558:
possible steps of total resolution. Control voltage is analog and by extension infinitely variable. There is less likelihood of hearing the zipper effect or noticeable steps in resolution over large parameter sweeps. Human hearing is especially sensitive to pitch changes, and for this reason MIDI pitch bend uses 14 bits fundamentally. Beyond the 512 directly defined 14-bit controls, MIDI also defines tens of thousands of 14-bit RPNs (Registered
Parameter Number) and
31:
479:
allows the input or output of the related CV to synchronize multiple modules together. The pitch voltage from a keyboard could also be used to control the rate of an LFO, which could be applied to the volume of the oscillator output, creating a tremolo that becomes faster as the pitch rises. Modules that can be controlled by CV include VCF, VCA, high and low frequency oscillators, ring modulators, sample and hold circuits and noise injection.
211:, including more than 7000 modules from at least 316 manufacturers. This convention typically had control modules carry the source voltage (B+, 5 V) on the ring of a TRS jack, with the processed voltage returning on the tip. However, other manufacturers have used different implementations with voltages including –5 V to 5 V, 0 V to 5 V, 0 V to 10 V with the B+ possibly on the tip. This makes interoperability of modules problematic.
599:
this by producing two interfaces designed to receive and transmit CV in a system, the MP-201 (which includes MIDI) and the CP-251. Examples of effects allowing the use of CV include delays (Electroharmonix DMB and DMTT, Toneczar
Echoczar, Line6, Strymon and others), tremolo (Goatkeeper), Flange (Foxrox Paradox), envelope generators/lowpass filters/ring modulators (Big Briar, WMD) and distortion (WMD).
140:(VCF), etc.) can be connected to another component by means of a patch cable that transmits voltage. Changes in that voltage cause changes to one or more parameters of the component. This frequently involved a keyboard transmitting two types of data (CV and gate), or control modules such as LFOs and envelope generators transmitting CV data:
598:
In recent years, many guitar effects processors have been designed with CV input. Implementations vary widely and are not compatible with one another so it is critical to understand how a manufacturer is producing the CV before attempting to use multiple processors in a system. Moog has facilitated
565:
A major difference between CV/gate and MIDI is that in many analog synthesizers no distinction is made between voltages that represent control and voltages that represent audio. This means that audio signals can be used to modify control voltages and vice versa. In MIDI they are completely separate
557:
One of the main advantages of CV/gate over MIDI is in the resolution. The fundamental MIDI control message uses seven bits or 128 possible steps for resolution. Thirty two controls per channel allow MSB (Most
Significant Byte) and LSB (Least Significant Byte) together to specify 14 bits or 16,384
553:
can be controlled using CV to set light intensity or color and gate to turn an effect on and off. With the resurgence of non-modular analog synthesizers, the exposure of synthesizer parameters via CV/gate provided a way to achieve some of the flexibility of modular synthesizers. Some synthesizers
540:
Shortly after the MIDI standard came out Roland introduced the Roland MPU-101, a MIDI to CV/gate converter that takes an input from four MIDI channels; i.e. a variable base MIDI channel plus the next three consecutive MIDI channels and converted up to four MIDI channels into four separate CV/gate
478:
CV control of parameters other than pitch usually follows the same pattern of minimum to maximum voltage. For example, Moog modular synthesizers use the 0 V - 5 V control voltage for all other parameters. They are represented on the front panel of many synthesizers as knobs, but often a patch bay
544:
However, the 1990s saw renewed interest in analog synthesizers and various other equipment. In order to facilitate synchronization between these older instruments and newer MIDI-enabled equipment, some companies produced several models of CV/gate-MIDI interfaces. Some models target controlling a
471:
These two implementations are not critically incompatible: voltage levels used are comparable and there are no other safety concerns. So, for example, connecting a Hz/volt keyboard to a volts/octave synthesizer will likely produce some sound, but it will be completely out of tune. At least one
183:, and was widely adopted for control interfacing. One volt represents one octave, so the pitch produced by a voltage of 3 V is one octave lower than that produced by a voltage of 4 V. Each 1 V octave can be divided linearly into 12 semi-tones. Companies using this CV method included
526:
Like a
Trigger, gate signal voltage may vary among brands. In some implementations, gate signals may even dip into negative voltage ranges. Gate inputs are typically isolated, or "buffered" to prevent damage to some equipment that cannot handle excessive or negative
144:
Control voltage (CV) indicates which note (event) to play: a different voltage for each key pressed; those voltages are typically connected to one or more oscillators, thus producing the different pitches required. Such a method implies that the synthesizer is
494:, "voltage trigger", or "positive trigger" normally holds voltage low (around 0 v) and at trigger produces a fixed positive voltage to switch a note on. The trigger voltage level differs among brands, from 2 V to 10 V. V-trigger is used by Roland and
536:
Since the publishing of the MIDI standard in 1983, usage of CV/gate to control synthesizers has decreased dramatically. The most criticized aspect of the CV/gate interface is the allowance of only a single note to sound at a single moment of time.
