Four LFOs, four min-max, four oscillators, four envelope followers, four comparators, four sample and holds, two stereo mixers, two stereo effects.

Outputs from Xaoc Batumi quad LFO are variously patched into four min-max circuits. Yes, I have four min-max! (Five actually) A min-max module simultaneous outputs the higher and lower values of two arbitrary inputs. The maximum is patched to a Fourses upper bound, and the minimum to the lower bound of the same oscillator. So the upper bound will always be higher than the lower bound, but the distance between them will vary. Increasing the distance increases the volume while decreasing the frequency, and vice versa when decreasing the distance. The four oscillator outputs are sent to the 2xSAM mixer to remove DC offsets, control amplitude, and mix them all to a stereo output for listening. After attenuation, each oscillator out goes to an envelope follower. I used M.I. Streams and a pair of Qu-Bit Cascades, which have envelope follower modes. Each envelope follower output is examined by a comparator that will trigger a sample and hold when it goes above an adjustable threshold. The oscillators are also the sample sources. The sampled voltage is used to modulate an LFO frequency (patch 1), or an oscillator frequency (patch 2).

The SAM is perfect here, because it has a pair of stereo AC-coupled attenuators with separate outputs, plus a stereo combined output. Red stack cables come from Fourses outputs. Purple cables stacked on the red ones go to S&H inputs. Individual attenuated outputs go to envelope followers. Stereo full mix at bottom goes to effects chain for output.

For patch 2 I took the Cascade gate outputs to gate a pair of envelope generators that control the Tallin VCA, inserted before the effects chain.

Distings have min-max, and I have more min-max functions in other modules.

Above, I’m just using the comparator and sample & hold of each Tromso. The LFO isn’t used.

I.F.M. Fourses is a one-of-a-kind oscillator. Without patching into the bounds modulation, each one modulates the bounds of the one below or above it, making for pretty crazy business. However, by patching both upper and lower bounds, the oscillators become separated and work individually.

The remainder of the patch takes the stereo output mix from 2xSAM and goes in series through the Erica Black Stereo Delay and then Make Noise Mimeophon. By putting the effects in series it’s easy to listen to the dry signal, either effect by itself, or the two in series.