FB-3100
VST™ Polyphonic Synthesizer
Version 1.0
© 2017 by Björn Arlt @ Full Bucket Music
http://www.fullbucket.de/music
VST is a trademark of Steinberg Media Technologies GmbH
Windows is a registered trademark of Microsoft Corporation
FB-3100 Manual Page 2
Table of Contents
Introduction.......................................3
History..............................................3
Digital Transformation.........................3
Acknowledgments...............................4
Architecture.......................................5
Polyphonic Section..............................6
Signal Generators (SG)..........................6
Lowpass Filters (LP)..............................6
Envelope Modifiers (EM).........................7
Monophonic/Paraphonic Section............7
Resonators...........................................7
Amplitude Modulation............................8
The Remaining Signal Path.....................8
Modulation Generators.........................9
MG1 and MG2.......................................9
Sample & Hold......................................9
The “MG” Signal....................................9
General Envelope Generator (GEG)........10
Voltage Processors..............................10
Patch Bay.........................................11
Tweaks............................................11
Options Menu...................................12
The fb3100.ini Configuration File.........13
MIDI Control Change Messages.............13
MIDI Learn.........................................13
Modulation and Trigger Sources...........14
Parameters......................................15
Global................................................15
Signal Generators...............................15
Lowpass Filter.....................................16
Envelope Modifier................................16
Resonators.........................................17
Total Signal Modifiers...........................17
Modulation Generators 1/2 and Sample &
Hold..................................................18
General Envelope Generator.................18
Voltage Processors 1 and 2...................19
Temperament (Micro-Tuning)................19
External Modulation and Trigger Sources 19
Tweaks..............................................19
Frequently Asked Questions................20
FB-3100 Manual Page 3
Introduction
The FB-3100 is a VST™2.4 software synthesizer plug-in for Microsoft® Windows®
simulating the classic KORG PS-3100 polyphonic analog synthesizer from 1977. It is
written in native C++ code for high performance even on “lighter” systems. The main
features are:
● Close emulation of behavior and all controls of the original hardware
● Band-limited oscillators, classic two-pole lowpass filters
● Resonators section
● Two Modulation Generators, Sample & Hold
● Additional paraphonic Envelope Generator
● Semi-modular patch panel
● Micro-tuning option
● Additional tweaks
● Plug-in comes in 32 bit and 64 bit versions
History
In 1977, KORG released two new synthesizer, the PS-3100 and the PS-3300, where
“PS” is short for Polyphonic Synthesizer. By that time not many polyphonic
synthesizers were around, and being even fully polyphonic the PS brothers (in close
approximation the PS-3300 consists of three PS-3100) were propelled into the noble
company of a Polymoog.
A PS-3100 features no less than 48 voices with 48 filters and 48 envelopes but only
12 oscillators generating the top octave frequencies for the twelve keys C to B; the
remaining 36 signals are derived by frequency division. And here it comes again, the
stigma of frequency divider circuitry: The PS-3100 (like the Polymoog) is just an
organ ‒ it uses the same cursed technology! And so it surely sounds like a cheesy
organ, too!? I respectfully disagree, although it can sound cheesy.
When looking at the PS-3100's front panel, the first thing that catches the eye is the
large patch bay to the right ‒ this synthesizer is somehow modular. The affinity to the
MS-20 is obvious... but wait: The MS-20 came one year later (in 1978). The PS-3100
was in fact the first synthesizer with the classic KORG patch bay, previewing many of
the well-known MS-20 features, and the first (semi-)modular polyphonic synth at all!
Also on year later came the PS-3200, KORG's first programmable polyphonic
synthesizer… but that's another story.
Digital Transformation
In 2017 and only forty years after its release, I took a closer look at the PS-3100 and
to my surprise found many features that are pretty unique to this amazing machine.
Having just finished versions 2.0 of the Mono/Fury and the blooo I started my next
project: The FB-3100.
