# Altered State Machines — Eris - [Manual PDF](../../manuals/Eris _ Altered State Machines.pdf) --- [Manual PDF / Product Page](https://alteredstatemachines.net/eris) # Using the Altered State Machines Eris to Create Melodic Components From the provided manual, the module shown is: - **Altered State Machines Eris** - **4×4 matrix mixer** - **DC-coupled**, so it can mix both **audio** and **CV** - Up to **4× gain per channel** - Includes an **Aux input/output** - Aux is summed with **Output 1** and can be softly muted - Rear switch for **unity or x2 gain** on Aux input Because Eris is DC-coupled and has a true matrix architecture, it is especially useful for building **melodic control structures**, not just audio submixes. In a melodic Eurorack patch, Eris can act as a **CV router, pitch combiner, transposition hub, feedback mixer, or voice distributor**. --- ## What Eris does musically A 4×4 matrix mixer means: - You have **4 inputs** - You have **4 outputs** - Each input can be sent to **any or all outputs** - The amount sent is controlled by a knob at each crosspoint So in melodic use, you can treat Eris as a way to combine and distribute: - pitch CV - envelopes - LFOs - sequencer rows - offsets - random voltages - audio oscillators This makes it useful for creating melody by **mixing pitch sources**, **sending related variations to multiple voices**, and **creating movement around a central tonal idea**. --- ## Best melodic uses for Eris ## 1. Create harmonized pitch lines from one or more sequencers If you patch pitch-related CV into several inputs, Eris can create multiple related melodic outputs. ### Example patch Inputs: - **Input A**: main pitch sequencer - **Input B**: slow offset CV or precision adder output - **Input C**: random stepped voltage - **Input D**: envelope or LFO for pitch animation Outputs: - **Output 1**: main voice pitch - **Output 2**: second oscillator pitch - **Output 3**: bass voice pitch - **Output 4**: transposed lead or FM index control ### Result Each output becomes a different weighted combination of the same sources. That means: - Voice 1 can play the basic melody - Voice 2 can play a related intervallic variation - Voice 3 can get a simplified or lower-register version - Voice 4 can become a more animated melodic derivative This is one of the strongest uses of Eris: **turning a few CV sources into a family of melodies**. --- ## 2. Build a modulation matrix for melodic motion The manual explicitly says Eris can be used as a **modulation matrix**, and this is very important for melodic work. Patch in modulation sources such as: - a slow triangle LFO - a stepped random source - an envelope - a sequencer lane Then send them in different amounts to destinations like: - oscillator 1 pitch - oscillator 2 pitch - filter cutoff - wavefolder amount ### Why this helps melody Melody is not just note order. It also comes from: - slight pitch drift - phrase-based transposition - varying brightness - changing articulation Eris lets one modulation source influence several melodic voices in different proportions. That creates **coherence**, which is often more musical than using unrelated modulation everywhere. --- ## 3. Use it as a pitch variation network Since Eris is DC-coupled, one very practical use is **mixing pitch CV**. This lets you create: - transpositions - interval stacks - octave shifts - unstable melodic variants ### Example Inputs: - **A**: quantized melody - **B**: +1V offset - **C**: slow random CV - **D**: keyboard or pressure CV Outputs: - **Out 1**: original melody - **Out 2**: melody + octave - **Out 3**: melody + small random deviation - **Out 4**: melody + performance control If your downstream oscillators need accurate 1V/oct tracking, you’ll usually want to send Eris outputs into a **quantizer** or carefully calibrate your scaling by ear, since matrix mixers are creative tools first and precision utilities second. Still, for melodic composition, this is extremely powerful. --- ## 4. Generate chord-like structures across several voices Eris can distribute one melodic CV source to several voices while adding different amounts of supporting voltages. ### Patch concept Inputs: - **A**: root melody - **B**: fixed interval offset - **C**: another interval offset - **D**: slow macro modulation Outputs: - **1**: root - **2**: root + interval 1 - **3**: root + interval 2 - **4**: root + animated extension Run each output into a separate quantizer channel or separate oscillators, and you get **parallel melodic structures** that can resemble chords, counterpoint, or clustered harmony. This works especially well for: - triads spread across three oscillators - drone + melody combinations - canon-like pitch relations - evolving harmonic beds --- ## 5. Morph between melodic roles in performance Because Eris has knobs at every routing point, it is highly playable. You can perform melody changes by: - bringing one sequencer into several outputs - fading in random voltage to destabilize pitch - reducing one modulation path while increasing another - moving a bassline into a lead register structure This is especially useful in live techno, ambient, and experimental patches where melody evolves by **mix balance** rather than by replacing sequences. --- ## 6. Use the Aux path as a melodic layer return or drone injection The manual says: - the **Aux input** is summed with **Output 1** - then both are sent to the **Aux output** - there is a **mute** for the Aux input - Aux gain can be set to **unity or x2** This suggests a few melodic