dsi poly evolver keyboard manual
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dsi poly evolver keyboard manualPlease check your inbox, and if you can’t find it, check your spam folder to make sure it didn't end up there. Please also check your spam folder. Special thanks to Program contributors (past and present), including: Operation is subject to the following two conditions: (1) This device may not cause harmful interference and Listen to the sounds, twiddle some knobs, have some fun! If you purchased it from a music dealer, please go to www.davesmithinstruments.com and register. The power supply will work anywhere in the world; use the included Euro AC adapter if necessary.Program mode sets all 4 voices to the same sound, one of the 128 Programs in 4 Banks (512 total). It powers up in Program mode, ready to play. You can then play along with the other 3 voices. Not all Programs have pre-programmed sequences. Many sounds are fairly simple at first, then come alive when you use the controllers. With other sounds, you may need to hold the notes a while to let the sound unfold. Playing in different ways has a big effect on the Programs. The new value will be displayed in the LCD.Combos give you complete flexibility configuring the four voices; you can stack or split the keyboard, assign different Programs to different MIDI channels, set it to play multiple different sequences synchronously, and so on. There are up to 4 Parts in each Combo, though all four do not have to be used. For example, a split Combo, with one voice for bass on the low end of the keyboard, and 3 polyphonic voices on the upper end, would only require 2 parts. The C OMBO P ART switches select the four parts for quick editing. In Combo mode you can have one or more voices using the External Signal Input, so the external signal can be routed to all four voices, with each voice doing different processing, such as filtering, envelope following, distortion, feedback, delay, driving a sequence, and so on. These are remembered when the synth is turned off.http://gestionh.com/files/93-toyota-corolla-repair-manual.xml
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Note that in Global Mode, the screen displays two parameters at a time. The top parameter is changed by the P ARAM 1 knob and the lower parameter is edited by the P ARAM 2 knob.Or, just look up specific parameters for detailed notes. Pages 41 through 43 contain a handy reference for mod destinations and sources. At some point you should read through the manual to discover all the little features that you might not notice at first. It assumes you already know what an oscillator is, how a lowpass filter affects the sound, what an ADSR envelope looks like, and so on. If you want to learn the lingo and the basics, just try a search in Google (or the search engine of your choice), something like “analog synthesizer tutorial”. You’ll find plenty of good reading material. Also to Mark Wilcox for assistance on this manual. The factory sound set is on our website if you ever need to refresh it. There are additional banks of Programs at: Bank 4 programs are used for most of the combo sequences, so some may not make sense as a program.There are some test Programs at the end of Bank 4 that you might want to erase. Also, Program 128 in all four banks is a simple basic Program that you can use as a starting point. You will likely want to make your own Combos based on the specific combinations of Programs that fit your music. Special thanks to Program contributors (past and present), including: While this provides a wide range of operational possibilities, it also means that you can put Evolver into a state where it doesn’t seem to work. Here are some tips. Hit the W RITE switch. You can also press C OMPARE to check the sounds in the Program destinations. Set it to On. Assuming that Distortion and Output Hack are off, you are likely just overloading the signal somewhere. There are many signal sources in the Poly, and many sources of gain. If too many are used at levels that are too high, you will likely get some distortion.http://belniig.by/public/93-toyota-pickup-manual-transmission-oil.xml Likewise, if using all three delay taps, lower the A MOUNT setting of each. In addition to increasing External In L EVEL, the filter and VCA must be open to hear the signal. You can initially turn up the Lowpass Filter F REQUENCY and the initial VCA L EVEL to hear the signal. The Peak Hold or Envelope Follower can be used to control the VCA or Filter level, or the sequencer can trigger the envelopes. There are many different ways to use different modulation sources to control the VCA and Filter when using external inputs. This compatibility enables you to chain multiple Evolvers together to increase polyphony, using