Frap Tools CGM Bedienungsanleitung

MANUALONE

A Single, Comprehensive Guide to Frap Tools’ Modules

I’d like to thank a few precious friends for their support during these years, for the discussions we had, and for the

valuable feedback i received — in alphabetical order: Caterina Barbieri, Sebastian Baumann, Alessandro Bonino,

Marco Ciccotti, Enrico Cosimi, Tom Hall, René Margraff, Gianfranco Marongiu, Chris Meyer, Giulio Saltini, Alessio

Santini, Stephan Schmitt, Brian Smith, Trevor Tunnacliffe, Giona Vinti, Andreas Zhukovsky.

And thanks to the amazing people I’m working with — in alphabetical order: Fabrizio Benatti, Federico Foglia, Gio-

vanni Grandi, Antonio Masiero.

Simone Fabbri

TABLE OF CONTENTS 
TABLE OF CONTENTS.....................................................................3
SAFETY AND WARRANTY .............................................................5
BEFORE STARTING ..........................................................................6
1Connecting the Power............................................................... 6
2Mounting the Module ................................................................ 6
3Warm-Up and Working Temperature............................ 6
INTERFACES.......................................................................................6
1Arrows (Input, Output)............................................................... 6
2Square and Round Shapes..................................................... 6
3Lines (Solid, Dotted, Dashed)................................................ 7
4Color Coding ..................................................................................... 7
5Combinations................................................................................... 7
CGM – CREATIVE MIXER ................................................................9
1Philosophy and Design ............................................................. 9
2System Setup (Linking)..........................................................10 
 Master to Group(s) .....................................................................10 
 Group to Channel(s)..................................................................10 
 Group Jumpers Congurations.......................................11 
3Channel..............................................................................................11 
 Main VCA & Direct Out............................................................11 
 Sends...................................................................................................11 
 Pan, Fader and Other Controls.........................................11 
4Group...................................................................................................12 
 Sends...................................................................................................12 
 Returns...............................................................................................12 
 Group Output................................................................................12 
 Fader and Other Controls.....................................................12 
 The Safe Solo Function...........................................................12 
5Master.................................................................................................12 
 The PFL Function .......................................................................13 
6CGM Mixer Tips.............................................................................13 
 Stereo Inputs .................................................................................13 
 More Than 2 Send/Returns Per Channel...................13 
 Serial Send/Return (and Feedbacks)............................13 
SAPÈL................................................................................................. 14 
1Philosophy and Design ..........................................................14 
2Noise Outputs...............................................................................14 
3Voltage Sampling.......................................................................15 
 Internal Clock and Clock Modulation...........................15 
 External Clock ...............................................................................15 
 Clock Mix...........................................................................................15 
 Manual Sampling .......................................................................16 
 External Gate Sampling.........................................................16 
 Clock Outputs (Main and Random)...............................16 
4Random Voltages.......................................................................16 
 Non-Quantized Random Voltages.................................16 
 Quantized Random Voltages.............................................16 
 Fluctuating Random Output and Global Rate of 
Change (random clock density control) ....................17 
5Probability Distribution (Stored Random Voltages)
..................................................................................................................18 
FUMANA ........................................................................................... 19 
1Philosophy and Design ..........................................................19 
 Spectral Transfer: A Brief History.....................................20 
 Panel Overview ............................................................................20 
2Audio Inputs...................................................................................20 
3Audio Outputs ..............................................................................21 
4Audio Processing and Modulation Path....................21 
 Faders and CV...............................................................................21 
 Macro Spectral Editing...........................................................22 