uses. ### A. Bring in a drone or second melodic line Patch: - Main melodic mix on Output 1 - Drone oscillator, sub voice, or effect return into Aux input - Use Aux mute to softly bring the extra layer in and out This is excellent for: - introducing a fifth or octave drone - adding reverb-returned melody - dropping in a secondary motif without clicks ### B. Feedback-based melodic coloration If you have an effect that emphasizes pitch, like: - delay - resonator - shimmer reverb - tuned feedback path you can send Eris output to that effect and return it to the Aux input. Since Aux is summed with Output 1, this creates a **melodically reinforcing return path**. ### C. Percussive melodic accent The manual mentions using Aux to mix a kick with the main signal, but for melodic work you could instead use it for: - plucked voice accents - a bass reinforcement line - a manually introduced counter-melody The clickless mute makes this ideal for performance. --- ## 7. Create cybernetic feedback melodies The manual specifically mentions use in a **cybernetic feedback circuit**. In melodic terms, this can mean: - sending a pitch-related or audio signal through effects - returning it into Eris - cross-mixing it with modulation or oscillators - allowing the system to influence itself ### Melodic applications - self-evolving semi-tonal loops - unstable resonant melodies - pitch-fed-back filtered sine structures - recursive transpositions If you use feedback with pitch CV, be careful. Small changes can become extreme quickly. But with controlled amounts, Eris can create **organic, evolving melodic systems** that sound less programmed than a typical sequencer patch. --- ## 8. Multi-voice distribution from one melodic source One of the simplest but strongest uses: - Send one sequencer into Input A - Route it to all four outputs in different amounts - Add one or two other CV sources across the matrix - Feed outputs to four oscillators, or to oscillator pitch plus timbral destinations This turns a single melody into: - lead - harmony - bass - ornament That is a very “musician-friendly” use of Eris in a compact system. --- # Practical melodic patch recipes ## Patch 1: Four related melodies from one sequence **Inputs** - A: main sequencer CV - B: stepped random - C: slow triangle LFO - D: manual offset voltage **Outputs** - 1: lead voice pitch - 2: bass voice pitch - 3: pluck voice pitch - 4: modulation to wavefolder or filter **How to set it** - Send A strongly to outputs 1, 2, 3 - Add a little B to outputs 2 and 3 - Add C to output 3 only - Add D to output 1 for live transposition **Musical result** A coherent melodic ecosystem: one recognizable line, one variation, one animated ornament. --- ## Patch 2: Matrix-generated harmony **Inputs** - A: quantized root melody - B: offset representing a harmonic interval - C: another interval offset - D: envelope or phrase CV **Outputs** - 1: root - 2: third/fifth-related line - 3: higher extension - 4: expressive transposition **Tip** Use quantizers after Eris if you want the harmonic relationships to stay locked to a scale. --- ## Patch 3: Live melodic performance hub **Inputs** - A: sequencer row 1 - B: sequencer row 2 - C: pressure or joystick CV - D: random source **Outputs** - 1: lead pitch - 2: bass pitch - 3: filter contour CV - 4: FM or wavefold amount **Performance method** Use the matrix knobs like a mixing desk for composition: - fade from row 1 into row 2 - inject pressure into pitch - add random only at phrase endings - create breakdowns by stripping outputs back to one source --- ## Patch 4: Aux-based melodic overlay **Main path** - Build your central melodic voice at Output 1 **Aux path** - Send a second oscillator, drone, or effected return to Aux input - Take Aux output as your final melodic sum - Use mute switch for clean entry/exit **Result** A second musical layer appears and disappears smoothly, ideal for: - choruses - breakdown transitions - ambient widening - lead reinforcement --- # Strengths of Eris for melody - **DC-coupled**, so it works with pitch and modulation CV - **4×4 matrix format** encourages related, structured variation - **Gain up to 4x** can amplify weak control sources - **Aux path** adds a performable melodic layer or return - Good for both **precise composition** and **experimental generative patching** --- # Things to watch out for ## 1. Pitch precision Matrix mixers can be used for pitch CV, but if you need exact tonal intervals, you may want: - a quantizer after the outputs - carefully tuned offsets - testing by ear with your oscillators ## 2. Gain staging Since each channel can amplify up to 4x, it is easy to push CV or audio beyond expected ranges. That can be useful, but be intentional. ## 3. Feedback caution For cybernetic/feedback patches, start with low levels. Melodic feedback can become noisy or unstable very fast. --- # Conclusion Even though Eris is presented as a matrix mixer, it is very well suited to **melodic patch design** in Eurorack. Its biggest strength is not simply mixing signals, but creating **families of related control voltages and audio layers**. That makes it valuable for: - harmonized voices - melodic variation - transposition systems - modulation matrices - live melodic performance mixing - feedback-based generative melody If you pair it with sequencers, quantizers, oscillators, and effects, Eris can become the central “relationship builder” that turns a few simple sources into rich melodic structures. [Generated With Eurorack Processor](https://github.com/nstarke/eurorack-processor)