SYZYGY is a polyphonic dual stereo oscillator based on phase-feedback distortion. Two independent voices (Osc I and Osc II) can cross-modulate each other via FM, ring modulation, and AM, and their combined output passes through a wavefolder and noise mixer before reaching the output stage.

Oscillator controls (per voice, x2):
- V/OCT input + attenuverter
- FM input (normalized to cross-modulate by default; patching breaks normalization)
- LOCK button (hard-syncs one oscillator to the other)
- SYNC input (hard-syncs oscillator to rising zero-crossing of an external signal)
- LFO button (Osc II only: switches to LFO mode where 0V = 1Hz)
- FEEDBACK slider + CV (phase-feedback depth; 0 = pure sine)
- POS slider + CV (feedback phase position within the clock cycle)
- NODE slider + CV (number of cycles in the phase feedback channel)
- PHASE slider + CV (base phase of the oscillator)
- SPREAD slider + CV (L/R phase offset for stereo width)
- RATIO slider + CV (non-linear harmonic multiply of the feedback phase)

Mixer controls:
- MOD/MIX slider + CV (morph from clean I+II mix to cross-modulated output)
- XFM slider + CV (cross-FM amount; routing set in context menu)
- RING/AM slider + CV (morph between ring modulation and AM)
- SYM slider + CV (DC offset before wavefolder)
- FOLD slider + CV (wavefold amount; max morphs to saturation)
- PINK/WHITE slider (noise color)
- NOISE/CLEAN slider (blend noise into the signal)

Display and alignment:
- CHAN knob (select display polyphony channel)
- ALIGN button (simultaneous pulse to both SYNC inputs to re-align oscillator phases)
- Display (polar coordinate Lissajous of L/R channels; cross-mod product shown at center)

Output stage:
- VOLUME knob + CV (VCA for all outputs; context menu option to decouple from I/II outs)
- I OUT / II OUT (stereo outputs for each oscillator)
- MAIN OUT (combined stereo output)

1. Set pitch:
   - Patch V/Oct to Osc I, Osc II, or both.
   - A polyphonic V/Oct on either input activates full polyphony across all CV inputs.

2. Choose oscillator relationship:
   - Free-running: both oscillators run independently.
   - LOCK: hard-syncs one to the other for tighter harmonic structure.
   - Use ALIGN to re-sync phases on demand.

3. Dial the harmonic palette:
   - FEEDBACK controls how much phase-distortion is applied (0 = pure sine).
   - NODE, POS, and RATIO shape the harmonic character of the distortion.
   - SPREAD controls stereo width via L/R phase offset.

4. Mix the two voices:
   - MOD/MIX morphs from clean mix to cross-modulated sound.
   - RING/AM blends between amplitude modulation and ring modulation.
   - XFM adds cross-FM between the two oscillators.

5. Add texture:
   - FOLD adds wavefolding (turning up fully morphs into saturation).
   - SYM shifts the DC center before folding for asymmetric shapes.
   - NOISE/CLEAN blends pink or white noise.

6. Use as a synth voice:
   - Set VOLUME to 0, patch an envelope CV to VOLUME for a fully polyphonic voice.

Context menu:
- FM Range: set max FM depth
- FM Mode: Linear TZFM / Exponential V/Oct
- XFM Mode: Osc I / Osc II / Both
- Enable Supersampling (4x, CPU intensive)
- Mix Down Main Outputs (sum poly to mono)
- Volume VCA also controls Osc I/II outs (toggle)

Cross-FM textures: Leave FM normals intact and sweep XFM for evolving harmonic motion between the two oscillators.

Envelope-driven fold: Set up a drone sound at moderate FEEDBACK and NODE, then patch an envelope into FOLD for brief wavefolded transients on each hit.

Stereo ping: Set SPREAD to a moderate value; use ALIGN to snap both oscillators into phase at phrase starts for a sudden width collapse effect.

Double XFM chaos: Set XFM Mode to Both in the context menu, then push XFM for unpredictable screaming or bubbling sounds useful for percussion and effects.

Polyphonic voice: Patch poly V/Oct to Osc I V/Oct, set VOLUME to 0, patch a poly envelope to VOLUME. Use FOLD with the envelope for brighter transients on attacks.

SUPER WONK is a 16-channel clock-synced LFO with phase-feedback distortion. All 16 oscillators stay locked to the external clock BPM while WONK bends their waveforms from clean sines into more chaotic feedback-driven shapes.

