mekohler wrote: ↑
Mon Feb 03, 2020 12:54 pm
What exactly can be sequenced with the internal sequencer?
GREAT QUESTION !
The reason you'll almost never catch me referring to it as a "sequencer" is because people approach sequencers with the feeling that they can either run it or not run it. Sequencers are meant to impose change in a constant pattern. Or they are off.
It's best to consider the TE-2 as having "positions". There are 8 of them. Then we use positions either stably or in motion.
When you power up the TE-2, you're automatically in position #1. It will stay in position #1 forever unless you change that. Similarly, you can put the TE-2 in one of the other positions #2-#8 by pressing the #button. The machine will stay in that position forever unless you change that. Or turn the TE-2 off.
But backing up...
When you power up the TE-2, you can just focus on the main knobs at the bottom as if the whole thing was just that itself.. A tape echo with just those knobs. This is position #1. You can ignore the upper stuff completely. You also don't need to patch anything.
If you select a parameter with the White toggle switch, and turn on that set with its button so that its LED is on, then every time you move to a different position #2-#8 you are then controlling said selected parameter with your #'d fader.
Example: Put the White toggle in "TM" (TIME), and turn on that set with the button so the LED is illuminated. Now your White set is on, but the other two sets are still off. Now look at all white faders.. so that's #2, #3, #4, #5, #6, #7 and #8, White faders only. Assuming you're starting from position #1, press #5 and instantly your White fader in the "5" column controls TIME as if it were the main knob and you ignore the main knob now. So if you' were coming from #1 and your main TIME knob was around the middle (12 o'clock) but your #5 White fader is around 3/4 up, when you jump over to #5 (by pressing the #5 button) you will increase your TIME setting a bunch.. by 1/4 turn. From 1/2 to 3/4. It will then stay there forever in position #5 until you switch to another position. So back to starting from power up and already in position #1... If you press #5, #1, #5, #1 back and forth over and over by hand pressing the buttons, your TIME (delay length) setting will go back and forth between the main TIME knob setting (#1) and the #5 White fader setting.
In one way, you can think of this as if they are presets in a plugin. In the above example, the White faders can be considered as 7 alternate settings for the TIME parameter. You could go to #2, send in some snare drums into the TE-2 and get the delay TIME setting you want using the #2 White fader and leave it there, then later in the day go to #3 and send in some pre recorded vocals and get the delay TIME setting you want for it using the #3 White fader and leave it there, then perhaps the next day send in some mono synth and set up White fader #4 for the delay setting you want and leave it here, so on and so forth with all the White faders. You have up to 8 positions to consider as TIME presets. The main knob, then #2, #3, #4, #5, #6, #7, #8 White faders can be left in place for instant recall.
You can also switch the White toggle to RS (LPF Resonance) or MA (Modulation Amount) and treat the White faders in the above "8 presets" approach but for that parameter instead.
You also have Grey faders, which can control FB (Feedback), MS (Modulation Speed) or LP (LPF Cutoff), and can be arranged in the same manner as above. And then you have the Black faders, which can control TP (Tape level), DR (Dry Level) and HP (HPF Cutoff) and used as above.
The White set, Grey set, and Black set can each be turned on or off independently. So by having just the White set turned on, only your selected White parameter will change when you press different #'s by hand. But if you also have the Grey set and Black set turned on, you'll have three parameters changing positions and thus changing settings.
So all of that can be considered as "presets" and don't require motion to be usable. In the plug-in "storage" approach, you could for example have Resonance, Low Pass Cutoff, and Tape Level all be pre arranged in 8 different configurations that are recallable by pressing the # button that you want to hear.
You can start to of course use this in the context of "playing" the machine.. If you focus on just one set, perhaps just the Grey set with LP selected, turn it on and keep the Black set and White set off, have a bunch of Resonance turned up fully or mostly fully so that your LPF cutoff is either self oscillating or at least nice and apparent, then have 8 different settings in place for the cutoff with your Grey faders since that's what it's controlling, you could use your left hand at the 1-8 buttons to flip around between 8 different cutoff frequencies of the filter however you want. You could use it for making hard changes per measure of a song in a live electronic set, or you could change it for whole long segments of music that have sensitively established cutoff points that aren't that easy to dial in quickly on the fly. You'd know they were there, perhaps while on stage, and could engage the cutoff point by pressing the button # you wanted. That's a it of a crude example since dialing in a cutoff point might not be that hard really, but you get the idea.
To take things to more musical refinement... There are Drift (slew) pots for each set. The White set, Grey set, and Black set each have a slew pot. The slew is directly after the output of the Set CV and is in line before it hits the selected parameter. In the above example of using the Grey set to shift between 8 different positions/settings of LPF cutoff and with some resonance turned up on main RES knob, you could turn up some slew for Grey set and there would no longer be hard changes between different LPF cutoff settings. There would instead be some slew/drift between them. You can turn the Drift up just a little bit to smooth the transition, or you could turn it up pretty high and have say 6 seconds of time that it takes to reach the position's setting you just pressed. Make sense? So... if you're sitting in #1, your LPF cutoff is sitting in a certain spot, and you press #5 to go to #5 Grey fader's LPF cutoff setting, and you have the Drift up say 3/4 for the Grey set, it will take several seconds for the transition to occur. Since the resonance is up high, it'll sound just like a classic filter sweep that takes several seconds to transition between the two settings.
This is all still just using the positions in a stable context. When you have all three sets active, it can get very complex but it can also just be more musically usable. You can use the TE-2 as a cassette synthesizer by playing back a pre recorded pitch on tape... Have the White set on Time (pitch), the Grey set on Low Pass Filter, and the Black set on Tape Level, and have 8 different positions to "play" by hand using the 1-8 buttons. In that arrangement, that's having "pitch, tone, and volume" available making for a dynamic playable situation using buttons #1-#8. Then, if you introduce different amounts of Drift on each pitch, tone, and volume, you can get some organic transition between 8 positions, and they don't need to be the same.
Eventually, it made sense to be able to have positions change on their own, which led to the Cycle. When you run the Cycle, it constantly moves to the next step just like any basic sequencer. In the context of the TE-2 it changes the position of the machine just like pressing a #1-#8 button. There is a rate knob which allows for very slow stepping at minimum (many seconds), and very fast stepping at maximum (audio rate motion). There is a rotary knob that selects what the last step will be, so that you can limit it to being a #1-#2 trade off back and forth, a full #1-#8 cycle, or anywhere in between such as #1-#6. You can think of the Cycle as modulation. If you for example have your LPF cutoff chosen for your Grey set, and your resonance is self oscillating, you could crank the rate up so that you have some pretty rapid change.. you'll have essentially a square wave of LPF cutoff change. But if you introduce some Drift to that Grey set, you'll get this video below.. So that's a cassette simply playing back, and the Res controlled by hand so it's more apparent sometimes, and the Grey set hitting LPF cutoff with rapid changes back and forth from #1 and #2, through some drift. It's also one other thing.. which is some cross patching of faders/sets, which we'll get to in the manual ...