axis
3dimensions amplitude management
In only 12hp, Axis condenses all the classical blocks for the audio amplitude management, redefining the classical
envelope -> vca -> mixer path.
The idea is to manipulate a sound over three axes: its length (time [X]), its volume (range [Y]), and its place inside the stereo field [Z].Dimensions: 12hp
Power consumption:
+12 rail: 215mA
-12 rail: 85 mA
+ 5 rail: 0mA
Media / Links:
Quickstart Manual
Modulargrid
Axis is a dual envelope generator that features an integrated VCA, a crossfader, and a voltage-controllable mixer section.
The initial concept was to combine digital control over an analog VCA to closely emulate the classic Vactrol sound.
After more than a year of refinement, Axis has evolved into more than just that.
It offers exceptional versatility, providing a wide range of waveforms and the unique capability to simulate the natural percussive qualities of different materials.
All this is in a complete analog path.
the function generators
For the function generator section, we choose a faster method over the classic AD/ ADSR style: a selection of waveforms studied to give back a precise musical effect can be selected with the shape knob[9].
The function length is independent from the actual wave shape and can be settled with the fader timeX [10] from 30hz to 15 seconds.
Also, setting the timeX fader at its maximum level will leave the VCA open.
A more typical collection of envelopes can be found in the first half of the dial.
All kinds of sounds, from plucked notes to long volume swells passing through lead-friendly lines, can be obtained here.
More unusual, the last section of the knob is thought to simulate the acoustic vibration of a percussed object. Starting with a triangular envelope, from this point on, the more you turn the knob, the more rebounds will be added, simulating the natural ring of a material.
Using this section at low rates can generate complex envelopes that could also be suitable for the vibrato-style AM effect.
The envelope generator section includes a mode switch[8](cycle,trigger,hold), a trigger/gate input[2], an EOC trigger out[5], a function output[4], a CV for the envelope shape selection, and one CV for time[7].
the crossfader
As a cherry on the cake, a crossfader is placed at the end of the chain, blending both Axis halves.
With a dedicated fader and CV control[12], raising it will invert the L/R output, creating nice stereo effects or moving the voices around the stereo field
the VCAs
The VCA section is more straightforward: it has an audio input/output[1] and a VCA CV input[3].
You can plug the audio I/O to use Axis in its completeness and eliminate a lot of cables and mess!
Soundwise, here at Clank, we are all about vactrols LPGs, but since we knew it’s not the most versatile option on the market, we came up with a different design. Blending together a VCA with a not-so-step filter, we obtained a VCA with a nice mild LPG flavor: enough to sound not so “clicky” but not too slow to inficiate really fast sounds.
By default, the envelope created by the function generator is normalized to the CV in of the VCA.
Plugging a cable into the VCA in[3] breaks the normalization, in this way you can use a different source to control the VCA and free the function generator for LFOs or modulation duties.
The rangeY fader[11] sets the strength of the envelope, but you can also see this control as a volume fader, which is nice since you won’t necessarily need an additional volume for your voice after the Axis.
Take into consideration that since the Axis VCA is actually a low-pass gate, lowering the rangeY fader also affects the cutoff frequency.
The range fader[11] also has its CV control[6] to program dynamic changes to the sound.
Basically, it’s a VCA over a VCA that permits every note to be at different intensities.
Last but not least, Range CV[6] can also be fed by a unipolar modulation CV to obtain vibrato effects or audio rate AM modulations.
vca
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envelope generator
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crossfader
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percussion
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acoustic vibration
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AM
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vca 〰️ envelope generator 〰️ crossfader 〰️ percussion 〰️ acoustic vibration 〰️ AM 〰️
shape knob
vactrol emulation
The first area of the shape knob emulates the natural ringing of the classic Vactrol "bongo" sound, offering a very fast attack and a logarithmic release controlled by the time knob.
As you turn the knob towards the second shape, you gradually increase the volume of the sustain stage. This allows you to create percussive sounds with very fast transients and variable decay, ranging from ultra-short to very long.
linear response
Upon entering the second region, the sustain level will align with the peak point of the attack phase. The release phase, which has now a linear slope, is adjustable using the time control knob. This represents one of the classic envelope types commonly found in function generators.
reinforced sounds
With an anti-log release phase, this region is designed for sounds that embody a strong, rich harmonic presence. This particular point can be conceptualized as the moment of maximum strength, where the sound reaches its fullest expression before gracefully transitioning into the subsequent phases. From this moment, the envelope rises during the attack phase, while the sustain level gracefully decreases. 
mellow & swell
This region offers a wide range of envelopes that allow for the creation of both swell effects and softer tonal textures. One of the key features is the variable attack phase, which can be adjusted depending on the shape knob settings; this flexibility enables you to tailor the onset of your sounds from quick and sharp to soft and gradual. The release phase is designed to smoothly transition from an anti-logarithmic curve to a linear response.
triangle love
The linear triangle waveform is one of the classic waveforms offered in Axis, and it is particularly effective for producing vibrato effects and traditional sounds characterized by equal attack and decay phases. At this point, the behavior of Axis changes as it incorporates gradually decreasing rebounds in the envelope. Increasing the shape parameter results in more rebounds. Furthermore, the time knob now governs the overall timing of these effects.
percussion
The final region is designed to simulate the acoustic vibrations produced when an object is struck. In the first part, you will experience a deep, resonant tone that has a rich, cavernous quality. As you gradually adjust the shape knob,the pitch increase, while the texture of the sounds shifts towards a more metallic character. This allows for a wide range of sonic possibilities.
This region is particularly well-suited for creating percussion sounds or enhancing existing audio elements. Even the simplest sounds can gain complexity and richness trough this AM modulation.