Four sources, one voice

TRACK sets how fast the oscillator chases, DAMP how hard the correction brakes, INFLUENCE how much the reference pulls. Keep the loop tight and it locks: solid, weighty pitch with analog character. Loosen it and the chase itself becomes audible — a gliding approach, ringing overshoot, sirens and growls.

The circuit was built to hide its error. The error is the interesting part.

GRIP is how hard the loop holds the note. FIGHT is how much is thrown at it. COLOR is the coloration stage — tube, color, the loop’s own feedback and the fold — as one travel. WIDTH is how far apart the two loops are tempered. MULTIPLIER sits beside them, because the ratio is a musical choice rather than a character.

Each dial is a single path through the loop, tuned by ear, with named landmarks along the way, and every one opens on HOME — your own patch, exactly as saved. Nothing is hidden: ADVANCED shows the full panel, unchanged, and touching any knob a macro owns hands the patch straight back to you.

Patch MORPH into PLL REF for cross-modulation with no host routing at all. Patch a drum loop or a vocal in through AUDIO IN and the loop chases that instead. This is not pitch tracking: the note you play still sets where the loop sits, and the incoming signal drags it around — feed it drums and the pitch lurches on every hit.

Every cable into PLL REF carries its own gain, so the cable sets how hard its source drives the comparator; the AUDIO IN fader trims your audio before it gets there. Silence on AUDIO IN closes the oscillator instead of leaving a drone.

The PLL runs two complete, independent loops, and a stereo pair menu chooses what sets them apart: TRACK Δ and DAMP Δ temper one side against the other, or PHASE and DETUNE hold a still, wide offset or an in-tune chorus beat. The MACRO view’s WIDTH dial drives whichever pair you chose. VECTOR runs X∆ and Y∆. MORPH’s Swarm spreads its seven voices across the field, and with STEREO ∆ at zero it folds back to mono. The filter adds STEREO SEP. Width comes from the waveform itself and moves with the sound, instead of being pasted on at the end.

The sub is the exception: mono, feeding both channels equally, which keeps the low end centered — and MONO BASS in the master section anchors it. There is still a chorus, as a color, not a repair.

On the OSC page’s Voicing tab, Independence has four target switches and two sliders. SKIP is a per-note chance that a source sits a note out. PARAPHONY is a per-note chance that it plays a different note from the sequencer’s pool, with the same chance-and-strength weighting the pool always uses.

Arm PLL, VECTOR and MORPH, protect the sub, and one line stacks intervals, open fifths, whole chords — harmony that moves, because the sequencer is choosing. The bar preview draws the rolled bar before you hear it, and marks each drifted note the moment it fires. Notes you play roll the same dice, SEQ on or off, so a line you play from the keyboard still splits across the sources with the Groove put away. Only an audition, a click on a note in the pool, plays exactly that note on every oscillator.