1. Drum

 
 

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OVERVIEW: META is generating drum hits with each gate from the sequencer, which also controls META's pitch.  The oscillator is amplitude-modulating META through its A-input for a complex timbre.  META's morph output sends the shape of just the drum envelope to the filter CV, which spectrally sculpts the drum hit.

META: Change the pitch of the percussive voice with TIME 1, the decay time with TIME 2, and the timbre with   morph . The LFO provides META with slower modulation signals for decay rate and timbre modulation levels.  Adjust its influence with the T2 CV and  morph CV attenuators. Null out the contour generator with the manual B control to accentuate the ring modulation effect of passing the oscillator's sine wave through the A input.  Watch the lower scope to see how the B level affects the symmetry of the waveform.

Unity: The top half is summing pitch CV from the sequencer and incoming MIDI or keyboard events. The output is connected to META's T1 CV and the oscillator's V/Oct input. The bottom half is combining gates destined for META's TRIG input, causing a note to trigger on computer keyboard strokes while the sequencer is running.

Sequencer: Set the tempo of the sequence with the Clock control. Write the melody for the percussive voice with Row 1, which drives the pitch of both META and the oscillator.  Control the rhythm with the gate on/off buttons. Note that the step 1 gate resets the LFO.

Envelope:  Not used.

LFO: Adjust the speed to change the groove created by modulating the timbre and decay of the percussive voice.  It gets reset on step 1 of the sequence.

Top Scope: Watch the drum envelope output from META and the LFO triangle.  Adjust the T2 control or the LFO rate to see them change, and adjust the amount of LFO modulation of T2 to see how the LFO influences the envelope.

MIDI: Routed to the pitch and trigger control inputs of META through the Unity mixer.

Oscillator: The oscillator tracks pitch with META, but you can offset it to create interesting freqeuncy spectra through amplitude modulation.  Adjust the pitch to change the frequency of the carrier tone in the percussive voice.

Mixer: Not used.

Filter: Adjust the brightness of the percussive voice with the filter cutoff. Adjust the snappiness of the attack with the FM amount, which is being controlled by META's drum envelope output.

Delay: Have some fun processing the output of the percussive voice; the time is matched to the sequence tempo.

VCAs: Not used, but the right VCA can be used to attenuate the output.

Bottom Scope: The dry output and the delayed output are shown.

Bridge Control: In the midi module, replace the computer keypad with midi over Bridge to control the drum with a pattern from your DAW. Or clock the sequencer with midi clock over Bridge.

2. Oscillator

 
 

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OVERVIEW: META is being simultaneously frequency modulated and amplitude modulated by the oscillator, and its timbre is slowly being evolved by the LFO.  Its S+H is used to produce decimation effects of the B input.  The mixer allows you to hear the various outputs META provides, alongside its modulator, after passing through a filter and a delay.

META: Control the pitch of the decimation effect with the TIME 1 (coarse) and TIME 2 (fine) controls. It's subtle, but set the timbre of the effect with the morph control.  Experiment with reducing the FM level using the T2 CV attenuator to smooth out the effect.

Unity: The top half mixes control voltages for pitch control of META and the oscillator. The bottom half is mixing gates connected to the ADSR from the sequencer and keyboard inputs.  You can extend this patch by injecting another CV or gate sequence here.

Sequencer: Set the tempo of the sequence with the Clock control. It also varies from LFO modulation. Write the melody for the percussive voice with Row 1, set the attack time per step with row 2, and the release time per step with row 3. Create a gate pattern for the ADSR with the gate on/off buttons.

Envelope: This sequencer-driven envelope sets the amplitude contour of the sound before it goes through the final delay stage.

LFO: Change the speed of the LFO to alter the modulation of the sequencer's clock speed.

Top Scope: Monitor the ADSR and the LFO.

MIDI: Routed to the pitch and trigger control inputs of META through the Unity mixer.

Oscillator: Adjust the frequency to change the pitch of the carrier tone in the main sound.  Adding FM CV allows a cross-modulation path from the META's morph output to add instability and complexity.

