# Bastl Instruments — Cinnamon VCF - [Manual PDF](../../manuals/manual-cinnamon-web-v1.4.pdf) --- [Manual PDF](about:blank) # Bastl Cinnamon — using it for melodic components Based on the attached manual, the module here is: - **Bastl Cinnamon** — a **state-variable filter** that can also **self-oscillate as a sine/special waveform oscillator** This means Cinnamon is not just a tone-shaping filter. It can act as a **melodic voice source** when driven into self-oscillation, and it can also shape other oscillators into more animated melodic lines. ## What Cinnamon does well melodically Relevant functions from the manual: - **V/Oct input** for pitch control - **Cutoff control** sets the oscillation frequency - **Resonance** at maximum makes it **self-oscillate** - **LP / BP / HP outputs** provide phase-shifted outputs - **Character switches** alter the resonance response and self-oscillating waveform - **Drive + Input Level** strongly affect tone when filtering external audio - **FM CV input with attenuator** for modulation of cutoff Important caveat from the manual: - **V/Oct tracking works reliably when the Character switches are off** - The **Character switches may disrupt tracking** So for the most stable melodic use, start with: - **Resonance high enough to self-oscillate** - **Character switches off** - Send sequencer pitch CV to **V/Oct** - Take audio from **LP**, **BP**, or **HP** --- # Main melodic use cases ## 1. Cinnamon as a sine oscillator voice This is the most direct melodic patch. ### Patch - Set **Resonance** fully clockwise until it self-oscillates - Keep **Character switches off** for best pitch tracking - Send sequencer or keyboard CV to **V/Oct** - Use **Cutoff** to tune the base pitch range - Patch one output to your VCA/mixer: - **LP** = sine-like, 0° - **BP** = phase-shifted, 90° - **HP** = phase-shifted, 180° ### Musical result - Clean, minimal melodic tones - Great for: - basslines - sine leads - sub melodies - tuned percussion ### Tip Because the outputs are phase-related versions of the self-oscillation, you can mult them for interesting stereo or layered patches if your system allows. --- ## 2. Cinnamon as a character oscillator for rougher melodies The manual notes that the **Character switches change waveform when self-oscillating**. ### Patch Start from the self-oscillating patch above, then: - Engage the **upper Character switch** for a sharper, edgy waveform - Engage the **lower Character switch** for a saw-like character - Try one or both while sequencing pitch ### Musical result - More aggressive or harmonically rich melodic material - Better for: - acid-like lines - cutting leads - unstable, expressive melodies - industrial or experimental sequences ### Caution These switches can **disrupt V/Oct tracking**, so this mode is often best for: - short repeating sequences - drone melodies - looser intonation - recording and tuning by ear --- ## 3. FM-style animated melodic lines Cinnamon has a second CV input for cutoff/frequency modulation with an **attenuator**. ### Patch In self-oscillation mode: - Pitch CV to **V/Oct** - Send an LFO, envelope, or another oscillator to the **FM/right CV input** - Use the **Attenuator** to control modulation amount ### Musical result Depending on modulation source: - **Envelope to FM input**: - per-note pitch sweeps - plucky attacks - punchy bass articulation - **LFO to FM input**: - vibrato - slow melodic drift - **Audio-rate oscillator to FM input**: - clangorous or metallic tones - animated leads - unstable bell-like melodic colors ### Best practice For tonal melodies, keep FM amount low at first. Cinnamon can get wild quickly. --- ## 4. Filtering another oscillator into a melodic voice If you already have another VCO in the rack, Cinnamon becomes a strong melodic sculptor. ### Patch - Patch oscillator audio into **Input** - Use **Input Level** to set gain - Use **Drive** on/off to control saturation - Send sequencer melody to the other oscillator’s pitch - Modulate Cinnamon’s cutoff with: - envelope - sequencer CV - random stepped voltage - keyboard CV - Take one or more outputs: **LP**, **BP**, **HP** ### Musical result - **LP**: rounded bass/lead shaping - **BP**: vocal, nasal melodic emphasis - **HP**: thinner, cutting melodic parts Because Cinnamon is a state-variable filter, the three outputs are especially useful for creating complementary melodic layers from one