Vermona Filter Lancet User Manual

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Introduction

The filter is the most essential part of every synthesizer. It allows easy
sound manipulation with drastic results. However, why should only synthe­sizers have all the fun? Drum-computers, groove-machines, guitars and
other instruments are equally suited for filtering. This is why external filter
boxes like the FILTER Lancet exist! They allow sound manipulation for di!e­rent kinds of audio signals. In addition, such manipulation should be intui­tive. A good filter box therefore demands lots of knobs, switches and
connections. FILTER Lancet was created to be a highly flexible and easy to
use filter box with multiple possibilities to be controlled. As you can expect
from VERMONA, this unit uses finest analogue technology.

Enjoy filtering!

The VERMONA team

Erlbach, Germany

Important Safety Instructions

1. Read these instructions.

2. Keep these instructions. Alway include these instructions when passing
the product on to third parties.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Only clean the product when it is not connected to the mains power
supply. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with the
manufacturer's instructions.

8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched, particularly
at plugs, convenience receptacles, and the point where they exit from
the apparatus.

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11. Only use attachments/accessories specified by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specified by the
manufacturer, or sold with the apparatus. When a cart is used, use
caution when moving the cart/apparatus combination to avoid injury
from tip-over.

13. Unplug this apparatus during lightning storms or when unused for
long periods of time.

14. Refer all servicing to qualified service personnel.Servicing is required
when the apparatus has been damaged in any way, such as power
supply cord or plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, when the apparatus has been exposed
to rain or moisture, does not operate normally, or has been dropped.

15. To completely disconnect this apparatus from the AC mains,
disconnect the power supply cord plug from the AC receptacle.

16. WARNING: To reduce the risk of fire or electric shock, do not expose
this apparatus to rain or moisture.

17. Do not expose this equipment to dripping or splashing and ensure
that no objects filled with liquids, such as vases, are placed on the
equipment.

18. The mains plug of the power supply cord shall remain readily accessi­ble.

Installation

• Ensure that the room in which you use this product is wired in accordance

with the local electrical code and checked by a qualified inspector.

• Only use this product indoors.

• Do not install the product in hot, humid, or excessively dusty locations, in

direct sunlight or in locations where it is exposed to externally generated
vibrations.

• Do not place burning objects (e.g. candles) on top of or near the product.

• If condensation has formed on the product, e.g. because it was moved

from a cold environment to a warm one, allow the product to acclimatize
to room temperature before using it.

• Do not overload wall outlets and extension cables as this may result in

fire and electric shock.

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Table of Contents

1 Introduction 2..................................................................................................................

2 Important Safety Instructions 2..............................................................................

3 Table of Contents 4......................................................................................................

4 Getting Started 5............................................................................................................

4.1. Connections and Powering 5................................................................

5 Components and Controls 6.....................................................................................

5.1. Input Section (IN) 6...............................................................................

5.2. Output Section (OUT) 7........................................................................

5.3. Filter (VCF) 8........................................................................................

5.4. Amplifier (VCA) 12...............................................................................

5.5. Modulation 13......................................................................................

5.5.1. Modulation-Generator (LFO) 13.........................................................

5.5.2. Envelope-Generator (EG) 14..............................................................

5.5.3. Envelope Follower (EF) 15..................................................................

5.5.4. PEDAL/CV-Input 15...........................................................................

5.6. Further Control Elements 16.................................................................

5.7. Connectors 16......................................................................................

6 Technical Specifications 17.......................................................................................

7 Declaration of Conformity 19...................................................................................

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Getting Started

To ensure top quality we carefully checked FILTER Lancet before packaging.
Nevertheless, the unit could have been damaged during transportation.
Therefore, we ask you to take a serious look at the unit when unpacking it.
Do not hesitate to contact us, should there be anything unusual on MONO
Lancet itself or its packaging.

You should find the following items in the box:

• one Filter Lancet unit

• one AC adapter (12V / at least 830mA)

• this manual

Connections and Powering

If you came here without any problems, you can finally start up your FILTER
Lancet:

1. Connect the provided power supply unit to the 12VAC jack on FILTER
Lancet

ATTENTION:

Only use the included power supply! You may already
own a suitable-looking power supply that o!ers the same
connector. However, FILTER Lancet requires an AC adap­ter, not DC! Using an unsuitable power supply may cause
damage to the unit.

2. Connect the INPUT jack of FILTER Lancet to an appropriate audio
source such as a drum-computer, a groove-box, a synthesizer, a gui­tar or CD-player.

3. Connect the OUTPUT jack of FILTER Lancet to an appropriate audio
input of a mixing console, an audio-interface or an amplifier.

