Buchla 218e-V3 Manuale utente
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by Joel Davel and the staff of
Buchla USA
V4.3 1/18/23 (JD)
For 218e Software verion 33.9+
©2022 Buchla USA
Introduction
The 218e is capacitive keyboard modeled after the original 218 built in 1973, but adding an
arpeggiator, and MIDI capabilities.
If you have a 218e with a Music Easel or for using in a larger system, welcome to the 200e
system! These notes will acquaint your 218e.
If you have a 218e-V3, then you have a more advanced version of the 218e. This is
indicated by a “v3” in the upper right corner of the 218e, but also by the presence of a new
strip and other features mentioned below. If you have the original 218e refer to the older
218e_FC_208CDblr_Guide_v2.0.PDF publication for features and settings specific to the
earlier 218e.
What’s new in “V3”?
1. There is an additional location sensitive ribbon-like “strip” for quick 0-10 volt output. This
includes a pulse output and way to switch between modulation and pitchbend modes.
2. Arpeggiation can be triggered by a pulse input. (This can be changed back to have the
rate to be controlled CV using a jumper. See appendix for details.)
3. Preset pads have a pulse output
4. A new mode for preset pot 4 allows for a larger transpose range for both CV and the
internal bus.
5. A reset button allows the 218e to reboot and recalibrate the keys without need to reboot
power.
6. USB-MIDI input and output
7. The red keys (a piano’s black keys) have been integrated into the main playing surface.
8. There is additional MIDI functionality including channel assignment to 1-16, controller
output assignments, velocity, and more complete MIDI to CV conversion.
9. “Main” is now called “pitch” to refer more directly to the typical 208 connection and its
expected use for pitch control.
10. MIDI output can be polyphonic and includes a calculated velocity
Important Safety Precautions
Do not disassemble this equipment. Refer all servicing to a qualified service engineer. But if you
insist, be sure to follow the next advice.
When installing, removing, or exchanging a module, please be certain to turn off the power supply.
– power must be turned off before plugging in or unplugging modules.
Buchla power connections and cables are keyed to be used in one direction only! Reversing the
connectors can cause significant system damage.
We are not liable for damage or injury due to lack of common sense:
Do not use the system near water; do not take it into your bath, sauna or hot tub. Take care not to
spill liquids on or into the 200.
Exercise close supervision when using the instrument near children or when children are using it.
The 200’s power supply is for indoor use only. Do not use a damaged or alternate supply.
Refer all servicing to qualified personnel. There are no user serviceable parts or adjustments inside
the 200e.
COMMON BUCHLA SYSTEM STUFF
Before getting into the details of the 218e modules, lets pursue some items that all modern
Buchla 200 modules share in common. First the connections: Like its predecessors--the
200, and 100--the 200e series differentiates between control voltages, signals, and pulses.
Control voltages (C.V.’s) are used to specify parameter levels, range from 0 to 10 volts,
and are interconnected with banana jacks and cords.
Pulses are used for timing information and have two levels: 10 volt pulses transmit only
transient information; while 5 volts indicates the sustain. Pulses, like C.V.’s, also employ
banana interconnections.
Fun fact: By contrast other modular synth systems often use two 3.5mm outputs/inputs to
accomplish the same communication: one for “gates” and one for “triggers.” But those typically 5v
signals will not “trigger” most pulse inputs on a 200 system.)
Signals (audio signals) are the raw material of electronic music, Signals are connected via
Tini-Jax connectors and shielded patchcords. The 218e has no audio output.
Color-coding of cables and Banana Jacks:
Note that both types of patchcords are color coded to indicate their length-- a handy feature
in complex patches.
But more importantly, banana receptacles/jacks are color coded to indicate their function:
OUTPUTS: CV output are blue, sometimes violet,
and occasionally green.
Pulse outputs are invariably red. (And in early 200
series pulse inputs were also red.)
INPUTS:
CV inputs are black (and sometimes grey.)
Pulse INPUTS are orange*.
