- width:
- HP
- depth:
- mm
- 12v:
- mA
- -12v:
- mA
- 5v:
- mA
- rack:
- BFE
A power multi-tool. It can function as either a single unit or as two independent Disting mk. 4 modules. I also have the MIDI breakout installed. I tend to use this module either as an effect or in place of some utility I don't have in hardware.
See below for information on the available algorithms.
Emulation of Mutable Instruments Braids.
Emulation of Mutable Instruments Rings.
Emulation of Mutable Instruments Plaits.
Entries followed by an asterisk are different from corresponding algorithm in the Disting mk. 4.
| Inputs |
| X | Input $X$ |
| Y | Input $Y$ |
| Z | Determines $offset$ |
| Outputs |
| A | $X + Y + offset$ or $X + offset$ |
| B | $X - Y - offset$ or $Y \pm offset$ |
| Inputs |
| X | Input $X$ |
| Y | Input $Y$ |
| Z | Determines $scale$ |
| Outputs |
| A | $X\cdot Y\cdot scale$ |
| B | $-X\cdot Y\cdot scale$ |
| Inputs |
| X | Input $X$ |
| Y | Input $Y$ |
| Z | Selects mode |
| Outputs |
| A | $\lvert X+Y\rvert$ or $\lvert X\rvert$ |
| B | $\lvert X-Y\rvert$ or $\lvert Y\rvert$ |
Available modes are “independent” (Z negative?) and “combination” (Z positive?).
When Z is higher than 2.5V, the outputs are active; when Z drops below -1.5V, the outputs are frozen. “HI” or “LO” is displayed briefly on the corresponding state change. If one input is held at zero or disconnected, the module behaves as a half-wave rectifier.
| Inputs |
| X | input $X$ |
| Y | input $Y$ |
| Z | gate |
| Outputs |
| A | $\min(X, Y)$ |
| B | $\max(X, Y)$ |
Provides both a linear-exponential and an exponential-linear converter. This is useful for, say, interfacing Eurorack V/octave gear with Hz/V synths or for using a VCO's exponential FM input as a linear FM input.
| Inputs |
| X | exponential input |
| Y | linear input |
| Z | Hz/V scale, centered on 1kHz |
| Outputs |
| A | $2^X\cdot scale$ |
| B | $\log_2(Y/scale)$ |
| Inputs |
| X | input $X$ |
| Y | transpose (Z positive) or trigger (Z negative) |
| Z | selects scale & function of Y |
| Outputs |
| A | $quantized(X)$ |
| B | trigger on note change |
| Inputs |
| X | input |
| Y | input |
| Z | hysteresis |
| Outputs |
| A | 5V when X > Y |
| B | inverse of A |
| Inputs |
| X | input $X$ |
| Y | input $Y$ |
| Z | gain |
| Outputs |
| A | $shaped(X)$ |
| B | $shaped(Y)$ |
Each channel can use one of two waveshaping functions: wavefolder (0) or triangle-to-sine (1).
B-1: Sample and hold
| Inputs |
| X | input $X$ |
| Y | trigger |
| Z | slew rate; press for sampling |
| Outputs |
| A | $A=X$ when $Y\geq 1V$ |
| B | noise ($\pm 8V$) |
| Inputs |
| X | input $X$ |
| Y | input $Y$ |
| Z | slew rate |
| Outputs |
| A | $limited(X+Y)$ or $limited(X)$ |
| B | $limited(X+Y)$ or $limited(Y)$ |
B-3: Pitch and envelope tracker
| Inputs |
| X | input $X$ |
| Y | input $Y$ |
| Z | envelope slew rate |
| Outputs |
| A | V/octave pitch derived from $X$, plus $Y$ |
| B | envelope derived from $X$ |
| Inputs |
| X | input $X$ |
| Y | clock in |
| Z | feedback |
| Outputs |
| A | depends on mode |
| B | depends on mode |
| Inputs |
| X | Hz/V frequency |
| Y | waveshape |
| Z | tune |
| Outputs |
| A | saw → sine → triangle |
| B | pulse → square → pulse |
| Inputs |
| X | clock in |
| Y | waveshape |
| Z | clock multiplier/divider |
| Outputs |
| A | saw → sine → triangle |
| B | pulse → square → pulse |
| Inputs |
| X | V/octave |
| Y | linear FM |
| Z | tune $\pm 0.5$ octaves |
| Outputs |
| A | selectable output waveform |
| B | selectable output waveform |
The waveforms of outputs A and B can be independently set. Options are triangle, sine, square, saw, sub-octave square, and MIDI gate.
| Inputs |
| X | V/octave |
| Y | waveshape/PWM |
| Z | tune $\pm 0.5$ octaves or sync |
| Outputs |
| A | selectable output waveform |
| B | selectable output waveform |
As with the preceding algorithm, output waveforms A and B can be set independently. Waveform A options are triangle/saw, triangle/saw, square/pulse, triangle/saw, and square/pulse; waveform B options are square/pulse, sub-octave square, sub-octave/square, MIDI gate, and MIDI gate. The reason for the duplicates is unclear.
| Inputs |
| X | clock in |
| Y | reset in |
| Z | (press) resets to step 1 |
| Outputs |
| A | clock out |
| B | clock out |
Not what I would call a counter; rather, it's an external reset generator for sequencers without a reset input. An internal step counter is maintained, and when a trigger is received on input Y, the module generates a rapid burst of extra clocks.