your Poly Keyboard as a controller for all chained Evolvers. On the Rack, select MIDI Clock In. You can now virtually ignore the Rack, since the controls on the keyboard will control both units as if they were a single 8 voice.For example, changing MIDI channels on the Keyboard will also change the MIDI channels on the Rack, which is likely what you would want. For example, Combos that have Mono parts will be handled differently. This is due to the fact that in Mono, Poly chain does not function, since the Part interprets new notes per the Key Mode (low note, last note, and so on), and does not re-transmit the notes. So, you will lose a voice in this configuration. With two Racks, set the main parameter Poly Chain on the Keyboard to 12, and set Poly Chain on the first Rack to 8. The second Rack Poly Chain should be set to Off. If using one to get 5 voices (a magic number!), set the Keyboard to MIDI clock Out, and set Poly Chain to 5. Set the Evolver to MIDI Clock In. Though there has been great care to keep backwards compatibility, there have been a few changes necessary in both the mono Evolver and the Poly Rack to make them work more seamlessly with the keyboard. Please check our website to get the latest information on these updates. The signal flow diagram on the next page is a good starting point for understanding how the Poly works.https://www.thebiketube.com/acros-bosch-wft-8330-manual Control voltages are generated by the processors to control the analog components. Since the DSP also computes the control voltages for the analog circuitry, it can handle a wide range of modulation with high precision. It also handles the tuned feedback, as well as the additional Delay feedback paths. And all the modulation calculations (envelopes, LFOs, routing, and so on). There are two sets of stereo converters running at a All are unbalanced stereo pairs (two mono jacks). First, there are the Audio Inputs, which can be routed to the input of any or all of the voices, for using the Poly as a signal processor. When a plug is inserted into one of these jacks, that signal is disconnected from the mix output. It also allows the output of one voice to be routed to the Audio Input jacks, where it can then be routed to another voice’s input for some interesting effects. Finally, there is a stereo headphone jack on the rear panel. The P ARAM 1 knob changes the Program, and the P ARAM 2 knob changes the Bank.See the Program Parameters section for a detailed list of all parameters and their functionality. The P ARAM 1 knob changes the Combo, and the P ARAM 2 knob changes the Bank.See the Combo Parameters section for a detailed list of all parameters and their functionality. To store in a different location, use P ARAM 1 to select a new Program or Combo destination, and P ARAM 2 for a different bank. If you press the switch again, the Poly returns to the edited version. The LED indicates the current keyboard transposition state. The transposition changes the MIDI note number of the keys, so MIDI notes sent will also be transposed. The transposition can also affect the key ranges in Combos. The lower LCD line displays the name of the Program. The P ARAM 1 knob selects which character is currently active, which is displayed by blinking the letter. The P ARAM 2 knob changes the character.http://www.gongoff.com/images/camera-control-pro-2.x-user-manual.pdf The scheme used by the Poly is a circular assignment; that is, as a new notes are received, the next unused voice is assigned to the new note. The algorithm used in the Poly steals the oldest note held of the 4 voices playing. This is done to be consistent; you can always predict which note will be stolen. In this case rather than stealing an already-used voice, the Poly will transmit the new note over MIDI so it can be played by another linked Poly. When a plug is inserted in the jack, that signal is disconnected from the mix output. Or take two different voice outputs (programmed in mono) and run one to the Left input and one to the Right input for even wilder results. The P ARAM 1 knob changes the parameter on the upper LCD line, and the P ARAM 2 knob changes the lower parameter.Steps in semitones. All receives on any channel. Note that MIDI clocks are handled separately per the MIDI Clock parameter. Check page 10 for more details. If set to On, a Program change will change the tempo to the BPM and Clock Divide values saved with the Program. When on, changing the main BPM will also change the Program BPM, and vice-versa. When off, changing one has no effect on the other. Actual speed also depends on the Clock Divide setting. If using MIDI clock, it will display the BPM of the incoming MIDI clocks. If Prog Tempo is On, the Tempo and Clock Divide will both be updated on every Program