Download Patch

OVERVIEW: This patch shows off how GATESEQ can sequence a pair of voices to create an instant groove. It also demonstrates how a sequencer (or any modulation source) can be used to break up the familiar Euclidean patterns and add another layer of control to the rhythm generation.

GATESEQ: Add notes to the kick voice with a clockwise turn of PTN I, add pitched tones with PTN 2. Use <> to change the offset of Sequencer I against Sequencer II. B scale has an influence on the tone of the filter voice. The <> attenuator sets the amount of offset modulation from SEQ-3, likewise with the PTN II attenuator and the sequencer II pattern.

Unity: Not used

SEQ-3: Gate clocks GATESEQ. Row 1 selects pattern I. Row 2 controls pattern I offset. Row 3 selects pattern II. Step 1 resets GATESEQ and LFO.

ADSR: The envelope controls the pitch of the oscillator. The gate is provided by GATESEQ seqencer I. Decay modulation from GATESEQ's logic output creates the tone rather than a kick.

LFO: Adjust FREQ to change the modulation of the filter voice pitch.

Top Scope: Monitor the main output and sequencer II output of GATESEQ.

MIDI: Not used.

OSC-1: The output creates the kick or the tone depending on the ADSR decay time. Change FM CV to alter timbre, FREQ to alter base pitch.

Mixer: The kick and tone from VCO-1 are on Channel 1, the voice from the VCF is on channel 2.

VCF: Adjust the presence of the filter voice with the RES control, the amount of FM/cutoff modulation with FREQ CV and the base pitch with FREQ.

Delay: Not used.

VCAs: Not used.

Bottom Scope: Monitor the the filter voice and the oscillator voice.

Bridge Control:

Download Patch

OVERVIEW: In this patch, the 2-vs-3 sequencer mode of GATESEQ is used to create a polyrhythmic base for the patch, breaking out of a locked, 16th note quantized feel.

GATESEQ: A clockwise turn of the PTN I control adds notes to the triplet pattern; PTN II adds notes to the eighth note pattern. <> offsets the triplet pattern against the eighth note pattern. The A and B manual controls influence the filter voice.

Unity: Not used.

SEQ-3: Gates clock GATESEQ, Row 1 sets VCO voice pitch.

ADSR: Controls VCO pitch modulation; decay modulation from GATESEQ creates tones.

LFO: Reset from GATESEQ sequencer 2, controls filter voice pitch modualtion.

Top Scope: Monitor GATESEQ sequencer 2.

MIDI: Not used.

OSC-1: Set base pitch of VCO voice with FREQ, set pitch articulation with FM CV

Mixer: Kick and oscillator tone are on Channel 1, filter voice is on channel 2.

VCF: Increase FREQ to brighten the filter voice. Increase RES to increase the level of the modulated sine wave. Change FREQ CV to control the level of modulation.

Delay: Not used.

VCAs: Not used.

Bottom Scope: Monitor the filter output and the VCO output.

Bridge Control:

Download Patch

OVERVIEW: This patch shows another way to break up the straight-ahead 16th note feel, using the shuffle-swing sequencer mode to create a percolator-esque lead. Take note of how the GATESEQ circuit is used to apply a gated dynamic pattern to the output of the oscillator; no VCA or envelope needed!

GATESEQ: The SEQ I and SEQ II controls combine to create the rhythm of the main lead. <> sets the feel of the pattern, with a shuffle counterclockwise and a swing clockwise. The <> attenuator sets the amount of feel modulation from SEQ-3, likewise with the PTN II attenuator and the sequencer II pattern. The B scale control will change the timbre and feel of the lead.

Unity: The bottom half mixes the 1st, 3rd, 5th, and 7th steps to create a clock divided version of the main SEQ gate output.

SEQ-3: Gate clocks GATESEQ. Row 1 controls GATESEQ pattern 1. Row 2 controls feel of the sequence, with shufflier on the left and swingier on the right. Row 3 controls pattern 2. Use the sequencer to automate the pattern. Step 1 resets GATESEQ.

ADSR: Change the ADSR to shape the kick drum.

LFO: Adjust FREQ to change the synth voice pitch modulation.

Top Scope: Monitor the output of GATESEQ.

MIDI: Not used.

OSC-1: Change the base pitch of the synth voice with FREQ. Change amount of pitch hump from the logic output with FM CV.

Mixer: Channel 1 is the level of the synth voice, channel 2 is the level of the kick. Channel 3 is the return from the synth voice routed through the delay.

VCF: Change the base pitch of the kick with FREQ. Change the amount of punch/click with the FREQ CV knob. Beware that decreasing RES will make the kick dissappear (because the filter is self oscillating producing a sine wave).

Delay: Not used.

VCAs: The left VCA is a slider for the amount of FM on the synth voice from the LFO. The right VCA is controlling the level of the output.

Bottom Scope: Not used.

Bridge Control:

Download Patch

OVERVIEW: This patch shows how the clock multiplier/divider sequence mode can be animated with CV to create ratcheting rhythmic patterns.

