3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground.

3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground.

3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground. 

3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground.

3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground.

3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground.

3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground.

3.5mm mini jack socket of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. The ground (sleeve) of each mini jack socket connects to Pulsar’s ground.

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out.

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. 

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out.

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out.

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out.

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out.

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out. 

Alligator clips pin of a pin to mini-jack adapter

Pulsar has eight adapters for connecting mini-jacks used in Eurorack to the pins designed to connect the alligator clips. Each of them can work as CV or audio in or out.

Out of the first channel of the MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

The first output of the converter, marked KTR (key tracking) can generate a CV signal proportionally dependent on the note number playing on the BASS channel. To assign this function, hold the LRN button near the first output and press any key of the MIDI keyboard assigned to the BASS channel. Key tracking is needed for controlling certain parameters by note pitch, for example the LPF frequency.

Out of the second channel of MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

Out of the third channel of MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

Out of the fourth channel of MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

Learn button of the first channel of MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

Learn button of the second channel of MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

Learn button of the third channel of MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

Learn button of the fourth channel of MIDI to CV converter

The four-channel MIDI converter allows you to assign four CV outputs to any MIDI controller. To assign an output, simply press the LRN button next to it and turn or press the desired controller or key (send a MIDI message).

MIDI to CV converter automatically recognizes the key and the continuous controller (CC). In case a MIDI keyboard key is assigned, the velocity value of the pressed key will be transmitted. If a controller is assigned, the position of the controller is transmitted.

Output of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.

Input of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.

Adjustment potentiometer of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm. 

Output of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm. 

Input of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.  

Adjustment potentiometer of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.

Diode anode (positive) pin. Applying positive voltage on this pin will open the diode and allow current flow

Diode is a single radio component, useful for atomic control of signals and circuitbending. For example, you can modulate the velocity of a trigger output of the looper/recorder with the LFO signal. To do this, connect the left contact of the diode (anode) to the TRIG output, and the right contact of the diode (cathode) to the triangle LFO output. The velocity of the selected synthesis module will follow the LFO. Also, try to insert the diode in different directions in different modulation and dynamic control circuits.

0.1uf capacitor pin

Capacitor is a single radio component, useful for atomic signal control and circuit bending. The capacitor allows you to cut off the constant component of the signal and form a decay of the desired length for long signals. Try connecting slower signals from the clock divider (pins 4-0.25) through a capacitor to the CV input that controls the filter frequency of one of the modules. For each jump in a rectangular signal, the capacitor will form a smoothly falling envelope, the length of which will depend on the nominal value: 0.1 mf will give a quick decline, 10 mf will be slow.

Try inserting a capacitor in various modulation and dynamic control circuits.

By connecting one contact of the capacitor to the ground (GND pin), and the other to a signal, you will create a low-pass filter that cuts off the high-frequency component of the audio signals and softens the attack of the control signals.

10uf capacitor pin

Capacitor is a single radio component, useful for atomic signal control and circuit bending. The capacitor allows you to cut off the constant component of the signal and form a decay of the desired length for long signals. Try connecting slower signals from the clock divider (pins 4-0.25) through a capacitor to the CV input that controls the filter frequency of one of the modules. For each jump in a rectangular signal, the capacitor will form a smoothly falling envelope, the length of which will depend on the nominal value: 0.1 mf will give a quick decline, 10 mf will be slow.

Try inserting a capacitor in various modulation and dynamic control circuits.

By connecting one contact of the capacitor to the ground (GND pin), and the other to a signal, you will create a low-pass filter that cuts off the high-frequency component of the audio signals and softens the attack of the control signals.

Input of the pulse converter

Pulse converter — designed to convert rectangular signals into short pulses suitable for triggering synthesis modules. Designed to work with the clock divider, but can also be used in various experiments.

To get a basic techno rhythm, connect output 2 of the clock divider to the left contact (input) of the first converter, and connect the right contact (output) of the first converter to the TRIG SD input; connect output 4 of the clock divider to the input of the second converter, and connect the output of the second converter to the input of TRIG BD; connect output 16 of the clock divider to the TRIG HHT input.

Input of the pulse converter

Pulse converter — designed to convert rectangular signals into short pulses suitable for triggering synthesis modules. Designed to work with the clock divider, but can also be used in various experiments.

To get a basic techno rhythm, connect output 2 of the clock divider to the left contact (input) of the first converter, and connect the right contact (output) of the first converter to the TRIG SD input; connect output 4 of the clock divider to the input of the second converter, and connect the output of the second converter to the input of TRIG BD; connect output 16 of the clock divider to the TRIG HHT input.

