User Manual: Neutron

User Manual
NEUTRON
Paraphonic Analog and Semi-Modular Synthesizer with Dual 3340 VCOs,
Multi-Mode VCF, 2 ADSRs, BBD Delay and Overdrive Circuit in a Eurorack Format
Downloaded from www.Manualslib.com manuals search engine

2 NEUTRON User Manual
Table of Contents
Thank you........................................................................ 2
Important Safety Instructions....................................... 3
Legal Disclaimer.............................................................. 3
Limited warranty............................................................. 3
About the Neutron.......................................................... 4
1. Introduction................................................................ 5
2. Features....................................................................... 5
3. Controls....................................................................... 6
4. Overview................................................................... 10
5. User Configurable Options & Features................... 12
6. Eurorack Installation................................................ 16
7. Software Update & Calibration............................... 17
8. Patch Bay................................................................... 19
9. Neutron Set-up Examples ....................................... 20
10. Preset Patches ........................................................ 22
11. Troubleshooting..................................................... 22
12. Specifications.......................................................... 23
13. Glossary................................................................... 25
Thank you
Thank you very much for expressing your confidence in BEHRINGER by purchasing
the Neutron analog synthesizer - with 2 x 3340 VCOs, analog bucket brigade
delay (BBD), soft-clipping overdrive circuit, 5 shape morphing LFO,
12 dB multi-mode 2 pole filter, paraphonic mode, semi-modular
and Eurorack format

Important Safety 9. Do not defeat the safety purpose of the polarized 20. Please keep the environmental aspects of battery
Instructions or grounding-type plug. A polarized plug has two blades disposal in mind. Batteries must be disposed-of at a
with one wider than the other. A grounding-type plug battery collection point.
has two blades and a third grounding prong. The wide 21. Use this apparatus in tropical and/or
blade or the third prong are provided for your safety. If the moderate climates.
provided plug does not fit into your outlet, consult an
electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or LEGAL DISCLAIMER
pinched particularly at plugs, convenience receptacles, MUSIC Tribe accepts no liability for any loss which
Terminals marked with this symbol carry
and the point where they exit from the apparatus. may be suffered by any person who relies either
electrical current of sufficient magnitude
to constitute risk of electric shock. 11. Use only attachments/accessories specified by wholly or in part upon any description, photograph,
Use only high-quality professional speaker cables with the manufacturer. or statement contained herein. Technical specifications,
¼" TS or twist-locking plugs pre-installed. All other appearances and other information are subject to
12. Use only with the
installation or modification should be performed only change without notice. All trademarks are the property
cart, stand, tripod, bracket,
by qualified personnel. of their respective owners. MIDAS, KLARK TEKNIK,
or table specified by the
LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND,
This symbol, wherever it appears, manufacturer, or sold with
TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and
alerts you to the presence of uninsulated the apparatus. When a cart
COOLAUDIO are trademarks or registered trademarks
dangerous voltage inside the is used, use caution when
of MUSIC Tribe Global Brands Ltd. © MUSIC Tribe Global
enclosure - voltage that may be sufficient to constitute a moving the cart/apparatus
Brands Ltd. 2018 All rights reserved.
risk of shock. combination to avoid
injury from tip-over.
This symbol, wherever it appears,
13. Unplug this apparatus during lightning storms or LIMITED WARRANTY
alerts you to important operating and
when unused for long periods of time.
maintenance instructions in the For the applicable warranty terms and conditions
accompanying literature. Please read the manual. 14. Refer all servicing to qualified service personnel. and additional information regarding MUSIC Tribe’s
Servicing is required when the apparatus has been Limited Warranty, please see complete details online at
Caution damaged in any way, such as power supply cord or plug musictri.be/warranty.
To reduce the risk of electric shock, do not is damaged, liquid has been spilled or objects have fallen
remove the top cover (or the rear section). into the apparatus, the apparatus has been exposed
No user serviceable parts inside. Refer servicing to to rain or moisture, does not operate normally, or has
qualified personnel. been dropped.
Caution 15. The apparatus shall be connected to a MAINS socket
To reduce the risk of fire or electric shock, outlet with a protective earthing connection.
do not expose this appliance to rain and 16. Where the MAINS plug or an appliance coupler is
moisture. The apparatus shall not be exposed to dripping used as the disconnect device, the disconnect device shall
or splashing liquids and no objects filled with liquids, remain readily operable.
such as vases, shall be placed on the apparatus.
17. Correct disposal of this
Caution product: This symbol indicates
These service instructions are for use that this product must not be
by qualified service personnel only. disposed of with household
To reduce the risk of electric shock do not perform any waste, according to the WEEE
servicing other than that contained in the operation Directive (2012/19/EU) and
instructions. Repairs have to be performed by qualified your national law. This product
service personnel. should be taken to a collection center licensed for the
1. Read these instructions. recycling of waste electrical and electronic equipment
(EEE). The mishandling of this type of waste could have
2. Keep these instructions.
a possible negative impact on the environment and
3. Heed all warnings. human health due to potentially hazardous substances
4. Follow all instructions. that are generally associated with EEE. At the same time,
5. Do not use this apparatus near water. your cooperation in the correct disposal of this product
will contribute to the efficient use of natural resources.
6. Clean only with dry cloth.
For more information about where you can take your
7. Do not block any ventilation openings. Install in waste equipment for recycling, please contact your local
accordance with the manufacturer’s instructions. city office, or your household waste collection service.
8. Do not install near any heat sources such as 18. Do not install in a confined space, such as a book
radiators, heat registers, stoves, or other apparatus case or similar unit.
(including amplifiers) that produce heat.
19. Do not place naked flame sources, such as lighted
candles, on the apparatus.

About the Neutron

• Paraphonic, dual analog VCO design which allows for ingenious music
creation.
• Semi-modular design requires no patching for immediate performance.
• Dual 3340 VCOs authentically recreate the classic sound creation.
• 32 in/24 out jack patch bay for sound patching experimentation.
• 5 variable oscillator shapes with pulse width modulation for high quality
sounds.
• Blend or switch the OSC & LFO shape. A unique sound creation tool.
• Paraphonic mode allows both oscillators to be independently controlled.
• Audio-rate LFO with 5 waveform shapes, key sync, delay and MIDI sync.
• 2 assignable ADSR generators for modulation of VCF, VCA etc.
• 8192 stage Delay based on legendary BBD (Bucket Brigade Delay) technology.
• Overdrive circuit adds grit and edge to your sound.
• Complete Eurorack solution – main module can be transferred to a standard
Eurorack case.
• 36 knobs and 7 buttons give you direct and real-time access to all important
parameters.
• Powerful 12 dB multi-mode 2 pole filter with three types, Low-pass, Band-
pass and High-pass.
• Assignable Sample and Hold with Glide for added creativity.
• Slew Rate Limiter for amazing glissando sound effects.
• White noise generator dramatically expands soundscape creation.
• Pure analog signal path based on legendary VCO designs.
• External audio input for processing external sound sources.
• Servo balanced mono output for the highest signal integrity.
• 3-Year Warranty Program*.
• Designed and engineered in the U.K.
*Warranty details can be found at www.musictri.be

1. Introduction Innovative Multi Mode Filter

An ultra-affordable leap into the warm world of analog synthesis, the BEHRINGER The very heart of the sound of the Neutron is its highly-flexible 12 dB 2-pole
Neutron gives you the power to create virtually any monophonic sound filter, which lets you freely experiment with the cutoff frequency and resonance
imaginable with incredible power and ease. to create out-of-this-world soundscapes. Neutron’s Filter Mode button toggles
between LFP, BPF and HPF. You can also adjust the attack, decay, release and
The pure analog signal path is based on the legendary V3340 VCO chip with
sustain controls to affect the cutoff frequency with time. A second filter output
variable oscillator and LFO shapes which can be blended or switched for unique
allows further audio contortion with its own dedicated output from the patch
sound creation. For protection and convenience, the Neutron can even be
bay.
mounted in a standard Eurorack, making it ideal for the studio and/or the road.
Owning a Neutron gives you all the power of a monster modular synthesis system
Distorted Reality
in a flexible package with the ability to create bewildering, complex sounds.
The VCA passes through the powerful soft clipping overdrive circuit which can
1.1 Before you get started add punch and bite to your creations. This section also features a diverse tone
control to further expand your creative palette.
The Neutron was carefully packed in the factory to guarantee safe transport.
Nevertheless, we recommend that you carefully examine the packaging and
Oscillator and LFO morphing
its contents for any signs of physical damage, which may have occurred during
transit. If the unit is damaged, please do NOT return it to us, but notify your The exquisite ability to blend or morph the oscillator and LFO shape lets new
dealer and the shipping company immediately, otherwise claims for damage or adventures in tone creation begin. By modulating these waveforms, psychedelic
replacement may not be granted. sounds can be cooked up comparable to other synthesizers.
1.1.1 Initial operation Poly Chain Ready

