the tranposers and chord generators thicken the arpeggiations. There are multiple ways to combine them
The two transposers can accept notes from the keybaord, or from the main arpeggiator, or from the chord generators, then transpose the notes in various patterns, even sending theoutput back to the chord generators to create another layer of polyphony. The instrument is designed to maximize usage of available polyphony for low-voice-count instruments, and also to support massive 32-voice polyphony too.
(Details under construction)
The chord generators can function in three different ways. They can play chords based on keyboard notes; they can generate chords to arpeggiate from notes input into Godel; and they can create chords from notes issued by the arpeggiator or transposers.
By adjusting the pitchmap, all the output notes can be remapped to a particular key and scale. Clever remapping can change the tune patterns as the arpeggio transposes.
Godel 5 applies pitch remapping on all output, and not between individual pitch shifts inside the instrument. For example, if the output is MAJOR+, the first transposer shifts a note by +1 semitones, and the second by additional +1 semitone, then the result is +2 semitones, and the pitch remapping is applied to that. Note this is different than if pitch remapping was applied between the two transposers. If so, then the MAJOR+ map could shift the pitch of the first transposer to +2 semitones, and the second transposer would add a semitone to that for a total of +3 semitones; and if the output of the second transposer was also not in the set key, then pitch mapping would be applied a second time to increase the pitch by a total of +4 semitones. However Godel 5 only applies pitch mapping to the final output, so other transpositions all occur before the final pitch remapping.
Pitch mapping has presets for standard keys, as well as for some useful custom maps.
Sets the pitch map scale. If set to Chromatic, there is no remapping.
The following main types of pitchmap are available:
|Chromatic||Output same as input.|
|Major||There are three different mappings to each of these standard scales. See Scale Variations, following.|
|Dorian||Interesting for melodic variation on classical themes.|
|Phrygian||Rarefied sounds, especially with pitch modulation patches.|
|Lydian||Often exotic with pitch modulation patches.|
|Mixolydian||Pleasing for many pitch modulation patches.|
|Blues||Pleasing for popular music compositions.|
|Blues Pentatonic||Provides harmonic sounds even with deep chords.|
|Reverse||Swaps notes around, interesting when duplicating patterns, recording, and playing drums.|
For popular scales there are multiple maps with the same output scale. For example, suppose the output is mapped to C Major. Notes arriving from the sequencer channel which are C# key can either be mapped to C or D. Similarly, notes from Bb can either be mapped to A or B.
The instrument therefore provides three different maps for major, melodic minor, and harmonic minor scales, as follows:
|Major+||Remaps notes to the higher pitch where suitable.|
|Major-||Remaps notes to the lower pitch where suitable.|
|Major~||Remaps notes to a blend of higher and lower pitches.|
The same variations are available for minor keys. By choosing different settings, modulations of one sequence creates different melodies in the same key and scale.
Sets the root key for the scale. In chromatic mode, this value is bypassed. In other keys, the key offsets for the mappings are applied with this key as basis, but it does not transpose the pitch.
For example, suppose one has a melody intended for C major. To hear the same melody in D major with the same root, simply change KEY to D. To change the root to D, leave KEY unchanged and transpose arpeggio by +2, with the global TRANSPOSE setting.