# WMD — Skorpion - [Manual PDF](../../manuals/SKORPION_Manual.pdf) --- [Skorpion Manual PDF (WMD)](https://wmdevices.com/cdn/shop/files/Skorpion_Manual_Rev1.00.pdf) # Using WMD Skorpion for densely rhythmic, hyper-complex percussion Skorpion is not just a wavefolder. Based on the manual, it is a **comparator-driven waveform reanimation core** with: - 8 threshold crossings - target sequencing - internal macro modulation - many derived outputs (`COUNT`, `DAC`, `DIFF`, `TRGTs`, `G(IN>0)`, `±G(DIR)`, `DELAY`, `ABS(IN)`) That makes it unusually good for **creating percussion logic, event extraction, pseudo-sequencing, and self-modulating rhythmic timbre changes**. If your goal is dense rhythmic music with polyrhythms and complicated patterns, Skorpion can act as: 1. **A percussion voice** 2. **A rhythm extractor from incoming audio/CV** 3. **A modulation generator for other percussion modules** 4. **A self-patched rhythm machine** 5. **A stereo transient shaper for complex drum motion** ## Core idea The most important thing to understand is this: - The input at `IN` is analyzed by **8 comparators** set by the slider thresholds. - Each threshold crossing changes the behavior of the **vector core**. - The number/order of active thresholds can generate stepped and logic-like outputs: - `COUNT`: staircase, 0–4V, +0.5V per active threshold - `DAC`: weighted threshold state output - `TRGTs`: target sequencer output - `±G(DIR)`: up/down gate - `G(IN>0)`: polarity gate - `DIFF`: difference between target and current state, rich in transients/harmonics For percussion, this means Skorpion can transform a single clocked source, oscillator, envelope, drum loop, or modulation waveform into **many correlated but non-identical rhythmic streams**. --- # Best ways to use Skorpion for complex percussion ## 1. Feed it rhythms, not just tones Most people will patch an oscillator into a wavefolder. For your goals, also try feeding Skorpion: - trigger trains - gates - stepped CV - envelope shapes - drum loops - bursts - ratchets - clock-divided square waves - mixed clocks from several channels - tom/kick/snare audio - noise bursts shaped by VCAs Because thresholds create events whenever the input crosses them, **complex incoming modulation becomes rhythmically decoded** into different outputs. ### Excellent input sources - a swung clock square wave - a polygonal LFO - an envelope cycling at a non-integer relation to the main tempo - mixed trigger/gate patterns run through a slew - a percussion bus - a sequence of accent envelopes - an audio oscillator FM’d by clock divisions This gives you **rhythmic density from threshold crossings** rather than just from trigger programming. --- ## 2. Use the sliders as a rhythmic event map The 8 sliders define where folds/events occur. For percussion use, think of them less as “tone settings” and more as: - **timing density zones** - **accent decision points** - **probability-like contour markers** - **subdivision extractors** ### Practical approach Set thresholds unevenly: - cluster 3 sliders near center - spread 2 far apart - keep a couple near extremes This creates uneven crossing behavior, so one input waveform yields **nonuniform event spacing**. That’s ideal for: - additive-feeling rhythms - quasi-Euclidean accents - asymmetrical percussion phrases - “7 over 5 over 4” style movement ### Equalized thresholds vs uneven thresholds The `EQUALIZE THLDs` switch is crucial: - **ON**: equal threshold spacing, more classic wavefolder, more regular rhythmic subdivisions - **OFF/JACK-controlled**: manually uneven thresholds, more asymmetrical and human/alien rhythmic structures For your use case: - use **equalized thresholds** when you want machine-like subdivisions - use **uneven slider spacing** when you want weird metric phrasing and polymetric irregularity --- ## 3. Use `TARGET` and `TRGTs` as an 8-step micro-rhythm sequencer The manual states the `TRGTs` form an **8-step voltage controlled sequencer**. This is huge for percussion. ### Use case Set `TARGET` to `SLIDERs` and define 8 target voltages while holding the spring toggle left. Now each threshold crossing selects a target. With `TARGET ORDER`: - **SEQ**: target chosen by count of active thresholds - **TIED**: target chosen by most recently crossed threshold These two modes can radically change rhythmic behavior. ### Why this matters rhythmically Each threshold crossing doesn’t just fold the waveform — it can also shift the vector core toward a different destination voltage. This creates: - segmented transient profiles - repeating-but-not-repeating accent contours - ordered or last-event-dependent phrases ### Percussion strategy Use `TRGTs` for: - per-hit brightness variation - pseudo-accent sequencing - changing the shape of each fold segment - control output to modulate another module’s decay, pitch, or filter cutoff You can patch the `TRGTs` output to: - LPG CV - VCA CV - filter FM - decay CV on a drum voice - sample select on a sampler - clocked switch address That gives you **threshold-derived sequencing**, which is excellent for dense percussion ecosystems. --- ## 4. Use `COUNT` and `DAC` outputs as rhythm translators These are especially useful for complicated patterns. ## `COUNT` - staircase from 0–4V - each active threshold adds 0.5V This gives you a crude but very musical **activity meter**. ### Great uses Patch `COUNT` to: - a comparator to create new trigger streams - a quantizer then oscillator for tuned percussion - a VCA controlling noise amount per hit - decay CV on hats/snare - probability/logic thresholding module If your input is moving irregularly across thresholds, `COUNT` becomes a **meta-rhythm CV** representing pattern density. ## `DAC` Weighted threshold-state output, more subtle than `COUNT`. This is better when you want: - finer accent nuances - pseudo-melody tied to rhythm - less staircase bluntness - more unstable but controlled modulation ### Rhythmic use Patch `DAC` to: - kick pitch for non-repeating body tones - snare noise color - FM index on metallic percussion - clocked switch crossfade amount - a comparator to derive irregular derived gates `DAC` often works better than `COUNT` when you want **microvariation inside fast percussion runs**. --- ## 5. Use `DIFF` as a transient percussion source The manual says `DIFF` is the difference between target voltage and the vector core, and it slopes toward 0V. It is usually very high in harmonic content. That description screams: - clicks - spikes - snares - zaps - glitch hats - transient layers ### Patch ideas - `DIFF` → VCA/LPG → mixer as a click layer - `DIFF` → filter → short envelope/VCA for hats - `DIFF` → wavefolder/distortion → metallic percussion - `DIFF` → resonator for tuned impulse percussion - `DIFF` → comparator → trigger extractor For dense rhythmic music, `DIFF` can be the “micro-hit generator” while `OUTL/OUTR` supply body and motion. ### Tip Set `SHAPE` to `DIFF` source for even harsher, spikier timbres. --- ## 6. Exploit `SYNC` to lock complexity to musical timing `SYNC` resets the vector core at zero crossings of the input: - `SOFT`: ramps toward 0V at current slope - `X`: no sync - `HARD`: fast reset to 0V For percussion, `SYNC` is how you choose between: - tightly repeatable attacks - semi-chaotic evolving hits - glitched retrigger behavior ### Recommended uses - **HARD sync** for precise, repeatable transient-heavy drum patterns - **SOFT sync** for more elastic, loping, less robotic rhythms - **No sync** for drifting polymetric behavior and unstable phrase lengths If using clock-related inputs, `HARD` often makes Skorpion act more like a controllable percussion synthesizer. If using long LFOs or mixed audio-rate modulation, disabling sync often creates **long-form polymetric drift**. --- ## 7. Use `SHIFT` for asymmetry and phrase rotation `SHIFT` pushes the input up/down against the comparators and creates asymmetry. The manual even notes slow modulation can produce a frequency-shift effect. For rhythmic work, `SHIFT` is one of your best controls because it changes **which thresholds are crossed and when**. That means modulating `SHIFT` can: - reorder accent structures - create left/right phrase imbalance - alter rhythmic density without changing clock speed - make repeated loops mutate over time ### Patch concept Use a slow odd-cycle modulation source to `SHIFT`: - 5-step sequencer against a 4-beat loop - 7-beat envelope cycle - clock-divided triangle not synced to bar length This creates **phrase rotation**, where the same input material yields different threshold activations over time. For hyper-complex percussion, this is gold. --- ## 8. Use `SHAPE` as a timbral rhythm multiplier `SHAPE` modulates slope using feedback sources: - `IN` - `OUT` - `DELAY` - `COUNT` - `DIFF` - `TRGTs` - `DAC` - `DIR` This is one of the most powerful sections for complex percussion. ## Best rhythmic `SHAPE` sources ### `COUNT` Makes timbre depend on how many thresholds are active. - More activity = more harmonic or contour change - Great for density-sensitive percussion ### `TRGTs` Each segment gets its own shape behavior. - Excellent for sequenced hit articulation - Makes each threshold region behave like a different drum articulation ### `DIFF` Aggressive and spiky. - Best for glitch percussion, digital-sounding hats, tearing snares ### `DIR` Uses direction signal. - Creates skewed up/down behavior - Good for alternating hit character, almost like built-in call/response ### `OUT` Feedback from output. - More organic/log/exp behavior - Good for toms, wooden percussion, body-rich hits ### `DELAY` Only active when OUTPUT is between noon and fully clockwise. - Gives moving stereo/phase/tap-like articulation - Great for swarming percussion fields --- ## 9. Use `HALT` for ratcheting, stutters, and broken-grid timing `HALT` stops the vector core at its current voltage. Audio-rate modulatable. This is one of the most interesting performance/rhythm inputs. ### What it can do - freeze a transient mid-motion - create gated terraces in the waveform - produce abrupt chokes - impose externally clocked interruptions onto the fold motion ### Rhythmic uses Patch a trigger/gate pattern into `HALT`: - short bursts produce chopped transients - irregular gate lengths create stop/start drum contours - Euclidean trigger streams create punctuated rhythmic lockups - a high-rate square clock gives granular tearing textures ### `HALT IF TARG=0` When enabled, any target set to zero can halt movement for just that segment. This is perfect for: - inserting rests into timbral motion - creating pseudo-square segments - turning parts of the cycle into “dead air” or held plateaus - building syncopation into the fold structure itself For percussion, set some `TRGTs` fully down and enable `HALT IF TARG=0`. Now some threshold events become **frozen nodes**, like rests or held accents inside the waveform. --- ## 10. Use `DRY IF NO THLDs` to preserve groove under heavy modulation If no thresholds are active, this forces dry signal output and the vector core tries to follow `IN`. This matters when heavily modulating `FOLD` or `SHIFT`. Without it, your patch may occasionally drop into low-activity or silent zones. With it: - the groove keeps speaking - sparse moments remain useful - modulation can be extreme without losing the pulse For live rhythmic work, this is often worth enabling. --- # Specific patch strategies for complex rhythmic music ## Patch 1: Polyrhythmic percussion synthesizer voice ### Goal One Skorpion voice producing evolving drum-like patterns with internal asymmetry. ### Patch - Clocked envelope or triangle VCO → `IN` - Set thresholds unevenly - `TARGET` → `SLIDERs` - Program `TRGTs` with alternating high/low voltages - `TARGET ORDER` → `TIED` - `SHAPE SOURCE` → `COUNT` or `TRGTs` - `SYNC` → `HARD` - `DIFF` → external VCA/filter as click layer - `OUTL/OUTR` → mixer ### Result Each threshold crossing creates a slightly different transient/body relationship. Because thresholds are uneven and target order is tied to most recent crossing, the pattern feels interdependent instead of step-sequenced. --- ## Patch 2: Extract multiple percussion control streams from one source ### Goal Turn one modulation/audio source into many related rhythms. ### Patch - Mixed clocks + slew or