Pseudo-paraphonic Waveshaper
Recently MM entered its 8th year of existence. For this occasion this very special module -Tarot « La Coupe » 🏆 is out now! This is the most complex and experiment oriented MM module to date. A true labyrinthe of timbres. It combines several wave shaping sections with voltage controlled morphing between them for a whopping amount of timbres, as well as some internal network of feedback routings from shaped waves throught frequency multiplies for some unheard sonic voices. Those are to be explored with typical oscillator’s waveforms or with all other audio. The module has CV controls over almost every parameter (even hidden ones 🗣️) although it conserves 12hp size.
From the mythic west-coast folding sounds, through tight basses, wild distortions, powerful chorus-pulse width modulated soundscapes and some colorful synth leads & pads Tarot LC can go downright to the harsh-noise territory or chiptune-like artefacts.
The additional small breakout module provides 6 individual outputs available simultaneously for some eventual complex sound designs, post processing, stereo patches, panning, etc. (although every section can be heard separately or in interaction with others through main (mix) Out (therefore the expander module is sold separately)
This Tarot carries well its name - there are many constellations to be explored finding different characters through the shuffling of its sonic deck of cards.
Details & use:
Tarot LC is rather a complex module, it is thought to be the only waveshaping module you would ever need in your rack: this module is like having 6 shapers in one module. You've probably noticed that names of some control knobs (Warp, Shape, Fold) are almost the synonyms, emanations of waveshaping techniques- that's intentional and is thought for that the user could more easily distinguish each shaping circuit separately since some controls are shared or some potentiometers have double functionality depending on the chosen mode.
The easiest way to get to know Tarot LC without reading the manual is if you have purchased the Breakaout module with separate Outs - you can just plug each Out, one by one, to see which controls are operable with corresponding circuit's output and than figure out which one is crossfaded with another thru 3-way switch (CF SWAP) giving mixed Out on the main Tarot LC module.
So to start here is how to connect your expander module:
Note that the Breakout expander module is delivered with small jumper wires but you can also use a typical eurorack ribbon cable if you have a spare one (in the case you need more length or just if you find it more sturdy). You don't need to stress about those connections, the expander is passive and has no power pins, you won't burn anything :) the aim is just to have corresponding out on the right place of the expander's 6 silkscreened names on the faceplate.
Although complex the module is not necessarily too complicated to use once we observe the Crossfade control potentiometer on top with two yellow leds indicating the signal strength of two channels: Left one for the left side* of the module "ch. a" and right one for the right side* "ch. b". The three-way switch (CF SWAP - I,II,III) determines which circuit on the left channel will interact with the opposite one on the right (*this will be further explained thru this manual while presenting all the waveshaping sections of the module).
Crossfader can be voltage controlled (CV7) and has its attenuator next to the CV input with bi-color led indicating the incoming cv's polarity.
The two yellow leds on the sides of the main Crossfade knob are particularly useful in live performance situations (but also in the regular use) as they monitor signal strengths of both sides of the fader and will avoid you to lean to the side where the signal is absent or too weak compared to the other (the case where some potentiometer is all way down or some deep modulation is bringing corresponding VCA to silent, etc.)
Also you'll have to keep in mind that some wavefolding techniques in the module deal with or are based on wavedistortion principle so these circuits can get very loud especialy when they are overdriven. That said in some extreme settings if the signal on the one side of the fader is too strong/loud it will saturate the channel thus the fader's VCA won't be able to properly close and allow to opposite channel to interact, same if both are pushed to maximum and get too loud and saturated (anyway in this constellation both will be completely gone into big pulses waveform and in terms of timbre it is less easy to distinguish one from another).
Often, "tower moments" are inevitable and coud be for our own good!
Now let's start with what is considered to be the ➡️ right side of the module, or "channel b":
The "Warp" shaper section consist of 3 potentiometers controlling Saturation, Warp Range and the Symmetry.
All 3 parameters are voltage controllable (CV3, CV4, CV5) and have their respective attenuators.
