XenoMorph II - MakeNoise Polymorphism with NUSS and Morphagene

video upload by Cinematic Laboratory

"Five years ago, I already played with the idea of expanding the Morphagene into a shapeshifting creature. I used two Phonogenes to process the Morph's L and R outputs, inspired by a lo-fi Ciat-Lonbarde Cocoquantus. It was a fun experiment. This Xenomorph is different, a worthy V2. It's a custom 104 HP system I designed as a synth I did not know how to make:

Morphagene
Mult
MultiMod
PoliMaths
QXG x 2
X-PAN
Mimeophon

When used in a skiff, X-PAN is replaced by X-OH (output) and a mult. If you have stackables, you can even use the new GTE. The idea is to bring the stereo Morphagene OUTS together with the QXG outs, so you'll need to stack/mult one Morph out into MultiMod.

The 7U case obviously has the CV bus and - can / could - contain the regular NUSS layout AND the Xenomorph Granular NUSS system. Together they could hold two universes which makes it Multiversal (NMSS) which logically brought me to the name 'Nemesis'. We often assiciate that name with something bad, but after a bit of research it translates to 'the force that reveals your limitations'. So when we meet our Nemesis, the only thing we need to do is grab another patchcable and say 'why stop here?' bla, bla, bla.
Seriously. This is an amazing layout.

Even though MultiMod was never intended for audio, again it's my favorite way to use it, and now it's the core of this setup. It will take the L[mono[ channel of Morphagene as an input so it will create eight roughly independent tentacles. MultiMod has a NUSS header on the back, so without any cable clutter it connects to QXG's audio in and PoliMaths will do the envelopes. So I am basically replacing the MultiWAVE for Morph + Mod as the new sound engine.

I did not realize I'd be getting a genuine granular synth on steroids. A workstation."

'SIEGFRIED' | VC RES EQ + VBR | Serge Modular | Episode 11

video upload by Cinematic Laboratory

"The VC RES EQ is big, very big and the VBR (Variable Bandwidth Filter) makes it even bigger. But even then, it's not a combo that would appeal to the 'mainstream' eurorack audience. The 4U version joins both modules under one panel and is called 'SIEGFRIED', inspired by Wagner's dragonslayer in the classic Ring des Nibelungen epic 15 hour opera which ends in Ragnarok - the Apocalyptic end of the Gods. Now that's a much better setting! We need mist, heroes, dragons, Gods and something close to Mount Doom. Tolkien didn't like Wagner's work at all, in fact, he hated it. With this eurorack combo you can now create your own adventure, keep the ring for yourself and throw Frodo into Mount Doom.

This is one of my favorite videos so far and I just LOVE the sound of the VC RES EQ. The VBR is added to tame the harsh sounds that often come from the 'pet dragon', but if you play it with your fingertips, prepare for myths and legends.

As always, this video is not sponsored, but I am enjoying a small 'artist discount' from Random*Source because I make videos like this. Dear Serge, if you're watching this, THANK YOU for being Serge and thank you Random*Source for keeping the legend vibrant, alive and kicking."

What the fork is Waveshaping? | Modular Classroom | Lesson 05

video upload by Cinematic Laboratory

"I've been doing modular since 2018 and now I finally think I may have figured out what waveshaping could be. So by all means this is not some 'masterclass' where I teach you, it's learning as I go and recording it on video. The main takeaway from all this, is that waveshaping is not a module or something you'd do, it's something that happens when certain circumstances align. By definition, waveshaping is 'a non-linear transfer producing new harmonics' which kind of sums up nicely why it's so hard to put your head around it. It becomes much easier once you realize you need to listen for it, it's the result. Not the tech, process or recipe.

And how about 'folding'? As far as I know, wavefolding belongs to the waveshaping family, but instead of clipping the tops off, you'd mirror them back into the waveform. In waveshaping, 'transfer functions' are called 'shaper functions' because a 'transfer' is hijacked by systems theory and we're doing music and synthesis while leaving science in its own domain.

I'll mostly be using Serge gear in the classroom series, but you can already start shaping with a pre-amp with plenty of gain. Just push a sound to a loudness your case or ADC can't handle. Then you can figure out if it's cool to get dedicated tech for it. Hopefully you'll learn that waveshaping is not just distortion :)."

