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Z3000 Smart VCOmkII
Design - Gur Milstein
Tiptop Audio 2010 All Rights Reserved
MADE IN THE USA
Special Thanks
Shawn Cleary
Matthew Davidson
Rene Schmitz
Andreas Schneider
Gene Zumchack
Bobby Voso
Mark Pulver
Surachai
Richard Devine
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This quick start guide provides an introduction to the
operation of the Z3000mkII. The Z3000mkII is an analog
voltage controlled oscillator with a built-in digital pulse
counter. It displays constant pitch data at a refresh
rate of one update per second in three different
modes. Each mode can be accessed using the Mode
Switch. This unique feature puts the Z3000mkII into
a class of its own as a VCO, bringing new capabilities
of complex sound synthesis to the analog realm. In
addition, it simplifies the setup of multi-oscillator voices
by allowing pitch intervals to be set by sight.
Mode Switch
1. Frequency Mode
2. Musical Note Mode
3. Octave Mode
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Frequency Mode.
Frequency Mode is the Z3000mkII’s first mode and is
the mode that the module starts in when powered. It
works by counting the wave cycles generated by the
VCO for one second and then shows the results on
the display with a resolution of 1Hz. The display ranges
from 1Hzup to 9999Hz. When frequencies pass above
the maximum range of 9999Hz the display shuts off,
this is normal. Similarly, when frequencies pass below
the lower limit of 1Hz the display blinks the word LFO
(Low Frequency Oscillator).
The display of the Z3000mkII is fully synchronized with
the VCO frequency and blinks accordingly at low
frequencies. Each time the display comes on, it
indicates the start of a new wave. This is especially
useful at low frequencies when the VCO is used as a
clock generator or LFO.
LFO 1Hz 9999Hz Display Off
MIN MAX
MIN MAX
LOW
HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
+
EXT IN
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VCJOscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
MIN MAX
MIN MAX
LOW
HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
+
EXT IN
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VCJOscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
SYNC HSM
1V/Oct EXTJIN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW
HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VCJOscillator
HIGH
SYNC HSM
1V/Oct EXTJIN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW
HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VCJOscillator
HIGH
ʨ˔ˇ˓˗ˇː˅˛ʯˑˆˇʎʐʨ˔ˇ˓˗ˇː˅˛ʴ˃˖ˋˑ˕
ʹˊˇːˏ˗ˎ˖ˋ˒ˎˇʸʥʱ˕˃˔ˇ˅ˑˏ˄ˋːˇˆˋː˃˒˃˖˅ˊʏˇˋ˖ˊˇ˔
ˏˑˆ˗ˎ˃˖ˋːˉˇ˃˅ˊˑ˖ˊˇ˔ʏˏˑˆ˗ˎ˃˖ˋːˉˑ˖ˊˇ˔ˏˑˆ˗ˎˇ˕ʏˑ˔
