULATION
This controls the amount of modulation to either pulse width or pitch from the
modulation source selected by the SOURCE switch.
Turn this knob clockwise in increasing amounts to apply pulse width modulation
(PWM) to the VCO’s square wave. This will have the effect of thickening up the VCO
sound. Extreme settings of modulation may result in the sound cutting out (which
can be used for creative effect!) Turn this knob anti-clockwise in increasing amounts
to apply frequency modulation (FM) to the VCO.
In a central position, there will be no modulation to either PW or Frequency
VCO 1& 2 - contd
MODULATION SOURCE ROTARY SWITCH
This selects the modulation source for either PWM or FM and is routed to the control
above.
The source options are;
EG1/2 For pitch sweeps. Good for percussion sounds.
EXT A signal patching into the EXT socket s used as a modulation source.
LFO For vibrato and trill effects
VCO2/1 For frequency modulation effects
PULSE WIDTH
This control allows manual shaping of the pulse wave output. It alters the pulse width
(duty cycle) of the pulse wave. In a central position a square wave is produced (approx.
50% duty cycle). Try this control and listen to how the tone of the waveform changes.
When using Pulse Width Modulation, it is best to set the Pulse Width control to centre,
otherwise the sound may cut-out (which can be used for creative effect!)
SYNC
SYNC forces one VCO (the slave VCO) to start a new cycle each time the other does
(the master VCO). This means that the slave VCO can only play the harmonics of the
master. Particularly interesting effects can be made when the pitch of theslaved VCO
is changed, for instance, by sweeping with an EG.
SYNC SWITCH
This switch selects the routings for oscillator sync. The options are:
1>2 VCO2 slaved to VCO1
LFO>2 VCO2 slaved to LFO
OFF Off / no sync effect
2>1 VCO1 slaved to VCO2
Oscillator sync is where the master signal will reset the waveform of the slave signal
each time the master waveform starts a new cycle.
Try the different settings and listen to their effect. You may have to modulate the pitch
of either VCO1 or VCO2 to enhance the effect. There is a balancing act between the
pitch of the two sound sources (usually the 2 VCOs) to get a good effect, once found
you'll know you've found it!
Audio Mixer
NOISE GENERATOR
The noise generator produces white noise which contains all audible frequencies at equal
volume. This is like the hiss you hear between radio stations. The signal is available for
filtering via the Noise/Sub mixer control. Noise would be used for sound effects such as
breath, wind, percussion, etc.
SUB OSC
A sub oscillator is a signal taken from a VCO that is then taken down one or more
octaves below the source VCO. In this case the Sub is taken from VCO1, and is one
octave lower. Sub Osc is used typically for creating deeper and more powerful bass
sounds. The Sub Osc waveform is a square wave.
MIXER
The mixer is used to bring various audio source signals together for filtering. There
are 3 mixer controls.
SAW/PULSE VCO1 LEVEL
Turning the control clockwise in increasing amounts sends VCO1s pulse signal to the
mixer. Turning the control anti-clockwise in increasing amounts sends VCO1s
sawtooth wave signal to the mixer. In a central position no signal is sent from VCO1
to the mixer.
SAW/PULSE VCO2 LEVEL
Turning the control clockwise in increasing amounts sends VCO2s pulse wave signal
to the mixer. Turning the control anti-clockwise in increasing amounts sends VCO2s
sawtooth wave signal to the mixer. In a central position no signal is sent from VCO2
to the mixer.
NOISE / SUB LEVEL
Turning the control clockwise in increasing amounts sends the Sub Osc signal to the
mixer. Turning the control anti-clockwise in increasing amounts sends white Noise to
the mixer. In a central position no signal is sent from the Noise generator or Sub Osc
to the mixer.
VCF
The voltage controlled filter (VCF) is used
to alter the tone of the VCOs/Noise and is
the heart of what gives an analogue synth
its character.
The main character of the filter is a 2
pole, 12dB/Octave ‘oberheim’ style filter.
There are 4 types of filter available;
Low Pass
High Pass
Band Pass
Notch Pass (variable between Low/High)
FREQUENCY
This sets the cut-off frequency, the point
at which the filter begins operating and
will start to filter out harmonics.
