Intellijel Cascadia – How It Works / How To Use It

Cascadia

How do the patch points work within the Intellijel Cascadia?

The Intellijel Cascadia is designed as a semi-modular synthesiser, meaning it has many internal connections but also provides numerous patch points (over 100 eurorack-compatible jacks).

These sections and patch points can be thought of as the fundamental ‘building blocks’ you can use to create and shape sounds. Here is a summary of the main building blocks and how you can use them, based on the sources provided:

Midi / CV:

Purpose: This section processes MIDI data received from the back panel (MIDI IN or USB MIDI) and converts it into control voltages (CV) and gates that can be patched around Cascadia. It allows you to play and control the synth from external MIDI controllers, sequencers, or computers.

How to use:

MIDI PITCH OUT: Provides a 1V/octave CV output that tracks the pitch of notes played via MIDI. You can patch this to oscillator pitch inputs or the filter’s FM 2 input (which is designed for 1V/oct signals).

MIDI CC OUT / MIDI MOD OUT: Output unipolar or bipolar CV derived from assigned MIDI CC messages or Aftertouch. Use these to modulate various parameters based on external MIDI controller movement.

MIDI LFO OUT: Outputs a bipolar LFO waveform that is synchronised to the incoming MIDI clock. Its shape and rate (based on sixteenth note divisions of the clock) can be configured. Patch this to modulate parameters rhythmically in sync with your external clock.

MIDI CLK: Outputs a clock signal based on incoming MIDI Clock or an internal TAP tempo. Use this to sync other modules or sections of Cascadia that accept a clock input.

MIDI GATE OUT: Outputs a gate signal (5V high) when a note is being played via MIDI. This is typically used to trigger envelopes (like Envelope A and B by default).

MIDI TRIG OUT: Outputs a brief trigger signal (5V pulse) when a MIDI note-on message is received. Useful for retriggering envelopes or sequencing other events.

Default Routing: MIDI GATE OUT is normalled to both ENV A’s and ENV B’s GATE inputs, summed with the external CV GATE input.

VCO A:

Purpose: One of Cascadia’s two main audio oscillators. It’s versatile, capable of generating sound at audio rates or slow LFO rates. It features complex capabilities like TZFM and sync.

How to use:

Base Frequency: Use the OCTAVE, PITCH knob, and FINE knob to set its base frequency.

Waveforms: Select between different waveforms (Sine, Triangle, Saw, Pulse) using the waveform selector switch. These can be mixed in the MIXER section.

Pulsewidth: Adjust the PULSE WIDTH manually or modulate it using the PW MOD slider and the PWM IN jack. This adds harmonic content to the Pulse wave.

Modulate Pitch: Modulate its pitch using the FM 1 IN (exponential FM), FM 2 IN (1V/oct, selectable TZFM/Exp), or IM IN (modulates FM 2 amount) jacks, controlling the intensity with the corresponding sliders (FM 1 amount, FM 2 amount, INDEX MOD).Use FM for vibrato (slow LFO) or complex, bell-like or metallic timbres (audio rate modulators). The TZFM/EXP switch on FM 2 changes the character of the pitch modulation.

Oscillator Sync: Apply oscillator sync using the SYNC IN jack and the SYNC TYPE switch. This resets VCO A’s cycle based on an external signal, creating complex harmonic sounds.

Default Routing: EXTERNAL PITCH (from MIDI or CV) is the default pitch source. LFO Y is the default PWM modulation source. VCO B Sine wave is the default FM 2 source. VCO B Saw wave is the default Sync source.

VCO B:

Purpose: The second audio oscillator. Like VCO A, it can function at audio or LFO rates. It has four simultaneous waveform outputs.

How to use:

Base Frequency: Use the OCTAVE, PITCH knob, and FINE knob to set its base frequency.

Pitch Input: Select which pitch input controls it using the PITCH SOURCE switch. It can track the sum of VCO A and VCO B pitch inputs (defaulting to VCO A if VCO B PITCH is unpatched) or only its own PITCH IN.

Waveforms: Access its SINE, TRIANGLE, SAW, and SQUARE waveforms from dedicated output jacks. These can be used as sound sources or modulation sources.

Hard Sync: Apply hard sync using the SYNC IN jack.

Default Routing: If its PITCH SOURCE switch is set to PITCH A+B and nothing is patched into its PITCH IN, it follows VCO A’s pitch.

Envelope A:

Purpose: A traditional ADSR (Attack, Decay, Sustain, Release) envelope generator with an added HOLD stage. Envelopes are dynamic voltage shapes that change over time, commonly used to control amplitude or filter frequency.

How to use:

ADSR: Set the duration of the ATTACK, DECAY, SUSTAIN level, and RELEASE stages using their respective sliders.

