Richard has summed this up quite nicely. I've found that a S&H alone
is not enough to get "controlled chaos" with interesting patterns. I
typically use a bunch of CV processors to generate events in response
to a specific range of control voltage. The best tools I've found,
thus far, are:
1. A bunch of MOTM-320 LFOs all feeding back into each other. This
provides random voltages that go from .01 Hz to 3KHz without any
discernable pattern or fixed length of time at any frequency. The
pulse outputs generate random triggers. Have a listen to my "two
drunk robots" patch.
2. A miniwave or two (or four) to quantize some of the random
voltages. Miniwave is also good for generating events within a
specific voltage range (using MARF discriminator in Socket Rocket
PROM).
3. A couple of MOTM-700s to dynamically reconfigure your random event
generators while they're running. I can't live without those.
4. A few MOTM-830 or Oakley multimix for (statically) combining
several sources, adding offsets, and scaling down the chaos.
5. Some DC-coupled VCAs to dynamically scale the random sources.
6. And of course some EGs, MOTM-800s or Encore UEGs, to shape those
square waves into something a little more interesting.
Unfortunately, it does require quite a bit of hardware to get the
really interesting patterns going. But it's a blast. Patch and
fiddle, patch and fiddle, that's where the magic happens.
At 8:10 PM -0400 2004/04/13, Richard Brewster wrote:
>I work within the following self-chosen limitations: no keyboard, no
>MIDI, no sequencers. The challenge is to generate interesting rhythmic
>patterns, melodies, chord progressions, and timbre changes without any
>of these traditional devices. The basic tool for this is the clocked
>sample and hold. But it needs taming if it's not to be overly chaotic.
>
>You have the basics for a simple self-running patch. Use your LFO
>square wave as a clock to the S&H, and also to trigger the EG. Patch
>the S&H output to control the VCO frequencies. Mix the VCOs through a
>filter into the VCA, controlled by the EG. It would be nice to have a
>second EG on the filter frequency, too. You'll get a random sequence of
>notes. Very basic, but the heart of a self-running patch. If the LFO
>has voltage control, try controlling it with the S&H output also, to get
>a chaotic rhythm. If you use a second LFO as input to the S&H instead
>of noise, you can produce repeating patterns. To make this very musical
>requires more modules. Instead of a regular or chaotic beat, you can
>rig up some syncopation. John Loffink posted a patch a while back that
>uses the MOTM 700 for this. I have that patched up right now in fact.
>If you want scale tones, you will need a quantizer. The Blacet Miniwave
>does a nice job here. For complex chords, you will need several sample
>and holds or a special purpose module such as Ken Stone's Infinite
>Melody, which I personally use a lot. The IM has four stepped outputs.
>I will typically run two of these through two Miniwaves to get two
>quantized CVs, and then shift-sample them to produce 4 CVs to drive 4
>VCOs. That can produce very nice complex chord progressions. I often
>use the IM outputs directly, too, without quantizing. The final touches
>involve timbre changes driven by LFOs, EGs, or more random sources.
>When I patch up somehing like this, it usually takes a while, fiddling
>with all the knobs and switches, to get it into a sweet spot. But the
>result often amuses and amazes me.
>