By linking more channels, you can “safely” arrange a section to solo through the solo-in-place switches or buttons, then use the Safe Solo switch on the group modules to put that into practice. You can also think of it as a multi-mute tool! INGREDIENTS QSC or C G A patch that uses at least three…

The first and last channels of the QSC feature a voltage-controllable panpot, just like the C channel. However, by combining this feature with the pan/crossfade switch, you can obtain a voltage-controlled crossfader! In this patch, we demonstrate both behaviors with the same CV, a bipolar LFO coming from FALISTRI’s green generator. INGREDIENTS 1 QSC 2…

Infinite wave shapes at your fingertips when Falistri is used as oscillator! Both generators can morph their rise and fall shape from EXPO to LOG, independently and regardless of their times – at audio rate, this becomes a fully functional wave shaper. INGREDIENTS 1 FALISTRI 1 BRENSO 1 SAPÈL DIRECTIONS Set both FALISTRI’s generators to…

With the Quad Stereo Channel, we introduced the pan/crossfade function! If you patch two sound sources to the left and right inputs, you get them panned by default. But if you activate the crossfade switch, the panpot now blends the two sources into a mono output! (Yes, this makes the QSC a rudimentary eight-channel mono…

Today we’ll create some complex waveforms with FALISTRI! Using both generators at audio rate, and patching one’s EOF to the other’s trig/gate input, we can obtain a sort of flip sync, where an oscillator forces the other to its rising stage.⁠ Oh, there’s more! You can use the same V/oct signal for both channels and…

Time for some advanced FALISTRI techniques! Today we’ll create a sort of arpeggiator out of nowhere. How? Thanks to the green generator’s alternative reset behavior! When it resets ‘on rest,’ its cycle needs to finish before starting again. If the rise and fall times are slower than the stream of trigs, it will skip a…

We said that this input forces a generator’s behavior to loop. What we didn’t say is that it can work at audio rate! Let’s feed it with a square oscillator, then, and see where it can lead us. Beware, it’s not something that common!⁠ (Also, we pushed everything a little further in this patch: we…

Today we play with the subharmonic series! By taking advantage of FALISTRI’s ‘on rest’ behavior, we can use it as a sort of formant oscillator and achieve some odd frequency divisions. Have you tried yet? INGREDIENTS FALISTRI BRENSO (Or the other FALISTRI generator set to work as an oscillator). DIRECTIONS Set your oscillator's pitch very…

Let’s start exploring the force loop input on FALISTRI! If the generator is set to Transient or Hold, a gate high signal patched to this input will force it to the Loop behavior. If we use an LFO that we patched elsewhere, it can start and stop a second LFO, creating some rhythmic interconnections. That’s…

Sometimes we design a sound that works great in a given range but not-so-great in another. For example, here, we made extensive use of BRENSO’s wavefolder, which is excellent for gritty bass sounds, but it may be too harsh for leads. (Switching from bass to lead is not an issue since BRENSO can easily track…

A tiny knob can have a big impact on a patch! Today we used the 321 as a plain offset generator: we distributed it to SAPÈL’s modulation input, USTA’s pitch shift, and BRENSO’s Mod Bus CV input. Then, we inverted this last one, so that when the 321 offset is negative, timbre modulation is high…

We’ve talked about BRENSO’s Flip Sync, and that was fun. But there’s something twice as fun: a double Flip Sync! By using the yellow oscillator’s Sync input and setting the PCB jumper to Flip, we can sync the yellow oscillator to an external one. Then, we can also sync the green oscillator to the yellow…

Here’s another fun(k) use of the integrator and its CV input! This time, we used it to create some sync sweeps, and we also used the USTA sequencer to change the integration time at every stage. INGREDIENTS 1 BRENSO 1 USTA (Optional) DIRECTIONS Patch BRENSO’s Final output and green triangle output to the left and…

This is an elegant way to add some variation to our modulation patches! By routing BRENSO’s yellow V/oct signal through the integrator, we can control the green oscillator as well, with the advantage of a linear slew limiter. It can introduce a lag between the two oscillators, which can create some temporary dissonances when using…

We didn't have enough PWM, so here's another trick! This time, without even patching a cable. BRENSO allows us to select the comparator source for the Pulse Shaper. It can be the yellow triangle wave (like last time), or the Triangle Shaper output. In this last case, when we change the Triangle Shaper settings, we…