Hold: Control the optional HOLD stage duration with the H slider and its position (after Attack, as a Gate Extender, or Off) with the HOLD POSITION switch.

Speed: Adjust the overall speed of the envelope stages using the ENVELOPE SPEED switch.

Envelope Times: Modulate the envelope times or the maximum level using the CTRL IN jack and CTRL SOURCE switch, with the modulation amount/scaling controlled by the CTRL slider.

Gate Signal: Trigger the envelope using a gate signal into the GATE IN jack. Retrigger it from its current level using a trigger into the RETRIG IN jack.

Output: Patch its output (ENV A OUT) to modulate destinations like VCA amplitude or filter frequency.

Other Events: Access triggers/gates from specific stages (EOD, EOR, EOH) to sequence other events.

Default Routing: GATE IN receives the external Gate (MIDI GATE, GATE CV IN, or MANUAL GATE). RETRIG IN receives the EXT TRIG output. ENV A OUT is the default modulation source for VCA A’s LEVEL MOD IN. ENV A is also the default modulation source for VCO A’s IM IN (FM Index Modulation).

Envelope B:

Purpose: A highly flexible “multifaceted function generator”. It can operate in three modes: ENVELOPE, LFO, or PULSE BURST generator, selected by the MODE SELECT switch. The sliders and jacks change function depending on the selected mode.

How to use (depends on mode):

ENVELOPE Mode: Functions similarly to Envelope A, with AD, AHR, or Cycling types selected by the TYPE SELECT switch. RISE is Attack time, FALL is Decay/Release time, SHAPE is curvature. Triggered by GATE/SYNC IN. Output is ENV B OUT.

LFO Mode: Generates various LFO shapes (Saw, Triangle, Ramp, or chaotic LFV). RISE sets the RATE, FALL sets PHASE/DELTA (variance for LFV), and SHAPE sets TILT/SLEW (for smoother LFV). Can be free-running, reset by GATE/SYNC IN, or clocked by GATE/SYNC IN. Output is a bipolar ENV B OUT (-5V to +5V).

PULSE BURST Mode: Generates a series of pulses with a variable rate within a defined length. RISE sets the pulse RATE, FALL sets the burst LENGTH, and SHAPE sets the overall burst TILT (envelope attack/decay) and individual pulse shape. Triggered or gated by GATE/SYNC IN. Output is BURST OUT.

Modulation: In all modes, the sliders can be modulated via the RISE MOD IN, FALL MOD IN, and SHAPE MOD IN jacks, with the modulation amount/polarity controlled by their corresponding attenuverters.

Default Routing: GATE/SYNC IN receives the external Gate. ENV B OUT is the default modulation source for the VCF’s FM 1 input. Source also states it’s the default for FM 3, but source states there is no normal routing for FM 3; you would need to clarify this through use.

Line In:

Purpose: Allows you to connect external audio signals (like synths, drum machines, or even guitars via the RETURN jack) into Cascadia for processing.

How to use: Connect the external audio to the LINE IN jack on the back panel. Use the LEVEL slider on the front panel to attenuate the incoming signal. The attenuated signal is available at the front panel LINE IN output jack. Patch this output into sections like the VCF, Wave Folder, or MIXER to process the external audio. It can also be used as a modulation source (e.g., for FM).

Mixer:

Purpose: Blends signals from various sources within Cascadia.

How to use:

Sound Sources: Use the amount sliders for MIXER IN 1, MIXER IN 2, PULSE, SAW, SUB, and NOISE to control how much of each source is present in the final MIXER OUT.

Patching: Patch external signals or internal signals (like VCO B waveforms or Envelope B output) into the MIXER IN 1 or MIXER IN 2 jacks.

Sub Oscillator: Select the type of SUB oscillator (1 or 2 octaves below VCO A, or a 75% pulse wave) using the SUB TYPE switch.

Noise Type: Select the type of NOISE (White, Pink, or various ALT types like Crunch, Crackle, Velvet) using the NOISE TYPE switch and button combinations.

Distortion: Engage the SOFT CLIP switch to round off clipped signals for a warmer distortion.

Mixer Out: The MIXER OUT is typically sent to the VCF. Direct outputs for VCO A TRI, SAW, PULSE, and NOISE are also available before the mix level sliders.

Default Routing: RING MOD output is the default for MIXER IN 1. VCO A Sine wave is the default for MIXER IN 2. MIXER OUT is the default input for the VCF.

VCF:

Purpose: A multimode, voltage controlled filter used to shape the timbre of sounds. It offers various filter types (Low Pass, Bandpass, Highpass, Notch, Phase) and simultaneous outputs.

