Veils (2020)

Mutable Instruments 10HP
fw 2020 edition (no firmware — analog signal path)
VCA MIXER UTILITY

Verified sheet

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Four-channel DC-coupled VCA with per-channel response curve (linear↔exponential), positive CV offset, and daisy-chained outputs that turn the module into a flexible mixer. The 2020 edition adds bright per-channel gain LEDs and a polarity-aware output level LED.

Patch Ideas · 8

★ Four-voice submixer
Four voices into IN 1–4, daisy-chained out of OUT 4 as a free 4-into-1 mixer.
Walkthrough
  1. Patch four sound sources into IN 1, IN 2, IN 3, IN 4.
  2. Leave OUT 1, OUT 2, OUT 3 unpatched so all four channels cascade down to OUT 4.
  3. Set every Response knob fully CW (linear) if you want clean fader behaviour, or CCW (exponential) for audio-feel.
  4. Set every Offset knob fully CCW (no offset).
  5. Use the Gain knobs as four manual mixer faders — start each around noon (CV inputs are normalled to +8 V, so the knob is your fader).
  6. Patch OUT 4 / MIX → your output / next module.
Signal out OUT 4 / MIX — DC-coupled sum of channels 1–4, each set by its Gain knob.
Listen for A four-channel manual mixer. Turn any Gain knob CCW to mute that voice, CW to push past unity. Linear response gives predictable fader feel; exponential response makes small knob moves more musical near the bottom of the range.
▸ Show diagram
Patch diagramPatch diagram with 6 modules and 5 connections. Modules: Veils, VCO 1, VCO 2, VCO 3, VCO 4, Output. Signals: 5 audio.VeilsVCO 1VCO 2VCO 3VCO 4OutputCH 1-4: Response CW (linear), Offset CCW, Gain noonIN 1audioIN 2audioIN 3audioIN 4audioOUT 4audioOutaudioOutaudioOutaudioOutaudioInaudioaudio
★ Drum bus with sidechain ducking
Three drums summed; bass on channel 4 ducked by an inverted kick envelope.
Walkthrough
  1. Patch Kick → IN 1, Snare → IN 2, Hats → IN 3, Bass → IN 4.
  2. Leave OUT 1, OUT 2, OUT 3 unpatched so all four cascade into OUT 4 / MIX.
  3. Set CH 1–3 Response CCW (exponential) for natural drum dynamics; CH 4 Response CW (linear) for clean bass-VCA control.
  4. Set CH 1–3 Offset fully CW so those VCAs sit fully open at rest (knob = fader).
  5. Set CH 4 Offset fully CW so the bass is also open by default.
  6. Patch the kick envelope → CV 4. The CV path is summed with the +CW offset, so the envelope will push gain above unity unless tamed — back the Gain 4 knob CCW until the bass sits right.
  7. Trick to invert the duck: instead of sending the envelope straight in, route it through a separate inverter/attenuverter so it pulls CV 4 down on every kick hit, dipping the bass.
  8. Patch OUT 4 / MIX → drum bus / output.
Signal out OUT 4 / MIX — kick + snare + hats + (ducked) bass.
Listen for A glued drum bus where the bass briefly steps out of the way each time the kick fires, leaving room for the low-end transient. Adjust how deep the inverted envelope goes for subtle pumping vs heavy ducking.
▸ Show diagram
Patch diagramPatch diagram with 8 modules and 6 connections. Signals: 6 audio.VeilsKickSnareHatsBassKick EnvInverter -> VeilsDrum BusCH 1-3: Response CCW (expo), Offset CW, Gain noonCH 4: Response CW (linear), Offset CW, Gain ~10 o'clockIN 1audioIN 2audioIN 3audioIN 4audioOUT 4audioOutaudioOutaudioOutaudioOutaudioOutaudioCV 4audioInaudioaudio
Stereo VCA + two CV processors
CH 1–2 as a stereo audio VCA on a shared envelope, CH 3–4 sculpting two separate CVs.
Walkthrough
  1. Patch a stereo source: Synth L → IN 1, Synth R → IN 2.
  2. Set CH 1 and CH 2 Response CCW (exponential) for natural amplitude; Offset fully CCW so the VCAs are silent at rest.
