Modules

A chord generator that moves through harmony the way a musician would rather than the way a lookup table would. Chords change by applying neo-Riemannian transformations — the parallel, leading-tone, and relative operations — each of which moves a single voice by a semitone or a tone and leaves the other two alone. The result is that chord changes are smooth by construction.

Four pitch outputs let it feed a small polyphonic voice directly, or drive an arpeggiator, or hold pads. The probability of each transformation is under voltage control, so the harmonic behavior can be modulated rather than programmed. One output can arpeggiate on its own as the chords move underneath it.

A companion piece explaining the theory is planned, along with an interactive lattice you can click through in the browser.

A suboctave generator and clock divider. The two are the same operation at different speeds, and most modules pick one and degrade at the other. This one is built to hold up across the whole range, from slow clocks to audio rate, without needing to be told which mode it is in.

The design work went into the edge cases: what happens at very low amplitude, what happens when the input is noisy, and what happens right at the boundary where a clock becomes a pitch.

Two utilities: a buffered mult, and a dual version splitting into two independent groups. Buffering matters more than it sounds like it should. A passive mult loads the source, and pitch CV sags measurably when you split it three ways, which puts your oscillators out of tune with each other in a way that is annoying to diagnose.

An op-amp per output means each copy is independent and the source sees one high-impedance load.