Diode cathode (negative) pin. Applying negative (relatively the anode) voltage on this pin will open the diode and allow current flow

Diode is a single radio component, useful for atomic control of signals and circuit bending. For example, you can modulate the velocity of a trigger output of the looper/recorder with the LFO signal. To do this, connect the left contact of the diode (anode) to the TRIG output, and the right contact of the diode (cathode) to the triangle LFO output. The velocity of the selected synthesis module will follow the LFO. Also, try to insert the diode in different directions in different modulation and dynamic control circuits.

0.1uf capacitor pin

Capacitor is a single radio component, useful for atomic signal control and circuit bending. The capacitor allows you to cut off the constant component of the signal and form a decay of the desired length for long signals. Try connecting slower signals from the clock divider (pins 4-0.25) through a capacitor to the CV input that controls the filter frequency of one of the modules. For each jump in a rectangular signal, the capacitor will form a smoothly falling envelope, the length of which will depend on the nominal value: 0.1 mf will give a quick decline, 10 mf will be slow.

Try inserting a capacitor in various modulation and dynamic control circuits.

By connecting one contact of the capacitor to the ground (GND pin), and the other to a signal, you will create a low-pass filter that cuts off the high-frequency component of the audio signals and softens the attack of the control signals.

10uf capacitor pin

Capacitor is a single radio component, useful for atomic signal control and circuit bending. The capacitor allows you to cut off the constant component of the signal and form a decay of the desired length for long signals. Try connecting slower signals from the clock divider (pins 4-0.25) through a capacitor to the CV input that controls the filter frequency of one of the modules. For each jump in a rectangular signal, the capacitor will form a smoothly falling envelope, the length of which will depend on the nominal value: 0.1 mf will give a quick decline, 10 mf will be slow.

Try inserting a capacitor in various modulation and dynamic control circuits.

By connecting one contact of the capacitor to the ground (GND pin), and the other to a signal, you will create a low-pass filter that cuts off the high-frequency component of the audio signals and softens the attack of the control signals.

Output of the pulse converter

Pulse converter — designed to convert rectangular signals into short pulses suitable for triggering synthesis modules. Designed to work with the clock divider, but can also be used in various experiments.

To get a basic techno rhythm, connect output 2 of the clock divider to the left contact (input) of the first converter, and connect the right contact (output) of the first converter to the TRIG SD input; connect output 4 of the clock divider to the input of the second converter, and connect the output of the second converter to the input of TRIG
BD; connect output 16 of the clock divider to the TRIG HHT input.

Output of the pulse converter

Pulse converter — designed to convert rectangular signals into short pulses suitable for triggering synthesis modules. Designed to work with the clock divider, but can also be used in various experiments.

To get a basic techno rhythm, connect output 2 of the clock divider to the left contact
(input) of the first converter, and connect the right contact (output) of the first converter to the TRIG SD input; connect output 4 of the clock divider to the input of the second converter, and connect the output of the second converter to the input of TRIG BD; connect output 16 of the clock divider to the TRIG HHT input.

SHAOS 1 bit direct output. 
The output has 2 levels of output voltage. 

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

SHAOS 1 bit output with sample and hold function. 
The output has 2 levels of output voltage. 

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

SHAOS 2 bit direct output. 
The output has 4 levels of output voltage. 

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

SHAOS 3 bit output with sample and hold function. 
The output has 8 levels of output voltage. 

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

SHAOS module activity LED. Reflects state of 3BIT output.

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

63 16 217 switch — determines the length of the pseudo-random sequence. It can be equal to 63, 16 or 217 pulses of the internal or external clock.

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

S/H (sample and hold) input pin — input for external pulses. With each impulse applied to the S/H pin, the pseudo-random seq will be sampled and held. The S/H function will be synchronized to impulses applied to the S/H pin. If nothing is connected to the S/H pin, sampling and holding are performed in sync with the internal clock of the module. When a source with a low output resistance is connected to this pin, the internal clock is automatically turned off and replaced by the external clock signal.

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

CLK (clock) input pin of SHAOS module — input intended for connecting an external clock. When a source with a low output resistance is connected to this pin, the internal clock is automatically turned off and replaced with the external one.

