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[[File:Hordijk osc.png|thumb|200px|Panel design for a Rob Hordijk OSC HRM]]The '''OSC HRM''' (Harmonic Oscillator) is a 5U format module designed by [[Rob Hordijk Design|Rob Hordijk]]. It features controls to adjust frequency, smoothly blend between a range of waveforms, adjust modulation, and also includes a built in [[Voltage controlled amplifier|VCA]].
Contact Rob directly for details about his modules: rhordijk@xs4all.nl. <br>


=== Tuning ===
The OSC HRM can track 1V/Oct and the module uses a platinum element for temperature stabilization of the pitch curve. Maximum frequency range is from 0.5 Hz to 25kHz and the scale is perfectly tuned in the middle six octaves up to a pitch of 4000 Hz. With external CV the pitch range is 18 octaves.<ref name=":0">[https://thehordijkmodular.blogspot.com/2018/02/the-harmonic-oscillator-oschrm-lets.html The Harmonic Oscillator (OSC HRM)] by Benoit Faivre (2018)</ref> When playing pitches higher than 4000 Hz the 1V/Oct scale starts to break down, due to the necessary internal band-limiting in the harmonic generators.<ref name="rh">Rob Hordijk</ref>


Later versions of the OSC HRM feature a toggle switch allowing selection between manual tuning (up), middle C or 261 Hz (centre), and C-1 octave or 130 Hz (down). In the middle position (TUNE) the PITCH knob is disconnected to avoid accidental detuning, though the FINE knob still works. This preset tuning makes use with external control such a 1V per octave MIDI input more stable.
Rob also has a subforum at the Electro-Music forum site:
http://electro-music.com/forum/index.php?f=185


The Fine knob course is about two half notes up and two half notes down. It is limited for the reason that it should be able to precisely set the detune between two oscillators To make a detune of e.g. a fifth it is more interesting to use the quantizer from the NodeProcs, as this module can add the correct voltage to e.g. a 1V/Oct signal for transposing a particular note interval, up to five octaves up or down and optionally quantized to a chosen scale.


The module also features a CHAIN OUT output which functions as a [[mult]] simply passing the 1V-OCT IN signal for ease when chaining multiple oscillators together.
Most of Rob's module designs use SSM quad VCA chips, possibly the Analog Devices SSM2164 (?)


=== Harmonics ===
[[File:Hordijk osc fc.png|thumb|right|200px|The OSC HRM flowchart.]]The ODD HRM control produces an output that morphs between a sine (left) and square (right) wave at the output. The ALL HRM control produces an output that morphs between an inverted saw (left) to the output of the ODD HRM control (centre) to a regular saw (right).


While an intuitive understanding of the modules functions might suggest a mixer or blend between odd and even harmonics, the results are actually produced by a kind of linear frequency modulation (FM).
<b>OSC HRM</b><br>
Price 325 euro<br>
The Harmonic Oscillator module (OSC HRM) is used to create pitched waveforms with
dynamically controlled timbres. Pitch control law is 1V/Oct and the module uses a platinum
element for temperature stabilization of the pitch curve. Maximum frequency range is from
0.5 Hz to 16.000 Hz and the scale is perfectly tuned in the middle six octaves up to a pitch of
4.000 Hz. When playing pitches higher as 4000 Hz the 1V/Oct scale starts to break down, due
to the necessary internal bandlimiting in the harmonic generators.
The module uses a biquad sine/cosine oscillator at its core and through a process of recursion
harmonic series of overtones are generated. There are two recursion paths, one that produces
all harmonics and one that produces only the odd harmonics. By gradually opening the knobs
that control the amount of recursion more and more harmonics are generated. When only the
all harmonics path is used the waveform morphs smoothly from a sinewave to a waveform
that closely resembles and sounds like a sawtooth or an inverted sawtooth. Opening only the
odd harmonics knob will smoothly morph from a sinewave to a squarewave. When opening
both knobs effects like pulse wave modulation are possible. Building up these harmonic series
is under full voltage control and can be modulated from slow LFO speeds to fast audio rates
to create FM timbres. When the waveforms are modulated there is a negligable amount of
detune (less than 1 cent), though when modulating at audio rates an asymmetry in the
modulating waveform can cause detune effects on deep modulations.
There is an additional VCA incorporated in the module. The final output signal can be taken
from a point just before the VCA and at the output of the VCA. This enables the module to be
easily used in a situation where one wants to modulate another module by an audio rate signal
and have the modulation depth under voltage control using e.g. a LFO waveform, an envelope
voltage signal or a play controller that produces a control voltage, while still having the full
output level signal available on the full output to serve different purposes.
The waveforms have an exceptionally warm sound and when dynamically modulated have a
deep spatial and organic character.
With only one OSC HRM and one DUAL ENV module you can already have a voice with
dynamic timbral and volume control that can do e.g. a pretty solid bass line