Today we started to fiddle with BRENSO’s sync options! The Lock Sync is excellent when we want to remove any beats between the yellow and green oscillators. It provides a subtle and precise synchronization, excellent for blending multiple waveforms. The Flip Sync is more aggressive and changes the green oscillator's timbre dramatically because it forces…

Who doesn't love pulse width modulation? This is the first tip on how to do that with our BRENSO oscillator. Actually, there's another one, but we'll see it later on! INGREDIENTS 1 BRENSO 1 USTA (Optional) DIRECTIONS Patch BRENSO’s Pulse Shaper to your favorite output section. Set the Comparator and the Pulse Shaper to taste.…

What do you use your noise sources for? We can't have enough so this time, we used the white noise to frequency-modulate BRENSO's green oscillator, which is also flip-sync’d to the yellow one. It's almost like tuning the noise! INGREDIENTS 1 SAPÈL 1 BRENSO 1 QSC 1 USTA (Optional) DIRECTIONS Patch BRENSO’s Pulse Shaper output…

We often take the clock for granted. What if we use some random pulses instead? If we set SAPÈL's random clock output to Less than mode, we obtain some random clocks that are always synced to the main one. Randomness, but with a groove!⁠ Note: to better appreciate this behavior, set USTA's clock ratio to…

We usually think about sine waves as the purest sound and noise as the dirtiest. What if we use them together?⁠ In this patch, we used SAPÈL's blue noise to do some thru-zero FM over BRENSO's yellow oscillator. By controlling the FM deviation through an LFO we're able to bring the noise in and out…

We've seen SAPÈL modulating pretty much everything, but what about a stompbox? Today we explored how it pairs with the Empress Zoia – and it's NICE! INGREDIENTS 1 BRENSO 1 SAPÈL 1 Empress Zoia DIRECTIONS Patch BRENSO’s Final output to the CGM mixer. Patch the Empress’ Zoia in the G’s effect send/return. Patch SAPÈL’s clock…

The best way to copy a clock is through the 333 module. But what if you don’t have it? Check out this workaround to get two clocks out of the same SAPÈL’s section! INGREDIENTS 1 SAPÈL 1 BRENSO 1 FALISTRI DIRECTIONS Patch BRENSO’s Final output to your favorite output section. Patch SAPÈL’s Clock output to…

Let's talk a bit about FUMANA's Unvoiced input!⁠ We use it mainly to add a realistic sibilant effect to vocoding tracks. We patch a "sibilant" sound to its input, like a noise, or even a copy of the voice signal.⁠ Whenever the modulator hits bands 14 and 15, FUMANA will blend the Unvoiced sound into…

Here's one reason why the FUMANA and the QSC make a perfect pair.⁠ By setting a channel to Crossfade, we can blend the ODD and EVEN bands with a single CV, opening up new sonic routes! INGREDIENTS 1 FUMANA 1 QSC 1 FALISTRI 1 BRENSO 1 SAPÈL DIRECTIONS Patch BRENSO’s Final output to Fumana’s Main…

Today we created this percussive patch with FUMANA and mixed it with a BRENSO bassline. To give every sound the space it deserves, we used the ALL EF out to duck the bassline. It is a simple but very natural sidechain effect! INGREDIENTS 1 FUMANA 1 321 1 QSC or C 1 SAPÈL 1 BRENSO…

Did you know that you can use USTA as a quantizer?⁠ Ok, this is a fairly extreme use, but it works! Here's how.⁠ The Pitch Shift function allows you to modulate your sequence via an external CV. However, such modulation:⁠ 1) always happens BEFORE the quantization mask;⁠ 2) it can happen WITHIN a stage, i.e.,…

Beware – today we played with fire! 🔥⁠ Who said that the effect send should be patched back to the return? What if we patch it to another channel?⁠ Well, that works, but what if we route this channel as well back to the effect send? That's right, a feedback loop!⁠ And if we put…

This time we had USTA controlled by ONE envelope of the FALISTRI! The attenuated envelope controls the clock speed, while the EOR gate plays and stops the sequence. INGREDIENTS 1 FALISTRI 1 USTA 1 SAPÈL 1 BRENSO DIRECTIONS Set FALISTRI’s yellow generator to Transient and its time scale to Long. Set FALISTRI’s yellow Rise knob…

Here’s another example of USTA’s CV B used to create some funky envelopes to spice up this acid sequence! INGREDIENTS 1 USTA 1 FUMANA 1 FALISTRI 1 333 DIRECTIONS Set FALISTRI’s green generator to Loop mode and its time scale to Short. Patch its EOR to the Dual cascaded frequency divider (DCFD). Patch the DCFD…

