Plaits

Mutable Instruments 12HP

fw 1.2

Digital macro-oscillator with 16 synthesis models. Built-in low-pass gate and decaying envelope allow self-contained percussive and melodic voices without external modules.

Patch Ideas · 26

★ 808-style kick drum

Use the analog bass drum model as a self-contained 808-style kick — pitch via HARMONICS, click via TIMBRE, decay via MORPH.

Walkthrough

Select Model 14 (Analog bass drum, red bank).
Set HARMONICS to about 9 o'clock for low tuning / soft attack sharpness.
Set TIMBRE to about 9 o'clock for a gentle click — CW for a snappier transient.
Set MORPH to about 10 o'clock for medium decay.
Patch sequencer trigger → Plaits TRIG.
Patch Plaits OUT → mixer.
Optional: patch Plaits AUX → mixer at low level for a second bass-drum variant layered underneath.

Signal out Plaits OUT — the 808-style kick. AUX is an alternate analog-bass-drum-circuit emulation that layers well.

Listen for A deep kick with clean attack. Turn MORPH CW for longer 808 tails; TIMBRE CW for a brighter snappier click; HARMONICS CW for pitched snare-body territory.

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★ DX7 electric piano

The 2-op FM model is Plaits' DX7 core — set carrier/modulator ratio with TIMBRE, modulation index with HARMONICS, and let the internal LPG provide the EP decay.

Walkthrough

Select Model 3 (Two-operator FM, green bank).
Set HARMONICS at noon to start with a simple integer ratio.
Set TIMBRE to about 11 o'clock for a modest FM index (brighter = more CW).
Set MORPH below noon for CCW feedback character (or past noon for aggressive rough feedback).
Hold left button and set TIMBRE for LPG response (VCFA/VCA mix) and MORPH for LPG decay time — tune to taste of a tine-like release.
Patch keyboard pitch → Plaits V/OCT.
Patch keyboard gate → Plaits TRIG (this activates the internal LPG with each note).
Patch Plaits OUT → your output.

Signal out Plaits OUT — FM electric piano voice, shaped by the internal LPG envelope.

Listen for A glassy Rhodes-like tone that brightens on attack and fades like a bell. Sweep HARMONICS for different ratios (integer = musical, non-integer = inharmonic), TIMBRE for FM depth.

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★ Drum machine from one module

Plaits's MODEL CV is sampled on every trigger — cycle through three drum models with one CV track to play kick, snare, and hi-hat from a single module.

Walkthrough

Set Plaits's base model to Model 14 (Analog bass drum).
Prepare a 3-step CV track: 0V, +0.31V, +0.62V. Each 0.31V step moves MODEL CV by one model position.
Patch that CV track → Plaits MODEL CV.
Patch your clock → Plaits TRIG. Plaits samples MODEL CV on the trigger edge, so steps settle exactly at each hit.
Patch Plaits OUT → drum mixer.
Voila: step 1 plays kick (14), step 2 plays snare (15), step 3 plays hi-hat (16).

Signal out Plaits OUT — monophonic drum voice rotating through kick/snare/hi-hat per step.

Listen for A basic drum pattern from a single Plaits. Because MODEL CV only samples on trigger, model changes never glitch mid-hit. Swap the base model to reach different clusters (e.g. Model 10 for filtered noise + particle noise + inharmonic string percussion).

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Chiptune arpeggiator

The speech/LPC model produces rhythmic phoneme bursts. Patch a clock into TRIG for word-by-word articulation, mix OUT + AUX for arp + bass-line texture.

Walkthrough

Select Model 8 (Vowel and speech synthesis).
Patch a clock → Plaits TRIG. Each trigger utters a word/phoneme from the current bank.
Set HARMONICS to choose between formant filter, SAM, and LPC vowels (CCW to CW).
Set TIMBRE for species selection (Daleks → chipmunks).
Use the MORPH attenuverter to attenuate the MORPH CV source if you patch one (selects which phoneme/word).
Patch Plaits OUT → mixer (arpeggiated lead).
Patch Plaits AUX → mixer (the unfiltered vocal-cords signal — grittier, bass-register character).

