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Korgasmatron II
User Manual
63 pgs5.48 Mb0

Intellijel Korgasmatron II User Manual

Intellijel KORGASMATRON II
Illustrated supplement
by Demonam
Index
01... LP2 / 2-pole low-pass filter
02... LP1 / 1-pole low-pass filter
03... BP1 / 1-pole band-pass filter
04... HP1 / 1-pole high-pass filter
05... HP2 / 2-pole high-pass filter
07... Dual 1V/Oct sine oscillator
08... Normalled inputs
09... SERIAL configuration
10... PARALLEL configuration
11... XFADE response - 01
12... XFADE response - 02
13... State-variable stereo filter
14... State-variable stereo filter - VC pan patch
15... 1-pole BAND-PASS filter patch
16... 1-pole BAND-PASS filter curves
17... 2-pole BAND-PASS filter patch
18... 2-pole BAND-PASS filter curves
19... 1-pole BAND-REJECT filter patch
20... 1-pole BAND-REJECT filter curves
21... 2-pole BAND-REJECT filter patch
22... 2-pole BAND-REJECT filter curves
23... Asymmetrical BAND-PASS filter patch
24... Asymmetrical BAND-PASS filter curves
25... Asymmetrical BAND-REJECT filter patch
26... Asymmetrical BAND-REJECT filter curves
27... Dual BAND-PASS filter patch
28... Dual BAND-PASS filter curves
29... Dual BAND-REJECT filter patch
30... Dual BAND-REJECT filter curves
31... (BP1 + LP1) filter patch
32... (BP1 + LP1) filter curves
33... (BP1 + LP2) filter patch
34... (BP1 + LP2) filter curves
35... (BP1 + HP1) filter patch
36... (BP1 + HP1) filter curves
37... (BP1 + HP2) filter patch
38... (BP1 + HP2) filter curves
39... (BR1 + LP1) filter patch
40... (BR1 + LP1) filter curves
41... (BR1 + LP2) filter patch
42... (BR1 + LP2) filter curves
43... (BR1 + HP1) filter patch
44... (BR1 + HP1) filter curves
45... (BR1 + HP2) filter patch
46... (BR1 + HP2) filter curves
47... Heavy dub bass
48... Ping !
49... Weird filter
50... Spacewave sound
51... Feedback loop
52... Cross-FM
53... Feedback FM loop
54... Drone zone 1
55... Expander - Overview
56... Expander - VC Q filtering
57... Expander - Quad filter
58... Expander - Quad filter feedback loop
59... Expander - Cross-Q modulation
60... Expander - Feedback cross-Q modulation
61... Expander - Drone zone 2
LP2 / 2-pole low-pass filter
set filter cutoff
frequency
set resonance
self-oscillate
past 1 o'clock
unipolar
attenuator
for
FM1 input
set level of resonance
bipolar
attenuator
for
FM2 input
Input attenuator IN A (and/or B) controls the level into the filter A (and/or B).
For classic tone keep this below 12 oʼclock.
Higher gain will suppress the resonance of the
filter and change its tone.
The combination of IN A level, Q and Q Drive knobs can alter the tone of the filter dramatically from sweet to scathing - experiment!
out
freq.
cutoff
increase
out
Q
gain unipolar
attenuator
for
signal A input
filter A out
freq.
cutoff
filter B out
signal(s) to be filtered
01
LP1 / 1-pole low-pass filter
set filter cutoff
frequency
set resonance
self-oscillate
past 1 o'clock
unipolar
attenuator
for
FM1 input
set level of resonance
bipolar
attenuator
for
FM2 input
Input attenuator IN A (and/or B) controls the level into the filter A (and/or B).
For classic tone keep this below 12 oʼclock.
Higher gain will suppress the resonance of the
filter and change its tone.
The combination of IN A level, Q and Q Drive knobs can alter the tone of the filter dramatically from sweet to scathing - experiment!
out
freq.
cutoff
increase
out
Q
gain unipolar
attenuator
for
signal A input
filter A out
freq.
cutoff
filter B out
signal(s) to be filtered
02
BP1 / 1-pole band-pass filter
set filter cutoff
frequency
set resonance
self-oscillate
past 1 o'clock
unipolar
attenuator
for
FM1 input
set level of resonance
bipolar
attenuator
for
FM2 input
Input attenuator IN A (and/or B) controls the level into the filter A (and/or B).
For classic tone keep this below 12 oʼclock.
Higher gain will suppress the resonance of the
filter and change its tone.
The combination of IN A level, Q and Q Drive knobs can alter the tone of the filter dramatically from sweet to scathing - experiment!
out
freq.
cutoff
increase
out
Q
gain unipolar
attenuator
for
signal A input
filter A out
freq.
cutoff
filter B out
signal(s) to be filtered
03
HP1 / 1-pole high-pass filter
set filter cutoff
frequency
set resonance
self-oscillate
past 1 o'clock
unipolar
attenuator
for
FM1 input
set level of resonance
bipolar
attenuator
for
FM2 input
Input attenuator IN A (and/or B) controls the level into the filter A (and/or B).