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

DATA input pin — can be used to write a sequence to the memory of shift registers. When the switch 63 16 217 is in position 16, the shift registers turn into a cyclic memory, into which you can write a short sequence of states using the DATA pin. In the simplest case, connect a wire to this pin and short-circuit it to the +10V and GND contacts, or simply move the switch from the edge positions to the center (16). Doing this records various sequences in the cyclic memory, which will be played in sync with the incoming clock. The sequence plays one time normal and then inverted, therefore the dependence of SHAOS outputs from DATA input is not linear and obvious.

SHAOS is a generator of complex pseudo-random signals of the author’s de-sign, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

MOD (modulation) pin — CV input that controls the clock frequency (FREQ parameter) of SHAOS module.

SHAOS is a generator of complex pseudo-random signals of the author’s design, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold
unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

FREQ (frequency) knob — controls the clock frequency of the SHAOS pseudo-random synthesis

SHAOS is a generator of complex pseudo-random signals of the author’s de-sign, built on the basis of shift registers. Hence the name SHIFT + CHAOS = SHAOS. It consists of a clock generator, a shift register with a feedback circuit generating a pseudo-random sequence, along with a sample and hold unit that allows sampling from a pseudo-random sequence, synchronized to an external signal.

Output of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm. 

Input of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.

Adjustment potentiometer of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.   

Output of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.

Input of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.

Adjustment potentiometer of the attenuator

Pulsar features four assignable attenuators. They are necessary if you need to reduce or control the level of any audio or CV signal. The right contact is the input, the left contact (wire with an arrow) is the output. The knob adjusts signal amount where 100% CW = 100% of signal, 100% CCW = 0% of signal. The knob has logarithmic tracking. The input impedance is 100K ohm.   

BANK sensor is a multifunctional sensor of the module that controls the looper\recorder(LR)

In combination with the ADD or DEL sensors — switches the LR banks.Each of the four LR channels is also associated with one of the four banks of loops.To switch bank: while holding BANK, press ADD or DEL of the desired channel.The activated bank is indicated by a lit yellow LED to the left of the ADD sensor.

It is possible to partially or fully copy the contents of banks into each other. To do this, while the LR is playing, hold BANK and press ADD + DEL of the channel you want to copy to. The bank will switch over while copying the contents of the previous bank to the selected bank. Copying occurs on the fly, i.e. without stopping playback and does not interrupt the play process. Сopying will be performed only on those channels where the recording mode is selected. Copying occurs exactly as long as the combination of three buttons is held. If you need to copy the entire loop, you must hold this combination for at least the length of the entire loop of the looper. You can also copy the loop partially, holding the сombination only for the desired fragment. This allows you to mix fragments from different banks. When copying, the previous contents of the bank are erased.

BANK + L (stop) — stops the LR.

BANK + M (start) + one of the ADD or DEL sensors — starts or restarts the LR from the specified position. The LR loop is divided into 8 equal parts. Each part is associated with one of the 8 ADD and DEL sensors. By pressing BANK + M and the desired sensor, you can start the loop from that section. If LR is already running, it will restart from the specified position. This allows for non-integer measures and changing rhythmic patterns.

BANK + L + M + one of the sensors (ADD or DEL) of the desired LR channel — will quantize the content of the channel to 16 notes. The LR will stop when this operation is performed. To start it again, use the start function. For the quantize function to work cor-rectly, please make sure that the LR is aligned with the clock dividers!! To do this, press the RST button on the CLOCK module before recording, and\or connect the LRST pin to the 0.25 output of the clock divider, and use a metronome during the recording!

L sensor — allows you to set the velocity of recorded or played notes. L (low) — lowest velocity

In REC mode, the L M sensors let you set the volume of notes recorded by the ADD sensor. If neither L nor M are pressed, the recording velocity is maximum. In PLAY mode, the L M sensors let you set the volume of notes played by the ADD sensor and modify the volume of playing notes recorded in the LR. In PLAY mode it doesn't change the content of looper memory. L + M (high) — simultaneous pressing will cause maximum velocity.

BANK + L (stop) — stops the LR.

BANK + L + M + one of the sensors (ADD or DEL) of the desired LR channel — will quantize the content of the channel to 16 notes. The LR will stop when this operation is performed. To start it again, use the start function. For the quantize function to work cor-rectly, please make sure that the LR is aligned with the clock dividers!! To do this, press the RST button on the CLOCK module before recording, and\or connect the LRST pin to the 0.25 output of the clock divider, and use a metronome during the recording!

M sensor — allows you to set the velocity of recorded or played notes. M (middle) — medium velocity.