˕ˋˏ˒ˎ˛ˊ˃˘ˋːˉ˖ˊˇˋ˔˙˃˘ˇˈˑ˔ˏ˕ˏˋ˚ˇˆ˖ˑˉˇ˖ˊˇ˔ʏ
ˈ˔ˇ˓˗ˇː˅˛˔˃˖ˋˑ˕˃˔ˇ˒˔˃˅˖ˋ˅˃ˎ˖ˑˑˎ˕ˈˑ˔˃˗ˆˋˑ˕˛ː˖ˊˇ˕ˋ˕ʎ
ʸʥʱ˕˙ˑ˔ˍˋːˉ˖ˑˉˇ˖ˊˇ˔˅˔ˇ˃˖ˇˑ˘ˇ˔˖ˑːˇ˕ʎʶˊˇ˕ˇ˅˃ː˄ˇ
ˉˇːˇ˔˃ˎˎ˛˒ˎˇ˃˕˃ː˖˖ˑ˖ˊˇˇ˃˔ʊ
ˊ˃˔ˏˑːˋ˅ʋˑ˔˃˄˔˃˕ˋ˘ˇ
ʊˋːˊ˃˔ˏˑːˋ˅ˑ˔ˆˋ˕˕ˑː˃ː˖ʋʎ
ʪ˃˔ˏˑːˋ˅ˑ˘ˇ˔˖ˑːˇ˕˅ˑˏˇˈ˔ˑˏˏ˃˖ˊˇˏ˃˖ˋ˅˃ˎˎ˛ˇ˘ˇː
ˈ˔ˇ˓˗ˇː˅˛ˋː˖ˇ˔˘˃ˎ˕ʎʨˑ˔ˇ˚˃ˏ˒ˎˇʏˋˈˑːˇʸʥʱˋ˕˕ˇ˖˖ˑ
ʕʒʒʪ˜ʏ˖ˊˇː˖ˊˇ˕ˇ˅ˑːˆʸʥʱ˕ˊˑ˗ˎˆ˄ˇ˕ˇ˖˖ˑ˃ː
ˇ˘ˇːˏ˗ˎ˖ˋ˒ˎˇˑ˔ˈ˔˃˅˖ˋˑːʜ
ʙʗˊ˜ʏʓʗʒʪ˜ʏʕʒʒʪ˜ʏʘʒʒʪ˜ʏʓʔʒʒʪ˜ʏʔʖʒʒʪ˜ʏˇ˖˅ʎ
ʫːˊ˃˔ˏˑːˋ˅ˑ˘ˇ˔˖ˑːˇ˕˅˃ː˄ˇ˅˔ˇ˃˖ˇˆ˄˛˃ˆˆˋːˉˑ˔
˕˗˄˖˔˃˅˖ˋːˉ˃˅ˑː˕˖˃ː˖ː˗ˏ˄ˇ˔ʊʙʗʏˋː˖ˊˋ˕˅˃˕ˇʋˈ˔ˑˏ
˖ˊˇˈ˗ːˆ˃ˏˇː˖˃ˎˈ˔ˇ˓˗ˇː˅˛ʜ
ʙʗʪ˜ʏʓʗʒʪ˜ʏʔʔʗʪ˜ʏʕʒʒʪ˜ʏʕʙʗʪ˜ʏˇ˖˅ʎ
ʯ˗ˎ˖ˋ˒ˊˑːˋ˅˕ˑ˗ːˆ˕˃˔ˇ˅˔ˇ˃˖ˇˆ˄˛˃ˆˆˋːˉ˃˖ˊˋ˔ˆʸʥʱ
˖ˊ˃˖ˏ˃˖˅ˊˇ˕˖ˊˇ˕˗ˏˑˈ˖ˊˇˈ˔ˇ˓˗ˇː˅ˋˇ˕ˑˈ˖ˊˇˈˋ˔˕˖
˖˙ˑʎʨˑ˔ˇ˚˃ˏ˒ˎˇʜ
ʫˈʸʥʱʓʟʙʗʪ˜˃ːˆʸʥʱʔʟʓʗʒʪ˜
ʵˇ˖ʸʥʱʕʟʔʔʗˊ˜ʊʓʗʒʍʙʗʋ
ʊʥˑː˖ˋː˗ˇˆʎʎʎʋ
Audio synthesis relies heavily on frequency ratios, so
using them appropriately can be very helpful no matter
what the application: modulate the pulse width of
another VCO, for frequency modulation, modulate the
cutoff of a filter or any other parameters in a given
system’s modules. The Z3000mkII’s Frequency Mode
makesit possible to quickly experiment with the
mathematical side of sound design and audio
processing.
The Music Note Mode allows for the same techniques
but from a different perspective. It allows frequency
ratios to be set easily but based on the harmonic
relationships of musical notes as defined by the
chromatic scale. This feature allows those with
extensive training in music theory to experiment with
sound design and composition on a modular
synthesizer by setting those ratios. Try experimenting
with different sounds by setting multiple Z3000mkIIs to
different musical notes and have them modulate one
another.
Frequency Ratios. 1 Continued
LOW
FREQUENCY
HIGH
The Z3000mkII has been given
an expanded frequency range
above and below its predecessor.
It now covers the range of 0.7Hz
all the way up to 30kHz. This higher
top end, for example; is especially
useful for the Clock Input of our
Z-DSP VC-Digital Signal Processor
module.
Extended Frequency Range.
Musical Note Mode.
The Musical Note Mode works by comparing the VCO
frequency to a table of stored values corresponding to
Western musical notes. In this mode, the display will
show the numerical frequency reading, but once a
specific frequency is reached that is equivalent to a
known note value, the display will show the name of
the note. For example, if the VCO is tuned for 53Hz it
will display '53', but if the pitch were to reach 55Hz
the display will show 'A1' which is the musical note A
of octave 1. A Note-to-Frequency chart is available
online and at the end of this guide.
Sharp notes are represented by a dot between the
note and octave number.