The Rise and Fall of Maths - With GTE 'expander'.

video upload by Cinematic Laboratory

Creating wavetables and Morphagene reels with Gemini 3 and Google Colab.

video upload by Cinematic Laboratory

"When I asked Gemini 3 if it could create wavetables, a new world opened up. Now, I am aware it's about artificial intelligence taking over the wonderful job of creating wavetables by hand (64 cycles of 256 bytes) I'd rather make music and noise with them. In this workflow, you'd describe what kind of 'morph' or 'animation' you'd want, and Gemini 3 would write the code in the Python programming language.

Next question is obviously: how do I run it because we don't want code, we want a WAV file in WaveEdit format. It turned out to be just a matter of pasting the code in Google's Co-laboratory (COLAB) environment and press 'play'. Then COLAB would run the code and output a .WAV with a pre-coded descriptive name. So next is to install them on your VCO of choice, which hopefully has an SD card or USB 'disk mode'.

But then the real fun begins. You can also ask Gemini 3 to code a 48K/32 bit Morphagene reel with a splice marker for every wave. These waves can be much longer, much more complex, and they can be stereo. You can create wobbles, sweeps, morphs, ticks, hiss, grains, anything. And then you can take your files to the modular, disconnect from the internet and lock the doors."

MultiWAVE MIDI | MakeNoise New Universal Synthesizer System | Episode 06

video upload by Cinematic Laboratory

"Midi on the MulitWAVE is a big deal. It seems it just adds polyphony from your DAW or midi host, but how many keyboards do you know where you can actively control eight separate voices and put each voice in its own VCA, with its own modulation and FX? I know only one. And then you can still go hybrid and plug all kinds of CV in it.

It's also a big deal because you can make moving soundscapes which are either super hard or totally impossible with regular hardware keys. Sure you can use multiple instances of VST's in the daw, but that doesn't count because a PC is not a fair compare.

I am still waiting for my MIDI expander strip to arrive, so I 'broke the rules' by using a direct USB connection with Ground Control. MakeNoise does not support this due to all classic 'interference' problems with USB loops between controllers, hosts and output devices. The 'strip' mitigates those problems, and it offers a front panel input instead of running USB cables through places where they can't go. But this video was simply to short to wait for the strip to arrive. Next week the new GTE will also be here, so I'll stitch it up properly soon and try an MPE controller."

Modern Sounds Pluto - Ambient Soundscapes

video uploads by The Pedalboard Orchestra

"A collection of long ambient tracks based on the Modern Sounds Pluto Semimodular Synthesizer and various effets pedal setups."

Playlist:

1. Modern Sounds Pluto Synthesizer – Ambient Demo & Sound Exploration

These are my first "ten minutes" (okay, the video turned out a few minutes longer 😉) with the Modern Sounds Pluto semimodular synthesizer.
🎧Headphones recommended for the full sonic experience.

In this small setup Pluto is accompanied by three pedals, the Strymon El Capistan v1, the Chase Bliss/Goodhertz Lossy and the Eventide Space in ModEchoVerb algorithm, all in stereo.
Pluto, this tiny little box, is such a fascinating and inspiring instrument. You can get a million and more of sounds out of it.
I love how the filter of Lossy changes the overall mood of the sounds.

All sounds and video footage by The Pedalboard Orchestra.

(Disclaimer: This is a non sponsored video. All equipment is self-purchased.)

#modernsoundspluto #ambientdrone #ambientsoundscapes #ambientmusic #meditationmusic #modernsoundspluto #semimodular #strymonelcapistan #chaseblisslossy #eventidespace

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Truchets - Alternative 'Grids' firmware for Mutable Marbles.

video upload by Cinematic Laboratory

"Truchets is an alternative firmware for Marbles, written by Dylan B. It leaves the original Marbles intact, but adds a Grids inspired mode - which adds tons of features compared to the original Grids. It's a) amazing and b) brilliant so if you often use Marbles as your primary source of randomness, you're going to love this.

Firmware update instructions are in the original Marbles manual:
https://pichenettes.github.io/mutable...
You can find the WAV here:
https://github.com/Dylan-Bolink/euror...
And the Truchets manual can be found here:
https://dylan-bolink.github.io/eurorack/"

