uncoupledQuantization.vcv (126.0 KB)
I can’t be the first person to think of this. The Frozen Wasteland Probably Note sequencer just makes it easier, because it has a polyphonic sample & hold of incoming pitches. In other words it needs a trigger to grab pitches from the input.
The basic idea is this: You have one sequencer sending out pitch information. It’s receiving one clock, in this case 11x – or basically really fast. So the pitch potentially chnages every 1/11th of a beat.
You have another sequencer (in this case an Autoadafe Trigger Sequencer) that’s getting a 4x clock which is a 16th note pulse. The trigger output is used to tell the Probably Note when to sample the pitach from the NoteSeq16. That same trigger is used to trigger the Vult Slap Envelope/VCA.
You’re sampling a changing Pitch CV at a different, slower rate than the Pitch CV is changing. Just as with audio sampling, you get a distorted sample of the input because the sample clock runs at a different (slower) rate than the clock changing the pitch. The same issues with the Nyquist limits apply, except instead of an audio signal distorted with aliasing, you get a stream of notes that are a distorted version of the sequencer output.
Because it’s what I do, I make things even wonkiier by taking the logic ‘OR’ of 2 rows of the Trigger sequencer. The second row’s triggers going through an Audible Instruments Bernoulli Gate to add a bit of controlled randomness.