STEPS combines a comparator and a stepped CV generator.

The stepper moves through a voltage window and can be used as a bounded sequencer, scale generator, or interval walker.

Key controls:
 The module is divided into two sections, the upper section is a comparator stage, and the bottom section is the stepper stage
- IN (comparator input) - breaks all normals to the stepper stage
- BIAS (window center)
- RANGE (window size)
- IN (stepper input) sums with the STEP knob to set the step size. 
- TRIG (advance)
- RESET (resets to BIAS)
- STEP (step size knob)
- OUT1 / OUT2 (comparator gates indicate if IN is above or below the window)
- STEPPER OUT (stepped CV)
- MIXER (internal mix/output routing) = IN + STEP + OUT1*RANGE + OUT2*RANGE

1. Set the window:
   - Use BIAS to place the window.
   - Use RANGE to set the window width.

2. Set step behavior:
   - Use STEP to choose the step size (knob is ±1V; CV is scaled so ±5V sweeps the full range).

3. Advance and reset:
   - Patch a trigger to TRIG to step.
   - Patch a trigger to RESET to restart.

4. Comparator vs normalization:
   - If IN is unpatched, the comparator is normalized to support the stepper.
   - Patching IN breaks the normalization so the comparator and stepper can be used independently.

5. Outputs:
   - Use OUT1/OUT2 for gate logic derived from the window.
   - Use STEPPER OUT for the stepped CV.

• Dynamic rhythms: Modulate STEP with an LFO to create shifting gate patterns; use OUT1/OUT2 as clock divisions.

• Melodic stepping: Patch STEPPER OUT to an oscillator V/Oct input (optionally quantize).

• Phrase sequencing: Use a slow sequencer to modulate BIAS/RANGE/STEP so you sequence phrasing and contour instead of single notes.

• Counting / step length: The ratio of RANGE to STEP approximates the number of steps before a boundary event (use OUT1/OUT2 as the “wrap” indicator).

ENVELOPE ARRAY is a 6-stage envelope/function generator designed for families of related envelopes.

FIRST/LAST define endpoint timing, and the middle channels interpolate between them. SLANT and CURVE provide global shape control.

Key controls:
- FIRST / LAST (WIDTH) (endpoint times)
- RANGE (time range)
- SLANT (time skew)
- CURVE (log ↔ linear ↔ exp)
- ENVELOPES (CV outs)
- GATES (end-of-cycle / utility gates)
- BUTTON (manual trigger)

1. Set timing endpoints:
   - Adjust FIRST and LAST width.
   - Channels between them interpolate automatically.

2. Shape the curve:
   - SLANT adjusts rise/fall bias (time skew).
   - CURVE morphs response from log to linear to exp.

3. Modulate:
   - Patch CV into the attenuverted inputs for SLANT, CURVE, and FIRST/LAST.

4. Use gates:
   - Use GATES for end-of-cycle timing, resets, or chaining.

Context menu:
- Retriggering: allow retrigger during fall.
- Poly out on channel 1: outputs 6-channel poly from ENVELOPES/GATES channel 1.

• Complex modulation: Drive filters/VCAs/wavefolders with related envelope shapes.

• Chained envelopes: Patch GATE 1 → IN 2 → IN 3 → ... to build long phrases. Patch GATE 6 → IN 1 to loop.

• Six LFOs: Patch each channel’s GATE back to its IN to self-cycle (not phase-aligned).

• Sub-harmonic / sync textures: Run at audio-rate ranges, trigger from an external oscillator, and mix the envelope outputs for harmonic motion.

PENTA SEQUENCER rotates a 5-knob value set across 5 outputs using two mapping modes.

Instead of “one knob per step,” the mapping between knobs and outputs rotates as you advance.

Key controls:
- TRIG (advance)
- RESET (return to first step)
- SHAPE (Circle / Star mapping select)
- DIR (CW / CCW)
- SLEW (timing/interval-aware slew)
- I–V (value knobs)
- A–E (outputs + position indicators)

1. Set values:
   - Dial knobs I–V to the voltages you want.

2. Advance:
   - Trigger TRIG to rotate the current mapping.
   - Trigger RESET to return to the start.

3. Choose mapping:
   - Gate SHAPE selects Circle (≤1V) vs Star (>1V) while held.

4. Choose direction:
   - Gate DIR selects CW (≤1V) vs CCW (>1V) while held.

5. Slew:
   - SLEW morphs from stepped to smooth.
   - Slew speed is tied to both trigger timing and interval size (bigger jumps slew faster).

• Slewed octave lanes: Set knobs to -2, -1, 0, +1, +2 and use moderate SLEW for smooth transpositions.

• 5 slow LFOs: Clock slowly and set SLEW high for continuous ramps.

• Fixed root anchor: Reset so the bottom output is your reference; change SHAPE/DIR for variations while keeping the anchor stable.

• 5-channel fader scene: Set only one knob high and rotate; use SLEW for smooth crossfades across mixer channels.

Context menu:
- Poly out on channel A: outputs 6-channel poly from A.

IMPULSE CONTROLLER simulates wave propagation through a connected 24-node network.

Each node outputs a decaying envelope when activated, and the network spreads energy through child nodes based on timing and thresholds.

Key controls:
- IN (excite the network)
- LAG (propagation timing)
- SPREAD (propagation threshold + timing scaling)
- DECAY (global decay)
- IMPULSES (24 node outputs + visual)

1. Set propagation:
   - LAG sets how quickly nodes can wake their children.
   - SPREAD sets the “ready” threshold; far left makes nodes fire together.

2. Set envelope length:
   - DECAY controls how long nodes ring out.

3. Excite:
   - Patch a signal into IN or press the button to inject an impulse.

4. Modulate:
   - Use the dedicated CV inputs (with attenuverters) for LAG/SPREAD/DECAY.

5. Patch outputs:
   - Use node outs as a bank of related envelopes for VCAs, filters, panning, or sequencer controls.

• Spatial motion: Patch groups of node outputs to panners/mixers for drifting stereo movement.

• Evolving CV field: Use different nodes to modulate multiple destinations for correlated-but-not-identical motion.

• Network building: Patch node outputs back into IN (or into parameter CVs) to create self-sustaining rhythmic systems. Use the manual impulse to “start” the network.

SIGNALS is a compact 6-channel waveform monitor for inspecting CV and audio in a running patch.

