Make Noise Pressure Points - Manual (Page 8)

TIPS & Tricks:
-The Top row of Tuned Voltages range 0 to +8V, and may therefore be used to generate gate signals where
full CW is Gate ON and full CCW is Gate OFF.
-Process the Pressure Control Signal with a slew limiter and attenuator on Channels 1 or 4 of MATHS to
achieve larger than life modulations.
-Achieve a "Latched," "Toggled" or "Switching" control signal, use two stages of Pressure Points, where one
has a Tuned Voltage set to 0V (toggled OFF), and the other has a Tuned Voltage set to the desired
ON state (+8V, or Full CW, for example). Touch one stage to turn ON, and the other to turn OFF.
-Use for Preset Storage where you have 4 presets of 3 variables in a patch, variables being set by Tuned
Voltages X, Y & Z. Additional variation is Preset by applying the independent Press and/ or Gate
signals from each stage to different patch points. If the Gate is not need to initiate an event, apply to a
patch point via an Attenuator & use as a touch controlled momentary modulation.
-All Tuned Voltage and Press CV outs will drive a passive 4-way mult with no loading.
-All Gate OUTs may be stacked to one Gate IN for Gate mixing.
Patch Examples
Tactile Keyboard
Patch Tuned Output Row Y or Z to 1v/oct input on VCO. Patch VCO output to LPG or VCA input. Patch
Common Gate OUT to MATHS Ch1 or 4 input, or Gate input on ADSR envelope generator. Patch envelope
out to control input on LPG/VCA. Tune knobs in voltage row to notes of your choice.
Optional: skip envelope generator and/or VCA by patching Common Gate OUT directly to the Strike input on
an Optomix, DPO or MMG.
Optional: use common Pressure OUT or individual Pressure outs to control timbre, such as the cutoff
frequency of a filter in series with the VCO, or the Fold input on a DPO.
The New Bongo
Set up a VCO for two-operator FM by applying a SINE wave to its linear FM input, and patch it to the input of
an Optomix. Patch Pressure Points Common Gate OUT to the Optomix Strike Input, and Gate OUT 3 to the
DAMP input. Strike the “Bongo” with Touchplate 4 and “dampen” it during or after striking with touchplate 3.
Use the DAMP input attenuator to set the amount of damping.
Optional: use one or more of the Pressure outputs to the Control and/or DAMP input on the Optomix for
more fine control.
Optional: use Gate or Pressure Outs 1 and 2 to dampen or thin out the sound in other ways, such as
shaping the DPO Final out from a Sine to a Spike, morphing the MODE on the MMG from low-pass to
high-pass, or inverting the Gate Out with a channel of MATHS and sending it to the DPO’s FOLD input to
decrease harmonic content.