Ripples 2020 is a voltage-controlled multimode filter with built-in low-pass VCA behavior, which makes it very useful for shaping raw oscillators into playable, melodic voices.
Ripples gives you:
That combination means Ripples can work in multiple melodic roles:
Patch a harmonically rich oscillator into Ripples and use it as the main tone-shaping stage.
Patch idea - Oscillator saw or pulse -> IN 1 or IN 2 - Pitch sequence -> oscillator V/Oct - Envelope or modulation -> FREQ CV - Envelope or gate-derived CV -> LEVEL - Use LP out as your main audio output
Why it works - The cutoff sets brightness - Resonance emphasizes harmonics and adds character - The LEVEL CV on the low-pass output acts like an integrated VCA, so Ripples can serve as both filter and amplitude control - This is ideal for basslines, leads, arps, and plucks
Musical tip - Use IN 1 when you want saturation/soft clipping and more aggressive melodic lines - Use IN 2 when you want a cleaner, more classic tone
Ripples self-oscillates at higher resonance settings and tracks V/Oct over about 4 octaves.
Patch idea - Turn RES high until it self-oscillates - Send pitch CV from a sequencer/keyboard into V/OCT - Take audio from LP out or experiment with other outputs - Use LEVEL CV for note articulation
Why it works - In self-oscillation, Ripples becomes a pure melodic sine oscillator - Great for: - sub-bass - sine leads - FM-like support tones - minimal melodic lines
Musical tip - Because the module is not temperature stabilized, treat it as a characterful tracking oscillator rather than a precision VCO in all situations - It’s especially strong for short melodic phrases, bass parts, and doubled lines
For melody, movement matters as much as pitch. Ripples excels at making repeated notes feel alive.
Patch idea - Sequence a VCO normally - Send a slow or rhythmic CV into the cutoff modulation input - Set the FM attenuverter to control depth and polarity - Use BP output for nasal, vocal-like melodic phrasing
Results - Slight modulation creates expressive phrasing - Stronger modulation creates: - acid-like motion - talking lead tones - lively arpeggios - evolving ostinatos
Musical tip - Positive modulation opens notes dynamically - Negative modulation can create more percussive or “ducked” phrases
The band-pass output is especially useful for melodies that need to sit in a mix.
Why BP is useful - Removes excessive low-end and top-end - Gives a more focused, reedy, vocal sound - Helps melodic parts cut through dense arrangements
Good for - sequenced arps - midrange hooks - techno riffs - counter-melodies
Slope switch use - 12 dB/oct: more open, lively, less severe - 24 dB/oct: smoother, more rounded, more sculpted
A standout feature of Ripples is that the LP output has voltage-controlled gain.
Behavior from manual - 0V = silence - 5V = unity gain - above 5V = progressively compressed - if nothing is patched, 7V is internally applied
Why this matters melodically You can patch an envelope directly into LEVEL and get: - note articulation - dynamics - plucks - swells - accents
This means a minimal melodic voice can be:
That is enough for a complete playable monosynth voice.
Because both inputs are mixed together, you can build richer melodic timbres: - Saw in IN 2 for body - Square or sub in IN 1 for grit - Then shape both together through the filter
This is excellent for big mono leads or weighty basslines.
Resonance is not only for sweeps. In melodic contexts it can:
Practical melodic ranges - Low resonance: warm, stable melodic tone - Medium resonance: expressive, classic subtractive phrasing - High resonance: sharp, acid-like melodies - Self-oscillation: pure sine melody source
Best for: - basslines - warm leads - classic subtractive patches - patches needing amplitude control via LEVEL CV
Best for: - riffs - arps - cutting midrange melodic lines - vocal or nasal textures
Best for: - thin melodic layers - bright plucks - parallel processing - removing low-end from secondary melodic parts
A useful technique is multing the same source into Ripples and recording or mixing multiple outputs for layered melody design.
Sound A rounded, punchy bass with controllable drive.
Sound Focused and expressive, especially for melodic hooks.
Sound Minimal sine bass or pure melodic line.
Sound Squidgy, resonant melodic sequences with built-in drive.
Sound Complex, mix-ready melodic tone with body plus grit.
Ripples is especially good in a melodic Eurorack setup because it combines several voice-building functions:
So even by itself, it can become the core of a compact melodic voice. Paired with: - a sequencer - a sound source - an envelope - optionally an LFO
it easily produces complete musical lines.
Ripples 2020 is most effective for melodic work as either:
Its biggest advantage is that it can make a melodic patch both expressive and compact: one module handles tone shaping, resonance character, and low-pass amplitude control all at once.