This is an old revision of the document!
- 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.
F-5: Shift register (random CVs)
| Inputs |
| X | clock |
| Y | modify CV |
| Z | randomness |
| Outputs |
| A | unipolar output |
| B | bipolar output or trigger |
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 amplitude |
| 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 |
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 |