Aim of the project was to provide a close simulation of the original hardware and not
some highly evolved, hyper-extended, next generation SuperPS-3100++ deluxe. As
usual, this included some decisions that maybe some folks do not like:
FB-3100 Manual Page 4
• The FB-3100 is not stereophonic (although you can pan the Final and Direct
outputs in the stereo field) and does not react to Velocity.
• The monophonic/paraphonic modulation options of the PS-3100 remain
monophonic/paraphonic in the FB-3100.
• There is still only one oscillator per voice.
• The UI is too small. This is always true.
• The patch bay of the FB-3100 does not use virtual patch cords but “patch
menus”.
I am pretty sure that especially the last bullet will cause a storm of protest. But here
is my point: Since the panel is already pretty crowded (and of course too small, see
above) I strongly believe that lingering “patch cords” will not help to visualize the
current patch connections either. Another advantage is that patch junctions (ports that
provide multiple “copies” of the original source) are no longer needed. Overall the
patch bay of the FB-3100 looks much cleaner this way.
On the other hand I added some tweaks not to be found on the PS-3100:
• The funny Hold mode behavior can be overridden with the somehow more
intuitive “expected standard behavior” of a Hold function.
• The three-step EM Release switch can be overridden by a continuous Release
control knob.
• Modulation Generators and Sample & Hold can be synchronized to the host.
• MIDI controllers can be used as sources for virtual voltages and triggers.
• The patch bay features a few more modulation sources than the PS-3100.
• An external signal can be fed into the monophonic signal path of the FB-3100
(starting with the Resonators section).
Again I am pretty sure that especially the last bullet is a very interesting feature
because you can use the FB-3100 as a VST effect!
Acknowledgments
A big Thank you! goes to all the people who share their information about the PS
synthesizers via the Internet.
Some of the micro-tuning templates are derived from the Microtonal Synthesis
website at http://www.microtonal-synthesis.com/.
Furthermore a BIG THANKS to Tim Stinchcombe and Will Pirkle for their in-
depth analysis of the K35 filter chip.
Last not least another THANK YOU! to the KVR Audio community and to the KORG
engineers.
No, I am not affiliated with KORG in what relation ever except that I always find
myself entangled with their instruments.
FB-3100 Manual Page 5
Architecture
Each of the 64 voices of the FB-3100 features a band-limited Signal Generator (SG), a
2-pole Lowpass filter (LP), and an Envelope Modulator (EM). The mix of all voices is
then sent into a single (!) Resonators section consisting of three bandpass
filters/resonators, followed by an Amplitude Modulation section and two Voltage
Controlled Amplifiers (VCAs). For modulation purposes the FB-3100 has two
Modulation Generators (MG 1+2), a Sample & Hold unit, an additional General
Envelope Generator (GEG), and two Voltage Processors (VP 1+2).
As you can see from the block diagram, there are many signal (solid) and modulation
(dashed) paths between the various modules. The configuration is pretty flexible and
can be reconfigured in the Patch Bay.
You can see, too, that further processing of the polyphonic signals after the LP section
is monophonic (better: paraphonic). For example the modulation of VCA1 does affect
the volume of all voices and not that of an individual voice. In the same sense the
GEG acts as a paraphonic envelope and not per voice.
SG LP
EM
RES AM
VCA2RES AM VCA1
GEGS/H MG1 MG2 VP2VP1
MG1
FB-3100 Manual Page 6
Polyphonic Section
Signal Generators (SG)
The Signal Generators offer six selectable waveforms
(Triangle, Sawtooth, Square, Rectangle, Pulse, and Pulse
Width Modulation), four octave ranges (16' to 2'), fine and
coarse tuning and frequency modulation controls. Note that
per key (C to B) only one top-octave oscillator exists ‒ the
lower octaves are generated by frequency division. Thus, the
signals of the same key at different octaves are always in
phase; you can verify this by analyzing the output of the FB3100 with an oscilloscope.