source. --- # How to use the outputs musically ## Low-pass output - Best for: - warm bass - smooth leads - sub-heavy melodic lines - In self-oscillation: - closest to a pure sine feel ## Band-pass output - Best for: - focused melodic mids - plucks - “talking” or nasal lead lines - Excellent when cutoff is sequenced rhythmically ## High-pass output - Best for: - bright melodic accents - thin cutting counter-melodies - removing low-end clutter A very useful strategy is to treat the outputs as **three tonal perspectives of the same pitch movement**. --- # Drive and Input Level as melodic tools The manual emphasizes that the filter response is **highly affected by input level**. ## With Drive off - Input gain ranges from **0 to 2** - More controllable - Better for cleaner filtering of melodic content ## With Drive on - Input gain ranges from **0 to 10** - Easily overdrives the filter input - Great for: - acid bass - distorted leads - harmonically enhanced arpeggios ### Melodic application If you send a simple waveform from another oscillator into Cinnamon: - low gain = smoother tone - high gain = richer harmonics - high gain + Character switches = dramatic timbral movement across a melody This is especially good when a simple sequence needs more personality without changing notes. --- # Strong melodic patch ideas ## Patch 1: Pure sine bassline - Resonance max - Character switches off - Sequencer CV to V/Oct - LP out to VCA - Envelope to VCA **Result:** stable, round bass voice --- ## Patch 2: Dirty resonant lead - External oscillator into Input - Drive on - Input Level fairly high - Resonance medium-high - Sequenced envelope to FM/right CV - BP out to mixer **Result:** expressive, biting lead with pronounced vowel-like motion --- ## Patch 3: Lo-fi tuned percussion - Self-oscillation on - Sequence to V/Oct - Short envelope into FM/right CV for pitch blip - Character switch on for rougher waveform - Fast VCA envelope after output **Result:** toms, bleeps, synthetic marimba-like phrases --- ## Patch 4: Dual-layer melody from one filter - Self-oscillation on - Pitch sequence to V/Oct - LP out to one VCA/voice channel - BP or HP out to another VCA/voice channel - Different envelopes on each **Result:** one pitch source producing two coordinated melodic layers --- ## Patch 5: Acid-style sequence - Saw or pulse oscillator into Input - Drive on - Resonance high - Sequencer runs melody to oscillator pitch - Envelope or accent CV to FM/right CV - LP output to VCA/mixer **Result:** animated squelchy sequence with strong note articulation --- # Best practices for melodic tuning From the manual, the **rear trimmer** adjusts **V/Oct tracking**. ## Use this if: - You want Cinnamon to play more accurately across several octaves in self-oscillation mode - You mainly use it as an oscillator rather than just a filter ## For best pitch stability - Keep **Character switches off** - Let the module warm up - Tune using the **Cutoff** knob - Use the **trimmer** only if necessary and carefully --- # Most useful “together” interactions inside the module Since only one module manual was provided, the key “used together” relationships are the internal functions of Cinnamon itself: - **V/Oct + self-oscillation** = oscillator voice - **FM input + attenuator** = melodic articulation and vibrato - **Character switches + resonance** = alternate oscillator timbres - **Drive + Input Level + filter core** = harmonically rich external melodic processing - **LP/BP/HP outputs together** = layered melodic voicings So Cinnamon can cover multiple melodic roles in a Eurorack patch: 1. **Primary oscillator** 2. **Timbre shaper for another oscillator** 3. **Secondary tuned sine/special-tone voice** 4. **Source of layered melodic outputs** 5. **Experimental pitched resonant voice** --- # Bottom line **Bastl Cinnamon** is unusually useful for melody because it is both: - a **filter for shaping pitched sources**, and - a **trackable self-oscillating sound source** If you want the cleanest melodic behavior, use it as a self-oscillating sine oscillator with: - **Resonance max** - **V/Oct input** - **Character off** If you want more personality, use: - **Character switches** - **FM modulation** - **Drive + Input Level** That shifts it from accurate pitch utility into expressive, unstable, and very musical territory. [Generated With Eurorack Processor](https://github.com/nstarke/eurorack-processor)