RESONANCE
Resonance only acts at the filter cut-off
point. The effect amplifies the frequencies around the cut-off point. As the control is
increased to higher levels the filter will start to self-oscillate. Use Resonance to alter
the tone of the filter effect. It can be used to create squidgy sounds, pulse hits and
effects.
MODULATION AMOUNT
Turning the control clockwise will increase the amount that the modulation source
selected by the MOD.SOURCE switch (outlined below) will modulate the cut-off
frequency. Turning the control anti-clockwise works just like clockwise except that the
modulation signal is inverted (negative). In a central position the selected modulation
source will not affect cut-off modulation.
NOTCH
This sets the relative mix between the low pass and high pass filters that is fed to the
Filter Type selection switch
MOD SOURCE ROTARY SWITCH
This selects the modulation source that will affect the filter cut-off and is routed to the
control above.
There are 4 modulation sources;
EG1 EG1 is used as a modulation source. Use for tonal changes.
LFO LFO is used as a modulation source. Use for filter sweeps (wah-wah).
VCO2 Pulse wave of VCO2 is used as a modulation source. Use for effects.
EXT Signal at the EXT socket is used as a mod source. Use for external
filter control.
A VCF allows its cutoff
frequency and Q factor
(resonance at the cutoff
frequency), to be
continuously varied; the
signal outputs may include a
lowpass response, a
highpass response, a
bandpass response, and a
notch response. The filter
may offer a variable slope
which determines the rate of
attenuation outside the
bandpass, often at
6dB/octave, 12dB/octave (a
'2 pole' filter) or
24dB/octave (a '4 pole'
filter).
trivia...
VCF - contd
FILTER TYPE ROTARY SWITCH
LP - Low Pass: Signals above the cut-off frequency are attenuated at a rate
of 12dB/octave.
BP - Band Pass: Signals above and below the cut-off frequency are
attenuated at a rate of 12dB/octave.
HP - High Pass: Signals below the cut-off frequency are attenuated at a rate
of 12dB/octave.
Notch Notch: signals at the cut-off frequency are attenuated at a
rate of 12dB/octave.
FILTERING EXTERNAL SOUND SOURCES
External sound sources, such as vocals, guitars, mixer sends, samplers, etc. can be
sent through the filter for extra treatment. Note, mic's and guitars may need preamping use if the signal is too quiet.
Simply plug the sound source into the front panel EXT4 socket.
Turn the mixer control Noise/EXT4 to EXT4, and up to a suitable level.
You may wish to return the VCO1 and VCO2 mixer controls to their centre positions
so the VCOs cannot be heard.
Turn the VCA mode switch to ON. This will leave the VCA open so a constant signal
can be heard.
Finally, play around with the filter and modulation settings as necessary.
The VCO signals can also be introduced, and use the various VCA modes and
envelopes if you wish to contour the sound level and add additional effects.
Note; The rear panel input sockets are wired direct to the mixer input.
Envelope Generators
EG1 ASR
EG1 is an ASR (attack / sustain / release)
envelope generator. Use it to modulate
various parameters of the synthesiser.
EG1 is generally assigned for use with
modulating VCO1 and the filter cut-off.
ATTACK
Controls the Attack time. This control sets
the time the envelope signal will take to
reach full level after the EG is initiated.
DEC/REL
Controls the Decay / Release time - the
time it take the envelope signal to return
to zero when the key is released.
SUSTAIN
Controls the level the envelope will hold
at when a key is held.
EG2 ASR
EG2 is just the same as EG1. EG2 is
generally assigned for use with
modulating VCO2 and the VCA.
ATTACK
Controls the Attack time. This control sets
the time the envelope signal will take to
reach full level after the EG is initiated.
DEC/REL
Controls the Decay / Release time - the
time it take the envelope signal to return
to zero when the key is released.
SUSTAIN
Controls the level the envelope will hold
at when a key is held.
VCA
The Voltage Controlled Amplifier (VCA) is
the circuit that is used to change the
output volume. Normally an envelope
signal would be used to do this, so the
sound starts loud then gradually fades
away. The filter audio output is hardwired to the VCA signal input.
