Moog 911 Envelope Generators need S-triggers to start their cycle.
Moog's designers wanted people to be able to plug in a simple foot switch to trigger sounds,
The original design of this module is from around 1968.
The Moog 953, 952 or 962 Keyboard will produce S-triggers.
"So will Moog Ribbon Controllers, Percussion controllers , Sequential Controller Complements and Envelope Followers" (Moog Manual)
In comparison, V-triggers start at zero volts and rise to a standard level .. usually 3V.
Specs
Trigger Input : Switch Trigger
Output Impedance 10K ohms
Time range on T1, T2, T3: 2 milliseconds to 10 secs.
Peak DC output on Esus : 5.5V (+/-10%)
The 911 plugs into the Moog modular using a 22 pin PCB/edge card connector.
It's a ADSR envelope generator.
The pin out is as follows:
1. +12V at30mA
2. GND
3. -6V at 15mA
14. Trigger out
15. Shield
21. S-trigger in ........to Trigger switch (Jones S-302)
22. Shield
The Moog manual suggests a regulated AC supply, such as a Moog Model 901 or dry batteries.
Max current is 50 milliamperes.
Range of T1: 10 ms to 10 secs (attack)
Range of T2: 10 ms to 10 secs (delay)
Range of T3: 10 ms to 10 secs (Release)
Range of Esus: 0 to Emax
Esus = sustain.
Emax = voltage at which T2 begins. = 5.5V +/- 10%
You trigger the 911 by closing a switch. So unlike most EG's you will
encounter today, no voltage is supplied to trigger the module ... its
quite the opposite.
You need a 916 interface to convert CVs to S-triggers
" the 911 Envelope Generator produces a single voltage contour whose time/voltage variation is determined by potentiometers T1, T2, T3, and a time constant sustaining level potentiometer (Esus). Closure of the input trigger switch directs the voltage contour to T3 (final decay) regardless of what stage (T1, T2 or E) was in current operation."
(Moog Manual)
"The 911 Envelope Generator completes one of the most important musical functions: That of producing a variable one-shot control voltage contour in time. This output is thus capable of controlling any voltage controlled module – most notably a Voltage Controlled Amplifier – resulting in the articulation of a single sound." (Moog Manual)
A common module to pair with the 911 is the 911A - The Dual Trigger Delay.
This can create multiple or combined DC voltage contour outputs.
I decided the other day to put together a small eurorack drum.
It needed to be simle - just eight voices.
I may add midi, but for the moment, analog triggers will be fine.
Most of these modules are DIY.
i had an old case lying around.
I love re-using old things.
These beastek modules are esp interesting.
Both built from kits.
The trigger sequencer, has a very unusual method of creating beats. ,,, cellular automata.
... the game of life.
This Olegtron module is cool too... a very hands on way of mixing triggers.
As much as Ilike the Amoeba sequencer, I've decided to go with a delphtronics trigger man.
A smaller footprint. and Just 2 knobs.
I think this is a great module for making evolving patterns
The algorithmic mode is cool.
Pressing Knob 2 selects which of the eight outputs to edit.
Turning knob 1 will add active beats.
You start with no beats, and just a turn will add beats, creating more and more complexity the more you turn the knob.
Turning Knob 2 will shift the pattern left or right.
Modular Clocks ... seems simple at first, but the more you delve into this subject and try to sync
devices from different manufacturers, the more complex things can get.
If you have ever heard the Daft Punk tune "Moroder by Giorgio" you can hear Giorgio talk
about how he synced a Moog Modular.
"I know the synthesizer, why don't I use the synthesizer Which is the sound of the future" And I didn't have any idea what to do but I knew I needed a click So we put a click on the 24-track which was then synced to the Moog modular I knew that it could be a sound of the future But I didn't realize how much the impact would be..."
Basic Tempo is made up of beats.
Beats are grouped into bigger units called measures.
Most often, a measure has 2 to 4 beats (though it can really have as many divisions as is desired).
A note which lasts for 1 beat is called a quarter note..... since it divides the average measure into quarters......
For electronic instruments.... this beat is actually a pulse of electricity..... often a 5V to 10V amplitude pulse which had a regular cycle. This cycle was the sync signal and was used to clock pre midi devices.
With the advent of MIDI, instead of being measured by cycles per second, the time base
was changed to Parts Per Quarter Note (PPQN), also known as pulses per quarter (PPQ), or Pulse (per) quarter note (PQN), and ticks per quarter note (TPQN)
If the time-base divides the instrument into 48 parts, that is called 48 PPQN.