Be sure that there is enough space around the unit for cooling purposes and, to While it is largely a monophonic instrument (one note at a time) the Poly Chain
avoid over-heating, please do not place the Neutron on high temperature devices function lets you combine multiple Neutron synthesizers for polyphonic sounds.
such as radiators or power amps.
Bucket Brigade Delay
WARNING: The Neutron is supplied with a DC power adapter. It meets the
required safety standards. Do not use any other power adapter. The Neutron has an impressive analog bucket brigade delay section. Gone is the
cold digital delay chip found in most modern synthesizers and replaced by a
WARNING: Please make sure that all units have a proper ground connection. For
warm analog design. Effects from long dub delays to extreme chorusing can be
your own safety, never remove or disable the ground conductor from any units or
created.
AC power cords in your system.
Semi-Modular Design
1.2 The product manual
Designed around an elegantly clean, calculated work stream. The Neutron
This product manual is designed to give you both an overview of the Neutron, as
benefits greatly from its semi-modular design, which requires no patching for
well as detailed information on each of the controls and parameters. The manual
quick operation. Just connect your keyboard or computer via MIDI or USB and
is based on the initial software release, V1.2.x. Further features may be added
start exploring the versatile world of analog music synthesis.
later so please regularly check for software updates. You will find an overview of
the physical control elements in the next chapter.
Eurorack Ready
1.3 Preparation Designed to handle the rigors of life on the road or in the studio, your Neutron
can easily be transferred into a standard Eurorack case for the perfect integration
CAUTION: Remember to turn your monitors/loudspeakers on last when powering
into your existing system.
up your system. Turn your monitors/loudspeakers off first when powering down
your system.
Controls and Connectivity
The Neutron has 36 knobs and 7 buttons, all laid out in a highly-intuitive format
2. Features that puts the fun back into your music creation. Input and output connections
include: Audio input, MIDI I/O and thru over USB/MIDI DIN plus a full 32 input, 24
A Past Classic Reincarnated output patch bay for countless experiments into the world of modular synthesis.
Great care has been taken in designing the Neutron to achieve new possibilities
You Are Covered
in sound creation by reviving a legacy VCO chip from classic synths of yesteryear.
By creating a fresh modern take on a semi-modular synth, the Neutron gives you We always strive to provide the best possible customer experience. Our products
the power to harness the prodigious sound of the V3340 chip. Colossal bass tones are made in our own MUSIC Tribe factory using state-of-the-art automation,
through to screaming lead sounds can be achieved to take your sound conception enhanced production workflows and quality assurance labs with the most
to the next level. sophisticated test equipment available in the world. As a result, we have one of
the lowest product failure rates in the industry, and we confidently back it up
Paraphonic Performance with a generous Warranty program.
Paraphonic mode allows the two oscillators to be independently pitched when
more than one MIDI note is played. This gives tremendous tonal qualities by
hearing two pitches which can evolve and interplay with each other.

3. Controls
3.1 Top Controls
(1) (2) (3) (13) (12) (20) (18) (19) (23) (24) (25)
(37) (38)
(26)
(27)
(14) (28) (39) (40)
(5) (15)
(4) (29)
(16) (21) (32) (41) (42)
(6) (31)
(7) (30)
(17) (22) (43) (44)
(10) (8) (9) (11) (33) (34) (35) (36)
(45) (46) (47) (48) (77) (78) (79)

(49) (50) (51) (52) (80) (81) (82)
(53) (54) (55) (56) (83) (84) (85)
(57) (58) (59) (60) (86) (87) (88)
(61) (62) (63) (64) (89) (90) (91)
(65) (66) (67) (68) (92) (93) (94)
(69) (70) (71) (72) (95) (96) (97)
(73) (74) (75) (76) (98) (99) (100)
(101) (102) (103) (104) (105) (106) (107) (108)(109)

3.1.1 Oscillator Section VCO (Voltage Controlled 3.1.3 LFO Section (Low Frequency Oscillator)
Oscillator)
(20)(18) (19)
(1) (2) (3)
(5)
(4)
(18) SHAPE - Adjusts the shape of the LFO with the ability to blend between
(6) waveforms.
(7)
(19) RATE - Adjusts the speed of the selected LFO waveform.
(20) KEY SYNC - Re-trigger the LFO phase with each new MIDI note.
(10) (8) (9) (11) 3.1.4 Noise & VCA Bias
(1) and (3) OSC TUNE - Adjusts the frequency of the oscillators.
(2) OSC MIX - Adjusts the blend between oscillator 1 and 2.
(21)
(4) and (5) OSC SHAPE - Adjusts the shape of the oscillator. Can be configured
to switch between fixed waveforms or to blend continuously between (22)
adjacent waveforms.
(6) and (7) OSC RANGE - Adjusts the pipe length of oscillators between (21) NOISE LEVEL - Adjusts the amount of white noise injected into the filter.
32/16/8. +/-10 octave mode enabled when all 3 LEDs are on.
(22) VCA BIAS - Opens or closes the VCA.
(8) OSC SYNC - OSC 1 will restart the period of OSC 2, so that they will have the
same base frequency. 3.1.5 Delay Section
(9) PARAPHONIC - Allows the two oscillators to be independently pitched
when more than one MIDI note is played. If only one note is received, both (23) (24) (25)
oscillators will play the same pitch.
(10) and (11) PULSE WIDTH (PW) - Sets the pulse width of oscillator pulse/tone
mod waveforms.
3.1.2 VCF Section (Voltage Controlled Filter) (23) TIME - Controls the rate of the delay. When the time control is fully to the
right, the longest delay time is set.
(13) (12) (24) REPEATS - Controls the number of repeats or echoes.
(25) MIX - Adjusts the wet/dry mix. When the mix control is turned fully to the
left, no effect will be heard. Turning the mix control fully to the right will
give you the delayed wet signal only. With the repeat control fully to the
right, repeats will be infinite and keep building.
(14)
3.1.6 Overdrive Section
(15)
(16) (26)
(27)
(28)
(17)
(26) DRIVE - Sets the amount of overdrive. The drive control can be used to add
subtle overdrive through to wild all-out distortion. Turn to the left for gentle
(12) FREQ - Adjusts the cutoff frequency of the VCF.
warming or turn to the right for more aggression and bite.
(13) MODE - Selects the filter type. Choose between High Pass Filter (HPF), Band
(27) TONE - Changes the timbre of the overdriven sound. Turning the tone to
Pass Filter (BPF) and Low Pass Filter (LPF).
the left boosts the lows to create rich warm sounds. Turning to the right
(14) RESO - Adjusts the resonance of the filter. gradually thins out the low end and starts to boost the highs to create sharp
cutting sounds.
(15) KEY TRK - Applies keyboard tracking to the VCF.
(28) LEVEL - Controls the volume of the overdrive output. When fully off you may
(16) MOD DEPTH - Sets the depth of filter modulation from the FREQ MOD input.
hear no audio at the output.
(17) ENV DEPTH - Sets the depth of filter modulation from ENVELOPE 2.

3.1.7 Envelope Section (43) ATTENUATOR 1 - Used to reduce the amplitude of the input signal. ATT1 can
be controlled by a control voltage. See 58.
Envelope 1
(44) ATTENUATOR 2 - Passive attenuator, reduces the amplitude of a signal.
Envelope 1 is routed to the VCA CV by default. Normalized patching routes the LFO to the oscillator Pulse Width inputs to
provide a Pulse Width Modulation (PWM).
(29)
(32) 3.2.1 Patch Bay
(31)
(30) Input Patch Bay Section
(45) (46) (47) (48) (77) (78) (79)

(33) (34) (35) (36) (49) (50) (51) (52) (80) (81) (82)
(29) A [Attack] - Controls the attack time of the envelope. (53) (54) (55) (56) (83) (84) (85)
(30) D [Decay] - Controls the decay time of the envelope. (57) (58) (59) (60) (86) (87) (88)
(61) (62) (63) (64) (89) (90) (91)
(31) S [Sustain] - Controls the sustain level of the envelope.
(65) (66) (67) (68) (92) (93) (94)
(32) R [Release] - Controls the release time of the envelope. (69) (70) (71) (72) (95) (96) (97)
Envelope 2
(73) (74) (75) (76) (98) (99) (100)
Envelope 2 is routed to the VCF filter cutoff via ENV DEPTH control by default. See
17. ADSR knobs 33-36 function the same as 29-32. (45) OSC 1 – OSC 1 pitch CV.
(46) OSC 2 – OSC 2 pitch CV.
3.1.8 Output Section
(47) OSC1+2 – OSC 1 and 2 pitch CV.
(48) INVERT IN – The input signal is inverted at INVERT OUT. See 88.
(37) (38)
(49) SHAPE 1 – OSC 1 Shape CV.
(39) (40) (50) SHAPE 2 – OSC 2 Shape CV.

