Future-retro XS Bedienungsanleitung

Operation Manal semi-modlar analog synthesizer

CONNECTIONS ENV 1+/-: This is a dual-function output of Envelope 1. This is a stereo output, although mono cables can be used here without any proble

OVERVIEW OF ANALOG SYNTHESIS The XS is a true analog synthesizer, which is capable of producing an infinite amount of sonic textures. All aspects of

OVERVIEW OF ANALOG SYNTHESIS A sawtooth waveform is one of the most complex shapes, since it contains a fundamental frequency and all harmonics of th

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CONTROLLING YOUR XS There are several ways to control your XS. One way is to use MIDI (Musical Instrument Digital Interface), a standard developed t

CONTROLLING YOUR XS is converted to MIDI TO CV/GATE CONVERTER When MIDI infor

CONTROLLING YOUR XS USING CV/GATE CONTROL SIGNALS External control voltage and logic gate signals can be used at any time in any combination to contr

ANALOG CONTROLS PITCH CONTROL This section determines how the pitch control voltage affects the oscillators. GLIDE TIME: If more than one

ANALOG CONTROLS LOW FREQUENCY OSCILLATOR A low frequency oscillator (LFO), is a modulation source whose frequency is generally below the ra

ANALOG CONTROLS OSCILLATOR A Oscillator A is one of the main audio sources in the XS, although it can also be used as a modulation source. T

Written and produced by Jered Flickinger Copyright 2007 Future Retro Synthesizers

ANALOG CONTROLS OSCILLATOR B Oscillator B is similar to Oscillator A in that it can be an audio source or a modulation source. This is a wide range,

ANALOG CONTROLS FREQUENCY +/-: This control allows Oscillator B’s frequency to be offset approximately –9 to +9 semitones from Oscillator A. When th

ANALOG CONTROLS PULSE WIDTH MODULATION AMOUNT: The PWM control sets the amount of modulation that the PW MOD source will have on Oscillator B’s squa

ANALOG CONTROLS WAVE C Wave C can be used as an audio source or a modulation source. Consider this more of an accessory module to Oscillato

ANALOG CONTROLS OSCILLATOR MODULATION The oscillator modulation section is used to route internal and external modulation sources to modify

ANALOG CONTROLS The MOD W setting will route the Mod Wheel messages from a MIDI keyboard to modulate Oscillator A’s frequency. With your mo

ANALOG CONTROLS OSCILLATOR B MODULATION The B AMOUNT, B MOD SELECT, and B ENV 1 controls are used to modulate the frequency of Oscillator

ANALOG CONTROLS The A ENV setting lets Envelope 1 control the amplitude of Oscillator A’s waveform, as determined by the WAVE A control set

ANALOG CONTROLS FILTER The most common way to alter the harmonic content of a sound is by using a filter. The XS provides a 12 dB filter wit

ANALOG CONTROLS FILTER MODULATION The filter modulation section of the XS provides a way to animate the cutoff frequency of the fi

TABLE OF CONTENTS Introduction 2. Welcome Overview Power Care W

ANALOG CONTROLS AMOUNT: The amount control sets the amount of modulation that the MOD SELECT source will have on the filter’s cuto

ANALOG CONTROLS The WAV B setting routes Oscillator B’s waveform, determined by the WAVE B control setting, to modulate the filter’

ANALOG CONTROLS ENVELOPE 1 An envelope generator is designed to accurately and repetitively sweep sound parameters such as pitch, tone or a

ANALOG CONTROLS ACCENT The accent section determines how Velocity messages received from a MIDI keyboard will affect the envelopes in the X

ANALOG CONTROLS ENVELOPE 2 The XS provides four envelope types to help shape the amplitude of a sound passing through the amplifier. Thes

ANALOG CONTROLS AMPLIFIER The amplifier is used to shape the overall volume or amplitude of a sound. The XS provides four envelope types to

PATCH NAME: __________________________________ 34

NOISE KICK Nice sine wave kick with white noise attack. Connect the WAVE B jack to the FILTER OUT jack. 35