In REC mode, the L M sensors let you set the volume of notes recorded by the ADD sensor. If neither L nor M are pressed, the recording velocity is maximum. In PLAY mode, the L M sensors let you set the volume of notes played by the ADD sensor and modify the volume of playing notes recorded in the LR. In PLAY mode it doesn't change the content of looper memory. L + M (high) — simultaneous pressing will cause maximum velocity. 

BANK + M (start) + one of the ADD or DEL sensors — starts or restarts the LR from the specified position. The LR loop is divided into 8 equal parts. Each part is associated with one of the 8 ADD and DEL sensors. By pressing BANK + M and the desired sensor, you can start the loop from that section. If LR is already running, it will restart from the specified position. This allows for non-integer measures and changing rhythmic patterns 

BANK + L + M + one of the sensors (ADD or DEL) of the desired LR channel — will quantize the content of the channel to 16 notes. The LR will stop when this operation is performed. To start it again, use the start function. For the quantize function to work cor-rectly, please make sure that the LR is aligned with the clock dividers!! To do this, press the RST button on the CLOCK module before recording, and\or connect the LRST pin to the 0.25 output of the clock divider, and use a metronome during the recording!

CLK pin. The output of the clock generator or the clock input of the clock dividers and looper/recorder. With the switch set to INT or MIDI, the pin works as the output. With the switch in the middle position, it functions as input.

16 pin - output of the clock divider that corresponds to a division by 2 of the master clock and 16" notes regarding the looper\recorder tempo.

The array of clock dividers is a very powerful tool for creating rhythms and controlling various Pulsar modules. The number under the pins represents the note duration that this output gives.

8 pin - output of the clock divider that corresponds to a division by 4 of the master clock and 8" notes regarding the looper\recorder tempo.

The array of clock dividers is a very powerful tool for creating rhythms and controlling various Pulsar modules. The number under the pins represents the note duration that this output gives.

4 pin - output of the clock divider that corresponds to a division by 8 of the master clock and 4" notes regarding the looper\recorder tempo.

The array of clock dividers is a very powerful tool for creating rhythms and controlling various Pulsar modules. The number under the pins represents the note duration that this output gives.

2 pin - output of the clock divider that corresponds to a division by 16 of the master clock and 2" notes regarding the looper\recorder tempo.

The array of clock dividers is a very powerful tool for creating rhythms and controlling various Pulsar modules. The number under the pins represents the note duration that this output gives.

1 pin - output of the clock divider that corresponds to a division by 32 of the master clock and 1" notes regarding the looper\recorder tempo.

The array of clock dividers is a very powerful tool for creating rhythms and controlling various Pulsar modules. The number under the pins represents the note duration that this output gives.

0.5 pin - output of the clock divider that corresponds to a division by 64 of the master clock and 0.5" notes regarding the looper\recorder tempo.

The array of clock dividers is a very powerful tool for creating rhythms and controlling various Pulsar modules. The number under the pins represents the note duration that this output gives.

0.25 pin - output of the clock divider that corresponds to a division by 128 of the master clock and 0.25" notes regarding the looper\recorder tempo.

The array of clock dividers is a very powerful tool for creating rhythms and controlling various Pulsar modules. The number under the pins represents the note duration that this output gives.

RST (reset) button. Resets the array of clock dividers and resets the looper to the beginning of the loop. Used to set the start of the loop and to synchronize the dividers and looper. It is recommended that you press the RST button before starting loop recording. This will guarantee synchronization between the looper and the dividers.

INT MIDI switch. Allows you to select the clock source. In the INT (internal) position, the source is the Pulsar clock generator. In the MIDI position, the source is an external MIDI clock. With the switch in the middle position, the internal clock is disabled and the array of dividers and the looper stop. Now, when external voltage pulses with an amplitude of at least 3 volts (nominal amplitude 0 to 10 volts) are applied to the CLK pin, they will be perceived as a clock signal and the array of dividers together with the looper will be synchronized to it. So you can synchronize the Pulsar with a Eurorack system or any device that generates a clock in the given voltage range. The frequency of the supplied external analog clock should be calculated for 128 ticks per full length of the array of dividers and looper. If the switch is in the INT or MIDI position, you can pick up the clock signal from the CLK pin or the outputs of the clock divider to synchronize external equipment to the Pulsar.

MOD pin. CV input modulating and controlling the clock frequency. The useful voltage swing, as with all modulation inputs, is 0 to 10 volts. Amount of influence on the master clock is set by the AMT pot.

TEMP knob. Sets the generator clock frequency, which varies from one to two hundred hertz, thus determining the looper's loop length from several minutes to less than one second. The green LED flashes once a quarter and makes a bright flash at the beginning of the loop (based on the fact that the loop length is four measures in four quarters).

