# Mutable Instruments — Ripples - [Manual PDF](../../manuals/Manual - Mutable Instruments Documentation.pdf) --- [Manual PDF](#) ## Module: Mutable Instruments Ripples 2020 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. ### What it does musically Ripples gives you: - **Low-pass, band-pass, and high-pass outputs** - **Switchable 2-pole / 4-pole response** on BP and LP outputs - **Voltage-controlled resonance** - **V/Oct tracking**, so the filter can **self-oscillate as a sine oscillator** - A **VCA on the low-pass output**, controlled by CV That combination means Ripples can work in multiple melodic roles: 1. **Classic subtractive voice shaper** 2. **Sine oscillator for melodies/basslines** 3. **Dynamic tone shaper for sequenced material** 4. **Final LPG/VCA-like stage for a voice** --- ## Best melodic uses ### 1. Turn an oscillator into a melodic subtractive synth voice 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 --- ### 2. Use self-oscillation as a sine voice 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** --- ### 3. Create animated melodic timbre with cutoff modulation 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 --- ### 4. Use the band-pass output for focused melodies 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 --- ### 5. Use the low-pass LEVEL CV as the note-shaping VCA 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: - **Oscillator -> Ripples** - **Pitch CV -> Oscillator** - **Envelope -> LEVEL** - **Envelope or modulation -> FREQ** That is enough for a complete playable monosynth voice. --- ## Input character and melodic implications ### IN 1 - Gain from **0 to 5** - Can **soft-clip** - Great for: - aggressive bass - driven leads - thicker sequences - more pronounced harmonics before filtering ### IN 2 - Always clean - Better for: - pure melodic content - delicate sequences - cleaner subtractive sounds - preserving waveform identity ### Combined use 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 as a melodic tool Resonance is not only for sweeps. In melodic contexts it can: - emphasize note attacks - tune the brightness contour of a sequence - create vowel-like peaks - push tones toward self-oscillation for a hybrid oscillator/filter sound **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 --- ## Output choice for different melodic roles ### LP output Best for: - basslines - warm leads - classic subtractive patches - patches needing amplitude control via LEVEL CV ### BP output Best for: - riffs - arps - cutting midrange melodic lines - vocal or nasal textures ### HP output 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. --- ## Example melodic patches ### Patch 1: Simple bass voice - Saw oscillator -> **IN 1** - Sequencer pitch -> oscillator V/Oct - Envelope -> **LEVEL** - Envelope -> cutoff CV - Output from **LP** - Set slope to **24 dB** **Sound** A rounded, punchy bass with controllable drive. --- ### Patch 2: Clean melodic lead - Triangle or saw oscillator -> **IN 2** - Pitch sequence -> oscillator - Envelope -> **LEVEL** - LFO or envelope -> cutoff modulation - Output from **BP** or **LP** **Sound** Focused and expressive, especially for melodic hooks. --- ### Patch 3: Sine sequence without a VCO - No audio input - Increase **RES** until self-oscillation - Sequencer -> **V/OCT** - Envelope -> **LEVEL** - Output from **LP** **Sound** Minimal sine bass or pure melodic line. --- ### Patch 4: Acid-style phrase generator - Saw wave -> **IN 1** - Sequencer -> oscillator pitch - Accent envelope -> cutoff CV - Gate/envelope -> **LEVEL** - Higher **RES** - Use **LP** at 24 dB **Sound** Squidgy, resonant melodic sequences with built-in drive. --- ### Patch 5: Dual-source melodic timbre - Saw oscillator -> **IN 2** - Square/sub oscillator -> **IN 1** - Same pitch CV to both oscillators - Envelope -> **LEVEL** - Modulation -> cutoff CV - Take **BP** out **Sound** Complex, mix-ready melodic tone with body plus grit. --- ## Strengths of Ripples in a melodic system Ripples is especially good in a melodic Eurorack setup because it combines several voice-building functions: - **Filter** - **Sine-capable oscillator via self-oscillation** - **CV-controlled resonance** - **Built-in VCA on the LP output** - **Drive option on input 1** - **V/Oct tracking** 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. --- ## Bottom line Ripples 2020 is most effective for melodic work as either: 1. a **subtractive voice-finishing filter/VCA** 2. a **self-oscillating sine voice** 3. a **resonant timbre animator** for sequences and arpeggios 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. [Generated With Eurorack Processor](https://github.com/nstarke/eurorack-processor)