MAKE NOISE Erbe-Verb Continuously Controlled Stereo User Manual

Erbe-Verb Continuously Controlled Stereo

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Product Specifications

• Signal Input: AC coupled, standard signal level of 10Vpp

• Mix CV Input Range: 0V to +5V

• Pre-Delay Control Range: 7ms – 500ms (uni-polar), with divisors
  & multipliers using ext. clock

• Absorb Control Range: Full CCW to Full CW

• Depth Control Range: Bi-polar with modulation options

• Decay Control Range: 0 – 120% reflection gain

• Tilt Control Range: Low Gain +12 dB to -12 dB, High Gain -24dB
  to +24dB

Product Usage Instructions

Installation

Refer to your case manufacturer’s specifications for the
location of the negative supply.

Panel Controls

Signal Input & Mix Control

1. Signal Input is AC coupled with a standard signal level of
10Vpp.
2. Level Control for Signal Input should be set at unity at
3:00.
3. Mix CV Input is a unipolar control input ranging from 0V to
+5V.
4. Mix Panel Control blends between Dry (unprocessed) and Wet
(processed) signals.

Pre-Delay, Absorb, Depth, Decay, Tilt Controls

1. Pre-Delay Control adjusts the amount of Pre-Delay or Reverse
time.
– Uni-polar operation with a range of 7ms – 500ms using internal
clock, or bi-polar operation with divisors & multipliers using
an external clock.
2. Absorb Control adjusts Absorption with a uni-polar range.
3. Depth Control adjusts Depth and Type of Internal Modulation with
bi-polar control.
4. Decay Control adjusts Decay with a uni-polar range.
5. Tilt Control is bi-polar for Tilt adjustment.

FAQ (Frequently Asked Questions)

Q: What is the range of the Depth CV Input?

A: The Depth CV Input has a control signal range of +/- 5V.

Q: How does the Reverse function work?

A: The Reverse function can be engaged via the Reverse Button or
Reverse Gate Input, which reverses on Gate High. The Reverse LED
provides visual indication of Reverse status.

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TABLE OF CONTENTS
1. FCC 2. LIMITED WARRANTY 3. INSTALLATION 4. PANEL CONTROLS 5. GETTING STARTED
– SIZE – PRE-DELAY – DECAY – ABSORB – TILT – CV OUTPUT – EMULATING TYPICAL REVERB ROOMS 6. PATCH IDEAS

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This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. Changes / modifications not approved by the Make Noise Co. could void the user’s authority to operate the equipment. This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications.
makenoisemusic.com Make Noise Co., 414 Haywood Road, Asheville, NC 28806

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LIMITED WARRANTY
Make Noise warrants this product to be free of defects in materials or construction for a period of one year from the date of purchase (proof of purchase/invoice required). Malfunction resulting from wrong power supply voltages, backwards or reversed eurorack bus board cable connection, abuse of the product, removing knobs, changing faceplates, or any other causes determined by Make Noise to be the fault of the user are not covered by this warranty, and normal service rates will apply. During the warranty period, any defective products will be repaired or replaced, at the option of Make Noise, on a return-to-Make Noise basis with the customer paying the transit cost to Make Noise. Make Noise implies and accepts no responsibility for harm to person or apparatus caused through operation of this product. Please contact technical@makenoisemusic.com with any questions, Return To Manufacturer Authorization, or any needs & comments. http://www.makenoisemusic.com
About This Manual: Written by Tony Rolando Edited by Walker Farrell Illustration and layout by Lewis Dahm THANK YOU: DSP Wizard: Tom Erbe; www.soundhack.com Spiritual Advisor: Richard Devine

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INSTALLATION
Electrocution hazard! Always turn the Eurorack case off and unplug the power cord before plugging or unplugging any Eurorack bus board connection cable. Do not touch any electrical terminals when attaching any Eurorack bus board cable. The Make Noise Erbe-Verb is an electronic music module requiring 149mA of +12VDC and 15mA of -12VDC regulated voltage and a properly formatted distribution receptacle to operate. It must be properly installed into a Eurorack format modular synthesizer system case. Go to http://www.makenoisemusic.com/ for examples of Eurorack Systems and Cases. To install, find 20HP in your Eurorack synthesizer case, confirm proper installation of Eurorack bus board connector cable on backside of module (see picture below), plug the bus board connector cable into the Eurorack style bus board, minding the polarity so that the RED stripe on the cable is oriented to the NEGATIVE 12 Volt line on both the module and the bus board. On the Make Noise 6U or 3U Busboard, the negative 12 Volt line is indicated by the white stripe.
TOP
-12v
Please refer to your case manufacturer’s specification for location of the negative supply.

