#2521

It does, the top inputs are for envelopes and middle ones are for gates. And dummy cable into the leftmost gate input silences the drone.

#2523

Put sliders down, those are volume. Except the left one, it’s pitch. Unless you did that and then it’s strange :slight_smile:

#2525

Also, what outputs do you use? The enveloped harmonic series go to first output. All else just drone. Sorry for not understanding your question the first time

#2527

I also tried putting one the harmonic series into maths, for frequency division. Kind of nice too, though I am yet to get good results from that :slight_smile:

#2529

Likewise :slight_smile: it seems we have similar views regarding screens and mannequins stuff :smile:

1 Like
#2530

And thank you both for your insight in my predicament! It’s been super helpful!!

1 Like
#2532

Btw, I’d really like to hear any thoughts about qpas, I know there is a thread about it, but I think this will not sidetrack this conversation too much :slight_smile:

#2534

I think what @nutritionalzero said is pretty spot on. A really good filter for people who don’t like filters haha! It’s got a lot of really phaser-y kind of sounds without being directly a phaser which I’m REALLY into but can still pull out some interesting normal filter tones. My goal around my system was to have as much going on in the stereo field as possible (Or at least have the option) and this will definitely get you there. Haven’t gotten too many complex modulations in it yet as my dilemma above details but at the very least I’m in love with the sound. I’ll try to get some clips out together sometime soon with that and the Mimeophon

#2535

Though I would agree that Teletype’s manual is in need of better cross-referencing / more usage examples / plenty, this post made me realize that Teletype and W/ are the only things in Eurorack I’ve encountered with in-module help. It has also got me thinking about the musical utility of literal sandboxes, and upset about the indignities endured by the text input devices I love in the modern workplace.

3 Likes
#2536

In my opinion, I wouldn’t say that TT is poorly documented at all. Other then the newest bleeding edge features, The cheat sheet is very easy to follow. Thanks to all who have contributed!

5 Likes
#2537

just friends by default is infinitely deep and a ton of fun. it’s a great next move, especially since it’ll help give you an idea of what other things might be missing.

the most eye-catching use-case for just type is synthesis mode, which turns jf into a six-voice polyphonic synthesizer. the other functionalities are also useful, but not quite as “OH GOD WHAT!?!?” as a six-voice polyphonic synth (including sequencer) in 34hp (this is without actually using any of tts outputs, so the teletype is still free to do whatever else you want it to do in your system, which is nearly impossible to give an impression of until you get your hands on one and spend some serious time w/ it)

tt is an effectively limitless utility box and absolutely indispensable in my system, but I’ve also set a hard 6u limit on gear acquisition since I’m not against multi-tracking some elements out to my sampler, and folks with the pockets for 12u plus often just want to plug stuff up and make it go. it’s a very life-style-y time v money type thing… I also do not make my money sitting at a computer and never have, so I don’t have the same relationship to the interface that many others might…

#2538

yeah for a while I was using the online manual to try to reference stuff… then I just printed off the cheat sheet and it turns out everything is way simpler than I was making it seem. Also there’s a bottomless archive of musically useful tt scenes all over the place and several albums by some of the most adept modular synthesists out that deploy teletype heavily… huge gratitude to all involved.

special shout out @shellfritsch for posting his literal first teletype scene and also making this gorgeous exploration.

#2539

oh! thanks for the kind shoutout :blush:

love me some teletype! can be the hub of complex ecosystem, or a simple way to store a bunch of voltages and inject controlled randomness.

the teletype studies are very well written and super fun to work thru. studies, cheat sheet + this awesome community was all i needed to get quite comfortable :dove:

2 Likes
#2541

It’s well-earned!

So long as the candle’s lit I may as well ask: are there any specific tidbits you’ve found especially useful? I find myself finding endless variations on executing basically the same thing (master clock / divider and sequencer with a few odds + ends utility / randomness / sync functions).