Mixer: The first channel is a saw from the oscillator. The second is META's main outputs. The third and fourth are META's aux logic outputs. Adjust the levels to shape the timbre of the sound through the filter.

Filter: Open up the cutoff to reveal the high frequencies in the sound sources. They might be sonorous or harsh depending on how the controls are set.

Delay: Add atmosphere to the sound by adjusting the parameters. The feedback is modulated by the attenuated triangle output from the LFO.

VCAs: The left VCA is shaping the amplitude of the sound with the ADSR. The right VCA is attenuating the triangle output of the LFO.

Bottom Scope: See the output from META superimposed over the filter output.

Bridge Control: In the MIDI module, replace the computer keypad with midi over Bridge to send notes to the voice. You can also add clock or use the midi gate to clock the sequencer.

3. AR Envelope

 
 

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OVERVIEW: META is configured here as a many-output envelope generator.  A simple envelope from the morphoutput modulates LFO and oscillator frequency, both of which return to the meta's A and B inputs to be sample and held and crossfaded.  The complex result of this modulates the cutoff of the filter which is in turn fed into the delay, which is also getting pulse-shaped modulation from META's  Aux Logic Output output.  Meanwhile the sequencer is triggering the META and providing T1, T2, and morph variation for each step.

META: Set the attack time of the envelope with TIME 1. Set the release time with TIME 2. Set the shape of the attack and release contours with morph . Set the amount of audio rate filter modulation with the B scale control.

Unity: The top half is mixing control voltages, allowing you to play the voice with your keypad or the sequencer. The output is connected the oscillator's V/Oct input. The bottom half is mixing gates, causing a note to trigger on computer keyboard strokes while the sequencer is running. The output is connected to META's  Logic Output input and the ADSR envelope gate. 

Sequencer: Press the run button to enable the sequencer. Control the melody of the voice with row 1.

Envelope: Set the overall amplitude contour of the voice. Note that the envelope retriggers at the end of META's attack contour. 

LFO: Set the frequency of the flanger effect.

Top Scope: Monitor META's  A X B   output and end of attack gate.

MIDI: Play the voice with the keypad.

Oscillator: Set the pitch of the voice. The FM amount sets the level of glissando from META's signal output.

Mixer: Mix waveforms from the oscillator into the filter.

Filter: Increase the brightness of the sound by opening the cutoff; change the timbre by increasing the resonance.

Delay: Use the parameters to set the intensity of the flanger/vibrato on the sound.

VCAs: The left VCA controls the amount of delay time modulation from the LFO. The right shapes the amplitude of the sound with the ADSR.

Bottom Scope: Not used.

Bridge Control: In the MIDI module, replace the computer keypad with midi over Bridge to send notes to the voice. You can also add clock or use the midi gate to clock the sequencer.

4. Looping AR

 
 

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META: The TIME 1 and TIME 2 controls will control the base attack and release times of the envelope controlling the pitch of sound the sound and its dynamic contour.  morph  controls the shape of the envelope. The respective CVs are each sequenced by a row of the sequencer. The B scale control determines how much the LFO affects the dynamics of the sound

Unity: The output of the top half is routed to the V/oct input of the oscillator. The bottom half is mixing gates from the midi module and the sequencer with the output routed to META's Logic Output input.

Sequencer: The top row controls attack slope time, the middle release slope time, the bottom slope shape. The gates reset META's contour generator.

Envelope: The parameters shape the final dynamics of the sound. The envelope is triggered at the end of META's release slope.

LFO: The LFO is being sampled at META's B output, which in turn affects the filter cutoff. The triangle out is patched into the left VCA to be applied to another parameter.

Top Scope: Monitor META's main output and main logic output.

MIDI: Reset META's contour generator and control the pitch of the oscillator.

Oscillator: Set the base pitch with the frequency knob and control the amount of FM from META's contour generator with the FM amount knob.

Mixer: Mix the oscillator's waveforms through the filter to change the tone of the output.

Filter: Try increasing the resonance to add another layer of FM to the tone.

Delay: Increase the feedback and mix to accentuate the pitch shifting effect when META's contour generator changes direction.