Sometimes the key to an interesting patch is not what you add, but what you remove.⁠ Thanks to USTA, we could create an evolving rhythmic structure with just two BRENSO sine waves playing in unison.⁠ The key, here, is removing just one stage from one of the sequences.⁠ The results are two intertwined syncopations that…

BRENSO is all about access. Here's why we separated the Timbre Modulation Bus from the actual Timbre section.⁠ In this way, the Timbre Mod Bus becomes an actual VCA, that you can control with any CV you want.⁠ At the same time, you can always break the semi-normalization and use another signal to control any…

Use the AM/RM Crossfade to bring in your FINAL output an amplitude-modulated copy of the sound coming out of the Wavefolder.⁠ By default, the amplitude modulator is the green sine wave, but you can replace it with any CV.⁠ It is an actual four-quadrant multiplier, very similar to the one you can see on FALISTRI!⁠…

This is another thing that we absolutely wanted in our BRENSO: an "open" modulation bus for the timbre section.⁠ ⁠ Without any patching, it's a VCA that routes the green sine wave to modulate the yellow oscillator's key Timbre controls: Triangle Shaper, Pulse Shaper, Source, and Wavefolder.⁠ We designed these circuits so that they would…

On the USTA sequencer, the Pattern Shift function allows you to change the pattern order with external CV, but still within the Pattern Loop of your choice! INGREDIENTS 1 USTA 2 FALISTRI 1 SAPÈL CGM (Optional) DIRECTIONS Set up both FALISTRI’s in the basic USTA patches for tracks 1 and 2 (like here). Program two…

This is a fairly extreme use of the Timbre Modulation Bus!⁠ The grey parameters are an actual linear VCA which, by default, routes the green sine wave to the yellow oscillator’s timbre parameters (Triangle Shaper, Pulse Shaper, Source, Wavefolder).⁠ However, you can break the internal semi-normalization and patch any AC or DC input to the…

That’s exactly how it sounds like – this tiny little trick allows you to have a clock output straight out of a USTA’s Gate output, regardless of how syncopated your melody was! INGREDIENTS 1 USTA 1 FALISTRI or BRENSO CGM (optional) SAPÈL (optional) DIRECTIONS Set up a pattern with different stage lengths using only CV…

Variating variations for advanced minimalism! Use the Varishift control to change the probability that the stage values will change, and add even more unpredictability to your patches. INGREDIENTS 1 USTA 2 FALISTRI 1 SAPÈL CGM DIRECTIONS Set up both FALISTRI’s in the basic USTA patches for tracks 1 and 2 (like here). Program two sequences,…

Everybody loves the harmonic series! We like it so much, that we wanted to beef it up with some sub-octaves. We made our synced-oscillator sing its song, too!⁠ INGREDIENTS 1 BRENSO 1 333 1 321 CGM Mixer (optional) 1 SAPÈL (optional) DIRECTIONS Set BRENSO’s Green oscillator to Flip Sync mode. Patch its Triangle output to…

Pick random notes, but only among those YOU defined! With the Stage Shift function, USTA will use any external CV to pick other notes from the pattern than the ones associated with the stage. The cool part is that the rhythmic structure of the Length layer will stay the same! INGREDIENTS 1 USTA 2 FALISTRI…

Quadrature Mode is more than just ADSR: in this patch we use it to create two interconnected LFOs, which animate the stereo image of our BRENSO oscillator.⁠ INGREDIENTS 1 FALISTRI 1 FUMANA 1 BRENSO CGM (Optional) DIRECTIONS Patch BRENSO’s Final output to FUMANA’s Main input. Patch the ODD and EVEN outputs to two channels of…

Even harder – a groove with BRENSO alone!⁠ Set the green oscillator’s frequency range to Low, open the Timbre Modulation Bus, patch the green square output to the Ping input, and you’re ready to go.⁠ Need more groove? Play with the green FM deviation!⁠ INGREDIENTS 1 BRENSO CGM (Optional) DIRECTIONS Patch BRENSO’s Final out to…

That’s another fun trick to add articulation to your patch when you’ve already run out of control sources.⁠ Set USTA’s CVB to its green color, then play with its values to create rising and falling voltages.⁠ Here it is patched to BRENSO’s FM deviation CV in, paired with some gates that ping the wavefolder. INGREDIENTS…