4.2.1 Tilt ..........................................................................................................22 
4.2.2 Parametric Scanning...............................................................22 
 Spectral Transferring: Modulation Filters and 
Envelope Followers................................................................... 22 
 The ‘Unvoiced’ Section............................................................23 
5Filter Design................................................................................... 23 
6Patch Examples........................................................................... 24 
 16-Band Spectral Transfer...................................................24 
 Dual 8-Band Spectral Transfer ......................................... 24 
 Hybrid Spectral Transfer........................................................24 
 Vocoder-Like Behavior ...........................................................24 
FALISTRI............................................................................................ 25 
1Philosophy and Design.......................................................... 25 
2Function Generators................................................................ 25 
 Times................................................................................................... 26 
 Shapes................................................................................................26 
 Trig and Modes ............................................................................ 26 
2.3.1 Green Alternative Retrig (On Rest) ................................ 27 
 Outputs..............................................................................................27 
 Additional Generator Features......................................... 27 
2.5.1 Quadrature...................................................................................... 27 
2.5.2 Max ....................................................................................................... 28 
2.5.2.1 ADSR.................................................................................................... 28 
3Function Processors................................................................. 28 
 Dual Cascaded Frequency Divider ................................ 28 
 Four-Quadrant Multiplier .....................................................29 
3.2.1 Amplitude Modulation  &  Ring Modulation (2  vs  4 
quadrants)....................................................................................... 29 
3.2.2 Trimming..........................................................................................30 
3.2.3 Linear Slew Limiter.................................................................... 30 
USTA................................................................................................... 31 
1Quick start....................................................................................... 31 
2Philosophy And Design.......................................................... 32 
 Architecture ...................................................................................32 
 Tempo Management............................................................... 32 
3Basic Editing and Visual Feedback............................... 33 
 Editing Projects − Project Menu...................................... 33 
 Editing Tracks − Track Menu.............................................. 34 
3.2.1 Clock Settings............................................................................... 34 
 Editing, Playing and Looping Patterns.......................34 
 Editing Stages...............................................................................35 
3.4.1 Length................................................................................................ 36 
3.4.2 Maintain Pattern Length on Variation........................ 36 
3.4.3 CV Layers.......................................................................................... 36 
3.4.3.1 Red CV Layer: Value.................................................................. 37 
3.4.3.2 Green CV Layer: Variation Index...................................... 37 
3.4.3.3 Blue CV Layer: Variation Range........................................ 38 
3.4.4 CV Stage Colors ........................................................................... 38 
3.4.4.1 USTA Slide vs FALISTRI Slew............................................... 38 
3.4.5 Gate Layers...................................................................................... 39 
3.4.5.1 Red Gate Layer: Value ............................................................. 39 
3.4.5.2 Green Gate Layer: Variation Index.................................. 39 
3.4.5.3 Blue Gate Layer – Variation Range ................................ 39 
3.4.6 Gate Stage Colors.......................................................................39 
4Quick Editing................................................................................. 40 
 Set All and Shift All .................................................................... 40 
 Coarse and Fine...........................................................................41 
 Combining the Buttons.........................................................41 
5Performing......................................................................................41 
 Play/Pause, Reset and Master Track Settings........41 
5.1.1 Master Track................................................................................... 41 
5.1.2 Play/Pause.......................................................................................41 
5.1.3 Reset.................................................................................................... 42 
 Stage Loop ...................................................................................... 42 
5.2.1 Innite Stage Loop.................................................................... 43 