4. Start FILTER Lancet by switching on OVERKILL on the unit’s rear. The
corresponding green LED will be lit.

5. Congratulations, FILTER Lancet has been started.

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ATTENTION:

Because FILTER Lancet is a filter built of analogue compo­nents, it will take 5 to 10 minutes for the parts to reach
their appropriate temperature and ensure best tuning
stability!

Components and Controls

Filter Lancet is a filter box. Beside its central sound shaping element, a
multimode filter, it o!ers further functions such as overdrive, VCA, LFO and
an envelope-generator. This section will take a closer look to the di!erent
sections of FILTER Lancet and their correspondent control elements.

Input Section (IN)

This section controls input sensitivity and a possible analogue overdrive of
the circuit. The amount of possible distortion in FILTER Lancet ranges from
light saturation to hefty distortion.

The available control elements are:

Picture 1: Input Section

GAIN

Use this control to set the input sensitivity. A corresponding LED will
indicate overloads. Set the control in a way that the LED only lights up
shortly during signal peaks. FILTER Lancet has a large GAIN range that
allows line- as well as instrument-level-signals to be connected and
adequately pre-amplified. Do not worry if the clip-LED already lights up
in the gain control's first quarter when using line-level-signals. Using
higher GAIN settings will allow you to distort the input, which will result
in a noticeable increase of volume.

FILTER Lancet's input was designed to handle high-impedance signals of
instrument pickups, too. There is no need to use a DI-box here. Instead,
you may connect your guitar, bass or clavinet directly.

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ATTENTION:

Using too little preamplification will decrease the signal to
noise ratio. In addition, trigger sensitivity (see "Envelope­Generator (EG)", page 14) as well as the envelope-fol­lower directly depend on the input level setting. Checking
for best possible levels is essential for best results of
your FILTER Lancet.

DRIVE

This control adjusts the amount of distortion applied to the input signal.
Note that DRIVE will take e!ect on the processed as well as on the dry
signal. With MIX turned fully counterclockwise, the signal can still be
distorted if needed. The distortion can be disabled by switching BYPASS
on. In contrary to distortion achieved with the GAIN control, DRIVE will
not significantly raise the level when increasing the amount of drive.

Output Section (OUT)

The output section o!ers the following control elements:

Picture 2: Output Section

MIX

This control adjusts the ratio between direct and processed signal. With
MIX turned fully counterclockwise, the input signal passes through the
input section with possible distortion and straight to the output. With
MIX turned fully clockwise, only the signal processed with VCF and VCA
will be audible.

VOLUME

This control sets the output level of FILTER Lancet.

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BYPASS

Setting this switch to BP to disable all sections of FILTER Lancet. The
input signal is passed directly to the output after the GAIN stage. With
the switch set to ON, all sections are active.

Filter (VCF)

FILTER Lancet's central sound shaping takes place in its multimode filter
section. It can be configured as low pass, high pass and band pass. Each
type will suppress certain frequencies that will result in specific sound col­oring. Let us start with a short explanation of the available filter types:

Low pass

The low pass will only let the low frequencies of the input signal pass. CUT­OFF sets the frequency where the attenuation starts. The lower CUTOFF is
set, the more high frequencies will be suppressed, resulting in a sound
more mu"ed.

A slowly opening low pass filter is a characteristic element of countless
House- and Dance-tracks. Its rising e!ect will accentuate intros, breaks and
build-ups.

High pass

The high pass filter is the exact opposite of the low pass filter. It will only
let high frequencies of the input signal pass. CUTOFF sets the frequency
where the attenuation starts. The higher CUTOFF is set, the more low fre­quencies will be suppressed and the sound will lose bass. The high pass fil­ter is well suited for mash-up-mixing. It allows removing/attenuating bass
drums and basslines from a track that is to be mixed with a second track.
Ideally, the second track is run through a separate low pass filter at the
same time.

Band pass

The band pass filter is a combination of a low pass- and high pass filter. It
will only let a certain frequency band of the input signal pass. CUTOFF sets
the center frequency for that frequency band. By moving CUTOFF, you set
the pass band for the mid frequencies. The band pass o!ers a slope less
steep than that of the other filter types. Its e#ciency is a little less
distinctive.

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The filter section o!ers the following control elements:

Picture 3: Filter (VCF)

MODE

MODE selects the filter type.

LP = Low pass Low pass filter with a slope of 24dB per octave

BP = Band pass Band pass filter with a slope of 12dB per octave

HP = High pass High pass filter with a slope of 24dB per octave

BALLS

BALLS will emphasize low and higher frequencies in a predefined ratio.
The resulting signal will cut through the mix better with increased
punch and bass amount. The high frequency enhancement will be best
accentuated with higher RESONANCE settings.

ATTENTION:

The amplification using BALLS will not necessarily be per­ceived as increased level. However, the lower frequencies
are emphasized. This can lead to clipping of sensitive
inputs in audio-interfaces. Make sure, you match FILTER
Lancet's output level or the input sensitivity (Gain) or your
audio-interface to avoid distortion.