Here's what BRENSO’s green oscillator is capable of when used as an LFO!⁠ We patched its square out to FUMANA’s mod input: this will excite the envelope followers and “ping” the filters.⁠ We then patched its saw out to the parametric scanner CV input, and let the phase relationship do the rest! INGREDIENTS 1 BRENSO…

BRENSO as carrier AND modulator! Here's what's happening:⁠ the yellow FINAL output is FUMANA's carrier⁠, the green Saw output is FUMANA's modulator⁠, BUT the yellow oscillator is also modulating the green one!⁠ So, the yellow oscillator is frequency-modulating the green one which in turn is performing spectral transferring over the Final waveform.⁠ INGREDIENTS 1 BRENSO…

Sometimes it's all about having fun. And with SAPÈL and BRENSO, it's A LOT of fun!⁠ Simply patch the Random Clock out to the Ping input, then route the S&H out to the four Timbre parameters through the Timbre Modulation Bus.⁠ Then, sit back and enjoy this ever-changing rhythm! INGREDIENTS 1 BRENSO 1 SAPÈL DIRECTIONS…

USTA has 16 outputs, FUMANA 16 bands. Let'stake advantage of this coincidence!⁠ We patched every CV and gate output to an individual band VCA. We set all the four tracks to the same clock, then we used raw CVs and gates to animate the spectra of our BRENSO oscillator.⁠ INGREDIENTS 1 USTA 1 FUMANA 1…

Another dialogue between USTA and BRENSO: this time, we patched some Raw CV outputs to various CV inputs of the Timbre section. As a result, the fairly simple sequence of the beginning becomes surprisingly alive! INGREDIENTS 1 USTA 1 BRENSO DIRECTIONS Write a melodic pattern on Track 1 CV A Patch Track 1 CV A…

BRENSO trigs USTA that controls BRENSO that... Ok, back from the beginning!⁠ We set the green oscillator to LFO and used its square output as a clock for our USTA sequencer.⁠ Then, we used the saw output to control the amplitude, but first, we added a positive offset with the 321, so that it would…

A simple, yet effective way to get some arcade-like chord stabs with the USTA sequencer! INGREDIENTS 1 USTA 1 FALISTRI (envelope) BRENSO or FALISTRI to taste (sound sources) 1 333 CGM DIRECTIONS On the USTA sequencer, select a track and push the Navigation Encoder to access the Track Menu. Scroll until the CV B option,…

Here's an advanced use for USTA’s Raw Voltages!⁠ In this patch, we use two sequences to achieve a complex, through-zero FM BRENSO patch.⁠ The first sequence outputs pitch voltages and controls the carrier and modulator frequency (through BRENSO’s integrator).⁠ The second track has a faster sequence that outputs raw voltages to the v/oct input of…

In this video, we’re throwing some gates into the Wavefolder Ping input—and nothing else. No envelopes, no VCAs... all the articulation comes from these two modules!⁠ INGREDIENTS BRENSO USTA DIRECTIONS Patch the CV A output of USTA’s Track 1 to BRENSO’s yellow V/oct input. Patch BRENSO’s Final Output to your favorite output section. Write your…

In this patch, we’re doing some massive linear FM: the yellow oscillator is our carrier, and the green one is our modulator.⁠ TZFM is a special kind of frequency modulation that allows the so-called “negative sidebands” to be played, too. The result is a richer and cleaner tone!⁠ INGREDIENTS BRENSO DIRECTIONS Patch BRENSO’s yellow Sine…

BRENSO’s waveshaper gets a mixture of the two wavefolders, which you can control through the Source knob. Then, it folds them again, and again, and again, in an explosion of overtones. You can use the symmetry control to push it even further!⁠ INGREDIENTS BRENSO DIRECTIONS Patch BRENSO’s Final output to your favorite output section. Set…

Here’s Brenso’s second waveshaper, and there’s a lot under the hood!⁠ First, a comparator generates a pulse wave, either from the triangle core or from the result of the first waveshaper. In this way, you can have different phase relationships, and you can also obtain a pulse-width modulation by working on the source material, rather…

The Triangle Shaper is the first part of BRENSO’s Timbre Section. It morphs the triangle wave to a quasi-sine and a sort of logarithmic waveform. (This last one is quite similar to what you can achieve with FALISTRI when you set both the rising and falling stages to the Log shape.)⁠ The difference is subtle…

