OHEXOH wrote: ↑
Fri Jan 22, 2021 6:04 pm
Also - the whole cycle start and cycle end seems really clumsy - it's like it assumes you wouldn't want to work on the downbeat when in most instances you would.
It's not clumsy, unusual yes, but I find it pretty clever. I like Trigger Riot, because it takes basic modular techniques and abstracts/condenses these in a very usable package. You could create a similar trigger sequencer from modules in 120 hp like this:
TR takes this nice idea and improves it with precise shifting (clock shift) and most importantly with the ability to set the bar length. If you added a bar length counter to the clock divider in the above example, you would face the same downbeat/upbeat issues. I don't think it's that simple and have accepted the simple arithmetic calculation before each project as part of the game. Although the basic idea is explained pretty well in the TR manual, I also needed some time to wrap my head around it. Here are some examples of how I use it. I have TR synced to Pamela's workout permanently but it works the same with the A-190-8 midi clock.
Firstly to translate these numbers to their musical equivalent: 4 is always a whole note, 2 is half note, 1 is quarter note.
Let's say you want 16 bars of 4/4 with a kick on the beginning of every second bar (divider on 8).
You must set the start to this divider value and increment the end accordingly.
8 x 8 = 64
Cycle end: 64 + 8 = 72 Cycle start: 8.
If you had set end 20, start 4, the 8 divison would be exactly on the upbeat.
I really like odd rhythms like 7/8, 9/8, 5/4 etc. This is not always straightforward with clock, sequencer and divider modules. On TR it's easy - once you've done your little morning arithmetic.
For 8 bars of 7/8: 7 x 8 = 56. Start is on 7, so end must be 56 + 7 = 63
For 16 bars: 7 x 16 = 112, start is 7, end is 112 + 7 = 119
The rule of thumb to follow is: Take the number of the divider you want to be on the downbeat. That is start. Multiply it by 8 (or 4 or 16 depending on how long you want your pattern to be) and add the same number to it. That's end.
TR is fun and instantly gratifying to just jam out without setting the beginning and end, but there is no getting around this calculation if you want to use with a composed piece of music. I was syncing it to the DAW by recording and cutting the clock for a while. Recently I gave in and bought the A-190-8, both clocking methods work fine with TR as well as Pamela. However I couldn't get reset to work with A-190-8's signal. Some more random thoughts:
- At the beginning of each project, I set the beginning and end and copy this empty template to the 4 presets of the bank.
- Any division under half of end will vary, anything above the half plays only once. Set the basic 4x4 example from the manual (start 4, end 20). Set one encoder to 4, and another one on 9. Now change the 9 to 11. You'll hear that 9 shifts, 11 doesn't. The same goes for longer patterns. On 8 x 8 (end is 72), anything under 36 will shift, anything above plays once. It's quite logical, but took me a while to realize.
To end this post, I would like to repeat my plea to Tiptop Audio: Please do the little firmware upgrade where the long press on the mode button is sticky, without bouncing back to BPM mode. It will be better, I know it, you know it. I know you must be super-busy but please just remove the timeout. I volunteer to update the documentation.