FM is normally done with two sine waves (such as the Yamaha DX series) but the OSC HRM uses a bi-quad sine/cosine oscillator at its core and through recursion or feedback a harmonic series of overtones are generated. There are two feedback paths using Chebyshev function, one that produces all harmonics and one that produces only odd harmonics.
<b>Dual Phaser </b><br>
Price: 385 Euro.<br>


By gradually opening the knobs that control the amount of feedback more and more harmonics are generated. When only the all harmonics path is used the waveform output morphs smoothly from a sinewave to a waveform that closely resembles and sounds like a sawtooth or an inverted sawtooth.
The internal CV voltage scale is 1V/Oct. Each phaser has a reasonably accurate one volt per octave direct control input that can track the keyboard voltage. Normalization is used, routing the V/Oct input signal of phaser1 into phaser2 when the phaser2 V/Oct input is left unplugged.


Opening only the odd harmonics knob will smoothly morph from a sinewave to a squarewave. When opening both knobs effects like pulse wave modulation are possible. Building up these harmonic series is under full voltage control and can be modulated from slow LFO speeds to fast audio rates to create FM timbres.
Total control range is about 18 octaves. The Frq knob goes over the top 9 octaves of this range. Through the V/Oct and Modulation inputs you can go deeper, but you get into the LFO range and audible phasing effects would disappear.


When the waveforms are modulated there is a negligible amount of de-tuneing (less than 1 cent), though when modulating at audio rates an asymmetry in the modulating waveform can cause stronger de-tuning.<ref name="rh" />
It is however possible to use the phasing effect on LFO control signals in the 1Hz to 10Hz range by supplying the V/Oct with e.g. a fixed -5V control signal, which can create quite interesting LFO effects on e.g. drones. All inputs and outputs are DC coupled, so CV signals can pass the module equally well as audio signals. Only the internal resonance is AC coupled, so resonance drops off below roughly 10Hz.


=== VCA ===
Additionally each phaser has a modulation input, also at 1V/Oct when the mode is set to sweep. When the mode is set to spread it behaves like the modulation sensitivity is halved, also when it is in half mode where only half of the poles in each phaser are modulated by this input. These inputs are not normalized, in fact if no plug is connected the modulation level knobs receive a fixed voltage so a manual spread value can be set.
The OSC HRM also includes a built in VCA. The final output signal can be taken from a point just before the VCA (FULL OUT) as well as the output of the VCA, allowing for parallel processing of modulated and un-modulated amplitude.


It can be used simply to control the level, like other VCAs, or patching the VCA out to one of the harmonic modulation inputs makes the module's waveform modulate itself under control of the VCA<ref name=":0" />
Audio input is maximum 12V peak/peak before clipping occurs and there is 6dB attenuation from input to output to enable resonance peaks without clipping.


=== SUB OUT ===
Audio routing is as follows:
The SUB OUT provides a pulse wave taken from the ODD HRM path, one octave below the PITCH frequency. The output level is controlled by the VCA LVL and VCA MOD knobs and input signals. The curve of the SUB OUT is a bit louder than the VCA out at a lower level and a bit less loud at full level.
If a jack is connected to input1, and if input2 is unconnected, then the audio will route into both phasers. In this mode you can use the two phaser outputs as a stereo signal. Connecting a jack to input2 will override this internal input1->input2 connection and separate both phasers.