How to use:

Cutoff Frequency: Use the FREQ slider to set the base cutoff frequency.

Resonance: Use the Q slider to set the resonance, which boosts frequencies around the cutoff point. High resonance can cause the filter to self-oscillate, becoming a sound source itself.

Filter Type: Select the filter type for the main VCF OUT using the MODE selector knob. Dedicated LP4 OUT (4-pole Low Pass) and HP4 OUT (4-pole High Pass) are always available.

Signal Level: Use the LEVEL knob to control the input signal level, potentially driving the filter into clipping for a ‘gritter’ sound.

Modulate the cutoff frequency using the three dedicated FM inputs:

FM 1 IN: For exponential FM Attenuated by the FM 1 amount slider. Ideal for envelopes. Default source is ENV B.

FM 2 IN: For 1V/octave signals. Can be Exponential or Linear Thru-Zero (TZFM) via the TZFM/EXP switch. Attenuverted by the FM 2 amount slider, allowing for positive or negative pitch tracking. Ideal for tracking keyboards or sequencers, or for playing the self-resonating filter. Default source is the EXTERNAL PITCH input (MIDI or CV.

FM 3 IN: For linear FM, not calibrated for 1V/octave. Attenuverted by the FM 3 amount slider. Ideal for LFOs and general modulation. Sources conflict on the default routing; it might default to Envelope B or have no normal routing.

Resonance Modulation: Modulate the resonance (Q) using the Q MOD IN jack, with the amount controlled by the QM slider.

Default Routing: The MIXER OUT is the default VCF IN. The VCF OUT is the default input for VCA A.

Wavefolder:

Purpose: Reshapes waveforms by “folding” peaks that exceed a threshold back towards the centre, creating complex harmonic structures.

How to use:

Signal: Patch a signal (typically a simple waveform like Sine or Triangle) into the IN jack.

Fold Amount: Adjust the FOLD amount slider to set the initial amount of wave folding.

Modulate: Modulate the folding amount by patching a CV signal into the FOLD MOD IN jack, using the MOD amount slider to attenuate the incoming modulation. Modulating this parameter creates shifting, dynamic timbres.

Fold Out: The processed signal is available at the FOLD out jack.

Default Routing: VCO A’s Sine Wave output is the default signal patched into the IN jack. The FOLD out is normalled to VCA A’s AUX IN and is also available at the OUTPUT CONTROL section.

VCA A:

Purpose: A Voltage Controlled Amplifier used to control the amplitude (volume) of signals. It’s Cascadia’s primary VCA, often used at the end of the signal path before the main output.

How to use:

Primary Signal: Patch the main signal (e.g., from the VCF) into the VCA IN jack.

Secondary Signal: Optionally patch a secondary signal into the AUX IN jack and control its level with the AUX IN slider. The signals at VCA IN and AUX IN are summed.

AMP Level: Set a base amplitude level using the LEVEL slider.

Amplitude: Control the overall amplitude using a CV signal (like an envelope) patched into the LEVEL MOD IN jack. The intensity of this modulation is controlled by the LEVEL MOD slider (an attenuator).

Output: The output is available via a dedicated jack in the OUTPUT CONTROL section.

Default Routing: The VCF OUTPUT is the default signal into the VCA IN. The Wave Folder output is the default AUX IN. ENVELOPE A’s output is the default modulation source for the LEVEL MOD IN. VCA A’s output is normalled to the MAIN 1 input in the OUTPUT CONTROL section.

Push Gate:

Purpose: Provides a manual gate signal.

How to use: Press the MANUAL GATE button to generate a +5V gate signal for as long as it’s held down. This signal is available at the GATE OUT jack.

Default Routing: By default, pressing the button triggers both Envelope A and Envelope B unless cables are patched into their GATE IN jacks.

Utilities:

Purpose: A strip of various handy routing and signal processing tools.

How to use:

S&H (Sample & Hold): Samples an input voltage whenever it receives a trigger. Use the IN jack for the signal to be sampled and the TRIG jack for the trigger. The resulting stepped voltage is output from the OUT jack.

SLEW / ENV FOLLOW: Smooths out voltage changes (Slew) or extracts an envelope from an audio signal (Envelope Follower). Patch a signal into SLEW/FOLLOW INPUT. Use the SLEW RATE knob, SLEW DIRECTION switch (Up, Down, Both), and SLEW SHAPE switch (Linear, Exponential) to shape the slew. Engage the ENV FOLLOW switch to use it as an envelope follower. The processed signal is output from SLEW OUTPUT. Default INPUT is from the S&H output. Useful for portamento or smoothing S&H voltages, or tracking dynamics of external audio.