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PANEL CONTROLS

1

3

6

2

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7

10

8 11

9

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1. Signal Input: AC coupled, expects standard signal level of 10Vpp signal. 2. Level Control for Signal Input: unity at 3:00. 3. Mix CV Input: unipolar control input. Range 0V to +5V. 4. Mix Panel Control: blends between Dry (un- processed) signal & Wet (processed) Signal. Operates
as Combo Knob, with nothing patched to Mix CV Input, works as standard panel control. With signal patched to Mix CV Input, works as attenuator for that signal. 5. Left (Mono) Output: 10Vpp (depending upon Level setting and source material), AC coupled. Left portion of Stereo reverb image, also serves as Mono reverb image. 6. Right Output: 10Vpp (depending upon Level setting and source material), AC coupled. Right portion of Stereo reverb image. 7. Size Panel Control: unipolar panel control that sets the Size of the space. Ranges from “coffin” to “heavens.” 35 cu ft. to 9.3 million cu ft. 8. Size CV Attenuator: bi-polar attenuator for Size CV Input. 9. Size CV Input: control signal input for Size. Range +/- 5V. 10. Speed Panel Control: uni-polar control for Speed of internal modulation. Using internal clock: 1/2cps – 256 cps, using ext. clock 1/48cps – 9000 cps 11. Speed LED: visual indication of Internal Modulation rate. 12. Speed CV Input: control signal input for Speed. Range +/- 5V.

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PANEL CONTROLS, CONT.

1

3

5

8

6

9

7

10

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1. Pre-Delay Panel Control: control for amount of Pre-Delay or Reverse time. Using internal clock, operates as uni-polar with a range of 7ms – 500ms. Using ext. clock operates as bi-polar w/ divisors & multipliers of 1/12,1/8, 1/6, 1/4, 1/3, 1/2, 2/3, 1/1, 3/2, 2/1, 3/1, 4/1, 6/1, 8/1, 12/1 where 1/1 is at 12:00.
2. Pre-Delay CV Input: control signal input for Pre-Delay. Range +/- 5V.
3. Absorb Panel Control: uni-polar control for Absorption. Full CCW = 0 diusion, 0 damping; 10:00 = full diusion, 0 damping; Full CW = full difusion, full damping.
4. Absorb CV Input: control signal input for Absorption. Range +/- 5V. 5. Depth Panel Control: bi-polar control for Depth and Type of Internal Modulation. Minimum modula-
tion at 12:00. Cyclic modulation CCW from 12:00. Ergodic modulation CW from 12:00. Shimmer at Full CW. 6. Depth CV Attenuverter: bi-polar attenuator for Depth CV IN. 7. Depth CV Input: control signal input for Depth. Range +/- 5V.
8. Decay Panel Control: uni-polar control for Decay. 0 – 120% reection gain. Innity at Full CW. 9. Decay CV Attenuverter: bi-polar attenuator for Decay CV Input. 10. Decay CV Input: control signal input for Decay. Range +/- 5V.

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PANEL CONTROLS, CONT.

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5

6

1

7

2

8

9

3

1. Tilt Panel Control: bi-polar control for Tilt. Low Gain +12 dB to -12 dB, High Gain -24dB to +24dB, unity at 12:00.
2. Tilt CV Attenuverter: bi-polar attenuator for Tilt CV Input. 3. Tilt CV Input: control signal input for Tilt. Range +/- 5V. 4. Reverse LED: visual indication of Reverse. Lights when Reverse is engaged, flickers to indicate
Reverse buffer length. 5. Reverse Gate Input: Reverses on Gate High. Momentary action. 1.5V trigger signal to operate. 6. Reverse Button: toggles Reverse on/off. In Reverse Pre-Delay determines Reverse buffer size.
Using internal clock: 42ms – 500ms; using external clock: 0.1ms – 5.46s synchronized. 7. Tempo Input: allows synchronization of Echoes to multiple or division of an external Clock.
While following external Tempo the Speed and Pre-Delay will be multiple or division of the incoming clock. Requires Clock/ Gate signal amplitude of at least 1.5V and width of at least 6ms. 8. CV Output LED: visual indication of the CV Output signal. 9. CV Output: control signal representing the average energy of the algorithm. Range 0V – 10V.