Tempo LED. The green LED flashes once a quarter and makes a bright flash at the beginning of the loop (based on the fact that the loop length is four measures in four quarters).

AMT knob. Determines the amount of influence of CV applied to the MOD pin on the clock frequency.

MOD (modulation) pin — is the CV input modulating the pitch of a BD. This input has a linear (volt-hertz) relationship.

TUNE knob — controls the pitch of the Bass Drum.

AMT (amount) knob — adjusts the amount of influence of the MOD signal on the pitch.

ENV (envelope) pin — Bass Drum envelope generator output.

TRIG (trigger) pin — Looper / Recorder Bass Drum channel output and envelope generator input.

ATT (attack) knob — adjusts the attack of the Bass Drum drum sound.

REL (release) knob — adjusts the release of the Bass Drum sound.

The LED indicates that Looper / Recorder is in the 1st bank. If the LED flashes it means that Looper / Recorder is stopped.

REC PLAY switch — determines the operation mode of the Looper / Recorder channel. REC — recording in a loop is done while playing back already recorded notes. PLAY — plays back recorded part. Middle position mutes the loop, but it keeps moving according to the incoming clock.

ADD sensor — Adds notes to the Bass Drum Looper / Recorder loop. Unlike most drum machines, Pulsar recognizes and records not only the start time of a note, but also its length, which blurs the line between the synthesis of percussion sounds and ordinary synthesis, allowing you to make a smooth transition from rhythmic parts to noise and drone soundscapes.

If the REC PLAY switch is in the REC position, ADD will operate in overdub mode, i.e. new notes will be superimposed on already recorded notes. The velocity of recorded notes can be determined by the sensors L (low) and M (middle). By default, the velocity of recorded notes is maximum.

If the REC PLAY switch is in PLAY mode, touching the ADD sensor will play notes on top of those recorded in the LR, but the contents of the loop will not change.

If the REC PLAY switch is in the middle position (MUTE) or the clock is stopped, the ADD sensor will simply trigger the corresponding sound generator.

DEL sensors — Erase notes from Bass Drum Looper / Recorder loop.

If the REC PLAY switch is in the REC position, the DEL sensor deletes notes from the Bass Drum loop.

If the REC PLAY switch is in the PLAY position, the DEL sensor will mute the recorded notes without changing the contents of the loop.

CV IN pin is a logarithmic (volt-octave) input that allows you to control the pitch of a note with a standard CV signal. It has an input voltage range of 0-4 volts (four octaves).

MIDI learn button for SHAPE function allows to assign a MIDI CC or key on the SHAPE function.

MOD pin associated with SHAPE — CV control of the SHAPE parameter.

MIDI learn button for WARP function allows to assign a MIDI CC or key on the WARP function.

MOD pin associated with WARP — CV control of the WARP parameter.

SHAPE knob — is a DCO synthesis parameter that controls the waveform. When turning clockwise, the level of harmonics increases.

WARP knob — sets the amount of loading (drive) of the waveshaper, located after the oscillator.

MOD pin associated with the AMT knob — CV control of the phase modulation of the DCO. In PRC mode it becomes sidechain input.

TUNE knob — oscillator pitch settings. In MIDI mode it has a range of +/- 1/2 tones, in other modes it has a range of 5 octaves.

AMT (amount) knob — determines depth of modulation by the signal received on the MOD pin.

MOD pin associated with the LPF FR knob — CV control of the filter cutoff frequency.

LPF FR (low-pass filter frequency) knob — controls the cutoff frequency of the resonant low-pass filter.

LPF Q knob — controls the resonance level of the low-pass filter.

ENV (envelope) pin — Bass envelope generator output.

TRIG (trigger) pin — Looper / Recorder Bass channel output and envelope generator input.

ATT (attack) knob — adjusts the attack of the Bass sound.

REL (release) knob — adjusts the release of the Bass sound.

The LED indicates that Looper / Recorder is in the 2nd bank. If the LED flashes it means that Looper / Recorder is stopped.

REC PLAY switch — determines the operation mode of the Looper / Recorder channel. REC — recording in a loop is done while playing back already recorded notes. PLAY — plays back recorded part. Middle position mutes the loop, but it keeps moving according to the incoming clock.

ADD sensor — Adds notes to the Bass Looper / Recorder loop. Unlike most drum machines, Pulsar recognizes and records not only the start time of a note, but also its length, which blurs the line between the synthesis of percussion sounds and ordinary synthesis, allowing you to make a smooth transition from rhythmic parts to noise and drone soundscapes.