This waveshaper can do well with Sine on the input but gets even better results with Triangle wave. Obviously you can use it with any other audio for distortion experiments with hard compressions, smashing your drums, etc.
It works in the following way: the Warp control will warp & stretch the waves from the stage where the Saturation control is positioned: the saturation will not be present around noon position of the knob but will progressively go to heavy overdrive and pulses territory as you move forward the Saturation knob.
The Saturation CV input (cv3) is pre-attenuated since there's a too big difference in level range of this control (and also this prevents the VCA at some point from completely cutting to getting too loud as the Warp cv could already do that in less abrupt way) but at the same time this allows to modulate this distortion in more subtile way: to play and toggle around some "sweetspots" more easily since at certain points it can give some cool liveliness of the shaped waves in the soft-clipping-like manners.
Note also that "Warp range" CV input (CV4) is "normaled" to offset so when nothing is patched into "CV In" its attenuator will act like an offset (pretty much like the main "Warp Range" knob) - this can be useful to add additional offset - push even forward the already saturated waves,
if the devil card of tarot took possession over you :)
Symmetry will influence the timbre depending on the polarity - whether the positive or negative portion of the wave gets folded further.
Tips:
In more general way the characteristic of wave folders is to multiply the folds into the same time interval of the initial frequency thus producing more harmonics- resulting in sound much 'brighter' than the initial frequency thus symultaniosly getting less "round". The particularity of this Tarot's circuit is in comparator's settings for making less folds compared to others folding sections of the module and is very capable of dark, tight bass timbres. Try it with a quick shorter envelope into the SAT CV and eventually with an LFO into the WARP CV and vice versa.
The another advantage of this design is the ability of the big, natural chorus effect: you'll acheive it with bringing the faster rate LFO into the SYM CV with the Symmetry Tune knob set around middle position (the cv will quickly toggle thru positive/negative DC bias). This works best with a triangle wave on the main input. Introduce some slight FM to your oscillator and this will be even more highlighted!
The individual Out of this circuit on the expander module is "WARP OUT"
This "Warp" shaping bloc interacts with the sections of the opposite, left side of the module (ch. a) via Crossfader when the "CF SWAP" switch is in the middle position, two (II)
It will be on the right side of the fader knob (ch b).
It can also interact with the second folder of the right side named "Shape" (described next below) when the CF SWAP switch is in the third position (III) :
"Warp" will stay on the right of the fader knob (ch b) while the "Shape" will go to the left (ch a).
Now lest's move to the another folding section, still on the right side ➡️ of the module.
It is based on somewhat same principle as the previous one but with different transposition of the VCAs and DC biasing acting somewhat differently on the timbre. Shape knob will obviously control the shaping which is also possible via SHAPE CV (CV2). Symmetry is controlling transiting polarity bias going from irregular to regular harmonics and is also voltage controlable (cv5) Saturation here is operating manualy overdriving the shaped waves.
The shared "warp cv" (cv4) and Warp knob can eventually be used to control the VCA level of this folder (it is no longer warping, just controlling the level). For this to be the case the switch "SHP GAIN" have to be in "cv" position - than it will be voltage controllable. Note also that when in this "cv" dependent mode, since the "cv in 4" is normaled to offset, if nothing is patched in than you have to control manually the level - both with attenuator and Warp range knob (or just open completely the attenuator than control it only with Warp knob).
If the switch is in "fix" position - the VCA level will stay fixed on maximum and then cv in, its attenuator and the Warp knob have no effect, are disabled.
Why this choice of "cv" or "fixed" settings, since there's already a VC Crossfader who can vary the level ? Well, it's more simple at the beginning to leave it on "fix" position so you're sure to always hear it but with further exploration of the module you'll figure out that when this folder interacts with the opposite side of the module it might get to loud (especially when overdriven) regarding some eventual lower gain stage setting on the opposite side so you might want to scale it down. So to do it just put it in "cv" mode and set the level lower manually.