== References ==
If audio is routed into input1 and if input2 is left unconnected, and if a jack is connected into ónly output2, then the two phasers are automatically set to "inverse parallel" mode. Meaning that if both phasers are set to exactly the same knob settings the phaser outputs would be in exact reverse phase and thus result in almost silence.
{{From Mod Wiggler Wiki|Rob Hordijk Designs}}
{{reflist}}


== External links ==
If audio is routed into input1, and if output1 is connected with a short cable to input2, and if output2 is taken as the overall output, the two phasers are in series and thus result in one 16-pole phaser.
* Rob Hordijk explains the [http://www.youtube.com/watch?v=J3paMIPzg-Q&list=PLAC347DE38ABA9E8D&index=1 OSC HRM] at the European Electro Music Event (2012) Mallorca, Spain.
* [https://vimeo.com/236208519 Rob explains the OSC HRM] at NOVARS (2017)
* [https://gearspace.com/board/modular-mania-all-things-eurorack-and-modular-synths-effects/588172-hordijk-harmonic-oscillator-sound-clips.html Hordijk Harmonic Oscillator Sound Clips] on GearSpace.com
* [https://thehordijkmodular.blogspot.com/search/label/OscHRM OSC HRM] on the Hordijk Modular Blog by Benoit Faivre


[[Category:Original Rob Hordijk Design]]
To summarize: you can use the phasers fully separated, parallel with two (stereo) outputs on one input signal, parallel with mono output but with one phaser in reversed phase before the mixing of the outputs of the phasers take place on output2, or in series. All this is accomplished by the internal switches in the connectors and only depends on which inputs and outputs have a plug."
[[Category:5U modules]]




<b>Active Matrix</b><br>
Price: a little under 500 Euro.<br>
The Active Matrix module is buffered and works similar to the EMS Synthi.
It comes with mono plugs and some have built-in resistors for -6db or -12db signal reduction.
Every point is an insert, and with an insert cable, you can patch whatever you like into that point.
<br>
<b>Dual Envelope Generator</b><br>
Price 295 euro<br>
The Dual Envelope module (DUAL ENV) is a fully voltage controlled envelope generator
specifically designed to be used with sequenced music. There are two different types of
envelopes available, one is a four stage (attack, decay1, break level, decay2, release) envelope
and the second is a one stage envelope (decay only). Both envelope generators share the same
gate input, meaning that they can not be triggered separately. Triggering treshold is at roughly
100mV above ground and also accepts e.g. triangle waves.
The ADBDR envelope is primarily intended to be used for volume envelopes. When the
decay2 knob on the first envelope generator is fully open the decay2 acts like the sustain that
you find on most of the traditional envelope generators. In this case the break control will act
like the sustain level. There are CV inputs for the attack, decay1, decay2 and release rates.
The CV for the attack is inversed, so increasing the CV level will shorten the attack time
while increasing the decay times for the decay1, decay2 and release. This means that when
e.g. the key velocity voltage is used a higher velocity will shorten the attack and increase the
other decay times. Rate settings can be from really snappy to pretty slow. Care was taken that
you still have good control over the rates when in the snappy range.
The second envelope generator is intended as a modulation envelope generator to e.g. sweep a
filter or control the harmonic waveshaping of an OSC HRM module. It has an extra output
that is controlled by a bipolar mix knob that can invert the envelope shape and also gives
some extra overall ‘sink’ or ‘lift’ when the output level is increased. Rate can be set from a
glitch to about a minute.
When modulating decay times with control voltages it is good advise to keep the voltage fixed
while the envelope is developing. E.g. trying to modulate the decay time with an audio rate
signal does in general not produce sensible results. A S&H is integrated into the module to
sample the decaytime modulation input signal for the second envelope generator on every
new gate trigger. This way the modulation amount will stay fixed until the module is triggered
again by a new gate pulse. The sampled signal is also brought out on a connector, so it can be
routed to a CV input on the first ADBDR envelope generator. Or be used in any other S&H
application.
The ADBDR envelope is designed in a way that is hás to finish its attack phase to reach its
peak level before it can be retriggered. When used for sequencing this allows for complex
envelope shapes that give interesting rhythmic effects, but when used for keyboard play it
might feel a bit strange to play the module with long attack times and fast play.
Note that there are no attenuator knobs to set the amount of modulation for the ADBDR
envelope CV inputs, these inputs are at full sensitivity. They can be connected directly to e.g.
the velocity CV or CC# CV outputs of a MIDItoCV converter, but when modulated from
other sources one might need an extra CV mixer module to set the modulation levels properly

Latest revision as of 09:49, 20 June 2022

Panel design for a Rob Hordijk OSC HRM

The OSC HRM (Harmonic Oscillator) is a 5U format module designed by Rob Hordijk. It features controls to adjust frequency, smoothly blend between a range of waveforms, adjust modulation, and also includes a built in VCA.