USTA allows you to use ANY CV to shift the phase of one sequence in relation to its clock. You can use a DC offset to obtain a more laid-back sound (if you feel like Dexter Gordon), or any random CV to add some non-destructive degree of unpredictability.⁠ INGREDIENTS USTA 2 FALISTRI CGM External FX…

Time to play modal!⁠ The Root Shift is a modulation that takes any incoming CV and shifts the root of your quantization mask. The result is a dramatic change in the song mood, but if you route the same CV to the Pitch Shift modulation, you will transpose the whole scale!⁠⁠ INGREDIENTS 1 USTA 1…

We’ve seen the 333 as an audio mixer, but it does pretty good also with CVs! In this patch, we’ll use the 333 in two ways. One section will multiply the keyboard gate, which we’ll use to trig SAPÈL the main envelope. Another section will mix the keyboard CV with the N+1 values generated by…

Ok, time to deal with external CV modulation! USTA features two independent CV input, whose signal can be internally routed to several destinations (independently per track, of course). Here we take a look at the Pitch Shift destination: the incoming voltage is used to shift the notes. Remember two things: 1) the resulting pitch is…

Blip-blops are fun, but what about playing actual melodies?⁠ The USTA sequencer allows you to quantize your sequence to a selected scale and root note. You can also choose the quantization direction!⁠ INGREDIENTS 1 USTA 1 FALISTRI 1 321 (Optional) DIRECTIONS Set up a basic USTA patch as described in CV, Gate, Length. Set up…

The three sections of the 333 are semi-normalled, meaning that each one is routed to the first input of the following one. If you patch three sources to the second or third inputs of the three separate sections, you can combine the functions of the three -6dB switches, thus making the red section 1/4 lower…

We’ve seen how to change the pattern loop settings, and how to recall other patterns on the fly temporarily, but there’s another option that let you organize your sequences in a fixed form: the Song Mode. INGREDIENTS 1 USTA 1 FALISTRI 1 FUMANA (Optional) CGM and reverb (Optional) DIRECTIONS Set up a basic usta patch…

In this patch, we’ll use the yellow envelope to control the decay of our kick drum. By inverting the envelope and adding an offset (with the 321), you can use it to sidechain other sounds (such as the bass, or the reverb). But what if you want to control the response time of the sidechain…

The Coarse/Fine button lets you change the pitch of quantized voltages by intervals of 1 octave, or the value of the unquantized ones by steps of 0.5V. Add the ‘Esc’ button, and it will become the Fine control: now you can fine-tune your notes by cents of semitones or your raw voltages by 1mV steps. INGREDIENTS…

Stage Loop is a special feature that allows you to repeat a specific section of your sequence. You can define the first stage of this section, the length (up to 16 stages) and the number of repetitions. Whenever the playhead crosses the Stage Loop section, it will start looping, then it will move on to…

Want to add some spice to your groove? It’s time to check the Gate Variation, then! Once you have selected the Gate layer, push the button a second time to access the Variation Index layer, and a third one to access the Variation Range. Here you can define the degree of gate unpredictability per stage!…

In music as in cooking, some degree of unpredictability is always welcome. This patch explores the other two CV layers, called ‘Variation Index’ and ‘Variation Range’. They allow you to add some motion to your sequence, without going too much off the track! INGREDIENTS 1 USTA 1 FALISTRI DIRECTIONS Set up a basic patch as…

What should you do when you have more than two patterns? You can cycle through them, of course, but that may become boring. You can arrange them in a song, but someone might find it stiff.⁠ What about momentarily changing the order of your pattern loop? With #USTAsequencer it’s possible! Just enter the Play Mode…

If you enter Composition Mode, patch a Gate signal to the AUX input, and a pitch CV to the CVA input, USTA will store the notes you are playing on your controller – stage by stage! But the coolest part is that all the features of the Composition Mode are still available: this means that…

Composing a song might require a lot of patience: here’s why USTA features its Composition Mode.⁠ When USTA is not playing (and you are not in any of the menus), just push twice the track buttons: all the gate channels will immediately get high, and you will be able to hear the individual stages one…

Infinite wave shapes at your fingertips when Falistri is used as oscillator! Both generators can morph their rise and fall shape from EXPO to LOG, independently and regardless of their times – at audio rate, this becomes a fully functional wave shaper. INGREDIENTS 1 USTA 1 FALISTRI (Optional) 333 and FUMANA for further sound design…