Tip: This feature can be useful in external mixing of dynamic patches and pseudo-paraphony when combining the morphing of other sections thru main mix out on the main Tarot module with separate "SHAPE OUT" of this folder on the expander module. Can act the same thru PLL OUT or PWM OUT and simultaneously if the 'Shape' is selected as the source of those circuits (see further text below about the module's left side's channel a features).
"Shape" works best with sines but can be very interesting with triangles on the input although with triangles it will produce a lot of over-harmonics especialy on the early stages of the knob turn with less folds, you might want it but if it's not the case a good companion in precise filtering of this harmonic content is the MM Isotita graphic EQ (exists in 3U & 1U format)
Tip:
This shaper, notably when used with triangles, is able to produce considerable amount of 'irregular' harmonics that are in particular naturally contained in human voices - so this could be considered for those interested in speech synthesis-like sonic realm.
The individual Out of this circuit on the expander module is "SHAPE OUT"
The "Shape" section interacts with the circuits of the opposite, left side of the module via Crossfader when the "CF SWAP" switch is in the first position (I) and will be on the right side of the fader knob (ch b).
It can also interact with the "Warp" shaper (althought with some shared commands and CVs) when the CF SWAP switch is in the third position (III) and will than move on the left side of the fader knob (ch a).
(In this constellation could be wise to keep the SHP GAIN on "fix" - this way the main folding controls : Warp for the one and Shape for the other stays operable independently)
Now lets move to the left side ◀️ of the module (channel a).
The first important thing here is to observe the bigger "PLL/FOLD" switch. We will start here when this switch is in PLL position, on the left. Now take note also of the small switch just above: "PLL/PWM SELECT", it's like an analog sub-menu - once you've chosen the main PLL mode this one is linked to it. It has two modes "pll" and "step" and we will describe at first here (image) when it is in "pll" position.
In this settings you're in the Frequency Synthesizer mode (aka PLL) and you'll hear it at the left side of the fader (ch a)
The three knobs are controlling frequency multiplications and a subdivision. They work like levels of each additional frequencies. The one on top 'MULTIPLY 2' adds 4x higher frequencies (HIGH) compared to the initial incoming frequency, the one in the middle 'MULTIPLY 1' adds 2x higher (MID) and the (LOW) SUB DIVIDE adds one subdivision of the initial frequency. The source of this initial frequency called fundamental will be determined by the "PLL/PWM SOURCE" switch (highlighted on the right): it can be the waveform (or rather its frequency) you applied on the main input - in that case the switch needs to be on the left, at the "main in" position; in the middle position (shp) its source will be "Shape" section and in the third position (wrp) on the right, it will be sourced thru "Warp" section.
So how this work, what does it do to a sound, what kind of waveform those over-frequencies create? Technically, and to keep it the most simple, PLL will internally translate any waveform on the input to a PLL more comprehensives squares/pulses; than thru a phase comparator (and thanks to an internal LPF facilitating this translation job) will, once in phase with the internal VCO, create a constant synchronization, a loop. This way the internal VCO will produce its particular waveform in different frequency ranges (thanks to internal counter dividers) always referring to the fundamental frequency, or in other words it will continually track the input pitch. The "TRACKING" switch has for function to allow the choice: to stay tightly close in tracking ("fix") or make it more loose ("slide") which will incidentally create a FM-like glissando effect on the beginning of the notes (technically this is a "lag" inside the internal low-pass filter setup). Those two settings will also influent the timbre's color. As an advantage the "slide" mode will allow to the internal VCO to keep up in tracking when some modulations are applied on the fundamental frequency (to a some reasonable extent).
The blue led with "phase pulses lock" marking will monitor by blinking if there will be difficulties in tracking (thus in the forming of a locked loop).
Now knowing that it is mainly the pitch frequency that represents interest for the PLL and not that much the form of the wave on the main input than you'll choose the input waveform (sine or triangle) which suits you the most for the use with other Tarot's shapers sections, notably for those two (Shape, Warp) that can be selected as an alternative input sources of the PLL. At first glance this might look confusing: if waveform doesn't count why than we have the extended source choice of shaped waves? Remember the ability of wavefolders to form additional multiplications of the waves inside the same interval of the pitch frequency ? This phenomenon will give all the different timbres when fed to the PLL compared to a classic oscillator's uniformed waves (when in "main in" position). The another advantage comes from the modulation of waveshapers parameters which by correspondence will bring an animation to otherwise static waves of the PLL.