156:. In the case of triggering a drum machine, a clock signal or LFO square wave could be employed to signal the next beat. The trigger can be a specific part of an electronic pulse, such as the rising slope of an electronic signal.
508:
the trigger to ground when the note should play. S-trigger were used in the early Moog
Modular systems, however they are rarely used nowadays. This is not to be confused with the inverted gate signals used in Korg and Yamaha
548:
CV/gate is also very easy to implement and it remains an easier alternative for homemade and modern modular synthesizers. Also, various equipment, such as stage lighting, sometimes uses a CV/gate interface. For example, a
513:
Depending on the voltage level, connecting an incompatible triggering system will either yield no sound at all or reverse all keypress events (i.e. sound will be produced with no keys pressed and muted on keypress).
112:, and others continue to manufacture modular synthesizers that are increasingly popular and rely primarily on analog CV/gate signals for communication. Additionally, some recent non-modular synthesizers (such as the
577:
allows myriad connection possibilities with CV, and allows gate signals to have a "level" rather than a simple on-off (for example, to trigger not just a note, but the velocity of that note).
225:
synthesizers, represents an octave of pitch by doubling voltage, so the pitch represented by 2 V is one octave lower than that represented by 4 V, and one higher than that represented by 1 V.
541:
outputs able to control four separate CV/gate synthesizers or a four-voice synthesizer like the
Oberheim 4 voice analog synthesizer which is made up of four separate monophonic SEM modules.
466:
392:
124:
as well as many guitar oriented devices) include CV/gate connectivity. Many modern studios use a hybrid of MIDI and CV/gate to allow synchronization of older and newer equipment.
92:
also made it possible to store and retrieve voice "patches" – eliminating patch cables and (for the most part) control voltages. However, numerous companies – including
545:
single type of synthesizer and have fixed CV and gate implementation, while some models are more customizable and include methods to switch used implementation.
168:
The concept of CV is fairly standard on analog synthesizers, but not its implementation. For pitch control via CV, there are two prominent implementations:
159:
Gate is related to a
Trigger, but sustains the signal throughout the event. It turns on when the signal goes high, and turns off when the signal goes low.
229:
The table compares notes and corresponding voltage levels in both implementations (this example uses 1 V per octave and 55 Hz/V):
652:
566:
however, and additional software such as Expert
Sleepers is required to convert analog CV signals into numerical MIDI control data.
798:
573:
emulate control voltages to allow their virtual modules to be controlled as early analog synthesizers were. For example,
819:
789:
146:
137:
133:
73:
691:, released in 1971, had no patch cables; making a more portable instrument by restricting options - but with no
397:
747:
475:
On synthesizers the CV signal may be labelled "CV", "VCO in", "keyboard in", "OSC" or "keyboard voltage".
335:
814:
200:
109:
570:
613:
581:
495:
192:
152:
Trigger indicates when a note should start, a pulse that is used to trigger an event, typically an
89:
65:
618:
472:
commercial interface has been created to solve the problem, the Korg MS-02 CV/trigger interface.
222:
184:
180:
648:
638:
562:(Non-Registered Parameter Number), but there is no method described for going beyond 14 bits.
30:
121:
113:
793:
765:
589:
69:
61:. The control voltage typically controls pitch and the gate signal controls note on-off.
58:
584:
released a virtual instrument plug-in, Volta, allowing Mac-based audio workstations with
517:
On older equipment, the gate/trigger signal may be labelled "gate", "trig" or "S-trig".
574:
149:. CV can also control parameters such as rate, depth and duration of a control module.
808:
505:
153:
550:
117:
81:
54:
585:
50:
35:
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could also generate CV/gate signals and be used to control other synthesizers.
592:
504:, "short circuit trigger", or "negative trigger" normally holds voltage high,
188:
644:
97:
85:
785:
688:
608:
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196:
176:
717:
208:
93:
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in 1977 through to the 1980s, when it was eventually superseded by the
17:
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outputs, and as such only supports a limited number of synthesizers.
