(6) (1) (2) (3) (5) (4)

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3 CONCEPT An agreement. This is what we have here. Time and place. Take it slow, get acquainted. The RDV can be broken down into six parts. At its core, it is two effects: 6 stage phaser/vibrato (1) 12 db/oct multimode filter (2) running in parallel. Each effect can be modulated by one of 3 available methods: LFO (3) Envelope (4) or External CV. The modulation matrix (5) sets which form of modulation controls which effect. (Total of 6 possible combinations). The Rendezvous also features a modulation gate (6). The gates allows for the use of audio rate LFO without hearing the carrier while playing, for pseudo-ring mod. The RDV runs on a +/-15V power supply, providing a considerable amount of headroom. This accomodates the use of any instrument, including line level sources, without suffering any saturation.

4 6 STAGE PHASER/VIBRATO Sets the stage of phasing/vibrato. The more stages, the more pronounced the effect. SURPRISE: There are also 3 hidden stages. Continue clockwise beyond 2 stage, to access 1, 3, or 5. GAIN Provide a little boost or attenuation, as needed. PEAK Or Q, or resonance, or feedback. But let s call it peak. CCW is flat, CW is near self-oscillation. / (left) Select between non-inverted and inverted feedback. Different flavour. VIBE/PHAS Select between vibrato or phaser. Phaser being just the vibrato signal+dry signal. / (right) Choose between in or out of phase dry signal. 4 possible phaser combinations: + = classic phaser + = Mutron-like phaser + and + = pseudo-chorus. I call it ghost-chorus because the vibrato sound is kind of hidden. Subtle, but really usable. FIXED Manual setting of the phaser. Should be about 12 o clock if DEPTH is full. DEPTH How much modulation affects the phaser.

5 MULTIMODE FILTER LP BP HP NP Selects the filter Low-Pass, Band-Pass, High-Pass or Notch Pass. (If Notch-Pass is selected, try setting the Peak between 7-9o clock. This will act as a very neutral phaser). GAIN Provide a little boost or attenuation, as needed. PEAK (aka Q, or resonance, or feedback). CCW is flat, CW is near self-oscillation HI/LO Switch between high and low mode. Typically low mode is good for bass. As you wish. FIXED The manual setting of the filter. It should be at 12 o clock if depth is full. DEPTH How much modulation affects the filter. / Puts the whole filter in or out of phase with the phaser section. If the phaser is off, you will hear no difference. When using both effects it can be very useful, cancelling out excessive bass for example.

6 LFO An enhanced version of the LFO found in the KORG MS-20. The LFO can be mapped to either (or both) of the effects. TRIANGLE/SQUARE The switch choose between: saw/triangle/inverted-saw or variable width square. The knob above the switch morphs the waveform: from saw to triangle to inverted saw in the up position, width of the square in the down position. SPEED Rate of the LFO. LO/HI Choose between 2 speed ranges for the LFO. LO ranges from a few seconds to classic vibrato/tremolo frequency. HI accesses faster frequencies, from wobble to audio rate. (Can interact with waveform knob for bitcrushing/decimating effects).

7 ENVELOPE Not your classic envelope. Features a wide variety of attack speeds for unconventional results. SPEED Choose between 11 different rates. First 3 positions (CCW) really slow, no ripple envelope Last 3 position (CW) fuzz-like land. (Quasi-synth sounds when playing bass). 5 positions in-between classic envelope, with variable attack. SENS Pre-gain of the envelop. Use it to adjust the envelope for your instrument. There s enough gain to fingerpick with a single-coil guitar. Or play with a Fender Rhodes (known for having a weak output signal). UP/DOWN Choose between classic envelop or inverted envelop. If DOWN is selected, you will have to turn the fixed knob fully CW.

8 MODULATION MATRIX MODULATION GATE MODULATION SELECTER 6 position rotary switch. Sets which modulation affects which effect. Yellow indicates the modulation of the phaser. Green indicates the modulation of the filter. From right to left: 1: LFO on phaser, ENVELOP on filter 2: ENVELOP on phaser, LFO on filter 3: LFO on phaser, INVERTED-LFO on filter (good for leslie-like sounds) Most useful when the LFO is at audio rate. For most applications, the gates should be left off (up position) GATE In the down position, the modulation is gated when playing stops. Left corresponds to phaser/vibrato, right corresponds to filter. THRESHOLD Sets the point at which the effect(s) are triggered 4: ENVELOP on phaser, ENVELOP on filter 5: LFO on phaser, external CV on filter 6: external CV on phaser, ENVELOP on filter

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