Building a Serge BESTIA III panel with Serge Eurorack

video upload by Cinematic Laboratory

"I am aware my Serge series is a bit of a niche in eurorack, but I feel it shouldn't be. They may seem complicated, or maybe too simple with the minimal grid panels and the lack of leds. Maybe even eh.. underwhelming compared to the competition. Also, many Serge videos focus on the raw voltage paths, so many of them just scream, tick and growl. This video is no exception. However, if you truly want to know what modular synthesis is about to enjoy absolute voltage freedom (a challenge by itself) a Serge system can teach you a LOT about the gear you already have - even when you never get to own single Serge module. As always, I am not trying to sell you anything, I am not an influencer and I no longer care (too much) about the latest hype modules anymore unless it blows me away. This is now an educational channel. It always was. And it's my duty - and privilege - to try and show you why Serge changed the way I patch. If you don't know what you're missing, you won't miss it. And if none of this appeals to you, that's also a valuable 'lession'. Your personal experience is all that matters - and the music you love most.
I am still a beginner, with Serge you may always know nothing between your previous and next patch. But if you're looking for magic, there's a lot of magic hiding behind those modest panels."

How to approximate a VHIKK X with Magerit Laniakea and Befaco Oneiroi

video upload by Cinematic Laboratory

"Yeah, I FHIXXED IT. I own a VHIKK X. I had to have one, and waited for it for six months. But I completely overlooked the powerhouse I had lying around, gathering dust. Laniakea is a relatively cheap 220 euro module, and I guess - not sure - many of you have an Oneiroi - or an eye on it. If you'd combine those two, you'd open a SuperCluster and sometimes it will make the VHIKK X blush. Again, this proves for me that the best sounds you can imagine may already be hiding in the gear you already own. Next time you hear a 'must have', you may already have it."

Stereo VCFQ | Serge Modular | Episode 10

video upload by Cinematic Laboratory

"Serge Modular made the legendary VCFQ stereo. While having three inputs and six outputs, the AGC (Auto Gain Correction) and Notch out had to go. In normal operations, it's a true VCFQ which you can use in both mono and stereo patches. The AUX input can have dramatic results when self patched as feedback. I'll be using the VHIKK X in this video as the primary source, a source that doesn't need an extra filter to sound good. In fact, this creates the challenge of which module dominates which. In general, it's always the module that cuts the other one's frequency range. Finally, I'll use my mono VCFQ and the ST-VCFQ to process the X's L/R channels independently. Now the fun begins :)."

MultiVERSE - New Multiversal Shared System | NUSS Episode 05

video upload by Cinematic Laboratory

"I got my MultiWAVE in december 2025, but got distracted by my January 2026 'musical holiday' and making the 'AI Survival Guide'. Meanwhile, MakeNoise has posted a wealth of videos and guides, and Red Means Jeremy did one of the best musical demos out there. There's no need to repeat any of those. I needed to do 'my own thing', but couldn't really figure out how this would look like.

My favorite modular will always remain the Shared System because this is what made me start modular in the first place, all the way back to 2018. The 'Shared' is my reference. So I wondered how MultiWAVE would sound as a shared guest and move my way to the full NUSS setup. NUSS is very much a new ecosystem and it's a bit 'closed' in the sense that you really need the combo of MultiWAVE, PoliMaths and the dual QXG to get started. Sure you can use them on their own (especially QXG) but you'd be in the unexplored territory of the MultiVERSE. However, this is where the happy accidents live. In the odd combinations and the bad patching.

So in this episode there's more noise than music. When the midi implementation firmware is available, this may change."

G-Sonique Introduces REAL Analog Modular synths FX1 VST /AU Plug-in Instrument

video upload by G-Sonique

Press release follows:

G-Sonique Analog Modular FX – VST / AU plug-in instrument.

Analog modular synthesizers are relatively expensive, take up quite a lot of space and creating sounds is a very lengthy process (plus it is complex and not every producer can master it).

However, their sound is unique. Compared to digital synthesizers, their sound is much more organic, expressive and punchy in the mix, even though it is often mono (unless you use some stereo parts and effect modules), it sounds 3D. Simply put, their sound is not static and cold like digital synthesizers, but constantly evolving/alive/warm - thanks to the fact that electronic components behave non-linearly and under the influence of various factors (such as heat, current) their sound modulates itself every millisecond. With digital you will probably never create such lively, organic and constantly changing sounds - such sharp, cutting filters and resonances, textures, metallic analog sounds or twisted twisted effects. The sound of modular analog synthesizers will give your songs a completely different dimension, analog color, warmth and character of something real/organic. It’s the essential tool for professional sound design and adding that sought-after vintage character to your mix.

Modular synthesizers excel mainly in the field of FX, soundscapes and experimental sounds. Producers often use them for unique tension builders and complex cinematic sound effects.