Key controls:
- IN 1-6 (signal inputs)
- OUT / POLY (thru outputs; channel 1 also outputs all active signals as poly)
- RANGE knob (timebase: controls sweep speed)
- SLOW switch (extends timebase for slow CV and LFOs)
- RETRIG input (resets the display sweep on each trigger for stable envelope viewing)

1. Patch up to six signals into IN 1-6.
2. Set RANGE and SLOW to find the right timebase:
   - Fast mode: audio-rate signals and fast envelopes
   - Slow mode: LFOs, long attack/release shapes
3. Patch RETRIG to the same trigger that fires your envelope for a stable, locked display.
4. Use OUT jacks to pass signals through without breaking patch flow.

Inline inspection: Insert SIGNALS between a source and destination to see the signal without interrupting the patch.

Envelope tuning: Patch the envelope trigger into RETRIG for a stable oscilloscope-style view of attack/decay shape.

Side-by-side comparison: Patch 6 related signals (e.g., all outputs of Envelope Array) to compare shapes and timing at a glance.

RANGES outputs a bank of evenly spaced voltages between TOP and BOTTOM.

With CV control, it can act as a scale source, multichannel attenuator/crossfader, or scan-driven sequencer.

Key controls:
- TOP (high endpoint)
- BOTTOM (low endpoint)
- DIVS (number of divisions: 0–12)

1. Set TOP and BOTTOM (and their CV if needed).
2. Set DIVS to choose how many intermediate steps are generated.
3. Patch one or more outputs as fixed voltages, a scale bank, or a crossfade set.

• 12-tone scale: TOP=0V, BOTTOM=1V, DIVS=12.
• Fifths/interval bank: TOP=0V, BOTTOM=5V, DIVS=12.
• Crossfade ladder: Patch two sources to TOP/BOTTOM and use outputs as fixed blend ratios.
• Multi-channel panning: Use a fader to drive TOP/BOTTOM and patch outputs to mixer channels.
• Gate scanning: Set TOP=BOTTOM=5V, DIVS=0; scan DIVS with CV to “walk” a gate across outputs.

HEX MOD is a 6-channel LFO bank with controllable phase relationships.

The NODES control morphs between phase “constellations” (spread, unison, grouped distributions) for coherent multi-lane modulation.

Key controls:
- RATE (speed)
- NODES (phase clustering)
- RANGE (output amplitude scaling)
- SYNC (clock sync input)
- RESET / PHASE RESET inputs (phase alignment)
- LIGHTS (visual feedback / optional disable)

1. Set motion:
   - Use RATE for base speed.
   - Use NODES to choose phase distribution.

2. Reset/phase shaping:
   - Patch triggers into the top reset inputs to pull phases into patterns and let them relax back.

3. Sync (optional):
   - Patch SYNC to lock rate to an external clock.
   - Context options can change whether sync also locks phase.

4. Output range:
   - Use RANGE like a bipolar VCA to scale the LFO amplitudes.

• Phased panning: Patch the six outs to panner CVs or mixer level CV for animated spatial motion.
• Waveshaping: Patch one output into RATE and another into NODES (with attenuation) for evolving patterns.
• Audio-rate timbres: Enable v/oct mode (context) and explore NODE modulation as a timbre control.

Context menu highlights:
- Lights on/off
- Rate multiplies sync
- Sync locks clock+phase (or not)
- Rate input v/oct mode
- Poly out on channel 1

COLLATZ generates rhythmic trigger patterns by iterating the Collatz rule on an integer:
- even → divide by 2
- odd → multiply by 3 and add 1

Key controls:
- NUMBER (start value)
- MODULUS (pulse density cap per clock)
- CLOCK (required)
- START (latch a new run)
- RESET (stop)
- OUT / ACC (rhythm outputs)
- END (goes high when the run reaches 1)

1. Patch a clock to CLOCK (module does nothing without it).
2. Set NUMBER and MODULUS.
   - Lower MODULUS is better for drum-tempo patterns.
   - Higher MODULUS can reach very fast rates depending on settings.
3. Trigger START to sample NUMBER and begin on the next clock edge.
4. Trigger RESET to stop and clear outputs.
5. Use END as a completion flag (patch END→START to loop).

• Drum generator: Clock it from your main tempo, patch outputs to percussion triggers, and loop with END → START.
• Strumming: Use multiplied outputs to excite Karplus-Strong plucks.
• Nested patterns: Try NUMBER=4/8/16/32 for predictable “division-like” runs; try odd numbers for longer evolving sequences.
• Safety: For very long runs, keep RESET reachable.

STRINGS outputs 6-note guitar-style chord voicings with a button grid and chord-bank logic.

It supports per-string bend, global whammy bend, capo transposition, and mute gates for realistic voicings.

Key controls:
- CHORD (column select)
- ROW (row select)
- CHORD BANK (I/II) (bank select)
- BUTTON GRID (fingering selection)
- CAPO (semitone transpose)
- PITCH BEND (per string)
- WHAMMY (global bend)
- V/OCT OUT (6)
- MUTE gates (6)
- TRIG (fires on chord/fingering change)
- ROOT (root note V/Oct)

1. Choose harmony:
   - Set ROW and CHORD.
   - Use I/II to select chord bank.

2. Play/trigger:
   - TRIG outputs a trigger whenever the chord/fingering changes.

3. Mutes:
   - Muted strings output -10V at V/Oct; use MUTE gates to silence downstream voices.

4. Bends:
   - PITCH BEND inputs bend individual strings.
   - WHAMMY bends all strings together.
   - Bend inputs are rectified; 10V ≈ 2 semitones.

5. Capo:
   - CAPO transposes in semitones (1V = 1 semitone). Negative values tune down.

6. Poly patching:
   - Patching only the leftmost V/OCT/MUTE outs enables 6-channel poly outs.

• Guitar voice: Patch the 6 V/Oct outs into 6 Karplus-Strong voices; use MUTE gates to close VCAs/decays when strings are muted.
• Bend accents: Trigger an envelope on TRIG, send it to a single string’s bend for expressive licks.
• Slide: Patch a decay envelope into CAPO for fret-slide effects.
• Sequencing: Enable CHORD input V/oct in the context menu and drive chord selection from a keyboard/sequencer.

Context menu highlights:
- Classical chord set
- CHORD input V/oct mode
- Invert mute gate outputs

OUROS is a stereo phase-modulation oscillator with phase-feedback distortion.

Two oscillators interact on a polar display, making phase relationships visible while you morph through complex wave shapes.

Key controls:
- V/OCT
- FM
- POLYPHONY
- MULTIPLY (feedback/operator ratio)
- POSITION / NODE (shape/phase distribution)
- FEEDBACK (distortion depth)
- PHASE / SPREAD (stereo phase relationship)
- SYNC / RESET (alignment)

1. Pitch:
   - Patch V/OCT as usual; use FM for modulation.

2. Stereo motion:
   - PHASE offsets both sides together.
   - SPREAD offsets L vs R for width and motion.

3. Distortion / complexity:
   - Increase FEEDBACK to bend the waveform via phase perturbation.
   - Use MULTIPLY to emphasize harmonic ratios (integer-ish settings are most stable).