GATESEQ: Turn PTN I or <> clockwise to increase the speed in the kick sequence. Turn PTN II clockwise to add more pitch shifted hits.  As in previous patches, use the <> and PTN II CV attenuators to scale the amount of modulation from SEQ-3.

Unity: Not used.

SEQ-3: External clock comes from the sequencer 1 output. Row 2 controls sequencer 1 division factor, row 3 controls sequencer 2 pattern.

ADSR: Triggered by sequencer 1, retriggered by logic output. Controls the pitch of the oscillator and the amplitude of the signal through the delay.

LFO: The FREQ is like the master tempo of the patch, with the square wave out clocking the GATESEQ. Sine out modulates the GATESEQ multiplier.

Top Scope: Monitor the LFO square wave and the sequencer I output from GATESEQ.

MIDI: Not used.

OSC-1: FREQ sets the base pitch of the sound, FMCV controls the amount of pitch modulation

Mixer: Channel 1 is the dry sound, channel 2 is the delayed sound.

VCF: FREQ sets the brightness of the sound, RES adds a squelchy tone, FREQ CV sets the amount of cutoff modulation from GATESEQ sequencer II.

Delay: The delay adds ambiance; try changing the base TIME, FDBK, and COLOR.

VCAs: The left VCA sets the amount of delay time modulation. The right VCA applies the envelope to the amplitude of the sound.

Bottom Scope: Monitor the output.

Bridge Control:

Download Patch

OVERVIEW: Here we see an example of how the main GATESEQ circuit can be used to combine modulation sources and impose rhythms on those; the A input grabs sampled sections from a smooth modulation signal, and the B input is acting as a logical and operator between GATESEQ's sequencer II and the square wave from the LFO.

GATESEQ: PTN I controls the rhythm of the sequence, a clockwise turn adds notes. A clockwise turn of PTN II causes the LFO to reset more often. <> adjusts the offset of sequencer I relative to sequencer II. B scale sets the level of the jumps in pitch from the LFO square wave gated by sequencer II.

Unity: Not used.

SEQ-3: Clock speed is heavily modulated by the LFO. The gate output is clocking GATESEQ. Row 1 influences the speed of the LFO and therefore causes the clock to be more unstable. Row 2 controls the attack of the sound, row 3 the release. 

ADSR: Change the controls to shape the the amplitude of the sound and modulation of the LFO speed.

LFO: Increase the speed of motion in the patch by turning up the FREQ knob. Make the motion less chaotic by turning down FM 1 CV and FM 2 CV.

Top Scope: Monitor the sine wave from the LFO and the output of GATESEQ.

MIDI: Not used.

OSC-1: FREQ sets the base pitch of the sound. PWM CV sets the amount of timbre modulation imposed by the sequencer.

Mixer: Not used.

VCF: FREQ controls the brightness of the tone; FREQ CV controls the amount of modualtion from GATESEQ sequencer II. Decrease RES to remove the extra tone in the sound.

Delay: Time is being heavily modulated by gateseq's output, creating a stepped pitch shifting effect. Try changing all the parameters to influence the sound.

VCAs: The left VCA sets the amount of the level of the LFO into the A input of gateseq, which in turn sets the level of the eventual stepped modulation of the delay time. the right VCA applies the ADSR output to the amplitude of the sound.

Bottom Scope: Monitor the output pre and post delay.

Bridge Control:

Download Patch

OVERVIEW: The final preset example shows a slightly different technique for processing signals using GATESEQ. The two inputs grab and hold samples from a pair of modulation signals to create a rhythmic, stepped modulation signal.

GATESEQ: A clockwise turn of PTN I adds steps sampled from LFO. PTN II adds steps sampled from the VCO-1. <> adjusts the offset of sequencer I relative to sequencer II. B scale sets the scale of VCO-1 and accordingly the range of steps added by sequencer II.

Unity: Not used.

SEQ-3: The gate output steps GATESEQ. Row 1 sets the LFO speed.

ADSR: The envelope is gated by sequencer I. Adjust the controls to shape the amplitude of the sound and the frequency of the LFO.

LFO: Change the LFO frequency to change the pattern created by GATESEQ's sample and hold and the speed of Delay feedback modulation. Decrease the FM CV controls to make the output more regular.

Top Scope: Monitor the GATESEQ output and the LFO.

MIDI: Not used.

OSC-1: Adjust FREQ to change the base pitch of the sound.

Mixer: Not used.

VCF: FREQ controls the brightness of the tone; FREQ CV controls the amount of modulation from GATESEQ logic output. Decrease RES to remove the extra tone in the sound.

Delay: Adjust the Time control to turn the flanger effect into more of an echo.

VCAs: The left VCA sets the amount of Delay feedback modulation.  The right VCA applies the envelope to the amplitude of the sound.

Bottom Scope: Monitor the dry sound and the delayed sound.

Bridge Control: