spaced gates with fixed durations, while the Rhythm part
of
the Record Buffer uses the
rhythm you have recorded, including chords and rests. In either case,
clone
generates
gates based on these rhythms. These gates still don't have pitches, they
just
indicate that
something should happen and for how long. Another way to indicate when something
should be played and for how long is to use the keyboard. A range
of
notes can be set up
on the keyboard from which you can play the rhythm live.The
rhythm
function decides
which source to
use for these gates: The Pulse Rhythm source, the Record Buffer,
or
the
Live Gates.
The next step
is
the mode. This basically decides how many notes should be played for
each gate coming from the
rh),thm
function. In a traditional arpeggiator,
mode
simply
says play one note for each gate coming from
rhythm.
That is what happens when you
are playing
in
traditional arpeggiator mode
or
in
sequencer mode. When you choose other
combinations
of
rhythm
and
l11o.de
settings,
mode
can either play more than one note
per incoming gate,
or
it can ignore some
of
the incoming gates
if
too many start at the same
time. We'll get into more detail about this later in the manual when
mode
is
discussed.
The last step
in
the clone function is to take the gates from
mode
and give them pitches.
This is what the
order
function does. The pitches can come from either what is currently
being held on the keyboard or from what
is
stored
in
memory.
Order
simply picks the
next pitch to give to each gate.
A
couple
of
examples
To see how these functions relate to things we are familiar with consider these two
examples:
When
rh)'thm
is set to the Pulse Rhythm generator,
mode
is set to exactly
one
note
per gate and
order
is set to UP, the result
is
a very basic arpeggio where the notes play
steadily, one at a time, starting with the lowest pitch and continuing up.
When
rhythm
is
set to Recorded Rhythm,
mode
is
set to one note for each gate (also
known as the "recorded" mode), and
order
is set to use the pitches from the memory
buffer in the order in which they were recorded, the result sounds like a sequencer.
When the clock comes to each recorded note's start time, a gate is generated. Since one
note
is
played for each gate, the corresponding pitch from the record buffer
is
played
for the duration
of
the gate. In short, for every note you recorded,
one
note comes
out
at the right time, with the same pitch and lasts for the same length
of
time.
Auto
Transpose
The auto-transpose function now processes the notes coming from clone according to the
transpose list. The main difference from a typical arpeggiator here
is
that you can set how
many times the
C)'clone should play
in
each key. It will then play the pattern that number
of
times
in
the given key before going to the next transposition.
In
addition, there are two
new ways
of
doing auto-transpositions: Recursion and inversion. Recursion means that at
the end
of
a pattern the key is changed by an assigned number
of
semitones, the pattern is
played again, the key
is
changed by
tire
same number
of
sem;tones , the pattern is played
yet again, and this keeps going for some·number
of
times
....
Inversions keep the pattern going
by
putting the lowest note on top (or vice versa) and
playing the pattern again.
Auto-Double
The last step before sending the noles out is to add extra copies
of
each note transposed
by
fixed amounts from the original. A common use
of
this
is
to double each note in the
Page 18
Cyclone
Owner's
Manual
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