TE-2 USER MANUAL (beta)
MODULE OVERVIEW
REAR PANEL
AUDIO BLOCK DIAGRAM
FEATURES LIST
Primary Controls
1 - TIME - Delay Time / Tape Speed
2 - FDBK - Feedback (echo sustain)
3 - HPF - High Pass Filter, 24dB/Octave Vintage OTA Four Pole
4 - LPF - Low Pass Filter, 24dB/Octave Vintage OTA Four Pole
5 - RES - Resonance of Low Pass Filter
6 - TAPE IN - Amount of input signal sent to tape
7 - MOD - Time Modulation amount
8 - MOD SPD - Time Modulation Speed, sine wave 0.1Hz to 100Hz
9 - DRY OUT - Output level of dry sounds, from input stage
10 - TAPE OUT - Output level of all tape sounds
11 - OUT DRV - Output Drive, applied to tape and dry
12 - ANMLY - Amount of Anomoly pulse sent to motor Time/Speed
CV Inputs
13 - TIME - Delay Time / Tape Speed +5/-5 with attenuation
14 - FDBK - Feedback +5/-5 with attenuation
15 - HPF - High Pass Filter +5/-5 with attenuation
16 - LPF - Low Pass Filter +5/-5 with attenuation
17 - MTR - Presence of 5V kills motor, release of 5V permits motor
18 - REC - +5 Trig to toggle enable or disable record/echo
19 - TP OUT - Output Level of all Tape Sounds
20 - RES - Resonance of Low Pass Filter +5/-5
Positions, Sets, and Cycle
21 - 1, 2, 3, 4, 5, 6, 7, 8 - Places unit in position selected
22 - ( WHITE SET FADERS ) - Positions 2-8, settings for White parameter
23 - ( GRAY SET FADERS ) - Positions 2-8, settings for Gray parameter
24 - ( BLACK SET FADERS) - Positions 2-8, settings for Black parameter
25 - 1, 2, 3, 4, 5, 6, 7, 8 LED's - Indicates the current position
26 - TM, RS, MS : ON - White faders parameter selection, ON to activate
27 - DRIFT - Slew for White faders, from 0 to 14 seconds
28 - ( WHITE SET JACK ) - Complete CV signal created by White set +5/-5
29 - FB, MA, LP : ON - Gray faders parameter selection, ON to activate
30 - DRIFT - Slew for Gray faders, from 0 to 14 seconds
31 - ( GRAY SET JACK ) - Complete CV signal created by Gray set +5/-5
32 - TP, DR, HP : ON - Black faders parameter selection, ON to activate
33 - DRIFT - Slew for Black faders, from 0 to 14 seconds
34 - ( BLACK SET JACK ) - Complete CV signal created by Black set +5/-5
35 - 1, 2, 3, 4, 5, 6, 7, 8 - Limit the total positions cycled
36 - CYC & LED- Run the cycle, rotating through positions
37 - STEP (knob) - Rate of Cycle when running
38 - STEP (jack) - +5 Trig advances unit to to next position
Interface & Metering
TS or TRS Input, with selectable level standard - IN - 48
+4dBu, -10dBv, or Guitar Hi-Z - 4,10,G - 49
Peak LED indicates overload of Input staging - IN LED - 50
TRS Jack Insert, selectable level standard. - INSERT - 51
Modular, -10dBv, or Guitar HI-Z. Applies to both send/return - M,10,G - 52
Peak LED indicates overload of Insert staging - INSERT LED - 53
TS or TRS Output, with selectable level standard - OUT - 54
+4dBu, -10dBv, or Guitar Hi-Z - 4,10,G - 55
Standard Modular Input / Level - M IN - 56
Standard Modular Input / Level, or GND if Banana Jack - M IN / B GND - 57
Standard Modular Output / Level - M OUT - 58
Polarity of the Anomoly function - ANMLY - 59
Illuminates as each Anomoly occurs - ANMLY LED - 60
Select tape type I (Normal), II (Chrome), or IV (Metal) - TYPE - 61
Represents all tape audio, regardless of Tape Output level - VU - 62
+5 Trig enters tap tempo as if foot switch - CYC TAP - 63
Rear Panel
Connect TRRS Footswitch - FOOT SWITCH - 64
Stereo/Mono Modular Level input to phones - PHNS AUX IN - 65
Switch for Aux In Stereo/Mono - AUX IN ST/MO - 66
Headphones Jack - HEADPHONES - 67
Headphones Level - PHNS LEVEL - 68
+5/-5 result of passive expression pedal - 5V/5V OUT - 69
Polarity switch for CV Out - OUT - /+ - 70
Connect standard passive expression pedal - EXPR/0-5 IN - 71
DC Connector, 5.5mm 2.1mm - DC JACK - 72
Slider switch for power - POWER OFF/ON - 73
PCB Header CV Trigger Inputs for Positions 1-8
(Header) - +5 Trig places unit a position - 1, 2, 3, 4, 5, 6, 7, 8 - 74
PCB Header CV Control Inputs
Output level of dry sounds, from input stage +5/-5 - DRY OUT - 75
Output drive, applied to tape and dry +5/-5 - OUT DRV - 76
Amount of input signal sent to tape +5/-5 - TAPE IN - 77
Time Modulation amount +5/-5 - MOD - 78
Time Modulation speed +5/-5 - MOD SPD - 79
Amount of anomoly pulse sent to motor Time/Speed +5/-5 - ANMLY - 80
Additional motor kill trigger - MTR - 81
