Self-patching ideas
Frequency Modulation (FM)
Turn both channels’
Cycle
on, and switches to
Fast
. Start with all sliders in the center position. Use
Channel B to modulate the frequency of Channel A by patching
Env Out B
into Channel A’s
Time CV
jack. Adjust both
Rise
and
Fall CV
knobs to around 9:00. Turn both
Level
knobs fully clockwise and
center
Offset
knobs. Listen to the output on
Env Out A
, or for a mix of both oscillators, use
Env Out
OR
jack. Slowly adjust Channel B’s sliders and listen to how the sound changes. Then slowly adjust
Channel A’s sliders and
Rise
and
Fall CV
knobs to hear the effect.
The
Rise
and
Fall
sliders of Channel B control the modulation frequency, and Channel A’s
Time CV
knobs control the modulation amount. Channel A’s sliders control the base frequency, also known as
the carrier frequency.
Chaotic FM
For chaos, start with the FM
patch above, and then use Channel A to modulate Channel B by patching
Env Out A
into Channel B’s
Time CV
. Start with Channel B’s
Rise
and
Fall CV
knobs set to about
10:00. Take the output from
Env Out OR.
To find interesting chaotic sounds, you probably will need to
move the sliders to a slower position and the
Rise/Fall CV
knobs more towards center than in the FM
patch.
Utility Patches
Attenuator
Patch a signal that you want to attenuate into
Audio In
(either channel), and take the output from
Audio Out
. Patch
Env Out
to
VCA CV
. Use
Offset
to adjust the attenuation amount (typically between
12:00 and 2:00 is a good setting). If you are using the envelope portion of the channel (
Cycle
is on or
you are triggering the channel), set
Level
to center or else the envelope will bleed into the attenuator
output.
Trigger Delay With Pulse Width Control
Turn Channel A’s
Cycle
off. Send a trigger into Channel A’s
Trigger
jack. Take the output from
EOR
.
Adjust the
Rise
slider and switch to set the trigger delay time (rising edge of incoming trigger to rising
edge of outgoing trigger). Set the
Fall
slider and switch to control the width of the outgoing trigger.
Inverted Trigger Delay (With Pulse Width Control)
Same as the previous patch, but use Channel B’s
Trigger
jack and
EOF
.
Rise
controls the amount of
delay (rising edge of incoming trigger to falling edge of outgoing inverted trigger) and
Fall
controls the
width of the inverted trigger.
DC generator (Manual CV)
When a channel is not running, the
Offset
knob will produce a steady DC voltage on the
Env Out
jack.
If the channel is running, set
Level
to center.
Ducking (Sidechaining)
A ducking effect reduces the volume of a sound at the same time a secondary sound plays. If the
secondary sound is generated by triggers in your patch, you can easily create this on the
Dual
EnvVCA
by generating an inverted envelope and patching it into the VCA.
To achieve this effect, split the trigger that’s triggering the secondary sound and patch it into the
Trigger
jack of one channel. Turn
Cycle
off. Adjust
Rise
and
Fall
to create the envelope you want (typically the
rise will be shorter than the fall). Patch an audio signal into
Audio In
and take the output from
Audio
Out
. You should hear your sound play every time the trigger fires. In order to create the inverse
behavior (get more quiet when the trigger fires), patch
Env Out
to
VCA CV
and turn
Level
to about
9:00 and
Offset
to about 3:00.
If the secondary sound source is not generated by triggers in your patch (perhaps because it’s an audio
track), see Sidechaining (Envelope Following) on page 17.
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