(51) PW1 – OSC 1 PW CV.
(52) PW2 – OSC 2 PW CV.
(37) VOLUME - Controls the output level of the synthesizer. The headphone
output is independent of the volume control and has its own control on the (53) VCF – VCF signal input.
back of the synthesizer.
(54) FREQ MOD – VCF cutoff frequency CV.
(38) MIDI IN - Accepts incoming MIDI data from the selected MIDI channel.
(55) RES – VCF resonance CV.
3.1.9 Sample & Hold (56) OD IN – Overdrive signal input.
Generates a random pattern based on the sample and hold clock. (57) VCA IN – VCA signal input.
(39) RATE - Controls the rate of the sample and hold clock. (58) VCA CV – VCA CV.
(40) GLIDE - Sets the rate of change between sample values. (59) DELAY IN – Delay signal input.
(60) DELAY TIME – Delay time CV.
3.2 Slew Rate Limiter & Attenuator Section
(61) E. GATE1 – Envelope 1 gate.
(41) (42) (62) E. GATE2 – Envelope 2 gate.
(63) S&H IN – Sample and Hold signal input.
(43) (44) (64) S&H CLOCK – Sample and Hold clock input.
(65) LFO RATE – LFO Rate CV.
(41) SLEW - The Slew Limiter is used to limit the rate of change in a signal. This (66) LFO SHAPE – LFO Shape CV.
function is sometimes referred to as 'Glide', 'Glissando', 'Lag Processing', or
(67) LFO TRIG – LFO Trigger input.
'Portamento'. The amount of limitation is set by this control.
(68) MULT – MULT signal input. See 92/93.
(42) PORTA TIME - Controls the rate of change between MIDI notes. The effect is
off when turned fully left and increases when turned to the right. (69) ATT1 IN – Attenuator 1 signal input.
(70) ATT1 CV – Attenuator 1 CV.

(71) ATT2 IN – Attenuator 2 signal input. 3.2.2 Rear Panel

(72) SLEW IN – Slew signal input.
(73) SUM1(A) – SUM 1 first signal input. See 98.
(74) SUM1(B) – SUM1 second signal input. See 98.
(75) SUM2(A) – SUM 2 first signal input. See 99.
(76) SUM2(B) – SUM 2 second signal input. See 99.
Output Patch Bay Section

(101) (102) (103) (104) (105) (106) (107) (108)(109)
(101) INPUT – Mono unbalanced audio input using a ¼" (6.35 mm) jack cable for
(46) (47) (48) (77) (78) (79) processing external sound sources.
(50) (51) (52) (80) (81) (82)
(102) OUTPUT – Connect to a mixer or audio interface using a ¼" (6.35 mm) mono
(54) (55) (56) (83) (84) (85) jack cable. Remember to turn your monitors/loudspeakers on last when
(58) (59) (60) (86) (87) (88) turning on your system and turn your monitors/loudspeakers off first when
(62) (63) (64) (89) (90) (91) turning your system off.
(66) (67) (68) (92) (93) (94) (103) PHONES – ¼" (6.35 mm) jack connection to plug headphones in.
(70) (71) (72) (95) (96) (97)
(104) PHONES LEVEL – Ensure the volume control is at minimum when putting
(74) (75) (76) (98) (99) (100) on headphones or when turning the synthesizer on or off.
(105) MIDI CHANNEL SELECTION.
(77) OSC 1 – Output of Oscillator 1.
Move the four dip switches to select the incoming MIDI channel for the
(78) OSC 2 – Output of Oscillator 2. synthesizer.
(79) OSC Mix – Output of OSC 1/2 mix. MIDI CHANNEL DIP SWITCH SETTINGS
(80) VCF 1 – Main output of the filter.
(81) VCF 2 – Alternate output of the filter.
(82) OVERDRIVE – Overdrive output signal.
(83) VCA – Voltage Controlled Amplifier output signal.
(84) OUTPUT – Main output signal, post delay.
(85) NOISE – Output of the white noise generator.
(86) ENV1 – Envelope 1 output. 1 2 3 4
(87) ENV2 – Envelope 2 output.

(88) INVERT – Inverted version of signal applied to INVERT IN. See 48. 5 6 7 8
(89) LFO – Output of the Bipolar LFO (-5 V to +5 V).
(90) LFO UNI – Output of the Unipolar LFO (0V to +5 V).
9 10 11 12
(91) S&H – Sample and Hold output signal.
(92) MULT 1 – Duplicate of signal applied to MULT IN. See 68.
13 14 15 16
(93) MULT 2 – Duplicate of signal applied to MULT IN. See 68.
(94) MIDI GATE – MIDI gate output.
(106) MIDI THRU – The 5-pin MIDI DIN connector is used to pass through MIDI
(95) ATT1 – Output of Attenuator 1. data received at the MIDI INPUT.
(96) ATT2 – Output of Attenuator 2. (107) USB PORT – Connects to a computer via standard USB cable. The Neutron
will display in your DAW as a class-compliant USB MIDI device, capable of
(97) SLEW – Output of Slew.
sending and receiving MIDI information.
(98) SUM1 – Summation of SUM 1(A+B).
(108) POWER SWITCH – Turns the synthesizer on and off. Make all audio
(99) SUM2 – Summation of SUM 2(A+B). connections before powering on.
(100) ASSIGN – Assignable output. See User Configurable Options & Features. (109) POWER INPUT – Connect the supplied power supply only.

4. Overview The five oscillator shapes are:

This overview will help you set up the Neutron analog synthesizer and briefly
introduce its capabilities.
Tone Mod
4.1 Connection
The Neutron has a ¼" (6.35 mm) mono jack output on the rear of the unit which
is also duplicated on the patch bay via a 3.5 mm output. Audio input is via a ¼" Square/Pulse
(6.35 mm) mono jack on the rear panel. Please consult the connection set-up
guide for examples (8.1).
Caution: Do not overload the 3.5 mm inputs. They can only accept the correct Sawtooth
level of voltages as shown in the specification tables later in this manual. The
3.5 mm outputs should only be connected to inputs capable of receiving the
output voltages. Failure to follow these instructions may damage the Neutron or Triangle
external units.
4.2 Software Setup

Sine
The Neutron is a USB Class Compliant MIDI device, and so no driver installation
is required. The Neutron does not require any additional drivers to work with
Windows and MacOS. The P. WIDTH affects the first two wave shapes, TONE MOD and SQUARE WAVE.
When OSC SYNC is engaged, oscillator 1 tracks the MIDI note and provides a
4.3 Hardware Setup reference to reset the period of oscillator 2.
Make all the connections in your system. Use the rear panel MIDI switches to When the PARAPHONIC switch is engaged, it allows the two oscillators to be
set the Neutron to a unique MIDI channel in your system. Connect an external independently pitched when more than one MIDI note is played simultaneously.
keyboard with MIDI output directly to the Neutron MIDI IN 5-pin DIN type input If only one note is played, both oscillators will be driven at the same pitch.
or via MIDI over USB. Apply power to the Neutron using the supplied power
The NOISE control injects white noise into the filter, which can be used to add
adapter only. Ensure your sound system is turned down. Turn on the Neutron rear
another texture to the sound. Noise can be used to create percussive sounds
panel power switch.
when used with short VCA envelope settings.
4.4 Oscillator Section VCA Bias is used to control the VCA. It allows the user to 'open' the VCA without
triggering the envelope (e.g. with a MIDI note), allowing audio to sound
(1) (2) (3) continuously.
(21)
(22)
(5)
(4)
4.5 Filter Section
(6)
(7) The Neutron has a powerful 12 dB filter with three modes available:
(13) (12)
High Pass Filter (HPF)
(10) (8) (9) (11)
Each oscillator has a tune control which gives approximately +/-1 octave range (14)
in 8/16/32 modes or a range from 0.7 Hz to over 50 kHz when all range LEDs are Band Pass Filter (BPF)
(15)
illuminated which is around +/-10 octaves. (16)
The OSC MIX control is used to blend between the two oscillators to create rich
harmonic sounds. Low Pass Filter (LPF) (17)
You can adjust the SHAPE control for each oscillator to select different
waveforms, if in blend mode, the waveforms will morph into one another in a
The mode button steps through each filter mode.
smooth transition.
The FREQ control sets the filter cutoff frequency. The RESO control adjusts the
resonance of the filter. When the resonance control is set to at, or close to,
maximum the VCF will become self-resonant and produce a sine wave tuned to
the cutoff frequency of the filter. This tone can be used in sound creation and
played in tune with the oscillators by activating KEY TRACK and tuning the VCF
using the FREQ control.

