OWNERS MANUAL

RETROVERB

Foreword
Thank you for purchasing the Retroverb spring reverb. The Retroverb is an extremely flexible spring reverb unit, which can generate the typical reverb effects of its classic ancestors as well as very unusual sound creations. Although the Retroverb has a well organised and clear user interface, and the functions of the switches, potentiometers and jacks seem easy to understand, we would like you to please take a glance through this manual to become familiar with the functions and possibilities. We wish you much fun with your Retroverb, The VERMONA team.

Table of Contents

Foreword...... 2 Table of Contents..... 2 General...... 3 Control Features..... 5 Input section..... 5 Voltage Controlled Filter / Amplifier..... 6 Envelope Generator..... 7 Output..... 8 In- and Outputs..... 8 CV / Pedal and Trigger Inputs.... 9 Footswitch Inputs..... 10 CRASH..... 10 Declaration of conformity..... 11

General

Important safety information
The following safety precautions must be observed during all phases of operation, service and repair of this equipment. Failure to comply with these precautions or with specific warnings in this manual violates safety standards of design, manufacture and intended use of this equipment. The manufacturer assumes no liability for the customers failure to comply with these requirements!
Ground and power connection
To prevent the risk of electrical shock, this equipment must be grounded. The factory setting for power is already made for each country (115V AC, 230V AC). An individual setting is not allowed by virtue of safety reasons. This modification must be done by qualified personnel only!

Voltage peak

The units are equipped to manage voltage peaks, which are often generated at live situations. When using the units with unstable voltage, please make sure that the device is grounded.

Use near explosive goods

The units should not be used near easily flammable or explosive goods.

Dampness

The units should not be used in damp or wet places. Make sure the unit is not in humid atmospheres, because this could cause condensation within the unit. WARNING: Risk of electrical shock!

Connections

Only use cables, plugs and adapters, which do not affect the normal use of the unit.

Cooling System

The unit should not be used near heating or warm or hot fans. When using the unit in a rack or wall system, make sure that the unit has enough space to let the generated heat dissolve.

Cleaning

Please clean the unit only with a dry duster. Do not use sharp cleaning fluids or water!
Spare parts or modifications
Modification instructions and schematic information should only be used from service departments of our official authorized VERMONA dealers. To prevent the risk of electrical shock, please do not open or modify the unit yourself. Before opening the unit always disconnect the power lead/AC Adapter. Opening or modifying the units causes the loss of warranty claims!

Warranty

The manufacturer warrants this product to be free of defects in material and/or workmanship. The manufacturers warranty does not apply to products that have been damaged due to and/or subjected to improper handling by shipping companies (forwarders), negligence, accidents, improper use or alteration not authorized by the manufacturer. This warranty is in lieu of an excluded all other warranties, expressed or implied. The manufacturer will not be liable for incidental or consequential loss or damage whatsoever, whether based upon allegations or negligence, breach of warranty, or otherwise. This disclaimer of incidental or consequential damages includes, but is not limited to, property damages, loss of profits, loss of time or other losses or inconvenient resulting from any defect in the material or workmanship of this product or any other connection with the purchase, operation or use of this product.

Technical changes

All changes, which improve the technical features of the units, can be made without subjective notice by the manufacturer.

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Getting Started

Unpacking

All VERMONA devices are checked and tested carefully before packaging. In spite of the specially designed cartons and the solid build quality of the devices, damages during transportation are possible. Please check the unit after receipt for visible damage. Please do not discard the original packing! Use it for shipping the unit again, should this be necessary.

Inventory

The VERMONA Retroverb comes complete with: The VERMONA Retroverb AC 12V / 830mA power supply This manual
Please ensure all the items above are included. If something is missing contact your local dealer.
Connect the outputs of your signal source (i.e. synthesizer, guitar, etc.) with the inputs of the RETROVERB. Connect the outputs of the Retroverb with the inputs of your mixing console, amplifier, etc. Connect the included power supply to the 12V AC jack of the Retroverb and an outlet. Switch on the Retroverb.
Use the Retroverb only with the included power supply 12V AC / 830 mA. Before connecting and disconnecting the Retroverb to a power supply, turn your amps volume all the way down to avoid damage due to on/off switching noises!

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Control Features

Input section

Here youll find the GAIN controller and the MODE switch with their independent LEDs. The GAIN controller sets the input level, the GAIN LED lights up as soon as the signal becomes overdriven. You should ensure you set an optimal input level, where only peaks are indicated by the flashing LED. If the input level is set to low, triggering the envelope generator by the audio signal will not function as it should. (see page 7). The MODE switch sets the general manner of how the input signal will be processed. Besides the four possible modes, the MODE switch includes the BYPASS function (on two positions: first and last), which routes the input signal directly to the outputs of the Retroverb. The table on the top of the Retroverb shows the effect signal flow for the different modes: MODE EFFECT SIGNAL PATH SPRING EQ [VCF / VCA] SPRING EQ [VCF / VCA] EQ [VCF / VCA] EQ [VCF / VCA] OUTPUT L / R normal L normal / R reversed L / R normal L normal / R reversed

Mode 1 and 2

In these modes, the effect signal passes through the spring module, the equalizer and the VCF / VCA section. After being mixed with the original signal (MIX controller) it is sent to both outputs (L / R). In mode 2, the phase of the right channel is reversed, which generates richer reverb effects due to random annulments of frequencies. In Mode 1 both outputs drive the same signal in the same way.