(*The Music Easel/208 includes an exception to the color-coding standard, Orange is used
as a CV output for its association with the 208 EG fader and switch covers.
Yellow is likewise used for the 208 Pulser output. Note that the 208/208C Pulser output a
sawtooth CV; not a pulse.)
Ground reference connection (VERY IMPORTANT):
On every Buchla boat/housing there is a black banana jack (sometimes labeled
“gnd”, often near the card slot or power supply. When interconnecting/patching
between two synthesizer systems, it is important that the ground reference is
shared between the systems--including between two Buchla systems. The ground is not
just a reference, it completes the circuit. Without this shared connection, control voltages
will have behave unpredictably. The connection is not necessary inside an isolated system,
but it is very important between system and especially from a LEM218 to Easel Command
or another 200 or 200e system.
Why isn’t this true for other electronic music boxes? Audio cables carry the ground
connection with them on their “sleeve”; the banana cables do not. The circuit is not
complete until a ground banana cable is connected between two systems. (If you do
connect the systems through an audio cable, that can sometimes be enough, but it’s best
to connect with the banana cable.
Capacitive keyboard grounding considerations:
It is important to use a 3-prong AC adapter – like the one provided with Buchla systems—
that is plugged into a grounded outlet. And the DC ground must be connected to AC
ground. (Not all are.) This 3rd pin, the AC “earth ground” connection has signal connection
to your body.
When in doubt, use the provided AC adapter.
If this is not an option for you, consider a ground strap. (See below)
You will also establish a better connection to your capacitive keyboard with a Buchla
ground strap connected to the black “ground”/“gnd” banana, especially if you have a
power connection that is not connected to earth ground. Accessorize with a fashionable
grounding strap tight around your wrist. In a pinch, pinch/hold the metal end of a banana
cable that is plugged into this same ground banana.
This same ground can also be found on the front panels of a 208C or other modules and
rims of some cases it you want to simply touch those things while you play. The little lines
on keys 1-29 of the 218e-V3 are also ground and can provide a minimal amount of ground
connection in the absence of a good earth ground connection.
It is also true that moisture can improve your grounding and will affect the detection of your
finger. Experiment with touching ground or moistening your finger. None of these
procedures should be necessary in a typical environment, but the 218e is not a typical
keyboard.
Before you start: About auto-calibration
Keep your hands away on boot up and reset and count to 5:
Every time you boot up the 218e or 218e-V3, the keyboard auto-calibrates to its
environment. It takes a few seconds. That means that if a finger is near a key when you
turn it on or touch it too soon, that key will be desensitized to your finger. For instance, if
you are holding on the keyboard area when you turn on or hit the “reset” button, several
keys may fail to function at all.
Recalibrating/Resetting during performance?: A reset button was added to
218e-V3 because we encourage you to recalibrate the keys just before playing
the instrument just as you would re-tune up an acoustic guitar after it has
adjusted to the stage environment. Resetting will ensure more consistent reading of the
capacitive surface without having to reboot your whole system.
Tactile keyboard Surface
The surface consists of 29 individual keys comprising 2-1/3 octaves. Each touch of the keyboard
generates a pulse, a pressure CV, and pitch CV. These outputs are placed in the upper left of the
218, expecting to be plugged directly into the nearby the pulse, pressure, and pitch CV inputs of a
208.
The pulse output is red banana on the upper left. A red LED
will indicate every pulse output. The pressure CV output
correlates to the detected amount of finger contact on the
current/last single key touched. The blue LEDs next to the
pressure output will get brighter as the voltage gets higher.
The “pitch” output corresponds to the 1.2v/octave pitch of the key.
At the Buchla standard of 1.2v/per octave, that means that the pitch C will be 0v,1.2v, 2.4v, 4.8v or
6.0v depending on the octave being played. (Notice how conveniently that relates the MIDI “C”
notes 0, 12, 24, 48 and 60.) Every ½ step higher will be .1v higher.