By default, the LFO is patched through the FILTER DEPTH control. This enables 4.7 Delay Section
modulation of the filter frequency using the LFO. The VCF has a second output
The Neutron has an impressive analog bucket brigade delay section. Delay times
which is accessible from the patch bay (VCF 2). VCF 2 mode is determined by the
of 24 ms to 640 ms can be set. Effects from long dub delays to extreme chorusing
select VCF mode. The relationship is:
can be created. Set the MIX control at 12 o’clock. Then try turning the RATE
Mode = , VCF2 = control fully left with the REPEAT control to the right a little for a long dub style
sound. Chorus effects can be created by modulating short delay times with an
Mode = , VCF2 =
LFO applied to the DELAY TIME input via one of the ATTENUATORS.
Mode = , VCF2 =
This allows for additional filter modes. For example, a notch filter can be created (23) (24) (25)
when the filter mode is set to by summing VCF 1 and VCF 2, then patching the
summed output into OD IN.
KEY TRACK applies keyboard tracking to the VCF.
This sets the filter cutoff frequency based on the latest MIDI note received. The
base cutoff frequency is set using the FREQ control with MIDI notes increasing the 4.8 Overdrive Section
cutoff frequency relative to the note being played. Additionally, this allows the
The overdrive section can be used to add subtle warmth through to extreme
filter to be played like an oscillator when the resonance control is turned up.
distortion by using an analog soft clipping circuit. Turning the DRIVE control to
the right increases the amount of distortion, adding rich harmonics. The TONE
4.6 LFO Section control shapes the sound of the overdrive. To the left, high-end filtering is applied
The Neutron LFO has a frequency range of 0.01 Hz to 10 kHz. This allows low to take away the harsh edge. When the TONE control is turned to the right the
frequency modulation up to audio rate modulation using the LFO. low end is filtered out to give a brighter sound. As DRIVE level is increased, the
LEVEL control can be utilized to turn down the volume of the synthesizer, without
The Shape control sets the type of LFO waveform. When selecting the LFO
affecting the drive or tone of the sound.
waveform, the control can be set to select between fixed types or to blend
between wave shapes. The five LFO shapes are: NOTE: If the level control is all the way down it is possible that no sound
will be heard.
Sine (26)
(27)
(28)
Triangle
4.9 Envelope Section
The Neutron contains two ADSR (Attack, Decay, Sustain, Release) envelopes. Both
Sawtooth envelopes are triggered when a MIDI note is received unless the E.GATE 1/2 inputs
are used.
ENVELOPE 1 is routed to the VCA CV by default. This allows the signal to pass
Square through the unit when a MIDI note is being played and closes the VCA when no
note is being played.
ENVELOPE 2 is routed to the VCF, via the ENV DEPTH control, by default. This can
Reverse Sawtooth be used to create filter sweeps when a MIDI note is being played. Try different
combinations of slow and fast settings to create different sounds and textures.
With KEY SYNC engaged, the LFO is re-triggered when a MIDI note is received. (29)
(32)
(20)(18) (19) (31)
(30)
(33) (34) (35) (36)

4.10 Sample And Hold

5. User Configurable Options
The sample and hold function generates a random, stepped waveform by taking
a sample of the input signal. The sample rate is governed by the RATE control or
& Features
the SH CLOCK input. This generates a distinctive, bubbling random waveform that
can be used to modulate other synth parameters. Its random nature makes it well Advanced Access Action Result Exit
suited to sci-fi effects. Try patching S&H to OSC 1&2 to modulate the oscillator's Features
pitch. The distinctive gurgling effect can be heard throughout sci-fi movies. Change Assignable Hold OSC Use RANGE LFO shape displays Hold OSC
Output (ASSIGN) SYNC buttons selected option. SYNC
The GLIDE control limits the rate of change between samples, allowing smooth to change
(37)
transitions between sample(38)
values. Output function
Envelope Hold OSC The KEY TRK When the KEY Hold OSC
(39) (40) Retriggering SYNC button toggles TRK LED is on - SYNC
the retriggering retriggering is
mode enabled
OSC 1 Shape Hold OSC1 PARAPHONIC OSC 1 Shape Hold OSC 1
4.11 Slew Rate Limiter (Blend or Switched) RANGE will either throb mode will toggle. RANGE
or flash. Push to Blend or switch
PORTA TIME is the amount of time taken to transition between two MIDI notes. toggle mode
This feature can be used to add a pleasing musical slide into your sounds.
OSC 2 Shape Hold OSC2 PARAPHONIC OSC 2 Shape Hold OSC 2
The SLEW Limiter is used to limit the rate of change of a signal. For example, Slew (Blend or Switched) RANGE will either throb mode will toggle. RANGE
can be used to add Portamento to pitch CVs generated from an or flash. Push to Blend or switch
toggle mode
external sequencer.
LFO Hold LFO KEY PARAPHONIC LFO Shape mode Hold LFO KEY
(Blend or Switched) SYNC will either throb will toggle. SYNC
(41) (42) or flash. Push to Blend or switch
toggle mode
OSC 1 Tuning Hold LFO shape LEDs Top center Hold
(43) (44) RANGE 1 shows tuning LFO Shape LED RANGE 1
4.12 Attenuators with respect to indicates that the
the last played oscillator is in tune
ATTENUATOR 1 is an additional VCA which can be used to reduce the amplitude MIDI note
of the input signal based on the Att1 CV control or the attenuator 1 front panel OSC 2 Tuning Hold LFO shape LEDs Top center Hold
control (43). RANGE 2 shows tuning LFO Shape LED RANGE 2
with respect to indicates that the
ATTENUATOR 2 - Reduces the amplitude of a signal based on the attenuator the last played oscillator is in tune
2 control (44). The BIPOLAR LFO output is routed to the attenuator 2 input MIDI note
by default. Poly Chain mode Hold The LED will pulse Poly-Chain mode Hold
PARAPHONIC slowly in mono toggled on/off PARAPHONIC
Note: The attenuator 2 output is also routed to P.WIDTH 1 and P.WIDTH 2 controls mode - quickly in
by(41)
default. (42) duo mode
(43) (44) 5.1 Assignable Output

It is possible to select the source of the ASSIGN output jack.
4.13 Pitch Bend Messages To change the source press & hold the OSC SYNC button until both the RANGE
buttons are flashing. The currently selected assignable output is indicated
The Neutron responds to pitch bend messages via USB MIDI or the MIDI IN and is
by the flashing LFO shape LED - the available options are (clockwise from the
fixed to +/-2 semitones in software version 1.2.2.
sine shape):
OSC 1 CV
OSC 2 CV
“Note On” velocity
Modwheel
Aftertouch
Use the two range buttons to change the selected output. When you're done,
press and hold the OSC SYNC button until the RANGE buttons stop flashing. The
currently selected assignable output value will be stored and will persist across
power cycles.

5.2 Envelope Retriggering 5.8 MIDI Note Range

Enter the Assignable Output mode (see above). The KEY TRK button toggles the The supported MIDI note range is 24 (C1) to 96 (C7) inclusive. Notes outside of this
retriggering mode. When the KEY TRK LED is on, retriggering is enabled and range will still trigger the Neutron. MIDI notes 0-23 will trigger note 24 (C1) note.
vice versa. MIDI notes 97-127 will trigger note 96 (C7).
5.3 OSC & LFO Shape Mix Blended or Switched 5.9 Poly-Chaining
It is possible to either blend or switch the OSC and LFO shape. This feature is an If you have multiple Neutron units, you can connect them in a ‘Poly Chain’ to
incredibly powerful, unique sound creation tool. For OSC1, press and hold the produce polyphonic sounds. The Neutron works by sending unhandled notes to
OSC1 RANGE button (this will enter the tuning feature). The PARAPHONIC button the next in the chain. When the chain runs out, the notes are dropped (i.e. not
will flash if shape mixing is disabled, or it will throb if shape mixing is enabled. played). The first Neutron plays the first played note, the second plays the second,
Press the PARAPHONIC button to toggle the shape mix state. Press and hold the the third plays the third etc.
OSC1 RANGE to leave this mode. Similarly, for OSC2 shape mixing press and hold
Note that a Neutron in Paraphonic mode will handle 2 notes. Each Neutron must
OSC2 RANGE; for LFO shape mixing press and hold LFO KEY SYNC.
have the same MIDI channel number set using the rear panel switches. The
Poly Chain connections are shown in the diagram. Set the Poly Chain ON for all
5.4 Tuning Neutrons. The last Neutron in the chain can either be set to Poly Chain on or off
The Neutron will self-calibrate at start up. An additional "tune" feature is depending on how you would like the MIDI information to be handled. If Poly
designed to allow the user to manually tune the oscillators to the last played MIDI Chain is on, the last Neutron will act as if it is sending the next played note over
note. the maximum number of notes played to the next device in the chain, and the
note will not be heard or dropped. If Poly chain is off for the last Neutron, the
To tune OSC1 or OSC2 to the nearest ‘C’ note, press and hold the appropriate
next played note over the maximum number of notes will steal the last played
RANGE button until the octave LED starts to flash. Play a MIDI note. The LFO shape
note from the last Neutron.
LEDs will display the tuning; turn the TUNE control until only the descending saw
LED is lit. That oscillator will now be playing a 'C'. This enables the accurate tuning To toggle Poly Chain mode, press and hold the PARAPHONIC button for 2 seconds.
of intervals. For example, play an 'F' note, then tune as above. That oscillator The LED will repeatedly flash (once when in mono mode - twice when in duo
is now playing a fifth above the root note. To exit tuning mode, press and hold mode). A short press on the PARAPHONIC button will still toggle the PARA/DUO
the RANGE button until the octave LED stops flashing. This is available in +/-10 mode. Hold PARAPHONIC to exit. If you are only using one Neutron, then make
octave mode (note that the long period of very low notes means that the tuning sure the Poly Chain is OFF.
feature appears to be unresponsive).
5.5 Tune Pot Bypass

Press and hold OSC (1 or 2) RANGE and PARAPHONIC buttons until the selected
OSC octave LED starts to flash. This indicates that the tune pot for that OSC is
now inactive and all notes played are in tune. Press and hold OSC RANGE and
PARAPHONIC buttons again to leave this mode. The LED will return to solid to
indicate that the tune pots are in circuit.
5.6 Software Version

Press and hold OSC SYNC and PARAPHONIC until all 3 OSC1 octave LEDs light up.
The LEDs will then flash out the software version, just count the flashes. The
version is of the form <Major>. <Minor>. <Build number>. Major is flashed on
the 8' LED, minor on the 16' LED & build number on the 32' LED. All 3 OSC1 octave
LEDs will light up again to indicate the end of the output.
5.7 LFO MIDI Clock Sync

The LFO will sync to the beat when receiving MIDI clock (it does nothing with
MIDI time code).
The LFO rate position determines the clock multiplier-divider.
The LFO divider values are, from counter clock wise to clockwise: 4/1, 3/1, 2/1,
3/2, 1/1, 1/2, 3/8, 1/3, 1/4, 1/5, 3/16, 1/6, 1/7, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32,
1/48, 1/64.