Virtuous cycle or vicious cycle? In Pattern Mode, it’s up to you!⁠ Each track of the USTA sequencer has 32 patterns of 16 steps each. By editing the First and Last pattern, you can choose the ends of your pattern loop, on the fly!⁠ INGREDIENTS 1 USTA 1 FALISTRI 1 FUMANA 1 333 CGM DIRECTIONS…

Music is not just about notes! For this reason, USTA features a second layer for control voltages, which by default outputs ‘Raw’ CVs, i.e., unquantized. (This setting can be changed, but for now, let’s stick to that.)⁠ In this patch, we demonstrate how CVB can add expressiveness and dynamics to a series of musical events…

Composing and performing are closer than they seem – both in life and in USTA!⁠ Sound by an amplitude-modulated FALISTRI further processed into FUMANA.⁠ INGREDIENTS 1 USTA 1 FALISTRI (Optional) 333 and FUMANA for further sound design DIRECTIONS Set up a basic USTA patch as described in CV, Gate, Length, OR (optional): Set both FALISTRI’s…

Gate, ratcheting, pause? With the USTA sequencer everything is –literally– at your fingertips.⁠ Push the rotary encoders when any Gate layer is selected to switch between the gate colors.⁠ When blue, the encoder defines the time a gate stays high, from very short to an actual tie with the following stage, when green, the gate…

If you want to add some color (pun intended) to your sequence, you just need to push the rotary encoders!⁠ Every CV value of every stage can be played in three ways: in the ‘Blue’ one, #USTAsequencer outputs the generated value; in the ‘Green’ one, USTA slides from the previous stage’s value to the current…

Let’s dive a little bit more into the time domain!⁠ Each of the four tracks of the #USTAsequencer can work at its own internal clock, or with a common external one.⁠ Once the clock is defined, you can select which ratio (multiplication or division) the track should run at: polyrhythms are literally at your fingertips...⁠…

Gate length or stage length? Are they the same thing? Not with USTA. If you are a little confused, fear not! This video explains everything you need to know about these essential concepts.⁠ INGREDIENTS 1 USTA 1 FALISTRI DIRECTIONS Set up a basic USTA patch as described in CV, Gate, Length. Select the GTA layer…

This simple patch explores the main features of the USTA: how to select tracks, how to edit CV, Gate, and Length – but most importantly, how to get your sequence running!⁠ INGREDIENTS 1 USTA 1 FALISTRI DIRECTIONS Set FALISTRI in Synth Voice mode (steps 1-7). Patch the CVA output of Track 1 to the green…

It’s time to push those buttons!⁠ It is true, we added buttons to FALISTRI and SAPÈL so that you can manually trig the envelopes or the S&H. But there’s another reason: if you hold them pushed, you can give to your patch a very dramatic effect by momentarily “freezing” it…⁠ INGREDIENTS 1 FALISTRI 1 SAPÈL…

Random trigs with some SAPÈL self-patching!⁠ In this patch we’ll use the yellow main clock out to control the green one, then we’ll add some cross-patching within the yellow section to achieve some unpredictability.⁠ INGREDIENTS 1 SAPÈL 1 FALISTRI DIRECTIONS Set FALISTRI to the ‘Synth Voice’ configuration (points 1-7). Patch SAPÈL’s yellow Main Clock out…

What about trying some random repetitions? In this patch, a random ratcheting-like effect is obtained by using SAPÈL’s Random Clock to trig the envelope controlling the amplitude, while the clock density (or the ratcheting number) is varied through cross-patching. INGREDIENTS 1 SAPÈL 1 FALISTRI DIRECTIONS Set FALISTRI’s green generator to ‘Loop’ mode. Set the green…

Summer is over, but we still want to play!⁠ In this video, we’ll see how to recreate the classic ‘Bouncing Ball’ patch – using only two FALISTRI!⁠ INGREDIENTS 2 FALISTRI DIRECTIONS Set both generators of the first FALISTRI in ‘Loop’ mode and their time scale to ‘Long’. Set the yellow generator’s ‘Rise’ knob fully counter-clockwise…

At audio rate, FALISTRI’s cascaded frequency dividers can work as sub-octave generators! Patch the EOR output into the first frequency divider input, mix all the (bipolar!) outputs into your 321 and fatten up your sound with every possible blend of three octaves! INGREDIENTS 2 FALISTRI 1 SAPÈL DIRECTIONS [FIRST FALISTRI] Set FALISTRI’s green generator to…