VCAs: The left VCA attenuates the triangle output of the LFO, but the output is yet to be patched to a modulation destination. The right VCA sets the level of the output.

Bridge Control: Try clocking the sequencer from the gate output of a steady half note pattern in your DAW.

5. Sequence

 
 

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OVERVIEW: One-shot sequences fade between simple LFO waveforms sampled at A and B (S+H mode 5), as the Aux Logic Output output triggers an envelope each time the contour generator changes direction. 

META: The square and triangle of the LFO are patched into META's inputs, influencing the main output. The cycle time is controlled by the sequencer and the shape of the sequence is controlled by the LFO. The main logic output controls delay feedback, the signal out controls filter cutoff and oscillator pitch. The main out controls ADSR decay and delay time, creating a pitch shifting effect. The delta output triggers new notes through the ADSR.

Unity: Not used.

Sequencer: The top row controls the cycle time for META's contour generator. The middle row controls the pitch of the oscillator. The gate from step one is patched into META's trigger input, starting or restarting the sequence.

Envelope: The output is patched to the right VCA, controlling the amplitude of the sound source. The 

LFO: The LFO animates the META sequence. In essence, it controls the speed of pitch modulation.

Top Scope: Monitor the main output and delta logic output of META.

MIDI: Not used

Oscillator: The sequencer sets the base note and the triangle output from META provides a frequency sweep. Adjust the FM amount knob to control the intensity of the sweep.

Mixer: Set the levels of the oscillator's waveform outputs at the filter input.

Filter: The cutoff of the filter is swept by META's  morph output; control the intensity with the FM knob.

Delay: Heavy time modulation from META creates a pitch shifting effect. Increase the feedback and mix to intensify this effect.

VCAs: The left VCA attenuates the triangle output of the LFO, but the output is yet to be patched to a modulation destination. The right VCA shapes the loudness of the sound according to the envelope output.

Bottom Scope: Not used.

Bridge Control:  Replace the gate from step 1 of the sequencer with the gate from a note at the start of every bar or 2 to synchronize the start of the sequence with your DAW tempo.

6. Complex LFO

 
 

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OVERVIEW: Here META is being used to generate a complex LFO, by using its internal contour generator in conjunction with the LFO's sine wave at its B input.  The Aux Logic Output output clocks the sequencer, which generates greater or fewer pulses per cycle depending on how complex the contour, which is varied with morph  CV.  Cross-modulation paths between META and the LFO add variation over time.

META: The LFO is patched into the B input and all 3 CV inputs to impose variation on the sequence generated by META's contour generator. Try adjusting the base controls and the CV amounts. The A and B manual controls affect the scale, bias, and inclusion of the LFO to the A X B  output.

Unity: Not used.

Sequencer: The sequencer is clock from META's Aux Logic Output output, so the TIME 1 control affects the clock speed of the sequencer. The output triggers the ADSR, and the top row controls oscillator pitch.

Envelope: Controls the amplitude of the sound by driving a VCA; triggered every step of the sequencer.

LFO:  The LFO is modulating multiple parameters on META, and the output of META is connected to the FM input. Adjusting the LFO frequency or the or the FM amount affects the overall motion of the patch.

Top Scope: Monitor the LFO output and META's main output.

MIDI: Not used.

Oscillator: The primary sound source in this patch, it's fed through a META-modulated filter, delay, then VCA. Its pitch is driven by the top row of the sequencer.

Mixer: Set the levels of the oscillator's waveform outputs at the filter input.

Filter: The cutoff of the filter is modulated by the main output of META; try changing the main cutoff control to change the timbre or increasing the resonance to emphasize the cutoff modulation.

Delay: Time modulation from META's morph  output creates a pitch shifting effect that can be accentuated by increasing feedback and mix.

VCAs: The left VCA attenuates the from the LFO modulating META's cycle time, the right VCA applies an amplitude envelope from the ADSR on the sound.

Bottom Scope: Not used.

Bridge Control: Like the Sequence example, try patching the gate from a note every bar or two into META's TRIG input to impose timing from your DAW on the motion of the patch.