4ms PEG Руководство пользователя - Страница 10
Просмотреть онлайн или скачать pdf Руководство пользователя для Музыкальное оборудование 4ms PEG. 4ms PEG 12 страниц. Pingable envelope generator, eurorack module
Печатать страницуBeyond Mere Envelopes... Advanced PEG Patching
Hopefully after reading this manual and playing with your PEG, you have a clear understanding of how to make
a variety of timing-dependent envelopes. The following patches illustrate how the PEG's large assortment of
inputs and output types can be used for a variety of purposes besides envelopes.
Complex pattern generator
Use the PEG's quantization features to create complicated repeating beat patterns. For this patch, it's helpful to
have a "metronome" or "kick" in the background being triggered at the steady master clock rate or slow division
of the master clock.
Run a Shuffling Clock Multiplier x8 output (or RCD /1 out) into Ping. Run another SCM output, say S5 or RCD /3,
into QNT. Cycle Off. Div/Mult to "=". Run the ENV output to open a filter (try a 100% Skew, triangle Curve). If the
beat pattern isn't goovy, use a different clock output into QNT (use the SCM's slip/shuffle!), and adjust Div/Mult.
To increase complexity, run EOF into the other channel's Ping. Turn that channel's Cycle on or run a different
clock into QNT. Play with Div/Mult. Use the OR out, or run its ENV out to modulate another sound, or perhaps a
second aspect of the same sound.
If you can, play with the pulse width of the module feeding QNT jacks (the SCM Breakout has a PW knob and
jack, as do many VCOs and LFOs). Longer PW means more repeated notes.
"Ratcheted" quantized beats
Control the repeat rate of each note of a sequenced bassline.
Clock a sequencer and run the same clock into Ping. Presumably one CV output from the sequencer is
controlling the pitch of your "bassline". Patch a different CV output of the sequencer into Div CV. Turn Cycle on
(or run the sequencer's Gate output into the QNT jack). Set each step to a CV value that corresponds to the
number of repeats you want for that particular step. For example, suppose you have an 8-step sequence and
you want notes to be played once for every step until the last note, which you want to be repeated 8 times and
played 8 times as fast... set the sequencer steps 1-7 to 0V output, and step 8 to 5V.
If you want to control the number of times the note repeats (e.g. 8 times as fast, but only hit 4 times), you can
use a sequencer with variable pulse width for its gate output (patched into the QNT jack) or another module to
change the pulse width (e.g. Seq Gate->SCM In and SCM x1 -> PEG QNT, playing with SCM's PW knob)
Self-oscillation (self-patched)
Very chaotic interesting noises. Needs a human to fine-tune the settings. Spend some time on this one!
Patch EOF to Ping. Patch ENV output to your audio mixer. Set Div/Mult to between = and x2 (adjust this very
slowly throughout the patch). Cycle On. Scale will be your output volume. Skew and Curve effect the "timbre"
(heh). Give PING a few taps to get it started.
More advanced: Do the basic patch to both channels, with both ENV outputs going to an audio mixer (or just
listen to the OR output). Now patch Half-Rise into the "T" jack. Play with Cycle button settings. Keep patching
each channel into itself and/or the other. Try running one channel's output to control a filter, the other controls a
VCO running into the filter.
Clockable Trigger Delay
A trigger is fed in, and after a delay (which is determined by a clock), a trigger is outputted.
Patch a trigger (e.g. from Pressure Points gate output) to the Async jack. Patch a clock into the PING jack. Set
Div/Mult to /2. Set Skew to center. EOR will be your delayed trigger output (actually is a gate as wide as the
clock period ). Changing Skew will fine-tune the delay time as well as output gate pulse width.
Audio Harmonizer
Sub-octave and harmonic series from an audio input
Run an oscillator into Ping input. Cycle On. Set your frequency shift amount with the Div/Mult (e.g. x2 will be an
octave up, x3 will be an octave plus a fifth, /8 will be three octaves down, etc...). Audio output from the ENV jack.
Scale sets your volume. Skew and Curve set your waveshape/timbre. Keying Async will mute the signal. Turning
Cycle off and keying QNT will gate the signal.
Do this on both channels and use the T jack to toggle between harmonics, taking the output from the OR jack.
Unplug one channel's Ping to let it slowly drift, creating phaser swooshing sounds.
Run into a LPF with roll-off at 10kHz for a less harsh sound!
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