Frequency modulation (FM) can be enabled by the orange
switch at the right of the SG section; the other orange switch
(“REV.”) to the left flips the polarity of the modulation. While
the first source for FM is always given be the MG signal (see
section The “MG” Signal), the second modulation source is
set to the GEG. However, this setting can be overridden by
selecting a different source (see section Patch Bay). The
same is true for Pulse Width modulation which by default is
performed by MG2 but can be set to any other source, too.
An interesting feature is the micro-tuning option. Each of the 12 keys can be tuned
individually, allowing for other (not necessarily well-tempered) tunings like
Pythagorean or Wendy Carlos' Super Just tuning etc. The small button at the bottom
of the tuning knobs opens a menu with 14 predefined micro-tuning templates.
Lowpass Filters (LP)
The output of the Signal Generators is fed into a two-pole lowpass filter
section with adjustable resonance (Peak). Yes, this is an emulation of the
famous KORG K-35 filter but as in the PS-3100 it cannot be pushed to selfoscillation. Sorry.
Cutoff frequency modulation comes in various ways: First of all the cutoff
can be controlled by the note played (KBD Balance) both in positive and
negative direction (here negative means that the cutoff frequency will be
lower for higher notes).
The next knob, Expand, controls the influence of the Envelope Modifier (see
next section) on the cutoff frequency while the remaining options for
frequency modulation resemble those of the Signal Generators: Activated
by the orange switch, the filter can be modulated by the (fixed) MG signal
and a second source (by default the GEG). Again, the latter setting can be
changed via the Patch Bay.
FB-3100 Manual Page 7
Envelope Modifiers (EM)
The envelopes are of the standard ADSR type except that the release time
cannot be controlled continuously but only in three steps: Damp (very
short), Half Damp (pretty short) and Release (pretty long). FB-3100
owners will love the option to override the Release time by a variable
amount (see section Tweaks).
Another funny feature is the Hold function: When switched on the envelope
does not go into the Release phase once a key is unpressed; instead you
have to press the same key again to release it.
Working with the Hold function can be tricky because it will only get
activated if the Attack time setting is higher than 70% (i.e. the Attack knob
is turned almost fully to the right). Furthermore, deactivating the Hold
function requires the Attack time setting to be less than 30% (i.e. the
Attack knob is turned almost fully to the left). If you are confused now: Go
to the Tweaks section and learn how to override this weird behavior.
Monophonic/Paraphonic Section
Resonators
As stated above the individual voice signals are mixed into a single
monophonic signal (the Direct signal) and sent into the Resonators
section. This is basically a parallel arrangement of three bandpass
filters with high Q (i.e. resonators) and individually adjustable center
frequencies. The “INTENSITY” control determines the mix between
original and effect signal.
The resonator frequencies can be modulated by MG2 via the “MG2
MOD” switch and/or by an additional source that has to be selected
via the Patch Bay. In the latter case the intensity of the modulation
can be adjusted continuously using the “EXT MOD” knob.
The Resonators section has become pretty famous and is one of the
key features giving the PS-3100/3300 brothers their “signature
sound”. Unfortunately, it was replaced in the PS-3200 by a static (!) 7stage equalizer.
FB-3100 Manual Page 8
Amplitude Modulation
Following the Resonators, the signal runs through an Amplitude Modulator
which multiplies it with the signal of MG1 (can be disabled by using the
orange switch to the bottom of the Amplitude Modulation section). Here,
the “AMP MOD” knob sets the intensity and character of the effect as
follows:
• The range from 0% to 50% (i.e. from the very left to the center of
the knob range) will result in a Cross Modulation effect. This means
that the amplitude of the signal is modulated from -∞ dB to a
maximum of 0dB.
• The range from 50% to 100% (i.e. from the center to the very right of the knob
range) will result in a Ring Modulation effect meaning that negative values of
the MG1 signal will (apart from attenuation) cause the modulated signal to be
inverted. This makes perfect sense if you think of Ring modulation as a
multiplication.