Poly chain system
MIDI Keyboard
MIDI IN MIDI IN MIDI IN
MIDI THRU
MIDI THRU MIDI THRU
From next Neutron To next Neutron
Mixing console
Headphones
Active Loudspeakers

Poly chain system using Neutron’s audio input
MIDI Keyboard
MIDI IN MIDI IN MIDI IN
OUTPUT INPUT INPUT

OUTPUT
MIDI THRU
MIDI THRU MIDI THRU
OUTPUT
Mixing console
Headphones
Active Loudspeakers

6. Eurorack Installation
The Neutron synthesizer can be taken out of its factory chassis and fitted into a
standard Eurorack case (not supplied).
We recommend that this procedure is undertaken only by an experienced service
technician, to prevent personal injury, or damage to the unit. The Eurorack case
will need its own suitable power supply unit to power the Neutron synthesizer. X58
A 10-pin connector on the rear of the main PCB of the Neutron allows the +12
VDC power supply connection to be made. A 10-pin to 16-pin adapter ribbon
cable is supplied to connect to your power supply.
+12 VDC
Before proceeding, make sure that your power supply is capable of supplying +12 Pins 3 to 8 Ground
X59
VDC, 1 Amp. No Connection
Make sure that the connections using the supplied adapter cable will supply the
ground and power to the correct pins.
6.1 Procedure
Follow all steps in the order in which they are presented.
1. Disconnect the power cord and all other connections to the Neutron.
X60
2. Undo the 8 screws on the top panel as shown. There is no need to undo any
other screws.
3. Carefully lift the top panel assembly and turn it over so the PCB is facing
upwards. Be careful not to pull on the cable from the lower side of the main PCB.
4.Disconnect the 24-pin cable from the side of the main PCB of the Neutron, X58
and remove the assembly from the chassis.
5. Store the chassis assembly and the power supply adaptor in a dry safe place.
6. Securely connect the 10-pin end P1 of the supplied adapter cable to connector
X59 on the Main PCB of the Neutron.
7. Make sure your power supply is turned off and disconnected from the AC mains.
8. Make sure that your power supply will supply a 12 V voltage to the pins of the
connector, as shown in the diagram.
9. Securely connect the 10-pin end P2 of the supplied adapter cable to your power
supply, and double check all connections are correct.
10. Securely install the Neutron Synthesizer into your Eurorack, using 8 screws in
the front panel.
11. Perform a full system test and safety test before using the Neutron.
12. The 3.5 mm OUTPUT connector on the top panel is used instead of the rear
output which is no longer present.
Disconnect from
Main PCB

7. Software Update & Calibration 5. In the VIEW menu, select SysEx...
7.1 Software Update

The Neutron DFU (Device Firmware Upgrade) updater can be downloaded by
going to www.musictri.be
Please follow the steps documented in the release notes accompanying
the update.
7.2 Assign Out Calibration

This calibration has been carried out by the factory at the manufacturing stage
but instructions are described here if needed.
For this, you'll need a 3.5 mm mono patch cable, a digital voltmeter, and MIDI-OX
installed on your PC.
6. In the Command Window, enter the SysEx command to be sent to the Neutron.
1. Insert the patch cable into the ASSIGN output on the Neutron front panel. For ASSIGN out calibration at 1 V, the command is: F0 00 20 32 00 7F 10 20 F7
2. Run MIDI-OX on your computer. Go to OPTIONS > MIDI DEVICES.
7. In the Command Window drop-down menu, select Send SysEx. The Sysex
command will be sent to the Neutron. Both 8' octave range LEDs will be flashing
to indicate the Neutron is in ASSIGN out 1 V calibration mode.
3. Select Neutron as the MIDI IN and MIDI OUT
8. Measure the voltage on the patch cable attached to the ASSIGN out and adjust
until it reads 1 V +/- 0.001 V.
4. Make sure "Pass SysEx" at the bottom of the Options drop-down menu is
ticked.
9. To increase the voltage send the Sysex command F0 00 20 32 00 7F 10 23 F7.

To decrease the voltage, send the Sysex command F0 00 20 32 00 7F 10 22 F7.
Repeat until the voltage reads 1 V +/- 0.001 V. Then move on to step 10.
10. Send the Sysex command for ASSIGN out calibration to the Neutron at 4 V.
The command is F0 00 20 32 00 7F 10 21 F7.
Both 32' octave range LEDs will be flashing to indicate the Neutron is in ASSIGN
out 4 V calibration mode.
11. Repeat step 9 until the voltage reads 4 V +/- 0.001 V. Then move onto step 12.
12. Save the calibration data and exit calibration mode by sending the Sysex
command F0 00 20 32 00 7F 10 24 F7.
The Neutron will return to its normal operating mode.

7.3 Bucket Brigade Delay Calibration Clock Noise Calibration

The Neutron Delay stage is designed to give as much control and variety as Once the repeats calibration has been completed you may need to dial out some
possible to the user. With that in mind, it may be necessary to tweak your clock noise from the delay output. This procedure has knock on effects to the
Neutron to sound the way you want it to. repeats calibration so once complete, you may need to repeat the previous stage
until you find the right balance. The output level may need to be increased so
First, decide how much feedback you want. Adding more feedback gives
that clock noise can be heard; this will sound like a high frequency drone in the
the option of having the delay stage feedback on itself creating screaming
background of any signals played through the delay.
effects. This results in higher distortion through the circuit, which may be a
desirable effect. 1. Turn Time fully CW and both Repeats and Mix to 3 o’clock.
Warning! When completing this procedure please keep the level down low as it
may get loud.
Open the Neutron by removing the top 8 screws. Lift the top panel carefully from
the lower edge to give access to trim pots VR37 and VR38. Take care not to put
strain on the ribbon connector.
2. Set VCA Bias fully CW so a signal is fed through the system and heard at the
output. If you have no audio check that the VCF is not cutting off any audio
and that the Overdrive level is up. A low frequency sound may be best, one
VR37 VR38
so that you can easily distinguish the clock noise.
3. With a constant drone on the output turn VR38 until you can hear clock
noise, then move VR38 until the clock noise is at a minimum. Note, with long
repeats there will always be a bit of clock noise present.
1. Set the Delay Time and Repeats controls fully clockwise (turning to the right)
and set the Mix control to 12 o’clock.
2. Turn VR37 fully CW.

3. Turn the Time control fully counter clockwise to the left (faster repeats), the
circuit should feedback and scream at you.
4. With the delay feeding back on itself turn VR37 CCW until the repeats soften
but do not die off.
5. To test the setup:
- Turn the repeats fully CCW so that there are no repeats and the Time fully
clockwise for long repeats.
- Next, turn the repeats up full again.
- When the Time control is turned fully CCW the delay should start to
feedback again, if not dial VR37 CW a little further. Or alternatively, if it feeds
back too easily or if you don’t want this behavior at all, turn VR37 a little
more CCW to reduce the effect of the feedback.
If you would like clean repeats lower the amount of feedback so the delay does
not feedback on itself easily, or at all, and keep the level through the delay circuit
low. This can be achieved by using the Overdrive level to control the amount of
signal sent to the delay. This flexibility lets you achieve clean and crisp repeats or
a delay that screams at you as you let it feedback on itself.