MIXUVERTER: A versatile tool to mix, double, attenuvert, and offset control voltages. Patch voltages into the MAIN INPUT and SECONDARY INPUT. Use the ATTENUATOR knob, x2 SWITCH, and POLARITY SWITCH to modify the MAIN INPUT voltage. The sum of the processed MAIN INPUT and the SECONDARY INPUT is available from the three multed MIXUVERTER OUTPUTS. Default MAIN INPUT is an internal 5V DC.

LFO X / Y / Z: Three triangle-wave LFOs. LFO X rate is set by the RATE KNOB and can be modulated via LFO RATE CV. LFO Y and LFO Z are rate-linked to LFO X but can have their rates divided and phase offset using their switches and trimmers. They output bipolar (+/-5V) triangle waves. Patch their outputs (LFO X OUT, LFO Y OUT, LFO Z OUT) to modulate parameters rhythmically or cyclically. Default LFO Z OUT is normalled to MULT IN 1.

Patchbay:

Purpose: Contains several passive and active patching utilities.

MULTS: Two buffered mults. Patch one signal into MULT IN 1, 2, or 3 and get multiple identical copies from the corresponding MULT OUTS. Buffered mults are crucial for distributing 1V/oct pitch CV to multiple destinations without voltage droop. Default inputs allow cascading from MULT IN 1 to all six outputs. Default MULT IN 1 from LFO Z.

SUM: Adds the voltages of two input signals (SUM IN 1, SUM IN 2) and outputs the sum (SUM OUT). Useful for combining CV signals.

INVERT: Inverts the polarity of an input signal. Positive voltages become negative, negative become positive. Useful for creating inverted envelopes or LFO shapes.

EXP SRC: Allows you to control an external effects pedal’s expression pedal input with a CV signal. Patch a CV into EXP SRC IN and use the EXP LEVEL knob to attenuate it before it’s sent out the back panel EXP OUT jack.

RINGMOD: Takes two input waveforms and generates a signal containing their sum and difference frequencies. Useful for creating metallic, bell-like, or otherwise harmonically complex sounds. Default output normalled to MIXER IN 1.

VCA B / LPF: Provides a second VCA and a 4-pole Low Pass Filter. Can function together as a Low Pass Gate (LPG), which combines amplitude and filter changes. Patch a signal into VCA B IN. Control the VCA amplitude and/or the LPF cutoff frequency with a CV patched into CV IN, using the CV amount knob and VCA CONTROL switch. Outputs are available separately for VCA B OUT and LPF B OUT.

I/O Control:

Purpose: Handles external CV inputs, effects send/return, and the final output stage.

How to use:

EXTERNAL CV IN: Provides dedicated inputs for controlling Cascadia’s pitch, gate, and trigger via CV (PITCH CV IN, GATE CV IN, TRIG CV IN). This allows control from external modular gear or CV sequencers. The EXTERNAL PITCH input (from MIDI or PITCH CV IN) is the default pitch source for VCO A and FM 2 on the VCF. GATE CV IN sums with MIDI GATE data and is normalled to Envelope A and B Gate inputs.

FX SEND / RETURN: Integrates external effects pedals/devices. Patch the signal you want to process into the FX SND jack. Control the level sent out with the FX SEND LEVEL knob and set the signal level (Line or Pedal) with the SEND LEVEL switch. Patch the processed signal back into the back panel RETURN jack. Control the return level with the FX RETURN LEVEL knob and adjust its phase with the PHASE switch. Mix the original (dry) and processed (wet) signals with the DRY/WET FX MIX knob. The mixed signal is available at the FX MIX output jack. You can also plug an instrument directly into the RETURN jack.

OUTPUT CONTROL: Manages the final output signal. Provides direct outputs for the FOLD (Wave Folder) and VCA A signals. Allows you to mix two signals patched into MAIN 1 and MAIN 2 inputs. Apply final gain/saturation with the MAIN DRIVE knob. Engage SOFT CLIP for warmer distortion. Control the overall output level sent to the back panel (LINE OUT, PHONES OUT) and front panel MAIN OUT using the MAIN LEVEL knob. Default MAIN 1 input is VCA A output.

Back Panel:

Purpose: Provides connections for power, main audio I/O, effects loops, and MIDI connections.

How to use: Connect power, headphones (PHONES OUT) or line level audio gear (LINE OUT), external audio source (LINE IN), external effects (Pedal I/O SEND/RETURN), and MIDI controllers/computers (MIDI IN/OUT/THRU, USB MIDI).

Cascadia’s semi-modular nature and extensive patch points mean you can easily reconfigure the internal signal flow or integrate external modules. Understanding these building blocks and their default routings helps you quickly create sounds and then explore more complex possibilities by patching.

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