Both: Panel design - use the convention of light borders for input jacks and dark borders for output jacks. [later] Oh, wait … I guess you do do that, but the difference between the dark purple and black is so slight that it’s hard to tell. Does the purple actually get darker in the middle, or is it just an illusion? Also, maybe a bit more contrast on the slide switches. I like the knobs though.
Yes, they are darker in the middle, there is a linear gradient, “inspired by” Vult. Of course Vult does not visually differentiate the outputs at all.
On these panels I’m trying to strike a bit of a balance: My old modules had a very plain and straight-forward look. I wanted them to be functional, and be kind of in the universe of VCV. But everyone thought they were terrible looking. With these ones I wanted them dark, and not quite as ugly. It’s true the visual contrast isn’t as good as the old modules, but the black around the outputs is visible. I hope they are reasonably usable. I also don’t want to spend forever making these panels. The old panels, ugly as they were, went through many rounds of testing and external feedback for each panel. no more!
Anyway, tx for looking at these and giving me some feedback.
“I’d change the CV labels to “V/Oct”. “CV2” is fine though,”
I’m not morally opposed to that, but technically there is nothing special about CV1 - it’s true most ppl will use it as a V/Oct, but it could be any CV. That said, 99% of the time ppl will use it as a V/Oct, at least at first.
Okay. But what else could it be used for, since the module’s purpose is to manipulate note signals (whether musical or not)? I’m not trying to be argumentative, I’m genuinely curious about what that 1% application might be.
Then again, “V/Oct” is nearly twice as wide, so “CV” does save some real estate. Unless you make it “V/O”.
well, I’m not sure… But I think of the arpeggiator as a sequencer. The only thing that really makes it an “arpeggiator” is that is has many more playback “modes” than most sequencers, and the way you “clock data” into it is with the gate and CV that come out of a keyboard.
But why should it be limited to pitch information? Couldn’t it be any information? (other than the practical point of not knowing how data would be into it…) What if it didn’t need a gate at all, and it just “arpeggiated” the data from the (up to) 16 voices on the poly CV1 input? (as an option).
Anyway, it is missing any features that would make it a general sequencer?
[ I’m hoping someone much more creative than me will do this ]
Later on I thought of how one could feed CV(1) with values destined for a clock’s BPM input, for some repeatable tempo changes. Or a VCA’s level control.
And, yeah, it is very like a sequencer but with a wider variety of sort orders.
As I continue testing Arpeggiator, I have run into a situation that I do not currently understand whether this is a bug or not. Should I be able to switch the polyphonic CV input to Arpeggiator between 3 and 4 note chords on the fly? It seems that even when I switch from a tetrad to a triad that the 4th note continues to be played by Arpeggiator. Since in my current use case the tetrads are 7th chords, that continuing 7th note is irritating and discordant.
It is difficult to create a simple patch to demonstrate this and it relies on a new ability of Meander which is not in the library yet. I have modified Meander to send the harmonic progression “degrees” (I-VII) and the correct chord type (maj, min, dim, 7th and variants) for that degree and scale out from inside of the circle of the circle-of-fifths widget. Currently only the Aaron Static ChordCV and DiatonicCV together can understand understand degree and chord type. The proper degree and chord type are working correctly, but then when I feed to Arpeggiator, I get the 7ths stuck in the pattern loop.
So, the simple question is how Arpeggiator handles a polyphony change on the fly?
Interesting. Arp only looks at the CV input when the gate goes from low to high. I don’t think anything that happens with the CV can have any effect at other times.
Are you saying the intput is; (4 note chord) → gate low to high → three note chore → gate low to high - that sticks the fourth note? Or is it:
4 note chord → gate low to high → three note chord - now the fourth note is stuck because there has been no gate?
I would like to know which case you are talking about. The first would clearly be a bug, the second a… limitation? feature request?
Let me know what change you are looking for to make this work. Even it it’s a “new feature” that’s fine. btw, does the block diagram in the manual explain any of this? If not I should either update the diagram or add some words about this.
I definitely get better results using a mono gate on Arpeggiator. But, I cannot really determine what is going on other than once the 7th of the 7th chord is in the arp notes list, it remains even if the input changes to a triad. A reset cannot clear the 7th out.
I could make a minimal patch that shows the issue if you have the Aaron Static plugin installed, or if you have a preferred chord generator that can be switched between triads and tetrads. A 7th tetrad is the best to use because it is audibly obvious when the 7th keeps being played by the arp.
BTW, I have Beats and Notes set to the “natural” setting.
Can you express in words what you want to happen, and what the problem is? Is it that when the mono gate goes high it should shut off the fourth voice as there is no vc input? I really don’t understand. Surely it can be written down in a sentence? Like I tried to do above? Just in terms of what coming into Arp and what’s going out?
Btw, is the clock delay enable? I notice the same signal going into clock and gate in the patch. Should work without the delay… just curious.
Yes, but you expect it to stop when? When the 4th input goes away, or when a clock comes along and the 4th input has already gone away? I’ll look for obvious bugs l this weekend.
I think I would be fine with either option. But, I think it is a matter of how the input notes are buffered as a list for the arp to use and what resets that list when the number of channels changes. I could be wrong. Thanks. For the time being I will concentrate on just triad chords as those seem to work fine in my use case.
Are you saying it would be handy if all notes stop playing when the number of input channels changes? It’s a little special case, but maybe? First I’ll look for bugs…
I’m not sure. Right now it is that the invalid note will be included in the arp from now until I reload the patch. There may be more subtle issues that I am not hearing right now. Thanks.
good news - I am able to repro this quite easily, and it does just look like a bug on my part. Assuming this is true (it’s a bug) I should have a fixed version up soon. tx!
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