8. Patch Bay 8.1 Tips and Tricks of the Patch Bay

1. Patch Sample and Hold out into FREQ MOD in. Turn MOD DEPTH to 12 o’clock.
In a patchable semi-modular synthesizer such as the Neutron, inputs and outputs
Then Turn the S&H rate to 3 o’clock and the GLIDE to 12 0’clock. This will give you
are independent from one another. It is up to the user to patch the modules
a random filter position which glides between filter cutoff points.
together as they wish. This is different from a normalized synthesizer where the
functions are hard-wired together and the user just changes parameters. 2. Patch LFO to PW1 and MULT 1 into INVERT IN, then INVERT OUT to PW2 for
Patchable modular synthesizers are more complex to operate but give infinite opposite direction pulse width modulation. This is a is a variation that sounds
options. Below is a table of default or normalized routings. Please refer to the slightly different to turning ATTENUATOR 2 (see normalized routings for details).
numbering diagram earlier in this document. There follows a block diagram of
3. With OSC 1&2 in blend mode, patch LFO to SHAPE 1. Patch MULT 1 into INVERT
the normalized signal flow to show how audio travels through the Neutron.
IN then INVERT OUT into Shape 2 for opposite direction oscillator shape shifting, a
DEFAULT ROUTINGS very powerful sound creation tool.
OUTPUT FROM GOES TO THEN INTO 4. Set both OSC to Tone Mod Shape and ENV 2 to PW1&2 via the Mult with slow
ADSR settings. This gives a rich Pulse Width Modulation (PWM) effect.
OSC MIX + EXT INPUT + VCF>OD>VCA>DELAY LINE OUT + Headphones 5. Patch LFO into ATT 1 IN, then patch ATT1 OUT to DELAY TIME IN. Set a short
NOISE delay with the delay mix around 50% and adjust the LFO speed and shape to
ENV 1 VCA CV create a chorus effect.
LFO (BIPOLAR) ATT 2 ATT 1
6. Patch VCF 1&2 into Sum 1 A&B. Patch the output of SUM 1 into OD In. Set the
ATTENUATOR 2 PULSE WIDTH 1&2 filter shape to LPF to create a notch filter.
NOISE SAMPLE AND HOLD
7. Patch a square wave shape LFO out to the delay time in. Then try ENV2 out
LFO (BIPOLAR) FILTER DEPTH VCF FREQUENCY CV patched to LFO Rate. This sounds like and 80’s computer game.
ENV 2 ENV DEPTH VCF FREQUENCY CV
8. Patch OSC 1 into OSC 2 with OSC SYNC active for frequency modulation
ASSIGN ATT1 CV synthesis.
LFO (BIPOLAR) MULT INPUT
9. Patch LFO into ATT 1 IN, Then ATT 1 into OSC2 with OSC SYNC active. This gives
ENV 2 INVERT another style of FM synthesis to experiment with while using both oscillators. Try
E. GATE1 E. GATE2 UNLESS OVERRIDDEN changing the position of ATT 1 to hear subtle changes.
USING E. GATE 2 INPUT
10. Patch ASSIGN to ATT1 CV, set ASSIGN to MOD WHEEL, patch ATT1 OUT into OSC
1&2 pitch CV, this way the mod wheel sets the depth of vibrato, with LFO rate/
shape setting the characteristics and ATT2 setting the maximum depth.
Neutron normalised routing.
OSC 1
OSC MIX
OSC 2
VCF OVERDRIVE VCA DELAY OUTPUT
NOISE
EXTRNAL ENV DEPTH

INPUT
ENV 1 VCA BIAS
MOD DEPTH ENV DEPTH
PW1
LFO ENV 2 ATTENUATOR FLOW OSC 1
UNI-POLAR
LFO
ATT2 OSC 2
PW2
ATT1
MIDI ATT1 CV
SAMPLE ASSIGN
NOISE & HOLD
MULT 1
BI-POLAR MULT IN
LFO
EG2 INVERT
MULT 2

9. Neutron Set-up Examples

Studio System
MIDI KEYBOARD USB B

(MIDI OUTPUT OVER USB)
Audio Output
(to be proccessed by Neutron)
Audio Input Audio Output MIDI Input

Over USB
Power
Adaptor
USB B
Audio Interface
USB A
Desktop Computer
Headphones
Studio Monitors

Live Set-up
MIDI KEYBOARD
MIDI OUTPUT
MIDI Keyboard
MIDI OUT
MIDI IN
Power
Adaptor
Mixing console
Headphones
Active Loudspeakers

10. Preset Patches 11. Troubleshooting

The following examples give you a glimpse into the wonderful world of modular
Before turning on the Neutron power, please check that:
synthesis. Try these patches to show the versatile power of the Neutron.
Your speakers or headphones are correctly connected.
Default Patch - This is a great starting point for sound creation. No patching
required. A standard sawtooth sound will be audible using these settings. The external devices are powered-off.
Turn the VOLUME knob on the Neutron to the off position.
Turn on the POWER switch located on the rear panel.
The Neutron will run its startup routine.
Once the Neutron has stopped the LED calibration sequence, you can then turn on
power to the connected devices and raise the volume to an appropriate level.
Before turning off the Neutron, please check that:
Out Of This World – A Sci-fi style sound showing off the S&H function of the The output level is down on all connected audio devices.
Neutron. Here, the VCF self-resonates and drops into wonderfully deep sub tones.
The power is then turned off for all connected audio devices.
Play with the VCF FREQ control to sweep through various textures. Patch VCF 2
into OSC 2, LFO UNI into OSC 1&2 and S&H into LFO RATE.
11.1 There is no sound coming from the
synthesizer.
Check if the audio connections are correct.
Check if the volume control is turned up.
Check if the overdrive volume is up as this can cut audio if fully turned to the left.
If using headphones, check that the volume on the rear of the Neutron is turned
up.
Edge Synth – A slow evolving sound using frequency modulation and wave Check the position of the FREQ cutoff point. Depending on the filter type selected,
shape blending to create either a screaming when the filter is set to HPF or a dark it determines where the FREQ control will let audio pass through the filter stage.
bubbling bass with the filter set to LPF.
Check that any patch cables that are in use are not cutting the sound. For
Patch S&H OUT to OSC 2 IN, LFO to DELAY TIME and MULT 1 (LFO BY DEFAULT) to example, if a 3.5 mm cable is patched into VCA IN and the other end of the cable
SHAPE 1. is not plugged in, no sound will be audible.
11.2 There is no MIDI data coming from an

external source.
Check if the MIDI connections are made to the USB or the MIDI IN on the front
panel.
Check if the Neutron MIDI channel is set to the same one as the transmitting
device using the DIP switches on the rear.
Check that you are using either USB or MIDI. The Neutron may not respond if two
Quantum Loop - A Sub Sawtooth sound with VCF squelch. A sample & hold noise
sets of MIDI data are being transmitted to it via USB and the MIDI IN port at the
loop is added to give some movement to the sound. Try different amounts of
same time.
resonance to hear the variations.
Patch OSC MIX to S&H IN then S&H OUT to FREQ MOD. 11.3 The synthesizer is behaving erratically.
Check that any connected devices/applications are not creating a MIDI loop which
is feeding back MIDI data.
11.4 The synthesizer sounds out of tune.

The Neutron calibrates its tuning on start up. If it sounds out of tune, please look
at section 5.4 to tune the oscillators to your choice of MIDI note.

11.5 Buzzing or humming sounds can be heard Envelope 1

from the audio outputs. Attack: 300 µs to 5 s (linear attack)
Decay: 2.4 ms to 10 s (exponential decay)
USB and or audio connections made between different devices using different Controls
power supplies, sources or sockets can sometimes create ground loops. You can Sustain: 0 V to 9 V
attempt to resolve these grounding issues between computers and the Neutron Release: 1.5 ms to 6 s (exponential release)
by following good grounding practice and ensuring all devices use the same Envelope 2
ground point. Unplugging one cable at time can make the background noises Attack: 300 µs to 5 s (linear attack)
better or worse, depending on how this affects the remaining ground loops.
Decay: 2.4 ms to 10 s (exponential decay)
By removing every audio cable and working through your studio item by item, Controls
Sustain: 0 V to 9 V
you can potentially eradicate ground-loop problems. Other possible solutions
Release: 1.5 ms to 6 s (exponential release)
include the use of a DI box to connect the Neutron to your audio mixer or sound
Output Section
card where the transformer will isolate the audio connections.
Controls Volume: 0 to 100%
11.6 There is no sound when using the external LED MIDI: Gate signal
audio input. Sample & Hold Section
The Neutron needs the VCA envelope to be triggered and open. This can be Rate: 0.26 Hz to 28 Hz (can be clocked from extrenal
Controls source)
achieved via MIDI or an external E.GATE 1 input, adjust the ADSR settings in order
to hear the input signal. Glide: 500 µs to 1 s
LED Rate: 0.26 Hz to 28 Hz (can be clocked from extrenal
Another way to use the external audio input is turning up the VCA BIAS in order source)
to hear audio. Slew Rate Limiter Section
Slew rate: 1 ms to 3 s
Controls
12. Specifications Portamento time: 0 to 10 s
Attenuator Section
Synthesizer Architecture Attenuator 1: +4 dB to -∞
Controls
Number of oscillators 2 x V3340 Attenuator 2: 0 dB to -∞
Type Analog Filter Section
Oscillators 2 (0.7 Hz to 55 kHz across 4 ranges) Cutoff frequency: 10 Hz to 15 kHz
LFO 1 (0.01 Hz to 10 kHz) Resonance: 0 to 10 (capable of self oscillation)
1 (switchable low pass, band pass or high pass Modualtion depth: 0 to 100%
VCF Controls
(12 dB/octave slope), dual output Envelope depth: 0 to 100%
Envelopes 2 analog envelope generators Noise: 0 to 100%
Connectivity VCA bias: 0 to 100%
External input 1/4" TS, unbalanced, 100 kΩ impedance
Filter mode, high pass, band pass and low pass
Output 1/4" TRS, balanced, max. 12dBu Switches
Filter key track: on/off
Headphones 1/4" TRS, balanced
LED Filter mode, high pass, band pass and low pass
Headphones output 8Ω LFO Section
impedance
Shape: Sine, Triangle, Sawtooth, Square and Ramp
MIDI In/Out (soft Thru) 5-pin DIN/ 16 channels Controls
Rate: 0 to 10 (0.01Hz to 10kHz)
USB (MIDI) USB 2.0, type B
Switches Key sync: on/off
USB
Rate/Level indicator
Type Class compliant USB 2.0, type B LED
Shape: Sine, Triangle, Sawtooth, Square and Ramp.
Supported operating Windows 7 or higher/ Mac OS X 10.6.8 or higher
systems Delay Section
Oscillator Section Time: 25 ms to 640 ms
Tune (OSC 1&2): +1/-1 octave (8', 16' or 32') or +10/-10 Controls Repeats: 0 to 100%
(full range)
Mix: 0 to 100%
OSC mix: (linear blend control between OSC 1&2)
Controls Overdrive Section
Shape (OSC 1&2): Tone Mod, Square, Sawtooth, Triangular Drive: 0 to 11
or Sine
Controls Tone: 0 to 10
Pulse width: 0 to 100% (OSC 1&2)
Level: 0 dB to -∞
Range (OSC 1&2): 8', 16' or 32' or full range (all 3 LEDs)
LED Drive amount indicator
Switches OSC sync: on/off
Paraphonic: on/off
Octave (OSC 1&2) 8', 16' or 32' or +/-10 (all 3 LEDs)
LED Shape (OSC 1&2): Tone Mod, Square, Sawtooth, Triangular
or Sine

