Body Synths Laboratory

The Laboratory is built around four feedback paths, which send signal from the channels back into the circuit. They can set the number of delay repeats or add texture to the processed signal. At higher settings they drive the system into self-oscillation, with or without an input signal. Once it is oscillating, the channel controls shape the sound, from sustained drones to harsh noise madness.
Each channel has its own audio input and output and three voltage-controlled stages: gain, delay and filter.
The gain stage sets the level up to 40 dB of amplification. The delay is based on the PT2399, a chip originally designed for karaoke machines; at longer delay times it goes into dirty territory, with noisier, more degraded repeats. With both channels together, the delay can produce multi-tap or ping-pong echoes.
The resonant filter has low-pass and high-pass modes. Running two channels in series, one in each mode, gives a band-pass response. A clipping stage at the end of each channel adds compression and distortion at high levels.
The global modulator can be used as an envelope or an LFO, with attack and decay controls and a full cycle time that ranges from 10 ms to 10 s. As an envelope, it can be triggered manually or by an external signal at the trigger input. It has four CV outputs, two positive and two negative. These can be patched to the channels' CV inputs for tremolo, vibrato, chorus, stereo filter sweeps and modulated delays. It can get pretty wild.