Trigger sequencers and more

[zipzap]

In this thread i would like to discuss ways of controlling drumvoices
I´ve drawn what i did in my sequencer. It works very well, you can add as many chanells as you like, just by adding more diodes at the right side of the cab.
There are many other ways of doing this.
Often the outputs of the counter are anded with the clock. I had difficulties with this, so i used the circuit drawn instead.
What i would like to hear about are other ways of triggering and sequencing.

Midi to trigger - Use your computer sequencer - the advantages are obvious. Limited number of steps and any division possible.
No analog sequencer feel though.
I´ve found this simple circuit:
http://www.callipygian.com/F84midi/index.html
Anybody know of a midi-trigger that also translates velocity to a cv? Would be cool!

Hardware like in the 808. 16 Steps, one row of buttons for all chanells, leds indicate if a step is on or muted. Patterns can be saved.
I never found a diy project like that. I think it´s a good alternative to buying, soldering, maintaining say 80 Switches for 5 rows of 16 steps.
I would like to have that, together with the option of using midi trigger.

Soundcard
Get a cheap 5.1 Soundcard and route a software-synth to those outputs. Then the audio pulse could trigger the drum modules. Latency is a problem. Not really usefull idea.

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[Scott Stites]

Various sequencers allow for this. The Milton, for example, has a gate output on each stage. The ARP1601 had three gate busses, which served the purpose of distributing the gates amongst modules as well as providing for reset or skip (one bus allowed the first gate on that bus to be encountered to do a reset or skip in the sequence).

This is what I plan on doing with the SuperKlee, except to save $ on expensive switches, it'll be a matter of two busses, with the middle position of the switch not sending a gate/trigger out at all. Of course, there will be 'clock' gate and trigger outputs so that one does not have to rely on the two busses to get all of the gates/triggers if that's what one wants.

I AND the clock with the sequence stages, mainly because with the setup I'm using, there's no other way to extract two discrete triggers/gates from two adjacent active steps. In other words, things happen so fast, transitioning from step 1 to step 2 out of the counter chip or whatever is being used, it looks like one long gate rather than two discrete gates. ANDing the step outputs with the clock rectifies that. The ARP 1601 used a different method, actually generating 'blanking' pulses to differentiate between steps, IIRC.

On the SuperKlee, the register portion of it, and indeed even in the 'normal' sequencer portion of it, I can see some advantage to preventing the gates from being ANDed with the clock. In this case, adjacent steps selected on the gate bus will create notes longer than the step length. Say you have four steps. One active gate for those for steps will create a quarter note, two adjacent active gates for those steps a half note, four a whole note. It creates a way to have longer and shorter notes within a sequence. Not terribly useful for manipulating drum voices, though

Cheers,
Scott

[piedwagtail]

It's an interesting topic this,an area i've been battling for some time...


In a very complex playoff of options,i've come to find the analog step as a limitation.The Klee when i heard it in 2004 on the early samples was immediately where i wanted to go,but the timing for me had to be clay like too.A klee of pulse was needed to fire the cv klee.I did build a pulse programmer but it was as stiff operationally as a straight step sequencer.

I went back and looked at the Nord modular and built the midi firing structures and felt this was the way,but $600 on a rack just to get midi ports was out of the question.Further $400 on Reaktor was also a no-no.
The are other sub reaktors about Buzzmachines etc,but i've found the free Synthedit to be easy enough and it can fire midi as i want.

So i'm looking at constructing virtual comparators,lfos,matrixes,dividers,counters to configure a midi stream.These are fast to implement and change.And the parameter change by touchpad is no slower than a hardware configuration of the machine.
Then it is through a midi-cv to drive the modular.
I've implemented hardware random cvs,lfos,two Klees and various other modulators for filter cutoff,waveshaping which can run freely,but the actual note timing and note pitch is coming from the converter.This should satisty my lust for musical change,for a short while.

One way of doing it particular to me
Be nice to see what methodology you come up with.Scott too.

Robert