FLAME Curves Analog Resonance Filterbank User Manual
- June 9, 2024
- FLAME
Table of Contents
“CURVES”
ANALOG RESONANCE FILTERBANK
Version 2.00
User Manual
Short description
The “Curves” Euro Rack Module is an analogue 12-channel filter bank with 24dB
filters and an integrated modulation sequencer (external clock only) with a
wide range of control options. The controllers of the sequencer can be used to
influence the pattern but also to control the filter channels manually (or via
CV).
The filter channels are each divided into two channels (odd/even) and can be
operated separately in stereo or together in mono.
There are two inputs for odd(mono)/even, as well as two individual outputs for
odd/even and a mono sum channel including dry-wet mix control and level
control.
Each of the 12 filter channels also has a separate VCA input (0..+5v) and a
separate individual audio output.
The filter channels can also be played separately with velocity using MIDI
notes.
The modulation sequencer offers a variety of options. It can be synchronized
with an external clock (16th note) either via MIDI clock or analog via trigger
and reset inputs.
There are 99 memory locations available, into which a maximum of 99 four-bar
patterns can be loaded. The patterns are selected either directly by button,
by MIDI program change or by CV input “SEQUENCE”.
With the help of the Curves Editor (PC or MAC version) the patterns can be
edited and loaded into the module. The sequencer is a midi sequencer in tick
resolution with settings for gate time, velocity, track last step and shuffle.
All MIDI settings are made with the editor (e.g. receive MIDI channel and note
numbers for the filter channels).
On the module itself there are 3 controls for influencing the pattern:
- Envelope (different envelopes in trigger or gate mode)
- Variations (random values of velocity and envelope lengths)
- Fill (turn up all filter channels)
All three functions can also be controlled by an external CV via CV inputs.
In manual mode (Sequencer=OFF), these three controls can be used to control
the filter channels directly (and also via CV):
- Envelope (selection of hard detented and soft cutoff movement)
- Variations (choice of filter type: Allpass, Lowpass, Bandpass 1-3, Highpass)
- Fill (cutoff = movement/passing through the bands)
Future firmware updates can simply be loaded using a sysex dump.
A MIDI adapter cable is included.
Hardware / connections
2.1 Connection to the euro rack modular system (Doepfer bus)
The module is delivered with a connected ribbon cable for the Doepfer bus. The
red lead marks -12 volt. Connecting the module please note the right polarity!
If the module is poled accidentally wrong safety diodes avoid the immediate
destruction of the module but further damages cannot be excepted.
So please pay attention: Check the connection various times before
switching on!
The current consumption of the module is on average +250mA and -170mA.
CAUTION!
Do not accidentally connect the MIDI THRU output to high CV voltages! This can
possibly damage the hardware! 2.2 Modul overview
2.3 MIDI connections
The module has a MIDI INPUT socket (3.5mm mini jack in TRS-B standard) for
controlling parameters, loading/editing of sequences or firmware updates via
sysex. Connect the MIDI input to the MIDI output of your keyboard/controller
or computer.
An appropriate commercially available adapter (MIDIDIN to Mini TRS-B) or a
3.5mm stereo jack cable is used for the MIDI connection. A corresponding
adapter is included. Adaptor schemata
MIDI DIN jack to 3,5mm (1/8 inch) mini jack MIDI TRS-B standard Examples of
possible connections: 2.4 AUDIO schemes
The module has two audio inputs, which are alternately routed to the filter
channels. Input ODD is routed to the odd-numbered channels and input EVEN to
the even-numbered channels. If only one cable is plugged into the ODD/ALL
input socket, the input signal is routed to all filter channels (ALL=mono
input).
EFFECT MIX
Both inputs ODD+EVEN are routed together to the GAIN controller, which is then
present as a mono signal at the MIX controller (dry) (original signal). The
MIX controller controls the mixing ratio between this original signal and the
effect signal (wet), which consists of the output sum of all filter channels
(Mono Signa =EVEN + ODD outputs). When the MIX control is in the middle
position, the volumes of the original and effect signals are approximately the
same. The LEVEL control then determines the level of the mix signal at the ALL
output socket.
The maximum level of both filter channel groups is always present at the two
outputs ODD and EVEN. This can be viewed as the stereo output of the filter
bank. The filter bank is therefore suitable for stereo applications.Each of the 12 filter channels has an additional audio output
(modular level). The output level is independent of the slider position so
that the signal can be processed externally even though it has been removed
from the mix.
The sliders only serve as a manual attenuator for the corresponding channel.
In order to hear a controlled sequence, the slider must be turned up.
The maximum output signal is therefore determined by the position of the
slider.