The interesting thing is that MG1 is able to generate signals in the kilohertz range
which allows for drastic sound effects. But even in the low range a Ring Modulation
with a sawtooth wave can result in unusual gate effects.
The Remaining Signal Path
After Amplitude Modulation the signal passes through a (switchable) Ensemble effect
as known from classic string synthesizers of the 70's. Compared to the PS-3100, the
FB-3100 Ensemble effect does produce much less noise!
Next to follow are two
individual VCAs (Voltage
Controlled Amplifiers) for
further amplitude
modulation. The purpose of
these amplifiers is the
dynamic control of the
loudness contour by the General Envelope Generator and Voltage Processor 1 (both
VCAs have respective switches to enable these modulation sources) but nothing
prevents you from patching your own sources via the Patch Bay.
Another unique feature is the Keyboard Balance that adjusts the volume of notes as
played on the keyboard. With this control you can attenuate notes on the lower end or
vice versa.
Finally, the Final knob controls the output volume of the full signal path while the
Direct knob controls the volume of an additional outlet of the polyphonic signal i.e. a
mix of all voices after the lowpass filters but before the Resonators section. This is
because the original PS-3100 offers two mono outputs, namely the Final and the
Direct signals. On the FB-3100 you can pan both signals individually (see Tweaks
section) which gives a bit more flexibility.
FB-3100 Manual Page 9
Modulation Generators
MG1 and MG2
The FB-3100 has two Modulation Generators (LFOs). The second
one, MG2, only offers a triangle wave while the first one, MG1, is
much more flexible and can produce a triangle, a falling or rising
sawtooth, and a square wave as well as (pretty uncommon!) Pink
Noise and White Noise. Except for the noise waves (which have a
continuous frequency range) the frequency of MG1 can be set up
to about 1.6kHz ‒ again a very uncommon but nice feature!
Both MGs can be synchronized to the host tempo. Furthermore,
by patching an appropriate source one can modulate the
frequency of MG1.
Sample & Hold
Next on the list is the Sample & Hold (S/H) unit. By default, the
S/H samples the output of MG1 at a fixed clock rate which can
be synchronized to the host tempo. Again the input can be
overridden via the Patch Bay.
The “SYNC” switch (called “SYNCHRO” on the PS-3100) is bit
curious. KORG’s original documentation states that “when the
sampled frequency is near the clock frequency multiplied by an integer, the clock is
synchronized”. Well, better check it out by yourself. Fact is that a regular/periodic
input signal can produce some regular, repetitive output while noise will create
random patterns. In any case the SYNC function is disabled when the S/H clock is
synchronized to the host tempo.
The “MG” Signal
Studying the PS-3100 schematics shows that the label “MG1” on
the original PS-3100 panel (for example as a modulation source
for SG and LP) is a bit misleading. Taking a sneak preview of the
Patch Bay one finds that the hard-wired modulation path
(marked red in the image to the right) can be the attenuated
output of MG1 or the S&H unit ‒ depending on the state of the
white switch. So I decided to name this source signal “MG”
instead of “MG1”.
Furthermore, in contrary to the FB-3100 the PS-3100 does not
offer an individual outlet of the MG1 signal; the outlet labeled
“MG1” on the original PS-3100 panel is in fact equivalent to the
“MG” signal on the FB-3100.
FB-3100 Manual Page 10
General Envelope Generator (GEG)
The GEG is a simple AR envelope with an additional Delay
parameter; by default it will modulate VCA1 (provided the
respective orange switch is set). It can be turned into an AD-like
envelope by enabling the “AUTO” switch: In this case the GEG ‒
once triggered ‒ will ignore the Sustain phase and go
immediately into the Release phase.
Since there is only one GEG for all voices, the KORG engineers
found a nice solution for triggering the envelope. First of all the
GEG can be triggered by any trigger signal patched in the Patch
Bay. But even more interesting is the “TRIGGER” switch: Here
you can select how many keys (1 to 5) have to be pressed before
the GEG is triggered (in the “Off” position the keyboard by default
does not trigger the GEG at all).