MODE
Rotary Switch
The VCA can be controlled in 4 modes
EG2
When EG2 is selected, the envelope signal of EG2 is used to modulate the VCA level.
Use it if you require the VCA level to change over time. (Normal use).
LFO (repeat)
When this is selected, The LFO will constantly re-trigger (repeat) the envelope.
GATE
When GATE is selected, the MIDI note on/off information is used to modulate the VCA.
With this, the VCA level is either off or full on. The audio envelope would be like an
organ's, with no attack or decay time.
BYPASS
When BYPASS is selected, the VCA is left permanently on at full level. Use this setting
if you wish to use the Filter as an effects processor, to process external audio fed into
Nyborg via the EXT1 socket.
VOLUME
This sets the output level of Nyborg, i.e. the output from the VCA that is sent to the
rear panel SIGNAL output socket.
LFO
The Low Frequency Oscillator (LFO) is
basically identical to a VCO, it is another
oscillator, except that it produces periodic
wave forms of low frequency, typically
sub-audio. These slow cyclic waveforms
are used for modulating other circuit
parameters, for example, for sweeping
the filter cut-off up and down, either
slowly for a nice sweep, or faster for a
'wah-wah' type effect. It could be used to
modulate the VCO pitch for vibrato.
The LFO block is grouped together with the VCOs as an LFO is an oscillator just like
the VCOs are.
SPEED
This sets the frequency (speed) of the LFO which is indicated by the LED.
MODE – Rotary Switch
This sets the modulation source that is routed to LFO points for modulation selection.
The options are:
LFO Square Wave CV2 (Midi Control)
LFO Triangle Wave S&H (Sample & Hold)
Sample and Hold (S+H) on this synth means a modulation signal is created that has
a new random signal level each time the LFO completes a cycle (each time the LFO LED
lights up a new modulation level is set).
Patch Sockets
PATCH SOCKETS
Nyborg has some 3.5mm mono CV sockets on the top panel to allow optional patching
some essential signal. Typically you might want to use these to control the synth from
an analogue sequencer, such as Analogue Solutions Oberkorn.
PITCH1
This is a 1V/Octave pitch CV input to control VCO1’s pitch from an external source,
such as the Oberkorn analogue sequencer.
PITCH2
This is a 1V/Octave pitch CV input to control VCO2’s pitch from an external source,
such as the Oberkorn analogue sequencer.
CUTOFF
This is a frequency cutoff CV input to control the filter’s cutoff point from an external
source, such as the Oberkorn analogue sequencer.
GATE
This is a Gate input to trigger the two Envelopes from an external gate, such as the
Oberkorn analogue sequencer Gate X/Y outputs.
EXT
This is control voltage input to allow external CV signals to be patched into the synth.
The routing is then selected via the various MODULATION SOURCE rotary switches.
Use a voltage from an external source, such as the Oberkorn analogue sequencer CV
outputs.
Setting Midi Channel
FUNC(tion) Push Button
This button is used to set the MIDI channel and CV2 controller.
Works best if you plug a MIDI keyboard direct to program rather than via a DAW.
TO CHANGE THE MIDI CHANNEL AND CV2 CONTROLLER;
• Press and hold the FUNC button,
• Press a MIDI key or move a MIDI controller.
• Release the key/controller. Then release the FUNC button.
• The synth will set its MIDI receive channel to the same channel of the MIDI
message that was received.
• CV2 will be set to Velocity if you used a MIDI key or to the same controller
number of the controller that was moved.
If it doesn’t work first time, try again! Then, still if not, try another keyboard. Also
check your cables are not faulty.
Rear Panel Connections
F1 IN
This is an audio input socket to feed audio signals directly into mixer.
F2 IN
This is asecond audio input socket to feed audio signals directly into mixer.
OUT
This is the main audio output from Nyborg. It is the signal output from the VCA, post
Volume control.
MIDI IN
Plug your MIDI cable in here to all another MIDI device to control the Nyborg.
MIDI THRU
The MIDI data coming into the In socket is copied to the Thru socket. This is so you
can control additional devices from your MIDI controller without the need of a MIDI
thru box. The Thru socket will not function when in Poly mode.
