The Q962 is a specific type of clock divider, likely a module within a modular synthesizer system.
It's designed to take an incoming clock signal and produce a series of divided clock signals, meaning the output clock pulses occur at a slower rate than the input. This is useful for creating rhythmic variations and controlling other modules with different timing relationships.
Here's how a clock divider like the Q962 might be used:
1. Basic Division:
Connect the incoming clock signal to the input of the Q962.
Each output of the Q962 will provide a clock signal divided by a specific factor (e.g., /2, /4, /8, etc.).
These divided clocks can then be used to trigger other modules, such as sequencers, envelopes, or LFOs, creating different rhythmic patterns.
2. Creating Rhythmic Complexity:
By using multiple outputs of the clock divider with different division factors, you can create complex rhythmic patterns that evolve over time.
For example, you might use a /2 clock to trigger a kick drum, a /4 clock to trigger a snare, and a /8 clock to trigger a hi-hat, creating a basic drum beat.
You can then experiment with different combinations and offsets to create more intricate rhythms.
3. Combining with Logic Modules:
Clock dividers can be combined with logic modules (AND, OR, XOR gates) to create even more complex rhythmic variations.
For example, you could use an AND gate to combine the output of a /2 clock and a /3 clock, resulting in a clock pulse that only occurs when both clocks are high, creating a new rhythmic pattern.
4. Timing and Modulation:
Clock dividers can be used to control the timing of other modules, such as LFOs (low-frequency oscillators) or envelopes.
By using a divided clock signal to modulate the rate or amplitude of an LFO, you can create rhythmic variations in the LFO's output.
Similarly, a divided clock can be used to trigger envelope generators, creating percussive sounds with varying attack and decay times.
5. Performance Techniques:
During live performances, clock dividers can be used to create dynamic changes in the music by switching between different division ratios or combining them in various ways.
This allows for transitions between different rhythmic feels or for creating build-ups and breakdowns in the music.
Example:
Imagine you have a sequencer that is running at a certain tempo. You can use the Q962 to divide that tempo and then use the divided clocks to trigger other modules. For example:
/2 (half speed): Could trigger a bassline or a longer melodic phrase.
/4 (quarter speed): Could trigger a percussive element like a tom-tom or a short melodic phrase.
/8 (eighth speed): Could trigger a hi-hat or a subtle rhythmic embellishment.
/16 (sixteenth speed): Could trigger a very fast, subtle rhythmic element.
By combining these different divisions, you can create a complex and evolving rhythmic landscape. You can also use the logic modules to combine the divided clocks in different ways, creating even more intricate patterns.
In essence, the Q962, and clock dividers in general, are powerful tools for creating rhythmic complexity and dynamic changes in modular synthesizers.
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.
enter system settings by pressing (shift) and (erase).
use (minus) and (plus) to navigate to the sync settings, then press (enter) on the pads.
use (minus) and (plus) to navigate to ‘in’ or "out", then hit (enter).
use (minus) and (plus) to navigate to ‘16’, then hit (enter)
The K.O.II will now listen for or send out a 16 clock pulse on it’s sync-in/out jack,
In the case of MIDI (and Roland DIN Sync), the standard is 24PPQN. Lots of old Roland Synths such as the TB303 & TR606, 808, 909 use this standard. Most DAWs will also use a 24 PPQN signal
enter system settings by pressing (shift) and (erase).
use (minus) and (plus) to navigate to the sync settings, then press (enter) on the pads.
use (minus) and (plus) to navigate to ‘in’ or "out", then hit (enter).
use (minus) and (plus) to navigate to ‘24’, then hit (enter)
The K.O.II will now listen for or send out a sync24 clock pulse on it’s sync-in jack,
---------------
MIDI (in)
Teenage E use TRS MIDI type A connectors These transmit MIDI over standard Stereo cables
once you have your midi keyboard connected, K.O.II will detect any notes and light up the MIDI or usb icon (depending on what input is used) on the screen.
Each note of the keyboard will play a different pad
If you want to play one pad transposed across the keyboardjust press (keys)!!
MIDI (out)
To control external synths with the KO II
Go into EDIT
(Shift + Sound)
Press the +/- key till you arrive at MID
Each pad sends MIDI on its own channel.
Select a pad and Use the orange knobto change the midi channel.
Some settings of a very useful Eurorack module. ... the Kenton Solo
I think this is ideal for use with a Modular -
eurorack
Preset 70 has too fast a clock.
Use P.71 instead
available values c24, c48 & d2 to d24, - sets the ratio of MIDI clocks to output pulses from the Clock1 output.
D12 seems about perfect.
If set to d2, there will 12 pulses from the clock1 output
for every 24 MIDI clocks = 12 cpqn If set to d24, there will be 1 pulse from the clock pulse output for every 24 MIDI clocks = 1 cpqn (Note there are 24 MIDI clocks per quarter note)
So d12 = 2 pulses from the clock output for every 24 MIDI clocks
The Buchla 252e has no midi or analog clock input as it was designed to be THE master clock.
The 252e manual says it supports MIDI clock, sync receive and sync transmit.
