Branches is a dual Bernoulli gate. In plain musical terms, it takes an incoming trigger and probabilistically sends it to one of two outputs. That makes it great for adding variation, phrase branching, note selection, rhythmic melody changes, and semi-random structure.
Since this PDF is only for Branches, I’ll focus on how its two internal Bernoulli sections can be used to build melodic material.
Each section has:
Important details from the manual:
Branches does not generate pitch CV by itself. Instead, it generates decisions. In melodic systems, those decisions are incredibly useful because they can determine:
So Branches is best thought of as a melody structure and phrase variation module.
Use Branches to choose between two melodic phrases.
Each incoming trigger decides whether phrase A or phrase B plays. By adjusting the probability, you can make:
This is ideal for: - verse variation - generative lead lines - bassline evolution - occasional alternate cadences
Instead of using two independent sequencers, use Branches to split a trigger stream to two sample-and-hold or quantizer events.
Your melody alternates unpredictably between “stable” and “color” notes.
This is an easy way to make melodies feel: - less looped - more human - harmonically alive
Use one branch for the main melody, the other for embellishments.
Most notes are normal, but some are replaced or accompanied by embellishments.
Great for: - acid-style flourishes - melodic fills - percussive synth ornamentation - occasional octave jumps
The probability parameter has a CV input, which is where Branches becomes especially musical.
The odds of choosing A or B change over time. That means your melody can slowly drift from one phrase to another, or become more/less active in certain note lanes.
Examples: - during a buildup, increase probability of “fill” notes - during breakdowns, bias toward sparse notes - use a bar-long envelope so phrase switching evolves across the measure
This is one of the strongest uses of Branches for melodic composition: macro control over variation density.
Because section 1 is internally connected to section 2 unless section 2 has its own input, you can create multi-stage probabilistic routing.
You can derive more nuanced event trees, such as: - first decision: main note or alternate note - second decision: if an alternate path occurs, choose between two different variants
This lets you build 3-way or 4-way melodic branching structures when combined with additional routing or voice destinations.
For example: - Section 1 chooses “core phrase” vs “variation” - Section 2 further divides the variation into “upward fill” vs “downward fill”
That’s powerful for generative melodies that still sound composed.
The manual notes that at extreme settings, the output is no longer random and behaves like a voltage-controlled switch.
Branches becomes a performance-friendly phrase switcher: - section A during one part of the song - section B during another part - probabilistic in-between during transitions
This is excellent for: - moving between verse and chorus patterns - transitioning from stable melody to generative melody - live improvisation with controlled uncertainty
In normal mode, every incoming trigger is a fresh coin toss.
In toggle mode, the coin toss instead decides: - stay on the same output - switch to the opposite output
This makes the output behavior much more phrase-like.
Instead of isolated random note decisions, you get runs and contiguous sections: - a phrase may remain on melody A for a while - then switch to melody B - then stay there until another switch event happens
You get larger-scale melodic coherence instead of per-note randomness.
This is especially good for: - AB phrase alternation - bassline variation in chunks - evolving motifs - long-form generative structure
If you want melody that feels intentional rather than “coin toss every note,” toggle mode is the secret weapon.
In latch mode, an output stays at +5V until the other output is activated.
This can create: - held states - sustained note selections - continuous enable signals for one melodic path or another
Instead of short trigger events, Branches can act like a state selector for melody.
You can build: - melodies that stay in one tonal area until “flipped” - alternating root notes for bass drones - long-held harmonic choices with occasional changes
This is very useful when you want structure above the note-by-note level.
A very musical trick is to use Branches to decide whether a note event should be a strong harmonic tone or a color tone.
Most notes reinforce the harmony, while some add tension.
This creates melodies that sound: - tonal but not boring - generative but still musical - expressive without needing a complicated sequencer
Use the two sections to derive related but non-identical melodic layers.
The lead and bass become statistically related because they originate from the same incoming rhythmic source, but they won’t always fire together.
This is a strong approach for: - ambient generative systems - Berlin-school style evolving sequences - modular techno with related voices
Best for: - per-note random variation - fills - ornaments - alternate note triggers
Best for: - phrase-level alternation - AB structures - longer melodic continuity - motif switching
Best for: - held harmonic states - drones - switching between tonal centers - sustained melodic routing
A strong patching principle: - A = stable musical choice - B = more unusual choice
For example: - A = root-position phrase - B = transposed phrase - A = diatonic notes - B = wider interval jumps - A = bass note - B = octave leap or accent
Then tune probability so the piece stays coherent.
Fast probability modulation can be chaotic. For melodic use, slow modulation often works better: - bar-length envelopes - slow LFOs - sequencer rows changing every 4 or 8 steps
This gives evolving form rather than jitter.
Melodies often sound better when choices persist for a while. Toggle mode adds that persistence.
Don’t forget Branches can be nearly deterministic. That makes it useful not only for randomness, but for composed switching during a performance.
Sound: long stretches of one phrase, with gradual transitions to another.
Sound: solid bassline with occasional melodic deviations.
Sound: melody remains in one transposition/harmonic state until the next change.
Sound: two related melodic voices with intertwined variation.
Mutable Instruments Branches is not a pitch generator, but it is extremely effective at creating melodic structure by making decisions about when, which path, and how often notes or phrases occur.
Its most melodic strengths are:
If you pair Branches with sequencers, quantizers, sample-and-holds, precision adders, switches, or even just two different triggerable pitch sources, it becomes a very musical tool for building melodies that are alive, varied, and still intentional.