Alligator Triple Filtered Gate

The Alligator is a three-channel gate effect with a built-in pattern player. It can chop up audio in a wide variety of ways and process it with three parallel filters, distortions, a phaser and a delay. The Alligator can be used for processing sustaining sounds like strings and pads, adding rhythms and accents. It can also be used on loops and other rhythmic material, changing the feel and sound. Applied to a whole mix, the Alligator can be a powerful remix tool, totally reshaping the material.

#About the Patch format

Alligator patches have the file extension ".gator". The Factory Sound Bank contains a number of Alligator effect patches for use as is or as starting points for further tweaking. Patches are loaded and saved using the standard procedures.

Don't forget that you can also save Alligator settings as part of a Combinator patch. Combining an instrument device with an Alligator is a quick way to create gated, rhythmic pads.

#Overview and signal flow

The Alligator may seem overwhelming at first - it's got quite a few knobs and buttons on its front panel. However, once you've understood the basic signal flow it's actually pretty straightforward. Read through the description below and get familiar with the basics - it will help you a lot when working with the Alligator.

Here is a simplified diagram of how the Alligator works:

You normally connect the Alligator as an insert effect, so that all of the audio signal passes through the effect device. The incoming signal is split into three, parallel channels. For each channel, there is a separate gate - when that gate is open the signal passes through and when it's closed, the channel is silent. The gates can be opened in four ways:

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By the built-in patterns.

There are 64 patterns, each with three "tracks" independently controlling the three gates.

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By clicking the Manual Gate buttons on the front panel.

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By sending the MIDI notes F#1, G#1 and A#1 from a keyboard to the Alligator track in the sequencer.

This way you can play the Alligator live, with velocity control over the gate levels, see “Playing the Alligator live”.

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By connecting CV cables to the Gate inputs on the back of the Alligator and sending Gate signals, e.g. from a Matrix or Redrum.

When a gate is open, the signal passes through a filter. The three channels have different types of filters: High Pass, Band Pass and Low Pass, respectively. This means the channels will have different sound characteristics.

Finally, the three channels are mixed together again and sent to the main output.

That's the signal flow in its most basic form. Looking at the front panel, you can see the signal split and the three channels with their gates and filters:

However, as you can see, there are quite a few other settings as well. Let's take a closer look at one of the channels (the band pass filter, in this example):

In this, more detailed diagram, we see that the gate isn't a simple on/off switch - there is actually an amplitude envelope controlling the volume of the channel. When the gate is opened, the envelope is triggered and the sound is let through according to the envelope settings. You can use the amp envelope to soften the attack, to make the notes shorter and more snappy, etc. The gate also triggers a filter envelope, so that each note can get an articulated filter contour. The filter can also be modulated by a global LFO.

Next in the channel are FX settings: a distortion unit, a swirling phaser and a send to a built-in delay unit. Since these settings are independent for the three channels, they can give you a lot of variations.

Finally, there are Pan and Volume controls. Even a function as basic as stereo panning can make for really interesting, spatial effects - especially since you can pan the three channels, the dry signal and the delay independently!

#Parameters

#Common effect device parameters

Like all effect devices, Alligator features a Bypass/On/Off switch and an input level meter. These are described in “Common effect device features”.

#Pattern section

#Pattern On

When this is on, the built-in pattern player will run in sync with the song tempo, controlling the three gates. Turn it off if you want to control the gates manually or with MIDI/CV.

#Shuffle

Shuffle on the Alligator works in the same way as shuffle on the Redrum and Matrix devices. It will delay every second 1/16th note in the playing pattern according to the Global Shuffle Amount setting in the ReGroove mixer, creating a shuffle or swing feel.

Note that Shuffle will work best when Resolution is set to 1/16.

#Pattern selector

This is where you select which one of the 64 built-in patterns should play back, controlling the gates. There is a guide to the patterns in “The built-in patterns”.

#Resolution

When this is set to 1/16 (default) the built-in patterns will be based on 1/16th notes. Changing the Resolution setting allows you to scale the patterns, making them play back faster or slower in relation to the song tempo.

#Shift

This will offset the pattern relative to the song playback, moving it “sideways”. The range is ±16 steps, with the step length determined by the Resolution parameter. For example, if you set Shift to -1 with Resolution at 1/16, the pattern will be moved one sixteenth note to the left. This means the pattern will play one sixteenth note “early” (the start of the pattern will occur a sixteenth note before the downbeat in the song).

#Gate and Amp Envelope

#Manual Gate Trig buttons

Clicking one of the Manual Trig buttons will open the corresponding gate. It will remain open for as long as you keep the mouse button pressed. However, the sound may fade out slowly or quickly depending on the amplitude envelope settings.

While the gate is held open manually, it won’t be affected by the built-in pattern. This means you can use the buttons to override the pattern, holding a channel open (if Amp Env Decay is long) or muting it (if Amp Env Decay is short).

#Gate indicators

These light up when the gates are open.

