So a slew-limiter just limits the rate of change in a signal. If you do this to a pitch for a voice, that’s portamento - but you can do it to any signal in eurorack. With Maths you can just run a signal through channels 1 or 4 and use the rise/fall knobs to control how fast a signal goes up or down.
Thanks! That makes sense. Can you make an example where this is useful with voltage instead of pitch?
Sure, but that’s closer to what most people consider to be audio bleed. You could re-amp it, ad some interesting effects and make it useful, but I wouldn’t describe that as a filter.
Sure - let’s say you want to use an envelope follower on an audio signal to control a filter. Your envelope won’t be smooth at all - it’ll likely be a jittery mess. If you run this signal through a slew-limiter you can reduce the amount of movement to something less “wattery” and more musical.
Nice! Thanks for the explanations
hummm. only got a MN function here right now, but if if have rise/fall ccw and log/exp on lin, i get a perfectly fine version of the audio signal i’m piping in (maths should do the very same). now you increase rise or fall or both and the slew of the audio rate waveform takes away overtones. same as with a slow cv signal such as v/oct pitch, just very fast. — or am i missing something?
There’s some discussion on slew limiters v. LPF on MW, and essentially you’re right: you can use a slew limiter as a LPF of sorts. It doesn’t function the same way, but it would certainly lower the fidelity of the wave(s) you send it
Agreed. Excellent reminder that patience persistence are key here.
But I’m curious: have you found any arcane maths patches that you consistently return to that can’t be duplicated by other, smaller, more straight forward modules?
love love love maths – just mostly as a utility bank.
No, because I don’t approach Maths or modulars with much intentionality, to be honest. I can’t scientifically explain what I’m doing most of the time, let alone reproduce it. I’m very much a “what happens if I try patching this into this? Now is that doing something interesting and musical?” sort of person and in the moment I usually don’t have a specific sound design goal that I’m trying to problem solve, or if I do it’s more of a feeling than something articulable. That has its charm, and can lead me down some strange and wonderful paths during a good session. But I know that having a real familiarity with the module and how to route it will get me into galaxy brain mode.
It’s hard to explain or defend, but I feel like having a discrete set of small utility modules instead just wouldn’t engender that kind of intuitive musical exploration in the same way. Maths has one of the most well-thought-out layouts I’ve seen in all of Eurorack, and the way that layout encourages cross-modulation is really noteworthy. Even if your hands are moving faster than your brain is processing, the musicality and instinctuality is high with this one. Routing the output of one channel into the trigger of another will usually create a self-evolving feedback loop that you can further adjust or modulate organically. It approaches that philosophy of an intuitive modulation ecosystem that people find so inspiring about Buchla systems.
I have a question on how to accomplish “glides” with Maths, if it is possible at all.
I am sending CV changes from a sequencer to an oscillator (changing wave shape) and with each step the CV value jumps instantly from one value to another. I’d like the value to morph, or glide, or slide from one value to the other for each step.
Is this possible with Maths? I know you can accomplish slope with it, but am unsure if that is what I need.
thanks for your ideas!
yep! patch through channel 1 or 4’s signal input and adjust rise/fall/curve to taste. you can even get funky and sequence the changes by controlling the amount of glide with CV
Cool, I tried that but it didn’t seem to work so I thought I was doing something wrong … but I’ll try again when I get home tonight! Glad to know I’m on the right track.
I really like this type of patch:
Patching the output of channel 1 into a VCA. then using channel 4 to trigger both the cycle and fall of channel 1 to give an odd slewed ratcheting effect (i generally use the attenuated output for the fall). It gets more interesting using different gates for each channel and then cross patching the output of 1 back to the rise or fall of 4 attenuated through channel 3 or 4.
There are loads of great rhythmic spots in a patch like this that are great if a little inspiration is needed.
Subdivision of signal in is really cool when its only a broken fractured sub within 1mm of wiggle. This and the lo-fi filter have that unique MN sound
actually enjoyng a bernoulli gate implementation: ch1 as comparator and ch4 as logic invertor with ch1 eor to trig ch4
I assume you could use Optomix as the VCA, right?
yes, any vca is good
Does anyone know of any interesting patch techniques for a dual Maths setup?
Yeah… I have both.
One reason is stated above - I came to get funky, in which case I will cross patch maths into some ridiculous arcade trill, but sometimes, I just want a simple adsr to open a vca or modulate a filter or whatever, in which case, I’ll use peaks or 2hp adsr (actually an AWESOME, plucky little f#$%er if your case is deep enough). Another stoopid fresh FG is Quaid megaslope by alm, it does some funky shit of it’s own. Also, @steveoath, that picture is Hardcore AF. I know the singer has one hand behind his back.
100% true lol. That’s from my first gig with my prepandemic new band. Haven’t rehearsed since covod though.