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Fenix Patches



This section covers making patches. In tonal patches, the pitch, gate and expression voltages can be provided by a midi-CV interface. Complete patches These are complete Fenix sounds that you can use as a starting-point to create your own sounds.

Classic Mini


  • Keyboard CV out -> VCO1, VCO2, VCO3, VCF3 (all CV1 in)
  • Keyboard gate out -> EG2 gate in
  • VCO1 sine out -> VCF3 audio in 1
  • VCO2 square out -> VCF3 audio in 2
  • VCO3 saw out -> VCF3 audio in 3
  • EG2 accent curve -> VCF3 CV2 in
  • VCF3 24dB out -> VCA audio in
  • EG2 AR curve -> VCA control in
  • VCA out -> out

    Settings VCF3:
  • Audio inputs: 2 oclock
  • Frequency: 12 oclock
  • Resonance: 7 oclock
  • CV2: 2 oclock
  • Settings EG2:
  • Attack: 7 oclock
  • Release: 8 oclock
  • Accent: 9 oclock

    Tune the VCO's to: VCO2 & 3 Fundamental, VCO1 Octave + 7 semitones.
    Use the velocity out of the Midi-CV interface to control the accent-curve of EG2.
    Set the audio input controls of the VCF to max for an overdrive sound.

    Syrinx 1
    This is a complex patch using 27 patch cords.
  • Connections:
  • Keyboard CV out -> VCO1, VCO2, VCF1, VCF2, VCF3 (all CV1 in)
  • Keyboard gate out -> EG1 gate in
  • Mod wheel (from midi interface) -> VCO1 CV2 in
  • LFO2 triangle -> VCO1 PWM in
  • LFO3 sine -> VCO2 PWM in
  • VCO1 square out -> Mix2A in
  • VCO1 saw out -> Ring2A in
  • VCO2 square out -> Mix2B in
  • VCO2 saw out -> Ring2B in
  • Mix2 out -> VCF1, VCF2, VCF3 (all audio in)
  • VCO sub1 out -> VCF3 Audio 2 in
  • Ring2 out -> VCF3 Audio 3 in
  • VCF1 Bandpass out -> Mix1 A in
  • VCF2 Bandpass out -> Mix1 B in
  • VCF3 24dB out -> Mix1 CV1 in
  • Mix1 out -> VCA1 audio in
  • EG1 accent curve -> VCF1, VCF2, VCF3 (all CV2 in)
  • EG1 ADSR curve -> VCA1 control in
  • VCA1 out -> out

  • VCO1: Set the sync-control to hard.
  • Tune VCO1 1-2 octaves above VCO2.
  • Set frequency of VCF1 to 2 oclock, high resonance.
  • Set frequency of VCF2 to 3 oclock, high resonance.
  • Set frequency of VCF3 to 12 oclock, no resonance.
  • Set VCF1&2 CV2 to 12 or 1 oclock.
  • Set VCF1&2 CV2 to 3 oclock.

    Use the level-controls of Mix1 and of VCF3 to mix the sound-sources.
    Try inverting the sound of VCF2 by setting the Mix1B control counter-clockwise for other filter characteristics.
    For a different Syrinx-type sound:
  • Set VCO1 CV2 control fully counter-clockwise (off).
  • Set the VCO1 sync-control to off.
  • Tune the VCOs to unison.

    808 bassdrum
  • Set up the following simple patch:
  • Trigger -> EG1 gate in
  • EG1 main curve -> VCF1 CV2 in
  • EG1 accent curve -> VCF1 audio in
  • VCF1 lowpass out -> out

  • EG1: Set the attack, peak, sustain to zero. Set accent, decay and release to short.
  • VCF: resonance high, just below oscillating. CV2 control slightly positive (2 oclock. The EG accent curve is used as audio-input to the filter. The envelope causes the filter to ring. The length of the sound is controlled by the resonance on the filter.

    You can use a VCO to generate a tone this way, but there is an advantage to using a filter:
    If you a trigger the VCF wave with the envelope curve, the initial phase of the sound is always the same. If you use a VCO, the sound starts at whatever phase the VCO is at the time of the trigger. This can cause clicks.