Transmit is straightforward, but syncing and receiving MIDI from something like a DAW,
needs a module like a 225e.
There may be other modules which could do the same job but I think the 225e module is a great pairing for the 252e. They communicate with each other using i2c.
The 225e has 16 busses, but the last 6
are impt in syncing things. These are busses J to P.
These handle controller and clock messages. They are translated into 0-10V CVs
Each controller Bus is divided into 2 groups: (a) or (b).....(two controllers for each of six busses).
Controller output bus P(b) is actually not a controller, but is a dedicated MIDI Clock output.
If Channel is set to “Clock” (after 16 and before 0) a different interface is displayed:
The Div fields allow the 225e to generate 10 volt pulses based on
rhythmic divisions of an incoming MIDI clock. The numerator represents a
count; valid values are 1-8. The denominator represents a note length.
So if you wish the 252e to receive and be controlled by external midi clock follow these steps: 1. On the 252e, press and hold the Master BPM knob until the display reads Off. 2. Turn the Master BPM knob on the 252e until it reads Src (Sync receive).
----------------------------------
If you are trying to clock a larger modular system from the 252e (without a 225e) use Cell1 output.
This will supply a pulse every time the cells return to step 1.
Use a clock multiplier like the Northern Light Modular 2TT.
Set
an output to be a multiple of 2, 4, 8, 16 etc and you have a master
clock while retaining the pulse outs.
You can also use the 256e as a clock multiplier
Buchla Quad voltage processor
You can of course use any of the pulse outputs on the 252e as a clock.
Personally, I just think the 225e is the easiest module to use. It allows you to add a midi clock input
to the 252e, is a perfect and flexible clock multiplier/divider and is a preset manager to boot.
This is part of my exploration of the Andromeda synth.
It's a wonderful synthesizer, which even after owning it for over 5 years I'm still just scratching the surface of what it can do.
The official manual is really long (as you'd expect) from such a complex synth, so this is my attempt to break things down, into smaller parts for myself. If this helps someone else, that great too.
I'll constantly add to these posts as I discover more about this wonderful instrument.
This is usually found only on time-based devices like a sequencer or a
drum machine.
But since the A6 has step sequencing and an arpeggiator it can control other rhythm-type units
or be controlled from an external
MIDI source.
The Andromeda is capable of sending and receiving on up to 16 MIDI channels
simultaneously.
Mix Mode is used for this kind of MIDI application.
It is possible for
the A6 to assign any Mix Channel to any MIDI channel if desired.
In Program Mode, the A6 sends
and receives on a single MIDI channel at a time.
in
Program Mode you can play only one Program at a time,
In Mix Mode you can play
up to 16 Programs at once, either from the keyboard
(as layers or splits) or from an
external sequencer.
Or, you can have several different programs on different Mix Channels responding
to the same MIDI channel. This means that if
you want to play a layer of several Programs, you don’t have to clog the MIDI
sequencer with duplicate tracks and messages.
Mix Mode
Use this mode if you wish to send & receive MIDI on up to 16 channels.
Each Mix channel can be assigned to a specific MIDI Channel
with unique MIDI controller assignments.
The row of rectangular buttons just below the display area are used to select the
Programs within a Mix. When a Mix Channel is ON, its associated LED will light.
When a Mix Channel is currently selected for editing in the display, its LED will
blink.
Pressing the MIX button displays the Mix mode display screen.
The page tabs under mix mode are:
MIX
MIXDIR
KBD
PROG
CNTL
SOLO
--------------------------------------------
Page 244 of manual
The easiest way to use the A6 with a MIDI sequencer is to use one of the preprogrammed Mixes in the Preset or User banks.
See the Program/Mix chart for the
Mix set up for multitimbral use that’s appropriate for your situation.
But if you want to start from scratch or edit an existing Mix, here are the steps:
1. Press the MIX button.
2. Select a Mix to start with using the PROGRAM GROUP/NUMBER, and BANK keys.
3. Select Mix Channel 1 by pressing the black MIX SELECT 1/9 key.
Make sure the right side of the display window has a box that says MIX CHAN 1.
If it
says MIX CHN 9, press the SHIFT key and press MIX SELECT 1/9 again.
4. If the green LED above the MIX SELECT key isn’t flashing, press it again to enable
the channel.
A small box in the display should say ON and an arrow appear pointing to the
current
Mix Channel. The flashing LED above the switch means the Mix Channel
is currently
selected for editing and is ON.
Set the Keyboard parameters
5. Press soft button 5 (KBD).
6. If you want to play this mix channel from the keyboard*, make sure that
ENABLE
is set to ON using soft knob 4.
Set the high and low ranges using soft knobs 1
and 2
Set the MIDI parameters
7. Press soft button 6 (PROG).
8. Set the MIDI channel for this Mix Channel by turning soft knob 6 (MIDICH).
9. Press soft button 7 (CNTL). If the first parameter isn’t MID IN , press it again.
Set
MID IN to ON using soft knob 1.
10. If you’re going to be using this Mix Channel to send note messages to
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).