Inputs (TS 3.5 mm) Outputs (TS 3.5 mm)

OSC 1 Control voltage: 1 V per octave OSC 1 Max. +14 dBu
OSC 2 Control voltage: 1 V per octave OSC 2 Max. +14 dBu
OSC 1&2 Control voltage: 1 V per octave OSC Mix Max. +14 dBu
INVERT IN inverts voltage VCF 1 Max. +12 dBu
SHAPE 1 Control voltage: -5 V to +5 V VCF 2 Max. +12 dBu
SHAPE 2 Control voltage: -5 V to +5 V OVERDRIVE Max. +18 dBu
PULSE WIDTH 1 Control voltage: -5 V to +5 V VCA Max. +18 dBu
PULSE WIDTH 2 Control voltage: -5 V to +5 V OUTPUT Max. +15 dBu
VCF IN Signal input NOISE Max. +18 dBu
FREQ MOD Control voltage: -5 V to +5 V ENV 1 Control voltage: 0 V to +9 V
RESONANCE Control voltage: -5 V to +5 V ENV 2 Control voltage: 0 V to +9 V
OVERDRIVE IN Signal input INVERT inverts signals up to +/-9.5 V
VCA IN Signal input LFO Control voltage: -5 V to +5 V
VCA CV Control voltage: -9 V to +9 V LFO UNI Control voltage: 0 V to +5 V
DELAY IN Signal input SAMPLE & HOLD Tracks input voltage upto a maxiumum of 9.5 V
DELAY TIME Control voltage: -5 V to +5 V MULT 1 Tracks input voltage upto a maxiumum of 9.5 V
E GATE 1 Control voltage: -5 V to +5 V (envelope triggers @ 1.5 V) MULT 2 Tracks input voltage upto a maxiumum of 9.5 V
E GATE 2 Control voltage: -5 V to +5 V (envelope triggers @ 1.5 V) MIDI GATE Control voltage: 0 V to +3.3 V
SAMPLE & HOLD IN Signal input ATT 1 Control voltage -9.5 V to +9.5 V (dependant on input
signal)
SAMPLE & HOLD CLOCK Control voltage: -5 V to +5 V (S&H triggers @ 3 V)
ATT 2 Max output voltage dependant on input signal
LFO RATE Control voltage: -5 V to +5 V
SLEW Control Voltage -9.5 V to +9.5 V (dependant on input
LFO SHAPE Control voltage: -5 V to +5 V signal)
LFO TRIG Control voltage: -5 V to +5 V (S&H triggers @ 1.6 V) SUM 1 Control Voltage -9.5 V to +9.5 V (dependant on input
MULT (Multiple) Input Signal is duplicated on Mult 1 and Mult 2 outputs signals)
ATT 1 IN Signal input SUM 2 Control Voltage -9.5 V to +9.5 V (dependant on input
signals)
ATT 1 CV Control voltage: -5 V to +5 V
ASSIGN Control voltage: 0 V to +5 V
ATT 2 IN Signal input
Power Requirements
SLEW IN Signal or CV input External power adaptor 12 V DC, 1000 mA (12 W)
SUM1(A) Signal input or CV input Power consumption 7.5-9 W typical
SUM1(B) Signal input or CV input Enviormental
SUM2(A) Signal input or CV input Operating temperature 5 °C to 40 °C (41 °F to 104 °F)
range
SUM2(B) Signal input or CV input
Physical
Dimensions (H x W x D) 94 x 424 x 136 mm (3.7 x 16.7 x 5.4")
Weight 2.0 kg (4.4 lbs)
Shipping weight 3.0 kg (6.6 lbs)
Eurorack HP 80 HP

13. Glossary Gate (Synthesizer): A signal used to trigger an event, such as a note or
an envelope.
NEUTRON GLOSSARY
Harmonics: A series of integer-related sine waves at varying levels creating
This glossary provides an explanation of useful symbols, terms and abbreviations. different timbres. Waveforms (other than a pure sinusoidal) generate various
harmonics which help define the character of the sound.
32'/16'/8': Used to describe the range of an oscillator, this term originates from
pipe organs. for example, an 8' pipe is one octave higher than an 16' pipe. High Pass Filter (LPF): A filter that attenuates lower frequencies below the
filter cutoff point, leaving the higher frequencies unaffected.
ADSR: Attack, Decay, Sustain and Release, an envelope with four stages.
Invert: To change it to its opposite, e.g. change a positive value becomes
Aftertouch: Aftertouch is MIDI data sent when pressure is applied to a keyboard
negative etc.
after the key has been struck, and while it is being held down or sustained.
Keyboard Tracking: Allows the control signal from received midi notes to
Attack Time: The first stage of an ADSR envelope, used to control the initial
adjust another parameter. The Neutron uses keyboard tracking to move the filter
part of a sound. Specified as the duration of time for an envelope to reach the
cut off frequency relative to the played note.
maximum level after it has been triggered on by a key press or gate signal.
Kilohertz (kHz): A unit of frequency equal to one thousand cycles of a wave
Attenuate: To reduce the level of a signal.
per second.
Band Pass Filter (BPF): A filter that passes frequencies within a certain range
Level: Used to describe the magnitude of a sound, often relative to an arbitrary
and rejects (attenuates) frequencies outside that range.
reference.
Bipolar: a signal that includes positive and negative values.
Line Level: A nominal operating level used by audio equipment.
Cent: Unit of measurement for pitch tuning. There are one hundred cents in a
Low Frequency Oscillator (LFO): An oscillator that commonly runs at a very
semitone.
low speed and is used to modulate another parameter.
Control Voltage (CV): A voltage signal used to control a parameter. Was
MIDI (Musical Instrument Digital Interface): A technical standard that
common on synthesizers before MIDI and is now found mostly on modular
describes a protocol, digital interface and connectors and allows a wide variety of
synthesizers.
electronic musical instruments, computers and other related hardware/software
Cut-Off Frequency: The frequency which the filter is set to. Beyond this devices to connect and communicate.
frequency the sound is cut depending on the type of filter used. See LPF, BPF and
MIDI Clock: A clock signal which is broadcast over MIDI to ensure that devices are
HPF.
synchronized. Also known as MIDI Beat Clock or MIDI Timing Clock.
dBu: A unit of measurement of sound used in professional audio.
MIDI Message: Data or information transmitted from one MIDI device to
DC Offset: A DC voltage which is added to an AC waveform. another.
Decay Time: The second stage of an ADSR envelope. Specified as the duration of MIDI Gate: The MIDI Gate typically controls the note on-off.
time for an envelope to reach the sustain level after the maximum level has been
Mix: The balance of level between one signal and another.
reached during the attack stage.
Modulation: The process of controlling one or more properties (destinations) of
Digital Audio Workstation (DAW): A computer-based recording system.
a signal using another signal (source).
More commonly used to describe the software package used to record,
process and mix. Modulation Wheel (Mod Wheel): A wheel located to the left of a keyboard
that allows you to change specified parameters in real-time.
Distortion: An effect which adds harmonic content to a signal.
Monitors: Studio quality loudspeakers, providing an accurate representation of
Drive: Provide a gain boost to produce soft clipping.
the audio signals.
Effect: One of a number of audio processes that can be applied to a signal to
Mono: Signal channel audio.
modify it, such as reverb, flanging, phasing, delay etc.
Monophonic: Only one note can be played at any given time, as there is only a
Envelope Generator (EG): An envelope signal which can be adjusted to a
single voice.
specific shape in order to control the way a sound behaves over time.
Mute: Function that allows a signal to be silenced.
Feedback: A loop created between an audio input and an audio output of an
audio circuit, system or processing block. N/A: An electronic device which generates a periodic signal .
Filter: A device that attenuates certain frequencies while letting other Noise: A circuit that produces white noise.
frequencies through. Using a filter to reduce harmonics, changes the timbre or
Note-Priority: Determines which note is played when more notes are held
color of the sound.
simultaneously than the number of available voices (often: low/high/last).
Frequency Modulation (FM): Using one frequency to modulate another
Octave or Oct: Unit of measurement for pitch. Every time the frequency of a
frequency's pitch. When the modulation source is in the audio range, it can be
waveform doubles, the pitch increases by one octave.
perceived as a change in the timbre or color of the sound. FM can be used to
create a wide range of rich and complex sounds and is often described as having Oscillator: An electronic device which generates a periodic signal used to form
a clear and distinctive timbre. the basis of a synthesizer program.
Frequency: Measured in Hz. Output: The signal sent out by a device or process. Also used to describe the
physical socket where a signal leaves a device.
Gain: The amount of signal level increase provided by an amplifier stage.