Mode 3 and 4

Modes 3 and 4 are similar to modes 1 and 2 with only one difference: The ACCUTRONICS spring reverb unit is taken out of the signal flow. So the signal will be refined by the equalizer and / or the VCF / VCA section. In this mode you wont get reverb effects, but some interesting filter-, wahwah- and tremolo-effects. The phase of the right output is also reversed in mode 4. Note: In mode 4 it could occur that you wont hear any signal at the output by the left and the right channel cancelling each other out. Change to mode 3 in this case!.

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Equalizer
With the two-band equalizer you can change the color of the reverb sound. In the signal flow it is directly after the spring reverb unit (only in mode 1 and 2). It is equipped with BASS and TREBLE controls for changing the levels for low and high frequencies at +/- 15 dB.
Voltage Controlled Filter / Amplifier
The VCF / VCA section includes a complete analogue filter and a voltage controlled amplifier.
Voltage Controlled Filter
The filter of the Retroverb is a voltage controlled 12dB-lowpass filter. It is activated or deactivated with the VCF ON switch. CUTOFF frequency and RESONANCE can be adjusted with the corresponding controllers. The EG INT controller, which works in a positive and negative direction, sets the amount for the ATTACK-DECAY envelope for modulating the CUTOFF frequency. Its also possible to change the CUTOFF frequency with an external control voltage (see page 9).
Low-pass filter A low-pass filter dampens frequencies that lie above a defined frequency. Frequencies below that so-called CUTOFF frequency can pass through the filter unaffected. If the filters output is routed back to its input, the frequencies around the CUTOFF frequency are amplified. This is the filters so-called RESONANCE.

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Voltage Controlled Amplifier
The voltage controlled amplifier, amplifies the input signal depending on its control voltage. This means a high control voltage results in a high amplification, therefore on the VCAs output youll get a high volume. Contrariwise a low control voltage means a low amplification and therefore a low output signal. The necessary control voltage for the VCA comes from an envelope generator. The VCA is activated or deactivated with the VCA ON switch.

Envelope Generator

The ATTACK-DECAY envelope can modulate the voltage controlled filter or / and the voltage controlled amplifier.

An envelope generator generates a control voltage which changes its value in temporal progression. The ATTACK phase is the time which is needed to raise the voltage from 0% to 100%. The DECAY phase is the time which is needed to decrease back down to 0%. ATTACK and DECAY times can be set with the corresponding controllers.
The envelope can be triggered from different sources:

The input signal

When the input signal reaches a special level (threshold), the envelope will be started. This sensitivity (threshold) can be set with the TRIG SENSE controller. If this controller is set to the zero position, the envelope wont be triggered. The more it is raised clockwise, the more sensitive its reaction to the input signal will be.
An additional audio signal (audio trigger)
An additional audio signal can be fed in the trig jack EG on the rear of the Retroverb. The sensitivity of this signal can be adjusted with its corresponding trimmer.

A Gate signal

The same trig jack can also be fed with a standard Gate signal (positive flank) as it comes from modular systems or analog synthesizers.

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An internal Clock
The REPEAT switch activates an internal clock whose speed can be set with the SPEED controller. The envelope will then be retriggered. The REPEAT LED shows the speed of the clock, in deactivated (light brightness) and activated mode (dark brightness). As soon as the REPEAT function is activated, the envelope does not react to any other trigger signal. Note: If the speed of the Clock is faster than the envelopes ATTACK- and DECAY times, the envelope will be cut.

Output

The MIX controller sets the proportion between the direct and effected signal. If the controller is set to DIRECT, only the unrefined original signal can be heard on the Retroverbs outputs. If that is the case, the CRASH function has no effect. OUTPUT sets the output level.

In- and Outputs

The Retroverb can be fed with mono- as well as stereo signals. Stereo signals will be converted to a mono signal internally. The MONO/R jack works with mono signals, STEREO / L is a stereo jack.

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OUTPUT
The Outputs L / R are mono jacks. The signal on the right channel is phase reversed in modes 2 and 4,
CV / Pedal and Trigger Inputs

CV / PEDAL

You can connect an external control voltage or an expression / volume pedal to this jack for controlling the CUTOFF frequency of the filter. The intensity can be adjusted with the corresponding INT trimmer.

For connecting a CV source i.e. from a modular system or an analogue synthesizer, you need a simple mono cable:
To connect a Volume pedal a Y-cable is necessary:

Audio Trigger / GATE

These inputs are responsible for triggering the CRASH function or the ENVELOPE GENERATOR. They work either with a GATE signal with positive flank (i.e. from a modular system) or with an audio signal. If you would like to trigger the corresponding function with an audio signal you should use short, percussive signals. The sensitivity can be set with the corresponding trimmer.
Trimmer The trimmers can be adjusted with a small screw driver. The more you set the trimmer clockwise, the higher the intensity/sensitivity. Check the settings of the trimmers if any of these functions do not work correctly.

