ADDAC Systems — ADDAC-207 Quantizer

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ADDAC207 Intuitive Quantizer Manual PDF

Using the ADDAC207 Intuitive Quantizer for Densely Rhythmic, Hyper-Complex Percussion Sequences

As a Eurorack artist, the ADDAC207 is a powerful tool to introduce advanced rhythm, timing, and tonal complexity into your percussion programming. Here’s a focused strategy to use it for hyper-complex, polyrhythmic percussion:

1. Module Overview in Percussion Context

• Type: Multi-channel CV quantizer (not a voice or effect, but a pitch/voltage processor—can act as a rhythmic switch/logic utility for percussion).
• Key Features for Rhythm:
• Four independent quantizer channels (Voices), each with its own inputs and GATE output.
• Flexible scale/key selection, user-chosen intervals, microtonal options.
• Per-channel Gate Length control (10ms to 10s+!).
• External Trigger/Gate Inputs for each channel (for sync or retriggering).
• Assignable CV input for menu functions (remote, sequencer, or LFO modulation).

2. Building Polyrhythms & Complex Patterns

A. CV-to-Gate Percussion Triggering

• Voice Outs → Percussion Modules:
  Patch the GATE OUT of multiple voices (1–4) to percussion module trigger inputs (kick, snare, hats, etc).
• Multiple Gate Lengths:
  Assign each output a different gate length for each percussive voice, using the Intuitive Menu (Button 6). This can create “flams,” rolls, ratchets, or ghost notes.
• Asymmetric Triggering:
  Quantize multiple asynchronous CV sources (different sequencers, random patterns, S&H, or LFOs) into the four voices. With each quantized to a different scale or interval, it forces the triggers (Gate Outs) into unique timing grids.
• Polymeter/Polyrhythm:
  Route clock-divided signals into each channel’s Gate Input. Voice 1 = /4, Voice 2 = /5, Voice 3 = /7, Voice 4 = /9 divisions—a fast way to create fluid polyrhythmic triggers.

B. Quantizer as a Creative Clock Divider/Mangler

• Trigger Inputs:
  Send complex, irregular clocks or Euclidean pulses to the Gate In jacks. Each channel quantizes only on incoming gates (gated quantization), generating new rhythms driven by your external logic/gates.

C. Complicated Melodic Percussion

• Assign Intervals:
  Use interval assignment for Voice 2–4 (chord modes). Set Voices 2–4 to intervals like 7th, 9th, 11th, 13th. Send CV from a trigger sequence to the first voice. Each percussion hit can have multiple, controlled harmonic variations, generating tuned percussion chords or clusters.
• Transpose Inputs:
  Use the ASSIGN input with an LFO or further random/stepped CV to shift the root or intervals. Modulating this with fast stepped random can cause quantizer pattern “rotation,” instantly creating complex fills, tuplet divisions, and breakbeats.

3. Techniques for Unique, Punchy Percussion

A. Microtonal & Temperament Mode

• Non-Standard Scales:
  Set the quantizer to Bohlen-Pierce, Just, or Exotic temperaments (Buttons 5–9 in Tuning Menu). Passing noisy or random CV through these scales, then using gates for triggers, produces unexpected “off-grid” events—great for glitch or experimental percussion.

B. Gate Length & Gate-Off Condition

• Gate Off for Syncopation:
  Set long gate lengths (>500ms) on one or more voices, use the “Gate Off Condition” (Button 12 in Gate Length Menu) so new triggers only happen when gate is low: this delays and “pushes” notes in time, making the rhythm uneven/complex.
• Fast Chops & Ratchets:
  Run GATE OUT to a fast analog envelope into percussive VCAs—use shortest gate times for rapid-fire percussion.

C. CV Assign for Live / Algorithmic Mutation

• Automated Pattern Morphing:
  Use an LFO or random stepped voltage into the ASSIGN CV jack, assign to “Change Preset” (Button 12) or “Quantization Type” (Button 5), so the module’s whole rhythmic/interval logic is switched or morphed mid-sequence.

D. Modular "Keyboard Mode" Tricks

• Monophonic Keyboard as Percussion Selector:
  Hold Button 1 to enter Keyboard Mode. Use manual button jabs or a voltage-addressed switch to trigger specific rhythm voices, playing percussive melodies or fills live.

4. Patch Example: Dense Polyrhythmic Percussion Grid

• Sequencer 1 (slow random): → CV IN 1 (Voice 1): Quantizes to Dorian scale, GATE OUT 1 → Perc Module 1 (Kick)
• Sequencer 2 (faster, odd clock): → CV IN 2 (Voice 2): Quantizes to Just scale, GATE OUT 2 → Perc Module 2 (Snare)
• LFO (audio rate, bursty): → CV IN 3 (Voice 3): Bohlen-Pierce scale, GATE OUT 3 → Perc Module 3 (Bongos)
• Stepped Random: → ASSIGN CV (set to Preset Change & Gate Length): Mutates patterns, fills, breaks.
• All Gate OUTs: Go to VCAs with short attack—shaping each percussion hit for extra punch.

5. Advanced: ADDAC207 as Meta-Pattern Modulator

• Preset Switching:
  Rapid/cv-driven preset switching for sudden metric/time signature changes—makes the grid “breathe” and stumble in intentional ways.
• Negative Octave Offset:
  Set certain voices to negative octave offset, forcing extremely low-frequency triggers (subsonics) mixed with higher, on-grid triggers.

6. Summary Table: Unique Rhythmic Approaches

7. Keep It Unique, Punchy, and Percussive

• Use fast, short gates for tight transients.
• Leverage microtonality/temperaments to make “gridless” snare fills or rimshots.
• Harness polyrhythm via asynchronous triggers into each channel.
• Automate menu changes with the Assign input for evolving, “alive” drum programming.

If you want more ideas or patch recipes, grab the manual here (PDF).

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