  3. Mult one envelope into CV 1 and CV 2; set both Gain knobs the same so L and R track equally.
  4. Patch OUT 1 → Output L. Patch OUT 2 → Output R (this also breaks the cascade, isolating CH 1 and 2 from the rest).
  5. Patch an LFO → IN 3 and a sample-and-hold → IN 4 (now using channels 3 and 4 for CV).
  6. Set CH 3–4 Response CW (linear) for clean CV scaling. Use Offset to bias each CV; use Gain to set its depth.
  7. Patch OUT 3 → Filter (Cutoff). With OUT 3 patched and OUT 4 unpatched, OUT 4 carries only channel 4 — patch OUT 4 / MIX → VCO (FM).
Signal out OUT 1 / OUT 2 — stereo audio shaped by the envelope. OUT 3 — scaled LFO. OUT 4 / MIX — scaled S&H (cascade was broken by patching OUT 3).
Listen for A stereo voice that opens and closes with the envelope, while two extra CV streams modulate other modules — one Veils handling stereo amp duties and two CV processors at once.
▸ Show diagram
Patch diagramPatch diagram with 8 modules and 10 connections. Signals: 6 audio, 4 cv.VeilsSynthEnvelopeLFOS&HOutputFilterVCOCH 1-2: Response CCW (expo), Offset CCWCH 3-4: Response CW (linear)IN 1audioIN 2audioCV 1cvCV 2cvIN 3audioIN 4audioOUT 1audioOUT 2audioOUT 3cvOUT 4cvLaudioRaudioOutcvOutaudioOutaudioLaudioRaudioCutoffcvFMcvaudiocv
★ Line-level / pedal-return amplifier
Use exponential mode + Offset to boost a quiet external signal up to modular level.
Walkthrough
  1. Patch the quiet source (line-level synth, guitar pedal return, contact mic preamp) → IN 1.
  2. Set CH 1 Response fully CCW (exponential) — this is what unlocks the >100× / +20 dB-and-up gain.
  3. Set CH 1 Offset fully CW (+8 V) so the exponential curve sits in its high-gain region.
  4. Leave CV 1 unpatched (it normals to +8 V) — the Gain knob now acts as your boost amount.
  5. Slowly bring Gain 1 up while watching the output LED — green flashes mean clean positive signal, red means negative; very bright/saturated colour means you are clipping the rails.
  6. Patch OUT 1 → filter / next module. Back Gain off slightly if it sounds harsh.
Signal out OUT 1 — boosted, DC-coupled signal at modular level.
Listen for A whispery line-level signal grows loud enough to drive the rest of the rack. Push too hard and the output will distort — use the LED colour as your level meter.
▸ Show diagram
Patch diagramPatch diagram with 3 modules and 2 connections. Modules: Veils, Quiet Source, Filter (In) -> Output. Signals: 2 audio.VeilsQuiet SourceFilter (In) -> OutputCH 1: Response CCW (expo), Offset CW (+8V), Gain to tasteIN 1audioOUT 1audioOutaudioInaudioaudio
Four-channel CV mixer / attenuverter bank
Four CV sources into IN 1–4, daisy-chained out of OUT 4 as a single complex modulation.
Walkthrough
  1. Patch four CV sources into IN 1, IN 2, IN 3, IN 4 (LFOs, envelopes, S&H, random — anything DC).
  2. Set every Response knob fully CW (linear) — this gives clean, predictable CV scaling.
  3. Use each Offset knob to bias that channel's CV (turn CW to push it more positive).
  4. Use each Gain knob to set how much of that CV ends up in the sum.
  5. Leave OUT 1, OUT 2, OUT 3 unpatched so all four CVs cascade into OUT 4.
  6. Patch OUT 4 / MIX → destination (filter cutoff, VCO FM, wavefolder).
Signal out OUT 4 / MIX — DC-coupled sum of four scaled-and-offset CVs.
Listen for One destination wobbling with a layered, non-repeating modulation built from four sources. Subtle Offset/Gain changes massively rework the resulting motion.
▸ Show diagram
Patch diagramPatch diagram with 6 modules and 5 connections. Modules: Veils, LFO 1, LFO 2, S&H, Envelope, Filter. Signals: 5 cv.VeilsLFO 1LFO 2S&HEnvelopeFilterCH 1-4: Response CW (linear)IN 1cvIN 2cvIN 3cvIN 4cvOUT 4cvOutcvOutcvOutcvOutcvCutoffcvcv