Signal out Plaits OUT (lead) and Plaits AUX (unfiltered vocal cords, bassier).

Listen for Rhythmic vocal-synthesis patterns. AUX alone makes an interesting formant-y bass; OUT alone is the fully filtered speech. Sweep HARMONICS live for vowel→word transitions.

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Granular cloud LFO (dual random CV source)

Plaits's granular cloud model in LFO mode emits two unrelated slow random CVs — use OUT + AUX as two independent modulation streams.

Walkthrough

Select Model 9 (Granular cloud, red bank).
Enter LFO mode: hold right button A + turn HARMONICS full CCW (drops to 0.015–16Hz range).
Set HARMONICS to ~2 o'clock for a wide pitch spread across the 8 enveloped grains.
Set TIMBRE and MORPH to taste — these now affect grain density and duration at sub-audio rates.
Patch Plaits OUT → modulation destination 1 (filter FM, wavefolder, etc.).
Patch Plaits AUX → modulation destination 2 (reverb send, delay feedback, etc.).
No TRIG, no V/OCT — Plaits self-generates the modulation.

Signal out Plaits OUT + Plaits AUX — two slow, non-repeating random CVs.

Listen for Ambient self-generating textures. The two CV streams never correlate, which produces drift between whatever you patch them into. Model 9 in LFO mode is the classic 'free Marbles' trick.

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Self-patch feedback FM

Feed Plaits's OUT back into its MORPH CV via the attenuverter — audio-rate feedback produces metallic, chaotic tones.

Walkthrough

Select Model 3 (Two-operator FM).
Set the MORPH attenuverter (third small attenuverter under MORPH) to about 10 o'clock (modest, so feedback doesn't blow up).
Patch Plaits OUT → Plaits MORPH CV. This feeds the audio signal into the feedback parameter of the 2-op FM model.
Set TIMBRE to define the FM modulation index (around noon to start).
Set HARMONICS to set the carrier/modulator ratio.
Patch V/OCT from your keyboard or sequencer.
Patch Plaits OUT → output (note the same jack also goes to MORPH CV — Plaits's OUT is a voltage source that can drive multiple inputs since the MORPH input is high-impedance; no stackable needed if your Plaits's Model OUT cable can drive both simultaneously, but use a mult / stackable if unsure).

Signal out Plaits OUT — FM tone with self-feedback, clean at low attenuverter, chaotic near unity.

Listen for Metallic bells and ugly digital crunch depending on how far CW you push the MORPH attenuverter. Great for FM percussion and experimental drones.

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Bowed string drone

The modal resonator played by its own internal dust-noise excitation when TRIG is unpatched — slow LEVEL modulation gives the feel of an uneven bow.

Walkthrough

Select Model 13 (Modal resonator bank, red bank).
Do NOT patch anything into TRIG. When TRIG is unpatched, Plaits excites the resonator with internal dust noise — perfect for drones.
Set MORPH to ~3 o'clock for long resonance / slow energy absorption.
Set HARMONICS to pick a material (full CCW = string-like, CW = metallic/bell).
Set TIMBRE to adjust excitation brightness.
Patch keyboard (or fixed CV) → Plaits V/OCT.
Patch a slow LFO → Plaits LEVEL. This simulates uneven bow pressure.
Patch Plaits OUT → mixer L and Plaits AUX → mixer R for a stereo spread (AUX is the raw dust-noise exciter, useful as a companion texture).

Signal out Plaits OUT (resonated tone) and AUX (raw exciter signal).

Listen for A sustained bowed string-like drone that wavers with the LFO modulation. The AUX output sits underneath as a raw textural companion — mix it low for realism, louder for an experimental feel.

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★ Supersaw / unison lead

The granular cloud model at audio rate is effectively 8 detuned sawtooth oscillators — with HARMONICS low and TIMBRE high, you get a rich supersaw swarm from one Plaits.

