SergeModular

The other thing you can do to rotate a sequence is use the xfade. Take the 4
stages of A into one side of the fade, the 4 B into the second side. Run the
clock into the pulse divider, take the output to control the xfade. Set the
xfade all the way over to the second into and the pulse will immediately
swing it back to the A side and back to the B side. This works but:

For some reason, the 8x out on my pulse divider is what I have to use
instead of the 4x in order for it to switch correctly. I don't quite get
this.

The inputs from the programmer are attenuated on my xfade even with the gain
full up.

The xfade adds lag to the signals. I didn't realize this. Are these designed
for audio and have caps to drop any DC offset? That would explain the lag.
Still, it might do in a pinch.

James R. Coplin
***************
If anyone asks of my whereabouts,
simply tell them i've gone out the window
for a spot of tea and am not
expected back any time soon.
***************

> -----Original Message-----
> From: john duval [mailto:darkstr717@...]
> Sent: Sunday, May 02, 2004 12:09 AM
> To: SergeModular@yahoogroups.com
> Subject: Re: [SergeModular] Seq and Sync
>
>
>
> Your missing the point. there is no stopping "A" and
> starting"B"... they ALL run concurrently. You might be
> able to simulate the same effect by having whatever
> vca is responsible for the output of the voice that
> row A is driving to attenuate after the first pass of
> the sequence... also attenuates row B output vca for
> that voice while row A runs..... then switches that
> vca while bringing up same vca for row B when the
> sequencer makes another pass. Hmmmm... ? now there's a
> patch i'd like to see. LOL. I'm not sure how you would
> do this... a Shmidt Trigger?? Do you see what i mean??
> all the rows run at the same time.. it's just a matter
> of controling the VCAs that control the output of the
> respective rows voice.
> This sounds like a job for one of Grenaders Event
> Triggers.
> I'd give this some energy but for the fact that i'm
> trying to figure out how to use the DSG as a filter.
> I've heard that it is good for taking the "buzz" out
> of sounds so that they sound smooth.... or
> smoother.Anyway, i put up a patch last night to work
> on this and when i got done i had a veritable pasta
> fest going on that was so far from the original intent
> that it became something else entirley. oh well.
> kind regards
> john duval
>
>
> --- Ioannis Kazlaris <ikazlar@...> wrote:
> >
> > Hi,
> >
> > OK, lets say that row A outputs values a1, a2, a3,
> > and a4 (a1, a2, a3 < a4). If I feed the A output to
> > a comparator with its value set to a4 + 1 and then
> > to a XOR that also has its output to row B, I
> > suppose then that an inverted signal from the XOR
> > would stop A and start B. I really think that by
> > using some boolean logic to the party it might
> > happen. Have I got this wrong?
> >
> > For hard sync, I suppose that any waveform that sees
> > a sharp transient modulating its pitch would be
> > forced to restart. Isn't this after all, the nature
> > of synchronization? Now wonder why you can't sync
> > sines. There's not a sharp thing anywhere.
> >
> > Rex send me some stuff and .... God how bad I want
> > one...
> >
> > Yannis
> >
> >
> > ---------------------------------
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