The polarity switch changes the output polarity of the GEG. Note that in the upper
(“positive”) position the output will range from -5 to 0 (virtual) Volts while in the lower
(“negative”) position from 0 to +5 Volts. This may seem a bit odd but that’s what it is
on the original PS-3100 too.
What’s not on the PS-3100 is the status LED that shows the current on/off state of the
GEG ‒ I think this is a very convenient yet non-obstructive addition.
Voltage Processors
There are two Voltage Processors, VP1 and VP2, on board the FB-3100.
They are used to process the signal of a modulation source (e.g. MG1 or
GEG) and to produce a modified signal. Here is how that works:
Typically, a signal source can vary from something like -5 to +5 (virtual)
Volts. A Voltage Processor will change the range these input values will be
mapped to, for example from -2.5 to +1.8 Volts. The input range even can
inverted, for example from +3.4 to -4.2 Volts. The limits of the output
ranges are set by the “LIMITER A” and “LIMITER B” knobs where
“LIMITER B” defines the low end of the range (in the examples above -2.5
and +3.4 Volts) and “LIMITER A” the high end (in the examples above +1.8
and -4.2 Volts).
FB-3100 Manual Page 11
Patch Bay
The Patch Bay is where the
magic happens. Here you can
add or replace/override the
assignment of modulation
sources to targets.
The following rule applies: If you
select a source (e.g. “S/H”) for a
modulation target (e.g. “LP
FRQ”) then the default
assignment will be overridden
(in this example this would be
“S/H” overriding the default GEG
assignment for LP cutoff
frequency modulation).
Strictly speaking there are two types of sources and targets: modulations and
triggers. For example the “ATK” target of the EM continuously modulates the Attack
time while the “REL” target waits for a trigger signal to release the envelopes.
When hovering with the mouse over a modulation/trigger
target, the properties of both the target and the assigned
source (if any) will be displayed in the info block at the
bottom right of the FB-3100’s panel.
There are some additional modulation (“VC1” to “VC4”)
and trigger sources (“Clk1”, “Clk2”, “Trg1”, “Trg2”) available. The “Clk” sources provide
variable clock triggers synchronized to the host tempo, the “Trg” sources create
trigger signals from assignable MIDI Control Change messages (the trigger occurs
when the controller value passes from a value above 63 to a value below 63,
emulating a “falling-edge ground trigger”), and the “VC” modulation sources create
modulation signals from assignable MIDI Control Change messages. In the Patch Bay
you can choose these sources like any other source.
Tweaks
In the section Digital Transformation above it has already been mentioned that the
FB-3100 contains some additional features (tweaks) that the original PS-3100
hardware synthesizer does not have.
• Additional modulation
sources “MG1”, “Key”, “PB”,
“PB+”, “VC1” to “VC4”
• Additional S/H input
sources “Rnd”, “Key”, “PB”,
“PB+”, “VC1” to “VC4”
• Additional trigger sources “Clk1”, “Clk2”, “Trg1”, “Trg2”
• Panorama control for Final and Direct output
FB-3100 Manual Page 12
• Override for PS-3100 EM Hold mode and Release time
• External input (inserted right before the Resonators section)
Not really a tweak (since the PS-3100 does feature a momentary switch) but
nonetheless helpful is the “MANUAL TRG1” push button that ‒ when clicked ‒ raises a
trigger impulse for the “Trg1” trigger source.
