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31
An Example:
As above, use the encoder
in
Play Mode
to ensure that Time Scale is
set to 1.00. Then enter
Program Mode.
If,
as suggested above, you let 1.00 seconds
represent a quarter note, program the value
of each note in your sequence using the
following table:
NOTE
SECOND(S)
32
nd
note
0.250
16
th
note triplet
0.334
Dotted 32
nd
0.375
16
th
note
0.500
8
th
note triplet
0.667
Dotted 16
th
note
0.750
8
th
note
1.000
Quarter note triplet
1.334
Dotted 8
th
note
1.500
Quarter note
2.000
Half note triplet
2.667
Dotted quarter note
3.000
Half note
4.000
Dotted half note
6.000
Whole note
8.000
Etc…
Once your sequence is programmed, use
the encoder to select your desired tempo by
adjusting the
Time Scale
in
Play Mode.
All of
the notes will retain their correct rhythmic
relationship.
A TIP:
Once you’ve adjusted the
Time
Scale
to provide your desired tempo, note
the
Time Scale
multiplier value and use the
Scale All Times
function in the
Preset Globals
menu to permanently scale all of the segment
times to produce that tempo (keeping in mind
that you can always still modify it later by once
again using the encoder to scale the new
times).
Long Sequences
There are a number of ways to create
sequences longer than the 8 segments of a
single preset. Which one you use depends on
how you intend to organize your sequence.
Here are some options:
Linear:
If you are creating one long
sequence that’s intended to play straight
through or repeat in its entirety, it’s
probably easiest to simply program a
Jump Always at End
in the last segment
of each preset in your sequence, and
set its
Jump Target
to the next preset in
the sequence. Just keep on repeating
the process until the entire sequence is
programmed. The last segment of the last
preset can be programmed either to stop
or to jump back to the first preset in the
sequence and repeat.
Use the Preset Sequencer:
If you have
structured your sequence out of separate
preset sections (e.g., an intro, a chorus,
a verse, a break, a different chorus, etc.
(although, of course, you don’t have to
use song structure sections)), use the
Preset Sequencer
to sequence them in
whatever order you need. An advantage
of this method is that you can use the
same section in multiple locations in your
performance without having to duplicate
their programming.
Depending on how you want to play back
your sequence, you can:
>
Program one of Control Forge’s triggers
to fire at the end of the last segment of
each preset and patch that trigger to the
sequencer’s
Inc
input to automatically
move to the next preset.
>
Patch a trigger or gate from another
module in your system to control the
progress of the presets.
>
Move from preset to preset manually using
the
Dec, Inc,
and
Reset
buttons
Summary of Contents for Control Forge
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