MIDI sequencing hardware and software uses a variable number of timing
resolutions. From as little as 24PPQN to 480 PPQN
A sequencer's resolution is defined as its ability to divide the beat of a quarter note into a pulses. The more pulses, the more accurate a sequencer is.
Common divisions used by sequencers are : 24 parts - 24 ppqn 48 pulses - 48 ppqn 96 parts - 96 ppq 192 ppqn, etc etc etc
A module like Pamela's Workout will sync to an external clock input between 1PPQN to 24PPQN.
My Beastek Amoeba trigger module needs a 8 TPQN clock if you require external syncronization. Note that most analog sequencers send out a pulse every 16th note which equals 4PPQN
MIDI clock = 24 pulses, so called "ticks" per quarter note Roland equipment (606,707.727,808.909) use 24 pulses per quarter note (PPQN for short), known as DIN Sync24. A notable Roland exception is the CR-78 which uses 12ppqn.
Korg equipment (eg KPR-77, DDM-110 & DDM-220) uses 48 pulses per quarter note. (You also need to make a V-trig to S-trig cable). Oberheim (DMX) & Linn is 96ppqn. The SCI Drumtraks handles 24, 48, and 96 ppqn EMU drumulator - 24ppqn - needs a din to 1/4 Y cable
-----------------
Summary:
********************************************************************************
Clock rates Equivalent in PPQN Manufacturer
********************************************************************************
STEP GATE 1 PPQN ? LFO or GATE OUT
Pre - MIDI (advances in time on a rising edge and
returns to zero on a falling edge)
eg: DOEPFER DARK TIME, Korg SQ-10.
eg: Euro - Zularic Repetitor
(Noise Engineering), Erica Pico Seq &
Pico trigger , Delptronics Triggerman,
Disting Mk3 & 4,
Modcan Touch Sequencer (ext sync)
***************************************************************************
KORG Pulse 2 PPQN KORG (SQ-1), Volcas,
Teenage Engineering Pocket Operators
(POs sync on audio pulses,
essentially a click track).
********************************************************************************
STEP CLOCK 4 PPQN ARTURIA , DOEPFER MCV 24 – MSY2
or 1/16th Korg SQ-1 analog sync , most analog
sequencers, Orthogonal Devices ER-101,
TipTop Trigger Riot & Circadian Rhythm.
Erica Synths Drum Sequencer , 1010 Black Box (clock in)
Quite common to find as the default
for Eurorack modules.
*********************************************************************************
Euro 8 or 16 PPQN Beastek Amoeba
drum trigger module
********************************************************************************
CR 78 Drum 12PPQN Roland
********************************************************************************
MIDI & Sync 24 Modcan Touch Sequencer (Midi sync)
Roland DIN SYNC 24 PPQN ROLAND, ARTURIA, ELEKTRON
Computer DAW Korg SQ-1 MIDI sync, DAW
TipTop Trigger Riot & Circadian Rhythm
Nerd Seq Mod.clock24 in (XOR)
***********************************************************************************
KORG DIN 48 PPQN LINN LM-2, ARTURIA, ELEKTRON
Sync 48
********************************************************************************
---------------------------
Step Gate
Starting off with the basic analog clock. ....
This is all pre-MIDI. The signal can be a simple
LFO or a gate module producing a square wave. The Doepfer Dark Time for
example can produce a 1 Step gate. A basic analog, pre midi modular
will use this form of timing.
This is almost a 1PPQN equivalent.
Most common in Eurorack ... eg Zularic Repetitor, (Noise Engineering), Erica Synths Pico Seq &
Pico trigger , Delptronics Triggerman, Disting Mk3 & 4, Modcan Touch Sequencer (ext sync)
Korg Pulse - 2PPQN
Korg SQ-1 sequencers and the Korg Volcas use this standard.
A single KORG pulse is equivalent to just 2 PPQN.
Step Clock (16th clock) - 4PPQN.
This is an analog trigger. It's equivalent PPQN is 4.( ie four pulses per quarter note
or 1⁄4 the duration of a quarter note.)
It's also called 16th because a note is sent or received every 16th note. This is quite common to find as a default for Eurorack modules.
This is the most common clock among old analog sequencers.
