Modulation and Structural Logic

This patch wasn’t designed to run itself. It’s a structure I manually built—step by step. Every connection, every modulation path, every reset condition was tested, adjusted, and fixed based on sonic behavior and control.

For example, the gate sequencer’s reset input was patched to a pulse LFO whose rate was modulated by a slow chaotic CV. That created a balance between structure and uncertainty. For harmonic modulation, I didn’t just connect things at random—I tested each CV range to see how far the texture could shift without losing coherence.

I avoided using fully generative modules. Instead, I focused on building logical relationships between parts, which allowed me to intervene and tune the system at any moment.

Before recording, I added VCA and limiting modules—not as an afterthought, but as a sonic decision. I wanted to compress dynamic extremes while maintaining micro-details. This was a choice to make the output feel intentional, not accidental.