Options Menu
When clicking on the Menu button, a context menu opens with the following options:
Copy Program Copy current program to internal clipboard
Paste Program Paste internal clipboard to current program
Load Program Load a VST program file containing a patch to the
FB-3100's current program
Save Program Save the FB-3100's current program to a VST program
file
Load Bank Load a VST bank file containing 64 FB-3100 patches
Save Bank Save the FB-3100’s 64 patches to a VST bank file
Init Program Initialize the current program
Reload Configuration Reload the FB-3100’s configuration file (see section The
fb3100.ini Configuration File)
Save Configuration Save the FB-3100’s configuration file (see section The
fb3100.ini Configuration File)
Select Startup Bank Select the VST bank file that should always be loaded
when the FB-3100 is started
Load Startup Bank Load the Startup VST bank file; can also be used to
check what the current Startup bank is
Unselect Startup Bank Unselect the current Startup bank
Check Online for
Update
When connected to the Internet, this function will
check if a newer version of the FB-3100 is available at
fullbucket.de
Visit fullbucket.de Open fullbucket.de in your standard browser
FB-3100 Manual Page 13
The fb3100.ini Configuration File
The FB-3100 is able to read some settings from a configuration file (fb3100.ini)
located in the same directory as the FB-3100 VST DLL (fb3100.dll or fb310064.dll)
itself. After you have edited this INI file in a text editor, you have to reload it using the
Reload Configuration command from the File menu (see section The fb3100.ini
Configuration File).
MIDI Control Change Messages
All parameters of the FB-3100 can be controlled by MIDI controllers, or more precise:
Each MIDI controller (except Modulation Wheel and Sustain Pedal) can control one of
FB-3100’s parameters. The mapping is defined in the fb3100.ini for example like
this:
[MIDI Control]
CC7 = 0 # Final Volume
CC70 = 17 # LP Cutoff
CC71 = 18 # LP Peak
...
The syntax is straight forward:
CC<controller number> = <parameter ID>
Given the above example, controller 7 directly controls the overall Volume parameter,
controller 74 the VCF Cutoff etc. As you can see, comments are introduced by the
Pound sign (#); they are here just for description purposes and completely optional.
MIDI Learn
The easiest way to assign MIDI controllers to FB-3100 parameters is to use the MIDI
Learn function. To activate MIDI Learn, click on the respective button and wiggle both
the MIDI controller and the FB-3100’s parameter that you want to link. If you want to
unlearn the assignment, right-click the MIDI Learn button (the label now reads
“UNLEARN”) and activate it. Now wiggle the MIDI controller or the parameter that you
want to unlearn.
FB-3100 Manual Page 14
Modulation and Trigger Sources
Modulation Sources S/H Input
Name Voltage Description Name Description
off 0 off / default off default (= MG1)
GEG -5 to 0
or 0 to 5
GEG normal output GEG GEG normal output
GE+ 0 to 5 GEG positive output GE+ GEG positive output
MG -5 to 5 MG signal MG MG signal
MG1 -5 to 5 MG1 output MG1 MG1 output
MG2 -5 to 5 MG2 output MG2 MG2 output
S/H -5 to 5 S/H output Rnd Random (White Noise)
VP1 -5 to 5 VP1 output VP1 VP1 output
VP2 -5 to 5 VP2 output VP2 VP2 output
Key -5 to 5 last pressed key Key last pressed key
PB -5 to 5 Pitch Bend PB Pitch Bend
PB+ 0 to 5 Pitch Bend positive PB+ Pitch Bend positive
MW -5 to 5 Mod Wheel MW Mod Wheel
MW+ 0 to 5 Mod Wheel positive MW+ Mod Wheel positive
VC1 -5 to 5 assignable MIDI CC VC1 assignable MIDI CC
VC2 -5 to 5 assignable MIDI CC VC2 assignable MIDI CC
VC3 -5 to 5 assignable MIDI CC VC3 assignable MIDI CC
