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  • PULSAR-23

    Organismic drum machine



    Click on an element to get its description



    selected element



    pins and controls that affect the selected element or are affected by it



    suggestion: try to connect this pin with the next pin (s)



  • e0001
    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.
  • e0002
    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.
  • e0003
    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. 
  • e0004
    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.
  • e0005
    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.
  • e0006
    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.
  • e0007
    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.
  • e0008
    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.
  • e0009
    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.
  • e0010
    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. 
  • e0011
    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.
  • e0012
    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.
  • e0013
    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.
  • e0014
    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.
  • e0015
    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. 
  • e0016
    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.
  • e0017
    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.
  • e0018
    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.
  • e0019
    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.
  • e0020
    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.
  • e0021
    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.
  • e0022
    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.
  • e0023
    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.
  • e0024
    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.
  • e0025
    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.
  • e0026
    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.
  • e0027
    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. 
  • e0028
    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. 
  • e0029
    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.  
  • e0030
    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.
  • Pin of the first 1/4 inch jack to pin adapter

    Pulsar has six adapters for connecting the 1/4-inch jack format used in professional audio production, to the contacts intended for the alligator clips. The 1/4-inch jack connectors are located on the rear panel and each number corresponds to the number by the adapter pins. The adapters work in both directions and can work with both audio and CV signals.
  • Pin of the third 1/4 inch jack to pin adapter

    Pulsar has six adapters for connecting the 1/4-inch jack format used in professional audio production, to the contacts intended for the alligator clips. The 1/4-inch jack connectors are located on the rear panel and each number corresponds to the number by the adapter pins. The adapters work in both directions and can work with both audio and CV signals.
  • Pin of the fifth 1/4 inch jack to pin adapter

    Pulsar has six adapters for connecting the 1/4-inch jack format used in professional audio production, to the contacts intended for the alligator clips. The 1/4-inch jack connectors are located on the rear panel and each number corresponds to the number by the adapter pins. The adapters work in both directions and can work with both audio and CV signals.
  • Pin of the second 1/4 inch jack to pin adapter

    Pulsar has six adapters for connecting the 1/4-inch jack format used in professional audio production, to the contacts intended for the alligator clips. The 1/4-inch jack connectors are located on the rear panel and each number corresponds to the number by the adapter pins. The adapters work in both directions and can work with both audio and CV signals.
  • Pin of the fourth 1/4 inch jack to pin adapter

    Pulsar has six adapters for connecting the 1/4-inch jack format used in professional audio production, to the contacts intended for the alligator clips. The 1/4-inch jack connectors are located on the rear panel and each number corresponds to the number by the adapter pins. The adapters work in both directions and can work with both audio and CV signals.
  • Pin of the sixth 1/4 inch jack to pin adapter

    Pulsar has six adapters for connecting the 1/4-inch jack format used in professional audio production, to the contacts intended for the alligator clips. The 1/4-inch jack connectors are located on the rear panel and each number corresponds to the number by the adapter pins. The adapters work in both directions and can work with both audio and CV signals.
  • e0037
    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.
  • e0038
    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.
  • e0039
    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.
  • e0040
    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.
  • e0041
    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.
  • e0042
    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.
  • e0043
    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.
  • e0044
    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.
  • e0045
    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.
  • e0046
    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.
  • e0047
    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.

  • e0048
    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.
  • e0049
    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.
  • e0050
    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.
  • e0051
    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.
  • e0052
    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.
  • e0053
    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.
  • e0054
    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.
  • e0055
    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.
  • e0056
    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.