4. Visualization:
   - The polar display renders waveform interaction relative to the fundamental.

Context menu:
- Factory presets: Classic waveforms / Instruments / Shapes.

• Stereo animation: Modulate SPREAD slowly and process with chorus/delay.
• Harmonic metals: Use integer-ish MULTIPLY with moderate FEEDBACK for bright partials.
• Controlled chaos: Patch an LFO into NODE/POSITION while keeping feedback below runaway levels.

PRESSED DUCK is a stereo mixer with a dedicated stereo sidechain channel.

It provides mix compression, tanh saturation, optional filtering, and a feedback gain stage for pushing into distortion.

Key controls:
- SIDE (stereo sidechain in)
- LEVELS (per-channel faders)
- DUCK (duck amount / envelope control)
- MUTES (clickless)
- PRESS (compression)
- FEED (post-comp gain / drive)
- LEVEL (final output range)
- PAN (per-channel)
- L/R OUT

1. Patch inputs:
   - Patch up to six stereo channels into the main inputs.
   - Patch a stereo sidechain source into SIDE.

2. Set gain and dynamics:
   - Use faders for input gain (0→2x).
   - Use PRESS for compression.
   - Use FEED to drive saturation/distortion.
   - Use LEVEL to set final voltage range.

3. Ducking:
   - Use DUCK (and its CV) to duck the main mix from the sidechain.
   - You can drive DUCK with an external envelope or use the internal follower (depending on how you patch).

4. Utility:
   - Use clickless mutes for performance.

Context menu:
- Enable/disable DC-block filtering.
- “Muted sidechain still ducks” mode.

• Clean mixer: PRESS=0, FEED=0.
• Sidechain pump: Patch kick to SIDE, set DUCK amount, tune PRESS for glue.
• Drive bus: Increase FEED for tanh saturation; keep an ear on aliasing at extreme drive.
• Chaining: Feed one instance’s OUT into another instance’s SIDE to build staged ducking and bus dynamics.

PREEEEEEEEEEESSED DUCK is the 16-channel version of Pressed Duck.

It expands the same sidechain ducking mixer concept to 16 stereo input channels, suited for large patches and polyphonic sources. All core dynamics and drive controls match the 6-channel version.

Key controls:
- STEREO INPUTS (16 stereo channel pairs; poly input on channel 1 distributes across lanes)
- SIDE (stereo sidechain input)
- LEVELS (per-channel faders)
- DUCK (sidechain ducking amount)
- PRESS (compression)
- FEED (post-compression gain / saturation drive)
- LEVEL (final output range)
- MUTES (clickless per-channel)
- L/R OUT (stereo mix output)

See the Pressed Duck entry for full dynamics/drive workflow.

1. Patch up to 16 stereo channel pairs into the inputs, or feed a polyphonic stereo source into channel 1 to distribute across lanes.
2. Patch a sidechain source into SIDE for ducking.
3. Set PRESS for compression, FEED for saturation drive, DUCK for sidechain depth, and LEVEL for output range.
4. Use clickless MUTES for performance control.

Large mix bus: Use as the main stereo bus for a full rack with many voices.

Poly spread: A poly stereo source on channel 1 distributes across all 16 lanes automatically.

Sidechain glue: Patch a kick or rhythm bus to SIDE; DUCK makes the full mix breathe in time.

Chained dynamics: Feed this module's OUT into a second Pressed Duck SIDE for staged bus compression.

FLOWER PATCH is a 12-tone polar visualizer that maps spectral energy into animated petal shapes arranged around a clock face.

Each of the 12 positions corresponds to a pitch class. Energy detected at a given frequency lights the corresponding petal, giving real-time visual feedback of tonal content.

Key controls:
- INPUTS (audio or CV)
- HUE knob + CV (color rotation around the display)
- FILL knob (petal fill sensitivity)
- FLOWER knob (petal shape / response curve)
- POWER knob (display intensity and scale)

1. Patch audio into INPUTS.
2. POWER sets how brightly the display responds to energy.
3. FILL adjusts sensitivity -- lower values make petals appear with less input energy.
4. FLOWER shapes how petals form (sharp vs. gradual response).
5. HUE rotates the color assignment around the display.
6. Patch HUE CV to animate color as a visual performance or scene indicator.

Pitch-class monitor: Put on an oscillator or chord bus to see which notes are active in real time.

Master bus energy display: Visualize spectral balance and tonal center during a performance.

Scene indicator: Modulate HUE on scene changes so display color shifts mark sections visually.

MAGNETS runs an Ising-style spin-lattice simulation and outputs 24 correlated CV lanes.

Each node flips between +1 and -1 states based on neighbor coupling and thermal randomness. The 24 outputs are smoothed readings of lattice regions, producing related but non-identical slow CV motion.

Key controls:
- TEMP (temperature / randomness: low = ordered clusters, high = chaotic)
- RATE (simulation update speed -- higher uses more CPU)
- INTERACT (neighbor coupling strength)
- POLARITY (global bias toward + or - states)
- RESET button (reseed the lattice from current POLARITY)
- TAPE HEAD (scan / read behavior)
- 24 outputs

Context menu:
- Output range: +-10V or +-5V

1. Set RATE for update speed (start moderate -- higher rates use more CPU).
2. Set TEMP:
   - Low: lattice freezes into stable clusters (slow, correlated motion)
   - High: rapid random flipping (fast, noisy)
3. Set INTERACT to control neighbor coupling:
   - High: nodes align with neighbors, producing broad correlated motion
   - Low: nodes act more independently
4. Use POLARITY to bias the lattice toward positive or negative states.
5. Press RESET to reseed with the current POLARITY.
6. Patch any of the 24 outputs as correlated CV sources.

Context menu:
- Output range: +-10V / +-5V

24-lane correlated mod: Patch adjacent outputs to related parameters (filter, pan, wavefold) for motion that feels physically connected rather than random.

Biased swell: Modulate POLARITY CV to push all 24 lanes toward positive or negative together for macro swells.

Slow organic drift: Low TEMP, moderate INTERACT, slow RATE for living-system-style motion.

Tempo-gated snapshots: Patch a clock divider into RESET to snap the lattice into a new state on bar boundaries.

SYNCRO is an 8-channel clock multiplier/divider with fractional ratios.

Each channel has its own ratio, optional “fill” behavior, and a global swing engine that modulates the master clock.