+5 Trig to toggle enable or disable loop / erase - LOOP / ERASE - 82
Tape Transport
39 - STOP - Press once to stop tape motion, press again to eject
40 - REC/ECHO - Toggle press to enable or disable record/echo
41 - REC LED - Illuminated when record/echo is enabled
42 - PLAY - Press to engage tape motion
43 - RW - Rewind
44 - FF - Fast Forward
45 - LOOP - Toggle press to enable or disable erase head
46 - LOOP LED - Illuminated when erase head is disabled
47 - PAUSE - Mechanical pause or un-pause of tape transport
PCB Header Dual Machine Audio Cross Linking
Send input signal to other machine's input, vice versa - INPUT TO INPUT - 83
Send tape repro to other machine's tape input, vice versa - TAPE TO TAPE - 84
Engage switch to combine both Dry signal sources - DRY TO DRY - 85
PCB Header CV Control Cross Linking
( coming soon )
FEATURES
1 - Delay Time / Tape Speed
Adjustment of delay time from nearly 1 second to approximately 50 milliseconds. Delay time is the time it takes for signal recorded to tape at record head location to move physically left to right to make sound at the repro head location.
This same knob is also used to adjust playback speed when playing a pre-recorded tape. Max speed is faster than standard cassette player max speeds, reaching approximately 6.5cm/second instead of 4.76cm/second
( motor control specs pending all final PCB performance approvals )
2 - Feedback Amount
Linear feedback adjustment. This sends an amount of the repro playback signal off of tape back into the input signal into tape to be recorded again. See block diagram for illustrated points within signal path.
Each unit is calibrated. Generally the result is that the 2/3 point is enough to achieve self oscillation at normal working sound levels. More gain is offered to be able to still achieve long lasting source signal echoes when working with small amounts of sound on tape due to heavy filtering via HPF and LPF.
* This parameter has a normalization marker. When getting sounds it is advisable to start with this knob at this base position which effectively is "off" and then slowly introduce the parameter in the direction of the arrow
3 - High Pass Filter
24 db/Oct, OTA based Voltage Controlled 4-pole filter. This is an original high pass filter design. The filter passes signal transparently, having little to no impact on the sound other than its intended effect. The shelving effect itself has the character of 70's 4-pole analog synth filters.
* This parameter has a normalization marker. When getting sounds it is advisable to start with this knob at this base position which effectively is "off" and then slowly introduce the parameter in the direction of the arrow
4 - Low Pass Filter
24 db/Oct, OTA based Voltage Controlled 4-pole filter. The shelving behavior is akin to 70's Roland modular system low pass filters. Extensive R&D and comparative listening tests were conducted with the goal of creating a classic low pass shelf without any unintended degradation of the original sound and with as little noise as possible and using modern components that can be acquired reliably now and in the future. The filter passes signal transparently, having little to no impact on the sound other than its intended effect.
* This parameter has a normalization marker. When getting sounds it is advisable to start with this knob at this base position which effectively is "off" and then slowly introduce the parameter in the direction of the arrow
5 - Resonance
Adjustment of resonance for the low pass filter. Self oscillation occurs at highest setting.
* This parameter has a normalization marker. When getting sounds it is advisable to start with this knob at this base position which effectively is "off" and then slowly introduce the parameter in the direction of the arrow
6, 61 - Tape Input Amount and Tape Type Selection
Input level to be recorded to tape. This stage comes after the input interface and levels selection. Good levels need to be set at the input interface, and then the Tape In adjustment sets your level to tape.
The Type selector is an unmodified application of standard cassette eq types common in all popular machines of the past. Type I is Normal Bias. Type II is Chrome/High Bias. Type IV is Metal.
