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- Order number: 160215
- Depth: 65
The Micro Precision VCO is a space-saving and utterly precise analog VCO / LFO with a extremely wide frequency range, immaculate tracking over at least ten octaves and nearly perfect waveforms.
Basically, it is the same circuitry like the High-End VCO A-111-2 but with reduced functions and controls. It is suitable as a modulator for exact linear FM and much more.
The A-111-3 has two elements for setting the frequency: A switch selecting between LFO and VCO mode as well as a tune control with a jumper-selectable range:
- Jumper position 1: 16Hz to 20 kHz
- Jumper position 2: 16Hz to 70Hz
- Without jumper: 16Hz to 22Hz
The XM potentiometer can be used as a fine tune control as long as nothing is patched to the XM socket.
The oscillator has a frequency range of at least fifteen osctaves (0.0001 - 40 Hz in LFO mode; 0.5 Hz to 20 kHz in VCO mode) and offers perfect 1 V per octave tracking over ten octaves minimum, typically in the range of 20 Hz to 20 kHz. Frequencias below 25 Hz are visualized with a two-color LED.
The 1V per octave input is accompanied by two FM inputs, one for linear and one for exponential frequency modulation. A jumper determines whether the module obtains pitch CV via the internal bus.
The VCO has a triangle core from which sawtooth, pulse and triangle are derived. The wave forms are almost perfect and sans glitches.
The pulse width can be set with a control from 0 to 100% and of course it can be modulated.
There is one input for oscillator synchronisation and its type, either hard or soft sync, is jumper-selected. Both types differ in sound with the hard sync being more aggressive and richer in harmonics.
|Power consumption +12V:||40|
|Power consumption -12V:||40|
A-111-3 auf Doepfers Webseite;http://www.doepfer.de/A1113.htm
WIth a long trajectory building synths, MIDI keyboards and designing bespoke devices for music pioneers Kraftwerk, Dieter Doepfer decided to design his own modular synthesizer in 1995 based on existing electrical and mechanical specifications of lab equipment he used during his years at university. The official presentation of the system at 1996 Frankfurt Musikmesse caught everyone by surprise and created lots of interest. After Doepfer published the specifications on his website, many instrument designers and engineers saw the potential of the new Eurorack format. Doepfer continues expanding their catalog of over 200 modules (and counting), operating from their modest offices in the outskirts of Munich.