Overdrive: To push to excess or drive too hard. Sinusoidal / Sine Wave: Mathematical description of a smooth waveform that
contains only the fundamental frequency and has no additional harmonics. The
Parameter: A setting whose value can be changed.
shape resembles the letter "S" rotated 90 degrees.
Parametric EQ: A type of EQ that allows all of the parameters of equalization to
Slew Rate: The rate of change of a voltage or control signal.
be changed, including center frequency, boost/cut in gain and bandwidth.
Soft Clipping: is a technique for adding warm harmonic distortion to
Paraphonic: Is the use of two oscillators independently pitched when more than
your audio.
one MIDI note is played.
Square Wave: A symmetrical waveform that combines an instantaneous rise
Patch: The cables used on modular synthesizers (or synthesizers with modular
or fall, followed by a positive or negative steady state. The name comes from the
compatibility) to connect devices together. Patch cables can carry audio, gate or
waveform's similarity to a square.
control voltage signals.
Sum: A way to combine signals
Phase: A measurement (in degrees) of the time difference between two
waveforms, or between a single waveform and a reference point. Sustain Level: The third stage of an ADSR envelope. Specified as "the level an
envelope will return to, after the decay stage". The envelope will remain at the
Pitch Bend / Pitch Bend Wheel: Controlling the pitch of a note after it has
sustain level until the key is released.
been played.
Synchronization (Sync): Coordination of timing between devices.
Polyphonic: Capable of playing more than one note at once.
Sync (Tempo): A function where a cyclical event such as an LFO is synchronized
Polyphony: The number of notes a polyphonic synthesizer can play
to a tempo value until the played key is held.
simultaneously.
Sync (Oscillator): A function where one oscillator is synchronized to another.
Portamento: An adjustable performance effect that glides or bends the pitch
The waveform of the slave oscillator is reset whenever the waveform of the
from one note to the next.
master oscillator restarts.
Poly-Chaining: A way to connect multiple monophonic synths to play together
Sync (Key): A function where an event is synchronized to the pressing of a key.
to create a polyphonic sound.
Threshold: This is the level that must be passed before the processing is
Power Supply Unit (PSU): The component in a system which is responsible for
engaged.
supplying and managing power.
Tone Control: Used to adjust the volumes of various frequency ranges for
Psychoacoustics: The study of the perception of sound, that is, how we listen,
creative or corrective purposes.
our psychological responses, and the physiological effects on the human nervous
system. Triggering: Activation of a function, such as the start of a note, envelope, or LFO.
Pulse Wave: Similar to a square wave, but without symmetry. Also known as a Tune / Tuning: The process of adjusting the root pitch of the instrument to a
"Rectangle Wave." specific reference frequency.
Pulse Width Modulation (PWM): Modulation of the pulse width (the duty Unipolar: A signal having a single polarity, positive or negative.
cycle of a pulse wave measured as a percentage). A pulse width of 50% has equal
Unison: Two or more voices that are playing together at roughly the same pitch.
positive and negative sections and is considered a square wave.
Universal Serial Bus (USB): A "plug and play" interface that provides a fast
Rate: The speed at which a particular device is operating.
connection between a computer and peripherals.
Release Time: The fourth and final stage of an ADSR envelope. Specified as the
VCA Bias: Controls the minimum amplification present.
duration of time for an envelope to reach zero after the played key is released.
Volt (V): A unit of electrical potential differential.
Resonance (Reso): The emphasis/boost of frequencies around the
cut-off frequency. Voltage Controlled Amplifier (VCA): An amplifier whose resultant magnitude
is controlled by a voltage.
Reverb: An effect where the ambience of a physical space is simulated.
Voltage Controlled Filter (VCF): A filter whose cut-off frequency can be
s: Symbol for "second," a unit of time.
controlled by a voltage.
Sample & Hold (S&H): A circuit or function in synthesizers that enables the
Voltage Controlled Oscillator (VCO): An oscillator whose cut-off frequency
instantaneous value (voltage) of a waveform to be captured and continues to
can be controlled by a voltage.
output that value until the next sample is taken.
Voice: A physical embodiment of a complete set of OSC, Envelopes, LFOs and VCF
Sawtooth: A waveform that combines an instantaneous rise or fall, followed
which can play a single note.
by a gradual linear incline or decline. The name comes from the waveform's
similarity to the teeth of a saw. Waveform: A repeating signal typically created by an oscillator. A waveform can
also be random in the case of noise.
Semitone: A chromatic half-step. There are twelve semitones in an octave.
White Noise: A sound that contains every frequency within the range of human
Self-oscillation: Occurs when the resonance of a filter is increased to the point
hearing (generally from 20 Hz to 20 kHz) in equal amounts.
where it will begin to generate a sine wave independently of any input.
Width: Sets the pulse width of oscillator square / tone mod waveforms.
Signal flow: The path of a signal from one module (or component of a system)
to another.

Patch Number
TITLE:
Neutron Patch Sheet
AUTHOR:
NOTES:
DATE:

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION
NEUTRON
Responsible Party Name: MUSIC Tribe Commercial NV Inc.

Address: 5270 Procyon Street
Las Vegas, NV 89118
USA
Phone Number: +1 702 800 8290
NEUTRON
complies with the FCC rules as mentioned in the following paragraph:
This equipment has been tested and found to comply with the limits for a Class B
digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may
cause undesired operation.
Important information:
Changes or modifications to the equipment not expressly approved by MUSIC Tribe
can void the user’s authority to use the equipment.


We Hear You

User Manual: Neutron

Uploaded by

Copyright:

Available Formats

User Manual: Neutron

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

User Manual: Neutron

Uploaded by

Copyright:

Available Formats

User Manual

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

About the Neutron

*Warranty details can be found at www.musictri.be

Downloaded from www.Manualslib.com manuals search engine

1. Introduction Innovative Multi Mode Filter

1.1.1 Initial operation Poly Chain Ready

Downloaded from www.Manualslib.com manuals search engine

(10) (8) (9) (11) (33) (34) (35) (36)

(45) (46) (47) (48) (77) (78) (79)

(101) (102) (103) (104) (105) (106) (107) (108)(109)

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

(45) (46) (47) (48) (77) (78) (79)

(39) (40) (50) SHAPE 2 – OSC 2 Shape CV.

Downloaded from www.Manualslib.com manuals search engine

(71) ATT2 IN – Attenuator 2 signal input. 3.2.2 Rear Panel

Output Patch Bay Section

(87) ENV2 – Envelope 2 output.

Downloaded from www.Manualslib.com manuals search engine

4. Overview The five oscillator shapes are:

4.2 Software Setup

Downloaded from www.Manualslib.com manuals search engine

(33) (34) (35) (36)

Downloaded from www.Manualslib.com manuals search engine

4.10 Sample And Hold

(43) (44) 5.1 Assignable Output

Downloaded from www.Manualslib.com manuals search engine

5.2 Envelope Retriggering 5.8 MIDI Note Range

5.5 Tune Pot Bypass

5.6 Software Version

5.7 LFO MIDI Clock Sync

Downloaded from www.Manualslib.com manuals search engine

Poly chain system

MIDI IN MIDI IN MIDI IN

From next Neutron To next Neutron

Downloaded from www.Manualslib.com manuals search engine

Poly chain system using Neutron’s audio input

MIDI IN MIDI IN MIDI IN

OUTPUT INPUT INPUT

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

7. Software Update & Calibration 5. In the VIEW menu, select SysEx...

7.1 Software Update

7.2 Assign Out Calibration

3. Select Neutron as the MIDI IN and MIDI OUT

9. To increase the voltage send the Sysex command F0 00 20 32 00 7F 10 23 F7.

Downloaded from www.Manualslib.com manuals search engine

7.3 Bucket Brigade Delay Calibration Clock Noise Calibration

2. Turn VR37 fully CW.

Downloaded from www.Manualslib.com manuals search engine

8. Patch Bay 8.1 Tips and Tricks of the Patch Bay

EXTRNAL ENV DEPTH

Downloaded from www.Manualslib.com manuals search engine

9. Neutron Set-up Examples

MIDI KEYBOARD USB B

Audio Input Audio Output MIDI Input