majella Implexus Hybrid Desktop Analogue Synthesizer User Manual
- June 13, 2024
- majella
Table of Contents
Implexus Hybrid Desktop Analogue Synthesizer
Product Information
The IMPLEXUS is a professional audio equipment created by
Majella Audio. It is designed to generate enfolded waveforms that
are harmonically rich.
Important Safety Instructions
-
Read all 9 IMPORTANT safety instructions and the full user
manual before using this product. -
DO NOT OPEN THE CHASSIS OF IMPLEXUS!
-
DO NOT MODIFY THE IMPLEXUS!
-
PRODUCT CAN BE DAMAGED WHICH MAY RESULT IN UNSAFE SITUATIONS!
The casing and electronics have been carefully designed while
focusing on product safety. Modifying the IMPLEXUS will defeat
product safety guards and create unsafe conditions. -
ESD SENSITIVE! The printed circuit board of the IMPLEXUS is
subject to Electro Static Discharges (ESD). Touching the printed
circuit board will damage the electronics and make IMPLEXUS
inoperable.
-
-
THE IMPLEXUS IS NOT A TOY!
-
CHOKING HAZARD! The IMPLEXUS contains accessible small parts
like screws, rings, and knobs that may come loose. Keep away from
small children, pets, or any individuals who have the tendency to
place inedible objects in their mouths. -
FOR PROFESSIONAL USE! The IMPLEXUS is meant for professional
use, which means only individuals who know how to safely connect
and operate audio equipment should operate it.
-
-
THE IMPLEXUS IS FOR INDOOR USAGE ONLY!
-
PROTECT YOUR EARS!
- RISK OF EAR-DAMAGE AND PERMANENT HEARING LOSS Do not listen to
the IMPLEXUS at high sound volume, especially for long periods of
time. Listening to the IMPLEXUS at high sound levels can cause
inner ear damage resulting in temporary or permanent hearing
loss.
- RISK OF EAR-DAMAGE AND PERMANENT HEARING LOSS Do not listen to
-
HANDLE WITH CARE!
- IN CASE OF AN ACCIDENT Turn off the IMPLEXUS, keep the IMPLEXUS
unplugged, and immediately contact Majella Audio (at
support@majella-audio.com) when the following situations have
occurred:
- Liquid was spilled onto the IMPLEXUS.
- The IMPLEXUS was dropped.
- The IMPLEXUS is not functioning correctly.
- The IMPLEXUS enclosure was damaged.
- IN CASE OF AN ACCIDENT Turn off the IMPLEXUS, keep the IMPLEXUS
-
TAKING CARE OFF IMPLEXUS
-
Wipe the surface with a soft cloth, try to keep the IMPLEXUS
free of dust. -
Don’t use damp cloths on the IMPLEXUS panel or wooden side
panels. -
The wooden side panels are finished with oil and should not
wear with normal use. If wear shows one can contact us for
maintenance instructions.
-
-
Please feel free to contact us in case of any questions! Email:
support@majella-audio.com Visit: www.Majella-Audio.com
Product Usage Instructions
To use the IMPLEXUS, follow these instructions:
-
Read the full user manual before using the product.
-
Do not open the chassis of the IMPLEXUS.
-
Do not modify the IMPLEXUS as it may result in product damage
and unsafe conditions. The printed circuit board is ESD sensitive,
so avoid touching it. -
Keep the IMPLEXUS away from small children, pets, or
individuals who may put small objects in their mouths. The product
contains small parts that may come loose. -
Only use the IMPLEXUS indoors.
-
Protect your ears by avoiding high sound volume for extended
periods of time to prevent ear damage and hearing loss. -
In case of an accident, such as liquid spillage, dropping,
malfunction, or enclosure damage, turn off the IMPLEXUS, unplug it,
and contact Majella Audio immediately. -
To clean the IMPLEXUS, wipe the surface with a soft cloth. Do
not use damp cloths on the panel or wooden side panels. If wear
shows on the wooden side panels, contact Majella Audio for
maintenance instructions.
IMPLEXUS USER MANUAL
IM · PLEX · US
[Majella Audio] Entwined, Interwoven, Enfolded ~ The IMPLEXUS creates enfolded
waveforms that are harmonically rich.
IMPORTANT SAFETY INSTRUCTIONS
Please read these instructions before using this product!
The IMPLEXUS should only be used following these basic precautions:
1. Read all 9 IMPORTANT safety instructions and the full user manual before
using this product.
2. DO NOT OPEN THE CHASSIS OF IMPLEXUS!
2a. RISK OF ELECTRICAL SHOCK! The IMPLEXUS uses high voltages inside its
casing. These voltage levels can can cause injury or death due to electrical
shock!! 2b. ESD SENSITIVE! The printed circuit board of the IMPLEXUS is
subject to Electro Static Discharges (ESD). Touching the printed circuit board
will damage the electronics inside! 2c. SERVICE BY QUALIFIED PERSONNEL ONLY!
Only MAJELLA AUDIO personnel should service the IMPLEXUS. If servicing is
required, please contact us via support@majella-audio.com or visit www
.majella-audio.com
3. DO NOT MODIFY THE IMPLEXUS!
3a. PRODUCT CAN BE DAMAGED WHICH MAY RESULT IN UNSAFE SITUATIONS! The casing
and electronics have been carefully designed while focusing on product safety.
Modifying the IMPLEXUS will defeat product safety guards and create unsafe
conditions. 3b. ESD SENSITIVE! The printed circuit board of the IMPLEXUS is
subject to Electro Static Discharges (ESD). Touching the printed circuit board
will damage the electronics and make IMPLEXUS inoperable.
4. THE IMPLEXUS IS NOT A TOY!
4a. CHOKING HAZARD! The IMPLEXUS contains accessible small parts like screws,
rings and knobs that may come loose. Keep away from small children, pets or
any individuals who have the tendency to place inedible objects in their
mouths. 4b. FOR PROFESSIONAL USE! The IMPLEXUS is meant for professional use,
which means only individuals who know how to safely connect and operate audio
equipment should operate it.
5. THE IMPLEXUS IS FOR INDOOR USAGE ONLY!
5a. MOISTURE SENSITIVE DEVICE Do not use the IMPLEXUS near water and do not
use the IMPLEXUS in environments where liquids can be spilled over the
IMPLEXUS! 5b. EARTHED WALL PLUG IS A MUST Power the IMPLEXUS from an grounded
(earthed) wall plug and use CE marked cables (within the EU) at all times. Not
using an grounded (earthed) wall plug may result in unsafe situations! 5c.