  • e0057
    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.
  • e0058
    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. 
  • e0059
    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.
  • e0060
    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.   
  • e0061
    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.
  • e0062
    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.
  • e0063
    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.   
  • e0064
    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!
  • e0065
    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!
  • e0066
    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!
  • e0067
    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.
  • e0068
    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.
  • e0069
    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.
  • e0070
    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.
  • e0071
    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.
  • e0072
    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.
  • e0073
    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.
  • e0074
    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.
  • e0075
    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.
  • e0076
    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.
  • e0077
    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.
  • e0078
    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).
  • e0079
    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).
  • e0080
    AMT knob. Determines the amount of influence of CV applied to the MOD pin on the clock frequency.
  • e0081
    MOD (modulation) pin — is the CV input modulating the pitch of a BD. This input has a linear (volt-hertz) relationship.
  • e0082
    TUNE knob — controls the pitch of the Bass Drum.
  • e0083
    AMT (amount) knob — adjusts the amount of influence of the MOD signal on the pitch.
  • WTF? pin — circuit bending node for the pitch modulator.
  • OMG! pin — circuit bending node for the triangle waveform generator that forms the base of Bass Drum synthesis.
  • PITCH knob — controls the modulator that generates the pitch jump at the beginning of a sound, characteristic for a Bass Drum. This knob adjusts the decay rate and the depth of the modulation.
  • DRIVE knob — controls the Bass Drum waveform. When rotated clockwise, the waveform changes from triangle to sine to square.
  • EXT (external) pin — is the input for processing an external signal through the Bass Drum synthesis circuit. Located before the waveshaper/distortion that makes the waveform.
  • OUT pin — is the output of the Bass Drum synthesis module. Located before the VOLUME knob.
  • VOL (volume) knob — Bass Drum volume control
  • FX knob — adjusts the send level of the Bass Drum signal to the effects processor. It takes the signal before the VOL knob (pre-fader). This way you can send a signal to the effects processor while the Bass Drum volume in the main mix is low or zero.
  • e0092
    ENV (envelope) pin — Bass Drum envelope generator output.
  • e0093
    TRIG (trigger) pin — Looper / Recorder Bass Drum channel output and envelope generator input.
  • e0094
    ATT (attack) knob — adjusts the attack of the Bass Drum drum sound.
  • e0095
    REL (release) knob — adjusts the release of the Bass Drum sound.
  • LRN button. Hold the button and press a key on the connected MIDI keyboard or turn a controller to assign it to the Bass Drum channel.
  • e0097
    The LED indicates that Looper / Recorder is in the 1st bank. If the LED flashes it means that Looper / Recorder is stopped.
  • e0098
    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 Bass Drum 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.
  • e0100
    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.
  • The LED indicates Bass Drum channel activity.
  • e0102
    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.
  • LRST pin (looper restart) — applying a positive impulse (rising edge) to this pin will cause LR to restart from the zero position.

    This function is needed for synchronizing the Looper/Recorder with the array of clock dividers, and it can be used for shortening the loop length. Naturally, this pin can also be used for all kinds of experiments.

    For tight Looper/Recorder synchronization with the array of clock dividers, connect the LRST pin to the 0.25 divider output. This connection will ensure the synchronization of the Looper/Recorder and the clock divider in the case of modulation of the clock frequency, restart of Looper/Recorder from different positions, etc. Such synchronization may be necessary if you generate part of the rhythmic behavior (for example, control filters and other synthesis parameters) with the divider, and the other part plays from the Looper/Recorder. Also, such synchronization is strongly recommended if you use MIDI clock. Actually, if you have no intention to make asynchronous beats, it's better to keep the LRST and 0.25 pins always connected.
  • NOISE pin — pink noise output
  • +10V pin — 10 volt DC output, protected from overload
  • GND (ground) pin — Pulsar ground
  • e0107
    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).
  • CV MIDI PRC switch — selects the BASS DCO mode of operation. CV – CV control. MIDI — MIDI control. PRC — synthesis of percussive sounds.
  • e0110
    MIDI learn button for SHAPE function allows to assign a MIDI CC or key on the SHAPE function.
  • e0111
    MOD pin associated with SHAPE — CV control of the SHAPE parameter.
  • e0112
    MIDI learn button for WARP function allows to assign a MIDI CC or key on the WARP function.
  • e0113
    MOD pin associated with WARP — CV control of the WARP parameter.
  • e0114
    SHAPE knob — is a DCO synthesis parameter that controls the waveform. When turning clockwise, the level of harmonics increases.
  • e0115
    WARP knob — sets the amount of loading (drive) of the waveshaper, located after the oscillator.
  • e0116
    MOD pin associated with the AMT knob — CV control of the phase modulation of the DCO. In PRC mode it becomes sidechain input.
  • e0117
    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.
  • e0118
    AMT (amount) knob — determines depth of modulation by the signal received on the MOD pin.
  • e0119
    MOD pin associated with the LPF FR knob — CV control of the filter cutoff frequency.
  • e0120
    LPF FR (low-pass filter frequency) knob — controls the cutoff frequency of the resonant low-pass filter.
  • e0121
    LPF Q knob — controls the resonance level of the low-pass filter.
  • EXT (external) pin is the input for processing an external signal through the BASS synthesis circuit. Located before the low pass filter.
  • OUT pin — is the output of the BASS synthesis module. Located before the VOLUME knob.
  • VOL (volume) knob — Bass volume control
  • FX knob — adjusts the send level of the Base signal to the effects processor. It takes the signal before the VOL knob (pre-fader). This way you can send a signal to the effects processor while the Base volume in the main mix is low or zero.
  • e0126
    ENV (envelope) pin — Bass envelope generator output.
  • e0127
    TRIG (trigger) pin — Looper / Recorder Bass channel output and envelope generator input.
  • e0128
    ATT (attack) knob — adjusts the attack of the Bass sound.
  • e0129
    REL (release) knob — adjusts the release of the Bass sound.
  • LRN button. Hold the button and press a key on the connected MIDI keyboard or turn a controller to assign it to the Bass channel.
  • e0131
    The LED indicates that Looper / Recorder is in the 2nd bank. If the LED flashes it means that Looper / Recorder is stopped.
  • e0132
    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 Bass 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.
  • e0134
    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.
  • The LED indicates Bass channel activity.
  • e0136
    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.
  • MIX IN pin is an audio input for signals that should be added to the main mix.
  • e0137
    IN pin — VCA controlled signal input.