Nyborg Configuration
RACK EARS (OPTIONAL)
To rackmount Nyborg, you will in fact need two of them, as the combined width makes
up one whole rack width
FITTING RACK EARS
First the two Nyborgs have to be screwed together side by side. This involves
removing the front panel. See ‘
Removing Front Panel
’ in the wood side panel fitting
instructions.
With the front panels removed carefully screw the units together using 4 M4 screws.
Use the four threaded holes that are normally used for the rack ears/wood.
Optionally you could fit nylock bolts too, or use threadlock if you expect vibration to
work the screws loose (for example if they will be transported alot). Next, replace the
front panels.
Finally, screw the rack ears to the sides of each Nyborg using M4 screws.
Configuration (contd)
WOODEN SIDE PANELS (OPTIONAL)
These can be fitted to a single Nyborg, or, two Nyborgs that have been bolted together
(see above, ‘Fitting Rack Ears’).
The wood is screwed from the inside. This is so no screws are visible from the outside
which looks far smarter.
FITTING WOOD SIDES
• Unplug From Mains.
• Remove 5 front panel screws.
• Carefully unplug cable internal ribbon. There may be some hot glue securing it.
• Simply pull that off with a pair of pliers.
• Set aside Front panel.
• Put the wood on the table.
• Place the synh on its side on the wood.
Adjust position carefully. Typically set the front of the Nyborg back at least 5mm from
front edge of wood, or just place Nyborg centrally on the wood.
Screw the Nyborg to the wood using self tap screws. It is not necessary to drill any
pilot holes. Be careful not to strip the thread by over tightening.
Repeat for other side.
Then reassemble.
Ensure that you plug the cable back in correctly! The connector is keyed so it is hard,
but not impossible, to plug in incorrectly. Do not force it in.
Configuration (contd)
CHANGING FROM VERTICAL TO HORIZONTAL ORIENTATION
As standard, Nyborg is a vertical machine much like its big brother, the Telemark.
It is possible to rotate the front panel, and move the MIDI/PSU PCB so that you can
have the synth flat, like a desk top device. This involves some basic mechanics.
First, the front panel must be removed and rotated 180 degrees. Removing the front
panel is described in ‘
Fitting Wood Sides
’ as outlined above.
Next you need to remove the MIDI/PSU PCB. This is one screw and 3 jack socket
nuts.
The two overlays must be removed and their positions swapped. (Overlays are the
‘stickers’ on the case).
• To remove these, first gently warm up the glue with a hair drier, then carefully
peel off.
• Set these aside glue side up.
• If any glue is left on the case clean off with isopropynol alcohol.
• Then refit the overlays in their new position. If there is not enough stickiness in
the glue you will need to reglue. Alternatively, you can purchase a new set of
overlays.
• Refit the MIDI/PSU PCB in the new position.
• Remove 4 rubber feet and fit in new position.
• Fit front panel in new position.
Whether rotating the front panel, fitting wood, or, screwing 2 units together, the task
is fairly simple, and basic engineering common sense is all that is needed. Doing these
won’t invalidate your warranty. But doing something stupid like snapping something,
slipping and mashing the PCB, etc will! And these will be very evident.
2 Voice Mode/Poly Chain
Nyborg has modified software to add poly-chain to accommodate one other synth.
This will allow 2 Nyborgs to be played together as a single 2 voice polysynth. (4 voice
is possible too on request - if you are lucky enough to own 4 Nyborgs, but you will
need some new software).
TO CONNECT THEM UP:
• Set the Slave Nyborg to MIDI channel 2
• Plug your MIDI keyboard to the MIDI In of the Master Nyborg
• Connect the MIDI Thru from the Master Nyborg to the MIDI In of the Slave
Nyborg
• To activate the Poly mode, Press and hold the FUNC button whilst powering up
the Master Nyborg. (Do the same to toggle it back to normal mono mode). Poly
/ Mono mode is remembered in non-volatile memory.
• There is no need for the Slave Nyborg to have the special software or be in any
special mode, just as long as it is set to Channel 2
Note; Pitch bend is not passed through. The poly mod is fairly basic (for example
there is no note buffer) but it suffices as a 'free' extra and works well enough!
If you are using a single Nyborg and you find it acting a little strange, it could be that
it is in poly mode, in which case, toggle it back to mono mode.