7 - Modulation Amount
Sine wave modulation of the TIME parameter (1). Turning up modulation introduces a sine wave on the internal TIME signal. The amount of modulation can be anywhere from very mild to a maximum of approximately double/half the tape speed / delay time in both directions.
For instance a 150ms delay time setting of TE-2 echoes could modulate between 75ms and 300ms. And, depending on initial speed, a playback sound at 400Hz could modulate between 200Hz and 800Hz.
* This parameter has a normalization marker. When getting sounds it is advisable to start with this knob at this base position which effectively is "off" and then slowly introduce the parameter in the direction of the arrow
8 - Modulation Speed
Speed setting for MOD AMT parameter (7).
Slowest modulation is 0.025Hz. From the center of pitch at starting point, this is 10 seconds upward to top of sine, 20 seconds downward past the middle and to bottom of sine, 10 seconds back upward to middle. In other words 20 seconds each direction.
Fastest rate is 100Hz. This is 100 full sine rotations per second, and is low audio rate frequency modulation.
9 - Dry Output Level
This sets the output level of the dry signal(s). The dry signal is what sound comes out of the input interfacing, prior to entering the tape path. Please refer to the block diagram for illustration. Typically the "standard" 2 o'clock position will give full nominal level. This is an amplifier (VCA) however, and additional gain is offered to boost quieter input signals to the output of the machine or to drive the output drive harder
10 - Tape Output Level
This sets the output level of the tape signal. The tape signal is what sound comes out of the tape path and filters and is separate from the dry signal. Please refer to the block diagram for illustration. Typically the "standard" 2 o'clock position will give full nominal level. This is an amplifier (VCA) however, and additional gain is offered to boost quieter input signals to the output of the machine or to drive the output drive harder. As opposed to the Dry Level, there is also some variation of results of this Tape Level knob due to the possibilities of volumes that may be active on tape at any time.
11 - Output Drive Amount
Before this stage, both the DRY LVL and TAPE LVL knobs set your total output signal. When the OUT DRV knob is turned fully CCW (off), the total output signal passes 100% clean, with the signal true-bypassing the drive stage unaffected. When the OUT DRV knob gets turned up, you create the drive sound and increase it to taste. The full CW setting of this knob sets up a high level of drive where the signal is heavily distorted and darkened and also is a bit louder than the normal original volume. The drive character is designed around over saturating a basic line level opamp, resembling the blowout sounds of hitting equipment inputs too hard.
* This parameter has a normalization marker. When getting sounds it is advisable to start with this knob at this base position which effectively is "off" and then slowly introduce the parameter in the direction of the arrow
12, 59, 60 - Anomoly Amount, Polarity Selection, and LED Indicator
The Anomaly feature sends a customized brief control signal to the TIME of the TE-2, creating a hiccup in the performance of the motor. It gives you the ability to invent the irregular sound of an old slightly broken tape machine. The Anomaly can be sent in a pattern by way of the Cycle, individually/manually by pressing a button, or by external trigger signals.
The knob sets the amount of Anomaly that occurs. The polarity switch sets the direction of the hiccup. The LED blinks when each Anomaly occurs.
To understand polarity in this context, imagine that the tape is playing and we send in one single Anomaly... If the switch is set to positive, the tape will briefly increase in pitch/speed and drop down after to normal playback. If it is set to negative, the tape will briefly decrease in pitch/speed and rise back up after to normal playback
13 - CV Input to TIME and Amount
Standard bipolar +5/-5 CV input jack for the TIME parameter. AMT knob allows tapering of the input signal from zero to max.
14 - CV Input to FDBK and Amount
Standard bipolar +5/-5 CV input jack for the FDBK parameter. AMT knob allows tapering of the input signal from zero to max.
15 - CV Input to HPF and Amount
Standard bipolar +5/-5 CV input jack for the HPF parameter. AMT knob allows tapering of the input signal from zero to max.
16 - CV Input to LPF and Amount
Standard bipolar +5/-5 CV input jack for the LPF parameter. AMT knob allows tapering of the input signal from zero to max.
17 - CV Input to Motor Kill
Standard +5 Gate input jack to directly disable/enable the motor from functioning. While +5V is present, the motor is killed. While nothing or 0V is present, the motor operates like normal.
The rear panel CV processing section offers the ability to reverse the polarity of a gate signal, thus allowing you to set up the reverse of the above.
By considering these two polarities in your musical setup you may remotely stop and start the machine in many creative ways.
18 - CV Input to Record Toggle
A 5V rising edge/trigger will toggle the record function on or off
19 - CV Input to Tape Output Level
Standard bipolar +5/-5 CV input jack for the TP OUT parameter.