    The VCA module is a CV-controlled amplifier. It can be used for control and audio signals.
  • e0138
    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.
  • e0139
    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..
  • e0140
    IN pin — VCA controlled signal input.

    The VCA module is a CV-controlled amplifier. It can be used for control and audio signals.
  • e0141
    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.
  • e0142
    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.
  • e0143
    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.
  • e0144
    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.
  • e0145
    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.
  • e0146
    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.
  • e0147
    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.
  • e0148
    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.
  • e0149
    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.
  • e0150
    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.
  • e0151
    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.
  • e0152
    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.
  • e0153
    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.
  • e0154
    MOD pin — CV input for controlling the noise spectrum.
  • e0155
    TUNE knob — adjusts the spectrum of the noise generator.
  • e0156
    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.
  • CLAP knob — creates a clap sound by splitting the attack of the snare drum sound.
  • e0158
    MIX knob — determines the balance between pink and spectral noise.
  • e0159
    MOD pin is the CV input that controls the BPF cutoff frequency.
  • e0160
    BPF (band-pass filter frequency) FR knob — determines the cutoff frequency of the band-pass filter.
  • e0161
    BPF Q (band-pass filter resonance) knob — determines the level of resonance of the filter.
  • EXT (external) pin — is the input for processing an external signal through the Snare Drum synthesis circuit. Located before the Band Pass Filter.
  • OUT pin — is the output of the Snare Drum synthesis module. Located before the VOLUME knob.
  • VOL (volume) knob — Snare Drum volume control
  • FX knob — adjusts the send level of the Snare Drum signal to the effects processor. It takes the signal before the VOL knob (pre-fader). This way you can send a signal to the effects processor while the Snare Drum volume in the main mix is low or zero.
  • e0166
    ENV (envelope) pin — Snare Drum envelope generator output.
  • e0167
    TRIG (trigger) pin — Looper / Recorder Snare Drum channel output and envelope generator input.
  • e0168
    ATT (attack) knob — adjusts the attack of the Snare Drum sound.
  • e0169
    REL (release) knob — adjusts the release of the Snare Drum sound.
  • LRN button. Hold the button and press a key on the connected MIDI keyboard or turn a controller to assign it to the Snare Drum channel.
  • e0171
    The LED indicates that Looper / Recorder is in the 3d bank. If the LED flashes it means that Looper / Recorder is stopped.
  • e0172
    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 Snare Drum 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.
  • e0174
    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.
  • The LED indicates Snare Drum channel activity.
  • e0176
    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.
  • e0182
    MOD pin — CV input controlling the noise spectrum.
  • e0183
    TUNE knob — adjusts the spectrum of the HHT noise generator.
  • WARP knob is a waveshaper that changes the noise spectrum.
  • e0185
    MOD pin is the CV input that controls the HPF cutoff frequency.
  • e0186
    HPF FR (high-pass filter frequency) knob — determines the cutoff frequency of the high-pass filter.
  • e0187
    HPF Q (high-pass filter resonance) knob — determines the amount of self-oscillation of the filter.
  • EXT (external) pin — is the input for processing an external signal through the Hi-Hat synthesis circuit. Located before the High Pass Filter.
  • EXT (external) pin — is the input for processing an external signal through the Hi-Hat synthesis circuit. Located before the waveshaper/distortion that makes the waveform.
  • OUT pin — is the output of the Hi-Hat synthesis module. Located before the VOLUME knob.
  • VOL (volume) knob — Hi-Hat volume control
  • FX knob — adjusts the send level of the Hi-Hat signal to the effects processor. It takes the signal before the VOL knob (pre-fader). This way you can send a signal to the effects processor while the Hi-Hat volume in the main mix is low or zero.
  • e0192
    ENV (envelope) pin — Hi-Hat envelope generator output.
  • e0193
    TRIG (trigger) pin — Looper / Recorder Hi-Hat channel output and envelope generator input.
  • e0194
    ATT (attack) knob — adjusts the attack of the Hi-Hat sound.
  • e0195
    REL (release) knob — adjusts the release of the Hi-Hat sound.
  • LRN button. Hold the button and press a key on the connected MIDI keyboard or turn a controller to assign it to the Hi-Hat channel.
  • e0197
    The LED indicates that Looper / Recorder is in the 3d bank. If the LED flashes it means that Looper / Recorder is stopped.
  • e0198
    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.
  • e0199
    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.
  • e0200
    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.
  • The LED indicates Hi-Hat channel activity.
  • e0202
    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.
  • PWR (power) indicator — lit when Pulsar is switched on.
  • VOLUME knob — adjusts the volume of the main output and headphones output of the Pulsar.
  • MIDI indicator — Red — a MIDI signal is received, but not assigned anywhere; Green — a MIDI signal is received and is assigned to a function.
  • e0180
    DRIVE knob — determines the distortion drive.