Key controls:
- CLOCK (internal BPM)
- EXT CLOCK (tap/clock in)
- X / 1/Y (per-channel ratio)
- FILL (adds beats at cycle start)
- SWING (global)
- ROTATE (rotate ratio assignment vs outputs)
- WIDTH (gate width, or phasor phase offset in phasor mode)
- RESET

1. Set master clock:
   - Use CLOCK for BPM (0.1 BPM precision).
   - Or patch EXT CLOCK (tap tempo works well).

2. Set per-channel ratios:
   - Use X and 1/Y for multiplication/division.

3. Use fills:
   - FILL adds a programmable number of beats at the start of a cycle.

4. Swing:
   - SWING modulates the master timing; it affects all channels.

5. Rotation:
   - ROTATE shifts which output receives which ratio.

6. WIDTH:
   - In gate mode: pulse width.
   - In phasor mode: phase offset between the two outs.

Context menu:
- Phasor mode (phasor + inverted phasor)
- Clock CV as v/oct (0V = 120 BPM).

• Tap tempo: Use VCV Push → EXT CLOCK.
• Fill-based drum variation: Use a long division to trigger FILL inputs or modulate the FILL amount.
• Harmonic clock-as-pitch: In v/oct mode, drive CLOCK with pitch CV and set ratios to harmonic relationships.
• Mute rows by rotation: Set X=0 on some channels; ROTATE will bring different rows in/out.

NONA is a CV utility for scaling, offsetting, and mixing signals.

Outputs normalize downward so you can use it as 9 independent processors, a mixer, or a hybrid.

Key controls:
- GAIN (± gain up to 2x, with inversion)
- OFFSET (-5V to +5V)
- OUT (normalized mix chain)

1. Patch CV into any of the nine inputs.
2. Set GAIN to scale (negative values invert).
3. Set OFFSET to shift the signal.
   - With no input, OFFSET acts as a DC source.
4. Use OUT normalization:
   - Outputs mix downwards.
   - Patching an OUT breaks the chain at that point.

Context menu:
- “Row 1 as master VCA” mode multiplies the other 8 outputs by channel 1.

• Range matching: Convert ±10V LFOs into ±5V destinations cleanly.
• Mod mixing: Combine several slow modulators into one lane.
• Macro control: Use master VCA mode to scale an entire modulation “bundle” with one knob/CV.

DECIMA is a 10-step gate sequencer with a direct button interface and per-step probability.

Key controls:
- CLOCK (advance)
- DIR (reverse on high gate)
- RESET
- PROB (per-step probability)
- OUT (main 50% pulse)
- INV (inverse 50% pulse)
- GATE 1–10 (step-active outputs)

1. Clock the sequencer via CLOCK.
2. Use RESET to return to step 1.
3. Hold DIR high to run in reverse.
4. Set PROB per step to thin or randomize patterns.
5. Use outputs:
   - OUT: 50% duty pulse when step is active.
   - INV: 50% duty pulse when step is inactive.
   - GATE 1–10: high for the full step duration (use a step gate to RESET to shorten sequence length).

Context menu:
- Option to map “active step” outputs into the main GATE output behavior.

• Probability hats: Use low PROB on high-frequency steps.
• Self-reset patterns: Patch a later step gate to RESET for variable loop lengths.
• Complementary rhythms: Use OUT + INV to drive alternating percussion voices.

MORTA is a macro controller that generates 16 related outputs from one knob (or CV input).

It’s designed for “one gesture controls many parameters” patches, with a built-in voltage display.

Key controls:
- INPUT (automation CV)
- DISPLAY (current value)
- RANGE (output scaling modes)
- POLYPHONY (poly routing behavior)

1. Turn the main knob (or patch CV into INPUT).
2. Choose an output RANGE mode.
3. Patch any of the 16 outputs to targets (VCAs, filters, wavefolders, sequencer params).

• Scene control: Use one MORTA to move multiple mix/FX parameters together.
• Poly macro: Patch a poly mod source into INPUT and fan out poly to multiple destinations.
• Feedback gestures: Send one output back into INPUT (with attenuation) for shaped response curves.

STEP WAVE is an 8-stage sequencer that outputs a continuous waveform.

You can control not only each stage’s value and shape, but also the boundary timing via rhythmic displacement.

Key controls:
- CLOCK (sets stage length)
- ON/OFF (pause behavior)
- RESET
- VALUE (per-stage value)
- SHAPE (per-stage morph)
- BEATS (subdivisions per stage)
- LINK (shape repeats within stage)
- DISPLACEMENT (boundary offset)
- SLEW (final output smoothing)
- CV OUT / GATE OUT / STAGE outs
- DISPLAY

1. Clocking:
   - Patch CLOCK (or run at default internal tempo).
   - CLOCK sets stage duration; it does not “advance steps” directly.

2. Set the waveform:
   - Use VALUE for each stage.
   - Use SHAPE to morph between shape families.

3. Rhythm:
   - BEATS sets subdivisions per stage (1–10).
   - LINK ties BEATS to SHAPE repetition.

4. Timing feel:
   - DISPLACEMENT offsets stage boundaries against the grid.

5. Output shaping:
   - Use SLEW to smooth the final CV; the display reflects the result.

Context menu:
- Option for VALUE CV to modulate SHAPE instead.
- TRACK mode: stages continuously track VALUE CV instead of sampling at stage start.

• CV melody lane: Use CV OUT → quantizer → V/Oct.
• Gate rhythm lane: Use GATE OUT to drive envelopes/drums aligned to BEATS.
• Audio-rate shaping: With fast clocks and TRACK enabled, treat it as a complex wavetable-ish mod source.
• Humanize: Modulate DISPLACEMENT slowly for drifting groove.

ARRANGE is a compact 7-stage CV recorder/sequencer.

Each stage can store a value (or pass through live CV when armed), and stages can be advanced or addressed directly.

Key controls:
- END (sequence length)
- STAGE (select stage)
- FWD / BACK (advance)
- RESET
- REC (arm record)
- IN (per-stage inputs; poly spreads downward)
- MODE (Voltage / V/Oct / Probability)
- OUT

1. Set END to choose the number of active stages (rescales STAGE).
2. Select stages with STAGE (or use FWD/BACK).
3. Recording:
   - Enable REC to write the incoming CV into the active stage.
   - With REC off, knobs edit stage values without writing.
4. Inputs:
   - Per-stage inputs override that stage’s knob; poly inputs spread downward.
5. Modes:
   - Voltage: raw CV.
   - V/Oct: pitch-friendly scaling.
   - Probability: stage sets trigger probability (−10V=0%, +10V=100%).

