Clock

Module ID: mod.clock Category: Modulation Header Color: Orange

The Clock module

Description

The Clock module generates rhythmic pulse signals at a specified tempo. It's the heartbeat of sequenced and rhythmic patches, providing timing signals to sequencers, envelopes, sample & hold circuits, and any module that needs regular triggers.

The clock outputs multiple synchronized divisions of the main tempo, allowing complex polyrhythmic patterns from a single clock source.

Inputs

Outputs

Parameters

Understanding Divisions

Clock divisions relate to musical note values:

At 120 BPM:

• 1/4 note = 2 pulses per second (500ms apart)
• 1/8 note = 4 pulses per second (250ms apart)
• 1/16 note = 8 pulses per second (125ms apart)

Usage Tips

Basic Sequencer Clocking

Drive a sequencer at eighth-note speed:

[Clock 1/8] ──> [Sequencer Clock In]

Multiple Rhythmic Elements

Use different divisions for different parts:

[Clock 1/4] ──> [Kick Envelope Gate]
[Clock 1/8] ──> [Hi-Hat Envelope Gate]
[Clock 1/16] ──> [Sequencer Clock]

Adding Swing

Swing shifts every other pulse slightly late, creating a "groove" feel:

• 0%: Straight, mechanical timing
• 25%: Light swing, subtle groove
• 50%: Medium swing, jazzy feel
• 67%: Heavy swing, triplet-like
• 75%: Maximum swing, very loose

Swing is applied to the even-numbered pulses of each division.

Syncing LFOs

Reset LFO phase on each beat:

[Clock 1/4] ──> [LFO Sync]

This ensures the LFO always starts at the same point on each beat.

Reset for Song Start

Use reset to synchronize everything:

[Start Button] ──> [Clock Reset]
                   [Clock Run]

Reset brings all divisions back to beat 1, ensuring everything starts together.

External Clock Sync

Sync to external gear or DAW:

[MIDI Clock In] ──> [Clock Ext Clock]

When Ext Clock is connected, the internal BPM is ignored and the clock follows the external tempo.

Creating Polyrhythms

Combine divisions for polyrhythmic patterns:

[Clock 1/4] ──> [Sequencer A Clock] (4 steps)
[Clock 1/8] ──> [Sequencer B Clock] (6 steps)

The different cycle lengths create evolving patterns.

Gate Length (Pulse Width)

Pulse Width controls how long each gate stays high:

• Short (10-25%): Staccato, percussive triggers
• Medium (50%): Standard gate length
• Long (75-99%): Legato, overlapping notes

[Clock] (Pulse Width: 75%) ──> [ADSR Gate]

Longer gates give envelopes more time in the sustain phase.

Run/Stop Control

Use the Run input or button to start/stop:

[Toggle Button] ──> [Clock Run]

When stopped, clock outputs go low. When restarted, timing resumes (use Reset for consistent restart position).

Building Patterns

4-on-the-Floor

[Clock 1/4] ──> [Kick Trigger]

Basic Rock Beat

[Clock 1/4] ──> [Kick] (beats 1, 3)
[Clock 1/4] ──> [Snare] (beats 2, 4 - offset)
[Clock 1/8] ──> [Hi-Hat]

Driving Sequence

[Clock 1/16] ──> [Sequencer Clock]
[Clock 1/1] ──> [Sequencer Reset]

Ambient Pulses

[Clock 1/2] ──> [Envelope Gate]
(BPM: 40-60)

Connection Examples

Complete Rhythm Section

[Clock] ──1/4──> [Kick ADSR]
        ──1/8──> [Sequencer] ──> [Bass Oscillator]
        ──1/16──> [Hi-Hat ADSR]
        ──1/1──> [Sequencer Reset]

Synced Modulation

[Clock] ──1/4──> [LFO Sync]
        ──1/8──> [Sample & Hold Trigger]

Polymetric Setup

[Clock 1/8] ──> [Sequencer A (8 steps)]
            ──> [Sequencer B (6 steps)]
            ──> [Sequencer C (5 steps)]

Tips for Tight Timing

1. Use Reset: Always reset when starting to ensure all modules are synchronized
2. Match Pulse Widths: If modules expect specific gate lengths, adjust Pulse Width
3. Consider Latency: Audio processing has some latency; very fast divisions may drift
4. External Sync: For critical timing with other gear, use external clock from your DAW

Related Modules

• Sequencer - Primary clock destination
• ADSR Envelope - Gate inputs for rhythmic envelopes
• LFO - Sync input for tempo-locked modulation
• Sample & Hold - Clock-triggered sampling