Walkthrough

Select Model 9 (Granular cloud).
Set HARMONICS at ~9 o'clock for a tight detune spread (more CW = wider detune chaos).
Set TIMBRE full CW for maximum grain density (the 'saw count').
Set MORPH around noon for medium grain overlap.
Patch sequencer pitch → Plaits V/OCT.
Patch sequencer gate → Plaits TRIG.
Patch Plaits OUT → mixer L and Plaits AUX → mixer R. AUX is a sine-wave variant of the same grains — layering OUT (sawtooth) + AUX (sines) gives the hollowed-center supersaw effect without an external detuner.

Signal out Plaits OUT (saw supersaw) + Plaits AUX (sine variant) → stereo mix.

Listen for A wide, thick lead. Tighten HARMONICS for a closer unison; open it up for more chorus-y separation. TIMBRE full CW is the brightest; pull back for a softer swarm.

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Talking bass

Drive the speech model in the bass register with envelope-modulated MORPH for vowel-on-note articulation — robotic bass lines.

Walkthrough

Select Model 8 (Vowel and speech synthesis).
Set TIMBRE to low/bass species (CCW, deeper registers).
Set HARMONICS to your desired word/phoneme bank.
Set MORPH at a vowel transition point (experiment).
Set MORPH attenuverter (right small atten) to ~1 o'clock.
Patch bass-register sequencer pitch (0V–1V) → Plaits V/OCT.
Patch sequencer gate → Plaits TRIG (each trigger fires a new word).
Patch a slow LFO → Plaits TIMBRE CV (shifts vowel species over time).
Patch an envelope → Plaits MORPH CV (sweeps through phonemes on each note).
Patch Plaits OUT → your output.

Signal out Plaits OUT — filtered vocal synthesis at bass pitches.

Listen for A robotic, vocoder-like bass that 'speaks' a new phoneme on each note. Good for electro, IDM, glitch.

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Beat-synced model switching

A slow CV ramp on MODEL CV + trigger on every beat — Plaits steps through models one per beat instead of smoothly morphing. Timbral evolution locked to rhythm.

Walkthrough

Patch a slow ascending CV ramp (0–5V over 8 bars, e.g. from an LFO in saw mode, or a slow sequencer) → Plaits MODEL CV.
Patch your clock → Plaits TRIG. Plaits samples MODEL CV only on trigger edges, so model changes are quantized to beats.
Leave HARMONICS, TIMBRE, MORPH at whatever position you want — they apply to whichever model is currently active.
Patch V/OCT and LEVEL as usual for your pitch and dynamics.
Patch Plaits OUT → output.

Signal out Plaits OUT — a voice whose synthesis model advances beat-by-beat.

Listen for A voice that slowly evolves through all 16 synthesis models over 8 bars, changing character on every trigger without ever glitching mid-note. Endless generative texture patch.

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AUX bass reinforcement

OUT plays the lead through a filter + VCA; AUX is a model-dependent variant (sub-square, raw exciter, etc.) routed to a second VCA for independent processing — two layers per trigger, one Plaits.

Walkthrough

Select a model whose AUX output is useful — Model 1 (virtual analog) gives AUX = sum of two hard-synced waves; Model 3 (FM) gives AUX = sub-oscillator; Models 11/12/13 give AUX = raw exciter.
Patch sequencer pitch → Plaits V/OCT.
Patch sequencer gate → external envelope TRIG.
Patch Plaits OUT → filter → VCA 1 (the lead path).
Patch Plaits AUX → VCA 2 (the sub/bass path, typically unfiltered).
Patch envelope → VCA 1 CV (main decay).
Patch envelope (or a longer-release envelope) → VCA 2 CV for a different tail.
Mix VCA 1 and VCA 2 outputs.

Signal out VCA 1 out (Plaits OUT, lead) + VCA 2 out (Plaits AUX, bass/sub).

Listen for A voice with two processed layers from a single note. Swap envelopes for different time relationships — longer AUX decay gives sustained bass under staccato lead, etc.

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FM input self-feedback drone

Feed OUT back into the FM input through an attenuator — any pitched model becomes a chaotic self-FM drone. AUX adds a clean pitch anchor.