Nyborg Specification
VCO1 Tune, Octave, PW Mod, FM Mod, Manual PW, Mod Source,
Saw out, Pulse out, Sync, Free Run
VCO2 Tune, Octave, PW Mod, FM Mod, Manual PW, Mod Source,
Saw out, Pulse out, Sync, Wide Range
VCF Low pass filter, High pass filter, Band pass filter, Notch
filter, Variable Notch filter. Cut-off, Resonance, Modulation
Amount, Mod Source, MIDI Mod, Resonance Boost
Mixer Audio source mixer
VCA Mode switch inc. EG Repeat, Output volume
EG1 ASR envelope with trigger LED
EG2 ASR envelope with trigger LED
LFO Speed, Output Mode (Square, Triangle, Velocity CV, S+H)
Noise Generator White noise
Sub Osc Minus one octave, taken from VCO1
Sample and Hold For random modulation effects
MIDI to CV Converter 16 bit high resolution with auxiliary controller CV2 output
Rotary controls 22
Rotary switches 9
Push button 1
LEDs 4
Jack sockets 3x 6.35mm, 5x 3.5mm
MIDI Sockets 2
Dimensions: (W x D x H)
Weight X Kg
Power: External AC mains supply
Accessories: Mains adaptor
Troubleshooting
NO SIGNAL
• Your mixing desk / monitoring equipment is on and working correctly.
• Check the synth is switched on and that the power adaptor is functioning
correctly.
• Check it is connected to your monitoring equipment correctly and that the cable
is not faulty.
• Ensure the output volume is high enough.
• Ensure the mixer level controls are turned to some sound source like the VCOs
or Noise.
• Certain extreme filter settings may filter out all of the signal or produce low level
signals. Try adjusting the filter cut-off.
• Certain extreme PW/PWM settings may cause the pulse outputs to cut-out. Try
adjusting PW/PWM as necessary.
• Try putting the VCA to BYPASS to hear the raw sound, but if you are using a
MIDI keyboard to trigger the envelopes and VCA, ensure correct MIDI
connection, and that the correct channels have been selected.
Calibration of VCOs
Calibration of Nyborg is done at the factory and usually should not need to be changed.
Only attempt this yourself if you are fully confident you can do it. You may just end
up ruining the settings, and be aware calibration is something that we cannot help
with other the phone. There are no additional guides we can give by phone to help that
are not already printed here.
TRIMMERS
There are 3 trimmers per VCO, arranged in a vertical line accessed through small holes
in the top panel.
• Top trimmer is Scale
• Middle is Hi-Track
• Bottom is Tune.
VCO1
1. Monitor VCO1.
2. Turn Fine and Course Tune controls to centre.
3. With MIDI connected, play C4.
4. Monitor the VCO1 output, and adjust bottom trimmer (tune) until the pitch of
VCO matches your reference of a 'C' note (reference using guitar tuner, digital
keyboard, etc.).
5. Play C3.
6. Adjust the top trimmer (Scale) until it matches your reference of a lower 'C'
note.
7. Repeat steps 3 to 6 several times until all is in tune and a good octave is
obtained.
8. Play C6 and adjust the middle trimmer (Hi-Track) until it matches your reference.
9. Repeat steps 3 through 8 until all is in tune.
VCO2
1. For VCO2 you repeat the above steps VCO1 can be used as a reference instead
of a tuner, using the zero-beat method.
Warranty
The Nyborg comes with a 1 year (from purchase date) back to base warranty, (i.e.
customer must arrange and pay for carriage to and from Analogue Solutions or the
dealer from which purchased).
This warranty shall not apply where the product has been subject to alteration, misuse
accident, neglect (such as extremes of temperature and/or moisture) or to wear
resulting from normal use.
At the sole discretion of Analogue Solutions, the warranty is deemed to be void should
the unit be or considered to have been opened or any other modifications or tampering
be carried out by unauthorised parties.
CE Compliance
This unit complies with EU Directives 73/23/EEC and 89/336/EEC.
Standards: EN55103-1, EN55103-2, EN60065
web: www.analoguesolutions.com
email: info@analoguesolutions.com
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