I've previously explored using Maths as a filter. This patch applies the same basic principle with Tides, which also offers some additional waveshaping tools.

Patch notes:

Another favorite trick that I've used in several patches is to run clock dividers/multipliers at audio rate to produce harmonics and subharmonics. Here I have DLD's channel A clocked at audio rate. A quick way to set this up is to feed the Loop A or B clock output back into the Ping input, then turn that channel up to a high delay time multiplier. The feedback will cause the master clock to quickly escalate to a very high frequency. Then you can "lock" the clock rate for one of the channels by pressing Hold+Ping, and disconnect the feedback cable.

With the A channel running at audio rate, its Loop output can be used as a pulse oscillator and changing the delay time division/multiplication results in musical intervals corresponding to integer harmonics and subharmonics. I'm using a random S&H sequence from Kinks, clocked by DLD's master clock output, to control the delay time/pitch.

The pulse wave output from DLD Loop A is patched to Tides' Trig input. Tides is in AR mode, and it will therefore apply its slew rate, waveshaping, filtering and wavefolding to the rising and falling edges of the input signal. It's a great way to shape the pulses from an audio rate clock signal.

Note that Tides' frequency is independent from the frequency of the input signal. This means that, not only the pitch, but also the timbre of the output will change depending on the input frequency: If Tides' frequency is constant, the slopes and curves will naturally take up a bigger percentage of each wave cycle for higher input frequencies, resulting in a different timbre.

Under certain circumstances you'll also find that some frequencies result in nearsilence, or much lower output signals – especially with Tides' frequency set low. This is because of the time Tides needs to complete a wave cycle – or even get it sufficiently started – before it's reset by the next trigger. By the way, there's no VCA in use here (though you could of course use Tides' built in VCA if you wanted to): All the pauses and level changes are due to Tides responding differently to different input frequencies.

Just for fun, I have some recursive FM patched from Tides' UNI output back into its FM input. Turning this up can produce some pretty cool, gritty, glitchy effects.

Finally, the audio from Tides runs through DLD's channel B, which I'm just using as a regular delay effect. The delay time is also being modulated with the same S&H signal that controls the "oscillator" pitch.

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Thanks for watching! :)

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