So if you don't have the space and possibilities and especially the time to spend long hours programming a single sound, don't despair. We have prepared for you a multi-octave VST / AU plug-in instrument full of banks created using analog modular synthesizers. This is your shortcut to authentic analogue synthesis, instantly available as high-quality modular samples / multi-octave multi-layer banks.

The combination of digital and modular analog is very interesting and gives tracks a completely new dimension, sound and atmosphere. Get the best of both worlds: digital workflow convenience with true analogue character.

Analog Modular FX1 is perfect for many genres from different branches of psytrance such as: darkpsy / forest psytrance, also full-on psytrance, experimental zenon style progressive psytrance, night psytrance, modern goatrance, but also hitech / hightech, psycore. However, these FX sounds can also be used in other genres, for example modern techno, which is mixing more and more with other elements. Also suitable for rave music, bolder tech house, breakbeat. Also great for experimental genres, glitch, dark ambient. Modular sounds and FX are perfect for futuristic cinematic music / video game music, thriller and horror music. The sounds can also be pre-effected, making them suitable for other genres, such as dark drum and bass, neurofunk intros/stoptimes/outros, hardcore techno, gabber, industrial techno, EBM. Use them as powerful risers, drops, and complex transitions.

Includes: Analog monster modular voices, Modular laboratory experimental bubbling experiments, Alien analog FX, Spirals, Twisters, Risers, Multidimensional resonators, Distorted screamers, Alien pipes, Analog underground pipes and tubes, Organic sweeps, High pitched howling sounds, Funky twisters, Metal FX, Acid analog rave sound FXs, analog modular textures and pads, Electrostatic pulsations, Mysterious modular atmospheres, Alchemical bubbling sounds, UFO analog patches, Extraterrestrial atmospheres, Dark atmospheric sounds, Extraterrestrial analog modular samples, Metal sounds, Nonlinear modulated twisted sounds, Short spirals and spring reverb sounds, Electron and quark sounds, Electrostatic discharges, Alien animal howling sounds and much more.

Perfect for producers looking for cinematic sound design, modular synth VST, organic analog textures, experimental plugin instruments, soundscape creation tools, psytrance sound packs, modular synth FX, atmospheric VST plugins, glitch & IDM tools, techno sound design instruments, professional sound libraries for electronic music, best vst instruments for edm, modular vst plugins for mac and windows, vst synth for ambient and cinematic music, experimental analog vst download, modular synth vst free/paid alternative.


All sounds/banks are created in a wide range of octaves, ranging from C3-C4-C5-C6-C7. This ensures maximum flexibility for your sound design needs in any DAW (e.g., FL Studio, Ableton Live, Cubase, Logic Pro, Reaper, Studio One and others).

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Granulita Versio | Granular Spectral Chord Resynthesizer with Shimmer Verb

video upload by Cinematic Laboratory

"Noise Engineering has done it again. This new Versio firmware can turn a mono voice into big chords, arps and clusters, but it also works great with samples and atonal noise. The firmware is free to install, but you'll need at least one (any) Versio module. It can make your old, dull and obsolete modules sound brand new, so make sure to give it a try. Highly recommended!"

The Secret Life of Plants | From Instruo Scion to PocketScion

video upload by Cinematic Laboratory

"This video is about making music with biofeedback from living organisms like plants, animals and humans. I made a video about Instruo Scion five years ago, and I couldn't resist getting the small PocketScion.
I don't know how to explain this, it's a brilliant design with huge potential, but it doesn't come out on its own. Sonically it's a bit tame with the inevitable additive 'organ-ish' sounds, the pluck, a subtractive voice and a very cool noise preset - which sounds amazing, but doesn't really match the mood of plant music. Most presets use a 5 or 6 note scale to avoid dissonants, so it sounds a bit like musical wallpaper.

Its main goal is to take it outside and capture the secret life of plants translated to ambient music, but it can't possibly survive a rainy day in the forest without a cover (or in the pocket).

So is it any good?
YES!

The Controller app allows you to change scales, ranges, midi channels and a control channel (default CC1 - ModWheel) you can route to other destinations (e.g. expression). Since you have five channels, you can make breathtaking generative music in the DAW, controlling five different CC's. It's brilliance is revealed when you hook it up to your DAW and drive 5 midi channels with an ambient VST for each channel (or VCV Rack?). It's truly amazing as a generative midi controller. On it's own, I'd say it's a 6 of 10. With MIDI, it's an 11 (strictly personal opinion)."

