------Quadra 2.

3 (skin)
Sylvain Stoppani, 2014
ambor.grieko@gmail.com

Nothing new apart this nice GUI design and skin. The ensemble by Mike Novak get
closer to the original instrument.
It look more fun and organized like this. Because the original design is huge, the
commands of the synth are divided into two panels, so you need to switch A/B :

A : BASS + STRING + POLY SYNTHESIZER

B : PHASESHIFTER/OUTPUT MIXER + LEAD SYNTHESIZER

I hope you like it!

------Quadra 2.2------
Mike Novak, 2003
mkjnovak@hotmail.com

*********************->IMPORTANT NOTE IF YOU READ NOTHING ELSE<-

**********************
* Just like the real Quadra, Most of the sliders have a corresponding switch.
*
* If the switch is off, that slider is deactivated and replaced with a preset
value. *
* This one issue will be the root of most confusion.
*
* Also, splits and layering of the different sections are built in.
*
* See the mouse-over info for details.
*
***********************************************************************************
***

The ARP Quadra

The Quadra was one of the largest and final ARPs.

Put most simply, the Quadra was an Omni plus a mono/duo lead synth and a mono bass
synth.
Any or all of these sections could be run through a phase shifter.
Finally, there was a simple computer to control it all.

The Omni was basically an organ with synth-like control over some of it's sound.
It used a top octave and dividers to generate its raw square waves;
these were processed into a choice of 2 much richer waves.
In the poly section, these waves went to a VCF and VCA.
The filter could have ADSR and shared LFO modulation.
The ADSR envelope could function in single or multi trigger mode.
In the string section, the shaped waves were chorused into the distinctive
ARP string sound and then fed into an AR controlled VCA.

The lead synth had 2 VCOs with saw, square, 10%, and pulse width modulation.
An unusual choice, pulse width modulation was done by the envelope.
The VCOs were switchable between monophonic high note priority and duophonic high
/ low.
The Interval Write function allowed each preset to store transposition for both
VCOs.
Note: VCO2 takes the highest key, but can be transposed lower than VCO1 for
inverted intervals.
Pitch could receive delayed vibrato from the shared LFO and trill from a dedicated
LFO.
Trill amount could also be stored with each preset.
The 4 pole filter could be swept by the envelope.
The envelope was a complicated affair;
it could be either ADSR (with fixed low sustain)
or ADAR (with fixed second attack to 100% at about 1.5 seconds).
The envelope could also function in multiple or single trigger mode.

The bass synth was minimalistic:

One VCO with divider, transposable down one octave
The electric bass puts this though a filter with variable decay and resonance.
The decay also modifies the pulse width slightly.
The string bass puts the wave and divided wave through the String Chorus.

Any or all sections could route into the phase shifter.

This was a lush 14 stage affair with resonance. It could either be swept by it's
own LFO,
or by a combination of fixed AD envelope and/or sample and hold of lead VCO2
(which must be ON for it to work!). If s/h is on, the shared LFO controls the
speed.

The computer allowed you to store 16 presets; each preset stored the status of
the switches,
the transposition of the lead VCOs, and a lead trill interval.

Revision History:

------Quadra 2.2------
Mike Novak, 2003

Overall:
fixed typos; added and revised mouse-over info
corrected crossing of some panel elements
returned more envelopes to audio rate for more uses -
smoother pulse width, amplitude and filter modulation

Lead:
changed low sustain level, 10% wave, and PWM amounts to more closely match
the real thing - thanks to Mark Smart for the loan of an oscilloscope
which helped me nail this
new switching / logic for pulse widths

------Quadra 2.1------
Mike Novak, 2002

Overall:
added switch for single / multiple triggering of poly and lead (2.0 was single
only)
removed some redundant components in pitch/gate macro

String Chorus:
added smoothers for less noise
Phase Shifter:
new 14 stage filter macro
added envelope and sample & hold
redesigned around a minimum rather than a center
replaced audio switches and relays with event switches and routers to lower CPU
load

------Quadra 2.0------
Mike Novak, 2002

Overall:
splits and layering modified (added note/gate macro, now behaves like the real
thing)
new control panel with switches
tweaked fader ranges
created original factory and rev.2 presets

Bass:
added PWM
new string bass envelope

Strings:
new envelopes
streamlined chorus

Poly:
new envelopes and filter

Lead:
added delayed vibrato, trill, ADAR/ADSR envelope, duophonic mode, PWM. "Interval
Write" emulation

------ARP Quadra------
Mark Smart, 2001

based on, inspired by, and still featuring Mark's fabulous

polyphonic wave generator and string chorus