Although answering this brings us to some less technical and "user manual" ways of approaching an instrument and how to use it because PLL here is for everything but "stick to the manual" way of use. It is rather the true sound experiment laboratory in itself inviting us to not only use & explore its capabilities but also its "incapabilities". While doing this you'll reveal some surprising behaviors of this circuit and probably find that it can be able of the best & the worst and you won't be wrong! :)
In this regard it might be useful to say few words in general about PLL to better understand the ways that it can be creatively approached 'in use'. Phase Locked Loop is the circuit that is not exclusively proper to the sound or music. We find them in lots of other applications whether it be in a virtual form - in digital applications or in a hardware, like in telecommunications equipment, etc. Concerning the strictly musical use PLLs might be better known to the guitar world where the crunchiness and particular distortions are often very welcomed. In the synth sphere it's much less common to came across PLLs (with some exceptions in the modular world, more renowned as experiment oriented synth sphere). This is comprehensible knowing that from the classic, mainstream synthesizer-maker point of view with market-oriented requirements aiming for more approachable "musicality" of produced sounds the proficiency over PLLs is not immediately granted as they might behave in many unpredictable ways.
Le Mat goes into the journey of life enthusiastically open to the unknown..
This mainly comes from the chalenges related to the ability of the circuit to "track" the incoming pitch through constant changes of the notes's height (frequency) predominately within larger difference in the tonal scale when played consecutively, the same is relevant for bigger modulations applied on fundamental frequency's pitch. But this will also be the most "fun" point to explore - namely putting the circuit in difficulties to achieve its function and explore all kind of weirdness this can produce! More frequencies presents at the same time on the input or deeper modulations means more 'mess' and equally more inapprehensible PLL's response: console chip-tune, vinyl-scratch-like sounds, bit-crashing, noise, random crunch, broken electronics... Be prepared for selective sorting: good trash - bad trash :)
Tip:
Try it with your voice, speech, drum machine, guitars, playing entire audio from devices..
In the more conventional use ('main in' with regular oscillator waveform) it's more easy to keep it in track especially with clear fifths in the simple monophonic manner. Tarot have improved tracking abilities more efficient and stable than most of PLL sound devices and will track the pitch through about 5 octaves.
The "musicality" of PLL's waveform with its somewhat "mechanical" character (due to the absence of direct modulating abilities) is obviously the subjective point relative to everyone's aesthetics but beyond this question the use of frequency multipliers, in like we said more conventional way, is not limited only to its own fairly static waveform but should rather be considered as a means in conjunction with shapers - to achieve multilayered timbres, pseudo-paraphony or, at certain points, pseudo-chord sounding results.
The another possible classic way could be to use it like 'touching up' tool: for exemple to add brilliance to some metallic hits produced by wave-shapers: there we'll be using PLL's high multipliers to adjust this in higher frequency spectrum; or exemple vice versa, to add some underline accent to some hi-pitched shaper's timbre, we can do this slightly with the subdivider without going down with the pitch and completely alter the timbre's nature, etc.
Finally when PLL is using shapers as source it can behave in both ways: "experimental" while using modulations on shapers parameters and more conventional, "musical" way when modulations carefully dosed - although it will produce some very particular harmonic content.
Tip:
Introduce some slight linear frequency modulation to your incoming oscillator, select "warp" as source and apply the same chorus-like trick (faster lfo in symmetry CV with the Symmetry knob at 0, the middle position) Now the frequency adders are animated. Explore each multiplier/divider knob settings while going up or down with octaves on your oscillator. At some point you'll come across some very particular "wavetable-like" sounding timbres most probably by surprise!
The individual Out of this circuit on the expander module is "PLL OUT"
Now let's move to another section, still when the main switch is in PLL position (on the left) but this time the submenu switch "pll/pwm select" is now up, in "step" position.
