In the modular world, gate and trigger signals are used to trigger drum machines, restart clocks, reset sequencers and so on. Without getting too bogged down in these technicalities, you need to know which CV standard each of your instruments sends and receives, to ensure they’re talking the same ‘language’.Ī trigger signal, meanwhile, is like the square-shaped gate, except it’s simply a short-duration spike in voltage that occurs when a key is pressed, say, and resets after a fixed period, regardless of when the key is released. Hertz per volt (Hz/V), meanwhile, as used by many older Korg and Yamaha synths, uses a method whereby a doubling in volts equals a rise of one octave. The more common implementation - invented by Bob Moog - is the linear standard of volts per octave (V/oct) whereby an increase in one volt results in a pitch jump of one octave. Plus, CV signals aren’t standardised from manufacturer to manufacturer. Unlike the universal protocol of MIDI, which can trigger synths polyphonically and transmit multiple messages with ease, a single stream of control voltage data is monophonic. Put simply, modules output control voltage pitch and/or gate data, and other modules can receive that data. Or, to go further, shuttle those CV signals to and from a proper modular system, or even other semi-modular synths. Grab a fistful of patch cables, make new connections in that patchbay, and you’ll break those default routings to make new ones internally. It’s the inclusion of a patchbay that gives the instrument a footing in the modular world. On the face of it, a semi-modular can act as a ‘regular’ standalone synth: all of its connections are ‘normalled’ by default, meaning that you can fire it up and make sounds immediately, no patching required. The semi-modular synth is the middleman between the standalone synth and the all-out modular rig.
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