FILTERBANK
3.1 Structure of the filterbank
The module has an analog filter bank consisting of 12 filter bands. The first
11 filter bands are 24db bandpasses (resonance filters) with fixed frequencies
and medium resonance, the exception being channel 12, a 24dB highpass filter
that lets through all higher frequencies from around 5Khz.
The center frequencies of the channels are:
90Hz, 150Hz, 240Hz, 350Hz, 500Hz, 700Hz, 1KHz, 1.4KHz, 2KHz, 2.8KHz, 3.9KHz,
5.6KHz
1 | BAND LEDs | LED display VCA level of the filter band |
---|---|---|
2 | BAND SLIDERS | Audio filter band attenuators |
3 | BAND AUDIO OUT | Audio individual outputs of all filter bands |
4 | BAND CV IN | CV inputs of the VCAs of the filter bands |
Each filter band has an output volume slider. This allows you to lower these
frequencies in the overall sound or remove them entirely. Up to this point,
the filter bank resembles a graphic equalizer. But the filters in the CURVES
have other properties that clearly distinguish them from an equalizer. On the
one hand, there are the resonant filters that particularly amplify the range
around the respective center frequencies. On the other hand, the individual
frequency bands do not overlap.
Therefore, the timbre is noticeably affected because it adds resonances at key
points in the sound spectrum.
Each channel has a VCA for electronic volume control through the internal
sequencer or separately through the BAND CV input. With a CV voltage of 0 to
+5v the channel can be regulated separately. The BAND Leds signal the level of
the VCA. Each channel has an additional output for the audio signal, which can
be tapped independently at the socket. The channel control has no influence on
the level (in order to be able to process the signal separately, even though
it may have been removed from the mix).
3.2 Structure of the filter channel
The filter bank of the module has 12 filter bands.
Each of these filter bands basically consists of a fixed frequency filter
(24dB bandpass or highpass), a VCA for volume control via CV, and a slider for
manually attenuating the audio signal.
The VCAs can be controlled in different ways:
- directly via channel CV input
- Filter simulations by manual controls/CV
- internal modulation sequencer
See the following chapter: “Filter bank control”
3.3 Filter bank control
In CURVES there are two different ways (MODE) to modulate the filter bank:
- Through an internal modulation sequencer (one track for each filter band) with knobs and CV controls for envelope, variations (random) and fill mix (additive raising of all filter bands)
- Manually with the help of a filter type simulation and with controls for cutoff, filter type and smoothing of the filter bands.
MODE SELECTION
Use the “SEQUENCE” buttons to either select a pattern “01..99” or set the
display to “oF” (press the sequence button “<” until “oF” appears)
01..99 | Mode SEQUENCE (Modulation sequencer) |
---|---|
oF | Mode MANUALLY (Filter simulations) |
- KNOB ENVELOPE Envelope or smoothing (passing through the filter bands)
- KNOB VARIATION Variations (random) or Filtertype (of the filter simulation)
- KNOB FILL Turn up the level of all filter bands or cutoff (of the filter simulation)
- SELECT MODE/SEQUENCE Pattern or mode selection (oF=filter simulation)
The knobs have different functions in the two modes:
MODE SEQUENCE (Display 01..99)
KNOB ENVELOPE Envelopes of the sequence
KNOB VARIATION Random = Envelope/Volume Variations
KNOB FILL level of all filter bands (mix in)
MODE MANUALLY (Display “oF”)
KNOB ENVELOPE Smoothing of passing through the filter bands
KNOB VARIATION Selection of one of 6 filter types
KNOB FILL Adjust filter type cutoff
3.4 MODE SEQUENCE
To animate the filter bands rhythmically, the CURVES uses a relatively simple
sequencer with 12 parallel tracks. The module has 12 envelope generators, one
for each filter band, which affect the output level of the respective filter.
The “shape” of the envelope (i.e. the times for attack, decay or release)
depends on the “ENVELOPE” control. This allows differentiated volume curves to
be generated, such as percussive sounds or slowly rising curves.
ACTIVATE SEQUENCE MODE:
Use the buttons to select a sequence between 01 and 99. The sequencer does not
have its own clock and can only be driven externally. This is done either with
MIDI clock (start/stop) or via the CLOCK and RESET sockets. The analog CLOCK
input requires a 16th pulse sequence. Since the sequencer runs internally at a
higher resolution, the clock should run smoothly (the tempo is measured
between two clock pulses). The pattern is reset with the RESET input. If no
clock arrives for more than a few seconds, the sequence is stopped and reset.
The memory contains up to 99 patterns (sequences) with a maximum length of 4
bars. You can create your own patterns with the CURVES editor and transfer
them to the module via MIDI. More information on this can be found in the
editor’s help file (see the Download section on the Flame website).