or Combo change. Half swing is the same with less delay. Controllers include Pitch Wheel, Mod wheel, Pedal 1, and pedal 2. You can select no gain (0 dB), or a gain in steps of 3 dB up to 24 db. Normally it will be around 15. Note that this input is heavily filtered for clean operation, so there is a limit to the speed it will respond to an external control voltage. This is useful with external sequencer operation. The dumps include Program and Bank numbers, so when received it will be stored in the same location. To edit a program, simply turn the desired parameter knob. The selected parameter and value appears in the LCD display. Holding one of the four switches will solo that oscillator (the switch will blink) by setting the levels of the other three to zero. It does not affect any modulation that is routed to oscillator level, though, so at times it may not completely turn off all other levels. Oscillator 1 is hardwired to the Left channel; Oscillator 2 is hardwired to the Right channel. The pulse width will turn off at the Low settings are faster. Normal Glide covers the range from 1 to 100 (0 is no glide). A “fingered” mode that only glides when more than one note is held down is selected by setting glide over 100, where it ranges from Finger 02 to Finger 100 (equivalent to glides of 2 to 100). With sync on, whenever oscillator 2 resets, it will also reset oscillator 1 for the classic hard sync sound. Oscillator 3 is hardwired to the Left channel; Oscillator 4 is hardwired to the Right channel. Like the original Prophet VS, the digital oscillators in Evolvers get quite trashy at higher frequencies. In the VS, the user waves were 0 - 31, and wave 127 was noise, which is not included because the Poly Evolver has a separate noise generator. Wave 96 has a Waveshape that is unique to Evolver in. The Poly Evolver Keyboard features a plethora of Dave’s best ideas packed into a monstrously powerful instrument with 4-voice polyphony and a sound like no other. Classic Curtis analog low-pass filters and real analog VCAs add ample warmth and girth to the analog section while the digital high-pass filter, tuned feedback, and digital distortion provide sizzle and grit. But what really sets the Poly Evolver Keyboard apart is the way in which the analog and digital sides of its personality mesh—the digital processing doesn’t simply add effects at the end of the signal chain, but is tightly integrated with the analog electronics in a true stereo signal path with tuned feedback, distortion, bit crushing, and synced delays. It can also process external audio and has separate stereo outputs for each voice. Massive doesn’t even begin to describe its sound. Imagine being able to move effortlessly from thick analog smoothness to crisp digital edge—or anywhere in between—and you begin to get the picture. The LFOs, step sequencer, and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo. It’s a sound designer’s dream that can go from ultra creamy to ultra aggressive with the turn of a knob. If you need convincing, just listen to the demos. FEATURES Each voice is a complete Evolver with four oscillators per voice, two analog and two digital. True stereo signal path with separate Curtis analog low-pass filters in each channel for each voice. Each voice has its own independent effects (feedback, delay, distortion, high-pass filter, etc.). Highly accessible sound control for easy, intuitive operation: 78 knobs and 58 switches. Clocked, pulsing blue LEDs and hardwood end-panels. Each voice has an independent 16 x 4 step sequencer. Everything (sequencer, LFOs, and delay) syncs perfectly to MIDI. In Program mode, all four voices play the same sound. Each voice can respond to a different MIDI channel. Each voice has its own stereo output in addition to the mix and headphones outputs. Stereo audio input that can be routed to any or all of the voices, enabling parallel audio processing of external stereo or mono signals. The output of one voice can be routed to the input of another for interesting double-processing effects. The Poly Evolver Keyboard features a plethora of Dave’s best ideas packed into a monstrously powerful instrument with 4-voice polyphony and a sound like no other. The output of one voice can be routed to the input of another for interesting double-processing effects. Supports real-time input, rests, and variable-length sequences. Syncs to MIDI clock and external audio. Sequences can control not only oscillator pitch but any parameter in the modulation matrix. Paste as plain text instead Display as a link instead Clear editor Upload or insert images from URL. Wouldn't it be great if there was a more affordable version: one that offered the single-voice architecture of the original desktop machine, but with a keyboard and a full