Doepfer — A-160-2

Manual PDF

Using the Doepfer A-160-2 Clock/Trigger Divider II for Dense, Complex, and Hyper-Percussive Rhythms

The A-160-2 is a clock/trigger/gate divider—not a voice or audio effect, but a powerful rhythm-generation and event-manipulation tool in your Eurorack system. Here’s how to maximize its potential for complex, polyrhythmic, high-density percussion:

1. Generating Complex & Polyrhythmic Patterns

Three Division Modes

Power of Two: 2, 4, 8, 16, 32, 64, 128
Prime Numbers: 2, 3, 5, 7, 11, 13, 17
Integers: 2, 3, 4, 5, 6, 7, 8

Polyrhythm and Polytime Strategy: - Feed a steady master clock (from another clock source, LFO, or sequencer). - Patch different outputs to various percussion trigger inputs (kick, snare, hats, etc). - Use the prime number mode: Assign e.g., /3 (triplets), /5 (quintuplets), and /7 (septuplets) outputs to different percussive voices. This immediately interlocks non-aligning subdivisions, generating dense polyrhythms impossible with standard binary divides. - Combine the integer mode (includes /4, /5, /6, /7, etc.) for even denser, cyclically evolving patterns.

Layer and Cross-Trigger

Send multiple outputs into logic modules (AND, OR, XOR) to generate even more complex, shifting patterns—especially if those logics are fed from different division sets.

2. Playing with Clock and Output Modes

Gate vs Trigger Mode

Gate mode: Outputs are held high for the length of the divided period (stays “on” for half the cycle at /2, a quarter at /4, etc).
Trigger mode: Outputs are AND-wired with the input clock—pulses are as short as the incoming clock pulse, which can add a sharp, percussive attack.

Tip: Use Trigger Mode for ultra-snappy percussion, or patch to a fixed-envelope generator for punchy blips. Use Gate Mode for sustained triggers, or patch to drum voices/envelopes that like held gates.

Jumper Options for Advanced Tweaks

Edge Selection: The divider can act on either rising or falling edges of the clock, letting you subtly offset or shift grooves.
Output Polarity: Invert the outputs for “negative logic” percussive hits—not only do you double your pattern complexity, but can trigger “reverse” or opposite hits from the same stream.
Reset Behavior: Using resets, you can either tightly lock patterns to bar cycles or intentionally disrupt pattern alignment for phase-shifting, Steve Reich-like polyrhythm structures.

3. Unique Patch Ideas for Complicated Patterns

Multi-Drum Programming: Each output goes to a unique drum sound. With the prime or integer divides, you get complex, never-repeating sequences.
Accent/Fill Creation: Use one output to reset or re-trigger another sequencer or modulator, introducing periodic “jumps” or fills in a pattern.
Self-Patching for Shifting Grooves: Patch one divider output into the reset of another, causing divisions to phase or “gate skip” in unpredictable ways.
Layer Multiple A-160-2s: Chain outputs between modules (with different division modes) for extremely long and evolving rhythmic cycles.

4. General Tips for Punchy, Percussive Results

Use the shortest possible triggers (trigger mode, tiny input clocks) for crisp, clicky percussion.
Use logic and switch modules to alternate between odd divisions for evolving, morphing grooves.
Pair with random modules, switches, or dynamic modulation on the clock/reset lines for generative unpredictability.

Remember: - The A-160-2 is not a voice or effect, but a trigger/gate generator. Its musical power comes from controlling when other modules “fire.” - Combine several A-160-2s, logic, random, and analog trigger logic for Richter-level rhythmic density and modular “math.”

Further Reading: - Doepfer A-160-2 Website/Manual PDF - A160_2_jumpers.pdf – Jumper Layout & Customization

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