UNPLUG WHEN NOT USED! Unplug the power cable from the IMPLEXUS when not in
use. 5d. FIRE HAZARD! Do not cover the IMPLEXUS while it is turned on to
ensure proper ventilation and do not operate the IMPLEXUS in environmental
temperatures above 30°C/85°F.
6. PROTECT YOUR EARS!
6a. RISK OF EAR-DAMAGE AND PERMANENT HEARING LOSS Do not listen to the
IMPLEXUS at high sound volume, especially for long periods of time. Listening
to the IMPLEXUS at high sound levels can cause inner ear damage resulting in
temporary or permanent hearing loss
7. HANDLE WITH CARE!
7a. CONNECT PROPERLY FOR SAFE USE! I. Use grounded power cables to connect the
IMPLEXUS to a grounded (earthed) wall plug. II. Never plug in the power cable
when the Fuse Drawer (next to the power connector) is removed! III. Do not
insert mono jack (TS: Tip/Sleeve) cables to the headphone or balanced outputs.
IV. If you would like to use the IMPLEXUS outputs unbalanced (not recommended
for signal integrity purposes), please use TRS (Tip/Ring/Sleeve) jack cables!
V. Do not apply voltages to the inputs and outputs of IMPLEXUS that exceed the
voltage range of +12V or -12V. VI. Do not apply phantom power (48V) to any of
the inputs and outputs! This may or will result in damage to your IMPLEXUS!
VII. See page 6 for instructions on how to correctly connect your IMPLEXUS.
VIII In Case a FUSE has been blown, replace with 500mA (0.5A) slow blow. In
case the FUSE keeps blowing, please contact support@majella-audio.com
7b. IN CASE OF AN ACCIDENT Turn off the IMPLEXUS, keep the IMPLEXUS unplugged
and immediately contact Majella Audio (at support@ majella-audio.com) when the
following situations has occurred:
I. Liquid was spilled onto the IMPLEXUS. II. The IMPLEXUS was dropped. III.
The IMPLEXUS is not functioning correctly. IV. The IMPLEXUS enclosure was
damaged.
8. TAKING CARE OFF IMPLEXUS 8a. Wipe the surfuce with a soft cloth, try to
keep the IMPLEXUS free of dust. 8b. Don’t use damp cloths on the IMPLEXUS
panel or wooden side panels. 8c. The wooden side panels are finished with oil,
and should not wear with normal use. If wear shows one can contact us for
maintenance instructions.
9. Please feel free to contact us in case of any questions! Email: support @majella-audio.com Visit: www.Majella-Audio.com
IMPORTANT SAFETY INSTRUCTIONS INTRODUCTION UNPACKING QUICKSTART ABOUT THE
IMPLEXUS EXPLORING IMPLEXUS PANEL CONTROLS AND FUNCTIONS
COMPLEX GENERATOR
PITCH CONTROL WAVESHAPER WAVEFOLDER BIAS
BASIC GENERATOR
PITCH CONTROL WAVE SELECT MODULATION SOURCE
TUNER
ACCURACY
GLOBAL PITCH CONTROL
GLIDE PITCH EG AMT VIBRATO
MIXER
COMPLEX SUB BASIC
FILTER
CUTOFF RESONANCE EG AMT TYPE
DELAY
MIX TIME REGEN
CLOCK
TAP TEMPO EXT IN MIDI clock
4 10 10 12 13 14 17
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17 18 19 20
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23 23 23
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ENVELOPE GENERATORS
VELOCITY SENSITIVE VEL AMT MOD EG AMP EG
LOW FREQUENCY OSCILLATORS
SHAPE RATE
OUTPUTS
STEREO BALANCED LINE OUTPUT HEADPHONE OUT
MIDI
SETTING MIDI CHANNEL CONNECTING THE IMPLEXUS VIA MIDI DIN MIDI USB MIDI
EXTERNAL INPUTS
1V/OCT C (GLOBAL PITCH CV) 1V/OCT B (BASIC GENERATOR PITCH CV) GATE VELOCITY
CUTOFF FOLD BIAS HARM EXT IN (CLOCK)
EXTERNAL OUTPUTS
CLOCK LFO 2 BASIC MOD EG
PATCH EXAMPLES
PATCH : “Rhythmical manoeuvres” PATCH : “Didgeridrone”” PATCH: “Haunting
metals” PATCH: “Wonky sequences” PATCH: “Random kicks” PATCH: “Robotic wobble”
FIRMWARE UPDATE PROCEDURE
SYSTEM EXCLUSIVE MIDI MESSAGES PERFORMING A FIRMWARE UPDATE
28
29 29 29 29
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30 30
31
31 31
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32 33 33 34
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36 36 36 36 37 37 37 37 37
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38 38 38 38
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40 42 44 46 48 50
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INTRODUCTION
Thank you for purchasing the IMPLEXUS and congratulations on your new musical
instrument! IMPLEXUS is an analogue synthesizer that is inspired by West Coast
and East Coast synthesis techniques. This user manual will guide you through
all the unique features that the IMPLEXUS has to offer you. You will be
hearing all the intriguing sounds the analogue signal path of the IMPLEXUS can
create!
We will start with the basics and slowly move on to the more “in depth”
features. We hope this manual explains everything you will need to know to
become creative and get started on making the most beautiful sounds utilizing
the IMPLEXUS!
UNPACKING
Please take your time to check the content of your puchase carton. Be careful
not to damage the IMPLEXUS during the unpacking process. We recommend saving
the IMPLEXUS packaging carton for future travel or shipping.
Your IMPLEXUS is shipped including the following items: 1. IMPLEXUS
Synthesizer 2. Printed User’s Manual
What you will need to hear some sounds: 1. Heaphones with a 1/4″ plug or two
1/4″ TRS balanced cables and speakers 2. Earthed AC mains outlet between
110-240VAC 50-60Hz
On the next two pages you will find an overview of all the different sections.
10.