20 - CV Input to Resonance
Standard bipolar +5/-5 CV input jack for the RES parameter
21 - Pushbuttons for Positions 1-8
Each button puts the TE-2 in the respective position, from 1 to 8. This overlaps with all other methods of changing the current position of the machine
22, 23, 24 - White, Grey, and Black Set Parameter Controls
Positions 2 through 8 each have their own set of three faders. As shipped, they can be referred to as White, Grey and Black faders since the caps are colored accordingly.
The white fader in each set can function as TIME, MOD SPD, or RES
The grey fader in each set can function as FDBK, MOD AMT, or LPF
The black fader in each set can function as TP LVL, DRY LVL, or HPF
The choice for each is made using the toggle switch for each
When the machine is placed into position 2, 3, 4, 5, 6, 7, or 8, each set of 3 faders take over control of the selected parameter for each
25 - Position 1-8 LED Indicators
These LED's indicate what position the machine is currently in, from 1 through 8.
Position 1 is located next to the main knobs at the bottom of the machine, indicating that while in position 1 the knobs have all control and the faders in positions 2 through 8 have no impact on the machine
26, 27, 28 - White Parameter Selection and On Button / LED, Drift Amount, White CV Out
The toggle switch selects which parameter is associated with the White faders during positions 2 through 8.
When in position 1, the main knob at bottom of machine is still what controls the parameter, but when in positions 2 through 8, each respective White fader is now what controls the selected parameter.
The ON button turns on or off the White parameter. When it's ON, placing the machine into positions 2 through 8 will give control of the toggle selected parameter to each position's white fader. When it's OFF, the white faders are never given control over any parameter regardless of position.
For when changing from position to position in any way on the machine, "slew" can be introduced by turning up the Drift knob. When the Drift knob is fully CCW, slew is non existent. When it is turned full CW, position changes take several seconds to shift from one to the next. There is infinite analog adjustment in between the two extremes. This Drift feature allows us to create softer fast transitions, or smooth long transitions, opening up development for complex modulation on the TE-2. When running the Cycle through multiple positions and rather quickly, we can create complex 8 point audio frequency modulation. When limited to 2 points in the Cycle, we can create a square wave by turning Drift full off or create many infinite "variations of sine wave" with a sculpted curve wave when we introduce some Drift.
The jack sends a buffered bipolar +5/-5 CV output signal that is controlled by the White faders. This CV signal is always created and sent, regardless of if the White parameter is ON or OFF. This allows us to use the set system to control external equipment even with the White parameter turned off. It also allows us to use the Set system to cross patch the White faders over to another parameter outside of its TM/MS/RS choice bank even when turned off.
When in position 1, the main knob of the toggle selected parameter is what controls the CV output from this jack. It's 11 markings reflect the faders' 11 markings. When is positions 2 through 8, each White fader is what controls the CV output from this jack.
29, 30, 31 - Grey Parameter Selection and On Button / LED, Drift Amount, Grey CV Out
Same as above, but for FDBK, MOD AMT, LPF, and Grey faders.
32, 33, 34 - Black Parameter Selection and On Button / LED, Drift Amount, Black CV Out
Same as above, but for TP LVL, DRY LVL, HPF, and Black faders.
35, 36, 37, 38 - Cycle Count Limit, Cycle Run & LED, Step Run Rate, Step Input
Pressing the CYC button runs the Cycle, which progresses the positions of the machine from one to the next.
Limit the total number of positions that it will progress through by setting the rotary switch to a number. For example when setting this to 5, the Cycle will run from 1 through 5 only. It will not hit 6, but instead go back to 1 again.
The LED is a RUN indicator, not a blinking step indicator. The 1-8 position LED's will change at each step, and thus already "displays" the rate. This RUN LED stays constantly illuminated whenever we're running the Cycle. This helps indicate the running of the cycle during speeds so slow that the position LED's may not change for several seconds.
The STEP knob is our rate adjustment for when running the Cycle.
A 5V rising edge/trigger sent into the Step jack will put the TE-2 into the next proceeding position available under the limit set by the rotary 1-8 knob
39, 40, 41, 42, 43, 44, 45, 46, 47 - STOP, Record/Echo Pushbutton, PLAY, RW, FF, Loop/Erase Pushbutton, PAUSE, and LED Indicators
Stop button: press once to stop the machine, press again to eject the tape
Record/Echo button: electronic toggle the record/echo function on or off.