I wonder if I could use this as a trigger multiplier. What happens if I press Z to reset the internal count and then send a reset signal?
| Inputs |
| X | audio input |
| Y | delay time |
| Z | feedback (bipolar) |
| Outputs |
| A | delay output |
| B | (50-50?) wet/dry mix |
| Inputs |
| X | audio input |
| Y | clock in |
| Z | feedback |
| Outputs |
| A | left output |
| B | right output |
| Inputs |
| X | audio input |
| Y | clock in |
| Z | input pan |
| Outputs |
| A | left output |
| B | right output |
| Inputs |
| X | audio or trigger input |
| Y | center frequency (V/octave) |
| Z | gain; (press) strike |
| Outputs |
| A | audio output |
| B | envelope of audio output |
Can be used either as a filter or as an analog drum synth. In the latter case, input X should be a trigger rather than audio.
The 0 V point for the pitch is C3 (130.81 Hz).
| Inputs |
| X | modulator input |
| Y | carrier input |
| Z | decay time |
| Outputs |
| A | audio output |
| B | envelope output |
Use low Z (negative) for most intelligible speech.
| Inputs |
| X | audio input |
| Y | sweep |
| Z | feedback (bipolar) |
| Outputs |
| A | (50-50?) wet/dry mix |
| B | phase-shifted signal |
| Inputs |
| X | signal input |
| Y | sample rate or R input if stereo |
| Z | bit reduction |
| Outputs |
| A | signal output |
| B | comparator or R output if stereo |
Two bit reduction options are available, set by Z: in type I, the input is converted to a 16-bit word and the lower bits dropped; in type II, the input is integer divided by a given factor.
When Z is negative, negative inputs are flipped positive, processed, and flipped back. Reduction types can be set separately for positive and negative portions of the input cycle.
| Inputs |
| X | L input |
| Y | R input |
| Z | filter cutoff |
| Outputs |
| A | L output |
| B | R output |
| Inputs |
| X | audio input |
| Y | tape speed |
| Z | feedback |
| Outputs |
| A | output according to mode |
| B | output according to mode |
The Y voltage-to-speed is scaled like so: -4 V = 1/2 speed, 0 V = 1x speed, and +8 V = 2x speed.
Outputs can follow one of three modes, selected by parameter 3:
| Inputs |
| X | audio input |
| Y | threshold |
| Z | separation |
| Outputs |
| A | animated output |
| B | square waves output |
| Inputs |
| X | audio input |
| Y | cutoff frequency |
| Z | filter type |
| Outputs |
| A | filtered output (LP→BP→HP) |
| B | filtered output (HP→BP→LP) |
| Inputs |
| X | audio input |
| Y | filter cutoff |
| Z | filter resonance |
| Outputs |
| A | LPF output |
| B | HPF output |
| Inputs |
| X | audio input |
| Y | filter cutoff |
| Z | filter resonance |
| Outputs |
| A | LPF output |
| B | BPF output |
| Inputs |
| X | audio input |
| Y | filter cutoff |
| Z | filter resonance |
| Outputs |
| A | BPF output |
| B | HPF output |
| Inputs |
| X | audio input |
| Y | filter cutoff |
| Z | filter resonance |
| Outputs |
| A | BPF output |
| B | notch filter output |
| Inputs |
| X | trigger input |
| Y | trigger input |
| Z | envelope times; (press) trigger |
| Outputs |
| A | envelope output |
| B | envelope output |
This is not a dual envelope generator; a trigger received on either X or Y will cause both A and B to output the same envelope. However, each can be attenuverted separately via parameters 2 and 3. With parameter 2 set to 41, output A becomes an end-of-cycle trigger (10 ms at 5 V).
Trigger mode (parameter 0) sets the envelope type. In trigger mode 0, the envelope will rise and stay high as long as the trigger is high (AR). In trigger mode 1, the envelope will decay immediately after the attack (AD). In trigger mode 2, the envelope will continually complete attack/decay cycles as long as the trigger is high (looped AD). Think the gate, trigger, and loop modes of the Pip Slope, respectively.
| Inputs |
| X | trigger input |
| Y | VCA (signal) input |
| Z | envelope times; (press) trigger |
| Outputs |
| A | envelope output |
| B | VCA output |
Trigger modes (parameter 0) 0–2 are as in E-1: AR envelope. These are repeated for modes 3–5 and 6–8 except the trigger source is taken from the tracked envelope of input X and input Y, respectively.
| Inputs |
| X | trigger A |
| Y | trigger B |
| Z | envelope times; (press) trigger) |
| Outputs |
| A | envelope A |
| B | envelope B |
Unlike E-1: AR envelope, this algorithm generates two independently-triggered envelopes. Though they share timing, trigger mode, and attack and release shapes, their attenuversion and offsets can be set separately.