For classic tone keep this below 12 oʼclock.
Higher gain will suppress the resonance of the
filter and change its tone.
The combination of IN A level, Q and Q Drive knobs can alter the tone of the filter dramatically from sweet to scathing - experiment!
out
freq.
cutoff
increase
out
Q
gain unipolar
attenuator
for
signal A input
filter A out
freq.
cutoff
filter B out
signal(s) to be filtered
04
HP2 / 2-pole high-pass filter
set filter cutoff
frequency
set resonance
self-oscillate
past 1 o'clock
unipolar
attenuator
for
FM1 input
set level of resonance
bipolar
attenuator
for
FM2 input
Input attenuator IN A (and/or B) controls the level into the filter A (and/or B).
For classic tone keep this below 12 oʼclock.
Higher gain will suppress the resonance of the
filter and change its tone.
The combination of IN A level, Q and Q Drive knobs can alter the tone of the filter dramatically from sweet to scathing - experiment!
out
freq.
cutoff
increase
out
Q
gain unipolar
attenuator
for
signal A input
filter A out
freq.
cutoff
filter B out
signal(s) to be filtered
05
BR1 / 1-pole band-reject filter
set filter cutoff
frequency
set resonance
self-oscillate
past 1 o'clock
unipolar
attenuator
for
FM1 input
set level of resonance
bipolar
attenuator
for
FM2 input
Input attenuator IN A (and/or B) controls the level into the filter A (and/or B).
For classic tone keep this below 12 oʼclock.
Higher gain will suppress the resonance of the
filter and change its tone.
The combination of IN A level, Q and Q Drive knobs can alter the tone of the filter dramatically from sweet to scathing - experiment!
out
freq.
cutoff
increase
out
Q
gain unipolar
attenuator
for
signal A input
filter A out
freq.
cutoff
filter B out
signal(s) to be filtered
06
Dual 1V/Oct sine oscillator
filter A coarse
frequency set
make filter A
self-oscillate
filter A kind of
fine frequency
set
filter B coarse
frequency set
make filter B self-oscillate
filter B kind of fine frequency
set
filter A sine
out
1V/Oct
quantized CV
filter B sine
out
sine A and B mix out in
PARALLEL configuration
07
FM 2 CV
Normalled inputs
FILTER A :
IN A : Signal input to filter A. Patch a audio signal here to be filtered. The knob IN A attenuates this signal. This is normalled to the IN B input of filter B.
FM2 A : CV input to VCF A filter cutoff, attenuated with inversion by FM2 A knob. Normalled to VCF B FM2.
1V/Oct A : CV input for filter frequency calibrated for 1V/oct standard. This is normalled to the 1V/Oct CV input of filter B.
FILTER B :
IN B : Signal input to filter B. Patch a audio signal here to
be filtered. The knob IN B attenuates this signal. This is switching jack, inserting a plug here will break the normal from IN A.
FM2 B : CV input to VCF B filter cutoff, attenuated with
inversion by FM2 B knob. This is a switching jack, inserting a plug here will break the normal from FM2 A.
1V/Oct B : CV input for filter frequency calibrated for
1V/oct standard. This is switching jack, inserting a plug here will break the normal from 1V/Oct A.
Advice : If you are using the Korgasmatron II in SERIAL configuration inserting a plug into IN B jack will break the internal routing from filter A which may cause confusion.
1V/Oct
quantized CV
signal to be
filtered
08
XFADE position
attenuator
for
XFADE
input
SERIAL configuration
Advice : If you are using the Korgasmatron II in SERIAL configuration inserting a plug into IN B jack will break the internal routing from filter A which may cause confusion.
signal to be filtered
filter A
OUT
XFADE
XFADE
signal input
filter A
out
signal to be
filtered
!
IN
filter B
OUT B
SERIAL A>B out
XFADE SERIAL A>B
MIX out
09
XFADE position
attenuator
for
XFADE
input
PARALLEL configuration
Use MIX output if the Korgasmatron II is in PARALLEL configuration and you want to mix the filters together to one output.
