<div dir="auto">In the example of a pentatonic scale, the octave range would be divided in to 5 steps.<div dir="auto">If the input value was exactly at the midway point, it would take the middle note of the scale.</div><div dir="auto">If the input was half way between 2 notes, it would first look down one step to see if there was an allowable note. If no note was there, it would look up one step. If no note was found it would look down two steps, if no note was found, it would look up two steps and so on. It would keep widening it's search up and down until it found a valid note to output.</div><div dir="auto">In the synthimuse, I added a randomisation to the first step so it didn't always go the same way. Sometimes it would start looking down, other times it would start looking up.</div><div dir="auto">The only thing I didn't like about this approach is that it can take an indeterminate number of steps to get a note. </div><div dir="auto">For a 12 tone chromatic scale : 1 step</div><div dir="auto">For a worst case 1 tone scale, it could take up to 11 steps.</div><div dir="auto">The routine above was some of the cleverest in the design but I can't take credit for it. A colleague gave me the algorithm when I described the problem to him. :-)</div><div dir="auto">Gerry</div><div dir="auto"><br></div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Mon, 20 Sep 2021, 20:44 Didier Leplae, <<a href="mailto:didierleplae@yahoo.com">didierleplae@yahoo.com</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="auto"><div dir="ltr">I’m not sure how successive approximation works. </div><div dir="ltr">But if you are hunting for the nearest note and some are further apart than others, won’t the result still be that some notes take longer to reach than others?</div><div dir="ltr"><br></div><div dir="ltr"><br><blockquote type="cite">On Sep 20, 2021, at 2:19 PM, The SynthiMuse <<a href="mailto:synthimuse@gmail.com" target="_blank" rel="noreferrer">synthimuse@gmail.com</a>> wrote:<br><br></blockquote></div><blockquote type="cite"><div dir="ltr"><div dir="auto"><div dir="auto">Hi Didier</div><div dir="auto"><br></div>I'm not sure how Jean-Pierre dealt with this issue but in the Synthimuse, I gave each note in the scale equal weight and 'hunted', by successive approximation to find the note that equated closest to the input value. <div dir="auto">The SM had ( who knows, it may have again if I can get my finger out :-) ) an analog input so it's similar to the situation that Jean-Pierre is dealing with.</div><div dir="auto">Gerry</div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Mon, 20 Sep 2021, 19:45 Didier Leplae via Synth-diy, <<a href="mailto:synth-diy@synth-diy.org" target="_blank" rel="noreferrer">synth-diy@synth-diy.org</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">That’s really beautiful! I have a question for you.<br>
<br>
I was working on a eurorack quantizer a while back but never finished. On mine, if I were doing like you are in the demo, feeding a slow triangle LFO into the quantizer, and having it set to a scale with some uneven intervals (for example any diatonic scale) then the time that each note holds is also uneven (proportional to the size of the interval. <br>
I’m guessing you have programmed yours to compensate for this. Can you explain a bit about how that works? Also, how does this play out if you input a sequence with uneven durations for example?<br>
<br>
> On Sep 20, 2021, at 8:54 AM, Jean-Pierre Desrochers <<a href="mailto:jpdesroc@oricom.ca" rel="noreferrer noreferrer" target="_blank">jpdesroc@oricom.ca</a>> wrote:<br>
> <br>
> Thank you Roman !<br>
> <br>
> JP<br>
> <br>
> ******************************************************<br>
> <br>
> -----Message d'origine-----<br>
> De : Roman Sowa [mailto:<a href="mailto:modular@go2.pl" rel="noreferrer noreferrer" target="_blank">modular@go2.pl</a>] <br>
> Envoyé : 20 septembre 2021 05:46<br>
> À : Jean-Pierre Desrochers; <a href="mailto:synth-diy@synth-diy.org" rel="noreferrer noreferrer" target="_blank">synth-diy@synth-diy.org</a><br>
> Objet : Re: [sdiy] Introducing my new M116 Multi-Scale Quantizer !<br>
> <br>
> Always a pleasure to watch.<br>
> Thanks for posting it.<br>
> <br>
> Roman<br>
> <br>
> W dniu 2021-09-17 o 20:55, Jean-Pierre Desrochers pisze:<br>
>> Hi all !<br>
>> <br>
>> After around 4 months of work..<br>
>> <br>
>> Introducing my new *M116 Multi-Scale Quantizer* !<br>
>> <br>
>> It contains 25 selectable scales listed here:<br>
>> <br>
>> */Semi-Tones/*<br>
>> <br>
>> */Whole-Tones/*<br>
>> <br>
>> */Pentatonic major/*<br>
>> <br>
>> */Pentatonic minor/*<br>
>> <br>
>> */Heptatonic major/*<br>
>> <br>
>> */Heptatonic minor/*<br>
>> <br>
>> */Triad major/*<br>
>> <br>
>> */Triad augm./*<br>
>> <br>
>> */Triad minor/*<br>
>> <br>
>> */Triad dimin./*<br>
>> <br>
>> */Augmented/*<br>
>> <br>
>> */Diminished/*<br>
>> <br>
>> */Athar Kurd/*<br>
>> <br>
>> */Kumoi/*<br>
>> <br>
>> */Hon-Kumoi-Joshi/*<br>
>> <br>
>> */Egyptian/*<br>
>> <br>
>> */Nikriz/*<br>
>> <br>
>> */Persian/*<br>
>> <br>
>> */Hebrew/*<br>
>> <br>
>> */Dorian Mode/*<br>
>> <br>
>> */Phrygian Mode/*<br>
>> <br>
>> */Lydian Mode/*<br>
>> <br>
>> */Mixoydian Mode/*<br>
>> <br>
>> */Locrian Mode/*<br>
>> <br>
>> */Gypsy/*<br>
>> <br>
>> It also offers:<br>
>> <br>
>> 0 to +8.00vdc CV IN / OUT span<br>
>> <br>
>> Lag control on quantized output<br>
>> <br>
>> 12 transpose keys from G to F#<br>
>> <br>
>> Gate IN / OUT connectors<br>
>> <br>
>> MIDI output (16 channels)<br>
>> <br>
>> You can watch a Youtube demo HERE <br>
>> <<a href="https://www.youtube.com/watch?v=UxPzGvb0HrQ" rel="noreferrer noreferrer noreferrer" target="_blank">https://www.youtube.com/watch?v=UxPzGvb0HrQ</a>>.<br>
>> <br>
>> <br>
>> The fact that all generated quantized notes are ‘IN TUNE’<br>
>> makes this module very ‘musical’..<br>
>> <br>
>> I’m very happy !!!<br>
>> <br>
>> Thanks for watching.<br>
>> <br>
>> JP<br>
>> <br>
>> <br>
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> <br>
> <br>
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