VC4 -5 to 5 assignable MIDI CC VC4 assignable MIDI CC
Trigger Sources Trigger Sources (cont’d)
Name Description Name Description
off off S/H S/H clock
Sng Keyboard Single Trigger Clk1 external clock
Mlt Keyboard Multiple Trigger Clk2 external clock
MG1 MG1 clock Trg1 MIDI CC trigger
MG2 MG2 clock Trg2 MIDI CC trigger
FB-3100 Manual Page 15
Parameters
Global
parameter ID description
Final Volume 0 the overall volume of the Final signal
Direct Volume 1 the volume of the Direct (polyphonic section) signal
Final Panorama 2 the stereo position of the Final signal
Direct Panorama 3 the stereo position of the Direct signal
Keyboard Balance 4 volume balance of low versus high notes
Pitch Bend Range 5 range of the Pitch Bend modulation
Signal Generators
parameter ID description
SG Waveform 6 waveform (Triangle, Sawtooth, Square, Rectangle,
Pulse, Pulse Width Modulation)
SG PWM Intensity 7 intensity of the Pulse Width Modulation
SG Fine Tune 8 frequency fine tuning
SG Coarse Tune 9 frequency coarse tuning
SG Octave 10 Octave (16’, 8’, 4’, 2’)
SG Frequency Mod
Enable
11 activates the Frequency Modulation
SG Frequency Mod
Reverse
12 polarity of the Frequency Modulation
SG Frequency Mod
by MG1
13 Frequency Modulation amount of MG1
SG Frequency Mod
by GEG/Ext
14 Frequency Modulation amount of GEG or
external/patched source
SG Frequency Mod
Source
15 external/patched modulation source for Frequency
Modulation
SG Pulse Width
Mod Source
16 external/patched modulation source for Pulse Width
Modulation
FB-3100 Manual Page 16
Lowpass Filter
parameter ID description
LP Cutoff
Frequency
17 cutoff frequency
LP Peak 18 peak (resonance)
LP Balance 19 keyboard balance (tracking)
LP Expand 20 intensity of modulation by Envelope Modifier
LP Frequency Mod
Enable
21 activates the Cutoff Frequency Modulation
LP Frequency Mod
by MG1
22 Cutoff Frequency Modulation amount of MG1
LP Frequency Mod
by GEG/Ext
23 Cutoff Frequency Modulation amount of GEG or
external/patched source
LP Frequency Mod
Source
24 external/patched modulation source for Cutoff
Frequency Modulation
Envelope Modifier
parameter ID description
EM Attack 25 Attack time
EM Decay 26 Decay time
EM Sustain 27 Sustain level
EM Release 28 Release time (Damp, Half Damp, Release)
EM Hold 29 activates the Hold function
EM Attack Time
Mod Source
30 external/patched modulation source for Attack time
EM Release Trigger
Source
31 external/patched trigger source for Release phase
FB-3100 Manual Page 17
Resonators
parameter ID description
Resonators
Intensity
32 mix between original and Resonators effect signal
Resonator 1
Frequency
33 peak frequency of first resonator
Resonator 2
Frequency
34 peak frequency of second resonator
Resonator 3
Frequency
35 peak frequency of third resonator
Resonators
Frequency Mod by
MG2
36 activates the Peak Frequency Modulation by MG2
Resonators
Frequency Ext Mod
Intensity
37 amount of Peak Frequency Modulation by
external/patched modulation source
Resonator Peak
Frequencies Mod
Source
38 external/patched modulation source for Peak
Frequency Modulation
Total Signal Modifiers
parameter ID description
Amplitude Mod
Intensity
39 intensity of the Amplitude Modulation
Amplitude Mod by
MG1
40 activates the Amplitude Modulation
Ensemble 41 activates the Ensemble effect
VCA1 Mod by GEG 42 activates the modulation of VCA1 by GEG
VCA1 Amplitude
Mod Source
43 external/patched modulation source for VCA1
VCA2 Mod by VP1 44 activates the modulation of VCA2 by VP1
VCA2 Amplitude
Mod Source
45 external/patched modulation source for VCA2
FB-3100 Manual Page 18
Modulation Generators 1/2 and Sample & Hold
parameter ID description
MG1 Waveform 46 Waveform (Triangle, Falling Sawtooth, Rising
Sawtooth, Square, Pink Noise, White Noise)