set of controls? Enter the Mono Evolver Keyboard: a monophonic synthesizer perfectly proportioned for solo or bass duties, and a lot more besides. Could this be the best Evolver yet? Framed by two sturdy wooden end-cheeks and peppered with attractive red and blue LEDs, the metal-bodied MEK invokes a feeling of rightness from the outset. Three octaves is an ideal size for a solo synthesizer keyboard and with both velocity and aftertouch response, the result is highly playable, expressive and compact. One slight irritant was the physical 'clunking' noise made by a couple of the keys when in action. Their output has been dimmed in comparison to those of the Poly Evolver Keyboard, but is still a bit much for my taste. Of course, you may consider the light show well worth it once you see those four LFO LEDs shimmering, or the step sequencer flashing along at full pelt. This advice is probably intended for music shops and trade shows, so hopefully the sticker isn't present on all units, or won't leave a dirty mark when peeled off. On the plus side, it is about as neat and unobtrusive as any adaptor I've seen — so if you have to have one, this is as bearable as it gets. Without an internal transformer, the whole synth weighs in at around 13lbs. There are further add-ons in the form of a damper pedal input and two control pedal inputs, so you can put your feet to good use. And, in addition to the usual MIDI trio, a second MIDI output is provided to make connections simpler when stacking Evolver voices (see the 'Evolver Family' box).Improving on this considerably, the MEK features a standard LCD plus numerous rotary encoders and buttons. For example, the sequencer shares its encoders with the VCF and VCA sections; when the Seq Edit button is active, these encoders are used to tweak the sequencer's individual steps instead of performing their normal duties. Similarly, the four oscillators and four LFOs require only 12 encoders in total, plus a series of selection switches. This is a reasonable trade-off in my opinion — imagine the size of the panel needed to house dedicated controls for all! However, I share some of Steve Howell's misgivings, as expressed in his review of the Poly Evolver Keyboard. There is no meaningful feedback from the encoders, so even after a lengthy editing session, their position is always unrelated to the parameter value. Also, it may require multiple turns to sweep a parameter through its full range. I guess you have to weigh these factors against the convenience of being able to reach for any control and smoothly take up from its stored value. Turning an encoder very gently will show the currently stored value on the LCD, as does pushing the compare button. Whilst both of these techniques are fine, it occured to me that, now that the Evolver is blessed with a real display, it would be great if the old value and the new one were shown side by side as you edit. Of course, the main benefit of the display is that you can name your patches and don't have to remember those cryptic abbreviations. The same principle is applied to LFOs and modulators too, so top marks for consistency and operability. Any combination of table-top, poly-rack or either of the keyboard models can be connected, up to a limit of 20 voices. So, a four-voice rack unit could serve as a 'hands off' voice expansion unit for the Mono Keyboard to give you a five-voice Evolver — a tempting combination. To find out more, check out the original Evolver review in the February 2003 issue of SOS. The four-voice version was reviewed in the December 2004 issue and the five-octave, four-voice polyphonic keyboard in the March 2006 edition. We've covered this ground in depth in previous reviews, so a brief summary will suffice here. The analogue oscillators feature the expected triangle, sawtooth and variable pulse waves, plus oscillator sync. The digital oscillators have their own specialities in the shape of ring modulation and FM, and are stacked with a total of 128 waveforms, 32 of which may be user-imported waves. There is an excellent, free program linked from the DSI web site that will import small waves for you and transmit them to the Evolver; the PC version will even downsample large WAVs, but remember they need to be single-cycle waveforms. A length of 128 samples works best. This utility is highly recommended if you own any Evolver model. Their quality is unashamedly lo-fi, imparting a delicious, aliased flavour only partially sweetened by the twin analogue filters. If you've grown used to the lush, reverb-soaked tones of a modern workstation, the Evolver's rather brash, in-your-face character might take some getting used to. If you are a bit more old-school, or a fan of the PPG or Prophet VS sound, you'll be right at home. This time