Tiptop Audio VCA Manual de usuario

www.tiptopaudio.com

VCA

Voltage Controlled Amplifier

Tiptop Audio

VCA User Manual

The Tiptop Audio VCA is a single-channel variable-slope voltage-controlled ampliﬁer in

Eurorack format. It has the following controls (top to bottom):

1. LEVEL - sets the output volume

2. SHAPE - varies the response curve of incoming CV from Logarithmic, Linear,

Exponential

3. OFFSET - opens and closes the VCA by adding CV oset

4. CV IN - attenuator for signals coming through the CV IN jack

5. CV IN jack

6. Audio IN jack

7. Audio OUT jack

Let's learn the VCA functions in details:

(LEVEL) Master Volume:

The simplest function of the ampliﬁer is to use the level knob to increase the volume of an

incoming audio signal and send the ampliﬁed signal out through the audio output. The master

volume control knob sets the VCA signal output level. It is a post-VCA gain stage which lets you

match the VCA out level with other sounds in your system. It is also useful to help compensate

for volume dierences between the dierent VCA response shapes.

Variable Response Curve Control:

At its heart, this VCA uses a novel design of control circuitry a function that lets you sweep

continuously through three dierent response curves: Logarithmic, Linear, Exponential giving

you all three shapes in a single module. This special control circuitry was invented by

Mr.Osamu Hoshuyama, a long time synthesizer circuit designer from Japan. The design was

adopted into the VCA module to make it a great sounding synthesizer VCA for all duties:

Gating audio, Amplitude Modulation eects, CV Modulation and Audio Level controls. These

are important features in a VCA. For example, when processing CV signals, linear response is

preferred, on the other hand processing audio signals exponential response curve is prefered

(this is our ear's natural response curve). Having the possibility to morph between the two is

important as quite often an ''in-between'' response curve is required. Being able to ﬁne tune

the response curve is also important when mixing and matching modules from dierent

manufacturers. The third shape, Logarithmic response, is an unorthodox response curve that

opens up yet more room for shaping the incoming CV.

With this design, dierent shapes will have dierent gain and the CV IN and LEVEL knobs are

used to re-adjust the volume after adjusting the shape. When incoming CV is a tad below CV

clipping point (Clip light LED), that is where the gain of all 3 shapes becomes fairly even. This

is the factory default setting (using the BIAS ADJ trimmer at the back you can adjust this point

to your liking. More on that later).

To hear how the Response Curve Control (SHAPE) knob works patch the following:

1. Patch a slow 10Vp.p Triangle wave from your VCO or LFO into the CV in on the VCA

2. Turn the OFFSET knob o

3. Turn the CV IN knob all the way up till the CV Clip LED ﬂashes. Now slowly turn it back

to the point where it stops ﬂashing.

4. Connect a sound wave from another VCO playing a constant audio tone into the VCA

Audio IN. Set the SHAPE knob to the center.

You should hear a linear response of the VCA, it follows the CV in triangle wave shape,

slowly turn the knob counter clockwise, you will hear how the shape turns logarithmic, turn

the knob fully right and you will hear how the shape turns exponential. Is there a signiﬁcant

gain dierence between the exponential and the other shapes? There most likely is.

Re-adjust the CV IN knob while playing the shape knob to ﬁnd a CV setting that provides

even gain for all shapes. Observing the VCA output signal using an oscilloscope is very

handy to help understand this patch.

In normal use we won’t spend much time to set the even-gain point for all shapes, instead

we set a shape and adjust the CV IN and LEVEL knobs to the gain we want. This takes a bit

of knob twiddling but is sure worth for having all those shapes available to us in a single

module.

Logarithmic Linear Exponential

SOUND SYSTEM

LFO

Oset Control:

Oset generates CV that gets mixed internally with CV from the CV IN jack. This addresses

three primary functions. First, manually open up the VCA; second, when you don't want

complete silence between the notes and would rather have a constant signal present,

allowing you to increase or decrease signal when CV is applied. The third is when the VCA

is used with a bipolar signal like a LFO. With no oset control, a bipolar signal will open the

VCA only during its positive swing. By setting the oset in the middle, correct bipolar

modulation can be achieved.

CV Attenuator:

Manual control for adjusting the level of signals applied to the CV input. When the CV LED

ﬂashes it means the incoming signal peak is clipped. This is useful to prevent envelopes

from getting their peak signal clipped which aggressively cuts o the dynamic response of

the VCA. This is another unique feature of this VCA.

Signal Input:

Connect audio or CV signals that you want to process with the VCA here. When the RED

LED ﬂashes the audio is clipped, this can be good if distortion is what you are looking for.

For some sounds like nicely rounded bass drums or bass lines, clipping will have negative

eect on their original qualities.

CV Input:

The CV input is a dual-purpose input and lets you use the module as either a Voltage

Controlled Ampliﬁer (VCA) or as a Amplitude Modulator synthesis eect (AM). As a VCA, the

CV input will take in CV signals from Envelopes, LFO’s, Step Sequencers, Random CV

Generators etc. When used as Amplitude Modulator, the CV input takes audio in from a

VCO or any other sound source.

Signal Output:

The output of the VCA.

VCA is one of the most important building blocks in synthesis and is a must have for all

but the most simple patches, here are a few examples.

Quick Start:

1. Set the SHAPE knob to the center.

2. Patch a sound source into the IN jack.

3. Patch the OUT jack to your sound system.

4. Turn the LEVEL knob to maximum.

5. Start to turn the OFFSET knob on and listen as the VCA starts to sound.

6. Turn the OFFSET knob o, patch an envelope like the Z4000 out into the CV jack.

7. Turn on the CV IN knob and trigger the envelope: you should hear the VCA turning

on and o followed by the envelope shape.