TECHNO KICK Tight kick using just the filter self oscillating. 36

SNARE DRUM Electronic snare drum, similar to the classics. Connect the WAVE B jack to the FILTER OUT jack. Notice how we take the output of WAVE B a

INTRODUCTION Welcome to the world of XS! Thank you for choosing the XS semi-modular analog synthesizer. Please take time to read through the entire m

HAND CLAP Electronic hand clap sound. Try varying the velocity of notes to change the duration of the clap. 38

HIGH HATS Electronic high hat sounds. Try playing with the filter cutoff frequency, Oscillator B’s frequency and modulation amount to dial in the ton

DISTORTED BASS / LEAD Nice and crunchy, just the way we like! Record mod wheel movements in your sequencer to animate the filter cutoff frequency. An

FUNKY TRANCE LEAD Nice full lead sound. Play different velocity values to vary the attack portion of the sound. Adjust the mod wheel to change the fi

CLASSIC SYNC LEAD Your typical synced lead sound. For a more aggressive sound, try increasing the overdrive amount. Play notes with varying velocity

PHAT SAW Nice in-your-face bass sound. For bass bin rockers, try selecting Octave –1 and the sine wave for Oscillator B. 43

ACID BASS Not quite a 303 but similar. Use Mod Wheel messages to control the filter cutoff frequency. Try using the different filter types, and incre

JUNGLE BASS Nice warbling tones for your subs. Increase the mod wheel setting to increase the warble effect. 45

WINDING DOWN More of a typical sci-fi transition effect. Experiment with various control settings to suit to your taste. 46

BUZZY BASS Nice bass with some added high frequency content. 47

RACK-MOUNT OR DESKTOP Have it your way The XS can be used as either a rack-mount or desktop unit. All units come assembled with the rack ear option i

8 BIT TALKING BASS Nice lo-fi bass sound. Try varying the velocity notes are played. 48

ELECTRIC BASS More realistic bass sound. Try playing notes with different velocity values to achieve a pluck / strum effect. 49

PHAT STACK PHASED Thick lead sound. Here we use the notch filter to obtain a phased sound. Adjust the LFO rate to change the phasing rate. 50

GRINDER Metallic-like tones, nice for low end trance pads. 51

MIDI SYNCED PSEUDO ARPEGGIATOR Play notes on your MIDI controller or sequencer to control the pitch. Try setting the LFO to different clock divisions

COMPUTER This is more of a chaotic beep generator patch. Connect the LFO OUT jack to the GATE IN jack. 53

STRANGE BEATS Here’s one way to mangle your beats. If your drum machine has stereo outputs, route one channel to the AUDIO IN jack, and the other to

TIPS AND TRICKS LATCH A NOTE In some cases you may find it desirable to latch a Note On to create droning-type sounds without having to constantly p

TIPS AND TRICKS USING CV IN AS AN ADDITIONAL MODULATION SOURCE Although the CV IN jack is designed for V/Oct control voltages to generate semitone s

TIPS AND TRICKS SUB OSCILLATOR SYNC When you are syncing Oscillator B’s frequency to Oscillator A, listen to the effect this has on the different Su

GETTING STARTED I want to play now! To play the XS, follow these directions in order. 1. Connect the XS to an audio syst

TROUBLE SHOOTING WARM UP Due to the nature of analog circuits, you will want to let your XS warm up for about 15 minutes before playing the unit. Thi

SPECIFICATIONS MIDI Channel: 1-16 MIDI Messages Recognized: pitch C2 to C7, Note On/Off, Pitch Bend -/+ 2 semitones, Velocity, Mod Wheel, MIDI clock

SPECIFICATIONS FILTER MODULATION Key Follow: 0 to 100% Velocity: amplitude control for Envelope 1 Modulation Sources: external source, LFO, LFO contro

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CONNECTIONS MIDI IN: Information received at the MIDI IN jack can be used to play the sounds of the XS. Use a MIDI cable to connect this input to an

CONNECTIONS WAVE B: This is a dual-function output of the waveform selected for Oscillator B. This is a stereo output, although mono cables can be us