If the REC PLAY switch is in the REC position, ADD will operate in overdub mode, i.e. new notes will be superimposed on already recorded notes. The velocity of recorded notes can be determined by the sensors L (low) and M (middle). By default, the velocity of recorded notes is maximum.

If the REC PLAY switch is in PLAY mode, touching the ADD sensor will play notes on top of those recorded in the LR, but the contents of the loop will not change.

If the REC PLAY switch is in the middle position (MUTE) or the clock is stopped, the ADD sensor will simply trigger the corresponding sound generator.

DEL sensors — Erase notes from Bass Looper / Recorder loop.

If the REC PLAY switch is in the REC position, the DEL sensor deletes notes from the Bass loop.

If the REC PLAY switch is in the PLAY position, the DEL sensor will mute the recorded notes without changing the contents of the loop.

IN pin — VCA controlled signal input.

The VCA module is a CV-controlled amplifier. It can be used for control and audio signals.

OUT pin — controlled signal output after VCA processing.

The VCA module is a CV-controlled amplifier. It can be used for control and audio signals.

CV pin — control signal input. The voltage at this pin determines the gain of the VCA, which can range from 0 to 1.

The VCA module is a CV-controlled amplifier. It can be used for control and audio signals..

IN pin — VCA controlled signal input.

The VCA module is a CV-controlled amplifier. It can be used for control and audio signals.

OUT pin — controlled signal output after VCA processing.

The VCA module is a CV-controlled amplifier. It can be used for control and audio signals.

CV pin — control signal input. The voltage at this pin determines the gain of the VCA, which can range from 0 to 1.

The VCA module is a CV-controlled amplifier. It can be used for control and audio signals.

IN pin — inverter input.

The module inverts the incoming signal relatively to the value of +5 volts. It can be used for control and audio signals.

OUT pin — inverter output.

The module inverts the incoming signal relatively to the value of +5 volts. It can be used for control and audio signals.

IN pin — inverter input.

The controlled inverter inverts the incoming trigger signal when a voltage higher than +5 volts is applied to the CV pin. It can only be used for trigger signals since it has a binary output of 0 \ +10V.

OUT pin — inverter output.

The controlled inverter inverts the incoming trigger signal when a voltage higher than +5 volts is applied to the CV pin. It can only be used for trigger signals since it has a binary output of 0 \ +10V.

CV pin — control voltage input. Applying voltage higher than 5 volts to this contact will invert the signal applied to IN.

The controlled inverter inverts the incoming trigger signal when a voltage higher than +5 volts is applied to the CV pin. It can only be used for trigger signals since it has a binary output of 0 \ +10V.

IN pin — switch input.

This is a voltage-controlled switch. It can be used for control and audio signals. Applying a voltage of more than +5 volts to the CV pin will turn the switch on.

OUT pin — switch output.

This is a voltage-controlled switch. It can be used for control and audio signals. Applying a voltage of more than +5 volts to the CV pin will turn the switch on.

CV pin — control voltage input. Applying voltage to this pin will short-circuit IN and OUT.

This is a voltage-controlled switch. It can be used for control and audio signals. Applying a voltage of more than +5 volts to the CV pin will turn the switch on.

IN pin — switch input.

This is a voltage-controlled switch. It can be used for control and audio signals. Applying a voltage of more than +5 volts to the CV pin will turn the switch on.

OUT pin — switch output.

This is a voltage-controlled switch. It can be used for control and audio signals. Applying a voltage of more than +5 volts to the CV pin will turn the switch on.

CV pin — control voltage input. Applying voltage to this pin will short-circuit IN and OUT.

This is a voltage-controlled switch. It can be used for control and audio signals. Applying a voltage of more than +5 volts to the CV pin will turn the switch on.

MOD pin — CV input for controlling the noise spectrum.

TUNE knob — adjusts the spectrum of the noise generator.

AMT (amount) knob — sets the amount of influence of the CV received on the MOD pin. The CV controls the spectrum of SD source noise generator.

MIX knob — determines the balance between pink and spectral noise.

MOD pin is the CV input that controls the BPF cutoff frequency.

BPF (band-pass filter frequency) FR knob — determines the cutoff frequency of the band-pass filter.

BPF Q (band-pass filter resonance) knob — determines the level of resonance of the filter.

ENV (envelope) pin — Snare Drum envelope generator output.

TRIG (trigger) pin — Looper / Recorder Snare Drum channel output and envelope generator input.

ATT (attack) knob — adjusts the attack of the Snare Drum sound.