 Song Mode......................................................................................43 
5.3.1 Pattern to song while playing (and vice versa).....44 
 Live Performance Tools: Pattern Recall......................44 
5.4.1 Full pattern recall........................................................................44 
5.4.2 Pattern Mix......................................................................................45 
 Mute.....................................................................................................45 
5.5.1 Mute Track.......................................................................................45 
5.5.2 Mute Channel................................................................................45 
 Hold ......................................................................................................45 
6Advanced Editing.......................................................................46 
 Composition Mode....................................................................46 
 Use an External CV/Gate Keyboard...............................46 
 Store Pattern: Last Played or Last Full.........................46 
 Rotate Pattern ..............................................................................47 
 Cloning...............................................................................................47 
6.5.1 Clone a Stage.................................................................................47 
6.5.2 Clone a Structure........................................................................48 
6.5.2.1 Clone a Layer..................................................................................48 
6.5.2.2 Layer Cross-Cloning..................................................................48 
6.5.2.3 Clone a Pattern ............................................................................48 
6.5.2.4 Clone a Track..................................................................................48 
 Quick Track Initialization.......................................................49 
 Quick Song Initialization .......................................................49 
7External Controls.........................................................................49 
 Clock Input......................................................................................49 
 Auxiliary Trig/Gate Input........................................................49 
7.2.1 Reset....................................................................................................49 
7.2.2 Run........................................................................................................49 
 External CV......................................................................................49 
7.3.1 Pitch Shift.........................................................................................50 
7.3.2 Root Shift..........................................................................................50 
7.3.3 Gate Shift..........................................................................................50 
7.3.4 Stage Shift........................................................................................50 
7.3.5 Vari Shift (Variation Shift)......................................................50 
7.3.6 Pattern Shift...................................................................................51 
7.3.7 Phase Shift.......................................................................................51 
8Additional Operations.............................................................51 
 Select CV Mode (Raw or Pitch) .........................................51 
 CV Range..........................................................................................52 
 Gate Width %.................................................................................52 
 Swing...................................................................................................52 
 Current Stage Data ...................................................................52 
9Playing in Tune.............................................................................53 
 Root & Scale – Dynamic Quantization.........................53 
 Microtonalities ..............................................................................53 
 Custom Scales...............................................................................54 
 Set the Reference Note..........................................................55 
 Custom Temperaments.........................................................55 
9.5.1 Absolute or Relative Temperaments............................55 
 LED Pitch Tables .........................................................................56 
10 Additional Maintenance........................................................58 
 Remove / Insert the SD Card..............................................58 
10.1.1 Remove the SD Card................................................................58 
10.1.2 Insert the SD Card......................................................................58 
 Analog Trimming........................................................................58 
 Project Management and Backups ..............................58 
 Firmware Update .......................................................................58 
11 CHARTS..............................................................................................59 
 Project Menu .................................................................................59 
 Track Menu......................................................................................59 
 Project Hierarchy........................................................................60 
12 Scale Tables.....................................................................................61 
13 Change Log ....................................................................................68 
BRENSO ............................................................................................ 69 
1Philosophy, Design and Signal Flow.............................70 
2Frequency........................................................................................70 
 Oscillators.........................................................................................70 
2.1.1 Fine and Coarse Tuning.........................................................70 
2.1.2 Coarse Frequency Lock.......................................................... 70 
2.1.3 V/oct and Integrator................................................................. 71 
 Frequency Modulation........................................................... 71 
2.2.1 FM Routing.....................................................................................72 
 Sync......................................................................................................72 
2.3.1 Lock...................................................................................................... 73 
2.3.2 Flip Sync............................................................................................ 73 
3Timbre ................................................................................................73 
 Triangle Shaper............................................................................ 73 
 Pulse Shaper.................................................................................. 74 
3.2.1 Pulse-Width Modulation (PWM)..................................... 74 
3.2.2 Waveshaper ...................................................................................74 
 Wavefolder...................................................................................... 74 
3.3.1 Sources ..............................................................................................75 
3.3.2 Folding............................................................................................... 75 
3.3.3 Symmetry ........................................................................................75 
3.3.4 Ping...................................................................................................... 75 
 Timbre Modulation Bus ......................................................... 76 
4Amplitude........................................................................................ 76 
 Amplitude Modulation and Ring Modulation ....... 76 
5Trimmers ..........................................................................................77 
 Accessible Trimmers................................................................ 77 
5.1.1 Coarse Frequency ......................................................................77 
5.1.2 Sine Wave Symmetry..............................................................77 
5.1.3 Sawtooth Wave Symmetry ................................................. 77 
5.1.4 Exponential FM Zero................................................................ 77 
5.1.5 Triangle Waveshaper Shape...............................................77 
5.1.6 Wavefolder Symmetry............................................................ 77 
5.1.7 Four-Quadrant Multiplier ..................................................... 77 
5.1.8 Comparator ....................................................................................77 
 Non-Accessible Trimmers....................................................77 
5.2.1 Gain ...................................................................................................... 78 
5.2.2 Base......................................................................................................78 
5.2.3 Symmetry ........................................................................................78 
6Simple Signal Flow.................................................................... 78 
333......................................................................................................79 
1Design ................................................................................................79 
321......................................................................................................80 
1Design ................................................................................................80 
TECHNICAL DETAILS....................................................................81 
1Flow Charts.....................................................................................81 
 CGM......................................................................................................81 
 SAPÈL.................................................................................................. 82 
 333 ....................................................................................................... 83 
 321 ....................................................................................................... 83 
2CGM CREATIVE MIXER VCA CURVES...........................84 
3FUMANA TRANSFER FUNCTION..................................... 85 
SPECIFICATIONS............................................................................86 
1CGM − Creative mixer..............................................................86 
2SAPÈL.................................................................................................. 86 
3FALISTRI ............................................................................................ 87 
4FUMANA ...........................................................................................88 
5USTA.....................................................................................................88 
6BRENSO ............................................................................................89 
7333 ....................................................................................................... 89 
8321 ....................................................................................................... 89 
WHAT’S IN THE BOX.....................................................................90 
LIST OF REVISIONS ....................................................................... 91 