A Recipe For Chaotic Beauty | Modular Classroom | Episode 04

video upload by Cinematic Laboratory

"This series is a bit more advanced than usual, but this does not mean 'difficult', it means 'low level'. I will revisit Rob Hordijk's Benjolin and Blippoo Box again, not to recreate them, but to understand its components a bit more so they can be used elsewhere. We'll build a Twin Peak filter with Blades and Blinds (or any duo filter with a polarizer), a Comparator with Maths - which can make amazing new sounds using any two VCO's, I'll revisit the Rungler with Marbles and finally I've been looking for ways to detect equality between two voltages so we can generate a trigger or gate. I am not aware of any comparator that has an '=' output, but I figured out a way to approximate it with Maths.

I've been using ChatGPT as a research tool and it came up with the Twin Peak recipe after scrutinizing documentation on the web. But it also claimed that using Maths for equality detection would not work, because EOC is documented to be 'end of full cycle'. We already figured out in Episode 01 of this series, that EOC is always ON, and off when a RISE is in progress. This is needed to do quadrature functions, bla bla bla, but the point is that AI can be misinformed. Regardless, AI has reached a point where you can actually discuss patches and ChatGPT knows a LOT of modules, options, techniques and alternatives. So how do I know so much? I don't. It's co-creation.

Even though this episode features a lot of chaos, I tried to find the cool textures that make the Blippoo Box so entertaining, and figure out why the Benjolin is so untameable (may I say annoying?)

00:00 Introduction
00:51 Blippoo Box emulation for the Meng-Qi Wingie 2
05:02 Patching a Twin Peak filter with Blades and Blinds
08:03 Patching a Comparator with Maths
12:34 Patching a Rungler with Marbles and any VCO
14:43 Blippoo Box S&H and equality detection with Maths
18:45 Final Thoughs and a dual Benjolin / Marbles (multi-track) Jam."

Elmyra 2 firmware v2.4 – new features walkthrough

video upload by nyppy

"Get the update file here: https://neutral-labs.com/elmyra2

00:00 Intro
00:13 Improved sound quality
00:30 New delay
00:58 New and controllable reverb
01:43 Comb filter
02:18 Action confirmation
02:23 New multimode ladder filter
02:45 Oscillator hard sync
03:16 Voice stacking/tune follow
03:50 Diatonic and pentatonic scales
04:01 Quick octave switching
04:15 Knob motion recording
04:40 Super short envelopes
04:59 Quick mute
05:21 Outro jam"

The Queen of Industrial Grunge Got an Upgrade — Sophisticated Dirt!

video upload by Cinematic Laboratory

"#Elmyra2 v2.4 — What’s New and Improved Sound Engine

Higher sample rate and improved wavetable resolution → noticeably cleaner top end. New wavetables added. Overall mix saturation refined, with “soft” (122) now default. Knob value stability and tuning precision improved.

Filters
New comb filter (codes 3321/3322). RESO = damping, CUTOFF = delay time, with optional pitch tracking. Ladder filter reworked — now true multimode (LP/BP/HP) with higher quality. Ladder LP (331) is the new default filter. State-variable filter retains LP/BP/HP modes (341–343) but with improved gain staging, resonance, and cutoff ranges.

Delay & Reverb
Delay fully re-implemented → cleaner feedback, no lock-ups.
Added proper reverb engine controllable with delay knobs.
Code 441 = delay (default), 442 = new reverb, 4411 = legacy lo-fi reverb.
TIME = decay, FDBK = color, MIX = blend.
Dry/wet crossfade curve improved for smoother transitions.

Modulation
New MODP: oscillator hard-sync (orange LED, position 5).
MOD controls the synced oscillator pitch.
LFO1 knob-motion recording (code 2413) — record live movement of LFO rate. Sequencer output to LFO1 possible (243v).
Per-voice sequencer clock divider (11sv).
Digitally controlled envelopes in multiple short modes (221v → very short … 224v → disable). Detune MODP range expanded.

Scales & Chromatic Mode
New musical scales for chromatic mode: major, minor, major pentatonic, minor pentatonic (CHRM + 11–14). Scale selection now unified under the CHRM button. Knob-to-pitch mapping in chromatic mode is now linear and exact.

User Interface & Workflow

LED feedback overhaul — REC and PLAY flash to confirm code entry, sequence record, mute, and drone states. Quick mute/unmute voice (MODP + PG long press). Quick octave switch (MODP + double-tap PG).
Pink MODP LED at startup identifies firmware 2.4.
Touchpad LEDs more reliable during operation.
Drone and mute response feels snappier.

