=]Īs tempting as it is to add more, and more, and more modules, instead become a master of those 6 modules, then pick out 6 different modules and master those, then put all 12 of those modules on your rack and explore that possibility, and so on. Pick out 4-6 modules (not including scope, input or audio out), park them somewhere on your rack, and see how many different patches you can create.Īfter all, this is how it would probably shake out if you had a hardware rack–you’d probably have a small, finite set of modules screwed into your rack that you would play with, and through exploring the possibility space of that particular setup you’re going to be working out your creativity muscles. Instead, pick out a handful of simple modules (like the Fundamentals pack stuff) and limit yourself to that set for a while. Let’s start with this, I hope I have explained it in a simple way.ĭon’t overwhelm yourself from the very beginning with too many modules or super complex patches. The lowest key on it would have delivered a low frequency, the highest key would have delivered a high frequency. If we were playing a keyboard, we would have put the “output value” of the keyboard into the V/Oct input of the VCO. The V/Oct input on a VCO is there for that purpose. The VCO that is receiving signals from the sequencer changes frequency, step after step. Moving on, try to imagine a sequencer as a machine used to deliver different output values, step after step. As you press a key, it changes the vibration rate (accordingly to the key pressed), which we hear as “pitch”, and then happens the strange thing: a kind of “gate” opens, and only in that moment we can finally hear the sound. But the truth is that a synth is always playing, and the vibration produced by its VCO has always a pitch, even if you are not hearing it.
If you turn on a synth with a keyboard, you press a key, you here a sound. It’s like hitting a ball, you hit the ball, you here the sound. In that moment a hammer hits a string and the sound comes out. The truth is that a piano is always silent, until the moment you press the key. Hi, because probably you are still thinking that a synth works like a piano or everything else in nature. A square wave LFO could be used in place of a clock module to run a sequencer from, in either case (using a square LFO or a clock module) you effectively have an oscillator driving a sequencer.īasically it confuses me from the start point: Why does a sequencer go into a VCO? Why is it not the other way around? Consider a simple oscillator, treating its output as audio you will be able to hear it down to whatever frequency your speakers are capable of reproducing, below that frequency it becomes more of a control signal (LFO) which could be used to modulate another audio signal (produce vibrato by modulating the frequency or tremolo by modulating the amplitude for example). There is a blurry line between the two though. A modular synth does not differentiate between these types of signal, you can route anything to anything (not that you should, and certainly not when beginning, but you can and this can be useful once you know what you’re doing). A gate sequencer generates ons & offs, which can be used to trigger percussive sounds, envelopes feeding VCAs or even VCAs directly if you like. A sequencer generates control voltages, which can be used to set the frequency of an oscillator which will output audio signals, or maybe the cut off point of a filter processing audio signals. You need to differentiate between control signals (relatively slowly changing, normally too slow to hear as audio) and audio signals (rapidly changing and audible).
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