Drum Programming with the li.leBits Sequencer module
Drum Programming with the li1leBits Sequencer module
Table of Contents Pages 3 – 8: 4-‐part drum pa1ern programming Page 9: Adding mutes Page 10: Adding variaHon
Drum Programming In this example we will use the Sequencer to program a 4-‐ part drum pa1ern. Modules needed: 2x Random/Noise 1x Power 3x Mixer 1x Sequencer 3x Oscillator 1x Latch 4x Envelope 1x Speaker 4x Wire 1x Delay 1x XOR 1x Double OR
Voice 1: Low tom To begin, a1ach a Power module to an Oscillator (set to Square, running at sub-‐audio rate), and use this to drive a Sequencer (set in Step mode).
To Speaker
Patch output 7 of the Sequencer to an Oscillator’s input, follow this with an Envelope and send its output to Mixer input 1. Tune the Oscillator to a relaHvely low pitch, and set the Envelope for no a1ack and a relaHvely short decay (around 30%).
Voice 2: High tom Connect a Latch to the Sequencer’s output 1 and use this to drive an Oscillator. Follow the Oscillator with an Envelope, and connect the Envelope to Mixer input 2. Tune the Oscillator to a higher frequency than Voice 1 and set the envelope similar to that of Voice 1 (no a1ack, medium decay (50%) The Latch will cause Voice 2 to trigger every other Hme Output 1 goes high. Also, it will allow for longer decay Hmes. Handy!
To Speaker
Voice 3: Closed hi-‐hat Keeping Voices 1 and 2 in place (omi1ed here for space), let’s add a pair of hi-‐hats. Connect the Speaker to a new Mixer while sedng up Voices 3 and 4.
Connect a Double OR’s input to Sequencer output 4, with a Wire from output 2 to the OR’s second input. Connect a Noise to the OR’s output, followed by a Filter and an Envelope. Patch the Envelope’s output to Mixer input 1.
To Speaker
The OR will cause Voice 3 to trigger at both outputs 2 and 4.
Filter tuning: turn the cutoff frequency down to around 50% and the peak to 0. Envelope tuning: a1ack at 50%, and the decay at 0.
To Speaker
Voice 4: Open hi-‐hat
Envelope sedng: a1ack at 50%, decay at 0
Connect an XOR to output 8, with a Wire patching its second input to output 6. Follow this with Noise and Envelope modules, sent to the Mixer’s second input. The XOR is funcHoning here as an OR gate and will trigger Voice 4 at outputs 6 and 8.
All 4 voices
To Speaker
Connect the output of the Mixers associated with Voices 1 + 2 and Voices 3 + 4 to a third Mixer, and connect the output from this Mixer to a Speaker. Mix to taste.
Adding mutes An Envelope will trigger if it senses a gate voltage at either of its inputs (Signal or Trigger). However, the Trigger input will override any gate sent to its Signal input. We can use this to mute and unmute voices at will: A1ach a module’s output (anything will do, but I’m using a Noise in this example) to an Envelope’s Trigger input, only do not connect anything to the input of this “trigger” source. The Envelope, expecHng to see a Gate here will “wait” for it, effecHvely muHng the voice. Handy!
Adding variaHon
Experiment with the Sequencer’s DirecHon control– pa1erns can vary wildly when running forwards, in reverse, in pendulum and, or course, in random mode. Random is especially interesHng when using Latch modules (such as in Voice 2), as the envelope Hmes will change depending on the gate length (i.e. how oken an output goes high). As such, the envelope Hmes for voices using Latch modules are randomized in this mode!
Table of Contents Pages 3 – 8: 4-‐part drum pa1ern programming Page 9: Adding mutes Page 10: Adding variaHon
Drum Programming In this example we will use the Sequencer to program a 4-‐ part drum pa1ern. Modules needed: 2x Random/Noise 1x Power 3x Mixer 1x Sequencer 3x Oscillator 1x Latch 4x Envelope 1x Speaker 4x Wire 1x Delay 1x XOR 1x Double OR
Voice 1: Low tom To begin, a1ach a Power module to an Oscillator (set to Square, running at sub-‐audio rate), and use this to drive a Sequencer (set in Step mode).
To Speaker
Patch output 7 of the Sequencer to an Oscillator’s input, follow this with an Envelope and send its output to Mixer input 1. Tune the Oscillator to a relaHvely low pitch, and set the Envelope for no a1ack and a relaHvely short decay (around 30%).
Voice 2: High tom Connect a Latch to the Sequencer’s output 1 and use this to drive an Oscillator. Follow the Oscillator with an Envelope, and connect the Envelope to Mixer input 2. Tune the Oscillator to a higher frequency than Voice 1 and set the envelope similar to that of Voice 1 (no a1ack, medium decay (50%) The Latch will cause Voice 2 to trigger every other Hme Output 1 goes high. Also, it will allow for longer decay Hmes. Handy!
To Speaker
Voice 3: Closed hi-‐hat Keeping Voices 1 and 2 in place (omi1ed here for space), let’s add a pair of hi-‐hats. Connect the Speaker to a new Mixer while sedng up Voices 3 and 4.
Connect a Double OR’s input to Sequencer output 4, with a Wire from output 2 to the OR’s second input. Connect a Noise to the OR’s output, followed by a Filter and an Envelope. Patch the Envelope’s output to Mixer input 1.
To Speaker
The OR will cause Voice 3 to trigger at both outputs 2 and 4.
Filter tuning: turn the cutoff frequency down to around 50% and the peak to 0. Envelope tuning: a1ack at 50%, and the decay at 0.
To Speaker
Voice 4: Open hi-‐hat
Envelope sedng: a1ack at 50%, decay at 0
Connect an XOR to output 8, with a Wire patching its second input to output 6. Follow this with Noise and Envelope modules, sent to the Mixer’s second input. The XOR is funcHoning here as an OR gate and will trigger Voice 4 at outputs 6 and 8.
All 4 voices
To Speaker
Connect the output of the Mixers associated with Voices 1 + 2 and Voices 3 + 4 to a third Mixer, and connect the output from this Mixer to a Speaker. Mix to taste.
Adding mutes An Envelope will trigger if it senses a gate voltage at either of its inputs (Signal or Trigger). However, the Trigger input will override any gate sent to its Signal input. We can use this to mute and unmute voices at will: A1ach a module’s output (anything will do, but I’m using a Noise in this example) to an Envelope’s Trigger input, only do not connect anything to the input of this “trigger” source. The Envelope, expecHng to see a Gate here will “wait” for it, effecHvely muHng the voice. Handy!
Adding variaHon
Experiment with the Sequencer’s DirecHon control– pa1erns can vary wildly when running forwards, in reverse, in pendulum and, or course, in random mode. Random is especially interesHng when using Latch modules (such as in Voice 2), as the envelope Hmes will change depending on the gate length (i.e. how oken an output goes high). As such, the envelope Hmes for voices using Latch modules are randomized in this mode!