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support to control some hardware devices. CV control is based on the
101:
559:
218:
105:
77:
729:
766:"Korg MS Pedals and Processors - Overview of Specifications"
132:
In modular synthesizers, each synthesizer component (e.g.,
801:— a detailed article on all aspects of MIDI-CV conversion;
799:
Analogue
Solutions' Beginner's guide to MIDI-CV conversion
84:, easier to configure reliably, and more readily supports
400:
338:
730:"Plan your modular synthesizer rack on ModularGrid"
64:This method was widely used in the epoch of analog
460:
386:
27:Analogue method of electronic sound production
80:protocol (introduced in 1983), which is more
8:
116:) and many effects devices (including the
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343:
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461:{\displaystyle V_{oct}=ln_{2}(V_{hz})+1}
231:
29:
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332:The voltages are linked by the formula
708:. Hal Leonard Corporation, 1988, p.11.
487:Trigger also has two implementations:
57:, and similar equipment with external
678:, Hal Leonard Corporation, 1988, p.1.
49:) is an analog method of controlling
7:
387:{\displaystyle V_{hz}=2^{V_{oct}-1}}
96:, who designed a modular system for
25:
72:, since the introduction of the
449:
433:
1:
788:tutorial at Synthesizers.com
640:Sound Synthesis and Sampling
394:, which can also be written
34:The CV/gate interfaces of a
498:synthesizers, among others.
217:, used by most but not all
836:
582:Mark of the Unicorn (MOTU)
138:voltage controlled filter
134:low frequency oscillation
74:Roland MC-8 Microcomposer
462:
388:
235:Implementation / Note
39:
637:Russ, Martin (2012).
571:software synthesizers
463:
389:
33:
770:www.korganalogue.net
398:
336:
90:digital synthesizers
66:modular synthesizers
47:control voltage/gate
45:(an abbreviation of
38:analogue synthesiser
820:Japanese inventions
734:www.modulargrid.net
496:Sequential Circuits
193:Sequential Circuits
175:was popularized by
792:2013-07-24 at the
786:Gates and Triggers
706:Synthesizer basics
619:Open Sound Control
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267:Volts/octave (V)
16:(Redirected from
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173:Volts per octave
114:Alesis Andromeda
110:Analogue Systems
88:. The advent of
70:music sequencers
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794:Wayback Machine
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647:. p. 192.
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299:Hertz/volt (V)
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704:Brent Hurtig,
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676:Mind over MIDI
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654:978-1136122149
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207:standard from
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55:drum machines
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752:Modular Grid
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658:. Retrieved
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551:strobe light
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532:Modern usage
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228:
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118:Moogerfooger
82:feature-rich
68:and CV/Gate
63:
51:synthesizers
46:
42:
41:
586:Audio Units
128:Basic usage
809:Categories
625:References
593:line level
147:monophonic
120:pedals by
59:sequencers
645:CRC Press
580:In 2009,
527:voltages.
502:S-trigger
492:V-trigger
377:−
181:the 1960s
100:in 1992,
98:Kraftwerk
86:polyphony
36:Korg ARP
790:Archived
689:Minimoog
660:26 April
609:DIN sync
603:See also
506:shorting
205:Eurorack
203:and the
197:Oberheim
177:Bob Moog
718:Doepfer
693:storage
483:Trigger
326:16.000
209:Doepfer
136:(LFO),
94:Doepfer
43:CV/gate
18:CV/Gate
651:
575:Reason
294:5.000
223:Yamaha
185:Roland
102:Buchla
569:Some
560:NRPNs
323:8.000
320:5.993
317:5.339
314:4.757
311:4.490
308:4.000
305:2.000
302:1.000
291:4.000
288:3.583
285:3.417
282:3.250
279:3.167
276:3.000
273:2.000
270:1.000
687:The
662:2017
649:ISBN
521:Gate
221:and
219:Korg
189:Moog
122:Moog
106:MOTM
78:MIDI
614:DCB
262:A5
201:ARP
179:in
811::
768:.
750:.
732:.
643:.
468:.
259:A4
256:E4
253:D4
250:C4
247:B3
244:A3
241:A2
238:A1
199:,
195:,
191:,
187:,
164:CV
108:,
104:,
53:,
772:.
754:.
736:.
695:.
664:.
456:1
453:+
450:)
445:z
442:h
438:V
434:(
429:2
425:n
421:l
418:=
413:t
410:c
407:o
403:V
380:1
372:t
369:c
366:o
362:V
357:2
353:=
348:z
345:h
341:V
20:)
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