Four-voice polyphonic VCAs
Four voices, four envelopes, four discrete outs for per-voice panning or processing.
Walkthrough
  1. Patch four VCO outputs into IN 1, IN 2, IN 3, IN 4.
  2. Set every Response CCW (exponential) for natural note dynamics; Offset fully CCW so each VCA is silent at rest.
  3. Patch four envelopes into CV 1, CV 2, CV 3, CV 4 — one per voice.
  4. Set each Gain knob to taste (controls how much the envelope opens that VCA).
  5. Patch OUT 1 → Pan 1, OUT 2 → Pan 2, OUT 3 → Pan 3, OUT 4 → Pan 4. Patching all four outs disables all cascading — every channel is now fully independent.
Signal out OUT 1–4 — four independent voices, each shaped by its own envelope.
Listen for A real polyphonic voice card: four notes with independent amplitude shaping that you can pan, EQ, or send to different effects.
▸ Show diagram
Patch diagramPatch diagram with 13 modules and 12 connections. Signals: 8 audio, 4 cv.VeilsVCO 1VCO 2VCO 3VCO 4Env 1Env 2Env 3Env 4Pan 1Pan 2Pan 3Pan 4CH 1-4: Response CCW (expo), Offset CCWIN 1audioIN 2audioIN 3audioIN 4audioCV 1cvCV 2cvCV 3cvCV 4cvOUT 1audioOUT 2audioOUT 3audioOUT 4audioOutaudioOutaudioOutaudioOutaudioOutcvOutcvOutcvOutcvInaudioInaudioInaudioInaudioaudiocv
Bipolar-to-unipolar LFO converter
Use Offset to turn a ±5 V LFO into a 0–10 V modulation (manual's textbook example).
Walkthrough
  1. Patch a bipolar LFO (e.g. ±5 V triangle) → CV 1.
  2. Leave IN 1 unpatched — we are using channel 1 purely as a CV processor.
  3. Wait — for processing, patch the LFO into IN 1 instead, and set CV 1 to a steady source (or leave it normalled to +8 V for max throughput).
  4. Set CH 1 Response CW (linear) so the shape is preserved.
  5. Turn CH 1 Offset CW until the negative half of the LFO is lifted above 0 V (the output LED will stop going red).
  6. Use CH 1 Gain to scale the resulting unipolar modulation to the depth you want.
  7. Patch OUT 1 → destination (e.g. filter cutoff).
Signal out OUT 1 — unipolar (positive-only) version of the input LFO, scaled and offset.
Listen for A filter cutoff that sweeps only upward from its base setting, instead of dipping below it — exactly what the manual describes as the prototypical Offset use-case.
▸ Show diagram
Patch diagramPatch diagram with 3 modules and 2 connections. Modules: Veils, Bipolar LFO, Filter. Signals: 1 audio, 1 cv.VeilsBipolar LFOFilterCH 1: Response CW (linear), Offset CW, Gain to tasteIN 1audioOUT 1cvOutaudioCutoffcvaudiocv
Audio-rate amplitude modulation (ring-mod-ish)
Carrier into IN 1, audio-rate modulator into CV 1 for AM sidebands.
Walkthrough
  1. Patch the carrier VCO → IN 1.
  2. Patch a second VCO (or fast audio-rate LFO) → CV 1.
  3. Set CH 1 Response CW (linear) so the modulator's waveform shape is preserved at audio rate.
  4. Set CH 1 Offset around noon — too high and the carrier just plays through clean; too low and the VCA stays mostly closed.
  5. Set CH 1 Gain to taste — start near unity.
  6. Patch OUT 1 → filter / output and tune the modulator VCO to hear sidebands move.
Signal out OUT 1 — carrier multiplied by the modulator: AM-style sidebands and metallic, ring-mod-flavoured tones.
Listen for Hollow, bell-like, or clangy timbres that change with the modulator's pitch — sweep the modulator VCO up and down to hear the sidebands wander. Offset controls how much dry carrier bleeds through underneath the AM.
▸ Show diagram
Patch diagramPatch diagram with 4 modules and 3 connections. Modules: Veils, VCO Carrier, VCO Mod, Filter (In) -> Output. Signals: 2 audio, 1 cv.VeilsVCO CarrierVCO ModFilter (In) -> OutputCH 1: Response CW (linear), Offset noonIN 1audioCV 1cvOUT 1audioOutaudioOutcvInaudioaudiocv