Walkthrough

Select Model 1 (Virtual Analog) or Model 3 (2-op FM) as the starting character.
Patch Plaits OUT → attenuator input.
Set the attenuator CCW to start (no feedback), then raise slowly.
Patch attenuator output → Plaits FM.
Set Plaits FM attenuverter (center small atten) to ~1 o'clock to give the feedback some depth.
As you raise the attenuator, the signal begins FM-ing itself — expect growls, bells, and chaos.
Patch Plaits AUX → mixer as a clean pitch anchor (AUX on Model 1 is the hard-sync'd variant, on Model 3 is the sub-osc — both stable).
Patch Plaits OUT → mixer as the main feedback voice.

Signal out Mixer Out — clean AUX layer + chaotic OUT layer.

Listen for Self-FM ugly-beautiful drones. Back off the attenuator if it locks into harsh squeals; push it for metallic digital noise. AUX grounds the pitch so the whole thing doesn't wander off.

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Morphing swarm pad

Wavetable model with multi-rate modulation on every CV input — slow LFO walks MORPH through columns, audio-rate LFO on TIMBRE adds swarm, S&H on HARMONICS steps wavetable banks. Never-repeating pad.

Walkthrough

Select Model 6 (Wavetable).
Patch a slow LFO (triangle or sine, ~0.05Hz) → Plaits MORPH CV. This sweeps the wavetable column (row index).
Patch an audio-rate LFO (~20Hz tri/sine) → Plaits TIMBRE CV via an attenuator set low. Adds a swarm-like shimmer.
Patch a clocked S&H → Plaits HARMONICS CV. Each clock pulse picks a new wavetable bank.
Patch keyboard (or a long held V/OCT) → Plaits V/OCT.
No TRIG, no LEVEL CV — continuous tone.
Patch Plaits OUT → reverb → output. AUX carries the low-fi version if you want a lofi layer underneath.

Signal out Plaits OUT → reverb — evolving wide pad.

Listen for A pad that swims through timbral territory without ever settling. The three different modulation speeds (slow, audio, clocked) ensure the voice never repeats exactly.

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Karplus drone (held LEVEL)

The Inharmonic String model self-oscillates when LEVEL is held open — constant high LEVEL CV bypasses the need to retrigger, giving a continuous Karplus-Strong drone.

Walkthrough

Select Model 12 (Inharmonic string modeling).
Patch a constant +5V offset → Plaits LEVEL. This holds the internal LPG fully open so the string feeds back and self-oscillates.
Do NOT patch TRIG (that would interrupt the feedback with discrete excitations).
Patch keyboard or fixed CV → Plaits V/OCT.
Set HARMONICS to taste — CCW = more string-like, CW = more inharmonic.
Set MORPH to set the feedback / damping time — longer for sustained drones.
Patch Plaits OUT → external VCA → output. External VCA lets you volume-control the drone; Plaits itself has no envelope-modulated amplitude in this mode.

Signal out Plaits OUT → external VCA → output.

Listen for A long, pitched string drone with changing harmonic character as HARMONICS and MORPH shift. Works beautifully as an ambient bed under other voices.

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Generative model-switcher

Random CV source on MODEL CV picks a different synthesis model for every note — combined with a melody sequencer, you get a generative phrase where each note has its own character.

Walkthrough

Patch your clock → Turing Machine (or any clocked random CV source) clock input.
Patch Turing Machine CV out → Plaits MODEL CV. Each clock samples a fresh random value.
Patch your melody sequencer's pitch → Plaits V/OCT.
Patch your melody sequencer's gate → Plaits TRIG. This samples MODEL CV (locking the model for the note) AND triggers the internal envelope.
Patch an envelope → Plaits LEVEL if you want finer amplitude shaping beyond the internal one.
Patch Plaits OUT → mixer.

Signal out Plaits OUT — a melodic phrase where every note is a different synthesis model.

Listen for Kaleidoscopic generative phrases. Since MODEL CV samples on trigger, the model stays stable per note — no glitching mid-hit. Pair a musical sequencer with randomized timbre for instant variety.

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Modal resonator as external FX

The Modal and Inharmonic String models excite from whatever's patched into LEVEL when TRIG is unpatched — turn a drum loop into tuned resonant hits.