1
3 2
4
1. Complex Generator 2. Basic Generator 3. Generator tuning 4. Global pitch
modulation controls 5. Mixer / Filter 6. LFO 1 and 2
5
11
10
6
6
7
8
7. Modulation Envelope Generator 8. Amplitude Envelope Generator 9. Clock
section 10. Audio Delay 11. Volume control
9
11
1
2
3
4
MAJELLA ENGINEERING
IMPLEX
MADE IN THE NEHTERLANDS
5
6
1. Audio outputs 2. MIDI ports 3. USB MIDI control 4. (Eurorack) External I/O
5. Serial Number plate 6. AC mains input and ON/OFF switch
QUICKSTART
This quick start guide provides the information you need to start tweaking the
IMPLEXUS without the need to read into the details. We do suggest you read
this manual completely to get the most out of your new instrument, but at
least read the important safety instructions on pages 3-5 to operate the
IMPLEXUS safely.
Follow these steps to start playing straight away:
1. Plug the power cord into its socket 2. Turn on the IMPLEXUS 3. Connect the
audio outputs to your speakers or use a headphone 4. Connect the IMPLEXUS to a
MIDI controller/PC or use the DRONE button to get instant sound! 5. Turn the
output volume control mid way 6. Start playing and have fun!
ABOUT THE IMPLEXUS
The IMPLEXUS is a high-end analogue synthesizer inspired by two movements
within analogue synthesis techniques. On the one hand there is East Coast
style synthesis, where one starts with a harmonically rich sounding waveform
and filter off harmonics with a Voltage Controlled Filter. This signal is
modulated by envelope generators and (Low Frequency) Oscillators. Although
East Coast style synthesis techniques might be the most used synthesis
techniques today, there is another very interesting set of synthesis
techniques which originated at the West Coast of the United States. Here one
starts with a sine wave, which is a pure tone with no harmonic overtones. You
begin adding harmonic content to the sound by shaping and folding the
waveform, while modulating these parameters at audio rate and controlling it
with unique interfaces like touch plates.
Side note: If you want to know more about the historical development of East
Coast and West Coast synthesis. we recommend watching the documentary “I Dream
of Wires”.
For a long time, the two synthesis movements stayed quite separated, but
nowadays they are combined more often due to the rise in popularity of modular
synthesis. You can now get your hands on any kind of West Coast or East Coast
style synthesis module and combine them in a modular system.
The IMPLEXUS is the result of our exploration of combining West Coast and East
Coast style synthesis techniques. We found that combining circuitries is a
very delicate, detailed and time consuming process. After lots of prototyping
and trail and error problem solving, we finally found a golden combination of
both synthesis techniques. The circuit takes a sine wave, shapes it, folds it
and then filters it to create the most interesting synthesizer sounds. We then
added extended modulation sources like a second VCO, Tap Tempo LFOs, and
snappy looping ADSR envelopes with velocity control over the modulation depth.
We think the IMPLEXUS is a great synthesizer that will inspire and intrigue
many musicians and synthesizer enthusiasts to create new sounds and music. We
hope you will enjoy it as much as we do and we hope it will be your “go to”
instrument for a very long time.
Majella Audio
13
EXPLORING IMPLEXUS
In this chapter, you will be guided through the most basic features whilst
exploring the sound of IMPLEXUS. This is helpful when you are new to the world
of hardware (West Coast) synthesis, but also if you would like to have a
deeper understanding of your new synthesizer! To follow upcoming steps,
connect the power cord and your headphones or speakers. Set all controls to
the positions shown in the figure below:
Listening to the Complex Generator: The complex generator is the feature that
is the most characteristic for the sound of IMPLEXUS. It is a very accurate
voltage-controlled oscillator that produces a sine wave. You can shape this
sine wave using the harmonics and folder controls.
Starting at center position (sine wave), slowly turn the HARMONICS knob
counterclockwise. You will hear that you are adding odd harmonics, which
sounds a bit like opening a low pass filter on a square wave. Slowly turn the
HARMONICS knob fully clockwise. You will now hear that you are adding even
harmonics, which sounds like opening a lowpass filter on a saw wave.
Now turn the HARMONICS knob back to its center position (sine wave). This is
the part where things get rather interesting! Slowly turn the FOLDER knob
fully clockwise, the sine wave will now start clipping and folding. While the
FOLDER knob is fully clockwise you can play with the HARMONICS knob. You will
hear some interesting growling and phasing sounds.
Keep the FOLDER knob turned fully clockwise and turn the HARMONICS knob back
to mid position. Slowly turn the BIAS knob fully clockwise and back. BIAS
causes the sine wave to clip and fold asymmetrically.
You have now explored the very basics of the complex generator. Things get
even more fun when you start playing in different octaves and use modulation
sources like the LFOs and Envelope Generators (EG), to control the FOLDER,
HARMONICS and BIAS.
15
Listening to the BASIC Generator: The basic generator contains everything you
would expect from a voltage-controlled oscillator. It can produce one of three
basic waveforms: sine, square and saw. Let’s have a listen!
Make sure the MIXER section COMPLEX and SUB knobs are turned fully
counterclockwise. Turn the mixer knob of the BASIC generator clockwise. You
are now listening to the basic generator. You can use the waveform switch to
listen to the three different waveforms.
Select a saw wave and turn the RES (FILTER section) to a 75% clockwise
position. Slowly turn the CUTOFF knob counterclockwise and back to fully
clockwise.
With this FILTER sweep you have now explored the basic principles of the basic
generator. The basic generator in combination with the filter can produce a
lot of classic analogue sounds and is perfectly suitable for bass lines,
arpeggios and more.
Besides creating more standard sounds, the basic generator has a more
interesting function on the IMPLEXUS. The basic generator can be used as a
modulation source for the complex generator. Some of the parameters that can
be controlled are FM, FOLD and BIAS.
That’s it for the first exploration of the IMPLEXUS sound. We have explored
the fundamental features of the IMPLEXUS and listened to some interesting
sounds. In the next couple of chapters, we will go in-depth on every parameter
so that you can get creative with the many possibilities the IMPLEXUS offers!
16.
PANEL CONTROLS AND FUNCTIONS
In this section of the manual, every control and function is explained in
detail.
COMPLEX GENERATOR
The complex generator is an accurate voltage-controlled sine wave generator
cascaded by multiple wave shape manipulators to create more complex sounding
waveforms.
PITCH CONTROL
The complex generator offers three pitch control knobs: RANGE, FINE and LIN
FM. We will detail them one by one:
RANGE: The RANGE control selects lowest note for the complex generator in
steps of exactly one octave.
FINE: The FINE control tunes the complex generator and is continuous so you
can fine-tune its pitch.
LIN FM The LIN FM (linear frequency modulation) controls the amount of
modulation the basic generator introduces to the pitch of the complex
generator.