Behaviors

Daisy-chained mix bus Any OUT jack left unpatched

Each output is normalled to the next channel down. If OUT 1–3 are empty, OUT 4 sums all four channels (free 4-into-1 mixer). Patching, say, OUT 2 splits the module into a 1+2 sub-mix on OUT 2 and a 3+4 mix on OUT 4.

Per-channel response curve Response knob position

Each channel is independently variable between exponential (musical, ear-matched amplitude — best for audio) and linear (mathematically clean — best for CV). One Veils can host audio VCAs and CV processors side by side.

High-gain exponential mode Response CCW + Offset CW + healthy CV

Exponential response combined with the positive offset pushes gain well above 100× (over +20 dB), enough to amplify line-level or weak signals up to modular level. Watch for clipping on the way out.

CV offset / unipolar conversion Offset knob above zero

The Offset knob adds 0 to +8 V to the gain CV. Turning it up converts a bipolar LFO into a one-sided modulation, opens the VCA at rest, or biases exponential response into high-gain territory.

DC-coupled CV processing CV signal patched through any IN

All four channels pass DC, so Veils doubles as a four-channel CV scaler/offset/mixer: IN takes the CV, the Gain knob/CV input scales it, the Offset knob adds bias, and the daisy-chain outputs sum CV streams together.

Per-channel LEDs Signal or CV present on a channel

Each channel has a gain-indicator LED (brightness ∝ VCA gain in dB) and an output-level LED whose colour shows polarity (green = positive, red = negative). Useful for spotting silent channels, checking envelope shape, and confirming polarity when processing CV.

Controls

CH 1-4 Response 1–4 Per-channel response curve, continuously variable between exponential (CCW) and linear (CW). Exponential gives ear-matched audio dynamics and very high gain (above 100×, +20 dB and beyond) when combined with offset; linear is artifact-free for CV processing.
CCW: exponential (audio) · CW: linear (CV)
CH 1-4 Offset 1–4 Adds a positive offset (0 to +8 V) to the gain CV. Use it to turn a bipolar LFO/CV into a unipolar modulator, to open the VCA at rest, or to push exponential response into high-gain territory.
0 V (CCW) to +8 V (CW), summed with the CV input
CH 1-4 Gain / CV amount 1–4 Attenuates the CV input when patched. When CV is unpatched the jack normals to +8 V, turning the knob into a manual gain fader. +5 V on the CV path = unity gain.
Manual gain when CV unpatched · CV attenuator when CV patched

I/O

IN · 8

  • IN 1 DC-coupled, 100 kΩ CV
    Channel 1 signal input. DC-coupled — accepts audio or CV.
  • IN 2 DC-coupled, 100 kΩ AUDIO
    Channel 2 signal input. DC-coupled.
  • IN 3 DC-coupled, 100 kΩ AUDIO
    Channel 3 signal input. DC-coupled.
  • IN 4 DC-coupled, 100 kΩ AUDIO
    Channel 4 signal input. DC-coupled.
  • CV 1 Normalled to +8 V, 100 kΩ CV
    Channel 1 gain CV. Normalled to +8 V when unpatched (so the Gain knob acts as a manual fader). +5 V externally = unity gain.
  • CV 2 Normalled to +8 V, 100 kΩ CV
    Channel 2 gain CV. Normalled to +8 V.
  • CV 3 Normalled to +8 V, 100 kΩ CV
    Channel 3 gain CV. Normalled to +8 V.
  • CV 4 Normalled to +8 V, 100 kΩ CV
    Channel 4 gain CV. Normalled to +8 V.

OUT · 4

  • OUT 1 DC-coupled
    Channel 1 output. When unpatched, channel 1 cascades down into OUT 2.
  • OUT 2 DC-coupled
    Channel 2 output. When unpatched, channels 1+2 cascade down into OUT 3.
  • OUT 3 DC-coupled
    Channel 3 output. When unpatched, channels 1+2+3 cascade down into OUT 4.
  • OUT 4 / MIX DC-coupled
    Channel 4 output and final mix point. With OUT 1–3 unpatched, OUT 4 carries the sum of all four channels; patching any earlier OUT breaks the chain at that point.