Walkthrough

Select Model 13 (Modal resonator) or Model 12 (Inharmonic string) — both accept external excitation via LEVEL.
Do NOT patch anything into TRIG. That keeps the resonator listening to LEVEL as its exciter.
Patch a drum loop (or any percussive audio) → Plaits LEVEL.
Patch a sequencer pitch CV → Plaits V/OCT. Tunes the resonant body.
Set HARMONICS for material (string vs. metal) and MORPH for decay time.
Patch Plaits OUT → mixer. Each drum hit now rings the resonator at the current V/OCT pitch.

Signal out Plaits OUT — external audio ringing a pitched resonator.

Listen for Drum hits become pitched chimes, bells, or plucked strings. Change V/OCT live for a performance effect; sequence V/OCT for melodic resonance lines over the original loop.

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Chord + bass split

The Chord model's OUT is the full 4-note chord; AUX is the root alone. Route them through separate VCAs and processing for chord pad + bass from one Plaits.

Walkthrough

Select Model 7 (Chords).
Set HARMONICS to choose chord type (majors, minors, sus, etc.).
Set TIMBRE for chord inversion and transposition.
Set MORPH for waveform character (string-machine to wavetable).
Patch sequencer pitch → Plaits V/OCT.
Patch sequencer gate → Envelope 1 TRIG AND Envelope 2 TRIG (both envelopes fire per note but can have different shapes).
Patch Plaits OUT → chorus → VCA 1 (the chord pad path).
Patch Plaits AUX → LPF → VCA 2 (the root-bass path).
Patch Envelope 1 (long release) → VCA 1 CV for sustained chord pad.
Patch Envelope 2 (short decay) → VCA 2 CV for punchy bass.
Mix both VCA outputs.

Signal out VCA 1 (chord pad) + VCA 2 (bass) → mixer.

Listen for A chord that sustains as a pad while its root plays as a punctuated bass line — all from one note on one module. Add detune/chorus on the pad for width.

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Snare from Particle Noise

Particle Noise's OUT and AUX are two different flavors of dust — route one through a BPF for body and the other through an HPF for snap, and you have a two-layer snare from one Plaits.

Walkthrough

Select Model 11 (Particle noise).
Set HARMONICS for frequency randomization (more CW = wider scatter).
Set MORPH to select filter type (CCW = reverberating allpass, CW = resonant bandpass).
Patch your clock/trigger → Plaits TRIG AND → Envelope 1 TRIG AND → Envelope 2 TRIG.
Patch Plaits OUT → BPF → VCA 1 (snare body).
Patch Plaits AUX → HPF → VCA 2 (raw dust noise, for the snap).
Patch Envelope 1 (short decay, medium body) → VCA 1 CV.
Patch Envelope 2 (very snappy, 10–30ms decay) → VCA 2 CV.
Mix VCA 1 + VCA 2 outputs.

Signal out Mix of VCA 1 (body) + VCA 2 (snap) = snare.

Listen for A two-layer snare with body and attack independently shapeable. Swap BPF/HPF frequencies for rimshot/clap flavors; lengthen Envelope 1 decay for brush sounds.

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Bouncing ball inharmonic string

Drive Plaits's Inharmonic String model from MATHS's self-accelerating bouncing-ball envelope — an envelope follower on the same envelope shortens the damping on each bounce.

Walkthrough

Set up MATHS's Bouncing Ball patch (see MATHS sheet): CH 1 Cycle ON, CH 1 Variable Out 1 → CH 2 Signal In, CH 2 Out → CH 1 Fall CV.
Select Plaits Model 12 (Inharmonic string modeling).
Take MATHS CH 1 Unity Out through a mult. One copy → env follower IN, another → Plaits TRIG.
Patch env follower OUT → Plaits MORPH CV. As the bounce envelope rises, MORPH rises too — damping shortens on each accelerating bounce.
Patch sequencer pitch → Plaits V/OCT (or a fixed voltage for a single pitch).
Patch Plaits OUT → reverb → output.

Signal out Plaits OUT → reverb — plucked string notes that accelerate and de-dampen with each bounce.

Listen for A ball bouncing on a dampened string: each strike is shorter and brighter than the last, until it stalls. Reverb glues the tails together.