REL (release) knob — adjusts the release of the Snare Drum sound.

The LED indicates that Looper / Recorder is in the 3d bank. If the LED flashes it means that Looper / Recorder is stopped.

REC PLAY switch — determines the operation mode of the Looper / Recorder channel. REC — recording in a loop is done while playing back already recorded notes. PLAY — plays back recorded part. Middle position mutes the loop, but it keeps moving according to the incoming clock.

ADD sensor — Adds notes to the Snare Drum Looper / Recorder loop. Unlike most drum machines, Pulsar recognizes and records not only the start time of a note, but also its length, which blurs the line between the synthesis of percussion sounds and ordinary synthesis, allowing you to make a smooth transition from rhythmic parts to noise and drone soundscapes.

If the REC PLAY switch is in the REC position, ADD will operate in overdub mode, i.e. new notes will be superimposed on already recorded notes. The velocity of recorded notes can be determined by the sensors L (low) and M (middle). By default, the velocity of recorded notes is maximum.

If the REC PLAY switch is in PLAY mode, touching the ADD sensor will play notes on top of those recorded in the LR, but the contents of the loop will not change.

If the REC PLAY switch is in the middle position (MUTE) or the clock is stopped, the ADD sensor will simply trigger the corresponding sound generator.

DEL sensors — Erase notes from Snare Drum Looper / Recorder loop.

If the REC PLAY switch is in the REC position, the DEL sensor deletes notes from the Snare Drum loop.

If the REC PLAY switch is in the PLAY position, the DEL sensor will mute the recorded notes without changing the contents of the loop.

MOD pin — CV input controlling the noise spectrum.

TUNE knob — adjusts the spectrum of the HHT noise generator.

MOD pin is the CV input that controls the HPF cutoff frequency.

HPF FR (high-pass filter frequency) knob — determines the cutoff frequency of the high-pass filter.

HPF Q (high-pass filter resonance) knob — determines the amount of self-oscillation of the filter.

ENV (envelope) pin — Hi-Hat envelope generator output.

TRIG (trigger) pin — Looper / Recorder Hi-Hat channel output and envelope generator input.

ATT (attack) knob — adjusts the attack of the Hi-Hat sound.

REL (release) knob — adjusts the release of the Hi-Hat sound.

The LED indicates that Looper / Recorder is in the 3d bank. If the LED flashes it means that Looper / Recorder is stopped.

REC PLAY switch — determines the operation mode of the Looper / Recorder channel. REC — recording in a loop is done while playing back already recorded notes. PLAY — plays back recorded part. Middle position mutes the loop, but it keeps moving according to the incoming clock.

CLK pins are individual clock inputs for the Hi-Hat Looper / Recorder channel. If you connect something with a low output resistance, the internal clock will be automatically turned off and replaced by the incoming signal. Synchronization occurs along the rising edge when the signal exceeds the level of 2 volts. CLK inputs can work with any type of signal: digital, analog, periodic, aperiodic, noise, etc. Thanks to hardware and software protection, any reasonable experimentation with CLK inputs will not cause the Looper / Recorder to freeze or crash. This opens up great opportunities for creating aleatoric compositions and experimental rhythms.

ADD sensor — Adds notes to the Hi-Hat Looper / Recorder loop. Unlike most drum machines, Pulsar recognizes and records not only the start time of a note, but also its length, which blurs the line between the synthesis of percussion sounds and ordinary synthesis, allowing you to make a smooth transition from rhythmic parts to noise and drone soundscapes.

If the REC PLAY switch is in the REC position, ADD will operate in overdub mode, i.e. new notes will be superimposed on already recorded notes. The velocity of recorded notes can be determined by the sensors L (low) and M (middle). By default, the velocity of recorded notes is maximum.

If the REC PLAY switch is in PLAY mode, touching the ADD sensor will play notes on top of those recorded in the LR, but the contents of the loop will not change.

If the REC PLAY switch is in the middle position (MUTE) or the clock is stopped, the ADD sensor will simply trigger the corresponding sound generator.

DEL sensors — Erase notes from Hi-Hat Looper / Recorder loop.

If the REC PLAY switch is in the REC position, the DEL sensor deletes notes from the Hi-Hat loop.

If the REC PLAY switch is in the PLAY position, the DEL sensor will mute the recorded notes without changing the contents of the loop.

DRIVE knob — determines the distortion drive.

This module is a parallel distortion, to which the main audio mix is fed.

MIX knob — determines the balance of clear and distorted sound.

This module is a parallel distortion, to which the main audio mix is fed.

