SYNC

Clock-synced modulation and just-intoned arpeggios are two sides of the same module.


Availability

Quick Reference

The module extracts a reference frequency from rising edges at the SYNC  morph  input or presses on the TAP button. That frequency is scaled by a ratio to generate a new output frequency. The ratio used to generate the output frequency is selected from a 2D grid indexed with the RATIO X and Y controls. 

The available grids, or SCALES, are organized into 4 GROUPS, each paired with a set of 4 WAVE-tables containing contour generator shapes morphed with the  morph  controls.

The groups are organized by use-case: The first contains simple ratios for harmonic/subharmonic generation, the second can be scanned to create harmonious arpeggios, the third quantizes with v/oct scaling, and the fourth contains rhythmic frequency ratios.

The phase of the contour generator is also synced to the input clock. The SYNC button selects the phase-locking method.  morph  shifts the phase of the contour generator relative to the input clock in 90 degree increments. The RESYNC input immediately resets the contour generator phase. This phase control is especially useful for tempo-synced modulation and X/Y vector generation.

RTO X is a CV input for scanning the X axis of the ratio grid: quantizing pitches, creating arpeggios or ratcheting LFOs. The MOD CV can be configured with the MOD parameter to modulate phase, waveform skew, or Y ratio, opening up a range of possibilities with audio or CV.

The S+H button selects between three sample and hold behaviors applied to both A and B inputs, allowing for smooth transitions between sampled voltages.

morph  provides a direct output from the contour generator. It can be a simple linear waveform or follow the contour shape.

morph  can be toggled between a square wave version of the contour generator (acting as a voltage controlled clock multiplier/divider) or a representation of the direction of the contour generator (mapping complex waveforms to a gate sequence).

morph  generates a trigger whenever the frequency ratio changes. With an audio clock, this corresponds to a change in pitch, allowing for the triggering of an envelope at the start of a new note.