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Wavetable audio-rate sync

Audio-rate signal into Plaits's TRIG retriggers the wavetable read every VCO cycle — hard-sync artifacts, formant sidebands, and screaming upper harmonics.

Walkthrough

Select Model 6 (Wavetable oscillator).
Patch a VCO's square or pulse output (audio rate) → Plaits TRIG. This forces wavetable re-read every VCO cycle.
Patch an LFO → Plaits MORPH CV. Sweeps the column index (morph direction).
Patch your sequencer's pitch → Plaits V/OCT AND → the external VCO's V/OCT (both track together).
Set HARMONICS to pick a wavetable bank.
Patch Plaits OUT → filter → output. The filter tames the aliasing sidebands.

Signal out Plaits OUT → filter → output.

Listen for Hard-sync-like scream, but with wavetable shape variation instead of straight saw. Sweeping MORPH changes character drastically — textural, digital, sometimes vocal.

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Speech formant sequencer

Three sequencers at different rates drive TIMBRE (vowel species), MORPH (phoneme), and V/OCT (melody). Evolving phonetic phrases.

Walkthrough

Select Model 8 (Vowel and speech).
Patch a slow sequencer CV → Plaits TIMBRE CV. Steps through vowel species (Daleks ↔ chipmunks).
Patch a faster sequencer CV → Plaits MORPH CV. Drives articulation / phoneme-within-word.
Patch a melody sequencer's pitch → Plaits V/OCT.
Patch the melody sequencer's gate → Plaits TRIG (fires a new word per note).
Optional: set each sequencer to a different length (7, 11, 13 steps) for long non-repeating phrases.
Patch Plaits OUT → reverb → output.

Signal out Plaits OUT → reverb → output.

Listen for Plaits 'speaks' a melody, with vowel character drifting slowly and articulation shifting per-note. Phase-offset sequencer lengths ensure no exact repetition.

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Grain cloud with env-follower density

External audio drives Plaits's Granular Cloud density — louder input = denser cloud. Plaits mirrors the dynamics of whatever's feeding it.

Walkthrough

Select Model 9 (Granular cloud).
Patch an external audio source (drum loop, voice, anything dynamic) → env follower IN.
Patch env follower OUT → Plaits HARMONICS CV. Louder = wider pitch randomization across grains.
Patch the same env follower OUT → Plaits MORPH CV. Louder = longer grain duration (denser cloud).
Patch a slow sequencer pitch → Plaits V/OCT for a shifting tonal center.
Do NOT patch TRIG — Plaits runs continuously.
Patch Plaits OUT → reverb → output.

Signal out Plaits OUT → reverb → output.

Listen for A granular cloud that swells and retreats with whatever audio you're feeding the follower. Works great as a reactive pad under a drum track — dynamic source = dynamic response.

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DX7-style audio-rate FM pair

Plaits as the carrier, an external VCO as the modulator, wired like a 2-op DX7 algorithm with envelope-scaled FM index and cross-modulation feedback.

Walkthrough

Select Plaits Model 1 (Virtual Analog) — a clean sine/triangle base.
Patch sequencer pitch → Plaits V/OCT AND → external VCO Mod's V/OCT. Both track together.
Patch sequencer gate → an external envelope's TRIG.
Patch envelope → index VCA's CV input.
Patch external VCO Mod's output → index VCA's audio input.
Patch index VCA's output → Plaits FM. The envelope now scales FM depth over time.
Patch Plaits OUT → external VCO Mod's Lin FM input. This cross-modulates the modulator with the carrier — DX7 feedback-style.
Patch Plaits OUT → output VCA's audio input.
Patch envelope → output VCA's CV (overall note amplitude).
Patch output VCA → your mixer/output.

Signal out Output VCA → output — DX7-style FM voice with time-varying index and cross-mod feedback.

Listen for Classic DX7 territory: bells, electric pianos, marimbas. The cross-mod feedback gives a metallic edge the internal 2-op FM model alone can't produce.

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Three-voice just-intonation drone

Plaits as root, two external VCOs tuned to 3:2 and 5:4 ratios above — all three drift in fine tune via one LFO for shifting beating partials.

