In the documentation I struggled with terminology because I couldn’t find simple existing terms for some of the concepts. But the whole point of NORSIQ is to allow definition of scales that fold at some interval other than an octave. Of course nothing stops you from defining scales that fold at the octave. The sum of the N intervals defines the fold point. The scale you have defined folds at two octaves. I was surprised you did not provide input to the IN port - the V/Oct signal that is to be quantized. I think the documentation for the TRIG input is pretty clear - it functions as a sample and hold, determining when to quantize the IN signal. If not patched then the IN signal is continuously quantized.
My use of quoted “traditional” was tongue in cheek. There is nothing traditional about the Recurse module given that it is reliant on polyphonic modules, which are definitely not traditional to Eurorack. Again the documentation describes the typical intent of the module. It allows you to recursively process an input signal by a polyphonic module via Send and Return. Each recursive iteration uses one polyphonic channel.
In order to have a pentatonic scale, the scale length must be fixed at 5. Given the percussive nature of that voice, I’m not sure the scale matters so much.
If you are curious how to setup the NORSIQ for a pentatonic scale - there are presets available for both major and minor pentatonic scales under the “Octave Repeating 12ET Examples” sub-menu. Playing around with the presets and observing the results can be a good way to gain an understanding of how the module works.
I have a patch centered around the “Non-Octave-Repeating Scale Intervallic Quantizer”. This module threw me off the track, but in a positive sense. I was so confused by the name and wondered what a “Non-Octave scale” might be. I had no clue that such a thing exists. After researching a bit I discovered the “Bohlen-Pierce scale” (that is not so exotic for many, but for me it was and still is). I’ve spent the last days to find out more and made the patch in that scale.
Well, it’s not so great musically, and other people have proven that Bohlen-Pierce can sound much better, but anyway, it was very fun and exciting to try something off the beaten track, tonality-wise.
For those who are, like me, not familiar with Bohlen-Pierce, I’ve written a kind of brief summary in the video description.
Despite your protestations, I think the piece is incredibly musical and exciting! I love it so much, I have already listened to it a half dozen times in the past half hour. I love the steady arc of building energy and tension. It has great rhythmic interest, and I do like the sound of the Bohlen-Pierce scale. Overall it has a very symphonic feel to me.
I love that this challenge introduced you to the world of xenharmonic scales. Just like you, I knew pretty much nothing about any of this 1 year ago. When I wrote my Harmonic Quantizer (quantize frequencies to integral multiples of a root), some good folk over on the Surge XT team took interest, and in the process introduced me to the Surge Discord “Tuning” thread. Without that introduction I would never have dreamed up the NORSIQ.
You also have a great write-up accompanying your video!
Best of all, I love that my NORSIQ made your wonderful patch possible. I have been giddy ever since I saw your post! I was really hoping someone would take an interest in a non-octave repeating scale, and you have surpassed my hopes.
OK if I post a link to your patch over on the Surge XT Discord “tuning” thread? I think people there will enjoy it. Or maybe you prefer to post yourself? Or maybe neither?
Please excuse me, if it has allready been written, but you have to join the Surge Discord by following this link Surge Synth Team , or you won’t have access to the previously mentioned tuning thread: Discord
Thank you, Dave, for the very nice feedback! Yes, this introduction to xenharmonics was more than just a side-effect of this thread and especially your great module. While I never heard of “macrotonal” scales, I knew that microtonality is a thing, but my understanding was more or less limited to “that’s something with quarter-notes…”. In the meantime, I’ve learned it’s way, way more and that there are scales far beyond quarter notes, like 31-edo, and 15, and 19, even 81, and what not, and I’ve subscribed to a bunch of channels from people I didn’t know before and who create amazing music outside the familiar scales.
Yes, of course, you can post a link in the Surge thread. I always have all the do-whatever-you-want-with-my-video options enabled when I publish a video.
@MinorNoise, this is a wonderful composition. Very fun to listen to. I suspect you listened to it too much while you were making it, thus dulling your own enthusiasm. It is far from lifeless! It sounds surprisingly natural for an alternative tuning, and definitely fresh and exotic.
Thank you! I guess I was mainly disappointed by the failed chord progression when comparing it with the great Bohlen-Pierce harmonies that Elaine Walker created in one of the linked videos. But well, she has more than 30 years experience with that scale. I probably expected too much from my first attempt in regard to harmonic movement…
After my first patch did not feature any Benjolin Oscillator, I created a second patch that’s using 8 of them. I’m using this oscillator mainly as a noise source in the patch. It’s really great and very versatile for this purpose.
The last of the 8 oscillators is less noisy and feels a bit like an outsider in the overall atmosphere. You won’t overhear it. I could not resist to leave it in the patch because it’s so funny: The oscillator has a completely static configuration, just one output to the mixer, no modulation, no changes of any setting during the whole patch, and yet it’s doing its own random thing… pitch, length, repetitions, how often it is hearable at all.
I’m sorry that the recording has a length of about 07:30 and exceeds the 5-minutes range quite a bit. But the piece is so slow that a shorter recording felt too rushed to me.
@MinorNoise : Totally support your decision to make it 7:30 mins…what a beautiful ambient composition…I could see this work as background music in some dramatic fantasy movie scene or so…
I think you hit another home run with that patch. I downloaded the patch and listened to it for hours last night as I was adding new features to my up and coming VCO LAB module for Venom 2.8 (a bit of a teaser!)
I hope to use your patch as a “backing track” for some Native American flute (and maybe voice?) improvisation at an open mic this Sunday. The event is typically recorded and posted on YouTube at a later date. I will post a link if/when that happens.
I am glad to see you are disovering / appreciating the beautiful chaos that a Benjolin generates with just a handful of components! I have spent many hours exploring autogenerative possibilities with my Benjolin emulations and my Benjolin Oscillator. The range is astounding. Here is one example using two instances of the Benjolin Oscillator - Benjolin Safari.
Thank you! Oh, that combination with the flute would be interesting. I’m very curious about the result if it’s going to happen.
Wow, the soundscape with so few modules together with the huge Valhalla reverb in the Benjolin Safari is really amazing! Yes, I noticed that there is even more potential when I was experimenting with the Benjolin Oscillator, but for this particular patch I was actively trying to avoid too “pitched” noises to prevent too many dissonant clashes with the harmonies in the patch. Perhaps, the crazier side of the Benjolin might be something for another patch in future…
Good thread, great submissions. Here is mine, quite simple, but gave Venom collection a try. Benjolin, Quantizer and Rythm explorer are my favourites, will use them from now on. Patch is inspired by number stations and noisy radio broadcasts.
Oh how cool that is. You have created a very nice concept. I like it a lot, especially the push 5 of Venom are used here really cleverly. You can fade in and out nicely.
