# Working Clock Multiplier/Divider/Phase Shifter with tolerance for uneven clocks

ha! Well there you go - taking something from the Linux world: RTFM - lesson learned

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Hmmm now that I’m looking at this though, it specifies impedance, but sometimes voltages might be a little different etc, so would it not be more important to list currents for outputs?

I noticed some people make CV outputs 8V, some from Arduino based stuff are 5V, but a 1k resistor will be different current output depending on voltage. Not by massive amounts, but probably an important distinction to make?

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Well, it does list voltages, and that plus impedance will give you current. But it’s called control voltage for a reason, not control current; it’s the voltage that matters. And if the output impedance of one module is too large, or the input impedance of another module is too small, then the open circuit output voltage becomes a smaller, maybe too small, voltage when connected to the other module. Think voltage divider: 5 V at the top of a 1k resistor becomes 4.95 V when connected to a 100k to ground, but if you use a 100k output resistor instead, that 5 V becomes 2.5 V.

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That makes sense. I guess I always have in the back of my mind that some things have buffered inputs using transistors from time to time that need current, less so voltage so that’s where my mind went, but if using an op-amp then it’s more about that voltage following.

I do love how varied and weird modular synthesis seems to be. Definitely a world I’ve enjoyed throwing away my idea of what it was as I learn more. I guess it’s like most things, the more you learn, the more you realise you don’t know - there was real bliss in being 20 years old and thinking you knew everything about the world haha

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Ha! I literally just came on here to bring up this exact point based on my use of the modile last night, including suggesting the 1k output R instead of the 100k!
I realised what was wrong when i plugged in my synth scope and saw a 2.5v trigger pilse when plugged anf a 5v when free…
Normally i think i would have twigged sooner, if it were an analog module but im not arduino experienced…

Id agree that standard would be 100k in, 1k out.

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I agree that some kind of intro into electronics for modular synth would be nice! Like a collaborative online book where these basic things are explained… like: I know how to use a soldering iron, I can use the ohm law pyramid, but what else do I need to know to make my own modules?
So, the specs combined with some best practices, common circuit parts (buffers, led drivers, Arduino protection, …) our basic debugging infos from the forum… maybe in form of a Zine?!? XD

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I believe you just described Make: analog synthesizers by Ray Wilson

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I do love a zine, less formal and allows for each focal point to be a separate edition. I’d totally be in for helping on a photocopy vibe cool zine. Would make things nice and accessible

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Wow, so O’Reilly no longer sell their books?!

When did this happen? I just went to go buy the ebook and I can’t. Seems they’ve moved to some weird subscription setup.

When will places stop this whole paid rental membership madness?

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I’m not sure! I’m on the other side of the ocean, for me I can still order it from the local bookstore.

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I haven’t actually read that. I took a look at the Amazon reviews and found one that said

Just check out ‘Look Mum No Computer’ on YouTube instead. He actually shows you how to build a synth bit by bit.

Heh. Love Sam’s videos but I’m not sure he’s always the best builder to emulate.

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This subscribed DRM book nonsense drives me mad, even ebooks you think you are buying, you often only have the licence for as long as the provider wishes to maintain and can be revoked.

After losing access to a fair few reference books I had paid for, with a large reputable supplier, while studying. I have now reverted to buying hard copies of any such material. It is just too expensive and inconvenient to lose without notice. This is not very environmentally friendly, and could easily be avoided if it was not for the greed of corporations.

On a positive note, the author of the linked book, also has a website with lots of information and schematics, although navigation takes some patience.

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Yeah I know what you mean. I’ve always done my best to avoid DRM books, which is why I loved O’Reilly so much as their books were famously DRM free and they were always about making sure you had access to download your books with updates forever which is why I almost feel grief now I’ve gone to check in on my books from there.

I struggle with physical books sometimes as I like to read late at night, and my Kobo e-reader is light and easy to use for that, though I do appreciate physical media.

Even things I build from plans I print and keep in a “Bible” of schematics as the net is too fragile a place to be sure you can come back to it.

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Why do you say that? I really appreciate Sam’s lowering of the threshold to entry for people into synths. The wild and punkish vibe really clicks with me and fits my world and where I’m coming from more than most synth building places that strive for perfection.

One quote of his I really like is where he said something along the lines of “maybe you do something a bit wrong, or you have different value components and it sounds different to mine, doesn’t matter, you’ll have your own unique sound” and that really cuts to the core of synth building for me. If it works, sounds great to you, and it doesn’t burn, then it’s a success. At the end of the day this is all for making music with, so building these things is only a tiny part of what you’ll do with them.

And Sam is helping usher in a whole new generation of builders using positivity and energy which helps stop gatekeeping which can happen in electronics scenes.

It’s the same for electronic media arts which is where I come from. There are those in my scene that are so bogged down in the technicality that they only produce a new work every couple of years, and although technically impressive, ultimately for the audience there isn’t much to grasp other than a super efficient machine, whereas artists like myself and my peers tread that fine line between chaos and function which gives us work that finds a balance and makes its own way.

Electronics proficiency shouldn’t be the only measure we look at here, as we should also recognise the contribution that creativity brings.

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Very agree with you for the wild side and the spirit of Sam to do things for the music, for the sound. I got there thanks to him through the bending circuit, and yes if it doesn’t burn out, it’s cool

But also agree with @analogoutput because sometimes not burning is not enough. Even though Sam has evolved and certainly learned a lot over the years, I like him a lot too but regarding theory and synth construction (which seemed to be the research for this book), maybe Ray Wilson , Yves Usson, René Schmitz, Ken Stone … maybe would have been more appropriate.

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Dud i woukd say that those exact resourses, plus various forum interactions has been more or less the exact route i have use for self education.

Plus a lot of breadboard ing and trial and error and really coming to terms with things not working right the first time, but having another go at it.

I can still remember sitting st work one arvo and finding the Music From Outer Space website and being blown away by ghe resource on it, especially gojng through the oldies but goodies segments, and actually reading Ray’s notes…

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Also, using teeth as a wire stripper is not something I’d want to encourage.

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Hahahahaha! When I was just out of highschool studying audio engineering I worked for an audio company making leads all day. My co worker used his teeth often and ended up buckling one of his front teeth, it was nuts! I will say that learning how to strip wire in a variety of ways other than auto strippers is a life skill: side cutters, knife, various other weirdness

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My dad always used to use diagonal cutters and I started out emulating him. Then I discovered there actually are correct tools for the job…

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