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CUTOFF

This control manually sets the filter’s cuto!-frequency. This is the fre­quency from which the audio signal is manipulated (filtered) with the fil­ter's slope. In low pass mode (MODE LP) the filter is fully opened with
CUTOFF turned fully clockwise, closed when turned fully counterclock­wise. In high pass mode (MODE HP), the principle of operation works
oppositely. When using the filter in bandpass mode (MODE BP), there is
no fully opened filter. Here, specific frequencies are always suppressed.

CUTOFF has a larger control knob intentionally. This is the most impor­tant function of FILTER Lancet and turning this knob should be fun!

RESONANCE

Resonance is a feedback circuit within the filter that emphasizes the
CUTOFF frequency. Lower values will slightly color the sound, higher
values more significantly. With higher values, the filter will also start to
self-oscillate, generating a sine wave at the CUTOFF frequency.

NOTE:

Resonance in FILTER Lancet will easily reach self-oscilla­tion and produce a constant sine-wave-like tone. It is
recommended, not to set the VCA to ON but preferably
use it through the envelope-generator (EG) or the enve­lope-follower (EF).

Self-oscillation of the filter will reach a high volume within the last third
of the control. Typically, you would avoid these levels by not turning up
the control that far. The prominent resonance frequency will also be
audible at lower settings. However, the maximum level-settings are
useful when mixing the original with a little portion of the filtered signal
through the MIX control. Here, the distinctive self-oscillation will also be
heard at tiny mix amounts.

INT

The INT control sets the intensity of the CUTOFF frequency being con­trolled by a modulation source. The MOD SRC switch (Modulation
Source) selects this source. The INT control works bipolar. Turning
clockwise from the center position results in upward CUTOFF modula-

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tion while turning left from center results in downward modulation. In
its center position, CUTOFF modulation is deactivated.

MOD SRC

The MOD SRC switch selects the modulation source for the CUTOFF fre­quency. There are three possible sources:

EG Envelope Generator - see "Envelope-Generator (EG)", page 14

CV external signal connected to the Pedal/CV-input

EF Envelope Follower, a control signal deriving from the level at the

audio input

NOTE:

Combing an envelope-follower with rhythmic audio-sig­nals such as drum loops is quite useful. Another useful
application is using a guitar with the FILTER Lancet set to
band pass filtering with audible resonance. An envelope­follower will create a sound that resembles of the typical
Autowah-e!ect.

LFO INT

This control sets the LFO's modulation intensity towards the CUTOFF­frequency. The filter's frequency will be modulated periodically accord­ing to the selected LFO's waveform and its speed.

VCF

This switch will enable or disable the complete filter section, leaving the
setting of the in- and output section, the VCA and the modulations
untouched.

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Amplifier (VCA)

A voltage-controlled-amplifier (VCA) controls FILTER Lancet’s output. It
o!ers the following control elements:

Picture 4: Amplifier (VCA)

LFO INT

This control sets the LFO's modulation intensity towards the output
volume. The result is a tremolo-e!ect.

MODE

This switch sets the modulation source for the VCA, respectively sets the
VCA to be opened permanently. There are three positions:

EG Envelope Generator - see "Envelope-Generator (EG)", page 14

ON the VCA is permanently on

EF Envelope Follower, a control signal deriving from the level at the

input

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Modulation

Modulation-Generator (LFO)

The LFO (Low Frequency Oscillator) is an oscillator specialized on slow fre­quencies that are used to create cyclic repeating modulations. Its frequency
is variable, ranging from 0.05Hz to 300Hz, being divided in two switchable
ranges. The LFO allows modulating the VCF and/or VCA, each with individ­ually adjustable intensity. The available control elements are:

Picture 5: Modulation-Generator (LFO)

RANGE

The range switch selects the LFO's frequency range:

LO/TR low frequencies (0.05Hz-25Hz) with retrigger. Incoming trig-

ger-signals will restart the waveform (depending on the TRIG
SRC setting in the EG section). Using suited trigger settings
allow synchronizing the LFO to an external tempo. It may also
act as a simple envelope using rhythmical trigger signals with
a suited waveform selected.

LO lower frequency range (0.05Hz-25 Hz), free oscillating LFO.

HI higher frequency range (1Hz-300Hz), free oscillating LFO.

SPEED

This control sets the LFO speed (frequency). The available range
depends on the RANGE-setting.

WAVE

This switch selects the LFO waveform. Choices are ascending saw tooth,
descending saw tooth, rectangle, triangle, sine, Sample & Hold
(random).