To the right of these outputs is Portamento control. Adding portamento will
make the pitches slide from one to the next like a violinist sliding a finger to
the next pitch. It is an endearing musical affect. To control the speed of the
slide, turn the knob higher. At 0, it does not slide; At 10 it may take several
seconds to reach the next pitch. The input banana is another way to control
this parameter with a CV. The CV input will add to the portamento time set
by the knob.
To the right of portamento is the Arpeggiator. The 218 will
arpeggiate based on the keys that are sustained with the
fingers or sustain pedal. The switch determines the
PATTERN: whether the arpeggiation is active or whether it
plays an ascending or a random pattern. (For more random
options, see the appendix for information on how set and play
with “directed random”).
Velocity output for all keys corresponds to the velocity of the last key played, allowing the user to
dynamically play the pattern. As on the 2013 218e, a small random velocity variation also keeps the
pattern from being static. (Minimum velocity range for the arpeggiator is set in edit mode.)
The ARPEGGIATION RATE, is controlled by the knob. At knob position “0” the arpeggiator stops
and only a pulse input will advance it. Turning the knob will increase the steady rate of arpeggiation.
(The rate changes on the next event.)
“input”: As per a traditional late-200/200e system, this orange banana indicates that it is a pulse
input. New to the 218e-V3 is the change from CV control of the rate to advancing the arpeggiator
using pulse inputs. Even while the rate is set higher than 0, pulse inputs can also advance it so you
can create interlocking rhythms between pulse inputs and the automatic advances.
(See the Appendix for a way to change that orange banana input from pulse to CV rate control)
Note that the pulser CV out of the 208C yellow jack is a sawtooth envelope, not a pulse, so if you use it
for the arp pulse input, the response may be a little unpredictable. Use a CV to pulse converter to fix
that.
Also note that the V3 version of the 218e starts its arpeggiation as soon as the key is touched, like
normal key performance. Remember to make sure you switch to “none” for basic keyboard
performance, because the instance arpeggiator response can fool you.
Welcome to the strip!
New to the 218e is the additional of a strip.
Many historic Buchla capacitive keyboards
included a strip or two and so why shouldn’t this
one! And its got a pulse!
Try it out! The blue banana output is a 0-10v
output range. Two blue LEDs at the ends help to indicate when the voltage approaches 0v
or 10v, and the middle LED indicates the overall voltage level. The LEDs are directly
controlled by the CV output.
There are two modes to the strip: absolute mode and relative pitchbend mode.
How to Switch between absolute mode and relative pitchbend mode:
Touch and hold the top and bottom segment on the strip for 2 seconds. The red pulse strip
LED will flash when it changes modes. This works without going into edit mode.
In absolute mode the strip acts like traditional mod wheel and stays at the value when you
remove your finger.
In relative pitchbend mode the strip acts more like a traditional pitch wheel that snaps
back to the center position. It’s “relative” to the starting position because it always
starts with a centered value no matter where you start your gesture. This is not unlike
a traditional pitch wheel without a center indentation to grab.
If you want to bend the full range up, it’s best to start the gesture left of center. When
you go past the range of the pitchbend, reversing the direction of your gesture will pick up
where you left off.
If you want to add vibrato like a violin, simply put your finger down and wiggle it back and
forth.
TO CONFIGURE MIDI OUTPUT and CV behavior, first learn how to get into edit mode.
MIDI output of the strip in absolute mode: Default MIDI output is CC1/Mod Wheel, but
can be changed to any controller number 1-16.
To set the CC# assigned to the strip, go into edit configuration mode and then touch and
hold the strip while also touching one of the keys 1-16 for two seconds until you see the
pulse LED flash. The CC assignment will change to the key number selected.
A note about CC# reassignments. For 208C users, this is a way to reassign it from the automatic
connection of timbre control over MIDI. For a 208C user, using a banana cable to make your own
connection might make more sense.
It is best to know what CC#s are assigned to the Easel Command — the 208MIDI daughtercard in
the 208C — so you either use them or avoid them.