    Prophet sync-sweep

  • Keyboard CV out -> VCO1, VCO2, VCF3 (all CV1 in)
  • Keyboard gate out -> EG1, EG2 gate in
  • VCO1 saw out -> VCF3 audio in 1
  • VCO2 square out -> VCF3 audio in 2
  • VCO2 saw out -> VCO1 sync in
  • EG2 accent curve -> VCO1 CV2 in
  • EG1 accent curve -> VCF3 CV2 in
  • VCF3 24dB out -> VCA audio in
  • EG1 ADSR curve -> VCA control in
  • VCA out -> out

    First, tune VCO1 two octaves above VCO2 (set the sync level control to minimum during tuning). Then, set the sync level control to max. for hard sync effects.
    Watch the overload LED on the filter. High input signal levels cause the filter to overload. This effect can be used to add harmonics to the sound before filtering.
    This patch resembles the Sequential Pro-one voice architecture. The pitch of VCO1 is swept by the EG2 decay curve. Because VCO1 is in sync with VCO2, it's pitch does not change but the timbre does. For a variation on this patch, insert the portamento module between the CV-in and VCO1:
    Keyboard CV out -> Port in, VCO2, VCF3
    Port out 1 -> VCO1
    The accent cv-input of EG1 can be controlled from the velocity CV-out of the Midi interface for dynamic filtering.


    Bass sound
    This one-VCO sound provides a lot of low-end by adding a sine-wave to the filtered sawtooth.
  • Keyboard CV out -> VCO1, VCF1
  • Keyboard gate out -> EG1, EG2
  • VCO1 saw out -> VCF1 audio in
  • VCF1 bandpass out -> VCA1 audio in
  • EG1 ADSR curve -> VCA1 control in
  • EG1 decay curve -> VCF1 CV2 in
  • VCA1 out -> Mix3 in A
  • VCO1 sine out -> VCA2 audio in
  • EG2 (AR) curve -> VCA2 control in
  • VCA2 out -> Mix3 in B
  • Mix3 out -> out

    This sound uses only one oscillator. The two outputs of the VCO (saw and sine) form two components of the sound: The sine provides the bottom end of the spectrum, and the filtered saw provides harmonics. You can use a bandpass or highpass filter and high resonance without losing the low end: The sinewave provides the fundamental.


    Stereo sound 1
    An easy way to make a stereo sound is to use the two outputs of VCF3. This can also be used for processing external sounds.
  • EG out -> VCA1, VCA2 control in
  • sound -> VCF3 audio in
  • VCF3 24dB out -> VCA1 -> Left out
  • VCF3 12dB out -> VCA2 -> Right out
    The two outputs of the VCF are slightly out of phase causing stereo effect. he Fenix filters are low-noise, so you could exchange VCA and VCF to liberate a VCA for another purpose. The patch changes to:
  • EG out -> VCA1 control in
  • sound -> VCA1 -> VCF3 audio in
  • VCF3 24dB out -> Left out
  • VCF3 12dB out -> Right out

    Stereo sound 2
    Making a sound pan from left to right, controlled by an LFO requires a few VCAs: This, too can be used for panning external sounds.
  • sound -> VCA1 -> Left out
  • sound -> VCA2 -> Right out
  • LFO1 triangle out -> VCA1 control in
  • LFO1 triangle out -> CV mix 1 in
  • CV mix 1 out -> VCA2 control in
    <The VCAs have a control voltage range of 0-8 volts. LFO1 triangle out has that range, and is fed directly to the VCA1.
    For VCA2, the LFO-signal is inverted by setting the CV2 control counter-clockwise. The signal is now from -8 to 0 volts, so we use the offset-control to bring the range to 0-8 volts.
    You can use an envelope generator instead of LFO1 to make each note sweep from left to right.

    Stereo sound 3
    This patch creates different waveforms from one VCO and uses them for left & right outputs.
  • LFO3 sine -> VCO2 PWM
  • VCO2 square -> VCF1 audio in
  • VCO2 saw -> VCF2 audio in
  • LFO1 triangle -> VCF1 CV2
  • LFO1 triangle -> VCF2 CV2
  • VCF1 Band -> Ring1 A
  • VCF1 Low -> Ring2 A
  • VCF2 Low -> Ring1 B
  • VCF2 Band -> Ring2 B
  • Ring1 -> VCA1 ->Left out
  • Ring2 -> VCA2 ->Right out


  • Set CV2 control of VCF1 to positive range
  • Set CV2 control of VCF2 to negative range
  • Set VCF frequencies to middle positions

    Voltage controlled resonance
    The Fenix VCFs have no CV inputs for resonance.
    Some simple patching can add this function:

  • Connections
  • sound -> VCF3 audio in 1 / 2
  • VCF3 out -> VCA -> VCF3 audio in 3
  • VCF3 out -> out
    Try different filter outputs and inverting the sound (mixer 1 B) for other filter characteristics.

    Chorus sound with VCO1
    This works best in lower registers.
    You can get a chorus-type sound out of VCO1 by patching:


  • LFO2 triangle -> VCO1 PWM
  • LFO3 Sine -> VCO1 Sub-phase
  • VCO1 Sub1 -> Ring1 A
  • VCO1 Square -> Ring1B
  • Ring1 AC out (the top one) ->VCF ->VCA

  • Set Symmetry of LFO2 halfway.
  • Set manual pulsewidth of VCO1 halfway.
  • Set PWM of VCO1 near max.

