300 mA of +15 (900 mA on first power up)
and 30 mA -15 is needed for the module to operate.
2” rear depth.
2 dotcom spaces wide.
The signal flow of the module is 3 gain stages in series fed into the neon lamp.
The audio result sounds like 3 waveshapers in series with the neon lamp as a fourth waveshaper or as a resonator/oscillator that tracks to incoming audio.
When the neon knob is at maximum setting clockwise it oscillates.
When neon knob is turned counter clockwise more distortion and waveshaping and lower frequency audio manipulation happens.
When gain stage knobs are full clockwise this creates a very crisp, clean and low noise loud amplifier.
When gain stage knobs are turned opposite of eachother and counter clockwise this creates oscillations and wavemangling distortion.
CV is handled by an SR3 vactrol for slewy slappy liquidy modulation behavior of the waveshapers instability.
It is recommended to start with all knobs full clockwise/about 5 o’clock position and then work the knobs backwards slowly while observing the sounds.
The sweet spot for the offset knob is about 2-3 o’clock when no CV is applied.
Then full counter clockwise when CV is applied.
When no CV is applied the offset knob manually sweeps the instability of the 3 waveshaper gain stages.
When CV is applied the offset adjusts the response of the incoming CV.
Work that offset knob when applying CV.
The most interesting and bizarre mangled sounds come when the first gain stage is barely letting audio through.
The loudest and less scrambled sounds are found when all gain stage knobs are full clockwise and offset is about 2-3 o’clock.
There are so many hidden sounds in this module you will have to record them before they disappear and warp into a new sound.
The intended use of this module is to process audio waveforms from an oscillator.
There is a lot of gain so you will most likely want to place this in the middle of the chain with a voltage controlled attenuator at the end of the chain to control final volume and dynamics.
Very interesting results are found when also processing synthetic percussion and rhythmic beats and sequences.