2 Likes
#2542

ohhhh well that could easily be a sprawling topic…
here’s a few tidbits

  • plug in a usb numeric keypad for manual macros. very fun to have a bunch of weird things happen all at once when u mash some buttons. i know you can also use the function keys on a regular keyboard…

  • ecosystem coordinator via i2c - preset switching for trilogy / ansible modules + er-301 and just type wrangling. can take a while to setup, but great in a live setting.

  • setup a script that when fired will populate a pattern with random values 0-100, then use an external input (cv, knob, 16n) scaled 0-100 to filter with the logic “only fire a gate output if pattern value exceeds my current value." every time you fire that script you’ll get a new random gate sequence, and on top of that you can use the cv/param/fader input to filter how much of that gate sequence is revealed. does that make sesne? kinda hard to explain haha.

  • love drunk mode for stepping thru patterns

9 Likes
#2543

This really is the most refreshing, informative, inviting forum I’ve ever encountered!

2 Likes
#2544

Hi guys, been playing with my Doepfer basic system, but as I am pretty new to modular there are a few modules I am not using at all, can you please help me with that?

  1. A-160 and A-161: I understand what a clock divider is, but how to use the clock sequencer? The manual is not explaining this properly

  2. A-170: the slew limiter seems pretty useless to me. What do you use it for?

  3. A-115 and A-116: audio divider and waveform processor. These are pretty interesting, but with some type of sounds it seems to me they do almost nothing at all. How do you use them?

Thanks a lot

#2545

@WhiteNoise … all those modules are not only useful, but super useful. But it would be a heck of a lot easier to just show you than to write it all out! Here’s a start:

  1. patch the square of one LFO (or one of the oscillators if you want to go audio rate) to the clock divider; adjust the speed (frequency) of the LFO to taste; note the effect on both the divider and the sequencer; those are all triggers you can use for various rhythms (and other purposes), in conjunction with your trigger delay, the envelopes, and any other module you have or might acquire that can be activated by a trigger or gate

  2. slew limiters are an essential tool with many applications, but must people learn it in conjunction with pitch glide/portamento; if you have a keyboard with which to play your basic system (pitch cv/gate out), then try patching the cv (pitch) from the keyboard to the slew limiter, then patch the corresponding output to the pitch input on a VCO; raise Time on the slew limiter and note how the pitch now glides (slews) up and down more or less as you hold different notes on the keyboard; useful for “slowing down” and “smoothing out” the fluctuations of any CV signal (not just pitch); also works great with Sample & Hold output

  3. I believe the A-115 creates suboctaves off your VCOs—use it to fatten up the sound from a VCO (at low pitches, some of the suboctaves will be too low to be audible); I believe the A-116 is a distortion module with voltage control; try patching the output of one of your VCOs through it, play with the knobs, and listen to how the sound is affected; try patching some CV into Clipping CV or Symm CV (for example, gates from that clock divider)

5 Likes
#2546

Another thing to try is patch up @mdoudoroff ‘s first example and take one of the sequencer outputs into the other input on your slew limiter and take the output of that into a cv input on another module (filter cutoff for example for an immediately recognizable effect). Turn the knob(s) on your slew limiter- you’ll hear how the filter cutoff change goes from a hard sort of on-off (from the original square wave out) to a triangle type shape. Here you’ve changed a gate into a shapable envelope.

One thing that can be helpful is to get an oscilloscope plug-in on your daw (or a hardware scope if you’re nasty) and use that to look at what’s happening. For example try running a sin wave into your a-116 and see what changes.

2 Likes
#2547

You can use it with a gate signal to create an envelope (especially the bottom section with separate rise/fall time control). Or you can run an envelope through it to get a slower envelope, which can be nice if you want to modulate both level and timbre in a related way.

You can run audio into a slew limiter, and it acts as an envelope follower – a CV signal that rises and falls with the level of the audio. (Set rise time faster than fall time.)

3 Likes