# Mutable Instruments — Branches - [Manual PDF](../../manuals/branches_quickstart.pdf) --- [Manual PDF / Online Manual](https://mutable-instruments.net/modules/branches/manual) # Mutable Instruments Branches — using it for melodic patching 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. ## What the module does Each section has: - **IN**: trigger input - **CV input**: modulates probability - **OUT A / OUT B**: trigger goes to one or the other - **Probability knob**: biases the odds - **Toggle mode** - **Latch mode** Important details from the manual: - Output trigger/gate level is **+5V** - There are **two identical sections** - **Section 1 is internally routed to section 2** if nothing is patched into section 2’s input - At extreme probability settings, it behaves more like a **voltage-controlled switch** than a random router - **Toggle mode** changes the logic from “A vs B randomly each hit” to “stay on same output vs switch to the other output” - **Latch mode** keeps an output high until the other output is activated ## Big picture: why Branches is useful for melody Branches does **not generate pitch CV by itself**. Instead, it generates **decisions**. In melodic systems, those decisions are incredibly useful because they can determine: - which sequencer advances - which envelope fires - which pitch source is sampled - which quantizer input is used - which phrase gets played - when a melody repeats or diverges - when accents or ornament notes happen So Branches is best thought of as a **melody structure and phrase variation module**. --- # Melodic patch ideas ## 1. Probabilistic phrase selector Use Branches to choose between **two melodic phrases**. ### Patch - Send a clock or trigger stream into **Branches IN** - Patch **OUT A** to trigger/clock **Sequencer A** - Patch **OUT B** to trigger/clock **Sequencer B** - Send both sequencers’ pitch CV to: - separate voices, or - a switch/mixer/quantizer downstream for a single voice ### Result Each incoming trigger decides whether phrase A or phrase B plays. By adjusting the probability, you can make: - one phrase dominant with occasional deviations - a balanced call-and-response - rare fills from the second phrase ### Musical use This is ideal for: - verse variation - generative lead lines - bassline evolution - occasional alternate cadences --- ## 2. One clock, two note lanes Instead of using two independent sequencers, use Branches to split a trigger stream to **two sample-and-hold or quantizer events**. ### Patch - Main rhythm trigger into **IN** - **OUT A** triggers one pitch event source - **OUT B** triggers another pitch event source - For example: - A = chord tones - B = passing tones or tension notes ### Result Your melody alternates unpredictably between “stable” and “color” notes. ### Musical use This is an easy way to make melodies feel: - less looped - more human - harmonically alive --- ## 3. Ornament generator Use one branch for the main melody, the other for embellishments. ### Patch - Clock or note trigger into Branches - **OUT A** goes to your main melodic envelope/gate - **OUT B** goes to: - a higher-pitched voice - a short envelope for grace notes - a second sequencer with trills or fills ### Result Most notes are normal, but some are replaced or accompanied by embellishments. ### Musical use Great for: - acid-style flourishes - melodic fills - percussive synth ornamentation - occasional octave jumps --- ## 4. Controlled melodic randomness with CV over probability The probability parameter has a **CV input**, which is where Branches becomes especially musical. ### Patch - Send a slow LFO, envelope, sequencer row, or random CV into the **probability CV** - Feed regular triggers into **IN** ### Result 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. ### Musical use 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**. --- ## 5. Cascaded melodic decisions using both sections Because **section 1 is internally connected to section 2** unless section 2 has its own input, you can create **multi-stage probabilistic routing**. ### Patch - Send one trigger stream into **section 1 input** - Leave **section 2 input unpatched** - Now section 1 and 2 can act like a chain of decisions ### Result 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 ### Musical use 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. --- ## 6. Voltage-controlled switch behavior for deterministic arrangement changes The manual notes that at **extreme settings**, the output is no longer random and behaves like a **voltage-controlled switch**. ### Patch - Send a trigger stream into Branches - Use CV to push probability hard left or right at certain moments ### Result 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 ### Musical use This is excellent for: - moving between verse and chorus patterns - transitioning from stable melody to generative melody - live improvisation with controlled uncertainty --- ## 7. Toggle mode for melodic continuity 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**. ### Why this matters for melody 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 ### Patch idea - Enable **toggle mode** - Use **OUT A** and **OUT B** to drive two different melodic sequencers or two transposition sources ### Result You get larger-scale melodic coherence instead of per-note randomness. ### Musical use 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**. --- ## 8. Latch mode for drone, held notes, and sustained melodic states In **latch mode**, an output stays at +5V until the other output is activated. ### Why that’s musically useful This can create: - held states - sustained note selections - continuous enable signals for one melodic path or another ### Patch ideas - Use A and B to enable two different quantizer/scaler/transposition paths - Use A and B to open two VCAs controlling different pitch CV sources - Use A and B to select between two drones or sustained harmonic centers ### Result Instead of short trigger events, Branches can act like a **state selector** for melody. ### Musical use 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. --- ## 9. Root note vs. extension note logic A very musical trick is to use Branches to decide whether a note event should be a **strong harmonic tone** or a **color tone**. ### Patch - Trigger stream into IN - **OUT A** triggers a pitch source limited to root/third/fifth - **OUT B** triggers a pitch source including 7ths, 9ths, or chromatic passing notes ### Result Most notes reinforce the harmony, while some add tension. ### Musical use This creates melodies that sound: - tonal but not boring - generative but still musical - expressive without needing a complicated sequencer --- ## 10. Bassline and lead derived from one source Use the two sections to derive related but non-identical melodic layers. ### Patch - Feed a master trigger stream into section 1 - Use section 1 outputs for bassline decisions - Let the internal routing feed section 2 - Use section 2 outputs for lead or counter-melody events ### Result The lead and bass become statistically related because they originate from the same incoming rhythmic source, but they won’t always fire together. ### Musical use This is a strong approach for: - ambient generative systems - Berlin-school style evolving sequences - modular techno with related voices --- # Best musical behaviors from each mode ## Normal mode Best for: - per-note random variation - fills - ornaments - alternate note triggers ## Toggle mode Best for: - phrase-level alternation - AB structures - longer melodic continuity - motif switching ## Latch mode Best for: - held harmonic states - drones - switching between tonal centers - sustained melodic routing --- # Practical melodic strategies ## Keep one side musically safe 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. ## Modulate probability slowly 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. ## Use toggle mode when you want memory Melodies often sound better when choices persist for a while. Toggle mode adds that persistence. ## Use extremes for arrangement control Don’t forget Branches can be nearly deterministic. That makes it useful not only for randomness, but for **composed switching** during a performance. --- # Example melodic patches ## Patch 1: Evolving two-phrase melody - Clock to Branches IN - Toggle mode ON - OUT A clocks Sequencer A - OUT B clocks Sequencer B - Both sequencers tuned to same scale - Slow LFO into probability CV **Sound:** long stretches of one phrase, with gradual transitions to another. ## Patch 2: Bassline with occasional fill notes - Steady 16th or 8th-note triggers to IN - OUT A triggers main bass pitch source - OUT B triggers alternate higher fill pitch - Probability mostly biased toward A **Sound:** solid bassline with occasional melodic deviations. ## Patch 3: Harmonic state selector - Latch mode ON - OUT A opens VCA for one transposition CV - OUT B opens VCA for another transposition CV - Trigger Branches from a slower clock division **Sound:** melody remains in one transposition/harmonic state until the next change. ## Patch 4: Countermelody from shared source - Main trigger stream into section 1 - Use section 1 for primary voice routing - Use section 2 as a second probabilistic layer - Different probability settings on each section **Sound:** two related melodic voices with intertwined variation. --- # Bottom line 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: - **probabilistic phrase selection** - **alternate note routing** - **ornament/fill generation** - **A/B motif switching** - **stateful melodic variation with toggle mode** - **held harmonic states with latch mode** - **CV-controlled evolution over time** 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**. [Generated With Eurorack Processor](https://github.com/nstarke/eurorack-processor)