Walkthrough

Select Plaits Model 1 (Virtual Analog) or Model 6 (Wavetable) — clean tonal source.
Patch a constant +5V offset → Plaits LEVEL. Drone mode — internal LPG stays open.
Tune external VCO 2 to a perfect fifth above Plaits (3:2 ratio — slightly sharp of a tempered fifth).
Tune external VCO 3 to a major third above Plaits (5:4 ratio — flat of a tempered major third, around +386 cents).
Patch Plaits OUT → mixer (root).
Patch VCO 2 out → mixer (perfect fifth).
Patch VCO 3 out → mixer (major third).
Patch a slow LFO → Plaits FM (shallow depth via FM attenuverter CCW).
Patch same LFO → VCO 2 Fine Tune (moderate depth, through an attenuator).
Patch same LFO → VCO 3 Fine Tune (deeper depth).
Mixer → output.

Signal out Mixer out → output — three-note just-intonation drone, slightly drifting.

Listen for A rich harmonic drone where intervals pulse in and out of perfect alignment as the LFO re-tunes each voice independently. Different modulation depths per voice ensure the three partials never sync up simultaneously.

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Plaits + uBurst granular crossfeed

Plaits into uBurst's granular processor, uBurst's left output back into Plaits's TIMBRE CV — audio-as-CV feedback that never settles.

Walkthrough

Select Plaits Model 6 (Wavetable) or Model 3 (2-op FM).
Patch sequencer pitch → Plaits V/OCT.
Patch Plaits OUT → uBurst IN L.
Patch uBurst OUT L → attenuator IN.
Set the attenuator low to start — audio into a CV input gets wild.
Patch attenuator OUT → Plaits TIMBRE CV. Now the granular-processed signal modulates Plaits's timbre at audio rate.
Patch an LFO → Plaits HARMONICS CV for slower wavetable drift.
Patch a random CV → uBurst Density CV.
Patch uBurst OUT R → reverb → output. (L is the feedback loop; R is what you hear.)

Signal out uBurst OUT R → reverb → output.

Listen for Grains feed timbre into the source of those same grains. The loop never settles — constant evolution. Adjust the attenuator and uBurst density to find stable-but-moving regions vs. chaotic lockup.

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Shared S&H chord generator

One random S&H value, two quantizers with an interval offset between them — one random pick yields a fresh two-note diatonic chord on every clock.

Walkthrough

Patch noise → S&H IN.
Patch your clock → S&H TRIG AND → Envelope TRIG.
Patch S&H OUT → Quantizer 1 IN.
Patch Quantizer 1 OUT → Plaits V/OCT (voice 1 pitch).
Patch same S&H OUT → an offset/mixer that adds a musical interval in V/OCT (e.g. +0.417V for a perfect fifth, +0.333V for a major third).
Patch offset OUT → Quantizer 2 IN.
Patch Quantizer 2 OUT → external VCO V/OCT (voice 2 pitch).
Patch Envelope → Plaits LEVEL (voice 1 amplitude).
Patch Envelope → VCA 2 CV (voice 2 amplitude).
Mix Plaits OUT (voice 1) + external VCO → VCA 2 OUT (voice 2) at a mixer.

Signal out Mixer out = Plaits OUT (voice 1) + VCO 2 (voice 2, interval-offset).

Listen for Each clock triggers two voices in harmonic parallel — a random 'melody' where every note is paired with its diatonic partner. Set both quantizers to the same scale for guaranteed in-key harmony.

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Behaviors

Classic Waveforms / Waveshaping (Models 1–2) V/Oct + gate

Model 1: virtual-analog pair (pulse/saw). Model 2: asymmetric triangle through waveshaper and wavefolder. HARMONICS selects waveform, TIMBRE folds/shapes, MORPH varies asymmetry.

FM / Formant / Harmonic (Models 3–5) V/Oct + gate

Model 3: two-op FM with feedback/chaos. Model 4: granular formant simulation via sine segments. Model 5: additive harmonic mixture. HARMONICS controls ratio/count, TIMBRE shapes content.