Context menu:
- Set max sequence length
- Stop record at end
- Enable poly out (7ch from top channel)

• Parameter automation: Record slow CV gestures into stages and loop.
• Live sampling: Punch REC rhythmically to capture evolving modulation.
• Probability gates: Use probability mode lanes to drive trigger logic rather than pitch.

TRI DELAY is a stereo 3-tap delay with a visual UI.

Envelope followers on dry/wet make dynamics easy to read, and each tap shows time/feedback/pan state.

Key controls:
- IN
- DELAY (time)
- FEEDBACK
- PAN (tap placement)
- HOLD (freeze-style behavior)
- CLEAR (buffer clear)
- OUT

1. Patch audio into IN and take stereo from OUT.
2. Set DELAY and FEEDBACK for repeat structure.
3. Use PAN to distribute taps in stereo.
4. Use HOLD for sustained textures and CLEAR to reset the buffer.

• Rhythmic echoes: Clock-related delay times + moderate feedback.
• Stereo shimmer: Pan taps wide and modulate DELAY slightly.
• Freeze washes: Engage HOLD, then automate feedback/pan for evolving pads.

TATAMI is a stereo polyphonic wavefolder.

It morphs continuously across folding shapes, with controls for symmetry, compression/drive, and output density.

Key controls:
- IN
- SHAPE (fold type/morph)
- SYMMETRY (even/odd bias)
- COMPRESS (drive/level behavior)
- DENSITY (fold intensity)
- OUT

1. Patch audio into IN and take stereo from OUT.
2. Sweep SHAPE to choose fold character.
3. Use DENSITY and COMPRESS to push from subtle to aggressive.
4. Use SYMMETRY to bias harmonics and change tone center.

• Animated fold: Modulate SHAPE slowly for evolving timbre.
• Stereo grit: Use slight L/R differences (via poly lanes or pre-processing) into the stereo inputs.
• FM-friendly shaping: Fold a sine before FM for controlled brightness.

CARTESIA is a 3D 4×4×4 sequencer with an interactive z-slice panel.

The LED display shows the active slice and dynamically maps knobs/buttons to the current edit context.

Key controls:
- XYZ (position/address)
- SCAN (motion through the grid)
- MIN/RANGE (value bounds)
- POLY (poly routing)
- RANDOM
- OFFSET
- SLICE PANEL (z-slice interaction)
- GATE
- QUANTIZE

1. Select a slice and position with XYZ.
2. Edit values via the slice panel / mapped controls.
3. Use SCAN to move through positions over time.
4. Enable QUANTIZE if using it for pitch CV.
5. Patch up to 4 outputs for parallel lanes (pitch, mod, gate, etc.).

• 3D phrase sequencing: Use different slices for sections and scan between them.
• Mod grid: Use outputs as related automation lanes (filter, wavefold, FX).
• Probabilistic motion: Blend RANDOM with SCAN for semi-controlled variation.

JUNK DNA generates and scans a circular DNA buffer.

You enter a text pattern (A/T/C/G plus degenerate IUPAC-like codes). The pattern repeats to fill a longer sequence, with randomized variation at degenerate positions.

Key controls:
- DNA text input (pattern)
- FWD / REV (scan)
- RESET (return to start)
- ATCG gates (base gates)
- Pattern gates (degenerate code gates)
- N (trigger every position)
- DNA OUT (voltage encoding)

1. Enter a pattern using:
   - Bases: A, T, C, G
   - Degenerate codes: R,Y,S,W,K,M (two-choice)
   - Exclusion codes: D,H,B,V (NOT one base)

2. Scan:
   - Use FWD/REV to move through the circular buffer.

3. Outputs:
   - ATCG outputs go high when the current position matches that base.
   - N outputs a trigger at every position.
   - Repeats can hold gates high (e.g., AAA).

4. Reset:
   - RESET returns to position 0 so you can replay the same generated sequence (as long as the pattern stays the same).

Context menu:
- Trigger pulses instead of gates
- Customize DNA OUT voltages

• Bio-logic drums: Use base outputs to fire different percussion voices.
• Pattern gating: Use degenerate-code outputs (e.g., S) as longer structural gates.
• CV melody: Use DNA OUT into a quantizer for semi-random melodic lines tied to the pattern.

PICUS is a two-channel trigger burst generator with up to seven programmable ratio stages.

Each stage defines a clock multiply/divide ratio and a repeat count. The two output channels run in parallel, letting you layer burst patterns for fills, ratchets, and polyrhythmic accents.

Key controls:
- CLOCK input (master clock)
- RESET input (restart from stage 1)
- SELECT (choose which stage to edit)
- BEATS (subdivisions per clock pulse in the selected stage)
- CYCLES (how many times the stage repeats before advancing)
- CHAIN input / output (link to Hammer or another PICUS)
- OUT A / OUT B (two independent trigger outputs)
- Stage display (shows current stage, beats, and cycles)

1. Patch a clock to CLOCK.
2. Use SELECT to choose a stage (1-7).
3. Set BEATS for the clock subdivision in that stage.
4. Set CYCLES for how many times the stage repeats before advancing.
5. Repeat for each stage you want to program.
6. PICUS advances through stages automatically, looping back to stage 1.
7. Use RESET to restart the stage sequence.
8. Patch OUT A and OUT B to triggers, envelopes, or drum voices.

CHAIN connects PICUS to Hammer or another PICUS for synchronized multi-module burst timing.

Drum fills: Program a fast-beats stage to fire just before bar boundaries; the sequence advances back to a normal stage after the fill.

Ratchet accent lane: Set OUT A to a steady subdivision; set OUT B to a burst stage for accented ratchets on select beats.

Polyrhythmic structure: Combine with Hammer -- use Hammer lanes for steady divisions and PICUS OUT for irregular bursts on top.

Self-resetting fills: Chain PICUS out into its own RESET (with a delay or divider) to create recurring auto-reset fill patterns.

NODE is a compact two-channel stereo mixer and crossfader with clickless mutes and a built-in gain stage.

It handles audio and CV equally and supports polyphonic signals on both channels.

Key controls:
- IN A L/R (channel A stereo inputs)
- IN B L/R (channel B stereo inputs)
- CROSSFADE (blend from A to B)
- GAIN (output level, up to 5x amplification)
- SATURATION (soft-clip drive character)
- MUTE A / MUTE B (clickless mutes)
- OUT L / OUT R (stereo mix output)

1. Patch two stereo sources into IN A and IN B.
2. Use CROSSFADE to blend between them (fully left = A only, fully right = B only).
3. Use GAIN to match levels or boost quiet CV signals up to 5x.
4. Use SATURATION to add soft-clip harmonic density.
5. Use MUTE A / MUTE B for clickless performance transitions.

