Behringer — 173

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Behringer 173 Quad Gate/Multiples Manual PDF (Quick Start Guide)

Using the Behringer 173 Quad Gate/Multiples for Hyper-Complex Percussion in Eurorack

Module Overview

The Behringer 173 Quad Gate/Multiples is not a sound-producing voice or effect in itself. Instead, it provides:

• 4 Gate circuits (each with Gate In, Gate Out, Gate CV in)
• 6 sets of 4-way passive multiples for distributing signals.

Roles In Rhythm Generation: - Gate processing: Control the presence or shape of rhythm signals. - Multiples: Distribute clocks, triggers, or CV/gates to multiple modules for tight, intricate synchronization.

This makes it a utility module ideal for routing, shaping, and complexifying trigger/gate signals—crucial for hyper-rhythmic and polyrhythmic patches.

Strategies for Hyper-Complex Percussion Patching

1. Gate Shaping for Polyrhythms

• Multiple Gate Inputs: Take several rhythmic triggers (from sequencers, clock dividers, Euclidean rhythm generators, etc.) and process them through the 173’s GATE sections.
• Gate CV Input: Patch another independent rhythm or random gate to the CV in—using active high (non-inverting) or active low (inverting). This allows one rhythm to modulate the output from another, effectively multiplying or masking polyrhythms, as one gate will only pass when the CV is high.

Example:

• Trigger 1: 5/8 rhythm pulse to GATE IN 1.
• Trigger 2: 4/4 clock, but running at 2x speed, to GATE CV 1.
• Result: You get a complex, composite rhythm at GATE OUT 1, combining both patterns with unusual overlaps.

2. Using Multiples for Complex Timing

• Flow Routing: Use the multiples to split a master clock or trigger into several destinations.
• Pattern Interleaving: Stack several sources (e.g., clock divisions/multiplications) via multiples, then route these to various GATE INs and CVs. Each gate path can selectively shape when and how often a trigger passes, letting you layer odd and even time signatures together.

3. Percussive Variability via Gate Length Manipulation

• Feed envelopes or variable-length triggers into GATE IN/CV, letting sustain/decay on the input affect how long the percussive voice is open.
• Use the inverting and non-inverting CV inputs to alternate between open and muted percussive “hits” depending on your signal polarity.

4. Mute/Slice/Cut Triggers On The Fly

• Use manual or pattern-based gates to quickly silence or reactivate voice channels.
• Feed a hand-controlled or performance-based gate into CV—this allows you to bring layers in and out for dynamic live rhythms.

5. Unique Routing Exploits

• Stacking Gates: Patch several rhythmically related gates together in a multiple, then use them to modulate different CV ins on the 173 gates.
• Triggered Muting: Create improvised breaks or fills by gating your main voices with a complex CV rhythm (from something like a Turing Machine, random looped sequence, etc.).

Example Patch for Hypercomplex Percussion

1. Sequencer A (polyrhythmic odd time) → GATE IN 1
2. Sequencer B (straight 4/4, faster clock) → GATE CV 1 (non-inverting)
3. GATE OUT 1 → Kick Drum Module
4. Euclidean Rhythm Generator (3 against 8) → GATE IN 2
5. Random Trigger Output (with swung rhythm) → GATE CV 2 (inverting)
6. GATE OUT 2 → Snare/Clap Module
7. Use multiples to fan out main/fill/break rhythms to additional percussion voices (hi-hats, glitch percussion, etc.), modulating their “mutes” or “accents” by further complex gate patching.

Tips for Density and Punch

• Chain the 173’s gates for sequential rhythmic gating—output of one gate into the next’s gate or CV input for chained logical rhythmic logic.
• Use sharp digital or analog envelopes to accentuate percussive attack, then gate those signals with the 173 for extra control.
• Experiment with cross-patching—gate A controls the length or presence of gate B, etc.
• Use the inverting CV option to subtract or “cut” holes in regular patterns, making for irregular and unpredictable grooves.

For more creative patching tools, browse Generated With Eurorack Processor