Cool. So if I followed the cables correctly the seq8 modulated the attack of the 2env and the 2 Env 'end' out triggers the second 2env with a wider decay?
So basically the whole bouncing is a series of triggers that follow each other faster and faster and the sound of the bounce going quieter and queieter, this is done by dialing the 8 steps of the SEQ8 from long to short in an exponential way, each step will both set the duration and the volume of one 'bounce'.
Then you connect one CV raw output to the DCV1 of an 2ENV envelope with a short attack and a GATE out of SEQ8 to the GT input of your envelope. The END output of your envelop triggers the CLCK input of your SEQ8. This will sync the consecutive triggers. The OUT of your envelope modulates the CV in of your first VCA, creating the consecutive shorter envelopes. The output of that VCA goes into the input of your second VCA. Another CV raw output of the SEQ8 goes into the CV of the second VCA modulating the volume of the 'bounces' from loud to quiet
You send the sound you want to bounce into the input of the first VCA. The bouncing sounds come out of the second VCA.
In this patch I also let the output of the eighth trigger clock my second SEQ8 to get another sound going, but the bounce itself is all done in the lower rack as described above.
I know that this is not a very musical patch but the purpose was purely to try to solve a patching problem; How would you program the sound of a bouncing ball on your modular synth?
Which brings me to the question I ask myself on a regular basis when patching outside the box; Did robertlanger foresee these patching possibilities when designing his modules like when he implemented the end triggers on his envelopes, or is this just another happy patching discovery?
Anyway enough rambling, let's try to find more patch challenges and learn some modular along the way.
I guess patching is a bit like programming but with voltages. So you need to analyse your end result and work out what is needed to obtain that end result. This is basically how I came to this patch. The bounce is those repeated decaying sounds that follow eachother up faster and faster which can be done via a modulated delay of an envelope. since the values needed to be discrete I opted to use the SEQ8 to provide these different values. And then it made of course only sense to use the end trigger of the envelope to trigger the next step of the sequencer instead of a steady clock pulse.