17
WAVESHAPER
The wave shaping section adds even or odd harmonics to the basic sine wave of
the complex generator. This section offers three shape controls: HARMONICS, EG
AMT and LFO 1 AMT. We will detail them one by one:
HARMONICS The HARMONICS control shapes the sine wave from the complex
generator by adding even or odd harmonics. Adding odd harmonics shapes the
sine wave to a square wave and adding even harmonics shapes the sine wave to a
saw wave.
EG AMT The EG AMT (envelope generator amount) control sets the modulation
amount/depth of the modulation envelope (MOD EG) to the HARMONICS parameter.
The EG AMT is polarized, which means that the modulation amount is zero when
the knob is in mid position, negative in counterclockwise position and
positive in clockwise position.
LFO 1 AMT The LFO 1 AMT (LFO1 amount) control sets the modulation amount/depth
of LFO 1 to the HARMONICS parameter.
18.
WAVEFOLDER
The wavefolder section folds the incoming signal from the HARMONICS section.
This section offers four fold controls: FOLD, EG AMT, OSC MOD and LFO AMT. We
will detail them one by one:
FOLD The FOLDER control folds the signal coming from the HARMONICS section.
The folding effect adds harmonics to the signal, which results in a complex
waveform signal.
EG AMT The EG AMT (envelope generator amount) control sets the modulation
amount/depth of the modulation envelope (MOD EG) to the FOLD parameter.
OSC MOD The OSC MOD (oscillator modulation) control sets the amount of
modulation from the BASIC GENERATOR to the FOLD parameter.
LFO AMT The LFO AMT control sets the modulation amount/depth of LFO 1/2 to the
FOLD parameter. The LFO source (LFO 1 or LFO 2) can be selected utilizing the
toggle switch.
19
BIAS
The BIAS section allows you to clip and fold the signal asymmetrically. The
BIAS section offers three bias controls: BIAS, OSC MOD and LFO AMT. We will
detail them one by one:
Sine (no Bias) Folded (no Bias) Folded (with Bias) symmetrically
asymmetrically
BIAS The BIAS control sets the amount of offset given to the signal coming
from the waveshaper OSC MOD The OSC MOD (oscillator modulation) control sets
the amount of modulation from the BASIC GENERATOR to the BIAS parameter. LFO
AMT The LFO AMT (low frequency oscillator amount) control sets the modulation
amount/ depth from one LFO to the BIAS parameter. The LFO source (LFO 1 or LFO
2) can be selected using the toggle switch.
20.
BASIC GENERATOR
The BASIC GENERATOR is a Voltage-Controlled Oscillator, which produces a sine,
saw or square wave signal. The BASIC GENERATOR offers the following controls:
PITCH CONTROL
The complex generator offers two pitch control knobs ,RANGE and FINE. We will
detail them one by one:
RANGE The RANGE control selects lowest note for the complex generator in steps
of exactly one octave.
FINE The FINE control tunes the complex generator and is continuous so you can
finetune its pitch.
WAVE SELECT
The basic generator offers three selectable waveforms, which can be selected
using the three-way rotary switch.
MODULATION SOURCE
The basic generator is a very accurate, but basic voltage-controlled
oscillator that can be used in combination with the voltage-controlled filter
to create your basic synthesizer sounds. This, however, is not the main
purpose of the basic generator in IMPLEXUS. The basic generator can be used as
a modulation source for multiple parameters of the complex generator.
Modulating these parameters at audio rate in different tunings and octaves
will result in interesting and unique sounds.
21
TUNER
Voltage Controlled Oscillators tend to detune over time. For example, slight
changes in temperature may affect tuning. When the FINE tune knob of a
generator is set to mid position the VCO will be somewhere close to an “A”. If
you want to tune it more precisely there is an on board strobe tuner. To tune
one of the generators, follow the next couple of steps:
Step 1: Turn off all pitch modulation by turning the knobs (FM, Pitch EG,
Vibrato AMT, Lin FM) counter clockwise and take out cables connected to the
1V/oct CV inputs on the back
Step 2: Turn on the tuner by selecting the generator you would like to tune,
using the mini toggle switch Step 3: Set the octave switch somewhere in the
mid range (4′ or 8′ is great) Step 4: Play an A’ note on your MIDI keyboard in octave 1. Step 5: Tune the generator using its FINE control. The indicators guide you: -# Indicates “too high”, slowly turn FINE counterclockwise -b Indicates “too low”, slowly turn FINE clockwise -A (green) indicates anA’ note -A blinking LED means you are playing out of range for the tuner, either too high or too low.
When the A’ indicator LED is lit (green) the selected generator is tuned to anA’ (440Hz) note.
ACCURACY
This tuner is a nice tool to quickly tune the analogue generators to an A’ note. The tuner is not meant for very precise tuning, the green LED indicates anA’ note, but the actual tuning of the generator can vary up to +-10 cents
in lower octaves and up to +-25 cents in higher octaves. You can use the
octave switch to tune over a couple of octaves for more precision.
22.
GLOBAL PITCH CONTROL
The global pitch control section provides three sections that influence the
global pitch (the pitch of the complex generator, basic generator and sub-
oscillator. These three parameters are: GLIDE, PITCH EG and VIBRATO. We will
detail them one by one:
GLIDE
GLIDE allows you to create a slew between two MIDI notes, so that the
currently played note “glides” to the next note. The GLIDE control sets the
slew time where fully counterclockwise means no slew and fully clockwise means
a long slew (glide). You will get a clear idea of what this control does by
playing alternating octaves over MIDI and slowly turning the TIME knob fully
clockwise.
PITCH EG AMT
The PITCH EG (pitch envelope generator) control sets the modulation
amount/depth of the modulation envelope (MOD EG) to the pitch of the complex
generator, basic generator and sub-oscillator.
VIBRATO
The VIBRATO AMT control sets the modulation amount/ depth of the internal
triangle wave oscillator, which is dedicated to vibrato. In other words: it
sets the vibrato amount/depth.
The RATE control sets the rate/frequency of the vibrato oscillator. In other
words: it sets the vibrato rate.
23
MIXER
The MIXER section provides three volume controls to control the input volume
of three signals. These signals are mixed together before entering the FILTER
section.The three volume controls are: COMPLEX, SUB and BASIC. We will detail
them one by one
COMPLEX
This mixer control sets the volume of the complex generator at the input of
the FILTER section.