Key controls:
- CLOCK input (external clock; defaults to 30 BPM internally)
- RESET input + button (re-aligns all oscillator phases to default positions)
- RATE X knob + attenuverter + CV (clock multiplier: positive = multiply, negative = divide; -1 to +1 = dead zone at 1x)
- PHASE knob + attenuverter + CV (global phase offset for all 16 channels)
- MOD DEPTH knob + attenuverter + CV (output amplitude, up to 5V)
- WONK knob + attenuverter + CV (phase-feedback distortion; any amount causes slow drift while staying BPM-centered)
- FDBK POS knob + attenuverter + CV (selects which oscillator channel provides the feedback signal)
- NODES knob + attenuverter + CV (phase spacing between channels):
   - 0: all 16 channels oscillate in unison
   - +1: clockwise rotation, equal phase divisions
   - -1: anticlockwise rotation
   - +/-2: 720 degrees spread, 2x each output
   - +/-3: 4x rotation, binodal even/odd arrangement
- Individual outputs 1-16 + POLY output (P)
- ALIGN input (gate: high = all channels fade to alignment over 2s; low = fade back to NODE positions)

1. Patch a clock to CLOCK (or use the internal 30 BPM default).
2. Set RATE X for oscillator speed relative to clock:
   - Positive values above 1 multiply speed; negative values below -1 divide it.
   - The -1 to +1 range is a dead zone that always maps to 1x clock rate.
3. Set NODES to distribute phases across the 16 channels:
   - 0: unison motion
   - 1 or -1: even phase spread (CW or CCW rotation)
   - Higher values create repeating groups
4. Increase WONK to introduce phase-feedback distortion:
   - Low WONK: clean sines with defined phase relationships
   - High WONK: bent, drifting shapes that still stay BPM-related
5. Use FDBK POS to select which channel feeds back into the WONK distortion.
6. Patch ALIGN gate for dramatic phase-collapse effects:
   - Gate high: all channels fade to alignment over 2 seconds (adjustable in context menu)
   - Gate low: channels fade back to their NODES positions
7. Use MOD DEPTH to set output amplitude (up to 5V).
8. Patch individual outputs 1-16 or the POLY output.

Context menu:
- Align fade time (up to 16 seconds)
- Output Polyphony (each output can carry a poly group, wrapping at channel 16)
- Unipolar mode (0-10V instead of -5 to +5V)

16-lane tempo-locked bus: Patch adjacent outputs to related parameters (filter cutoffs, pans, wavefold amounts) for motion that feels physically related.

Phase collapse effect: Keep WONK moderate for interesting shapes; patch a bar-clock gate to ALIGN for a dramatic sweep to unison on every 4 or 8 bars.

Rotating phase field: Set NODES to 1 and RATE X to a slow division; the 16 channels sweep through phase positions as a rotating modulation wheel.

Poly group bus: Set Output Polyphony in the context menu to distribute groups of channels per output jack for efficient multi-voice patching.

ENVELOPE CITY is a 16-channel AD envelope generator where all channel parameters interpolate smoothly between FIRST (channels 1-8) and LAST (channels 9-16) settings.

Key controls:
- FIRST section (left): WIDTH, CURVE, and SLANT for channel 1
- LAST section (right): WIDTH, CURVE, and SLANT for channel 16
- Intermediate channels 2-15 interpolate between FIRST and LAST
- RETRIG button (left, channels 1-8) / RETRIG button (right, channels 9-16):
  - ON: envelopes can be retriggered during decay
  - OFF: retriggering waits for end-of-function
- WIDTH: cycle time of FIRST/LAST channel (all other channels interpolated)
- SLANT: envelope shape -- rising ramp, pyramid, or descending ramp
- CURVE: morphs log to linear to exponential response
- TRIG inputs 1-16 (each channel has an independent trigger; normalized rightward by default)
- GATE/OUT pairs 1-16 (GATE goes high when envelope is at 0V; OUT is the envelope output)
- POLY output (P) with configurable polyphony grouping
- INTERPOLATED ENVELOPES slider (center): controls the distribution of interpolated shapes
- Channel buttons 1-16: manually trigger each channel

1. Set timing span:
   - Use FIRST WIDTH to set the fastest channel (channel 1) duration.
   - Use LAST WIDTH to set the slowest channel (channel 16) duration.
   - Channels 2-15 automatically interpolate between these.

2. Shape the envelopes:
   - SLANT morphs the shape: fully left = rising ramp, center = pyramid (AD), fully right = descending.
   - CURVE adjusts the curvature: log, linear, or exponential for each half of the shape.
   - Combining different SLANT and CURVE values on FIRST and LAST creates fan-shaped envelope families.

3. Trigger channels:
   - Patch a trigger to TRIG 1; it normalizes rightward so all channels fire from one source.
   - Patch individual triggers for independent per-channel timing.