Here you're no longer using the PLL but the PWM (Pulse Width Modulation) and you can choose the source like for previous one, between: main in, shape or warp.
The knobs are not effective here - only two cv s, CV1"UP" and CV6 "DOWN" with their attenuators.
What does it do?
When you feed a triangle wave on the main input ('main in' position) for exemple, the tringle form of the wave will be re-created by stairway-like waveform. The number of steps (pulses) on that stairway form can be determined via PWM STEP switch: choosing the 'step mode' between more or less steps. This will influense the timbre and the modulation operated by incoming CVs in the PWM manner. When observed on oscilloscope you'll have impression when CV is applied on the "UP" (positive offset) cv input that the modulation is pulling up the waves while applied on "DOWN" (negative offset side) is been pulled down. More intensifing the CVs the larger pulses will occur on the one or the other side.
When the source is one of shapers this will add additional mouvement and modulations to already shaped waves.
Tip:
Sonically very interesting with triangles. When used with shapers more effective while shapers are not pushed to pulses (via saturation knob) since this circuit already operates with pulses.
Can add aditional mouvement to already animated
waves (like thru symmetry cv modulation)
The individual Out of this circuit on the expander module is "PWM OUT"
"V" It’s time to get into a new dynamic and resume your journey; not repeating the same mistakes and moving forward with resilience.
"VIII" You want to understand why you always act or react in the same way even if this behavior makes you suffer or is detrimental to you.
Now let's move to the final section of the module's left side (channel a) and this is a wave folder. To get it to work you'll need to push the main PLL/FOLD switch to the FOLD position on the right.
This wave folder consists of two stages with fold controls over each stages and the Initial Gain control over the folder's Stage 1.
Both folding stages have CV controls with attenuators: CV IN 1 for Fold Stage 1 and CV IN 6 for Fold Stage 2. (in absence of control volatages ther's a ceratin amount of offset normaled to those cvs)
To hear both folders there's a switch who needs to be selected on "st1 + st2" position.
It works in a way that the first stage of the folder will fold the waves from the Initial Gain point while the second stage will add additional folds or rather do an overfolding of the already folded waves. This gives as a result some very agressive timbres scratching the limits of harsh noise at some points.
When you turn down the Stage 2 knob (and its CVs attenuator) then you'll hear only Stage 1 folds.
Tip:
Works best with the sine waves, will work with triangles also. Try it with envelope on the ST1 CV and with the LFO on the ST2 or vice-versa. If you have the expander module you can post-process both stages individually in some complex, evolving patches.
The individual Out of both folders on the expander module is "ST1+ 2 FLD OUT"
You can hear only Stage 1 anyway while keeping the Stage 2 knob down.
There is also a possibility to disconnect the two folders and hear only the second one - in that case the switch needs to be in "st2" position, on the up side.
Now the controls of the first stage are not in function - there are only controls of the second stage available independently from the first.
In this constellation the gain of this folder is set to maximum and the timbres produced are very densely "squeezed" acros the knob, you'll move the knob gently since the timbre alters drastically with small movements of the knob.
Tip:
This folder can produce some aggressively, abrasif kind of sounds as well as some tight basses when used on lower pitch of your oscillator.
The individual Out of this folder on the expander module is "ST2 FLD OUT"
To resume, concerning the left side (or channel a), this side will interact with the opposite side's sections when the crossfader's switch CF SWAP is in positions I or II. When the main switch PLL/FOLD is in PLL position it can be either PLL - when the small switch above is in "pll" position or PWM - when the small switch is in "step" position.
When the main switch is in FOLD position then the left side becomes a WaveFolder.
Like all Tarot Aces, the Ace of Cups invites you to seize the opportunity offered to you, to drink the contents of the Cup. The promise? Love, satisfaction and emotional healing! To obtain it, the Ace of Cups asks you to take matters into your own hands, to be active in this search for happiness.
You may have to take a risk – express your feelings, express what your heart desires – for this flow of Love and Abundance to come to you.
Enjoy your Tarot LC !
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