SUB
The IMPLEXUS has an internal sub-oscillator that produces a square wave signal
exactly one octave below the complex generator. The SUB mixer control sets the
volume of the sub-oscillator at the input of the FILTER section. The sub-
oscillator can be used to add some extra low-end to the sound. This might be
needed when you have an heavily folded waveform from the Complex Generator.
BASIC
This mixer control sets the volume of the basic generator at the input of the
FILTER section.
24.
FILTER
The filter section offers two different filter types to filter incoming audio
signals from the mixer. The filter is an OTA based 12dB/octave resonant filter
that offers four controls: CUTOFF, RESONANCE, EG AMT and FILTER TYPE (hi-pass
/low-pass). We will detail them one by one:
CUTOFF
The CUTOFF control sets the cutoff frequency. Frequencies (harmonics) above
(low-pass) or below (hi-pass) the cutoff frequency will be attenuated with a
curve of 12dB/oct.
RESONANCE
The RESONANCE control sets the amount of resonance the filter will produce
around the cutoff frequency. It “boosts” the amplitude of harmonics around the
cutoff frequency.
EG AMT
The EG AMT control sets the modulation amount/depth of the modulation envelope
(MOD EG) to the CUTOFF parameter. The EG AMT is polarized, which means that
the modulation amount is zero when the knob is in mid position, negative in
counterclockwise position and positive in clockwise position.
TYPE
The filter type switch, switches between low-pass and hi-pass mode. In low-
pass mode the harmonics above the cutoff frequency are filtered off. In hi-
pass mode the harmonics below the cutoff frequency are filtered off.
25
DELAY
The delay section is a digital stereo audio delay with a 16bit resolution at
48kHz sample rate. The delay time goes up to one second and can be
synchronized to MIDI or external clock. The delay has three controllable
parameters: MIX, TIME and REGEN. We will detail them one by one:
MIX
The MIX control sets the amount of delayed signal (wet) that is blended with
the original signal (dry). When the MIX control is fully clockwise the delayed
signal is around the same audio level as the original signal.
TIME
The delay time can be manually set using the TIME control knob. When the TIME
control is turned fully counterclockwise the delay time is shortest. When this
control is turned fully clockwise the delay time is longest.
back (feedback) into the delay input. When the REGEN control is fully
counterclockwise there is no feedback at all and you will hear the delayed
signal only once. When this control is fully clockwise there is a lot of
feedback and you will hear the delayed signal repeating itself for a long
period of time.
NOTE: There is a tiny bit of delay time modulation to emulate a tape
delay/echo effect. The modulation rate differs between the left and right
output channel of the delay. This creates a stereo widening effect best heard
when listening to the delay in a stereo setup.
The delay time can also be synchronized to three different clock sources: Tap tempo, MIDI and external (Eurorack) clock. This can be achieved using the division buttons. You can undo the synchronization by pressing the blinking division button again.
REGEN
REGEN is an abbreviation for “regeneration”. This control sets the volume of
the delayed signal that is fed
26.
CLOCK
The IMPLEXUS offers three clock synchronization sources for the audio delay
and the low frequency oscillators. These three sources are: Tap Tempo
(internal clock), External clock (Eurorack) and MIDI clock. We will detail
them one by one:
TAP TEMPO
The TAP TEMPO button sets the (internal) clock tempo by pressing it twice. The
time between these two “taps” becomes the new master clock tempo.
EXT IN
The EXT IN (external) mini jack input allows you to connect your Eurorack or
any kind of clock source that produces pulses in the range of 0-8V. The time
between two pulses becomes the master clock tempo.
NOTES: -The LED from the TAP TEMPO button indicates the clock tempo (also for
MIDI clock synchronisation). The MIDI LED indicates MIDI note ON/OFF.
-When a MIDI clock is being received by the IMPLEXUS, the Tap Tempo button and external input are completely ignored.
-The maximum clock period is one second. When the IMPLEXUS receives a clock with a longer period than one second between taps or pulses, it will simple ignore it and the clock period stays the same.
MIDI clock
When a MIDI clock is being received by IMPLEXUS via USB/DIN, the time between
24 MIDI pulses (MIDI sends 24 pulses per quarter note) becomes the new
masterclock tempo. Note that when a MIDI clock is being received by the
IMPLEXUS, the TAP TEMPO button and external input are completely ignored.
27
ENVELOPE GENERATORS
The IMPLEXUS offers two envelope generators each with their own possibilities
and purpose. The two envelope generators are: MOD EG and AMP EG. We will
detail them one by one, but first we will go through the common envelope
generator controls.
ABOUT ENVELOPES IN GENERAL: an envelope generator produes a varying control
voltage signal with four time specific curves: ATTACK, DECAY, SUSTAIN and
RELEASE. The envelope generator is turned on by a gate signal, which is
generated when playing a MIDI note, for example.
ADSR
The IMPLEXUS envelope generators are both generating an ADSR slope/curve:
ATTACK The ATTACK control sets the rise time of the envelope curve.
DECAY The DECAY control sets the fall time from the end of the ATTACK curve to reach the SUSTAIN level.
ENVELOPE OUTPUT
SUSTAIN
The SUSTAIN control sets the SUSTAIN level. When the ATTACK and DECAY curve period is over, the envelope generator signal will stay at SUSTAIN level for as long as the gate signal is high (for as long as a note is being held).
GATE ENVELOPE
RELEASE The RELEASE control sets the fall time, from the moment the gate is turned off (note was released). The RELEASE curve will fall from any point in the ATTACK, DECAY or SUSTAIN curve.
LOOPED GATE
VELOCITY SENSITIVE
The envelope generators are “velocity sensitive”, which means the maximum
envelope signal level is set by velocity level from MIDI. The amount of
influence the velocity level has on the envelope generator its output can be
set individually for each envelope generator using the VEL AMT control.
MOD EG
The MOD EG (modulation envelope generator) can be used for modulation
purposes. It can modulate multiple destination parameters: GLOBAL PITCH,
HARMONICS, FOLD and CUTOFF. The modulation envelope also has a CV output on
the back of the IMPLEXUS that can be patched to any CV input.
VEL AMT
The VEL AMT (velocity amount) control sets the amount of influence the
velocity level has on the envelope generator. When the VEL AMT control is
fully counterclockwise, velocity does not influence the envelope generator
output at all. When the VEL AMT control is fully clockwise, you will
experience full velocity control. Velocity can be used for amplitude: the
softer you press a key (play a note), the lower the audio volume and the
harder you press a key (play a note), the higher the audio volume. Velocity
can also be used for modulation depth: the harder you press a key (play a
note) the higher the depth of modulation.