Tuning

The OSC HRM can track 1V/Oct and the module uses a platinum element for temperature stabilization of the pitch curve. Maximum frequency range is from 0.5 Hz to 25kHz and the scale is perfectly tuned in the middle six octaves up to a pitch of 4000 Hz. With external CV the pitch range is 18 octaves.[1] When playing pitches higher than 4000 Hz the 1V/Oct scale starts to break down, due to the necessary internal band-limiting in the harmonic generators.[2]

Later versions of the OSC HRM feature a toggle switch allowing selection between manual tuning (up), middle C or 261 Hz (centre), and C-1 octave or 130 Hz (down). In the middle position (TUNE) the PITCH knob is disconnected to avoid accidental detuning, though the FINE knob still works. This preset tuning makes use with external control such a 1V per octave MIDI input more stable.

The Fine knob course is about two half notes up and two half notes down. It is limited for the reason that it should be able to precisely set the detune between two oscillators To make a detune of e.g. a fifth it is more interesting to use the quantizer from the NodeProcs, as this module can add the correct voltage to e.g. a 1V/Oct signal for transposing a particular note interval, up to five octaves up or down and optionally quantized to a chosen scale.

The module also features a CHAIN OUT output which functions as a mult simply passing the 1V-OCT IN signal for ease when chaining multiple oscillators together.

Harmonics

The OSC HRM flowchart.

The ODD HRM control produces an output that morphs between a sine (left) and square (right) wave at the output. The ALL HRM control produces an output that morphs between an inverted saw (left) to the output of the ODD HRM control (centre) to a regular saw (right).

While an intuitive understanding of the modules functions might suggest a mixer or blend between odd and even harmonics, the results are actually produced by a kind of linear frequency modulation (FM).

FM is normally done with two sine waves (such as the Yamaha DX series) but the OSC HRM uses a bi-quad sine/cosine oscillator at its core and through recursion or feedback a harmonic series of overtones are generated. There are two feedback paths using Chebyshev function, one that produces all harmonics and one that produces only odd harmonics.

By gradually opening the knobs that control the amount of feedback more and more harmonics are generated. When only the all harmonics path is used the waveform output morphs smoothly from a sinewave to a waveform that closely resembles and sounds like a sawtooth or an inverted sawtooth.

Opening only the odd harmonics knob will smoothly morph from a sinewave to a squarewave. When opening both knobs effects like pulse wave modulation are possible. Building up these harmonic series is under full voltage control and can be modulated from slow LFO speeds to fast audio rates to create FM timbres.

When the waveforms are modulated there is a negligible amount of de-tuneing (less than 1 cent), though when modulating at audio rates an asymmetry in the modulating waveform can cause stronger de-tuning.[2]

VCA

The OSC HRM also includes a built in VCA. The final output signal can be taken from a point just before the VCA (FULL OUT) as well as the output of the VCA, allowing for parallel processing of modulated and un-modulated amplitude.

It can be used simply to control the level, like other VCAs, or patching the VCA out to one of the harmonic modulation inputs makes the module's waveform modulate itself under control of the VCA[1]

SUB OUT

The SUB OUT provides a pulse wave taken from the ODD HRM path, one octave below the PITCH frequency. The output level is controlled by the VCA LVL and VCA MOD knobs and input signals. The curve of the SUB OUT is a bit louder than the VCA out at a lower level and a bit less loud at full level.

References

This page uses Creative Commons Licensed content from Mod Wiggler Wiki:Rob Hordijk Designs (View authors).

  1. ^ a b The Harmonic Oscillator (OSC HRM) by Benoit Faivre (2018)
  2. ^ a b Rob Hordijk

External links

Retrieved from "https://sdiy.info/wiki/Rob_Hordijk_OSC_HRM?oldid=20051"