The following figure shows the editor with a loaded pattern:
SEQUENCE MODE KNOBS & CV
The sequence played can be influenced with the three controllers at the top
left: KNOB ENVELOPE
This is one of the most interesting features of the CURVES. When the sequence
is played back, the controller can be used to “morph” through the different
forms of the envelope.
When the knob is at ZERO, the sound is short and choppy. The attack and decay
phases are very short. If the control is turned up a little, you can hear the
steps decay longer (the decay gets longer). The envelope is of type AD
(Attack-Decay) and is only triggered by the sequencer. The length of the step
(gate time) has no influence on the envelope. However, if the position of the
controller is between 9 and 12 o’clock, the envelope is set to type AR
(Attack-Release). In this area, the gate length of the step is evaluated and
has an influence on the length of the envelope.
The graphic illustrates the behavior of the controller:
Effect of the knob on the attack and decay/release times
(0=left stop MAX=right stop)
The function of the controller can also be automatically modulated by a CV.
The CV input “ENVELOPE” is available for this. The input is designed for
voltages in the range 0 to +5v.
KNOB VARIATION
With the middle controller “VARIATION” the intensity of random changes in
volume and envelope times can be regulated. This varies a running sequence,
and more lively playback patterns or variations of the sequence result. When
the control is set to ZERO, the pattern is played back unchanged.
The following parameters are affected: volume (volume of the step), decay
times and release times.
KNOB FILL
The third control “FILL” regulates all VCAs evenly until the maximum volume of
all channels is reached (“filling the channels”). This happens in addition to
the playing sequence. The sequence continues to be heard until the maximum is
reached. The effect can be compared to the dry-wet behavior of the MIX
controller, where the original signal and the effect signal are mixed. Here,
however, the sequence and the uniform low or high level of all filter bands
are mixed.
The graphic below illustrates the effect: 3.5 MODE MANUALLY
When the modulation sequencer is disabled, the filter bank can generate filter
simulations. The individual filter bands are then controlled in such a way
that classic filter profiles are generated. These are controlled with the
knobs Envelope, Variation and Fill.
ACTIVATE MANUALLY MODE:
Use the “<” button to set the sequence to “oF” (possibly press several
times!). In this mode, the controllers have the following functions:
Knob ENVELOPE: SMOOTH = Smoothing of passing through the filter bands
Knob VARIATION: FILTER TYPE = selection of one of 6 filter types
Knob FILL: CUTOFF = Adjust filter type cutoff
FILTERTYPE
The VARIATION control sets one of six filter types. These algorithms use the
filter bands to simulate classic filter types such as lowpass, bandpass,
highpass and other types. This is possible because each filter band has its
own VCA (Voltage Controlled Amplifier) that controls the volume of that band
separately. For example, if you slowly increase and decrease the volume of the
channels, starting from the band with the lowest frequency, you get a classic
low-pass filter.
The following filter types can be set:
1 – All channels | – all bands are turned up simultaneously |
---|---|
2 – Lowpass | |
3 – Bandpass (1channel) | |
4 – Bandpass (2 channels) | |
5 – Bandpass (3 channels) | |
6 – Highpass |
CUTOFF
The FILL control is used to change the filter cutoff frequency. As you turn
the knob, the LEDs indicate the active area of the filter. The filter
characteristics can also be seen visually. Only the filter bands with lit LED
are audible. EXAMPLE OF FILTER MODULATION
Example: Adjusting the lowpass cutoff manually
- Set the CUTOFF (FILL knob) to the middle position
- Set FILTERTYPE to Lowpass (VARIATION knob at 9 o’clock).
- Turn SMOOTH to maximum (ENVELOPE knob fully clockwise)
Now you can use the CUTOFF control (FILL control) to move smoothly through the
individual filter bands like a low-pass filter.
You can see this from the glowing LEDs of the filter channels.
The filter type algorithm automatically regulates the volume of the individual
filter bands, creating the effect of a low-pass filter.
The other filter types work the same way.
Try them out and listen to the different effects.
SMOOTH
The ENVELOPE knob changes the smoothing of the band sweep with the cutoff
control. It can be softly blended from unsmooth to smooth. With an unsmoothed
setting, the bands jump straight on. With a smooth setting, the bands flow
smoothly into one another. All three functions can also be controlled via the
corresponding CV inputs.
MIDI FUNCTIONS
4.1 Overview
The module has extensive MIDI functions. The following MIDI commands can be
used:
MIDI-CLOCK Start/Stop: | Sequencer clocking |
---|---|
Note Numbers: | Triggering the filter bands |
Program Change: | Selection of a sequence |
Control Change: | Controlling CURVES parameters |
Sysex: | Load sequence pattern, firmware update |
4.2 SYNC per MIDI
Connect a computer with MIDI interface and sequencer software, or a MIDI
device (e.g. drum machine) that can send MIDI Clock/Start/Stop.