Here is a quick overview of the Easel Command’s assignments:
CC1, timbre; CC2, modulation amount; CC3, pressure slew rate; CC5, portamento rate; CC9,
pitchbend depth; CC14, alternate CC for pressure.
For standalone MIDI users, you might want to consider CC#s that typically control software — for
instance CC7 for volume or CC10 for panning. For other parameters use your instrument to
reassign control to CC1 to CC16.
How to set the range in relative pitchbend mode: Hold strip and turn ARP
knob. The strip CV range is always 0-10v and the strip CV will always snap back
to 5 volts but the pitch banana CV will also be affected per the range of control
over the pitchbend as set in edit/configuration mode. Go to edit mode, then
touch and hold a finger on the strip while turning the arpeggiation knob: Full
(default) octave range (+/-1.2 volts) is set at 10; for a whole step
(+/-.2v), set it at 2. At a setting of 0 the strip position will not affect
the pitch output. (See below.)
A snap back relative mode for modulation and CV: At the 0 setting, the MIDI function
will switch back to CC for a relative CC function
How to set the slew rate: (This affects both modes): Go to edit mode, then touch and hold
a finger on the strip while turning the portamento knob. Setting it with some slew is
recommended.
Next is the PRESET VOLTAGE SOURCE
Only one “preset voltage source” can be selected at a time as indicated by the LEDs. The
knob above each pad sets the output CV from 0-10v. The corresponding voltage will
appear at the blue “output” banana when that knob/source is selected.
A MIDI CC will be output that follows the CV output. The MIDI CC# default to CC2, but can
be changed while in edit mode to any CC# 1-16 by holding a finger on pad1 while then
holding a key number for 2 seconds. (This is same technique for CC assignment as for the
strip CC#.)
With V3 a pulse output has been added to the preset voltage section to allow
triggering additional events. For example, you may stack this pulse output with the main
pulse output to hear the octave events when ADD TO PITCH is set to octave.
Or for 200e users, this pulse output is useful when you also send the preset CV output to
selection inputs--orange and black banana jack pairs--on a 252e, 225e, 272e, or 266e.
TRANSPOSITION: the ADD TO PITCH switch
Octave Transposition with pads: use the “octaves” switch setting for
instant transposition of the pitch output using just pads 1 to 4.
In monophonic MIDI the transposition will imitate the instant
transposition of the pitch CV output and – if you are holding a key with a finger or sustain
pedal – will play the new MIDI note when you touch the pad.
In Polyphonic MIDI the held notes will not shift up when you touch the pads to ADD
“octaves” TO PITCH, but the next played key will be in the new octave. This allows you to
hold a played low bass note with a sustain pedal touch a higher octave pad and then play
chord on a higher octave. The transposition only affects the keys played after the octave is
set even while the previous octave’s keys still sound.
Non-traditonal transpositions using the knobs and pads: The “preset” switch setting will
add the CV—as set by the pad selected knob—to the pitch output. This is not quantized to
½ steps. You could set it to non-tempered transpositions or set the knobs very carefully to
do transpositions of traditional intervals to modulate the key.
No pad effect on pitch: In the “none” switch setting, the pads and knobs will not set the
transposition and it will default set to the 2nd octave. This frees up the pads and knobs to
be independent of transposition. The setting also turns on NoteOn output for the pads on
MIDI channel 16 which can be used for MIDI triggering.
For example, if the octaves setting is used in combination with the “output” CV or MIDI CC,
the user might use the preset output settings from the knobs to automatically change a
parameter of a sound based on the octave being played. But if you want that control to be
independent the only way to avoid associating the octave with the “output” CV or MIDI CC
is to set it to “none.”
But transposition can still be accomplished with a new Knob 4 feature per below.
NEW: Knob 4 TRANSPOSITION
When the yellow LED next to “trn” is lit under Preset Voltage Source
knob 4 —the rightmost knob— the position of this knob will determine
octave transposition of the “pitch” CV, the internal bus and MIDI
outputs.
To enable this mode, go into edit mode and touch key 27 to toggle on or
off. (See how to get into EDIT MODE in the next section.)