Stereo crossfade: Fade between two textures or sound sources without clicks or pops.

CV booster: Use 5x gain to lift low-level modulation or attenuated CV into full-range signals.

Parallel saturation: Run a clean signal on A and a saturated version on B; crossfade between them for variable drive.

Performance cut: Use MUTE buttons to drop sources in and out cleanly during live performance.

WEAVE outputs six simultaneous V/Oct pitches arranged into chord voicings using one of 21 mapping patterns.

The chord selection grid covers all 12 roots across multiple chord types.

Key controls:
- WEAVE knob + attenuverter + WEAVE CV (voicing pattern 0-20; 1V per pattern)
- CHORD knob + CHORD CV (chord type selection)
- NOTE CV input (root note V/oct)
- SHIFT knob + SHIFT CV (global transpose)
- OCTAVE DOWN / OCTAVE UP buttons
- TRIG button + TRIG input (advance to next weave pattern)
- RESET button + RESET input (return to pattern 0)
- POLY output (6-channel poly V/Oct)
- OUTPUT 1-6 (individual voice V/Oct jacks)
- ROOT output (root note V/Oct)
- TRIG output (fires on chord/pattern change)
- Chord display (root name + chord type) and per-voice note displays

1. Set the chord:
   - Set NOTE CV or dial CHORD to select root and chord type.
   - The chord display shows the current chord name.

2. Choose a voicing:
   - Dial WEAVE to select one of 21 voicing patterns.
   - WEAVE CV allows scanning or modulating patterns.

3. Advance weave:
   - TRIG input/button steps to the next pattern.
   - RESET returns to pattern 0.

4. Output routing:
   - POLY output: 6-channel poly V/Oct from a single jack.
   - OUTPUT 1-6: individual voice jacks for separate routing.
   - ROOT: always outputs the chord root.

5. Transpose:
   - SHIFT knob/CV transposes all voices.
   - OCTAVE buttons shift all voices by an octave.

Context menu:
- Quantize Shift to semitones
- Allow input to track multiple octaves

Strummed chords: Drive a burst trigger into TRIG and stagger short delays across OUTPUT 1-6 for arpeggiated timing.

Spatial voicing: Pan each OUTPUT 1-6 to different stereo positions; advance WEAVE to morph which voice sits where.

Chord as modulation: Patch ROOT and OUTPUT 1-6 into filter cutoffs or wavefold amounts.

Drifting harmony: Modulate WEAVE slowly with a low-rate LFO for gradual voicing drift.

Poly chords into Mirage: Patch POLY output to MIRAGE POLY IN for a live chord source that quantizes a lead melody.

WONK is a 6-channel LFO locked to an external clock. Phase-feedback distortion bends the waveforms from clean sines into wonky shapes while keeping the tempo relationship.

Key controls:
- CLOCK input (external clock, required for sync)
- RESET input + RESET button (re-align phases)
- RATE knob (-24 to +24: positive = multiply, negative = divide)
- RATE attenuverter + RATE CV input
- WONK knob + attenuverter + WONK CV (phase-feedback distortion intensity)
- POS knob (feedback node position, 1-6)
- NODES knob + attenuverter + NODES CV (number of phase modulation nodes, -3 to +3)
- MOD DEPTH knob + attenuverter + MOD DEPTH CV (output amplitude, 0-5V)
- Outputs 1-6 (individual LFO channels)
- POLY output (6-channel poly)

1. Patch a clock to CLOCK.
2. Set RATE to choose LFO speed relative to the clock:
   - Positive = multiply (e.g., +2 = twice clock rate)
   - Negative = divide (e.g., -4 = quarter clock rate)
3. Patch RESET at bar boundaries to keep phases aligned.
4. Increase WONK for phase-feedback distortion:
   - Low WONK: clean smooth sines
   - High WONK: bent harmonic shapes that stay tempo-locked
5. Use POS to select which part of the cycle feedback targets.
6. NODES spreads or inverts modulation node behavior.
7. MOD DEPTH scales the overall output amplitude.
8. Patch outputs 1-6 or the POLY output.

Context menu:
- Unipolar mode (0-10V output; default is bipolar +-5V)

Tempo-locked modulation bus: Clock from master BPM; patch all 6 outputs to filters, pans, and VCAs for coherent animated motion.

Wobble with control: Increase WONK for expressive drift; RESET on each bar keeps it from wandering.

Poly LFO: Patch POLY output into a poly VCA or filter for 6-voice independent but tempo-related modulation.

Harmonic motion: Combine with different RATE values or NODES settings to create musically-related LFO interactions.

HAMMER is a sample-accurate 8-channel clock ratio engine.

Each channel runs a numerator/denominator ratio against the master clock, producing polyrhythmic gates with tight sample-level timing. It is designed to serve as the timing backbone for large clock networks and chains to PICUS for burst generation.

Key controls:
- CLOCK input (external master clock) + BPM knob (internal clock)
- RESET input + button
- Per-channel: NUM (multiply) / DEN (divide) knobs
- Per-channel: OFFSET (phase offset within the cycle)
- Per-channel: WIDTH (gate width or phasor output width)
- CHAIN input / output (sync to another Hammer or PICUS)
- 8 gate/phasor outputs
- POLY output (8-channel poly)

Context menu:
- Phasor output mode (outputs 0-10V ramp instead of gate)
- Clock CV as V/oct (0V = 120 BPM)

1. Patch an external clock to CLOCK or set the BPM knob for internal tempo.
2. For each channel, set NUM and DEN to define the ratio:
   - NUM=2, DEN=1: double speed
   - NUM=1, DEN=3: one third speed
   - NUM=3, DEN=4: three-quarter speed (triplet feel)
3. Use OFFSET to shift the phase of any channel within its cycle.
4. Use WIDTH to set gate length (in gate mode) or phasor output width.
5. Patch RESET at the start of a bar to align all channels.
6. Use CHAIN to sync a PICUS or second Hammer to this module's clock.

Context menu:
- Phasor mode: outputs a 0-10V ramp per channel instead of gates
- V/oct clock: CLOCK input treats voltage as pitch CV for harmonic timing

Polyrhythm grid: Set different ratios across all 8 channels; patch to percussion voices for interlocking rhythms.

Harmonic timing: Enable V/oct clock mode and patch pitch CV to CLOCK -- channels run at harmonic multiples of the input pitch.

Phasor modulation bank: Switch to phasor mode; use channel outputs as 8 tempo-locked ramps for filter, pan, and wavefold modulation.

Chained burst fills: CHAIN to PICUS for structured burst patterns that stay locked to Hammer's master tempo.

HUB is a two-channel polyphonic CV processing utility with a built-in voltage display.