Devices like the DOEPFER MCV 24 & MSY2 can produce this type of clock. Also, Eloquencer (Winter Modular) (So too does the Tip top trigger riot though it can also be set to use 24PPPQ) MIDI - Sync 24 - Roland DIN Sync - 24PPQN
In the case of MIDI (and Roland DIN Sync), the standard is 24PPQN. MIDI clock sends a tick 96 times per quarter note.
Lots of old Roland Synths such as the TB303 & TR606, 808, 909 use this standard.
Most DAWs will also use a 24 PPQN signal
This means that you can have a triplet for each 8th note. (24/3 = 8) Korg DIN SYNC - Sync 48 - 48PPQN
Korg has it's own version of DIN Sync.
It uses the same 5 pin cable/socket, but the PPQN is 48.
When syncing Roland and Korg gear via DIN sync, they will work
however the Korg machine will run at 1/2 the tempo/speed of the Roland
unit.
This can be corrected with several devices which will
translate 24-48 sync, such as the Korg KMS-30.
Korg drums such as the KPR-77, DDM-110 & DDM-220 use 48 sync.
Other devices that use 48 PPQN are the LINN ELECTRONICS LM-2 Drum and some Oberheim Drum Machines.
The Pioneer Toraiz can input & output clock signals of value 1PPQN, 2PPQN, 4PPQN, 24PPQN, 48PPQN.
Synstrom Deluge : Trigger clock output, configurable up to 192 PPQN
Kenton Modsolo - outputs 24PPQN, 48PPQN.
I understand it can also be set to between 1PPQN to12PPQN (though I haven't tested this).
Since my recent purchase of a 0-Control, I've been falling back in love with the 0-Coast and all things Make-Noise. These are some basic revision 0-Coast notes
The O-Coast can be divided into 7 parts or modules.
If you look at the synth this way, and study the internal wiring it's not as intimidating as it first looks.
The basic modules are:
1. Midi to CV
2. Utilities
3. VCO
4. Sound Processor (waveshaper)
5. Envelope 1 (Slope).. AD
6. Envelope 2 (Contour)... ASD
7. VCA - Mixer / LPG
It's a excellent example of the bare minimum of modules needed to make a "complete instrument".
Personally, I feel it's more West Coast than East. The lack of a dedicated filter
(apart from the LPG) and the extensive use of wave-shaping remind me of a Buchla Easel.
Though the 0-Coast has just one oscillator, the 1st EG (Slope) can be cycled at audio rates, and can be thus used like a Modulation Oscillator.
The recent addition by Makenoise of the 0-Control makes it even more Buchlaish.
1. Midi to CV
Plug your midi sequencer/ DAW here
It will convert Midi / CC data into control voltages & gates
It also has an arpeggiator & LFO
2. Utilities
The upper half has a Clock, Clock divider, S&H & Random voltages (Source of Uncertainity)
The lower half is the CV processor section comprising things like a
Mixer, Attenuverter, Inverter & Mults
3. VCO
Basic oscillator with triangle & square waves.
Both waveforms are internally pre-routed to the waveshaper/sound processor, but the triangle
is also routed to the Mixer/LPG (you can break this connection with a jack).
This module also has linear FM control & a 1V/Oct socket.
The 1V/Oct socket is where you'd most commonly plug the pitch out from
your Keyboard/sequencer.
4. Sound Processor
This adds harmonics to make the sounds from the oscillator more complex.
It can be though of as a timbre module that processors sound in two stages
a. Overtone Stage
This mixes 3 waveforms - the two oscillator waves & the slope EG. It adds sound that is higher in frequency, yet still harmonically-related to the Fundamental. !! is where the slope is blended into the audio signal path.
b. Multiply Stage
This takes the output of the Overtone Stage & multiplies it, .... this creates additional
overtones & adds harmonics. This is the opposite of what happens in a LPF.
5. Envelope 1... AD "slope".
It has Attack / Decay stages and can me made to self cycle.
This EG is routed by default to change the harmonics of the VCO
It's internally connected to both the overtone & multiplier sections.
The EG1 output can also be patched to other modules such as the Linear input of the VCO.
(it would thus act like the Buchla Mod Osc).
6. Envelope 2 --- ASD "contour"
This EG is routed by default to change the VCA
It acts like an ADSR even though it only has a Decay pot -- this seems to represent both
Decay & Release.
The Gate input is where you'd most commonly plug the gate out of your keyboard/ sequencer.
7. VCA - Mixer / LPG
This mixes the outputs of the triangle wave Oscillator with the Sound Processor
(Overtone & Multply)
The LPG is a combination of a VCA + low pass filter. (Very Buchla)