Rev. 5 – Jun 2020 Page 5 of 91

SAFETY AND WARRANTY

The Frap Tools srls warranty covers the

following products (hereinafter ‘Frap

Tools’), for two (2) years following the date

of purchase. This warranty covers any de-

fect in the manufacturing of this product.

This warranty does not cover any damage

or malfunction caused by incorrect use as

described in the following instructions.

The warranty covers replacement or re-

pair, as decided by Frap Tools. Please con-

tact customer service at [email protected]

for a return authorization.

Frap Tools warrants that your new Frap

Tools product, when purchased from an

authorized Frap Tools dealer, shall be free

of defects in materials and craft for a pe-

riod of two (2) years from the original date

of purchase. Please contact Frap Tools for

warranty and service outside of Europe.

During the warranty period, Frap Tools

shall, at its sole option, either repair or re-

place any product that proves to be defec-

tive upon inspection by Frap Tools. Frap

Tools reserves the right to update any unit

returned for repair and to change or im-

prove the design of the product at any time

without notice. This warranty can be

transferred to anyone who may subse-

quently purchase the product provided

that such transfer is made within the ap-

plicable warranty period and that Frap

Tools is provided with all of the following

items:

·all warranty registration information

for the new owner;

·proof of the transfer within thirty (30)

days of the transfer purchase, and a pho-

tocopy of the original sales receipt.

Frap Tools shall determine warranty

coverage in its sole discretion: this is your

exclusive warranty. Service and repair of

Frap Tools products are to be performed

only by Frap Tools or an authorized ser-

vice company. Unauthorized service, re-

pair, or modification will void this war-

ranty.

Please follow the given instructions for

the use of the device because this will guar-

antee the correct device operation. Since

these instructions also include indications

concerning Product Liability, they must

be read carefully. Any claim for defect will

be rejected if one or more of the following

points is not observed. Any disregard of

these instructions can void the warranty.

The devices may only be used for the

purpose described in this operating man-

ual. Due to safety reasons, the devices

must never be used for purposes not de-

scribed in this manual. If you are not sure

about the intended purpose of the devices,

please contact an expert or Frap Tools at

the email address above.

Do not use or store the devices in humid

places. Avoid contact with any liquid.

Do not touch any component of the de-

vices when it is power or connected to any

power source.

Do not place the devices on unstable

carts, stands, tripods, tables, or other sur-

faces, or on surfaces that are not perfectly

plane. Such behavior may cause the de-

vices to fall, which could result in human

injury, property damage or improper

functioning of the devices themselves.

The devices are designed for use only

when safely and tightly mounted in a

proper Eurorack case, made of non-flam-

mable materials. If you are not sure about

the intended purpose of the devices, please

contact an expert or Frap Tools at the

email address above.

Do not ever leave the devices switched

on when not in use.

To prevent fire, never place any candle,

flame, or other sources of heat on or near

the devices.

Transport the devices only in the origi-

nal box with original packaging or when

safely and tightly mounted in a proper Eu-

rorack case and handled with care. Never

let the devices fall or topple. Make sure

that during transport and while in use the

devices and their case, have a proper stand

and do not fall, slip or turn over because

of potential human injury to persons or

property damage. Any damage from phys-

ical abuse such as dropping the unit, im-

pact from hard objects or damage to ex-

ternal components as a result of negli-

gence will void this warranty.

Never expose the devices to tempera-

tures above +40°C or below 0°C.

Before any operation, also verify the op-

erating temperature ranges of all the mod-

ules and the power boards in use. Do not

keep or leave the case that hosts the de-

vice, or the devices themselves near heat

sources.