Each channel provides gain, offset, and VCA-style amplitude control, making it useful as a macro controller, range adapter, or performance front-panel for a larger patch.

Key controls (per channel, x2):
- IN (polyphonic CV input)
- GAIN knob (amplification / attenuation)
- OFFSET knob (DC offset / bias)
- VCA input (CV control over channel amplitude)
- OUT (processed polyphonic CV output)
- Voltage display (shows current output level numerically)

The two channels operate independently.

1. Patch CV into IN on one or both channels.
2. Use GAIN to scale the signal up or down.
3. Use OFFSET to shift the center point of the CV.
   - With no input, OFFSET alone outputs a fixed DC voltage.
4. Patch a CV into VCA to modulate the channel's amplitude dynamically.
5. Read the voltage display to calibrate levels at a glance.
6. Take processed CV from OUT.

Two-lane macro: Run pitch CV on channel 1 and modulation CV on channel 2; adjust both GAIN and OFFSET for precise range matching between modules.

Range adapter: Convert +-10V LFO output to +-5V with GAIN=0.5; shift a 0-10V envelope to +-5V bipolar with GAIN=1, OFFSET=-5.

Performance front panel: Place HUB at the front of a patch; map its outputs to key destinations so one module controls the most important parameters live.

VCA with display: Patch an envelope into VCA to open/close a CV lane and watch the voltage display confirm the range in real time.

Use as a spacer / layout tool in your rack.

Use as a spacer / layout tool in your rack.

RAT generates polyphonic ratio CV intended for FM operator relationships.

The ratio knob is intentionally non-linear to provide higher precision near musically useful detuned ratios.

Key controls:
- RATIO (non-linear mapping)
- Poly outputs (per-lane ratios)

1. Patch V/Oct (or a reference pitch) depending on how you’re using RAT.
2. Dial RATIO to set operator relationships.
3. Patch outputs into oscillator FM ratio/scale inputs (or into pitch paths for harmonic experiments).

• FM ratio bank: Use separate lanes for different operators.
• Detune clusters: Slightly offset lanes for thick metallic textures.
• Quantized ratios: Combine with a quantizer if you want strict harmonic locking.

COUNT is a general-purpose counter with a large numeric display and multiple counting modes.

It counts clock pulses and outputs a gate when a boundary is reached, plus a stepped-phase voltage that rises proportionally across the count range.

Key controls:
- CLOCK input (advance counter)
- RESET input + button (return to zero)
- UP / DOWN control (count direction)
- LENGTH / MAX (set the count boundary)
- OUT (gate: fires at boundary)
- INV OUT (inverted gate)
- PHASE OUT (staircase CV: 0V at zero, max at boundary)
- Display (current count value)

1. Patch a clock to CLOCK.
2. Set the count boundary to the desired number of steps.
3. Read the display to track the current count.
4. Use OUT for a gate that fires every N clock pulses.
5. Use PHASE OUT as a staircase ramp for addressing, indexing, or modulation.
6. Patch RESET to restart from zero on demand.

Clock divider gate: Set boundary to N; OUT fires every N pulses as a structural trigger or scene reset.

Sequencer address: Patch PHASE OUT into a switch or router CV to scan through N destinations in order.

Beat counter: Count beats within a bar; reset from a bar-clock to stay musical.

Nested timing: Use one COUNT's OUT to reset another for hierarchical rhythmic structures.

CLPY is a stereo polyphonic waveshaper. It applies a sine-based fold that converges to a CV-controlled asymptote rather than hard-clipping.

Key controls:
- IN L / IN R (audio inputs, top of panel)
- OUT L / OUT R (audio outputs, bottom of panel)
- GAIN knob + attenuverter + CV (input gain, 0-10x)
- CLIP knob + attenuverter (target asymptote, -5V to +5V)
- CLIP L CV / CLIP R CV (independent L/R asymptote CV inputs; each normalizes from the other when only one is patched)

1. Patch audio into IN L (and IN R for true stereo).
2. Take audio from OUT L / OUT R.
3. Set GAIN to drive the signal into the shaper (higher gain = more folding).
4. Set CLIP to choose the asymptote level:
   - Center (0V): maximum fold symmetry
   - Positive: folds converge to a positive rail
   - Negative: inverts the convergence direction
5. Patch CLIP L CV / CLIP R CV to modulate the asymptote dynamically.
6. Enable Supersampling in the context menu for cleaner results on audio-rate material.

Context menu:
- Clipping Mode: Convergent (default) / Symmetric
- Supersampling (4x oversampling with 6-pole Butterworth filter)

Dynamic drive: Patch an envelope into CLIP CV to open the asymptote on transients.

Stereo asymmetry: Patch different CVs to CLIP L and CLIP R for L/R differences that create width.

Poly shaping: Feed a polyphonic signal; each channel is shaped independently (up to 16 voices).

Subtle saturation: Set GAIN just above 1 and CLIP near 0V for gentle sine-fold harmonic enrichment.

TUNER provides two independent autocorrelation pitch detectors, each with a waveform display and V/Oct output.

Key controls (per channel, x2):
- AUDIO IN (audio input)
- GAIN knob (0-5x, scales waveform display amplitude)
- OFFSET knob (-5V to +5V, shifts waveform display vertically)
- WIDTH knob (1-6 wavelengths displayed, integer snap)
- FREQ OUT (detected frequency as V/Oct)
- Note name display (shows detected note name and octave number)

1. Patch audio into AUDIO IN 1 (and AUDIO IN 2 for a second source).
2. Read the detected note name and octave on the display.
3. Adjust GAIN if the waveform is too small or clipping.
4. Adjust OFFSET to re-center DC-shifted signals.
5. Use WIDTH to show more or fewer cycles of the waveform.
6. Patch FREQ OUT to use detected pitch as a V/Oct CV source.

Context menu:
- Large Hz display (disables waveform; shows a large frequency readout instead)

Oscillator calibration: Patch an oscillator into AUDIO IN and trim V/Oct tracking while watching the note display.

FM drift monitor: Patch FM output into AUDIO IN to confirm pitch center stays on target while sweeping modulation depth.

Two-voice tuning: Use both channels simultaneously to tune two oscillators side by side.

Pitch CV extraction: Patch FREQ OUT into a quantizer or sequencer input to convert audio pitch to a usable V/Oct CV.

ALLOY is a physical-model synthesizer built around a network of Karplus-Strong delay lines.

Multiple resonator nodes are excited by a noise burst, spread across a stereo field, and fed through ADAA saturation for metallic, percussive, and inharmonic textures.