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Footswitch Inputs
Its possible to connect footswitches to these jacks.

CRASH and EG

The CRASH function and the ENVELOPE can be triggered with a connected footswitch.

VCF and VCA

The functions VCF ON and VCA ON, which have an own switch on the front panel, can be (de)activated with a connected footswitch. As soon as a plug is connected to these jacks, the switches on the front panel do not work anymore.
For connecting a footswitch for the CRASH, EG, VCA ON and VCF on, you have to use stereo TRS plugs as shown below:

BYPASS

You can connect a footswitch for doubling the BYPASS function.

Simply try it out!

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Declaration of conformity
for VERMONA RETROVERB We declare under our sole responsibility that this product is in conformity with the following standards or standardization documents in attention of operation conditions and installation arrangements acc. to operating manual: EN61000-3-2, EN 61000-3-3, EN 55013, EN 55020, EN 60065 according to the provisions of the regulations 89/336/EWG and 73/23/EWG.
HDB electronic GmbH Badesteig 20 D 08265 Erlbach Tel.: +49 (0)30 Fax: +49 (0)97 Email: info@vermona.com http://www.vermona.com

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Artist: Monoton Title :Blau MONOTONPRODUKT 02 26y++ Label: ORAL Catalogue #: ORAL CD09 Release date: june, 2006 Blau: This Monotonprodukt is a CD release of the blau vinyl written and produced by Monoton in 1980. Remastered in 2006. It also contains 3 unreleased tracks from that period. Since the late 70's, early 1980's, Monotonprodukt and the "Institut fr wissenschaftliche Sensation" (Institute for Scientific Sensations) have been working on the transposition of metamathematical structures, natural constants and resonance patterns in models of "bionic" psycho-active automat music. Publications, installations and long-term experiments include among others electro-acoustic representations of square roots, potences and periods, Pi-factors, Fibonacci sequences, Feigenbaum-Numbers, "Magic Squares" and others. Konrad Becker wrote : Monoton on a quest for the spirit in the machine investigated the representation of a numeric structure on resonance field level; numerical systems and mathematical nature constants as values and proportions for bionic sound. Not only natural constants and their sub-elements offered themselves for operational definitions, but any proportion of numbers, the musician with the calculator in hand. Regardless of the aspect of universal machinic patterns, the transcendence of patterns, the "de-programming" and the "deletion" or reactive conditioning was their interest in transformative music. Noise is a simultaneous chaotic superposition of all frequencies, and the hearing of "everything" and thus nothing at a time in the constant vibration of "monotonous simulation". It is on the basis of these subjective and oracular properties, that transformative music may be explained. Monoton played: fender twin reverb, kaoss pad, vermona retroverb, memory man deluxe, eq's, doepfer unit + spring reverb KEY SELLING POINTS This is the second re-release of Montonprodukts on ORAL. The first one was the number 07, a must have for everyone interested in the history of electronic music. A new release on ORAL, the label directed by
blau Ein Wort Dubwise Wirklichkeit Leben im Dchungel Teil 2 Teil 3 From the Monoton archives Dubwise 45 Minibeat Batacuda79 Konrad Becker: electronic, e. rhythm, voc., sax, violin, steeldrum Written and produced: Konrad Becker Recorded: August 1980, Monoton Studio, Vienna Thanks: Eugenia Rochas, Albert Griemann Design: Monoton (1980), Eric Mattson (2006) Mastering: John Sellekaers (2006) www.metarc.comFabriqu au Qubec - Made in Canada Design : Monoton/Eric Mattson
DISTRIBUTION / SALES To distribute or to buy directly this ORAL release Please contact : Eric Mattson oral@videotron.ca
Eric Mattson, music curator for MUTEK festival and independent producer for: MUTEK_rec.
Carefully mastered by John Sellekaers-METARC (Ant-Zen, Klanggalerie, Noise Museum, Quatermass, Sub Rosa).
ORAL c/o Eric Mattson, 22) 44 de la Visitation, Montral, QC, Canada, H2L 3C7, T.(514598 8605, oral@videotron.ca, www.oral.qc.ca
Monoton: Konstante Vibration Bionic Automatons Less than Twenty years after Robert Moog presented his first synthesizer in 1962, the costs for electronic music productions had decreased to such an extent that it became more widely affordable. By 1979 electronic sound became pervasive and a widening scene participated in the discovery of new sound worlds, the fascination for the transhuman poetry of machine music. Synchronized analogous sound generators like transposed bird voices allowed for complex modulations of wave forms. It gave way to adventures into sound space, beyond conventional notations of bars and points, past tonal or atonal. Based on the hypnotic effects of all repetitive music monotony produces variety listening to always the same, you end up listening to something different. Autonomous zones in the information war by means of subversive neuro-stimulation, the repetitively woven sound patterns announce the twilight of the gods of the hierarchies of classical song structure.