4. Use GATE outputs:
   - Each GATE goes high when its envelope is at 0V -- use for end-of-cycle chaining or self-patching.

5. Set retrigger mode:
   - RETRIG ON: envelope fires immediately from current level on each trigger.
   - RETRIG OFF: new trigger waits until current cycle completes.

6. Adjust INTERPOLATED ENVELOPES slider to redistribute how interpolation spreads across channels.

Context menu:
- Envelope Polyphony: poly grouping for envelope outputs
- EOF Polyphony: poly grouping for gate outputs
- Trigger Probability: per-channel or all-channels (0-100%)
- Volcano-shaped Envelopes: curve applies symmetrically (no inversion at crest)

16-stage amplitude fan: Patch 16 envelope outputs to 16 VCA inputs for a slow-to-fast velocity fan across voices.

Chained phrases: Patch GATE output of channel N to TRIG of channel N+1 to build long sequential envelope chains without an external clock.

Self-oscillation: At short WIDTH settings, patch a GATE output back into its own TRIG -- the envelope cycles continuously as an LFO.

Probabilistic fills: Enable Trigger Probability in the context menu; set channels to 60-80% probability for randomized percussion variations with a single trigger source.

Volcano mode rhythms: Enable Volcano-shaped Envelopes for symmetric arc shapes that feel like plucks or mallets rather than sharp attacks.

ARRANGE XL is a 16-channel step sequencer with per-channel mode switching, live recording, and a full copy/paste/edit workflow. Each channel can be independently set to Voltage, Quantized note, or Probability trigger mode.

Key controls:
- CLOCK input (advance sequencer)
- STAGE knob (select current stage for editing)
- END knob (set sequence length, up to 128 steps; context menu extends to 2048)
- REC button + CV (arm recording; when active, current knob/input values write to the stage)
- EDIT button (recall stored values when advancing without overwriting)
- RESET button + CV (return to stage 1)
- FWD / BACK buttons + CVs (step forward or backward one stage)
- Per-channel (x16):
  - IN jack (override knob with external CV; poly input distributes downward)
  - MODE button (off = Voltage, blue = Semitone quantized, yellow = Trigger probability)
  - Knob (sets output value / note / probability depending on mode)
  - OUT jack
- POLY output (P) with configurable polyphony
- Bottom row: COPY / COPY ALL / PASTE / CLONE / CLEAR / ADD / DELETE buttons
- Display top: current stage / total steps + progress dot
- Display bottom: output value / note name / trigger probability

1. Set sequence length:
   - Turn END to the desired number of steps (1-128 default; up to 2048 in context menu).
   - Changing END resets the sequencer and rescales the STAGE knob.

2. Program stages:
   - Turn STAGE to select a step.
   - Enable REC, then turn the knob (or patch CV to IN) to set the value for that stage.
   - Advance STAGE to write and move to the next step.

3. Set per-channel modes:
   - Voltage (off): raw knob value.
   - Blue (quantized): output snaps to semitone V/Oct values; display shows note name.
   - Yellow (probability): knob sets trigger probability 0-100%; -10V input = 0%, +10V = 100%.

4. Use IN jacks:
   - Patching an IN overrides the knob for that channel.
   - A poly input distributes across channels downward.

5. Copy/paste workflow:
   - COPY saves the current stage to a buffer.
   - Shift-click COPY (or COPY ALL) copies all stages up to current.
   - PASTE writes the buffer after the current stage, adding stages as needed.
   - CLONE pastes the copied stage over all existing stages.
   - ADD / DELETE add or remove a stage at the current position.
   - Shift-click a knob in REC mode to apply that value to all stages.

6. EDIT mode:
   - Advancing stages recalls stored values without overwriting them, for safe auditioning.

Context menu:
- Output Polyphony: poly grouping per output
- Set Max Sequence Length: 128 / 256 / 512 / 1024 / 2048
- Stop Record At End: auto-disarm REC when sequence loops

Multi-mode sequence: Use some channels in quantized note mode for pitch CV and others in probability mode for rhythmic gating -- a complete rhythmic melody in one module.

Live recording: Patch an external CV source to IN while in REC; turn STAGE manually to write phrases in real time.

Scene recall: Use STAGE CV from another sequencer to jump non-linearly between stages for arrangement-style section changes.

Glitchy fills: Use ADD and DELETE live to vary sequence length; the loop immediately adapts for unexpected rhythmic variation.

V/Oct offset stack: Use a second Arrange XL as a transpose layer; patch its output to the IN of a melody sequence for independently sequenced transpositions.