signal(s) to be filtered
XFADE
signal input
filter A
out
signal(s) to be
filtered
filter A
OUT
XFADE
MIX out
filter B
out
XFADE PARALLEL A/B
MIX out
filter B
OUT
10
XFADE response - 01
UNIPOLAR signal input
[0V/+...V] ADSR illustration
+...V
0V
-...V
+...V
0V
-...V
+...V
0V
BIPOLAR signal input
[-...V/+...V ] triangle LFO illustration
+...V
B
1:1
A
B
1:1
A
B
1:1
0V
-...V
+...V
0V
-...V
+...V
0V
B
1:1
A
B
1:1
A
B
1:1
MANUAL set (no input)
[CCW/CW] knob illustration
CW
noon
CCW
CW
noon
CCW
CW
noon
B
1:1
A
A
1:1
B
B
1:1
-...V
+...V
0V
-...V
A
B
1:1
A
-...V
+...V
0V
-...V
A
B
1:1
A
CCW
CW
noon
CCW
A
A
1:1
B
11
XFADE response - 02
UNIPOLAR signal input
[0V/+...V] ADSR illustration
+...V
0V
-...V
+...V
0V
-...V
+...V
0V
BIPOLAR signal input
[-...V/+...V ] triangle LFO illustration
+...V
B
1:1
A
B
1:1
A
B
1:1
0V
-...V
+...V
0V
-...V
+...V
0V
B
1:1
A
B
1:1
A
B
1:1
MANUAL set (no input)
[CCW/CW] knob illustration
CW
noon
CCW
CW
noon
CCW
CW
noon
B
1:1
A
A
1:1
B
B
1:1
-...V
+...V
0V
-...V
A
B
1:1
A
-...V
+...V
0V
-...V
A
B
1:1
A
CCW
CW
noon
CCW
A
A
1:1
B
12
State-variable stereo filter
Set the Korgasmatron in PARALLEL configuration.
Use same LP-BP-HP-BR's switch position for A & B filters to set type of stereo filter.
2-pole low-pass stereo filter for this illustration.
set stereo filter
type
same position
as filter B
filter A
LEFT out
LEFT signal
IN
set stereo filter
type
same position
as filter B
filter B
RIGHT out
RIGHT signal
IN
13
State-variable stereo filter - VC pan patch
Requires 2 bipolar VCAs.
Set gain of VCA to +1 and VCA 2 to -1.
In this patch, a positive offset patched at VCA 1 CV in & VCA 2 CV in down the amplitude of RIGHT out, while up amplitude of LEFT out. A negative offset patched at VCA 1 CV in & VCA 2 CV in up the amplitude of RIGHT out, while down amplitude of LEFT out.
Use same LP-BP-HP-BR's switch position for A & B filters to set type of stereo filter.
Low-pass stereo filter for this illustration.
set stereo filter
type
same position
as filter B
LEFT signal
RIGHT signal
IN
IN
set stereo filter
same position
as filter B
filter A
out
filter B
out
type
CV in
bipolar VCA 1
in / gain +1
bipolar VCA 2
in / gain -1
CV in
same CV
signal
LEFT
out
RIGHT
out
14
1-pole BAND-PASS filter patch
CUTOFF/BANDWIDTH
set with
A low-pass
always > B high-pass
CV
CUTOFF/BANDWIDTH
CV
CUTOFF/BANDWIDTH
Monitoring band-pass filter at OUT B in SERIAL configuration.
band-pass CUTOFF shift : Manually set A & B cutoff, with A low-pass cutoff always > B high-pass cutoff. Keep same relative knobs position for cutoff shift. OR/AND Input same CV signal in A & B FM 1 with same attenuation levels. OR/AND Use FM 2 normalled input and set FM 2 B as FM 2 A.
band-pass BANDWIDTH set : Manually set A & B cutoff, with A low-pass cutoff always > B high-pass cutoff. Keep different relative knobs positions for bandwidth set. OR/AND Input different CV signals in A & B FM 1 with different attenuation level. OR/AND Use FM 2 normalled input and set FM 2 B as inverted of FM 2 A.
See band-pass filter chart for details on OUT B filter curves.
signal to be
filtered
out
A B
freq.
band-pass filter out
15
1-pole BAND-PASS filter curves
MIX
SERIAL - B OUT
B - HIGH-PASS 1-pole FILTER cutoff
out
A B A B
freq.
out
A B
out
out
A B
freq.
HP1 MODE
out
A B
freq.
out
A B
freq.
freq.
out
A B A B
out
freq.
out
A B
A -LOW-PASS 1-pole FILTER cutoff
freq.
filter BANDWIDTH
LP1 MODE
filter CUTOFF SHIFT
freq.
freq.
16
2-pole BAND-PASS filter patch
CUTOFF/BANDWIDTH
set with
A low-pass
always > B high-pass
CV
CUTOFF/BANDWIDTH
CV
CUTOFF/BANDWIDTH
Monitoring band-pass filter at OUT B in SERIAL configuration.
band-pass CUTOFF shift : Manually set A & B cutoff, with A low-pass cutoff always > B high-pass cutoff. Keep same relative knobs position for cutoff shift. OR/AND Input same CV signal in A & B FM 1 with same attenuation levels. OR/AND Use FM 2 normalled input and set FM 2 B as FM 2 A.
band-pass BANDWIDTH set : Manually set A & B cutoff, with A low-pass cutoff always > B high-pass cutoff. Keep different relative knobs positions for bandwidth set. OR/AND Input different CV signals in A & B FM 1 with different attenuation level. OR/AND Use FM 2 normalled input and set FM 2 B as inverted of FM 2 A.
See band-pass filter chart for details on OUT B filter curves.
signal to be
filtered
out
A B
freq.
band-pass filter out
17
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