there's been a definite — and welcome — lurch towards normality. Many of the factory patches are actually playable (!) and there's a decent selection of analogue solo and bass patches, reminding us that it can do fat and warm too. All can be overwritten, and that's just what I suggest you do, as having a generous array of controls opens up the Evolver's synthesis way beyond the dreams of the original matrix. Now there are over 40 MIDI Controllers that the Evolver responds to, which is ideal when you want to drive it from an external sequencer. Usefully, you can now address the cutoff frequency and resonance of both (left and right) analogue filters as discrete modulation destinations, which is ideal, whether you're processing external signals or just creating dynamic stereo patches. Where applicable, the OS enhancements apply to all Evolver models. The manual is almost apologetic about slipping this one in, yet it really needn't be. Now that a keyboard has been added to the Evolver, I suspect an arpeggiator would be the next item on most personal wish-lists. To latch the arpeggiator, hit the Write key and play some notes. To wipe these latched notes, hit Reset. This becomes simple enough once you've done it a couple of times. Finally, to stop the arpeggiator, the Sequencer Start key is used, which incidentally renders the sequencer and arpeggiator mutually exclusive. The primary enhancement is the ability to step the sequencer from the keyboard, thus offering a marvellous source of subtle or freaky tonal changes. Think of each sequencer row as a series of up to 16 stored modulation amounts, and remember that each row can have its own length (up to the 16-step maximum). If you experiment with the vast number of possible destinations for each sequence, you'll soon see how much fun this can be. Perhaps you might want to introduce occasional flurries of vibrato, or to vary the delay time unexpectedly on only a few notes. Perhaps you wish that after every dozen notes you play, the next two notes will be automatically transposed by an octave. That sort of thing. It has been fascinating to watch the progression through inexpensive yet powerful synthesizer to polyphonic but less accessible rack, to a large, gorgeous but probably unattainable keyboard before returning to this: in my opinion, the coolest incarnation yet. Not evolutionary in the Darwinian sense, this is intelligent design in action, steadily and carefully planned to bring you an instrument whose detailed synthesis is paired with a generously endowed interface. The MEK feels complete. Other than the usual moans about external power supplies, there are no major compromises. I coped OK with them and found the user interface liberating, although I did occasionally, perhaps due to my troglodyte nature, find myself seeing stars after lengthy, close-up exposure to those bright blue LEDs. I compiled a list and emailed it to Dave Smith who replied to say he'd take a look. Within a few days, an email arrived with a new OS attached — all bugs fixed. I mention this because it's how it should happen, but rarely does. It's almost indecently full of wild and wacky sonic textures. With modulation sourced from multiple sequencers, LFOs and envelopes, you really shouldn't struggle to find inspiration if programming synthesizers is your thing. The stand-alone solo synth isn't dead yet. Pros Raw and wide-ranging blend of analogue and digital tones. Compact size and comprehensive user interface. Step sequencer and modulations galore. Cons External power supply. Blue LEDs rather bright under sustained exposure. Whether you want to perform fluent solos, delve into abstract bizarreness, run mad sequences or decimate external signals, the Evolver Keyboard could prove hopelessly addictive. Mastering Essentials - Part 1 6 days 22 hours ago. The A-Z Of Audio Interfaces 1 month 3 days ago. Record “fake” overhead drums Please help with MXR Phase 90 distortion problem Hugh's Studio SOS Hey Guys Really need some feedback on my control room 5.1 studio setup? DrumThrash Update 2.0.2 sprinkler issues Should I sign up to PRS before I CDBaby my first track? The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. It's almost as if Dave Smith's latest synth is steadily evolving back into his earlier Prophet 5. We check it out. A major innovator in the hi-tech music world since the mid-'70s, he designed the first truly programmable synth, Sequential Circuits' Prophet 5, as well as the monophonic Pro 1, Prophet 10, the gorgeous T8, and many others. He is credited as one of the fathers of MIDI, having helped to design and promote this now-ubiquitous interface. He was also the creator of Vector synthesis in the Prophet VS (later to blossom into the Korg Wavestation) and was developer of the world's first