SOMA PIPE User Manual

USER
MANUAL

PIPE USER MANUAL

WHAT IS THE PIPE?

The Soma PIPE adds new expressive and musical dimensions to your vocal performances
and studio recordings, and expands the timbral, rhythmical and textural potential of your
voice — treating it as a synthesizing musical instrument with many subtle parameters.
Whether you’re a conventional singer, beatboxer, noise musician or an experimental
vocalist, the PIPE will add new layers to your music that you never knew existed.

The PIPE makes you a beatboxer without needing any prior skills (although some sense
of rhythm will help), and you can sound like a Tibetan throat singer just as easily. Turn
your voice into a synthesizer with frequency cut-off that you tweak on the fly, or connect
any external sound source to the 6.3mm jack input to turn the PIPE into an external FX
processor. The custom-built mic inside the PIPE is a special contact mic, which yields very
interesting results when used together with acoustic instruments. Bottom-line, the PIPE
is unlike anything you have ever played, because nothing like it exists.

Out of all the music instruments we can learn to use, our own voice is the most deeply
connected to our innermost thoughts and emotions. This connection was born hundreds
of millions of years before humanity fully evolved.

Our voice is the shortest path to the depths of our subconsciousness. In music, the human
voice typically appears in the form of words, usually limited to common vocalizations,
and only rarely as the means for pure emotional and timbral expression. Although the
PIPE can be used for conventional singing and speaking, it is ultimately designed to offer
new expressive powers for a voice beyond words and symbolic thinking. The PIPE makes
it possible to create a versatile sound palette without knob tweaking, by just using the
natural flexibility of the human voice box and our instinctive connection to it.

The PIPE can be used by masters of classical singing styles, as well as by experimental
musicians who may not be good singers in the conventional sense. Drones and noise
textures up to harsh noise, various percussive sounds, melodic leads, choirs, FX, bass — all
this can be achieved using different articulation techniques and processing algorithms.

The PIPE consists of a special vocal contact microphone in a controller and processing unit
that’s connected by cable to a breakout box containing the power supply and audio output.

The contact mic dramatically expands the palette of vocal techniques. A unique feature of
the mic is that it is highly sensitive to the position of the lips relative to the membrane, and
also how tight the contact between lips and mic is. A tiny movement of a few millimeters or
degrees can drastically change the timbre. The microphone picks up sounds that traditional
mics never could. This sensitivity allows artists to control the sound to create a wide range
of timbres. With your lips pressed tightly against it, the microphone is able to catch the
most subtle sounds of breathing, along with any movements of your lips and tongue. At
the same time, the microphone has a robust brass membrane that can withstand a lot of
punishment. This allows for intense vocal techniques without the risk of damaging the
microphone. You can beatbox or blow straight into the mic to get distinct percussive or
noise sounds. Due to the way it’s designed, the PIPE microphone is much more than just
a receiver and transmitter of sound. It also plays an active part in the shaping of sounds.
When used in certain ways, the microphone can play even bigger role than your voice.

The heart of the processing unit is a digital signal processor equipped with unique algorithms
created specifically for the PIPE. The main goal of the algorithms is to both preserve and

PIPEUSER MANUAL

emphasize the various nuances and details of a live vocal performance. This is why many
parameters of synthesis and processing are dynamic, i. e. they change depending on the
parameters of the input signal. Even when using completely synthetic algorithms (e. g.
BASSDRUM), the output includes elements of the live voice input and is very sensitive
to the character of sound articulation. This encourages a very nuanced and dynamic
performance, similar to an acoustic instrument, while having the wide range of colors and
possibilities of an electronic instrument.

You only need one hand to hold and use the PIPE, leaving the other hand free to play
other instruments or control other equipment. The PIPE is powerful enough to hold its
own in a solo performance, or can complement a larger electronic or acoustic setup. The
PIPE also has standard M4 screw holes for attaching it to a stand or neck strap, leaving
both hands free.

The microphone of the PIPE is connected to the body with a regular 6.3 mm jack. This
allows connecting the microphone to an extension cord, putting it in on a mic stand or
placing it inside of or on the surface of an acoustic instrument.

Additionally, it allows using the input jack to connect other signal source and use PIPE as
an FX unit for processing keys, drums etc. It also allows experimenting with other types
of microphones.

PIPE USER MANUAL

CONTROLS AND CONNECTIONS

1

Control knobs for synthesis and processing parameters. They have different functions in
every algorithm. You can find detailed explanations in the algorithm section of the manual.
A short list of knob functions and FX sensor behavior for every algorithm is printed on the
other side of the PIPE.

2

Algorithm switch: Selects one of the 12 algorithms.

3

Volume.

