pol
Wiki Editors
Posts: 1,349
|
Post by pol on Dec 4, 2021 9:20:51 GMT
Having been doing work in the Wiki, and various threads on the forum, it's been quite interesting how much the Sample and Hold module comes up, to the point I decided I needed to use mine more.
One thing I have started to do because of the forum is S&H on an LFO, the stepping is interesting on filter cut off or resonance, and can be good on pitch (especially once I thought of putting it through the Quantiser).
One of the key points I didn't really think of is the Hold part of the name, the CV stays until the next one is triggered. I have done this on other synths without thinking about it for years but the possibilities with modular.... Sample and hold of a sequence so you can have 2 CVs from it at the same time, (not triggering the S&H every step), I'm plotting a track where the sequence is bass or melody and the S&H is the CV for the Solina... It may even be Patch Challenge 5 to kill 2 birds with one stone! We shall see.... I can get lost in the AE for hours and not produce something I want to share with anyone!
Has anyone done S&H on audio (VCO); if so, what did you then do with it?!
|
|
|
Post by pt3r on Dec 4, 2021 10:30:10 GMT
Uising S&H on audio signals will give the same result since the S&H only sets the voltage of the output with the voltage read on input when triggered. Depending on the build of the S&H module this output voltage will eventually starve over time. I used to think that S&H was a kind of Sampler with very little memory. I guess that's what happens when you grow up with MIDI instead of control voltages.
|
|
|
Post by tIB on Dec 4, 2021 10:32:42 GMT
Audio rate sample and hold is basically a bit crusher - fun!
|
|
|
Post by pt3r on Dec 4, 2021 11:28:49 GMT
Audio rate sample and hold is basically a bit crusher - fun! Ah yes of course, I you continuously trigger the S&H from a square wave or something similar, while feeding it an audio signal. Great tip! Thanks a lot.
|
|
|
Post by MaxRichardson97 on Dec 4, 2021 11:42:21 GMT
A big feature of the S&H I think is very overlooked is the fact there's two circuits!
I typically keep one for random voltages, and often sequence another with an accent out (usually 3) from the Topograf, then feed the input signal with a quantized, pitched CV source - often RBSS.
Really good way to get new, ever-evolving sequences to use as offset voltages or pitched sequences. It's still quite random thanks to the RBSS, but a little more tamed and repetitive which is great!
|
|
pol
Wiki Editors
Posts: 1,349
|
Post by pol on Dec 4, 2021 21:20:19 GMT
Audio rate sample and hold is basically a bit crusher - fun! Put this on the Wiki page!
|
|
pol
Wiki Editors
Posts: 1,349
|
Post by pol on Dec 4, 2021 21:23:52 GMT
Sample and hold of a sequence so you can have 2 CVs from it at the same time, (not triggering the S&H every step), I'm plotting a track where the sequence is bass or melody and the S&H is the CV for the Solina... It does work, Patch Challenge 5 in progress!
|
|
|
Post by funbun on Dec 5, 2021 5:16:08 GMT
Yeah, I use the S&H the same as the rbss. S&H > Attenuator > Quantizer > VCO Here's an example: The Pipes: two S&H and one rbss like mimicking three bagpipes jamming on a gig. blackwarriorlures.bandcamp.com/track/the-pipesYou can't tell the difference between the S&H and the rbss in terms of the improvised soli. Once you attenuate the signal, you have complete control over how much or how little the solo improvises. The S&H and be a wild as the rbss. The rbss can be a tame as the S&H. Here I make each voice improvise separately. In the end they all a join in a wonderful trio of improvisation.
|
|
|
Post by pt3r on Dec 5, 2021 14:03:52 GMT
tIB 's bitcrusher tip is really nice, a new level of gritty crunchiness has been unlocked.
|
|