The CURVES sequencer can only run as a slave with MIDI clock. MTC (MIDI Time
Code) or position data (such as Song Position Pointer) is not recognized.
4.3 Play filter channels with note commands
Each filter channel can be played with an external keyboard, for example. A
note number is assigned to each filter band for this purpose. Velocity affects
the triggered volume of the filter band.
Default notes for the filter bands are note numbers 36-47 on MIDI channel 1.
With the CURVES sequence editor, the note numbers and the MIDI channel can be
changed.
4.4 Program Change (Select sequence pattern)
The module understands program change commands on the set MIDI receive channel
(default: 1). The numbers correspond to the sequence numbers, i.e. 1 to 99.
If a program change command is received while the sequencer is running, the
pattern is changed at the next ONE. If the sequencer is stopped, the pattern
is switched immediately.
4.5 Parameter control via Control Change
Control change numbers are permanently assigned to all digital functions. The
parameters are controlled with a value between 0 and 127. The controllers are
received on the set MIDI receive channel.
Function | Control change number |
---|---|
ENVELOPE_ALL | 2 |
FIL | 1 |
VARIATION | 3 |
VCA_BAND1 | 4 |
VCA_BAND2 | 8 |
VCA_BAND3 | 9 |
VCA_BAND4 | 10 |
VCA_BAND5 | 11 |
VCA_BAND6 | 12 |
VCA_BAND7 | 13 |
VCA_BAND8 | 14 |
VCA_BAND9 | 15 |
VCA_BAND10 | 16 |
VCA_BAND11 | 17 |
VCA_BAND12 | 18 |
ENV_BAND1 | 19 |
ENV_BAND2 | 20 |
ENV_BAND3 | 21 |
ENV_BAND4 | 22 |
ENV_BAND5 | 23 |
ENV_BAND6 | 24 |
ENV_BAND7 | 25 |
ENV_BAND8 | 26 |
ENV_BAND9 | 27 |
ENV_BAND10 | 28 |
ENV_BAND11 | 29 |
ENV_BAND12 | 30 |
4.6 Load sequences via sysex
Sequence patterns can be loaded into the module via SYSEX. The CURVES editor
can be used for this. The note numbers and the MIDI receive channel can also
be changed with the editor.
FIRMWARE UPDATE
You can easily update the firmware with a MIDI sysex dump. To do so, use a MIDI-sysex-dumploader for example the freeware MIDI-OX or Electron C6 (win or mac).
- Load the firmware sysex file to your computer.
- Connect the MIDI interface of the computer with the MIDI input of the modul. Therefore you have to use the provided MIDI adapter accessory.
- Hold down both sequence keys while you power on the module. The display shows “UP” (UPDATE).
- Now send the Sysex firmware file to the module. While the update runs you can see the progress indicator (display shows counting numbers). The upload during time is for instance 1,5 minutes.
- After the update procedure the module reboots automatically
After power on the display shows the current firmware:
U0 (for version 0) or
U1 (for version 1) or
U2 (for version 2) …
ADVICE:
Sometimes it’s necessary to set the parameter “Delay” or “Timeout” to higher
values (such as 80ms) from your used dumploader software.
Appendix
6.1. Technical details
Connections: Ribbon cable adapter for Doepfer bus +/-12Volt
Current consumption: max. +250mA / – 170 mA
Size: Euro rack format 3U / 31HP 157×128,5x40mm
6.2 Warrenty
Beginning from the date of purchase a 2-year warranty is guaranteed for this
device in case of any manufacturing errors or other functional deficiencies
during runtime.The warranty does not apply in case of:
- damage caused by misuse
- mechanical damage arising from careless treatment (dropping, vigorous shaking, mishandling, etc)
- damage caused by liquids penetrating the device
- heat damage caused by overexposure to sunlight or heating
- electric damage caused by improper connecting (wrong power supply/ jacks/ MIDI connections/ voltage problems).
If you have any complaints please contact your dealer or send an e-mail to:
service@flame-instruments.de
6.3 Terms of production
conformity: CE, RoHS, UL
6.4 Disposal
The device is produced with RoHS-conformity (subject to the regulations of the
European Union) and is free of hazardous substances (like mercury, plumb,
cadmium and hexavalent chrome). But electronical scrap is hazardous waste.
Please don’t add this to consumer waste. For an environment friendly disposal
of waste please contact your distributor or specialist dealer.
6.3 Support
Updated and additional informations, updates, downloads and more see: www
.flame-instruments.de
6.4 Acknowledgment
For help and assistance big thanks to: Alex4 und Schneiders Büro Berlin, Shawn
Cleary (Analogue haven, Los Angeles), Thomas Wagner, Robert Junge, Anne-
Kathrin Metzler, Lena Bünger, Alex Wolter und Sebastian Preller.
References
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