=%)
Dot Indicates Sharp Note
d2C2 F2E2 G2 b2A2
d.2 F. 2 G.2 A.2C.2
SYNC HSM
1V/Oct EXT0IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC0Oscillator
HIGH
SYNC HSM
1V/Oct EXT0IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC0Oscillator
HIGH
SYNC HSM
1V/Oct EXT0IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC0Oscillator
HIGH
Musical Note Mode. 0 Chords
Musical Note Mode is very useful for creating tonal
music with a modular synthesizer. It allows multiple
VCOs to be set to specific notes or semitones, space
several Z3000mkIIs apart to build chords, or set any
VCOs to a specific musical key to match a music
piece. For example, using three Z3000mkIIs, it is
possible to set a basic C major chord consisting of
notes C, E, and G. Chord charts are available from
many music retailers.
d2C2 F2E2 G2 b2A2
d.2 F. 2 G.2 A.2C.2
Set three Z3000mkIIs to the following notes. Stack their
1v/o inputs from a common out, then mix their audio
outs. Try sending each voice, or a mix of all three,
through a VCF controlled by an envelope generator.
C Major Chord
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Octave Mode improves upon the functionality of a
mechanical octave switch. With an ordinary VCO in a
modular system, setting the relationship between the
note pressed on a keyboard and what is heard is
often requires an independent reference at a known
pitch, usually a non-modular synth. The Octave Mode
of the Z3000mkII makes this task a quick and efficient
process.
While in Octave Mode, the display will show the
relative octave of the note being heard (“OCt2”,
“OCt3”, etc). As the pitch approaches a C in any
octave, the display will change and show how close
the pitch is to the defined note within 50 cents on
either side of the note.
8
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This allows you to quickly match the CV note input to
the actual pitch of the oscillator. (Continued...)
C0 C7
C6 C7C4 C5C2 C3C0 C1
Oct0 Oct1 Oct2 Oct3 Oct4 Oct5 Oct6 Oct7
Octave Mode. , Continued
Setting up the Z3000mkII to use Octave Mode is simple.
First, configure a keyboard through a MIDI to CV
converter and plug the CV output of the converter into
the 1V/OCT input on the Z3000.mkII.
Now, set the Z3000 into Octave Mode by pressing the
FREQUENCY/NOTE/OCTAVE button.
Press any low ‘C’ key on the keyboard and use the
FREQUENCY and FINE TUNE knobs to adjust the pitch
of the Z3000mkII until the desired C note is shown on
the display.
Remember, as the frequency approaches the octave,
the display will show “-Cx” or “Cx-” to show if the
module is below or above the pitch of the actual note.
MIDI TO CV
SYNC HSM
1V/Oct EXT,IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC,Oscillator
HIGH
SYNC HSM
1V/Oct EXT0IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW
HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC0Oscillator
HIGH
SYNC HSM
1V/Oct EXT0IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW
HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC0Oscillator
HIGH
1V/Oct CV Input
1V/Oct
CV IN
1V/Oct
CV IN CV Stack
It should be known that the CV bus can be enabled
using the HD2 jumper on the main PCB. Further, this
will not override the 1V/Oct CV input on the front
panel.
The Z3000mkII’s 1V/Oct CV Input has a very high
resistance-input designed to allow you to stack CV
signals from a CV source before entering the unit
without encountering tuning error, or “CV Drop.”
With the the release of our Stackcables there was no
longer a need for a built in CV mult. The available
space made it possible to bring out the waveshaping
ability. The Waveshaper Input is described further in
this manual on page 14-2.
TM
!"#$%&'()*&+,#-)
This is a direct input into the pulse counter in
the Z3000mkII. Feed a falling .'/#00#1 wave from any
other VCO into this input to adjust, synthesize and
monitor the pitch using all of the features of the
Z3000mkII's three mode options.
The EXT IN is designed to work with a 10Vpp falling
sawtooth wave, though other waveforms can be used
if the sawtooth waveform is not providing a stable
reading. As long as the signal does not exceed 10Vpp,
a signal from most VCOs can be used.
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Frequency Modulation. 2 Basics
Frequency modulation (FM) synthesis is a technique
used to generate musically interesting sounds by
rapidly changing the basic frequency of a sound. The
pattern of change is created by another waveform with
a frequency within the range of human hearing.
In practice, it is as simple as connecting the audio
output of an oscillator to the frequency control input
of another oscillator. First, a number of considerations
need to be taken into account: waveform type, FM
input type, frequency ratio, and synchronization.
Frequency modulation starts with two or more
oscillators. The first (the modulator) is used to
modulate the frequency of a second oscillator (the
carrier). Typically, sine waves are used because they
are, ideally, free of harmonics, but modular systems
allow for the use of other waveforms.
However, the
more complex the modulating waveform is the more
complex the resulting waveform. Too much complexity
and the waveform becomes noise and avoiding this is
one of the most significant aspects of FM theory.