CLIP indicator — lights up when overloading the input of the AD converters of the FX DSP processor.

BPF DBL PCH switch — determines the operating mode of the FX processor. BPF (band-pass filter) — Channel 1 is a 1-tap delay with an adjustable band-pass filter. Channel 2 is Classic Hall. DBL (double) — Channel 1 is a 2-tap delay. Channel 2 is a variation of the classic Hall. PCH (pitch) — Channel 1 is a 1-tap delay with adjustable pitch shifter in the feedback. Channel 2 is Hall with pitch shifter in the feedback.

MOD pin — CV input controlling the TIME parameter.

MAD! / Stereo icon / pin — applying voltage to this input in BPF and PCH modes causes madness in the FX processor; in DBL mode it activates stereo mode. To permanently activate these modes, use the +10V pin.

MOD pin — CV input driving the FX DSP clock.

TIME knob — sets the delay time.

CLK MOD (clock modulation) knob — This determines the modulation depth of the FX DSP clock with the signal received at the MOD contact.

DLY (delay) input pin — auxiliary delay input. The signal applied to it will be processed by the delay effect.

MOD pin — CV input controlling the TUNE parameter.

REV (reverb) input pin — auxiliary reverb input. The signal applied to it will be processed by the reverb effect.

MOD pin — CV input controlling the FB parameter.

TUNE knob — In BPF mode, it adjusts the band pass filter. In DBL mode, it sets the delay time of the second delay line. In PCH mode, it adjusts the pitch interval of the pitch shifter.

FB (feedback) knob — sets feedback depth of the delay and the reverb and determines the decay time of reflections respectively.

MOD pin — CV input for controlling the frequency of the LFO.

FREQ (frequency) knob — sets the frequency of the LFO (low frequency oscillator).

AMT knob — determines the level of influence of the MOD CV on the LFO frequency.

Pin — the square wave output of the LFO.

Pin — the triangle wave output of the LFO.

Knob — sets the output waveform of the LFO to the triangle output pin. Turning this knob provides a smooth transition from falling saw through triangle to rising saw.

LOW HI MID (low high middle) switch — sets the LFO frequency range, which can vary from fractions of hertz to kilohertz.

The pin — output CV

The module is a resistive sensor generating CV. It can be used for some kind of control, for example, to control the filter cutoff frequency. Unlike the capacitive sensors of the looper/recorder, this sensor works on the conductivity of the skin. Therefore, to activate the sensor, you need to put a finger between the two sensors, closing them through your body. The sensor is dynamic, i.e. it responds to pressure, touch area and skin moisture.

Resistive sensor

The module is a resistive sensor generating CV. It can be used for some kind of control, for example, to control the filter cutoff frequency. Unlike the capacitive sensors of the looper/recorder, this sensor works on the conductivity of the skin. Therefore, to activate the sensor, you need to put a finger between the two sensors, closing them through your body. The sensor is dynamic, i.e. it responds to pressure, touch area and skin moisture.

Resistive sensor

The module is a resistive sensor generating CV. It can be used for some kind of control, for example, to control the filter cutoff frequency. Unlike the capacitive sensors of the looper/recorder, this sensor works on the conductivity of the skin. Therefore, to activate the sensor, you need to put a finger between the two sensors, closing them through your body. The sensor is dynamic, i.e. it responds to pressure, touch area and skin moisture.

The pin — output CV

The module is a resistive sensor generating CV. It can be used for some kind of control, for example, to control the filter cutoff frequency. Unlike the capacitive sensors of the looper/recorder, this sensor works on the conductivity of the skin. Therefore, to activate the sensor, you need to put a finger between the two sensors, closing them through your body. The sensor is dynamic, i.e. it responds to pressure, touch area and skin moisture.

Resistive sensor

The module is a resistive sensor generating CV. It can be used for some kind of control, for example, to control the filter cutoff frequency. Unlike the capacitive sensors of the looper/recorder, this sensor works on the conductivity of the skin. Therefore, to activate the sensor, you need to put a finger between the two sensors, closing them through your body. The sensor is dynamic, i.e. it responds to pressure, touch area and skin moisture.

Resistive sensor

The module is a resistive sensor generating CV. It can be used for some kind of control, for example, to control the filter cutoff frequency. Unlike the capacitive sensors of the looper/recorder, this sensor works on the conductivity of the skin. Therefore, to activate the sensor, you need to put a finger between the two sensors, closing them through your body. The sensor is dynamic, i.e. it responds to pressure, touch area and skin moisture.