#21

Yes, volume can be one aspect - some of the “human ratchets” I’m thinking of might increase in volume over the course of the ratchet. Some stay the same as close as possible. But the timing this I was suggesting is more aligned with what @Gahlord said about laid back / in the pocket grooves in jazz. If instead of dividing a quarter note into four “16ths” represented by percentages:
23 23 27 27
as I suggested (with the played pickup just a bit quicker, giving a feel that the tempo of the whole part is faster than it actually is), you play it
27 27 23 23 . [or 27 26 24 23, good to experiment here]
you get a more laid back sense that the piece is more lazy/relaxed and slower tempo than it is. Both are musically meaningful… For “some” hypothetical rhythm sequencer it’d be awesome to spit a cv change and switch between ahead/on/behind the beat.

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#22

Would love that CV to be a continuous thing instead of a switch so that I could feed it a very very subtle LFO that was out of sync with the clock such that the thing has a range of aheadness or behindness without rushing or dragging.

#23

Reading through this thread, I keep wondering if you’ve seen Steevio’s tutorial video on yt. He works in modular, the tutorial is an odd meter piece, and he swings each step in his clock a little differently. His is a simple solution: swing the clock, and let the odd meter work itself out from there.

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#24

Here’s another thought, by no means strictly technical but more of a feel thing.
Take a 1/4, 1/2 or 1/8 note clock however you chose to generate that and reset another faster square LFO to generate the subdivisions. Combining those clocks together can create all kinds of cool grooves. Another oldie but goodie and personal favorite of mine is the Pittsburgh Modular VILFO or more specifically the Chain Reactor (2 VILFO & 2 LFO) The “voltage influence” gives all sorts of weirdly organic feels. Subtle shifting of the wave shape gives even more variation of push and pull.

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