#Amp Env Attack

When a gate is opened, the Amplitude Envelope is triggered. This controls the input level to the corresponding filter. Amp Env Attack sets how long it takes for the level to reach its maximum after the gate opens. Normally, this is kept at a low value for quick, snappy attacks. Raising the Attack parameter will make the notes fade in, blurring the patterns.

#Amp Env Decay

Directly after the attack phase, the input level will fade down to zero again. The time this takes is set with the Amp Env Decay parameter. Setting the Decay knob to its maximum value will set the decay time to infinity, which will result in a maximum “sustain” level. Lowering the Decay setting will make the pattern notes shorter.

#Amp Env Release

This determines how quickly the sound fades out after the gate is closed. If you raise this setting, the sound will never fade out completely between gates, and the pattern will become blurred and more pad-like.

#Filters and Modulation

The three channels have identical settings, even though their filters are of different types. Below, all descriptions apply to all three channels, if not explicitly stated.

#Filter On button

When this is on, the channel’s signal passes through the filter. Turning this off bypasses the filter. Note though that the Gate, Amp Envelope, effects and other settings are still active.

#LFO Amount

Determines how the filter frequency should be affected by the global LFO (see below). This is a bipolar control, allowing for positive or negative modulation of the filter frequency.

#Frequency

For a general introduction to different filter types, see “The Filter Section” in the Subtractor chapter.

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For the high pass filter, this is the cutoff frequency.

Frequencies below this will be removed from the signal. Turning this parameter up will gradually remove more and more of the signal, leaving only the highest frequencies.

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For the band pass filter, this is the center frequency.

Lower and higher frequencies will be removed from the signal.

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For the low pass filter, this is the cutoff frequency.

Frequencies above this will be removed from the signal. Turning this parameter down will gradually remove more and more of the signal, leaving only the lowest bass frequencies.

#Resonance

The filter resonance emphasizes the frequencies around the set filter frequency. Turning this up will make the filter sound more pronounced and ringing.

#Envelope Amount

This determines how the filter frequency is affected by the Filter Envelope (see below). This is a bipolar control, allowing for positive or negative modulation of the filter frequency.

#LFO Waveform

The global LFO offers nine different waveforms, ranging from sine, triangle and square to random and various stepped forms.

#LFO Frequency

Sets the rate of the LFO, used for continuous modulation of the filters. If LFO Sync is activated, the LFO Frequency is expressed as a note value relative to the song tempo; if not, the LFO Frequency is free.

#LFO Sync

Turn this on to synchronize the LFO to the song tempo.

#Filter Env Attack

Like the amplitude envelope, the filter envelope is triggered by the gates. There are in fact three individual envelopes, one for each filter, but they share the same controls. For the filter envelopes to have any effect on the sound, you need to set the Env Amount parameters to negative or positive values for one or more filter channels.

The Filter Env Attack determines how quickly the filter envelope rises to its maximum value when the gate is opened.

#Filter Env Decay

Directly after the attack phase, the filter envelope signal will fall to zero again. The time this takes is set with the Filter Env Decay parameter.

#Filter Env Release

This determines how quickly the filter envelope signal falls to zero after the gate is closed. To fully hear the effect of this parameter, you need to raise the Amp Env Release parameter - otherwise the level will drop to zero directly when the gate closes and you won’t hear any filter changes.

#Effects

The three channels have identical effect parameters. Distortion and phaser effects are separate for the three channels (although the phasers have common controls). The delay is a global effect, working much like a send effect in a mixer.

#Drive Amount

Sets the amount of distortion for the channel.

#Phaser Amount

Sets the amount of phaser effect for the channel.

#Delay Amount

This works like an effect send, determining how much of the signal should be sent to the built-in delay effect. The send is post-volume: If you lower the volume for a channel, the signal sent to the delay will be lowered as well.

#Delay Time

This is a standard delay unit with a maximum delay time of 2/4 (when synced to the song tempo) or 1 second.

#Delay Sync

Turn this on to set the delay time in musical values relative to the song tempo.

#Delay Feedback

This determines the number of delay repeats.

#Delay Pan

Sets the stereo panning of the delay repeats.

#Phaser Rate

The rate of the phaser sweep.

#Phaser Feedback

This is similar to the resonance control on a filter. Raise the feedback to get a more pronounced, “singing” phaser effect.

#Mix controls

These parameters determine the signal mix being sent to the main outputs on the back. There are also individual outputs for the three gate/filter channels. If you connect these outputs, the corresponding channel signals will be removed from the main mix, leaving only the delay return signal and the dry signal.

#Channel Pan

Sets the stereo pan/balance of the channel.

#Channel Volume

The volume of the channel.

#Dry Ducking

The Ducking parameter will apply the Amp Envelope to the dry signal - but inverted. This means that whenever the Amp Envelope is “high”, the dry signal will be lowered in volume or “ducked”. The result is a sort of mirror to the sound from the three gated channels.