CIRCADIAN RHYTHMSOUND SYSTEM

Dynamic Volume Control (Patch 1):

This is the most common use for a VCA and is patched this way in virtually every

synthesizer

1. Patch SAW waveform OUT from Z3000 oscillator to Audio IN of a VCA.

2. Set the LEVEL to around 1 o'clock, set SHAPE to logarithmic (left), set the oset to

''o'' (left), set the CV IN attenuator knob to fully open (right).

3. Connect the output of Z4000 ADSR envelope to the CV input of the VCA. Set the

envelope controls as follows: Attack o (left), Decay at 2 o'clock, Sustain at 12

o'clock and Release at 3 o'clock.

4. Connect the output of the VCA to your sound system. Now trigger the envelope.

As the envelope opens up it will open the VCA letting the sound from the oscillator

to pass through. To change how long the VCA will let the sound to pass through,

play around with ADSR controls.

5. Now patch Forbidden Planet Filter between the oscillator and the VCA, you just

created a simple Subtractive patch.

BP INHP IN LP IN

VOLUME

CIRCADIAN RHYTHMSOUND SYSTEM

Voltage Controlled Modulation Index (Patch 2):

Another great use for a VCA is to dynamically control modulation amounts. Lets automate

Filter Frequency Modulation. We will expand on the patch from a previous example.

1. Connect a Sine wave from Z3000 oscillator in LFO mode to the input of a VCA,

connect the VCA’s output to the un-attenuated frequency CV input on Forbidden

Planet.

2. Connect Z4000 to the CV input of the VCA. Set VCA as follows:

LEVEL fully open (to the right), SHAPE to linear (middle), OFFSET to 12 o'clock, CV IN

attenuator to fully open (right). Set Z4000 as follows: Attack at 2 o'clock, Decay at

3 o'clock, Sustain at 12 o'clock, release at 3 o'clock.

3. Now trigger the envelope. As the envelope opens up, it will open the VCA which in

turn will let the modulating LFO to pass through the VCA to ﬁlter frequency. Every

time Z4000 is triggered the Filter frequency will be modulated by the slowly opening

LFO. To lower the maximum modulation amount bring down the CV IN attenuator on

the VCA.

SOUND SYSTEM

BP INHP IN LP IN

VOLUME

LFO

CIRCADIAN RHYTHM

Voltage Controlled Audio Modulations (Patch 3):

In this patch we will use two Z3000’s, one Z4000 and the VCA to create an FM patch with

Index control.

1. Patch the sine wave of VCO1 to your sound system

2. Patch the sine wave of VCO2 into VCA audio in

3. Patch VCA audio out to FM in on VCO1

4. Patch Z4000 out to VCA CV and set the CV IN knob at almost full

5. Set the OFFSET knob half way and LEVEL knob at full

Now trigger the envelope and hear how the FM eect is fading in and out with the rise and

fall of the envelope. Play with the knobs in all modules involved and see how deep this

patch gets you. You can further experiment by adding a ﬁlter and another VCA between

VCO1 and your sound system and have the same Z4000 control them as well by splitting

the Z4000 out to all three destinations using Stackcables.

CIRCADIAN RHYTHMSOUND SYSTEM

FX Send Automation (Patch 4):

1. Use a Stackcable to split the sound source and patch one side to the VCA IN.

2. Patch the other side to IN 1 on Mix7.

3. Connect VCA OUT to IN 1 on Z-DSP loaded with Dragonﬂy Delay card.

4. Set the mix control on Z-DSP to fully wet (right).

5. Connect Z-DSP OUT 1 to Mix7 IN 2. Set the VCA as follows: LEVEL to 1 o'clock, SHAPE

to Logarithmic (left), OFFSET to fully OFF (left), CV IN attenuator to fully OPEN (right).

Patch Z4000 envelope OUT to VCA CV IN. Set Z4000 as follows: Attack at 9 o'clock,

Decay at 1 o’clock, Sustain to maximum (all the way right) and Release at 10 o'clock.

6. Patch the Mix7 OUT jack to your sound system.

7. The sequence will trigger the envelope to open the VCA the sound will pass through

the VCA to Z-DSP.

8. The dry and wet signals are mixed together with Mix7. This way you can sequence

your FX sends, freeing up your hands for other tasks.

BP INHP IN LP IN

VOLUME

CIRCADIAN RHYTHM

Dragonfly Delay card

SOUND SYSTEM

Alternative Sidechaining (Patch 5):

Side chaining is very easy to achieve using a VCA. Connect any waveform from Z3000

oscillator to a VCA signal input.

1. Connect the output of a VCA to your sound system.

2. Set The VCA as follows: LEVEL at 1 o'clock. SHAPE knob to fully to the left. Oset fully

to the left. CV IN attenuator fully open, to the right.

3. Connect Z4000 ADSR OUT to the CV input of the VCA. Set Z4000 as follows: Attack

at 10 o'clock, Decay at 2 o'clock, Sustain at 2 o'clock, Release at 2 o'clock, Deviator

at 12 o'clock and the output attenuverter to fully to the left.

4. Trigger the envelope.

5. Now instead of opening the VCA the envelope will close it.

6. Adjust the VCA CV IN attenuator for creating classic side chaining eect: when the

envelope is triggered simultaneously with a bass drum, signal will be ducked under it.

7. Play around with ADSR controls to set your perfect ducking curve.

CIRCADIAN RHYTHMSOUND SYSTEM

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