Drezno does work as an S&H. The Link button automatically patches the digital outputs to the inputs, so you don’t need extra patch cables. You’d have to adjust the gain and offset if you want it to be accurate though.
I did want to make a dad joke about this setup but it was it too much Erfurt.
That’s a hard post to follow! I will, however, make an Erfurt of my own. You never Drezno.
I’ve been getting interested in the Drezno for rhythm and groove generation. It seems that most of the examples on this thread veer more experimental. I’m not looking to make EDM or anything but I do prefer a more hypnotic/repetitive feel. Can anyone point me to musical examples of that sort of thing?
“ADC Patch 2” is a decent example of this.
You can get a repetitive feel by using a signal into ADC In that is related to or synced to the ADC Clock In in some way. For example, if you have a Pam’s Regular/New/Pro Workout, you can use an one channel as a clocked LFO, and another as a clock source. Otherwise, I’ve also had good results sending a trigger to the SYNC input of an oscillator in LFO mode every 8 or 16 clock cycles. Obviously the LFO output then goes into the ADC in. You can use a really slow sequencer to get different rhythmic sections.
I’m currently fooling around with the “alternate universe version of Clep Diaz”.
Here’s a writeup and demo at its most rudimentary and pedestrian:
I have the binary output of Lipsk connected (ribbon) to the binary input of Erfurt, and the binary output of Erfurt connected (ribbon) to the binary input of Drezno. (The ADC on Drezno is not part of this application.)
Link on Drezno must be on. The internal clock on Erfurt is shut off.
Lipsk sets how quickly Erfurt counts up (or down). Erfurt is incremented/decremented per note, or per phrase (or whatever amuses you). What’s coming out of Drezno’s DAC is a bipolar stepped voltage.
That voltage will have to be attenuated and offset, depending what you want to do with it. (You can try to get a head start with the GAIN and OFFSET on Drezno, or you can just set the GAIN at max and offset at min and deal with it downstream.)
The number of steps in the sequence depends on the bits you set with Lipsk. You can get a highly regular pattern, or a less regular one that “phases” as it wraps around 0/256. (If you look carefully at the oscilloscope plot, above, you’ll see I’ve got three steps slowly phasing upwards.) You can employ the RESET on Erfurt if you like, to zero it out periodically (zero may or may not be a value you want to hit very often—again, it depends what you’re doing with the CV from Drezno).
You can also tap the bit outputs from Erfurt for all manner of nefarious shenanigans.
In this clip, a rudimentary four step sequence with a triangle wave plays. Initially, it is unmodulated.
After ~14 seconds, I plug in the attenuated, offset CV from Drezno into a VCA and each note gets its own amplitude.
Some 15 seconds later, I route a copy of that CV to a wave folder amount parameter.
Finally, about 50 seconds in, I connect an effects send VCA to one of Erfurt’s bit outputs so that some notes get sent to a delay.
Hi, I’m new to the subsystem, watched some videos and read the modules descriptions but it seems so esoteric and I would like your advice.
I have Moskwa 2 + Ostankino and while experimenting with the 8 outs I tried the bit out and I ve had lots of fun by either self patching ostankino or by sending those micro patterns into the rate of contour 1 or to the complex oscillator timbre input. The output seems to be like a one shot random stepped lfo. Now I m looking for a Leibniz module that could make these bit outs even more fun, cv wise, I’m not necessarily interested in sound generation. Is it Jena the module I’m looking for?
There’s no wrong answer, per se. Each Leibniz module does something with the bus, but there’s little implied purpose—you have to supply the purpose. So, the question is whether you can see value in having Jena remap the bit outputs from Ostankino into another pattern (at whatever rate you’re running Moskwa). You’d get another set of eight bit outputs.
Depending on what interests you, you might be as well served by a logic module, a gate skipper, or other non-Leibniz utility to patch the Ostankino bit outputs through.
Thanks for your answer. After some research I realized I would also need Drezno for digital to analog conversion and the other way around.
I will pass it for now as my rack space is limited and use ostankino trigger outs or bit outs to trigger events further to other sewuencers/envelopes/sequential switches in my rack.
LE: Let me give you some context of what I hoped to achieve with Ostankino and Jena:
- connect them with the Leibniz bus
- convert the bit outputs from Moskwa via Osta to walsh functions and send them to my Verbos harmonic or complex oscillator freq cv inputs/timbre/harmonics
I just ordered a few of the subsystem modules and racked up Drezno. (waiting on more of the system). within a few min of fussing around I have Harmonic Oscillator dancing by feeding ADC outs to individual bands on the HO. I have lots to learn, but I think this system will be a heck of a lot of fun.
I know it has been stated that the connection / chain order options are deep but wondering if any one has thoughts on a few setup configurations. I just got the rest of the collection to add to Drezno and am wondering what might be a good first try at something flexible. So far i am more focused on the sub audio results and also have Moskwa 2 and Ostankino 2 to integrate. Im sure I will end up trying a few chains but figured someone may have advice.
Loving these bits!