There is no good order for the most part, especially once you start introducing modulation. I'd say as long as your output module is in a decent spot you'll be okay.
That said, I tend to have sound sources to the left side of cases, with modulation or filters following. But overall, its just as much an excercise in "how can I make this fit?" than anything else.
What is the “ci” input and “co” output?
I assume that li/lo is low pass, hi/ho is high pass, and ai/ao is all pass.
hard to go wrong with the Knob Farm Ooots.
I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.
I think you have it mostly right, except maybe something about the relationship between the quantizer input and the trigger. The wide-open gate (EOR) is not the signal being quantized by Scales, the S&H of the Wogglebug is. Here is a visual:
[Wogglebug S&H]---[Maths ch.2]--->[Scales Pitch Input]----- [quantizes S&H]--->[Pitch Out to v/oct of Rings & Plaits]
[Maths EOR gate]-------->[Scales Trigger Input]---[selects duration of S&H]-------- ^The Wogglebug S&H is the signal being quantized to the key of G. The trigger input slects the moments that Scales will draw from the now quantized S&H. This is helpful if you want to control the pitch quantization with an LFO or any non-clocked source and then ensure that the pitch changes are in sync with the beat of the track. For our purposes, it also allows us to take something like a gate to determine the timing and duration of the rapid S&H changes modulated by the Wogglebug. If you put any S&H into your quantizer it should quantize the signal at the speed of the input, be it an LFO or a S&H, or whatever. But the tempo of the pitch input is over-ridden by the trigger input, allowing you to be more selective of what pitches are selected and when they are output.
As to your final point, yes, I do attenuate the range of Wogglebug's S&H pitch by running it through channel 2 of Maths and then from the channel 2 out, into Scales' 'Pitch' in.
I have tried this with other basic quantizers that have independent quantization inputs and trigger inputs. In the case of Quantermain, I would say take a S&H, attenuate the range via Maths, input it into the Sample CV #1 input on the Quantermain. Then take the EOR gate from the Maths and run it into the Sample Clock #1 input. This should achieve the effect we are looking for.
Hope this helps!
-- FredFoxtrott
My confusion arises because there is definitely a difference in how Quantermain operates in comparison to Scales. After thoroughly RTFM to brush up, I tested it and verified (via Scope, not audio).
There are 2 modes in Quantermain, clocked and continuous.
In clocked mode it requires a rising edge to trigger each new note. Whether a gate, trigger, clock, square wave lfo, whatever, it only spits out a newly quantized pitch on the rising edge of an incoming signal. So even if I were to send it a gate that stays high a minute long, I'd get exactly 1 quantized pitch until the next rising edge, not a stream of quantized pitches for as long as the gate is high. This mode is clearly not what we're looking for (even if there are ways to do it still by using the EOR gate to gate the triggers from Wogglebug Burst output - EOR gate is high, the Burst triggers from Wogglebug go through to Quantermain).
In continuous mode, it will spit out newly quantized pitch values as new values are input without regard to trigger or gate. Some value comes in, and a quantized value goes out in real time. This gets us going in the right direction. If I were to put a gate into the trigger input in this mode, the output would be transposed up or down by 1 octave (depending on the particular setting chosen) for however long the gate is high, and not turn the output of the quantization on and off like it does in your patch.
So to work around this, I need to use an extra VCA. The first VCA is to tame the raw S&H voltage, as per your patch, and the second is to gate the quantized output using the Maths EOR gate.
As a note, these sorts of patching issues are why I love modular. I really dig the puzzle; having to find the right algorithm to get a job done. That there are generally multiple ways to do one thing makes it even more exciting.
Thanks for all your help.
Thanks for the explanation. Most of what's happening is pretty clear to me.
I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.
To my knowledge, I've never used a Quantizer that will allow whatever is input to be quantized and output with a high gate. The quantizers I've used require a rising edge to trigger quantization, as far as I know, so I dont think a wide open gate will do it with Quantermain (although I may be wrong). I'll definitely be trying it soon.
That said, if Quantermain cannot quantize continuously with a high gate , I'd imagine that sending the spewing output of Wogglebug to a VCA would work, if I used the EOR gate to open the VCA which would output it forwards to the V/oct input on my VCO. The VCA would also act as an attenuator for the S&H.
This is a very cool patch, even if i dont understand how the result is coming from the setup.
There seems to be a distinct delay between your input and 1. the quantization, and 2. hearing plaits. I see the Freeze light from clouds light up directly on your attack of the guitar. That makes sense to me because the Rise on Maths is set full CCW, meaning the gate should be instaneous upon receiving input. But I dont understand how 1. you're getting continuous quantization from a single gate as quantizers normally only send out a new pitch on each rising edge, and 2. how there is a delay between your input and actually hearing Plaits when the envelope controlling Plaits should also be near instantaneous, and starting at its highest level.
I have all of these modules, except Scales (I use Quantermain), so maybe ill get a better idea once i patch it up.
can you shed some light on this?
Thanks for answer here.. So basically how close can i go to 2000MA? Would around 1850 be safe and no problem?
-- flow3r
It should work fine. I have several doepfer units, one of which is pushed almost to the max on the -12v rail, and full of Frap Tools modules that are fussy about power. No problems at all. Runs great.
What do we think of the 4MS Listen IO? Also, I could use the ES-9 1/4 inch outputs via the ES-9 mixer. Then I would just need an input level shifter. Like the Erica Pico Input?
-- mntbighkerWhat do we think of the 4MS Listen IO? Also, I could use the ES-9 1/4 inch outputs via the ES-9 mixer. Then I would just need an input level shifter. Like the Erica Pico Input?
-- mntbighker
I’m sure the 4ms would work.
Yes. That could work, although I don’t know if the Pico is stereo in or not.
Can I use this as a level shifter for an Octatrack?
-- mntbighkerDon’t know. Does the Octatrack take instrument level?
I’d think it takes line level.
-- clwilla
Yeah, so the Strymon says it does 18db drop/boost. By the looks of the levels I'd say 12db would be better. 5 volts is obviously way too hot, but 18db down is a bit too low. If line level is 2 volts I wonder what 18db gets you down to.
-- mntbighker
What you want is something like the Intellijel Audio Interface II. Stereo line in and out. You can use it as a send return for line level gear, or to use your synth as an effect for something in your DAW. That’s a 10hp module.
You can also use the Joranalogue Receive 2 and Transmit 2, which will get you studio quality I/O that can handle anything from mic level to line level in and out.
Also, instrument level is 1-1.736v.
Can I use this as a level shifter for an Octatrack?
-- mntbighker
Don’t know. Does the Octatrack take instrument level?
I’d think it takes line level.
Quite spiffy, yep...wonder which return is active if you only have a TS 1/4" coming back in in mono, tho...
-- Lugia
Almost certainly the left input.