Try it! The yellow LED will flash with every octave shift and you should hear the results.
(CV changes out the “pitch” banana don’t occur until position 3.6. See the chart below.)
Not only is this a unique way to quickly shift octaves, this feature accomplishes two other
things:
#1. This frees up using pads 1-3 for other functions while still having independent
transpose control.
#2. The knob’s 0-2.4 range allows users of 261e, 259e and AuxCard to control i2c
messages for octaves lower than the 208C can go, and allows this mere 29 note keyboard
to play a full 0-127 range for MIDI notes.
See the below chart to see how these transpositions affect the outputs
Knob4
pitch CV
i2c
MIDI (decimal)
0
0-2.8v
*0-28
0 to 28
1.2
0-2.8v
12 to 40
12 to 40
2.4
0-2.8v
24 to 52
24 to 52
3.6
1.2-4.0v
36 to 64
36 to 64
4.8
2.4-5.2v
48 to 76
48 to 76
6
3.6-6.4v
60 to 88
60 to 88
7.2
4.8-7.6v
72 to 100
72 to 100
8.4
6.0-8.8v
84 to 112
84 to 112
9.6
7.2-10.0v
96 to 124
96 to 124
You might notice that the knob position has a relationship with 0-10 volts and with MIDI note
numbers. But to really understand it, just use your ears!
The chart above assumes you are playing in the “none” switch setting. When the ADD TO
PITCH switch is set to “octaves”, you can simultaneously and use the preset voltage
source pads 1-4 for additional octave control. They work together
If engaged, the transposition knob will be active in edit mode too to allow you to test
different octaves when playing keys 17-25.
That is all you need to know to start playing. But if you want to change the response
settings on your 218e-V3, or turn on and off various features, or take advantage of some of
the MIDI output options, here’s how. . .
EDIT MODE: Configure your preferred settings.
To enter edit mode, hold the preset pads 1 and 2
until they flash quickly.
The LEDs will then flash slowly to indicate it is in this
edit configuration mode.
On the 218e-V3 those pads have 2 lines on them.
Hold the two pads with the two lines for two seconds.
Once in this mode, touch keys and move pots to configure per the descriptions below.
Keys 1-16: Assign the MIDI output channel 1-16
New to the 218e-V3 is channel output assignment. In edit mode, touch and hold keys 1-16
for a second until you see the pulse LED flash and that will reassign MIDI output to the
respective MIDI channel
MIDI channel settings are saved.
Keys 17-25 remain playable in edit mode with no consequences and are a good way to test
your changes.
Key 26: Toggle on and off “directed random”. This affects the random arpeggiation. The
preset LED will indicate status while in edit mode. See Appendix 1 for a description.
Key 27: Toggle on and off knob 4’s TRANSPOSE mode. See “Knob4 transposition”
section above for a description. (Transposing with knob 4 is active in edit mode too!)
Key 28: Toggle on and off remote enable.
On the 218e-V3 there is an LED status indicator for remote enable. See REMOTE ENABLE
description in the following input and output connections section.
Key 29: Toggle on and off Polyphonic MIDI Mode. “pm” is its LED status indicator. Your
MIDI output is now polyphonic! Toggle it off it you want the MIDI to work monophonically to
mimic the monophonic CV output. For an alternative method to toggle MIDI polyphony
without going into edit mode, press and hold preset pads 3 & 4 until they flash.
Strip plus Portamento knob: Strip Portamento speed/slew
Touch and hold the strip while
setting the portamento knob to
change the amount of
portamento for the strip. The higher the knob value, the slower the CV will
change its voltage. This is also known as “slew” and is a nice way to smooth
out the slides or create delayed changes.
Likewise you can set the pitchbend range for the pitch CV by turning the Arpeggiator knob.
To make it less likely that you set it accidentally, we require that you touch the strip while
you turn the knob. And in this way you can instantly test the results.
More configuration control comes from the Preset Voltage Source knobs (numbering 1 to 4;
left to right)
Questo manuale è adatto per i seguenti modelli
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