Play button: puts the tape in motion and engages the tape heads
RW/FF: rewinds or fast forwards the machine
Loop/Erase Bypass: electronic toggle the erase head off/on. LED illuminates when erase head is disabled
Pause button: Mechanically pauses the tape and pulls tape head away from tape
48, 49, 50 - 1/4" Input Jack, Level Selector, and Input Signal Clipping Indicator
1/4" Input Jack, TRS or TS, with switchable level:
+4 dBu
-10 dBv,
Guitar Level
Clipping indicator illuminates when the input staging is overdriven by your signal being sent in to the TE-2. Changing the input level with this switch to a higher setting will solve this issue. Intentionally setting this switch too low will give you overdrive at the input
51, 52, 53 - 1/4" Insert Jack, Level Selector, and Return Signal Clipping Indicator
1/4" Insert Jack, TRS, with switchable level:
Modular
-10 dBv,
Guitar Level
The jack is a standard insert jack, with Ring Send and Tip Return. An "Insert Cable" is required for this purpose.
Guitar and Line Level users can use a 1/4" 6.35mm insert cable here and choose -10dBv or Guitar level. Modular users can add a simple headphone adapter onto the TRS end of a 1/8" 3.175mm Insert Cable and select M and have proper Modular level insert operation.
The switch affects both the Send and the Return. The clipping indicator reflects the Tip Return signal and illuminates when the return signal is too hot for the level selected at the switch.
If you connect to external equipment that's operating at a different level than it expects, you will either get weak sound or you will get distorted sound, depending on the matchup. In any event, you can switch the level and find the suitable relationship. There is a good amount of headroom at all stages.
By patching in a TS input signal cable, we ground the Ring and thus kill all sound prior to this stage and we can ignore the first half of the block diagram and use the latter half as a signal conversion tool. The level of the input can be chosen with this switch, and then the output level can be chosen with the output switch like usual.
54, 55 - 1/4" Output Jack and Level Selector
1/4" Output Jack, TRS or TS, with switchable level:
+4 dBu
-10 dBv,
Guitar Level
56, 57, 58 - Modular Level Input, Output, and Additional Input or GND for Banana Jacks
Two modular inputs, one modular output. All inputs and outputs on the whole TE-2 can be used in tandeem. The second input functions as GND for when the banana jack option is installed.
43 - Tape Signal VU Meter
This reflects all sound on tape. Dry signal has no impact on this meter.
22 - Cycle Tap
Rising edge note pulses can be sent in to set the rate of the Cycle function
(More info coming soon )
64 - Foot Switch TRRS Jack
This TRRS jack is designed to connect with the proprietary foot switch via a TRRS 3.5mm cable. It connects to three features on the TE-2.. Tap, Step, and Bypass.
65, 66, 67, 68 - Headphones and Auxilliary Input to Headphones
The total TE-2 output appears at the headphones jack. The level is set by the knob.
This amp is an adaptation of an open source high quality "audiofile" headphone amp design, and uses great opamps at the core gain staging. The sound is loud, open, and neutral.
The Aux In jack is offered to bring external signals into the headphones. There is a switch for stereo or mono of this input signal.
With the TE-2 module installed, this lets you mix something external when using the TE-2. Perhaps an external stereo reverb can be brought back in.
If you are using the enclosure without the TE-2 installed but with other eurorack modules installed, you can use this Aux In jack to bring an output from the faceplates of those modules into the headphone system with a patch cable. Because there is a switch, you can use a stereo output of stereo modules as the main source for headphones, such as an audio mixer module that perhaps contains the total audio of a custom set of modules.
69, 70, 71 - CV/Expression Pedal Processing
This basic CV processing setup may be helpful when patching in external control signals to do something on the TE-2 or other modules installed in the enclosure.
The EXP/0-5 jack is designed to operate a passive expression pedal, or receive an active expression pedal or any 0 to 5V CV signal/gate/trigger.
The signal that hits this jack is sent out of the 5V/5V jack, which is a 2:1 gained version of the input. It's polarity can be flipped, opening up options for the patch destinations on etiher the TE-2 or other modules.
Example 1, with a passive expression pedal connected to the EXP/0-5 jack, and a patch cable connected from the 5V/5V jack to the LPF jack on the TE-2, one can use a passive expression pedal to have foot conrol of the Low Pass Filter
Example 2, by connecting the output gate of a CV keyboard (such as the Arturia Keystep) to the EXP/0-5 jack, flipping the OUT -/+ to negative, and patching a cable from the 5V/5V jack up to the MTR jack on the TE-2, one can press a key on the keyboard to enable to motor of the TE-2 to function and let go of the keyboard key to kill the TE-2 motor and stop the tape from rolling: https://www.instagram.com/p/BcDv2pRBuyR/