Any modification must be carried out

only by Frap Tools or an authorized ser-

vice company. The devices may not be

modified in any way by any parties not ex-

pressly authorized by Frap Tools. Any re-

pair, modification, tampering, or at-

tempted repair made by unauthorized

personnel will void this warranty.

Frap Tools cannot be held responsible in any

way for problems to persons or property or to

the devices themselves, if the devices are

installed improperly, or if they are improperly

used, maintained, or stored.

Any device shipped to Frap Tools for re-

turn, exchange, warranty repair, update,

or examination must be sent in its original

packaging! Any other deliveries will be re-

jected. Therefore, you should keep the

original packaging, and any technical doc-

umentation or manual provided. The de-

vice must be shipped only with the original

packaging. As specified on the product

box, this box is not intended for shipment:

if you bought the device directly at a phys-

ical reseller’s shop, you should put the de-

vice in the original packaging and put the

packaging in a properly larger box with

proper packaging destined for shipping. If

you received the device via carrier or any

post service, it should have come with a

proper double box packaging.

All non-warranty services are subject to

a minimum fee of €50.00+VAT (within

the European Union). The customer must

pay for shipping to Frap Tools; Frap Tools

will cover return shipping costs.

It is important to note that the front

panel of our modules may get warm and

may warm up the case where it is

mounted. Please do not be alarmed, as this

is normal and is part of its standard oper-

ation.

Shut down your equipment immediately

if it produces smoke, a strange odor, or un-

usual noise. Continued use may lead to

fire. Immediately unplug the equipment

and contact your dealer or Frap Tools at

the address above for advice.

Never attempt to repair this product

yourself. Improper repair work can be

dangerous. Never disassemble or modify

this product. Tampering with this product

may result in injury or fire and will void

your warranty.

Do not allow foreign matter to fall into

the equipment. Penetration by foreign ob-

jects may lead to fire.

If water or other liquid spills into this

equipment, do not continue to use it. Con-

tinued use may lead to fire. Unplug the

power cord immediately and contact your

dealer or Frap Tools at the address above

for advice.

The internal components of our mod-

ules and power supplies can get very hot.

Do not touch any internal components

while it is connected and/or powered and

after they completely cool down after use

for at least 30 minutes.

Rev. 5 – Jun 2020 Page 6 of 91

BEFORE STARTING

1CONNECTING THE POWER

To connect the power cable, carefully follow these two

rules:

·the power connector on the module is the keyed one

in the top;

·the red line on the cable should be placed matching

the −12V side on your power board: please double check

with your power boar supplier that the marked side is the

−12V.

Frap Tools may not be held responsible in any way for prob-

lems or damage to persons or property or to the device itself,

if the device is not connected as indicated above.

2MOUNTING THE MODULE

After connecting the power as explained in the previous

section, install the module in your case using all the 2 or

4 screws provided. Make sure that the module is safely

and tightly connected to your Eurorack case.

Frap Tools modules use the standard Eurorack orienta-

tion and color-coding: the red line on the power cables is

placed at the bottom and stands for the −12V. Please

double check with the power system you want to use that

it adopts the same powering system.

Frap Tools may not be held responsible in any way for prob-

lems or damage to persons or property or to the device itself,

if the device is not connected as indicated above.

Figure 1: Power connection.

3WARM-UP AND WORKING TEMPERA-

TURE

For best performances, we suggest letting the Frap

Tools modules warm up at least around 20 minutes prior

to use it [tested at 25°C]. It is absolutely normal that they

feel warm when touched.

INTERFACES

Here at Frap Tools, we put a lot of effort into designing

a proper user interface for each of our modules.

By “proper user interface” we mean essentially three

things:

1. it must convey the module’s identity at a glance;

2. it must allow for a smooth creative workflow;

3. it must be pleasant to look at.

Moreover, we want our interfaces to be clear, but not

self-explanatory (or, in other terms, cryptic, but not cha-

otic).

The reason for doing so is that, in our vision, the musi-

cian should master the “code” of the instrument before

playing it: a piano does not have the note names on its

keys, a violin does not have marks on its neck — it is up

to the musician to practice and learn how the instrument

works.