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GETTING STARTED
Patch the signal to be processed into the Signal Input. The associated Level Control accommodates modular synthesizer signals of 10Vpp with unity gain at around 3 o’Clock. Beyond 3 o’Clock on the Level Control, there will be some gain and possibly clipping followed by digital overloading. Take your output from the Left Output and patch to your final mixer/monitoring system. If you have Stereo monitoring, patch both Left and Right Output to your Stereo monitor inputs. Mix is a blend between the dry analog signal and the wet digitally processed signal. Set the Mix Panel Control to about 11:00 clock for the typical reverb effect.
SIZE
The large grey knob, Size, is the most defining parameter of the Erbe-Verb sound. It is an ultra-wide range control over the size of the virtual space. It goes from unrealistically small (full CCW), to unrealistically large (Full CW), with the full spectrum of realism between. In reverbs the Size parameter is often buried in the reverb algorithm or preset. If there is a Size parameter to adjust, it is usually limited in range to fit the algorithm. So for example, a Room algorithm might allow size to be varied from 0.3 – 0.10 secs. On the Erbe-Verb the entire range of possible size is available at all times. This means it is possible to travel from one space to another or to modulate between several spaces. Typical settings for the Size parameter are as follows:
Coffin: Full CCW Room: 12:00 Plate: 1 to 2:00 Hall: 3:00 Ambient: 4:00 Heaven: Full CW
Directly beneath this panel control are the Size CV Attenuator and Size CV Input. Use the Size CV Input to modulate the Size parameter. This allows for morphing between spaces or creating spaces that are large at one end and small at the other. Modulation of this parameter are very dramatic, so use the Size CV Attenuator to create more subtle modulations.

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PRE-DELAY
Toward the center of the Erbe-Verb is Pre-Delay. This controls the amount of time before reflections from walls of the virtual space start arriving to the listener. In many reverbs and in the physical world the range of pre-delay is tied directly to the size parameter. Small spaces have very little pre-delay. As the space increases in size, so does the possible amount of pre-delay. The Erbe-Verb has a wide ranging Pre-Delay, 7ms to 500ms, that is completely independent of the Size control. Therefore you could have a really small space (set Size to 10:00) that was far away (set Pre-Delay to Full CW). On the contrary you could have a massive space (set Size to 3:00) where the reflections arrive at almost immediately (set Pre-Delay to Full CCW). Of course these settings are not very realistic, but it could be inspiring and fun to put the listener in a space that does not exist in our physical world. Typically, larger space Sizes have more Pre-Delay and smaller space Sizes have less. Here are some typical settings for Pre-Delay with reference to the Size parameter:
Coffin: Full CCW Room: 9:00 Plate: Full CCW Hall: 11:00 Ambient: 11:00 Heaven: Full CW
In addition to being wide ranging and completely independent of the Size parameter, the Erbe-Verb Pre-Delay is also able to be synchronized to the rest of the modular system. Using the Tempo Input, it may be synced to a division (CW from 12:00) or multiple (CCW from 12:00) of the clock patched to Tempo Input. This is highly un-realistic. Nowhere in nature is the trajectory of sound synchronized to a machine. The Reverse function reverses time by playing the Pre-Delay buffer backwards. This creates Reverse Reverberations. This may occur in nature, but we are not yet certain. Reverse time is set by the Pre- Delay controls. Reverse may be toggled On/Off by the associated Reverse Button, and momentarily engaged using the Reverse Gate Input. Like Pre-Delay, using the Tempo Input, Reverse may be synced to a division or multiple of the input clock.
The Pre-Delay parameter has a unity gain control signal input Pre-Delay CV Input allowing for voltage control. This also aids in morphing between spaces or creating unusual circumstances within the space such as constantly moving the listener from the mouth of a cavern to it’s depths. Fast modulation or sweeping of this parameter results in pitch shifting as well. Audio rate modulation of this parameter could be very pleasing, as it creates gorgeously metallic tones. Because there is no attenuator associated with this parameter, it could be helpful to patch the desired control source to a channel of MATHS for attenuation prior to the Pre-Delay CV Input destination.