    This module is a parallel distortion, to which the main audio mix is fed.
  • e0181
    MIX knob — determines the balance of clear and distorted sound.

    This module is a parallel distortion, to which the main audio mix is fed.
  • e0203
    CLIP indicator — lights up when overloading the input of the AD converters of the FX DSP processor.
  • DLY REV (delay reverb) switch — determines which of the FX channels the submixer output will be assigned to (FX knobs in the synthesis modules).
  • e0205
    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.
  • e0206
    MOD pin — CV input controlling the TIME parameter.
  • e0207
    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.
  • e0208
    MOD pin — CV input driving the FX DSP clock.
  • e0209
    TIME knob — sets the delay time.
  • e0210
    CLK MOD (clock modulation) knob — This determines the modulation depth of the FX DSP clock with the signal received at the MOD contact.
  • e0211
    DLY (delay) input pin — auxiliary delay input. The signal applied to it will be processed by the delay effect.
  • e0212
    MOD pin — CV input controlling the TUNE parameter.
  • e0213
    REV (reverb) input pin — auxiliary reverb input. The signal applied to it will be processed by the reverb effect.
  • e0214
    MOD pin — CV input controlling the FB parameter.
  • e0215
    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.
  • e0216
    FB (feedback) knob — sets feedback depth of the delay and the reverb and determines the decay time of reflections respectively.
  • DLY (delay) output pin — delay output. It can be used for external mixing and for creating non-trivial modulation loops.
  • REV (reverb) output pin — reverb output. It can be used for external mixing and for creating non-trivial modulation loops.
  • DLY OUT knob sets the level of delay effect returning to the main mix.
  • REV OUT knob sets the level of the reverb effect returning to the main mix.
  • e0221
    MOD pin — CV input for controlling the frequency of the LFO.
  • e0222
    FREQ (frequency) knob — sets the frequency of the LFO (low frequency oscillator).
  • e0223
    LFO indicator LED
  • e0224
    AMT knob — determines the level of influence of the MOD CV on the LFO frequency.
  • e0225
    Pin — the square wave output of the LFO.
  • e0226
    Pin — the triangle wave output of the LFO.
  • SYNC (synchronization) pin — applying a positive impulse to this input causes the LFO to reset to zero. Using this contact, you can sync the LFO to any event in Pulsar's life. For example, this contact can be connected to the TRIG output of one of the synthesis modules or to one of the clock divider outputs. This will synchronize with notes of the selected duration or with the start of the selected drum.
  • e0228
    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.
  • e0229
    LOW HI MID (low high middle) switch — sets the LFO frequency range, which can vary from fractions of hertz to kilohertz.
  • e0230
    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.
  • e0232
    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.
  • e0233
    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.
  • e0231
    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.
  • e0234
    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.
  • e0235
    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.