In the same way, our modules do not have labels such

as ‘frequency’ or ‘decay time’: instead, they are replaced

with a system of symbols and colors that try to be as con-

sistent as possible. Moreover, a musician approaching

our modules through a “conventional” labeling system

might be tempted to assume that the module behaves in

an ordinary way, which sometimes is not completely cor-

rect.

The modules are explained in detail further in this man-

ual. However, to allow the musician to get acquainted

with the overall symbol system, we provide here a brief

guide to “decode” the most recurrent elements of the

“Frap environment”.

1ARROWS (INPUT, OUTPUT)

An arrow can mean either an input or an output, ac-

cording to its position: if it points towards one or more

jack sockets, it is an input; if it points away from one or

more jack sockets, it is an output.

Figure 2: Arrows.

2SQUARE AND ROUND SHAPES

All the modular world revolves around voltage. The

most basic distinction is, conventionally, between voltage

used for timing pulses (trigs or gates) and voltage used for

audio signals or CV.

Rev. 5 – Jun 2020 Page 7 of 91

The former is a discrete signal with two levels only (“off”

and “on”, “low” and “high”). In our modules it is associ-

ated with square shapes: the reason is that squares have

only two kind of lines (vertical and horizontal), in the

same way a gate or rig signal has only two possible states,

on and off.

Figure 3: Square shapes.

The latter is a continuous signal (or ‘analog’ in its clos-

est meaning). Is associated with round shapes because cir-

cles can be thought of as having infinite sides, in the same

way an analog signal has infinite values.

Figure 4: Round shapes.

A subgroup of audio analog section is the stereo audio.

As you can notice in the CGM series, the group and mas-

ter modules feature stereo in and out out: here, the

left/mono is connected to the solid-colored area, while

the right is connected to the ring that surrounds it. The

reason is that the left output is always the primary (be-

cause it can be used as a mono output as well), while the

right one is more of an accessory to it.

Figure 5: Stereo audio.

3LINES (SOLID, DOTTED, DASHED)

A solid line relates two or more elements of the circuit.

It stands for manual control, which means that a given

knob or switch directly affects the signal passing through

the circuit from an input or to an output.

Figure 6: Solid lines.

A dotted line stands for external CV control, and it of-

ten relates a jack socket to a manual control such as a

knob or a slider. It means that the specific parameter can

be voltage controlled.

Figure 7: Dotted lines.

A dashed line relates two or more inputs or two more

outputs: it means that they are semi-normalled, or, in

other terms, that the signal going to one input or coming

from one output is mirrored by the other jack sockets con-

nected by a dashed line. Such behavior is automatically

overridden once a cable is plugged to another jack socket

(thus “breaking” the normalization).

Figure 8: Dashed lines.

4COLOR CODING

As a rule of thumb, if a module performs more than one

function, the respective controls are marked with differ-

ent colors. In other words, a given color relates to one and

only one section of the module design. In case a module

features two “mirrored” sections (such as SAPÈL’s or

FALISTRI’s generators, or CGM Group’s FX sends),

they are marked in yellow and green.

5COMBINATIONS

All the elements can be combined. For example, an ar-

row within a square pointing towards a jack socket means

that it is a gate/trig input; if a dotted line connects a jack

socket to a knob, and a solid line connects the same knob

to another jack socket, it means that the signal outputted

from the second jack socket can be modified either man-

ually via the knob or automatically via an external CV

patched to the first socket.