Wavetable / Chords / Speech (Models 6–8) V/Oct + gate

Model 6: 4 banks of 8×8 wavetables with interpolation. Model 7: four-note chords via VA or wavetable. Model 8: vowel and LPC speech synthesis. HARMONICS selects bank/chord/vowel type.

Granular / Filtered Noise / Particle (Models 9–11, bank 2) trigger or gate

Model 9: 8 enveloped sawtooth grains. Model 10: variable-clock white noise through resonant filter. Model 11: dust noise through allpass/bandpass networks. Percussive and textural sources.

Internal LPG hold left button

Built-in low-pass gate. TIMBRE adjusts character (VCFA to VCA). MORPH sets decay time. Active on tonal models when TRIG patched.

LFO Mode hold right button + HARMONICS CCW

Drops to 0.015–16Hz range. All 16 models become complex LFO shapes. OUT and AUX give different waveshapes from the same model. Model 9 in LFO mode produces two non-repeating random CV streams.

MODEL CV latching trigger edge + MODEL CV

MODEL CV is only sampled on trigger edges — the model does not change mid-note. A slow CV sweep paired with a rhythmic trigger produces beat-synced model switching rather than continuous morphing.

Internal envelope normalization TRIG patched with CV inputs unpatched

When TRIG is patched, TIMBRE, FM, and MORPH CV inputs are normalled to the internal decaying envelope. The three attenuverters then control how much envelope depth is applied to each parameter. Patching any CV cable into those jacks breaks the normalling for that parameter only.

Color-blind mode power on while holding right button

Toggles LED behavior to use brightness levels instead of green/red color coding for the two model banks. Useful in low-light environments or for performers with color vision deficiency.

Frequency range narrowing hold right button + turn HARMONICS

Default pitch range is 8 octaves. Turning HARMONICS CCW while holding right button narrows the FREQUENCY knob range down to ±7 semitones, enabling fine chromatic tuning without an external attenuverter on the knob.

Controls

A	Model Selection Buttons	Two buttons cycle through 8+8 synthesis models. Bank 1: pitched/tonal. Bank 2: noisy/percussive. Short press: cycle within bank · Long press: switch bank · LEDs indicate active model
B	Frequency	Coarse pitch control. Default range 8 octaves (C0–C8); narrowable to ±7 semitones. Hold button 2 + turn HARMONICS to set range · C0–C8 default
C	Harmonics	Model-dependent tone control. Generally adjusts harmonic content, chord type, or waveform. Function varies per model · CV controllable
D	Timbre	Model-dependent tone control. Generally sweeps spectral content from dark/sparse to bright/dense. Has dedicated attenuverter for FM/envelope · CV controllable
E	Morph	Model-dependent tone control. Explores lateral timbral variations and waveform transitions. Has dedicated attenuverter · LPG decay time in hold mode · CV controllable
F	FM / Timbre / Morph Attenuverters	Three small attenuverters for the FM, Timbre, and Morph CV inputs. Also scale internal envelope amount. CCW: invert · noon: zero · CW: unity · Acts as envelope depth when TRIG patched

I/O

IN · 8

Model CV 0–5V CV

Voltage selects synthesis model. Two LEDs indicate modulated vs. base value.
Timbre CV ±5V CV

CV input for Timbre parameter, scaled by its attenuverter.
FM ±5V CV

CV input for frequency modulation, scaled by FM attenuverter.
Morph CV ±5V CV

CV input for Morph parameter, scaled by its attenuverter.
Harmonics CV ±5V CV

CV input for Harmonics parameter.
Trigger >2V trigger GATE

Triggers internal decaying envelope and LPG. Excites physical/percussive models. Samples MODEL CV.
Level 0–8V GATE

Opens internal low-pass gate directly. Acts as accent when triggering physical models.
V/Oct -3V to +5V CV

1V/oct pitch input. Controls frequency relative to FREQUENCY knob root note.

OUT · 2

OUT ±5V AUDIO

Main audio output of the active synthesis model.
AUX ±5V

Auxiliary output: variant, sidekick, or by-product of the main signal depending on model.

Patch Ideas · 26

Behaviors

Controls

I/O

▸ IN · 8

◂ OUT · 2

IN · 8

OUT · 2