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DECAY
After Size, the most dramatic parameter on the Erbe-Verb is Decay which changes the length of the reverb “tail,” from very short all the way up to infinity. In some ways, this control is similar to the Feedback controls on the ECHOPHON and other Echo or Delay processors. Decay uses internal feedback to put energy back into the reverb algorithm, resulting in sustaining the reverb. This sustaining increases the time it takes for the reverberations to settle, or decay to zero amplitude. Decay is by nature a function of Size. Smaller spaces tend to have shorter Decay times while Larger spaces tend to have longer Decay times. Some typical Decay settings for example:
Coffin: 9:00 Room: 12:00 Plate: 1:00 to 2:00 Hall: 11:00 to 2:00 Ambient: 11:00 to 2:00 Heaven: Full CW
Directly beneath the Decay Panel control are the Decay CV Attenuator and Decay CV Input. Use the Decay CV Input to modulate the Decay parameter. This allows for morphing between spaces or creating spaces where the walls are moving over time. Use the Decay CV Input to create more subtle modulations. Because the Decay parameter is feedback based, the response is slower then that of the Size or Pre-Delay parameters. Therefore, greater impact is achieved with slower control signals such as envelopes from MATHS or FUNCTION w/ long Rise or Fall settings, LFOs from MATHS or FUNCTION, slower random voltages from the Wogglebug (Smooth or Stepped), and sequences from PRESSURE POINTS that are clocked at a division of the master clock.
Using the Internal Modulation, Speed, and Depth, is not like using external modulation such as LFOs and Random Voltages from the modular system. The Internal Modulation is embedded in the reverb algorithm, and may have a very dramatic effect on the sound of the reverb, adding and removing energy, diffusing and detuning pitched sounds. A small amount of Internal Modulation is useful for smoothing resonances and reigning in the Decay parameter. A larger amount of Internal Modulation can create chorused, doppler, ambient and shimmered sounds. When used with Infinite Decay (Decay set full counter- clockwise) Internal Modulation can create infinitely evolving washes, ghost choirs, bowed gongs and shifting feedback.
The modulation Depth controls both the amount and type of modulation: increasingly Cyclic to the left, and increasingly Ergodic to the right. At the 12:00 the Internal Modulation is minimized. Cyclic modulation is a muliphase cascaded chorus eect, which ranges from very subtle chorusing to extreme doppler swirls. Ergodic modulation causes random room dimension shifting, which can become very granular at high depth. At the top of the range on the Ergodic side is “Shimmering.”
The user also has control over the Speed of this modulation. At high Speed settings, Internal Modulation has the effect of smoothing out the aural response of the whole algorithm and is useful for creating long, but natural- sounding sustains. The slower range of the Erbe-Verb Speed parameter is atypical of reverb behavior in nature and is not often found in reverb algorithms. At low Speed settings, internal Modulation is more discernible as a rhythmic effect such as Chorusing, Evolving, and Swirling. The speed may be synced to a multiple or division of an input clock using the Tempo Input.
Note: with Depth at Noon (zero modulation), speed has no discernable effect.

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ABSORB
The Absorb parameters also have a great deal of influence on the Decay. Absorb affects both the tone and the time of the Decay. Increasing the Absorb parameter value decreases the Decay times and also have the effect of making the reverb tail sound darker. The Absorb parameter is combination of controlling both Diffusion and Damping within the space. Here’s how it works:
Full CCW = 0 Diffusion, 0 Damping 10:00 = Full Diffusion, 0 Damping Full CW= Full Diffusion, Full Damping
Diffusion:
Diffusion controls the degree to which initial reverb density increases over time. High amounts of Diffusion result in fast initial buildup of echo density; low amounts cause slow initial buildup. Diffusion is also affected by Size–smaller spaces sounds denser because the sound travels shorter distances before reflecting and returning to the listener. Diffusion is also related to the shape and contruction of a room. To enchance percussive sounds, use high amounts of Diffusion. This makes the space sound more alive. For creating clear, easily-discernable vocal sounds use low amount of Diffusion.
Damping:
The Damping parameter controls the amount of high-frequency, damping, architectural details to the space such as thick rugs, velvet wall coverings and scattered people. In doing so it removes high frequency energy from the reverb over time. Increasing the amount of Damping will result decreased settle times and a darker overall reverb sound. This makes the space sound more dead.
Because the Absorb parameter is feedback based, the response will be slower then that of the Size or Pre-Delay parameters. Therefore greater impact will be achieve with slower control signals such as envelopes from MATHS or Function w/ long Rise or Fall settings, LFOs from MATHS or Function, slower random voltages from the Wogglebug (Smooth or Stepped) and sequences from Pressure Points that are clocked at a division of the master clock.
Note: Absorb is highly influenced by the Decay parameter. The greater the Decay setting, the more dramatic the Absorb response.