Key controls:
- RESONATOR CV input (external audio into the resonator network)
- PITCH V/Oct input + PITCH knob (-4V to +4V)
- STRIKE button + TRIG CV input (trigger a new excitation)
- SHAPE knob + attenuverter + CV (timbre: negative = chaotic cluster, positive = ordered spread)
- TEMPER knob + attenuverter + CV (cross-coupling between nodes)
- RESONANCE knob + attenuverter + CV (feedback sustain)
- OVERDRIVE knob + attenuverter + CV (post-node ADAA saturation drive)
- IMPULSE knob + attenuverter + CV (excitation burst length)
- NOISE knob + attenuverter + CV (continuous sizzle injected while resonating)
- VOLUME knob (output level)
- OUT L / OUT R (stereo outputs; nodes panned evenly across the field)

1. Trigger a strike:
   - Click STRIKE or patch a gate/trigger to TRIG.
   - With poly pitch CV, each voice gets an independent resonator network.

2. Set pitch:
   - PITCH knob +-4V (0V = C4 reference).
   - Patch V/Oct for melodic use or leave unpatched for fixed-pitch percussion.

3. Shape the timbre:
   - SHAPE negative: chaotic node detuning (cymbal/noise cluster)
   - SHAPE positive: evenly spread node detuning (metallic shimmer)
   - TEMPER adds cross-node coupling for sympathetic resonance

4. Set sustain and drive:
   - RESONANCE controls decay length.
   - OVERDRIVE pushes through ADAA saturation for grit.

5. Continuous excitation:
   - NOISE adds low-level excitation while resonating.
   - IMPULSE scales burst length relative to pitch period.

6. Patch RESONATOR CV to inject external audio into the delay network.

Context menu:
- Set Node Count: 4 / 8 / 12 (default) / 16 nodes
- Delay effect mode (transposes pitch -4V for long delay times)

Metallic percussion: TRIG from a gate sequencer; SHAPE positive for cymbal-like tone, RESONANCE for decay.

Melodic resonator: Patch a transient-rich audio source to RESONATOR CV; tune PITCH for a pitched string or plate sound.

Polyphonic strikes: Patch poly gate and poly V/Oct for independent resonators per voice.

Noise into chaos: SHAPE fully negative, high TEMPER, moderate RESONANCE for dense inharmonic swells.

Delay effect: Enable Delay mode; use sustained gating for evolving metallic ambience.

ONION provides 18 CV output slots, each with a dedicated slider and output jack.

The LAYERS parameter makes each output polyphonic: output N carries channels N, N+1, N+2 (wrapping around) so a single jack produces a poly bundle of related CV values.

Key controls:
- BIPOLAR switch: selects bipolar (+-10V) vs unipolar (0-10V) range
- LAYERS knob (1-16): how many poly channels each output carries
- DEPTH knob + CV input: scales all output values
- 18 LAYER sliders (three rows of 6): set per-slot value
- 18 output jacks (below each slider)
- Slider LEDs light in proportion to output voltage

1. Choose polarity:
   - BIPOLAR: sliders span -DEPTH to +DEPTH
   - Unipolar: sliders span 0 to DEPTH
   - Switching remaps all sliders to equivalent values in the new range.

2. Set DEPTH:
   - Controls the full-scale voltage of the sliders.
   - Patch CV to DEPTH input to modulate (adds to the knob).

3. Set LAYERS (1-16):
   - LAYERS=1: each jack outputs a single mono CV.
   - LAYERS=N: each jack outputs an N-channel poly cable containing slots n through n+N-1 (wrapping).

4. Dial the sliders to set each slot's voltage.
5. Patch any of the 18 outputs to CV destinations.

18-lane static CV bank: LAYERS=1, use outputs as fixed voltage sources for VCOs, filters, offsets.

Poly chord voicing: LAYERS=6, patch output 1 for 6 staggered voltages as a chord shape.

Macro morph: Animate DEPTH with an envelope or LFO to scale all 18 outputs together.

Wrapping poly stagger: With LAYERS=4, each output carries a different window of 4 slots for shifted voice stacking.

STRATA is a multi-layer pitch sequencer with three independent rhythmic rows: a main 8-stage sequence, a semitone row, and an octave row. All three advance at their own beat ratios and combine into a single pitch CV output.

Key controls:
- CLOCK input / RESET input + RESET button
- ON switch (Off / On / One-Shot)
- LAYER buttons 1-4 + NEXT (switch active editing layer)
- LAYER CV input (1V per layer)
- OFFSET knob + CV input (global transpose, +-2V)
- PATTERN KNOB (loop length, 1-24) + PATTERN CV input
- 24 PATTERN buttons (enable/disable pattern slots)
- Main row: 8 stage knobs (+-2V) + enable buttons + BEATS +/- + STEPS +/- per stage
- MAIN switch (Stage / Hybrid / Step mode)
- Semitone row: 7 slots, +-12 semitone knobs + enable buttons + BEATS/STEPS controls
- SEMI switch (Fwd / Ping-Pong / Rev)
- Octave row: 4 slots, +-3 octave knobs + enable buttons + BEATS/STEPS controls
- OCT switch (Left / Both / Right)
- GATE OUT / INV GATE OUT
- MAIN OUTPUT (pitch CV)

1. Patch a clock to CLOCK and select a layer with LAYER 1-4.

2. Program the main sequence:
   - Dial the 8 stage knobs (pitch offsets +-2V).
   - Enable stages with their buttons (lit = active).
   - BEATS +/- sets the clock ratio for that stage.
   - STEPS +/- sets how many clock ticks the stage lasts.

3. Add semitone variation:
   - Enable semitone slots; dial +-12 semitone offsets.
   - The semitone row advances at its own rate.

4. Add octave transposition:
   - Enable octave slots and set +-3 octave values.
   - OCT switch selects which row(s) the offset applies to.

5. Use patterns:
   - Press PATTERN buttons to activate/deactivate pattern slots.
   - PATTERN KNOB sets how many patterns are in the loop.

6. Select play mode on the ON switch.

Context menu:
- Copy Layer / Paste Layer / Paste to All Layers
- Paste Mode: Knobs + Beats / Knobs Only / Beats Only
- Layer Advance by CV (1V/layer)

Evolving melody: Set multiple layers with different beat ratios; use LAYER CV to switch layers on bar boundaries.

Chromatic fills: Keep main stages at whole-note values; use the semitone row at faster beat ratios for passing runs.

Octave transposition scenes: Use the octave row with slow beat ratios to transpose the whole sequence every N bars.

One-shot phrases: Set ON to One-Shot, trigger via RESET, patch GATE OUT to an envelope for a single clean phrase.

Pattern morphing: Activate/deactivate pattern buttons live for real-time structural variation.