Note that this is only audible if the Dry Volume has been raised.

#Dry Pan

Sets the stereo pan/balance of the dry, unprocessed signal.

#Dry Volume

Sets the volume of the dry, unprocessed signal. Mixing in a bit of the dry sound is useful for subtler processing, e.g. when you just want to animate a pad rather than chop it up.

#Master Volume

This is the master volume of the mixed signals. The signals from the separate channel outputs on the back won’t be affected by this.

#Audio connections

#Main Inputs and Outputs

The Alligator is normally connected as a stereo in-stereo out effect. Should you connect a mono input signal, the output will still be in stereo due to the pan controls.

#Separate Outputs

These output the signals from the individual gate/filter channels. Connecting one of these outputs will remove the corresponding channel signal from the main output. The separate output signals are taken after the Channel Volume controls but are unaffected by the Master Volume.

#CV connections

#Gate inputs

These are used for controlling the gates from other devices, using CV. When a gate input receives a CV value of 7 or higher, the gate will be opened. Higher values result in higher input level for the gate channel (i.e. the gates are velocity sensitive).

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If you select an Alligator device and create a Matrix Pattern Sequencer, its gate output will be auto-routed to the first available Gate input. Also, the Matrix Curve CV output will be auto-routed to the corresponding CV Freq input on the Alligator.

You can create up to three Matrix Pattern Sequencers with the Alligator selected and the Matrix devices will be auto-routed to separate Gate and CV Freq inputs on the Alligator.

Note: If you want the gates to be controlled by CV only, you need to turn off the Pattern player on the front panel. Otherwise, the gate sources will be combined.

#CV Modulation inputs

These jacks allow you to modulate the filter frequencies of the three filters, as well as the global LFO rate.

#Gate Outputs

The three Gate outputs simply send out the current Gate values, regardless of whether these are controlled by the built-in pattern player, the buttons on the front panel, MIDI or CV. You can use these to trigger other sounds and effects in time with the gates.

#LFO CV Out

This is the output of the built-in LFO, for modulating parameters in other devices.

#The built-in patterns

This is an overview of the 64 built-in patterns. The black dots signify open gates with gate 1 (high pass filter) at the top. Most patterns are two bars long, but some are shorter. All patterns will repeat continuously when the Pattern function is on.

#Methods and Tips

#Playing the Alligator live

The three gates in the Alligator can be triggered by the MIDI notes F#1, G#1 and A#1, with the lowest note controlling the low pass filter channel and so on. This can be very useful when playing live:

Create and connect an Alligator as an insert effect for the audio material you want to process.

This could be a recorded pad, a loop or even the full mix.

Make sure the Alligator is selected and select “Create Track for Alligator” from the Edit menu.

This creates a track with a note lane for the Alligator.

If you like, turn off the Pattern section on the Alligator.

Start playback and use the keys F#1, G#1 and A#1 to play the gates.

Remember that the gates are velocity sensitive and that the Amp Envelope settings affect the gated sound.

#Playing the gates from Matrix patterns

While the 64 built-in patterns are rather versatile, sometimes you might want to create your very own patterns. The easiest way to achieve this is to connect Matrix Pattern Sequencers:

Select the Alligator device.

Create a Matrix from the Create menu or Device palette.

It is automatically connected to one of the Gate inputs on the backside. The Curve CV output on the Matrix is automatically connected to the corresponding CV Freq input on the Alligator.

Repeat these two steps twice, to create two more Matrix devices.

Note that you need to select the Alligator for the Matrix to be auto-routed to the Gate and CV Freq inputs. Now you have three Matrix devices, one for each gate/channel.

Turn off the Pattern player in the Alligator.

Use the Gate section in the Matrix display to program custom gate patterns.

The Curve can be used for controlling the Filter Frequency of the corresponding frequency band in the Alligator.

Another interesting trick is to load a rhythmic loop into a Dr Octo Rex device and connect its Slice Gate Output to a Gate input on an Alligator. This makes the slices in the REX loop trigger the gate.

#Controlling other sounds and effects

The gate outputs on the Alligator back panel allow you to control other stuff with the built-in Alligator patterns. Here’s an example:

Create an instrument with a sustaining sound, such as a pad.

Turn on loop mode in the main sequencer and record some chords.

Create an Alligator and select a suitable pattern.

You might want to tweak the sound as well, change the filter settings, adjust fx and pan, etc.

With some tweaking, the filtered pattern can sound a bit like a drum beat or percussion loop. Then it can be nice to add some punch and bottom to the Low Pass channel, making it feel more like a kick drum or bass line:

Create a Kong Drum Designer.

Load a punchy bass drum sound into Pad 1.

Flip the rack around and route a CV cable from Gate 3 Out on the Alligator to the Gate input for Kong’s pad 1.

Now the bass drum sound is triggered along with Gate 3, played by the Alligator’s pattern player.

Adjust the Kong level to taste.

If you like, add other sounds for Gate 1 and 2 in the same way.