This is matter of hitting the right balance. My personal view, which doesn't need to mach yours, would be to aim for minimizing decision fatigue and cognitive load, so the brainpower and time can be spent on the really creative parts of sound design.kirsty roland wrote: ↑Fri Sep 18, 2020 3:54 pmNew ideas are always appreciated. I think you can do most of this already with existing modules .
To have a MIDI CC control a voltage use the Midi learn function on a Volt Output Modules Knob.
(for note number use a MIDI CV to key zone module)
Send output to a clipper for upper/lower limits.
The CV curve could be changed with a waveshaper. I can make some more of these in future and for
more outputs send the result through a patchbay.
It might seem a bit convoluted but that's the beauty of modular synthesis.
Kirsty
Let's take the velocity example. Normally you'd take velocity to a multiplier and an adsr, but I can't come up with a case I have found where I could use it directly, the low velocities were too quiet. You usually want 2-3dB and a curved response on this case, not 21dB.
So you have to always go the scaling + waveshaping route for each parameter. It is a thing happening 90% of the time.
Now let's suppose you want a patch responding to velocity, keytracking, aftertouch and pressure (e.g. PM osc) . All of a sudden you ended up with 12 modules + cabling. It gets discouraging.
You can have a preset as a starting point, but you can't add it to a patch already started. It doesn't make the patch more pleasing/easy to undestand either and it increases brutally the chances that you'll end up scrolling.
So as I said, it' a balance thing. Having an excessive set of modules and features kills creativity as much as having to do excessive wirings for very common operations. The reason is the same though, losing focus on what you were doing.
BTW, i didn't think about controlling a voltage knob with a midi cc. Nice.