At audio rate, FALISTRI’s cascaded frequency dividers can work as sub-octave generators! Patch the EOR output into the first frequency divider input, mix all the (bipolar!) outputs into your 321 and fatten up your sound with every possible blend of three octaves! INGREDIENTS 1 SAPÈL 1 FALISTRI 1 321 DIRECTIONS Set one of FALISTRI’s generators…

Clock randomness and dummy cables! Normally, the external clock input doesn’t handle fluctuating voltages as trigs. Fear not! You can still use the Gate / CV in to trig your SAPÈL! This works together with the internal clock: if you want total randomness, you can use a dummy cable to block the clock generation and…

What about a FUMANA Feedback AND a spectral transfer – at the same time? In this patch we’ll use the feedback trick to emphasize the modulation of an oscillator over a pink noise. It works great when vocoding, too! INGREDIENTS 1 FUMANA 1 FALISTRI 1 SAPÈL 1 321 1 CGM – Channel 1 CGM –…

Parametric scanning for creative percussion sounds. In this patch we’ll take advantage of two separate envelope outputs of the same FALISTRI channel to shape a pink noise into some percussive sounds. The key element here is the Parametric Scanning function available in the lower section of the FUMANA filter bank! INGREDIENTS 1 FALISTRI 1 SAPÈL…

Creative kick drum sound with FUMANA’s envelope followers! In this patch we’ll process a low sound from FALISTRI through FUMANA’s filterbank, we’ll use a random trig from SAPEL as modulation source and then feed some of the resulting envelopes back into FALISTRI to modulate the tone. INGREDIENTS 1 FALISTRI 1 SAPÈL 1 FUMANA DIRECTIONS Set…

Clock bursts, but without losing the beat! Use the Global Rate of Change to create expressive clock bursts through the Random Clock out – this won’t affect the steady pulse of your main clock.⠀ INGREDIENTS 1 SAPÈL 1 FALISTRI DIRECTIONS Set FALISTRI’s green generator to ‘Loop’ mode. Set the green generator’s Time Scale switch to…

A sort of resonating FUMANA through controlled feedback. In this patch we’ll use a 321 to blend together the signals to be filtered and the fed-back signal. It allows us to control the amount of the two signals and also their phase! INGREDIENTS 1 FUMANA 1 SAPÈL 1 321 1 CGM – Channel 1 CGM…

FALISTRI can work as a self-sufficient synth voice! The four-quadrant multiplier can work as a pretty simple VCA. The yellow unipolar output and the green bipolar one are semi-normalled to the two inputs: this means that the yellow generator can work as an envelope, and the green one as an audio-rate oscillator. INGREDIENTS 1 FALISTRI…

How to make a non-resonating filterbank resonate. In this patch we’ll set two separate feedback loops using the ODD and EVEN outputs and the Direct Out of the CGM Channel. It is possible to flip the phase to get more interesting tones. Add some reverb for instant-70s-psychedelia! Watch out, screaming tones ahead... (This patch draws…

Fluctuating random is not just fluctuating random… Each of the two fluctuating knobs (marked by a dice ⚄) also controls the density of the random clocks. It can be very useful in crowded patches! INGREDIENTS 1 SAPÈL 1 FALISTRI DIRECTIONS Set FALISTRI’s green generator to ‘Loop’ mode. Set the green generator’s Time Scale switch to…

More percussion sounds with FUMANA and various noise sources Fumana’s modulation input welcomes trigs as well, which provide a lovely “woody” tone reminding some kind of lopass gate. INGREDIENTS FUMANA SAPÈL FALISTRI DIRECTIONS Patch SAPÈL’s pink noise to FUMANA’s Main Input. Set all FUMANA’s band faders to the lowest position. Patch SAPÈL’s main clock to…

This patch explores the different behaviors of FALISTRI’s green generator, but at audio rate! When it is is set ‘On Rest’, it will ignore all the incoming trigs until it has reached its ‘Rest’ stage; when its frequency is lower than the master oscillator, it will divide its frequency in a ‘formant-like’ effect. INGREDIENTS 1…

Explore this “hidden feature” of FALISTRI’s green generator! A switch on the PCB lets you choose between two different retrig behaviors: ‘on rest’ retrigs the green envelope only if it has reached its End of Fall; ‘to rise’ simply recalls the rising stage from whichever level the envelope is in, just like the yellow generator.…