Rev. 5 – Jun 2020 Page 9 of 91

CGM – CREATIVE MIXER

Figure 9: CGM Interface

AMain Audio Routing

A.1 Audio Mono Input

A.2 Individual Mono Output

A.3 VCA Level

A.4 VCA Level CV Input

A.5 VCA Pre/Post

A.6 Pan Level

A.7 Pan Level CV

A.8 Channel Fader

A.9 Group Output Left

A.10 Group Output Right

A.11 Group Fader

A.12 Master Output Left

A.13 Master Output Right

A.14 Master Fader

A.15 Auxiliary Stereo Input

A.16 Phones Stereo Output

A.17 Phones Level

BSend/Return

B.1 Effect Send Level

B.2 Effect Send Level CV

B.3 Effect Send Pre/Post

B.4 Effect Send Mono Output

B.5 Effect Return Left Input – Dual

Mono

B.6 Effect Return Right Input – Dual

Mono

B.7 Effect Return Level

B.8 Effect Return Level CV

CPerformance Functions

C.1 Mute Button

C.2 Solo-In-Place Button

C.3 Safe Solo Switch

C.4 Pre-Fader Listen (PFL) Button and

LED

C.5 PFL Blend

1PHILOSOPHY AND DESIGN

The CGM Creative Mixer is a modular mixing solution

for Eurorack modular systems. It is designed to obtain a

flexible setup, providing all the tools you may need in stu-

dio and during a live performance, as well as plenty of

CV inputs for every possible automation.

It is currently composed of three modules: the Channel,

the Group and the Master.

The Channel accepts mono signals. It has a main stereo

VCA with CV in and attenuator (red), a direct output

post-main VCA (pre or post fader), two parallel voltage-

controlled effect sends with individual attenuators and

pre/post fader switches (yellow and green), and a PAN

control with offset CV and offset pot. This, together with

the latching buttons for mute, solo in place, and PFL,

manages the incoming signal and distributes it to the

Group module.

The Group gets and sums the L/R post-fader signals

(white) of all the linked Channels, sums all the signals from

the yellow and green sends, and manages the sends

(mono) and returns (dual mono or stereo), summing it to

the signals from the Channels. It also manages the Solo-In-

Place activation on all the linked Channels and provides a

L/R output for the outgoing signal, or (via a jumper on

the back of the module) a L/R output of the sum of the

return signals. Up to eight Channels may be connected to

a single Group, taking care also of its powering. You can

connect also up to four Groups to a Master module.

The Master sums the incoming signals from the Groups

and manages the Pre-Fader Listening (PFL, stereo) of both

Channels and Groups. It also features an auxiliary stereo in

via a 3.5 mm stereo jack with PFL latching button and a

stereo out via 3.5 mm stereo jack for headphones, whose

signal can be blended between PFL and main out.

Rev. 5 – Jun 2020 Page 10 of 91

2SYSTEM SETUP (LINKING)

In a CGM system, modules share audio and power via

10 poles IDC ribbon cables (please refer to the What’s In

The Box section of the manual to see the content of each

module and to have an overview of the available link ca-

bles for various setups, p. 90).

Note that the the Group module does not have a power

socket: it’s because with a CGM configuration you need

to connect only one Group and the Master (if present). With

just two power connections, you will be able to share the

power across your CGM system, with a better ground

handling.

If you accidentally connect more than one group to the PSU,

fear not: it’s not going to damage your system! It’s just use-

less and may not be optimal for ground.

MASTER TO GROUP(S)

Each Master comes with one link cable to connect a

Group to it. You can connect more Groups using a proper

link cable. The Master module, on its back, has two 10 pole

IDC connectors, the one in the top left corner is for pow-

ering, the other in the bottom without any direction is for

linking. Use this one and patch it to the corresponding

one on the Group to establish a connection between them

(in the Group is the one in line –at the same height– of the

one in the Master).

In the example at Figure 10, the cable continues and

goes to other Groups.

GROUP TO CHANNEL(S)

Each Group comes with two link cables to connect one

Group to up to four Channels. You can connect more Chan-

nels (up to eight) using a proper link cable but remember

that at least one Channel is required for the Group to work.

The Channel module, on its back, has three 10 pole IDC

connectors, the one in the top left corner is for powering,

the other two in the center without any direction are for

linking. Use these and patch them together on the differ-

ent Channel you want to link to a Group and on the Group

too (in the Group these are the two connectors in line (at

the same height) with the two on the Channel). It is im-

portant to double check that all the modules are orien-

tated in the same way, and that all the upper connector

are connecter with one IDC cable, while all the lower

connectors are connected with another IDC cable.

In the example at Figure 11, the cable continues and

goes to other Channels.

It is imperative to do not swap connectors! Frap Tools may

not be held responsible in any way for problems or damage

to persons or property or to the device itself if the device is

not connected as indicated above.

Figure 10: Master and Groups connection.

Figure 11: Group and Channels connection.

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