a drum bus → `IN` - `COUNT` → comparator → trigger for hats - `DAC` → pitch CV for tom voice - `G(IN>0)` → trigger/gate for clap envelope - `±G(DIR)` → switch/select input on sequential switch - `TRGTs` → decay CV on snare - `DIFF` → audio click layer - `DELAY` → modulate stereo VCA or pan ### Result Skorpion becomes a **rhythm decomposition engine**. One source yields several correlated but distinct drum control streams. This is ideal for polyrhythms because everything shares a common origin but diverges in structure. --- ## Patch 3: Complex time-signature phrase engine ### Goal Create phrase cycles that feel like 5, 7, 9, or mixed meters. ### Patch - Use an LFO/envelope cycling at a musical but not bar-aligned period into `IN` - Set 8 thresholds in non-even spacing - Modulate `SHIFT` with a slower sequence of a different cycle length - `TARGET ORDER`: - start with `SEQ` for structured phrase counting - switch to `TIED` for more contingent behavior - `SHAPE SOURCE` → `DIR` or `DAC` - `SYNC` off or `SOFT` ### Result You get evolving phrases where the threshold crossing order itself defines the meter feel. Because the `SHIFT` modulator has a different loop length, accents “walk” against the master phrase. This is a strong route to **apparent odd meters without explicit programming**. --- ## Patch 4: Metallic hat swarm / glitch percussion patch ### Goal Very dense upper percussion with internal variation. ### Patch - Fast oscillator or filtered noise burst train → `IN` - High `FOLD` - Medium/high `SLOPE` - `SHAPE SOURCE` → `DIFF` - `TARGET` toward `CLIP` - Patch something other than `IN` into `CLIP`: - another drum line - percussion loop - burst generator - `OUTPUT` above noon toward `WIDE` - `OUTPUT SWITCH` → `FILTERS` - `DELAY` output to separate mixer channel ### Result Tight, metallic, shattered hats and stereo percussion spray. The alternate `CLIP` signal makes the fold target contingent on another rhythm source, creating interlocking complexity. --- ## Patch 5: Self-patched pseudo-generative percussion network ### Goal Make Skorpion recursively generate complex rhythms. ### Patch - Oscillator/envelope into `IN` - `COUNT` → `SHIFT` CV - `DAC` → `SHAPE` CV - `TRGTs` → `TARGET` CV or another module controlling input level - `±G(DIR)` → `HALT` - `ABS(IN)` → modulate another oscillator/FM source feeding `CLIP` - `DELAY` → external VCA or filter on return path ### Result The module begins reacting to its own state. This can produce very intricate but coherent rhythmic mutation. Start with attenuators low. This patch can get wild quickly. --- # How to make real polyrhythms with Skorpion Skorpion doesn’t directly output clock divisions, but it excels at generating **event structures whose apparent rhythm depends on threshold crossing geometry**. ## Method 1: Different cycle lengths in modulation Use: - one signal into `IN` - a different-period modulation into `SHIFT` - another different-period modulation into `FOLD` or `SHAPE` Example: - `IN`: envelope looping every 5 beats - `SHIFT`: modulation every 7 beats - `MACRO ENV`: toggled every 4 bars - `TRGTs`: asymmetrical target pattern Now the crossing patterns phase against each other. This creates practical polyrhythms. ## Method 2: Comparator-derived streams Use: - `G(IN>0)` as one binary rhythm - `±G(DIR)` as another directional rhythm - `COUNT` through external comparator for another rhythm - `DAC` through external comparator/window comparator for another One input becomes 3–4 derived rhythmic layers. ## Method 3: Threshold geometry as meter Uneven thresholds create uneven event spacing over a periodic input waveform. If the waveform repeats every quarter note, threshold crossings may imply: - 3+2+3 - 2+2+3 - 5+4 - 7 against 4 feel This is a fantastic way to get **odd-meter sensation from simple periodic input**. --- # How to make complicated patterns feel intentional Hyper-complex percussion can become mush unless there are layers of hierarchy. Skorpion can help structure that. ## Use `COUNT` for macro accents Patch `COUNT` to control: - output VCA level - drum bus filter cutoff - send