There are many books that can explain the
fundamentals of FM synthesis in greater detail than
is possible here. Frequency modulation has been widely
used in digital synthesizers thanks to the stability and
precise tracking of software-based digital VCOs. The
Z3000mkII’s built-in arithmetic processor allows the user
to implement true FM in analog, and to build
harmonically rich sounds using a calculated synthesis
approach.
(Continued...)
FM $ Continued: Modulation Index
The amount of modulation applied to the second
oscillator is commonly known as the modulation
index. The modulation index is controlled by the FM
knob on the Z3000mkII.
It is difficult to calculate the actual spectrum of the
resulting sound created by the modulation index, but
the more modulation applied, the more complex the
sound gets, resulting in noise and frequency drift.
For example, increasing the modulation index of a sine
wave modulating another sine wave, the resulting
waveform changes from a sine wave at modulation
index 0 (FM knob to MIN), through increasingly more
complex waveforms, ending with noise at a very high
modulation index. The change from sound to noise
can be quite sudden, so it should be noted that a
small amount of modulation can provide more
desirable results. (Continued...)
FM Modulation Index
MIN MAX
FM
‘Safe Zone’
MIN MAX
MIN MAX
LOW HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VC$Oscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
SYNC HSM
1V/Oct EXT$IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC$Oscillator
HIGH
FM $ Continued: Input Types
The Z3000mkII is equipped with two exponential FM
inputs and one linear FM input. The FM1 and FM2
jacks are exponential but FM2 is summed with the
Linear FM input and, as such, share the FM knob.
Generally speaking, when employing FM theory, linear
modulation provides the only true form of modulation
and has more predictable results and produces less
inharmonic material than exponential FM does.
To implement a basic FM patch, plug the sine wave
from one Z3000 into the Linear FM input of a second
Z3000mkII. Frequency modulated sounds become more
complex as more modulators and carriers are added
to a patch, whether in series or in parallel. Pairs of
modulators and carriers are called “operators” and
usually include VCAs and envelope generators to
dynamically vary the modulation index over time.
(Continued...)
MIN MAX
MIN MAX
LOW HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
+
EXT IN
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VC$Oscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
MIN
MAX
MIN MAX
LOW HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
+
EXT IN
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VC$Oscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
modulator
carrier
MIN MAX
MIN MAX
LOW HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
+
EXT IN
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VC$Oscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
MIN MAX
MIN MAX
LOW HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VC$Oscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
SYNC HSM
1V/Oct EXT$IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN
MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC$Oscillator
HIGH
SYNC HSM
1V/Oct EXT$IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC$Oscillator
HIGH
FM $ Continued: Frequency Ratios
Modulator @ 130Hz Carrier @ 65Hz
Ratio = 2:1
The frequency ratios and modulation index define
the tone and harmonic content of the resulting sound.
Specific frequency ratios will create harmonic and
inharmonic sounds, as previously described, and the
Z3000mkII allows the user to precisely set those ratios
in any of its three modes.
While playing an FM patch across a range of several
octaves, the frequency at these octaves may not
maintain the frequency ratio that was set at another
octave. This variation in frequency is an inherent
feature of analog VCOs. The Z3000mkII makes it
possible to overcome this issue by fine tuning the
desired frequencies at both ends of the range until
both are set accordingly for smooth harmonic sounds
spanning several octaves.
MIN MAX
MIN MAX
LOW HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
+
EXT IN
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VC$Oscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
MIN MAX
MIN MAX
LOW HIGH
SYNC HSM
1V/Oct 1V/Oct
Linear FM
INPUT
PWM FM 1
LOW HIGH
Hz
Oct
FM 2
INPUT
CV IN INPUT
CV IN CV OUT
INPUT INPUT
+
+ +
FREQUENCY/NOTE/OCTAVE
Tipt p
Audi o
Z3000
Smart VC$Oscillator
FREQUENCY
FINE TUNE
PULSE WIDTH
PWM
FM
SYNC HSM
1V/Oct EXT$IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN
MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC$Oscillator
HIGH
SYNC HSM
1V/Oct EXT$IN
Linear FM
INPUT
PWM FM 1
FM 2
CV IN INPUT
CV IN INPUT
INPUT INPUT
+
+ +
+
Tipt p
Audi o
Z3000
Hz
Oct
FREQUENCY/NOTE/OCTAVE
FM
PWM
PULSE WIDTH
FINE TUNE
MAXMIN
MIN MAX
LOW HIGH
LOW
SHAPER
WAVE
FREQUENCY
Smart VC$Oscillator
HIGH
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slave
Combining synchronization and frequency modulaton
allows for the creation of whole new sound spectra.
