SOMA LYRA-8, LYRA 4 User Manual
USER
MANUAL
LYRA•8 USER MANUAL
STRUCTURE
LYRA is based on eight generators, which will be referred to as voices. Their design is not like
a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency
on control voltage, they resemble the tone generators in old electric organs. Hence the use
of "voices" instead of "VCOs" in this manual. Lyra uses non-linearity a lot, and the voices
are constructed in such a way that allows for non-linearity to express itself.
The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups,
with two pairs in each (1234, 5678).
Each voice has its own TUNE knob. FAST, MOD, modulation source selector and SHARP affect two voices simultaneously. HOLD and PITCH control the whole group of two pairs/four
voices. VIBRATO, TOTAL FB and the FM structure switch control all eight voices together.
The voices can function either in an eight-voice electric organ mode, or in an FM synthesis
mode with each of the voices and its envelope acting as a separate FM operator. The voice's
impact on FM synthesis will decrease along with the decay of its envelope.
There's a CV IN (onthe rear panel) to modulate the selected voice groups with an external
signal.
The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from
two simple LFOs by summation or multiplication of their frequencies. It also has an FM
synthesis mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.
The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually
modulated from various sources, including external ones.
The DISTORTION is last in the chain, after the delay. It enables the delay to also influence
the distortion.
For all its experimental character, LYRA is a professional instrument. Its output dynamics are
balanced, so that even in extreme modes it won't harm an amp or speaker on-stage. The
frequency response has been adjusted for live performance, where you naturally have that
screaming high-midrange and not enough low-end. To compensate for this, low frequencies
have been boosted a little, while the highs sound softer. Unless you push the limits and use
extreme modes of course…
LYRA•8USER MANUAL
CONTROLS DESCRIPTION
VOICES SECTION
1
Sensors 1...8. Consist of a pair of contacts each. The upper contact is sensitive, the lower
is the control voltage. Put your finger between the contacts to close the circuit with your
body's conductivity. The current is very low, several orders below sensitivity threshold, and
is absolutely safe:-)
The sensors launch envelope generators for each voice. Eight voices, eight envelope generators, eight sensors. By varying your touch and technique, you can vary a voice's attack and
volume. With a light touch or a series of fast short strokes, you can get a slow attack. Apply
less pressure, and you open the envelope generator only partially. The sensor behaviour is
affected by skin moisture level, and, in turn, by the performer's emotional state.
At high humidity levels (e. g., an open-air show at night when dew appears, or in rainy
weather), humidity may affect the sensors' circuit, which could lead to some of the voices
sounding continuously. This won't harm the instrument, just allow it to dry in a dry room
or in the sun and it will be all right again. Just note that it might affect the performance.
2
The FAST switches, in downward position, give a fast release to the voices they're in
between. Additionally, the sensors to the left and right of the switch become less sensitive.
They become a little bit slower to trigger and require more pressure. When the Fast switch
is on (down), a higher HOLD setting is required for the voices to sound. That pair of voices
will start sounding later, and the HOLD knob for them must be set higher than the HOLD
for the voices with the FAST off. This lets you leave some of the voices silent when using the
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LYRA•8 USER MANUAL
HOLD function. Flipping up and down the Fast switch can be used to cut short the decay of
a sounding voice, sooner than its release ends. When the FAST switch is in upper position,
it only takes a light stroke to trigger a voice with the sensor.
3
The TUNE knobs set the pitch of the voices. This was conceived as a fully functional
intonation tool, albeit a slow one. It uses a special alternate variable resistor that makes it
possible to set each voice's pitch in steps smaller than a semitone, in a range from tens to
thousands of hertz. To thoroughly use this instrument you need to learn how to build notes
and intervals with these knobs, as well as play simple melodies.
Voices 1 and 2 have a lower range than voices 3 through 6. 1 and 2 can be regarded as bass
voices, though they can generate higher notes as well.
Voices 7 and 8 are twice as high as voices 3 through 6. They're sort of high frequency voices,
though they can also sound low. 3 to 6 are mid-range.
4
The SHARP knobsslowly change the waveform of a voice pair from triangle to square,
adding "sharpness" to the sound. The set waveform will also work for FM synthesis.
5
The MOD knobs set a selected voice pair's modulation depth. These knobs can make
things sonically extreme: in FM synthesis mode, higher settings have a bright-sounding
effect, and maximum settings will result in self-oscillation of the modulation loop.
6
The FM modulation source switches. A central position means that the modulation for a
group is turned off and the MOD knob has no effect. Flipping the switch up will turn those
voice pairs into FM modulation sources. Flipping the switch down to LFO CV, with the TOTAL
FB switch also down, will turn the LFO into a modulation source. When the TOTAL FB is in
upward position, modulation will come from the device's output. When a cable is plugged
into the CV VOICES input, an external source is used for modulation.
7
The PITCH knobs transpose all of group 1234 or 5678, preserving the intervals between
the voices. Close to maximum is the normal position for these knobs.
8
The HOLD knobs set the minimal volume level for a voice group. This enables voices
to sound continuously at a given volume. With HOLD off, the voices will decay according
to their envelopes. The FAST switch makes a given voice pair less sensitive to the HOLD
knob. Unless the HOLD knob is all the way up, you can make the voices louder by touching
the sensors and launching the envelope that's limited from below by the HOLD function.
That's both the HOLD and sensor-controlled envelopes working in parallel.
9
The 34>56 78>12 FM structure switch sets the overall structure for FM synthesis. If
voices are selected for all the FM modulation sources, the downward position of the switch
turns Lyra into two separate structures of cross-modulation, each group locked into itself.
The sources correspond to the numbers by the switch.
With the switch up, pair 34 becomes the mod source for pair 56, and pair 78 the mod source
for pair 12 (pairs 12 and 78 themselves are still modulated as indicated by their controls).
Thus all the voices make for one closed loop of FM synthesis. When the LFO is selected,
or the FM Mod source switch is set to a middle position on some voices, that loop will be
partially unlocked.
10
The TOTAL FB switch causes the signal from Lyra's output (after distortion) to replace
the LFO signal. With TOTAL FB on, plus LFO CV set as the modulation source on some voices,
the entire instrument, including the envelope generators, delay and distortion, turns into
one single and complex FM synthesis structure.
LYRA•8USER MANUAL
11
The VIBRATO switch turns on vibrato for all voices. Each voice has its own unique vibrato
frequency, as there are eight independent vibrato generators in the instrument.
HYPER LFO SECTION
12
FREQ A and FREQ B: Two operators for synthesis of a complex LFO. They're two simple
LFOs, in essence.
13
The AND/OR switch: In downward position, an LFO is synthesized by adding FREQ A to
FREQ B. In upward position, FREQ A is multiplied by FREQ B, which is the logical operation
AND. Both operations are conducted on a square waveform. The addition is analogue, and
the LFO output signal has a gradient.
14
The LINK switch: Adds a soft FM between the operators. FREQ A modulates FREQ B.
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