MG1 Frequency 47 frequency
MG1 Frequency
Mod Source
48 external/patched source for frequency modulation
MG Signal Selector 49 MG Signal selector (S/H or MG1)
MG Signal Mod
Source
50 external/patched source for MG Signal modulation
MG1 Sync to Host 51 sync to host tempo rate
MG2 Frequency 52 47
MG2 Sync to Host 53 sync to host tempo rate
S/H Clock
Frequency
54 sample clock rate
S/H Synchro 55 Activates the Synchro function
S/H Input Source 56 sample input source
S/H Sync to Host 57 sync to host tempo rate
General Envelope Generator
parameter ID description
GEG Trigger 58 number of keys to be pressed for triggering the GEG
GEG Delay 59 Delay time
GEG Attack 60 Attack time
GEG Release 61 Release time
GEG Auto 62 activates the Auto function
GEG Polarity 63 sets the output polarity
GEG Trigger
Source
64 external/patched trigger source
FB-3100 Manual Page 19
Voltage Processors 1 and 2
parameter ID description
VP1 Limiter A 65 Limiter A of VP1
VP1 Limiter B 66 Limiter B of VP1
VP1 Input Source 67 input source of VP1
VP2 Limiter A 68 Limiter A of VP2
VP2 Limiter B 69 Limiter B of VP2
VP2 Source Select 70 sets the input source of VP2 (VP1 or VP2)
VP2 Input Source 71 input source of VP2
Temperament (Micro-Tuning)
parameter ID description
Tune C to B 72 ‒ 83 individual tuning for keys C to B
External Modulation and Trigger Sources
parameter ID description
Clock1 Source 84 sync to host rate for Clk1
Clock2 Source 85 sync to host rate for Clk2
Trigger1 Source 86 MIDI CC assignment for Trg1
Trigger2 Source 87 MIDI CC assignment for Trg2
VC1 Source 88 MIDI CC assignment for VC1
VC2 Source 89 MIDI CC assignment for VC2
VC3 Source 90 MIDI CC assignment for VC3
VC4 Source 91 MIDI CC assignment for VC4
Tweaks
parameter ID description
Use PS3100 Hold
Function Mode
92 activates the PS-3100 Hold function mode behaviour
Override EM
Release switch
93 activates the EM Release time override
EM Override
Release Time
94 override for EM Release time
Resonator Input
Mix
95 mix between internal and external input signal
FB-3100 Manual Page 20
Frequently Asked Questions
Before you read on here, please make sure that you also have read my statements
regarding the FB-3100's capabilities and limitations at the beginning of this manual
(see section Digital Transformation).
How do I install the FB-3100 (32 bit version)?
Just copy the files fb3100.dll and fb3100.ini from the ZIP archive you have
downloaded to your system's or favorite DAW's VST plug-in folder. Your DAW should
automatically register the FB-3100 VST plug-in the next time you start it.
How do I install the FB-3100 (64 bit version)?
Just copy the file fb310064.dll and fb3100.ini from the ZIP archive you have
downloaded to your system's or favorite DAW's VST plug-in folder. Your DAW should
automatically register the FB-3100 VST plug-in the next time you start it.
Note: You may have to remove any existing (32 bit) fb3100.dll from your VST plugin folder or else your DAW may screw the versions up...
What is the VST plug-in ID of the FB-3100?
The ID is FB31.
Will you support the FB-3100?
Yes. If you have problems, found a bug, or have some suggestions about the FB-3100
please send me a mail: full.bucket@gmx.net .
Does the PS-3100 have a status LED for the GEG?
Nope, I added that to the FB-3100 for convenience.
How do I know if a new version of the FB-3100 is available?
When connected to the Internet, open the Options menu (see section Options Menu)
by clicking the disk icon and select the entry “Check Online for Updates”. If a new
version of the FB-3100 is available on fullbucket.de the respective information will be
shown in a message box.
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