The modulation envelope has a loop mode, so that it can behave as an LFO
triggered when gate is high. The LFO period and curve is set using the ATTACK
and DECAY controls.
AMP EG
The AMP EG (amplifier envelope generator) controls the VCA (voltage controlled
amplifier) amplitude of the IMPLEXUS. The amplifier envelope has a drone
function that sets the gate signal of this envelope generator to “always
high/on” so you will have instant sound when the SUSTAIN control is fully
clockwise.
NOTE: Velocity is originally a MIDI parameter, but on the IMPLEXUS it is also a voltage-controlled parameter. There is a CV input for Eurorack, which allows you to do amplitude modulation, for example.
29
LOW FREQUENCY OSCILLATORS
The IMPLEXUS offers two low frequency oscillators (LFOs) with a frequency
range from 0.1 Hz to 100 Hz. Both LFOs can be used to modulate HARMONICS, FOLD
and BIAS. LFO 2 also has a CV output on the back of the IMPLEXUS, so you can
patch it to any CV input. The LFOs have SHAPE and RATE controls. We will
detail them one by one:
SHAPE
The SHAPE control is a rotary switch that selects the LFO output waveform. You
can select the following waveforms:
– RANDOM – SQUARE – SAW – SINE – RAMP
RATE
The LFO RATE can be set manually using the RATE control. This control knob
sets the LFO frequency between 0.1 and 100Hz.
The LFO RATE can also be synchronized to three different clock sources: Tap
tempo, MIDI and external (Eurorack) clock. This can be achieved using the
division buttons. You can undo the synchronization by pressing the blinking
division button again.
30.
OUTPUTS
The audio output section of the IMPLEXUS offers two audio outputs, each with
their own volume control:
stereo balanced (Line) output and stereo headphone output. We will detail them
one by one:
IMPORTANT NOTE: Listening to the IMPLEXUS at high sound volume can damage your hearing and cause temporary or even permanent hearing loss. In addition, modulations can cause unexpected spikes in frequency and/or volume.
STEREO BALANCED LINE OUTPUT
The two 1/4″ TRS (TIP, RING , SLEEVE) line level output jacks allow you to
record mono/stereo audio from the IMPLEXUS, over long cables without signal
loss. A TRS jack cable is “balanced” and rejects noise common with unbalanced
TS mono jack cables. Because the OUTPUTS are TRS Balanced, use TRS cables when
connecting to mono inputs like audio interfaces or mixers. For example, if you
want one channel mono output, connect one TRS (see image on the left) cable
from Output Left to Audio Interface Channel 1, For stereo output (Delay
effect), connect a second TRS cable from Output Right to Channel 2. (This
follows video convention of Left/Ch 1, Right/ Ch 2.)
- IMPORTANT: Do not use mono (TS) jack cables with IMPLEXUS outputs! Always use TRS jacks, even for unbalanced unbalanced mono single channel recording. Using a mono ( TS unbalanced) jack cable may damage your IMPLEXUS over the long term.
TIP | RING | SLEEVE
HEADPHONE OUT
The stereo headphone output allows you to listen to the IMPLEXUS over
headphones. Just plug in your headphones and start playing!
31
MIDI
SETTING MIDI CHANNEL
The MIDI channel of the IMPLEXUS can be set at start up. When a channel is
set, the IMPLEXUS will only listen to this particular MIDI channel. From the
factory the MIDI channel is set to channel 1. If you would to set a new MIDI
channel, these are the steps to follow:
Step 1: Set the MIDI channel of IMPLEXUS you need to power on (or restart)
while holding the TAP TEMPO button. You will notice that the IMPLEXUS does not
start up with blinking LEDs like it normally does.
Step 2: You can now select the MIDI channel from 1-10 using the LFO division
buttons:
1
2
3
4
5
6
7
8
9
10
When a MIDI channel is selected the IMPLEXUS will continue its normal start up procedure. The MIDI channel is stored in the IMPLEXUS memory, so next time you will power on the IMPLEXUS it will listen to the last selected MIDI channel.
CONNECTING THE IMPLEXUS VIA MIDI
The IMPLEXUS can be connected via DIN or USB. When the USB cable is connected,
DIN MIDI will be ignored (MIDI THRU will still work though!). We will detail
each MIDI connection option:
DIN MIDI
The IMPLEXUS can be connected to a MIDI interface/controller via the DIN MIDI
input by simply connecting a MIDI cable to the MIDI IN connector on the back
of the IMPLEXUS. The IMPLEXUS can be chained using the MIDI THRU connector. A
schematic overview of these connections can be seen in the picture below:
USB IN Tru
IN NEXT DEVICE
OUT MIDI CONTROLLER
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USB MIDI
The IMPLEXUS can be connected to a PC/HOST using the USB connection on the
back of the IMPLEXUS. When the USB cable is connected, the DIN input is
completely ignored (MIDI THRU will still work). A schematic overview of these
connections can be seen in the picture below:
USB
PC/HOST
MIDI IN
USB IN Tru
MIDI CONTROLS
The MIDI controlled parameters of the IMPLEXUS are:
–
Pitch (MIDI note range: 36-84)
–
Gate (note on/off)
–
Velocity
–
Pitch Bend
–
Modulation CC1 (FOLD)
–
Clock (24 pulses per quarter note)
MIDI CLOCK SYNCHRONIZATION
When a MIDI clock is being received by the IMPLEXUS via USB / DIN, the time
between 24 MIDI pulses (MIDI sends 24 pulses per quarter note) becomes the new
master clock tempo. Note that when a MIDI clock is being received by the
IMPLEXUS, the TAP TEMPO button and external input are completely ignored.
EXTERNAL INPUTS
The IMPLEXUS offers external inputs and outputs in the form of a Eurorack
(mini jack) patch bay. It is located on the back of the IMPLEXUS. You can
control the IMPLEXUS via Eurorack, but you can also patch an IMPLEXUS output
to an IMPLEXUS input. One example is patching the LFO 2 output to the VCF
cutoff input. We will detail the inputs and outputs one by one, but first
there is an important note to remember when you are connecting external
devices to the IMPLEXUS:
IMPORTANT NOTE: The external inputs and outputs of IMPLEXUS are protected against patch errors, but it is good practice to avoid creating patch errors, so here are some basic important rules:
– Do not patch an output into another output! In general, signal flows by
connecting the output to input (or input to output) with a patch cable
(mono mini jack cable.)