Its sound is more predictable than FM alone, as there
is no chance of the fundamental of the modulating
oscillators drifting away when increasing or decreasing
the modulation index. As a result, the output sounds
are less likely to become inharmonic. Conversely, the
synchronization itself distorts the waveform of the
slave VCO, thus adding harmonics to the sound.
The Z3000mkII offers traditional hard sync along a new
type of sync called Hard Sync Modulation (HSM). While
traditional hard sync will only work with pulse or
sawtooth waves, with similar effect, the HSM accepts
any waveform, even complete sounds, which will
modulate, distort and rectify the waveform. Hard Sync
Modulation is a powerful waveform distortion effect
built into the Z3000mkII, and can be used in any
patch.
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Waveshaper Input.
This jack allows the user to inject an external CV or
Audio source to modify the symmetry of both the
Triangle and Sine waves simultaneously. Thereby
adding new character to the sound as it modifies the
slightly harmonic Triangle & idealy harmonic-free
Sine.
The Waveshaper Input accepts +/-5V (the typical VCO
waveform output level) allowing for some very extreme
waveshaping to take place. Or, if the user pefers; very
subtle but effective modulation of the waveforms with
the addition of signal attenuation prior to the
Waveshaper Input.
The Waveshaper accepts signals in the DC range all
the way up to audio rate. Allowing for some very
animated morphing and mangling of the waves. The
result being that you actually add harmonics to the
waveform rather than (by the use of filters) take them
away.
Tips:
Adding a VCA before the Wavshaper Input can add
more dynamics and control to the amount and timing
of the modulation input.
CV sequencers help add repeatable, syncronized
waveshaping to the mix. Great for when your
modulations need to be in sync with a specific tempo.
Voices and Operators.
Classic Analog Voice 4
A typical voice on a vintage analog synthesizer usually
starts with two or more VCOs with their pitch intervals
preset. The wavefroms of the VCOs are mixed together
and sent to a VCF, followed by a VCA. A modular
synthesizer gives the user the freedom to build
complex analog voices. On a modular, a voice is not
preset and can be made of several VCOs and other
modules. This allows for a variety of synthesis
techniques which can be mixed into a single output.
FM Operators Voice 4
The term operator is used to describe a complex
digital FM voice structure. An operator is a synthesizer
patch consisting of several tone generators, each
modulated through VCAs that are controlled by
envelope generators (EGs). An operator also includes a
mixer to combine the tones into a single output. The
gain of the mixer channels are dynamically controlled
by additional EGs. This entire structure generates
complex sound textures that evolve with time.
Both analog and digital voice structuring rely heavily
on the arrangement of frequency ratios to generate
harmonic and inharmonic voices. The Z3000mkII is the
ideal tool for both of these forms of voice structuring,
as it allows the user to quickly and easily set the
frequency ratios of any of the sound-generating
modules being used in a given voice and the
Z3000mkII’s Hard Sync Modulation allows for simple
and effective management of complex voice structures.
16 18 21 22 24 27 31 33 37 41 44 49 55 62
C0 D0 E0 F0 G0
A0 B0
C.0 D.0 F.0 G.0 A.0
C1 D1 E1 F1 G1
A1 B1
C.1 D.1 F.1 G.1 A.1
17 19 23 26 29 35 39 46 52 58
Z3000mkII
TM
65 73 82 87 98 110 123 131 147 165 175 196 220 247
69 78 92
104
117
139
156
185
208
233
262 294 330 349 392 440 494 523 587 659 698 784 880 988
277
311
370
415
466
524
622
740
831
932
1046 1175 1319 1397 1568 1760 1976 2093 2349 2637 2794 3136 3520 3951
1109
1245
1480
1661
1865
2217
2489
2960
3322
3729
C2 D2 E2 F2 G2
A2 B2
C.2 D.2 F.2 G.2 A.2
C3 D3 E3 F3 G3
A3 B3
C.3 D.3 F.3 G.3 A.3
C4 D4 E4 F4 G4
A4 B4
C.4 D.4 F.4 G.4 A.4
C5 D5 E5 F5 G5
A5 B5
C.5 D.5 F.5 G.5 A.5
C6 D6 E6 F6 G6
A6 B6
C.6 D.6 F.6 G.6 A.6
C7 D7 E7 F7 G7
A7 B7
C.7 D.7 F.7 G.7 A.7
Copyright Tiptop Audio 2008
Frequency/Note Conversion Table.
This table of frequencies for equal-tempered scale
is highly recommended for use with the Z3000mkII.
Withit, it is possible to navigate frequencies, build
chords and construct synthesis models. We recommend
hanging it next to your modular synthesizer. A free
version that you can print yourself is available at:
www.tiptopaudio.com/resources.html
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