    Combine Sync & FM


  • VCO2 square -> VCO1 Sync in
  • VCO2 saw -> VCO1 FM in
    Tune VCO1 about 2 octaves above VCO2
    Set VCO1 sync level to hard
    If you put VCO1 in sync with VCO2 (or 3), try feeding one of the VCO2 (or 3) outputs to the FM input of VCO1 as well for a more extreme effect.

    1/f Noise modulation


  • digital noise -> VCO FM in
  • VCO -> VCF ->VCA
    This technique is used to cause randomness in the VCO pitch.
    Use the noise output control to set the amount of modulation.
    It sounds a bit like mixing noise in with the VCO, but it's more like band-filtered noise.
    This works best with dull waveforms such as sine or triangle.


    The patches below are not complete sound setups but rather illustrate some techniques you may be able to use with your own sounds.

    CPR as distortion
    If you feed any audio signal through the CPR, you'll get a very harsh distortion. Whenever the input voltage is above zero volt, the output is 10 Volts. When the input is negative, the output is zero. Be sure to remove any offset by high pass filtering or subtracting a voltage before auditioning the output. Also, this is a very high audio level. The Fenix doesn't much care about overloads like this, but most audio processors, mixers and amps do. Please attenuate!

    Sample & Hold as distortion
    You can use a VCO as clock for the S&H module. Any audio-signal applied to the S&H input will be chopped into samples in tune with the clock-VCO. You may have to amplify the audio signal before feeding it into the S&H.
    Modules used:
    VCO square out -> S&H clock in
    External audio signal -> Input amp -> S&H sample in
    S&H out -> VCF or other processing -> audio out

    Sub-audio filtering
    The portamento module can be used as a filter for sub-audio signals like LFO, gates, envelopes or noise. Increasing the portamento time filters out more of the spikes and sudden changes in the signal. This makes it similar to turning down the frequency control in a VCF.

    Slew Limiter:
    Can also act like a sub-audio filter. Keep in mind that you may get CV offset if the rise and fall controls are not set to the same setting.

    Complex VCO sync
    This shows a way of syncing VCOs.

  • Modules used:
  • VCO1 Sync in, sine and square out, VCO2 Saw out, VCA, Comparator and LFO
  • VCO2 saw out -> VCA audio in
  • VCO1 square out -> comparator in
  • LFO triangle out -> VCO1 PWM
  • comparator out -> VCA CV in
  • VCA out -> VCO1 Sync in (set sync level to hard)
  • VCO1 sine out -> rest of patch
  • The comparator turns the square-wave into a logic-signal that switches between 0 and 8 Volts at audio-rate. If you amplify and offset the VCO square you get the same result.
    The VCA is between the sync-source and the VCO1 Sync in.
    Normally, this would be a hard sync, but the signal is chopped by the VCA. Whenever the square is low, the VCA closes, and VCO1 does not get synched.
    By changing the pulsewidth (PWM) you can determine the sync level.
    Note: You use the VCO2 only as sync pulse generator; you don't listen to its outputs.

    Double VCO Sync

    You can sync VCO-1 with the two other VCO's.
    Modules used:
    VCO-1 Sync in, sine out, VCO-2 Saw out, VCO-3 Saw out.
    VCO-2 saw out -> Mix-1 in A
    VCO-3 saw out -> Mix-1 in B
    Mix-1 out -> VCO-1 Sync in (set sync level to medium).

    A neat noise
    Submitted by Jim Johnson <jamos@technotoys.com>

    For a good source of metallic noise, patch the output of the digital noise source to both inputs of ring modulator 1, and use the AC coupled output of the ring modulator. The voltage at the AM input will vary the tone from highly metallic (with a pronounced pitch) to a more random noise.

    Here's a hi-hat I've built from that:

    Digital Noise -> Ring Mod 1 inputs X and Y
    Ring Mod 1 AC Out -> VCA 1 in
    Variable DC voltage -> Ring Mod 1 AM (from Mikado)
    VLF noise -> S/H in
    SH/Out -> Digital Noise CV2
    Env1 out -> VCA1 CV
    Trigger -> Env1 Gate & S/H Trigger
    CV Mix 1 Out -> EG1 A/D and R CV inputs
    Comparator Out -> CV Mix 1 +/- input

    Settings: (per clock face)
    Digital Noise: Clock = 11:45, CV2 = 7:50
    Ring Mod Offset ~ 2 v
    EG 1: Attack = 7:00
          Peak = 7:00
          Decay = 11:00
          Sustain = 7:00
          Release = 10:00

    The comparator button opens the high hat; this could be done from a sequencer gate instead.


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