4

Microphone activation touch sensor: Hold this down to use the microphone. When
the sensor is not touched, there will be no sound. Release it to immediately kill unwanted
feedback due to high amp levels or extreme FX processing. It can also be used to rhythmically
gate the audio signal. When you stop playing and put down the PIPE, your hand will be
off the sensor and the microphone will be automatically muted, stopping any feedback or
picking up unwanted sounds. You don’t have to worry about muting the channel on the
mixer when your performance is done.

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PIPEUSER MANUAL

5

Additional FX touch sensor. Additional FX are different for each algorithm. They are
described in the section about algorithms. I chose a touch sensor instead of a button because
the sensors have practically unlimited service life, high reliability and high usability. Even
when you press them 10 times/second (which can really happen when you want to quickly
gate the sound or add FX) you can be sure that you will not have to change the buttons
after a few performances.

6

Handles + artist body grounding. They are needed to hold the PIPE comfortably with
your fingers and not let it slip from your hands. They also serve as second contact point for
the touch sensors. The sensors activate when you complete the circuit between the sensor
and the handle or any other conducting element connected with the ground of the PIPE or
the setup as a whole.

Instead of your body, you can use a wire or any conductor with the resistance of no less
than 10 mOhm (can be useful for various experiments). Artist body grounding can also be
useful to decrease hum and interference.

On the picture below you see the correct way to hold your PIPE if you play with one hand.
The PIPE is made to be held with your left hand.

If the PIPE is the only instrument you are playing at the moment, you can use both hands
to operate it more comfortably: hold the device with your left hand while turning the knobs
and sensors with your right hand. This makes the hand placement more relaxed and playing
the instrument easier.

7

Custom XLR connector for connecting PIPE to the breakout box. The device is
connected using a special cable that transmits power and L/R audio channels. Please note:
The pin arrangement in the cable and connectors is custom-made for the PIPE. Use only
the cable that is supplied with the PIPE and do not use it with other equipment.

8

Input for microphone or external signal. 6.3 mm TRS jack input. The sleeve is the
ground, the ring is the microphone touch sensor and the tip is microphone/external signal
input. The original microphone jack has a disconnected ring contact. The microphone is
activated using the touch sensor on the PIPE. When a TS (mono) jack cable is used, the
ring (and consequently the activation sensor) will be continually connected to the ground
and the PIPE input will always be on, unaffected by the microphone activation sensor. This
is useful when using the PIPE with external audio signals. Simply use a TS jack cable and
the PIPE input will always be active. It is also useful if you want to place the microphone
on a stand or use it with an acoustic instrument and have both hands free. Use a female/
male TS extension cord to connect the microphone, and the ring of the input connector will
be connected to the ground in the same manner, making the PIPE input always open. It is
possible to create a remote control unit using a TRS extension cable.

PIPE USER MANUAL

Maximum input AC voltage when used with external audio is 2.5V p-p. Higher voltage will
create an overload in the input circuit and the signal will be distorted. Input impedance —
250 kOhm.

9

М4 thread for connecting a neck strap. The maximum length of the threaded portion
of the screw cannot be more than 8 mm! A longer screw will damage the PIPE circuit board!

10

Two M4 threads for placing the PIPE on a stand, holder or certain surface. The
distance between the center of the holes is 25 mm. The maximum length of the threaded
portion of the screw cannot be more than 8 mm! Longer screws will damage the PIPE
circuit board!

Inner light. The PIPE shines with a mystical red light from the openings on the front panel.
This light responds to input peaks with increased brightness. You can change the brightness
of the light and signal sensitivity with a special trimming resistor inside the PIPE. To access
it, open the back cover. The resistor is located close to the LEDs.

PIPEUSER MANUAL

BREAKOUT BOX

1

Custom XLR connector for connecting the PIPE. The instrument is connected using a
special cable that transmits the L/R audio signal and power. Please note: The pin arrangement
is irregular. Use only the cable that is supplied with the PIPE and do not use it with other
equipment to avoid damage.

2

Outputs: LEFT OUT and RIGHT OUT — 6.3 mm jacks. The PIPE outputs can be used for an
unbalanced or balanced connection. Average output voltage when the volume knob is turned
up to the maximum — 2V p-p. The peak output voltage — 9V p-p. The output resistance is
150 Ohm. The PIPE outputs can be connected directly to long balanced cables (up to 25
meters) without the need for a direct box.

Both outputs can be used for mono signals. When only one jack is plugged in, both channels
will be combined into that channel. The PIPE has a wide and beautiful stereo signal, so it is
highly recommended to use a stereo connection to fully enjoy its sound.

3

Power supply socket: +12V DC, center positive. Power supply unit should be very stable
and designed for at least a 0.15A load. It is recommended to use the power supply that
comes with the instrument.

4

Power switch.

5

Power indicator.

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