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TILT
Below Pre-Delay is Tilt. This parameter shapes the final tone of the reverb. it is the last operation in the algorithm so it has no effect on the energy, feedback, or nature of the reverberations. It is completely independent of the reverberation process. At 12:00 the frequency response is not altered by the Tilt parameter. As you turn the Tilt panel control CCW the High-End is slightly cut and the Low end is dramatically boosted, resulting in thick, thunderous sounds that fill out empty spaces. As you turn it clockwise, the low-end is cut and the high-end is dramatically boosted, resulting in thinner, bright sound that allows plenty of room in the space for other instruments. The Tilt parameter is highly useful for tailoring the reverb sound to fit well with the rest of your patch. If your patch is spacious and there is plenty of room, then Tilting toward the low end fills out the sound nicely. If your patch is already filled out, then Tilting for High Boost adds sparkle and insteresting detail to the sound without becoming obtrusive. Tilt CV Attenuator and Tilt CV Input provide voltage control over the Tilt parameter. While Tilt might seem to be more of a utility function, creative modulation of this parameter may have highly interesting results. The Tilt parameter responds well to slow modulation rates and especially with longer Decay times it has a dramatic effect not unlike phase shifting.
CV OUTPUT
In addition to the CV inputs on the Erbe-Verb there is also one CV output. The CV Output is the result of an envelope follower, and it goes higher as the reverb signal gets louder. This can be very useful for patching back into the system or into the reverb itself. For example, patching it to the Absorb CV Input or Decay CV Input w/ inversion by Decay CV Attenuator creates an automated “reigning in” of the reverb when feedback starts to get out of hand. Much more dramatic modulations may be achieved by patching the CV Output to Size. Patching the CV Output to destinations outside the Erbe-Verb completes the conversation between the Erbe-Verb and the rest of the system.
EMULATING TYPICAL REVERB ROOMS
Note: For all algorithms, Size, Pre-Delay, and Decay settings are given. Small variances in these three controls alter sound into the mix. Keep in mind that these are starting points, and many spaces in between are possible by taking any control out of its comfort zone.

Coffin Size: full CCW PreDelay: full CCW Decay: 9:00 Absorb: (low-cost oak) 9:00; (luxury) 2:00
Heaven Size: full CW PreDelay: full CW Decay: full CW

Room Size: 12:00 PreDelay: 12:00 Decay: 12:00 Depth: 12:00 Absorb: 2:00
Ambient Size: 4:00 PreDelay: 11:00 Decay: 2:00 Depth: 2:00 – 3:00 Speed: 12:00 – 3:00

Plate Size: 1:00 PreDelay: full CCW Decay: 1:00 Depth: 12:00 Absorb:10:00
Reverse Mix: full CW Size: full CCW PreDelay: 3:00 – full CW Decay: full CCW Absorb: full CCW Depth: 12:00 Reverse: ON

Hall Size: 3:00 PreDelay: 11:00 Decay: 1:00 Depth: 1:00 Speed: 11:00 Absorb: 11:00
Shimmer Size: 4:00 PreDelay: 11:00 Decay: 2:00 Depth: full CW Speed: 12:00 – 3:00

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PATCH IDEAS

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GATED REVERB
1. Set all controls to taste. 2. Mult audio source to Erbe-Verb signal Input, and to Ch1 or Ch4 signal Input of MATHS (or to the signal Input
on Function). 3. Set Rise to 12:00, Fall full CCW, response to Linear. 4. Send Unity/Positive channel output to Erbe-Verb Mix CV Input. 5. Set Mix panel control to taste (recall that it will act as a CV Input attenuator in this patch). 6. Adjust Rise, Fall and Response for the desired gating length and shape.
DECAY HELL
1. Patch STO SUB Out into Ch1 of the Optomix with Control full CCW. 2. Set MATHS Ch1 to CYLE, with Rise and Fall at 1:00 and Vari-Response set to Linear. 3. Patch MATHS End of Rise to the strike input on Optomix Ch1. 4. Patch the Optomix Ch1 Out to Erbe-Verb Signal In. Monitor the Erbe-Verb L and R outputs. 5. Start with Hall settings shown on page 13. Use the Decay knob to find the point just before the Erbe-Verb
feeds back infinitely. 6. Patch the PrssPnt Pressure Out to Erbe-Verb Decay CV In. With the Decay CV attenuator full CW, press-
ing/holding the PrssPnt touchplate pushes Decay into infinite Feedback. When the touchplate is released, the Decay will slowly returns to the original setting.

References

• Make Noise Music – Sounds Unfound
• Make Noise Music – Sounds Unfound
• Make Noise Music – Sounds Unfound
• SoundHack | Happy working for the good of the community

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