– Only use signals within the Eurorack range of -12V to +12V! Exceeding these limits will damage your IMPLEXUS.
External INPUTS
GATE:
1V/oct C:
1V/oct B:
VELOCITY :
HARM:
FOLD:
BIAS:
CUTOFF:
EXT IN
Gate / note on Global pitch CV Basic generator pitch CV Velocity CV Harmonics CV Fold CV Bias CV VCF cut-off CV External clock input
35
1V/OCT C (GLOBAL PITCH CV)
The 1V/oct C input, controls the pitch of both the COMPLEX and the BASIC
GENERATOR. The input CV is added up to the internal MIDI pitch CV and pitch
bend CV, so it can also be used it as a pitch modulation input. When a mini
jack cable is inserted to the 1V/OCT B input, the 1V/OCT C input will only
controls the pitch of the COMPLEX GENERATOR.
1V/OCT B (BASIC GENERATOR PITCH CV)
The 1V/oct B input, controls the pitch of the BASIC GENERATOR. The input CV is
added up to the internal MIDI pitch CV and pitch bend CV, so it can also be
used it as a pitch modulation input. When a mini jack cable is inserted into
the 1V/OCT B input, the 1V/OCT C input only controls the pitch of the COMPLEX
GENERATOR.
TIP: Try modulating the pitch of the BASIC GENERATOR by patching the LFO 2
output to the 1V/OCT B input, while the OSC MOD control for BIAS or FOLDER is
fully clockwise.
GATE
The GATE input allows you to trigger the envelope generators, which is
basically what a MIDI note ON / OFF does. A DC voltage of 0V represents a NOTE
OFF and
3.3V or higher represents NOTE ON. When a cable is inserted to the GATE input,
the MIDI NOTE ON / OFF is ignored. TIP: Try synchronizing the envelope
generators to the IMPLEXUS clock by patching the CLOCK output to the GATE
input. You can also patch LFO 2 (Saw / Square) output to the GATE input. This
way you can synchronize the envelope generator and use the division buttons of
LFO 2 to set the clock division. For random triggers, set LFO 2 to random wave
output.
VELOCITY
The VELOCITY input allows you to control the modulation depth of both the
envelope generators with an external voltage (0V = very low velocity, 5V or
higher = maximum velocity). The VEL AMT control knobs sets the amount of
VELOCITY modulation.
When a cable is inserted to the VELOCITY input, the MIDI velocity is ignored.
TIP: Patching an LFO or generator signal into the VELOCITY input creates
interesting results. If you put the AMP EG in DRONE mode and turn SUSTAIN
fully clockwise, you are basically controlling the VCA amplitude, which allows
you to do amplitude modulation!
CUTOFF
HARM
The CUTOFF input allows you to modulate the filter The HARMONICS input allows you to modulate the
cutoff, using an external voltage.
amount of folding, using an external voltage.
TIP: The CUTOFF input allows you to modulate the filter with an LFO. You can patch the LFO 2 output to the CUTOFF input or patch an external LFO output to it and modulate the FILTER CUTOFF.
TIP: The HARMONICS input allows you to modulate the harmonics parameter at audio rate, using the BASIC GENERATOR. You can patch the BASIC output to the HARM input
FOLD
The FOLD input allows you to modulate the amount of folding, using an external
voltage.
BIAS
The BIAS input allows you to modulate the amount of bias, using an external
voltage.
TIP: The BIAS input allows you to modulate the bias using the modulation
envelope, by patching the MOD EG output to the BIAS input. You can even use it
in loop mode to create some interesting organic sounds.
EXT IN (CLOCK)
The EXT IN (external clock input) allows you to synchronize the IMPLEXUS to an
external clock signal. It behaves like tap tempo, but instead of measuring
time between taps on the button, it measures time between pulses.
TIP: An unstable external clock source will make the DELAY and LFOs of
IMPLEXUS “glitch”, because it will have a hard time tracking the tempo and
will keep adjusting to the unstable input. Especially the delay will create
audible glitches in pitch, which might be unwanted. Having said that, using an
unstable/varying external clock source can also result in interesting sounds!
37
EXTERNAL OUTPUTS
Next to to the external INPUTS the IMPLEXUS is equipped with 4 external
OUTPUTS :
1. CLOCK: IMPLEXUS clock output 2. LFO 2: LFO 2 output 3. BASIC: BASIC
GENERATOR output 4. MOD EG: Modulation Envelope output
CLOCK
The CLOCK output allows you to synchronize other gear to the IMPLEXUS internal
clock. The clock tempo can be set using TAP TEMPO, MIDI clock or EXT IN clock
input.
TIP In DRONE mode, the MOD EG (modulation envelope generator) can be triggered
by CLOCK output, using a single patch cable. Patch the CLOCK output to the
GATE input.
LFO 2
The LFO 2 output allows you to modulate external gear or IMPLEXUS parameters
using LFO 2. This low frequency oscillator signal is in the range of +-5V. The
output waveform and frequency can be set using the LFO 2 controls.
TIP The LFO 2 random waveform can be used for random pitch modulation or
random modulation of parameters like FILTER CUTOFF and VELOCITY. You can also
use the random wave output to trigger the GATE at random times, by patching
LFO 2 output to GATE input, using a single patch cable.
BASIC
BASIC outputs the voltage-controlled oscillator signal from the BASIC
GENERATOR. This analog audio signal can be sent to external filters and other
gear to shape the sound. You can also use the BASIC output as a modulation
source for IMPLEXUS INPUT patch points.
TIP The BASIC GENERATOR output can be used to modulate VELOCITY and FILTER
CUTOFF, using a single patch cable.
MOD EG
The MODULATION ENVELOPE GENERATOR output, outputs the envelope signal from the
MOD EG. It basically offers you a snappy, looping, analogue envelope generator
with velocity control over modulation depth. The output envelope signal can be
set using the MOD EG controls.
39
PATCH EXAMPLES
In this section, we will show you some patch examples. There are some creative
tips and tricks described, which can be helpful when exploring the sound of
IMPLEXUS and its capabilities. Lets patch, push, turn and tweak some knobs to
create a couple of nice sounds!
NOTE: for some of these examples you will need one or more (mono) mini jack
patch cables.
PATCH : “Rhythmical manoeuvres”
In this example we will play with both LFOs at different clock divisions to
create some “rhythmical manoeuvres”.