It is possible to make the two sections of FALISTRI interact with eachother: in this patch, the yellow generator’s Loop state is activated by the green envelope, which controls its frequency and amplitude as well. INGREDIENTS FALISTRI (2) DIRECTIONS (First FALISTRI) Set the green generator to ‘Loop’ mode and its time scale to ‘fast’. Patch…

A simple but effective way of creating clock bursts with SAPÈL. Use the unquantized S&H to modulate the clock rate, and the probability distribution to regulate the clock density. INGREDIENTS 1 SAPÈL 1 FALISTRI (For sound generation) DIRECTIONS Set up FALISTRI to the plain ‘Kick Drum #1’ configuration, without CV over the yellow ‘Fall’ level.…

Use FUMANA with FALISTRI and SAPÈL to create cool percussion sounds! FUMANA can transform a simple noise source into many different percussion sounds – at the same time! In this patch we’ll go through a handful of possibilities: claves, shakers and cymbals. INGREDIENTS 1 FALISTRI 1 SAPÈL 1 FUMANA DIRECTIONS Set both FALISTRI’s generators to…

Another way of adding some spice to your patterns! Use SAPÈL’s S&H to modulate the Fall time of FALISTRI’s envelope: when applied to some white noise, it will provide a sort of open/closed HiHat sound. INGREDIENTS 1 FALISTRI 1 SAPÈL DIRECTIONS Patch SAPÈL’s white noise to 4QM input 2. Set FALISTRI’s yellow generator to ‘Transient’…

Add some dynamics to your patterns through FALISTRI’s MAX out! This patch uses both SAPÈL’s clocks: the main one provides the steady pulse by triggering FALISTRI’s green envelope, the random one trigs the yellow envelope which adds some extra accents: the two envelopes are blended through the MAX output. INGREDIENTS 1 FALISTRI 1 SAPÈL DIRECTIONS…

This time we’ll get a more spicy ratcheting-like effect! SAPÈL’s n+1 output provides voltages tuned in octaves. If the target oscillates below audio rate, it will simply double its frequency, with interesting ratcheting effects. INGREDIENTS 1 FALISTRI 1 SAPÈL DIRECTIONS Set FALISTRI’s green generator to ‘Loop’ mode. Set the green generator’s Time Scale switch to…

Get some ratchets out of that envelope! FALISTRI’s frequency divider provides gates out of incoming trig signals. In this patch, they are used to automatically change the generator’s mode, from transient to cyclical, and back. INGREDIENTS 1 FALISTRI 1 SAPÈL DIRECTIONS Set FALISTRI’s green generator to ‘Loop’ mode. Set the green generator’s Time Scale switch…

Some bell-like sounds with two FALISTRI together! The left Falistri generates an articulated modulation thanks to its MAX output, the second one provides a ringing tone with a sort of exponential FM, modulated by Sapèl. INGREDIENTS 2 FALISTRI 1 SAPÈL DIRECTIONS (First FALISTRI) Set both generators to ‘Loop’ mode. Set their Time Scale switch to…

Here are some behaviors of FALISTRI’s four quadrant multiplier! Its two inputs are normalled to the yellow unipolar and the green bipolar outs. This means that if the green generator is used as audio oscillator, the yellow one controls its amplitude. INGREDIENTS 1 FALISTRI 1 SAPÈL DIRECTIONS Set the green FALISTRI’s generator to ‘Loop’ mode.…

Here are some behaviors of FALISTRI’s four quadrant multiplier! Its two inputs are normalled to the yellow unipolar and the green bipolar outs. This means that if the green generator is used as audio oscillator, the yellow one controls its amplitude. INGREDIENTS 1 FALISTRI 1 SAPÈL (for additional modulations) DIRECTIONS Set the green FALISTRI’s generator…

Get a simple but heavy synth kick drum out of your FALISTRI! By using the green generator as oscillator and patching the yellow attenuverted in its V/oct input, you will generate a very snappy drum sound with controls over decay time, pitch modulation and tone! Add some SAPÈL for a wilder sound. INGREDIENTS 1 FALISTRI…

Infinite wave shapes at your fingertips when Falistri is used as oscillator! Both generators can morph their rise and fall shape from EXPO to LOG, independently and regardless of their times – at audio rate, this becomes a fully functional wave shaper. INGREDIENTS 1 FALISTRI 1 SAPÈL (for pitch variations) DIRECTIONS Set one of the…