Under-the-hood Fixes
State-variable filter crash fixed (previously triggered by fast cutoff modulation).
Improved detune, filter, and delay behaviors under modulation load.
Sequencer timing more consistent with internal clock."

Serge’s 1979 ÷NCOM - It Compares, Counts, Waits, Fires and It Always Rises

video upload by Cinematic Laboratory

"I bought the #Serge #NCOM in the blind because a) it's the work of a living legend, b) I had no idea what it did, and c) after reading the manual and looking on YouTube I still had no idea how to use it in real life music.

The ÷NCOM is short for pulse divider (by N steps), a comparator (gate goes high where +IN is higher than -IN) and last but not least, a staircase CV is raised one semitone when the compare goes high and the max steps N is not reached. So now you know, and just like me, it still remains a mystery how it can play a role in modular music.

÷NCOM is from 1979, and quantized CV was rare, especially when it's derived from any two compared voltages. It's using two CMOS chips, but only 5 of 8 bits were used (step 0 to 31 = 32 values). So is it early digital? Yes, but without a CPU or code and state of the art precision - for 1979. Is it still relevant in 2025? I am not sure how many voltage comparators are around in eurorack, and you probably never needed one. A staircase CV waveform is simply a matter of running a ramp through a quantizer, and you may be able to use an END of RAMP event on a Maths clone. The ÷NCOM circuit is often used for rhythmic patches, and the staircase is super useful to make synchronized ramps you can use to open a filter or wavefolder. Not to mention arpeggios. It's the opposite of high-tech, it's low tech. A circuit you need to learn, discover and find use for. It was special in 1979, and today it's part of the joy of owning a true Serge module that can always do more than you think."

Aggression Therapy | Looking for mean and vicious sounds in Eurorack

video upload by Cinematic Laboratory

"The word 'aggression' is used in this video to express a certain quality of sound and music. It's not indended and should not be associated with any form of violence. In music, it can emphasize the emotion or reveal what's happening in an actor's mind. It's an element of storytelling. Use it wisely.

For some reason, people love aggressive sounds and we wouldn't be having heavy metal, noise muisic and industrial grunge without it. Some brands, not calling names, specialize in it. So I've been thinking. Does an 'aggressive' VCO exist? Modules like Three-Body, Plasma Voice, Loquelic Iteritas Percido and WaveRazor came to mind, but the level of rudeness completely depends on who's patching it. Not calling any names again. I think 'aggression' - it's a bad word, I know - is a recipe where you'd drive your gear into distortion, self oscillation and cross modulation. However, it's often about grit, dirt, filth and grunge. You don't need violence to enjoy it, it's just 'colors' and many of these colors are all over mother nature.

The ultimate showcase would be Noise Music, but I think that noise doesn't tell a story and emotions need to develop. So it needs some kind of storytelling. In this video, I'll explore some VCO's and combos that will balance the edge of noise, and then try to manage it. Even the most brutal noise becomes percussion when you sculpt it, and even the most civilized module can reap havoc and bring chaos."

PoliMaths | Multed Skewed Cycling Voltage Math | NUSS | Episode 04

video upload by Cinematic Laboratory

"OK, PoliMaths as an independent module, away from it's secred VCO comfort zone without a dual QXG. Is it worth diving into this deep, amazing, incredibly musical, versatile and innovative new concept? It's hard to say 'no' now, isn't it? On paper, it's a multed simple A/D envelope with a rise and fall, which can cycle. But it also features an 'oscillations' section, which is like an AD that always loops, and the AD can be shaped to the basic waveforms. So it's an LFO at low rates, and a VCO at high rates with V/OCT support that can decently track an octave or four. So it's not a precision VCO, it's an experimental sound maker. On it's own, polyphony is more like overlapping sounds, each sharing the same rate, which comes down to the same note. When spread is engaged, you'd skew these rates apart so you can morph between harmonic textures and atonal clusters. So it's polyphony, but confined to the 1 source, 8 copies design that marks the New Universal Synthesis System (NUSS).

On the negative side, it's not Maths, there's no voltage math, and it could be seen as a fancy mult for a single AD envelope or loop, with proper audio rate support and clever divisions and distributions.

But when you give it time, a wonderful module appears from behind the dense panel controls and the mysterious glyphs. On the positive side (where you can always find me), PoliMaths is a must have module. But I am also an extremely biased MakeNoise fan. I'd say this is not a typical beginner module, but if you want to make your modular stand out from the conventional east and west, this is definitely a module to consider."