# COA/CGS/Serge Edelweiss/Vintage Voltron Patch Recreation Source video: https://www.youtube.com/watch?v=Ht6Cj6qgyIM ## What The Original Patch Is The archived video description says this is a self-running patch using two panels: - CGS/Serge Edelweiss - COA Vintage Voltron 3 Sequencer Important constraint: the creator says there are no dedicated VCOs or VCFs in those two panels. Serge Universal Slope Generators are used for all sound sources, and one USG is also used as the melody low-pass filter. Patch architecture from the description: - Bass/chord voice: left programmer/sequencer section drives two cycling USGs. - Those two USG notes are mixed and sent directly to the output. - Melody voice: four rows of the right programmer/sequencer provide pitch/control material. - Six bidirectional routers are used. - Three routers select which sequencer row reaches one cycling USG that produces the melody. - Three routers alter clock direction and clock rate for the sequencer. - Router control comes from two gate sequencers plus random influence from the Edelweiss Sample/Hold section. - Melody then goes through a final USG patched as low-pass filter. - Melody is then processed by RandomSource Wave Multiplier / Resonant EQ, plus external delay and reverb. ## Your Closest Module Mapping Use these from your rack: - Cycling USGs / audio slope voices: Dual GTO, Dual Slope Generator, Dual Slopes XL, GTS XL, Carnivore II slope sections. - Bass/chord sequencer: Sequencer / Programmer, SQP4+, or TKB rows. - Melody sequencer: another Sequencer / Programmer or TKB rows A-D. - Row/router switching: Switchblade, pulse divider switches, crossfaders, CV-Pro/Mixer, Active Pro, VCAs. - Random source: Smooth/Stepped, S/H, white/pink noise, Random output. - Melody low-pass USG: one Dual Slope/GTO channel in slew/low-pass mode. - Post-processing: Wave Multipliers, Triple+ Waveshaper / New Ring, VC Resonant EQ, Variable Q VCF, Stereo Mixer, Wilson Analog Delay, reverb. ## First Recreation Patch ### 1. Master Clock Patch a slow cycling slope as the master clock: - Dual GTO or DSG cycle output -> sequencer clock. - Set rate around 1.5-3 pulses per second. - Patch the same clock to the pulse divider/switch section. Use divided clocks to create changes: - /2 or /3 -> sequencer direction or up/down. - /4 or /5 -> row switching. - A slower divided pulse -> random sample trigger. ### 2. Bass / Chord Voice Use two cycling slope generators as audio oscillators. Patch: - Sequencer row A CV -> USG 1 `1V/OCT` or `VC BOTH`. - Sequencer row B CV -> USG 2 `1V/OCT` or `VC BOTH`. - USG 1 audio output -> mixer channel 1. - USG 2 audio output -> mixer channel 2. - Mixer output -> final stereo mixer, mostly dry. Settings: - Both slopes in cycle mode, audio range. - Tune them as a simple interval, not exact equal temperament. Start with root + fifth, root + fourth, or root + minor third. - Use triangle/sine-like outputs if available. Avoid folding this voice at first. - Keep bass/chord voice steady and lower in level than the melody. Target sound: - Warm two-note foundation. - Slightly unstable because the slope oscillators do not track perfectly. - No clean VCF needed on this part. ### 3. Melody Voice Use one cycling slope generator as the main melody oscillator. Patch: - TKB or Sequencer / Programmer rows A-D -> Switchblade / crossfader / CV mixer inputs. - Router or crossfader output -> melody USG pitch input. - Melody USG audio output -> melody low-pass USG input. If you cannot patch exact bidirectional-router behavior, approximate it like this: - Put four sequencer rows into a CV mixer or Switchblade. - Use gate sequencer / pulse divider outputs to enable or crossfade among rows. - Feed random stepped voltage into the selector CV so row choice occasionally changes. Settings: - Melody USG in cycle mode, audio range. - Tune above the bass/chord pair by 1-2 octaves. - Keep pitch CV depth moderate. The source has musical contours, but not a clean keyboard melody. ### 4. Low-Pass USG After Melody Patch one slope as a slew/low-pass filter: - Melody USG audio -> second USG input. - Use the second USG output as filtered melody. - Adjust rise/fall together until high harmonics soften but the melody still speaks. - Modulate rise/fall lightly with a slow random/S&H voltage. This is important: the original description specifically says the melody is passed through the last USG in low-pass filter mode. ### 5. Wave Multiplier / Resonant EQ Patch: - Filtered melody -> Wave Multiplier input. - Wave Multiplier output -> VC Resonant EQ input. - Pick one or more Res EQ band outputs, or use mix output -> delay/reverb/stereo mixer. Settings: - Wave multiplier: modest fold. Enough to create brightness and vocal movement, not harsh clipping. - Resonant EQ: emphasize low-mid and upper-mid bands. Keep one or two resonances high enough to ring. - Slowly modulate fold amount or EQ level with S/H or a slow cycling slope. ### 6. Sequencer Mutation Use three kinds of change: - Clock direction: divided pulse or gate sequencer -> up/down input. - Clock rate: alternate between main clock and divided clock through Switchblade or CV-controlled crossfade. - Row selection: gate sequencer + S/H -> router/crossfader control. Good starting behavior: - Let the bass/chord sequence stay relatively stable. - Let the melody row selection change more often. - Let clock direction change less often than pitch row selection. ### 7. Random / S&H Patch: - Noise -> Smooth/Stepped or S/H input. - Slow divided clock -> sample trigger. - S/H output -> row selector CV, wave multiplier CV, low-pass USG rise/fall CV, or melody pitch CV through attenuation. Keep random attenuation low. It should bend the system and change routing, not destroy the pitch field. ### 8. Final Mix Suggested mix: - Bass/chord dry: 40-50%. - Melody filtered/folded/EQ: 50-60%. - Delay/reverb return: enough to smear the melody, but keep the bass mostly dry. The source audio fades in after about five seconds and fades out near the end. To perform it similarly, start the patch already running with final mixer down, then slowly raise the output or melody level. ## Fast Setup Checklist 1. Clock one sequencer from a cycling slope. 2. Send two stable sequencer CV rows to two cycling slopes for bass/chord. 3. Mix those two slope oscillators directly to output. 4. Send four melodic sequencer rows into a switch/crossfade/router patch. 5. Route selected melody CV to a third cycling slope. 6. Send melody slope through another slope patched as low-pass. 7. Send that into wave multiplier, then resonant EQ, then delay/reverb. 8. Use gate sequencer, pulse divider, and S/H to change row selection, direction, and clock rate. ## What To Listen For While Tuning - If it is too clean: reduce oscillator tracking precision, add slight random CV, or use more wave multiplier. - If it is too chaotic: reduce S/H amount and make row switching slower. - If it lacks the source's harmonic body: raise bass/chord level and tune the two bass slopes to a consonant interval. - If it lacks shimmer: add more resonant EQ and delay/reverb on the melody only. - If it lacks motion: modulate melody low-pass rise/fall and wave multiplier fold with independent slow CVs.