Set the internal clock to a “slow” tempo by pressing the TAP TEMPO button
twice. An interval of roughly 1 second between the taps is fine. Don’t forget
to turn on DRONE mode and turn the SUSTAIN control of AMP EG fully clockwise.
Now set all controls as shown in image on the next page.
You will hear some “rubber” like synth sounds, with a beating rhythm caused by
the difference in LFO divisions. The DELAY can be synchronized to the internal
(TAP TEMPO) clock in different clock divisions. This will create even more
interesting rhythmic manoeuvres!
When you have found a nice rhytmic sound you could try turning the LFO 1 AMT
of the HARMONICS section. Start from a counterclockwise position, slowly
turning it fully clockwise. You could also experiment with the FOLDER knob
changing the sound from a “rubber” sound to something more “vocal” like.
41
PATCH : “Didgeridrone””
In this patch example we will play with audio rate modulations to create a
“didgeridoo” like drone.
Tune the COMPLEX GENERATOR and the BASIC GENERATOR to an `A’ note in RANGE
16′. For this you can use the onboard tuner. Don’t forget to turn on DRONE
mode and turn the SUSTAIN control of AMP EG fully clockwise.
Now set all controls as shown in the image on the right.
Try to tune the BASIC GENERATOR as close as possible to the COMPLEX GENERATOR.
Play a bit with the tuning of the BASIC GENERATOR to create some nice
(beating) sounding modulations. You could set the delay as shown in the image
on the right. Turn the MIX control fully clockwise to create a stereo phazing
like effect. One could also try to play with the FINE, RANGE and WAVE SELECT
controls of the BASIC GENERATOR for different modulation results.
43
PATCH: “Haunting metals”
In this example we will play with some modulation and the delay to create a
“haunting” drone of metallic sounds that would be good sound design for a
horror movie.
Don’t forget to turn on DRONE mode and turn the SUSTAIN control of AMP EG
fully clockwise.
Now set all controls as shown in the image on the right.
One could try to play with the RANGE control of the COMPLEX GENERATOR and try
tapping in some different tempos using the TAP TEMPO button. You could also
use a MIDI controller to play different notes!
45
PATCH: “Wonky sequences”
In this example we will use two extra patch cables to create a clock
synchronized random sequence.
Now set all controls as shown in the image on the right and connect two patch
cables as shown in the image below.
Because the CLOCK output triggers the envelopes via the GATE input, we don’t
need the DRONE mode to be activated to create sound. The clock synchronized
LFO 2 is set to RANDOM waveform so that it sends random values to the 1V/OCT C
(Global pitch) input. The TAP TEMPO now controls the speed of the random
sequence.
47
PATCH: “Random kicks”
In this example we will use a patch cable to create kick drum sounds at random
moments.
Now set all controls as shown in the image on the right and connect the patch
cables as shown in the image below.
The LFO 2 output signal will ouput from random values every 1/16 note. Because
the LFO 2 output is patched to the GATE input, Kick sounds will occur only
when the random value of LFO 2 is high enough to trigger the envelope
generators.
49
PATCH: “Robotic wobble”
In this example we will use two patch cables to create a robotic wobble sound.
Now set all controls as shown in the image on the right and connect two patch
cables as shown in the image below.
The LFO 2 output is patched to the VCF CUTOFF input. Both LFO 2 and MOD EG can
now control the VCF CUTOFF. Having MOD EG in LOOP mode, causes the MOD EG to
behave as an LFO. This creates a more complex modulation signal, because the
LFO 2 and MOD EG signals are adding up
51
FIRMWARE UPDATE PROCEDURE
The firmware of the IMPLEXUS can be updated via MIDI system exclusive (SysEx)
messages. To do so, you can use either the DIN or USB MIDI input connection,
but we recommend using the USB connection.
SYSTEM EXCLUSIVE MIDI MESSAGES
To update the IMPLEXUS firmware you will need a way to send MIDI SysEx
messages to the IMPLEXUS. The simplest way is to install a MIDI utility
applications on your PC and use the USB connection to send the SysEx file.
There are multiple free PC applications that can do this. We can recommend
using “Snoize – SysEx Librarian”, “C6 SysEx manager” or “MIDIox SysEx
manager”, but basically any program that can be used to send large1 SysEx
files should do the job!
PERFORMING A FIRMWARE UPDATE
The steps to perform a firmware update are as follow:
Step 1: Download the latest IMPLEXUS firmware from www.majella-audio.com
Step 2: Power on the IMPLEXUS while holding the 1/1 and 3/4 buttons of LFO 1.
The IMPLEXUS should now start up without blinking LEDs. This indicated the
IMPLEXUS is ready to receive messages.
Step 3: Connect the USB cable or MIDI cable to the device (Host) sending the
SysEx file.
Step 4: Send the IMPLEXUS firmware via MIDI to the IMPLEXUS. The Tap Tempo
button will indicate incoming data and the LFO division buttons will indicate
the progress in steps of 10%.
Step 5: Success: When the firmware update is successfully completed the LFO
buttons will do a running light sequence.
Failed: In case the update routine failed, the Tap Tempo will blink with a
constant period. In this case IMPLEXUS will go back to the old Firmware
version. You can retry the firmware update2 starting at step 1. For extra
tips, see page 54.
52.
HOLD THESE BUTTONS AT START UP:
10%
FIRMWARE LOADING :
FIRMWARE UPDATE SUCEEDED : FIRMWARE UPDATE FAILED
100%
DATA INDICATOR
53
1 Some applications / devices do not allow you to send large SysEx files
(sometimes they will even end the data transmission without any
notification/warning). Make sure your application / device is capable of doing
so. Some applications / devices allow you to decrease the data transmission
speed within the application. Reducing the data transmission speed might help
with a stable firmware updating routine in case of one or more failed
attempts. 2 In case of one or multiple failed attempts, please check the cable
connections and make sure that they are connecting properly. If every
connection seems to be fine, you might want to use a different software and a
different cable. If the above does not work, please contact: support@majella-
audio.com and we will help you out!
54.
Music is to be heard and to be experienced. Sound design is part of that
experience. The “imperfections” of analogue electrical instruments result in
lively, organic and unexpected sounds. Our mission is to control these
imperfections
musically, to create instruments that keep inspiring you to make music.
~Majella Audio~
Majella Audio | the Netherlands | Website: www.majella-audio.com | email:
support@majella-audio.com
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