proper software synth, Seer Systems' Reality. Having just one of those achievements on my CV would make me very happy! First off the line was the Evolver, a monophonic synth in tabletop form reviewed in SOS February 2003. This was followed by the Poly Evolver rack (see SOS December '04). The Evolver uses a 'matrix' method of programming, where you select a line of parameters to edit on the matrix with the buttons at the side and then adjust that line's parameters with the eight encoders at the top of the matrix — it's a capable, but fiddly interface. That's the Evolver story so far, but now everything has changed with the arrival of the Poly Evolver Keyboard (or PEK), which seeks to combine the best of both previous versions and improve on them, being polyphonic, fitted with a keyboard, and, as you can see above, covered in many more controls than graced the front panel of the original Evolver. There are rotary encoders, illuminated switches and blue LEDs — it really is a classy thing to look at. There are even wooden end cheeks, and although I know they make no contribution to the sonic quality of the instrument, they do add something to the 'experience' of owning and playing it. The PEK also sports two transparent wheels to the left of the keyboard, which glow a beautiful blue; in subdued lighting, the PEK is a thing of beauty (see the final page of this article). Even my wife, who is usually quite unimpressed with the various bits of gear that pass through our doors, was very taken with the PEK's cosmetic design, calling it 'the ultimate big boy's toy'. And she was absolutely right. Each voice has two digital 'vector' oscillators and two analogue oscillators per voice which are fed to an analogue low-pass filter (the digital oscillators by way of a digital-to-analogue converter) and an analogue voltage-controlled amplifier. From here, the signal comes back through an A-D converter to be further integrated with the digital audio processors. Each PEK voice gets its own stereo output, so in addition to the headphone jack and main stereo outs, there are a further eight jacks (two per individual voice), plus a stereo pair for the audio inputs, then the power connector, connectors for sustain pedal and two continuous footswitches, the de rigeur MIDI trio (plus an extra connector for daisy-chaining other Evolvers and Poly Evolvers), and finally, those completely gratuitous (but very impressive-looking) blue LEDs. Photo: Mark Ewing This means that you have the best of both worlds: software LFOs and envelopes, four step sequencers, effects, sophisticated modulation control, precise control of parameters, and loads of memories to store sounds thanks to the digital side of the synth, plus the warmth and character of analogue. The PEK's voice structure is unchanged from that of the other Evolvers, so for more details, head for those older SOS reviews. The main business area (oscillators, filter, envelopes, effects and output parameters) is right in front of you, directly above the keyboard and follows a logical progression from left to right. Furthermore, good labelling makes it perfectly clear how the signal flows through the instrument, especially with regard to showing the various feedback paths that occur in each voice. Dominating the centre of the panel is the programming area, where the 512 sounds (four banks of 128 sounds each) can be selected using the plus or minus buttons, two data encoders or the large keypad. The instrument's three different modes of operation (Combo, Program and Global) are also selected here (see the box overleaf for more on this). There is a headphone output, a pair of main stereo outputs which carry a mix of all the voices, and there are also individual (stereo) outputs for each of the voices. Inserting a cable into these (balanced) quarter-inch jacks removes that signal from the main stereo outputs, as it should in my opinion. There is also a stereo audio input allowing external signals to be processed through the PEKs filters and effects. As the PEK is more biased towards performance than its counterparts, there are two variable pedal inputs (assignable) and a sustain pedal input. In fairness, it's not a wall-wart type — the PSU is connected to the mains with a cable of a decent length — but it was still a surprise when I removed the PEK from its packaging. Disappointing as well was the omission of a digital audio output, which I would have thought would make the PEK more flexible in a modern studio. These must have been included for visual purposes, because they serve no practical purpose whatsoever otherwise — but they do look very nice. I guess it's only a matter of time before synth nerds in the audience will be guessing which patch is being used based on the respective rates of those LEDs.