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hotfat wrote:Is there a way to completely turn off LFO contribution to the MULTIPLY and/or DIVIDE blocks? I realize one can set RATE and DUTY cycle to minimum but that doesn't completely eliminate it. I don't see any way explicitly mentioned in the manual. I just got this thing so I'm probably missing something obvious ... Thanks for any help. -Tim

Tall Walls wrote:Maybe I'm misunderstanding you, but that's what the toggles next to the Multiply and Divide knobs do.

Yes as Tall Walls says, that is basically what the MPY and DIV switch do. From the manual:

"The MULTIPLY switch connects the multiplier setting to the LFO’s
output when in the up position. In the down position the LFO does
not affect the multiplier’s value."

It is the same for DIV switch.

So with the switch DOWN the MPY and DIV knob statically assign a value to the multiplier and divider based on their position. And this value is not modulated by the lfo.

With their respective switches up, the multiplier and divider value are modulated by the LFO. In this case the MPY and DIV knob positions control the depth of the modulation on their respective parameters.

If you have any other questions, or if that explanation is not clear, please feel free to post more here.

Whoops! Thanks for the responses. Truly a bonehead oversight on my part. Sorry.
Thanks again for making the cool pedals, Scott!

Hi

it's no problem, it is not super clear from the interface itself that that is what the switch does. but now you know

After my previous question, I sure hope the following hasn't been covered somewhere else.
Regarding the DRONE switch in down/off position and TRIGGER switch set to up/buffer position - The buffer seems to be on the order of 10s or 100s of milliseconds in length. Fairly short anyway. Is that correct? I don't hear any change in content when adjusting the DRONE knob to either extreme. Any insight? I guess if the buffer is small and the input signal didn't change alot during buffer capture, there wouldn't be any "different" program material to choose from. Also, Scott made mention of "glitch pll hell easter egg mode, etc" in a previous post. Is it kosher to ask how to get there? Thanks again for your kindness ...

yes if you want to have a more salient experience just do something like plucking a string while sliding your hand up the fretboard (making an ascending tone sweep). then when you trim the buffer length it will probabl ybe easier to hear what is happening. The buffer is short but it also only fills for the period that the level of the input signal breaks the gate. So it does not always record the maximum amount of length, it depends on what was played.

if you want to have a more strange experience you can open the backplate and switch dips 5 6 and 7 to on. then use the buffer (trigger up)

yes there are some sections in the table of contents of the manual that do not exist, they should not be listed.

Got it. Thanks again, Scott.

I made this for someone on TGP who was looking for something like a Data Corrupter but more chaotic. I keep the buffer on my PURPLL long and nasty, and I really like the way it behaves. The manual says the long buffer is around one second long, but I sometimes get much longer loops going, in the 5-6 second range. That's not really demonstrated here, since I was going for a more chaotic result. I start with just the square wave and then add in the other features at around two minutes. One thing I think is really interesting is that the buffer seems to like certain pitches--most pitches just get added to the soup, but certain ones will overwrite the whole buffer. So I begin the track with one of these, and then use it again at the end to clear out the buffer.

https://soundcloud.app.goo.gl/anJ1r

yes i dont think this is explained in the manual, but the data in the buffer is actually compressed in order to get a usable amount of capture in the ram of the mcu (which has quite limited resources). the way the data is compressed results in higher frequency content taking up more memory than lower frequency content. it also means that listening to say half the data in the buffer (in terms of bytes of memory) will not necessarily result in hearing a sample that is half the total buffers playback time (in seconds). This also means the playback time of the whole buffer will also change depending on its content. This is much easier to notice in nasty mode since the buffer isnt trimmed to the envelope of the plucked string/note. basically if you play a high pitch for say .5 seconds, it will fill more of the memory space than if you play a low pitch for .5 seconds etc. iirc the ram used for the buffer is only around 3.5 kilobytes and the processor is sampling the audio input at around 160 kHz. So even though you can represent the signal with 1 bit per sample, that amount of memory could store only 28000 samples. And @ 160khz sampling rate which would only result in about a sixth of a second sampling (28k/160khz = .175 seconds ) . Instead with the compression you can easily get 1 second or more, so the compression is reasonably effective. if you play bass you win even more though haha.

I guess that explains why I love playing the PurPLL so much on bass.