Trigger modes are the same as for E-1: AR envelope.
| Inputs |
| X | L input |
| Y | R input |
| Z | compression ratio |
| Outputs |
| A | L output |
| B | R output |
| Inputs |
| X | L input |
| Y | R input |
| Z | side-chain input |
| Outputs |
| A | L output |
| B | R output |
If input Z is audio, the Z knob should be set to center.
| Inputs |
| X | audio input |
| Y | side-chain input |
| Z | compression ratio |
| Outputs |
| A | audio output |
| B | gain reduction output |
| Inputs |
| X | V/octave |
| Y | gate in |
| Z | tune $\pm 0.5$ octaves |
| Outputs |
| A | 1.2 V/octave output |
| B | gate/trigger output |
| Inputs |
| X | 1.2 V/octave input |
| Y | gate/trigger input |
| Z | tune $\pm 0.5$ octaves |
| Outputs |
| A | 1 V/octave output |
| B | trigger output |
| Inputs |
| X | clock in |
| Y | mute in |
| Z | envelope shape |
| Outputs |
| A | envelope output |
| B | envelope output |
Z varies the envelope shape from short-attack/long-decay to long-attack/short-decay. A and B output the same envelope but can be attenuverted separately.
| Inputs |
| X | clock in |
| Y | gate in |
| Z | envelope shape |
| Outputs |
| A | envelope output |
| B | envelope output |
The envelope is looped once per clock cycle as long as the gate is high.
| Inputs |
| X | clock in |
| Y | trigger in |
| Z | envelope shape |
| Outputs |
| A | envelope output |
| B | envelope output |
| Inputs |
| X | clock in |
| Y | VCA (signal) in |
| Z | envelope shape |
| Outputs |
| A | envelope output |
| B | VCA output |
The envelope is continuously output on each clock cycle.
F-5: Shift register (random CVs)
| Inputs |
| X | clock in |
| Y | modify |
| Z | randomness |
| Outputs |
| A | unipolar output |
| B | bipolar output or trigger |
| Inputs |
| X | clock in |
| Y | modify |
| Z | randomness |
| Outputs |
| A | quantized CV |
| B | trigger output |
| Inputs |
| X | clock in |
| Y | modify |
| Z | randomness; (press) modify sequence) |
| Outputs |
| A | trigger on high bit |
| B | trigger on low bit |
| Inputs |
| X | clock in |
| Y | modify |
| Z | randomness |
| Outputs |
| A | trigger A |
| B | trigger B |
| Inputs |
| X | input $X$ |
| Y | input $Y$ |
| Z | trim |
| Outputs |
| A | output A |
| B | output B |
| Inputs |
| X | input $X$ |
| Y | input $Y$ |
| Z | trim |
| Outputs |
| A | output A |
| B | output B |
Generates sine and square waves at a configurable pitch. When the pitch is adjusted, it's shown on the display as its normal name and then MIDI note number.
| Inputs |
| X | n/a |
| Y | n/a |
| Z | output amplitudes |
| Outputs |
| A | sine output |
| B | square output |
| Inputs |
| X | n/a |
| Y | n/a |
| Z | output amplitudes |
| Outputs |
| A | sine output |
| B | square output |
Chromatic tuner with configurable reference pitch.
| Inputs |
| X | input signal |
| Y | n/a |
| Z | amplitude of B |
| Outputs |
| A | copy of X |
| B | sine wave at the tracked pitch |
| Inputs |
| X | clock in |
| Y | run/stop input |
| Z | ratchet; (press) start/stop or tap tempo |
| MIDI | yes |
| Outputs |
| A | clock out |
| B | clock out |
| MIDI | yes |
| Inputs |
| X | n/a |
| Y | n/a |
| Z | n/a |
| Outputs |
| A | pitch CV |
| B | gate |
| Inputs |
| X | pitch CV |
| Y | gate |
| Z | mod wheel or velocity CV |
| Outputs |
| A | X |
| B | Y |
H-2: Dual sample and hold*
A dual sample-and-hold/track-and-hold that can be operated in six different configurations.
| Inputs |
| X | input 1 | trigger A |
| Y | input 2 | trigger B |
| Z | trigger | input |
| Outputs |
| A | X (when Z > 1V) | Z (when X > 1V) |
| B | Y (when Z > 1V) | Z (when X > 1V) |
Behaves exactly as the Disting's “stereo clockable SD delay” but does not use the SD card. The maximum delay time is 10.9 seconds.
It's unclear where the “clockable” part comes in. With stereo inputs and Z as the feedback control, there are no inputs available for a clock signal.
| Inputs |
| X | input L |
| Y | input R |
| Z | feedback |
| Outputs |
| A | output L |
| B | output R |
Performs logical operations on the X and Y inputs, outputting either 0 or 5V. Comparator threshold and hysteresis can be configured for both inputs. Output B can be equal to A, the inverse of A, or be independent.
| Inputs |
| X | input |
| Y | input |
| Z | operation select for output A |
| Outputs |
| A | output |
| B | output |