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Envelope-Generator (EG)

FILTER Lancet’s envelope generator (EG) generates a variety of envelope
shapes depending on the trigger source used. It will work as an Attack/
Decay envelope when using triggers from the audio input or the AUDIO
TRIG-input. It will work in three phases (Attack, Sustain, Release) when
using the GATE-input. The sustain period cannot be adjust in FILTER
Lancet. It is dependent on the duration of the incoming gate signal. The
release phase will follow once the gate signal has been ended. The follow­ing parameters are available for contour shaping:

Picture 6: Envelope-Generator (EG)

ATTACK

adjusts the rising time from 0ms to 10s (maximum level).

DECAY/RELEASE

adjusts the decay time for the sound between 0ms to 15s.

SENSE

SENSE controls the sensitivity for the trigger source. SENSE will be inac­tive with GATE being selected as trigger source.

TRIG SRC

TRIG SRC sets the trigger source:

INPUT the audio input

GATE a 5 volts gate voltage applied at the GATE input.

AUDIO audio signal fed into the AUDIO TRIG input.

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Envelope Follower (EF)

The envelope-follower converts the amplitude characteristic of the audio
input signal into a control voltage. Most audio signals do not show clear
levels and -jumps as pure control voltages. This results in the envelope­follower being less e!ective compared to a regular envelope. In most cases,
it is therefore necessary to increase the VCF modulation intensity to achieve
a comparable e!ect depth.

PEDAL/CV-Input

This input allows connecting a suited pedal or an analogue control voltage
to control the CUTOFF frequency. MOD SRC has to be switched to CV when
using this input.

PEDAL

The PEDAL input allows connecting Expression Pedals with a TS-connec­tor. In addition, volume pedals with in- and output can be connected
using Y-cables. Use an expression pedal with a resistance of 100 kΩ to
ensure smooth control scaling.

Picture 7: Connecting volume pedals

CV

Analogue control voltages ranging from 0-5 volts can be connected to
the PEDAL/CV input. This allows FILTER Lancet to be controlled from
external CV-sources such as step-sequencers, key-CV of analogue syn­thesizers, LFOs with special functions as well as Theremin antennas.

tip

ring

volume pedal input

volume pedal output

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Further Control Elements

OVERKILL

Connects FILTER Lancet to the AC-power-supply-unit. A green LED
shows an active powered unit.

ATTENTION:

The OVERKILL switch is no power switch. It simply
removes the connection to the power supply. Please do
always disconnect the PSU from the socket when not
using the unit for a longer period!

Connectors

Find a short description of the connectors on FILTER Lancet’s rear panel:

12 VAC

Connect the supplied AC power supply here.

INPUT

Input jack for the audio signal.

GATE

Input to trigger the envelope-follower. This input needs a voltage of 5
volts.

AUDIO TRIG

This audio input can trigger the envelope-generator.

PEDAL/CV

Allows connecting a CV-source or a pedal to control the CUTOFF­frequency.

OUTPUT

Carries the output signal of FILTER Lancet to be connected to a mixing
console, an audio-interface or an amplifier.

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Technical Specifications

Input

max. Input Level -32dBu

Impedance 1MΩ

Output

max. Output Level 20dBu

Impedance 600Ω

Audio Trigger

max. Input Level -32dBu

Impedance 1MΩ

GATE

min. trigger voltage +4V

CV Input

voltage +/-5V

Signal-to-Noise Ratio

Direct >80dB

E!ect (filter open) >75dB

Filter

Modes 24dB Lowpass, 24dB Highpass,

12dB Bandpass

Modulation Sources envelope generator, envelope

follower, CV

Controller Balls, Cuto!, Resonance, INT

(Modulation Intensity), LFO Intensity

Switches Mode, Modulation Source, VCF On/

O!

VCA

Controller LFO Intensity

Switches Modulation Source: envelope

generator, envelope follower

LFO

Frequency Range 0,05..300Hz

Waveforms saw up, saw down, square, triangle,

sine, sample&hold

Controller Speed

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Switch Range: Lo/Trigger, Lo, Hi

Envelope-Generator

Attack 1ms..10s

Decay/Release 1ms..15s

Controller Attack, Decay/Release, Trigger

Sense

Switch Trigger Source: Input, GATE,

Audiotrigger

Input-/Output section

Controller Gain, Drive, Mix, Volume

Switch Bypass

Product Properties

Jacks Input, GATE, Audio Trig, Pedal/CV,

Output, 12VAC

Weight 0,75kg

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Declaration of Conformity

We declare under our sole responsibility that this product is in conformity
with the following standards or standardization documents in attention of
operation conditions and installation arrangements acc. to operating
manual:

EN61000-3-2, EN 61000-3-3, EN 55013, EN 55020, EN 60065 according
to the provisions of the regulations 2004/108/EG and 2006/95/EG.

HDB electronic GmbH

Badesteig 20

08265 Erlbach

GERMANY

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Web: http://www.vermona.com

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