![]() ![]() So melody becomes a path of connected positions in the chart. (Lower in his visual model is higher in pitch-don't get that part.)Īnyway, the internal visual model allows one to think visually about lines, and Greg does that in his chart. The best representation of such chart I have seen is in Greg Waits' book, but for some reason his internal model is upside down relative to mine. What I mean by internal model is an internal visualization of the position chart. Modules are included to smooth the tuning of both the lip filter and the pipe.This chart does not align with my internal model, though it seems pretty accurate for someone with a horn that behaves in that way on his own face. Position 7, E1, is achieved by setting a SeqCtr value to -6. Lowering the pipe’s pitch from Bb1 to A1. If a note should be played in position 1, theĪ note should be played in position 2, the SeqCtr output for that note is -1, Outputs of the SeqCtrs adjust the pitch of the delay line, in semitones. When the Ctr input is out of range, our SeqCtrs don’t interfere with each Since SeqCtrs “park” their outputs to zero Multiplying by 4 again makes the right-most SeqCtr address the next 16 notes. The result by 4 makes the left-most SeqCtr increase by one stage for each This patch uses a pair of SeqCtr modules to create a 32-note range, from G2 has a wide variety of logic modules, and there are various ways ofĬonverting note numbers to slide positions. In position 7, we need to lower the delay line’s pitch by six semitones. In position 2, we need to lower the delay line’s pitch by one ![]() Map the keyboard notes to the slide positions.
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