amount to reverb/delay Then denser threshold states become louder/brighter. ## Use `TRGTs` for phrase identity Program 8 targets with a contour like: - high - low - mid - zero - high - low - zero - mid This creates recurring phrase landmarks. ## Use `HALT IF TARG=0` for rests Targets at zero can become built-in pauses or squares. This inserts punctuation into dense streams. ## Use `SYNC HARD` for downbeat focus If everything is getting too smeared, hard sync can restore repeatability at each input crossing cycle. --- # Using the Macro section for rhythmic evolution Skorpion’s internal macro system is very useful for long-form complex music because it provides: - attack/sustain/release macro envelope - LFOs for thresholds - LFO or envelope normals for `FOLD`, `SLOPE`, `SHIFT`, `SHAPE` ## Why this matters You can make a stable complex percussion patch that: - slowly increases threshold motion - gradually changes fold amount - introduces asymmetry over a phrase - brings in motion only during selected gates ## Good macro setup for percussion - Slider 1: medium attack - Slider 2: long release - Slider 3: moderate THLD LFO amount - Slider 4: slow THLD LFO rate - Sliders 5–8: - `FOLD` in LFO mode - `SLOPE` in ENV mode - `SHIFT` in LFO mode - `SHAPE` in ENV or LFO mode Trigger Macro Env manually or from a phrase gate every few bars. ### Result The patch “breathes” over time while still preserving the intricate local rhythm. Because LFOs reset on each gate-on, the module can also produce **repeatable complex modulation phrases**, which is excellent when you want intricate music that is still performable and recallable. --- # Best parameter tendencies for percussion These are not strict rules, but useful starting points. ## For kicks / heavy thuds - lower `SLOPE` - moderate `FOLD` - `TARGET` near `5V` or `SLIDERs` - `SHAPE` from `OUT` or `DIR` - `SYNC HARD` ## For snares / cracks - moderate/high `SLOPE` - `SHAPE` from `DIFF` - `TARGET` between `SLIDERs` and `CLIP` - use `DIFF` as parallel layer ## For metallic hats - high `SLOPE` - high `FOLD` - `SHAPE` from `DIFF`, `COUNT`, or `DELAY` - `OUTPUT` in `WIDE` - `FILTERS` switch on ## For weird toms / rubber percussion - modulate `SHIFT` - `SHAPE` from `OUT` - `TARGET ORDER` `TIED` - `SYNC SOFT` --- # Performance tips for live complex rhythm making ## 1. Switch `TARGET ORDER` during performance - `SEQ` = more countable and structured - `TIED` = more reactive and tangled This can feel like moving from composed odd meter to unstable improvisational metric interplay. ## 2. Modulate or manually change `SHIFT` This is one of the fastest ways to rotate the rhythm without changing tempo. ## 3. Use `EQUALIZE THLDs` as a regularity toggle - equalized = grid-like - uneven = broken grid Excellent for transitions. ## 4. Move between dry/wet/wide with `OUTPUT` - below noon: keep impact and body - above noon: spread and animate high-frequency content - use `FILTERS` to keep low end centered Very useful for dense percussion mixes where the center can get overloaded. ## 5. Use `CLIP` as an interlock input Patch another rhythm source into `CLIP` so one line influences the target behavior of another. This creates musical coupling between drum layers. --- # A complete advanced patch recipe ## “Hypermetric Percussion Engine” ### Inputs - Main sequenced envelope or oscillator → `IN` - Different rhythmic voice or burst source → `CLIP` - Slow 5-step CV → `SHIFT` - Faster 7-step CV → `FOLD` - Phrase gate every 2 or 4 bars → `MACRO ENV` ### Skorpion settings - Uneven thresholds - `TARGET` toward `SLIDERs` - `TRGTs` programmed with highs, mids, and zeros - `HALT IF TARG=0` on - `TARGET ORDER` = `TIED` - `SHAPE SOURCE` = `TRGTs` or `COUNT` - `SYNC` = `SOFT` - `OUTPUT` around 1–3 o’clock - `OUTPUT SWITCH` = `FILTERS` ### Outputs - `OUTL/OUTR` = main percussion stereo voice - `DIFF` = transient layer - `COUNT` = modulate external hat decay or comparator-derived triggers - `DAC` = modulate pitch/brightness of another drum voice - `TRGTs` = control filter/resonator tuning - `DELAY` = separate stereo splash layer ### Result You get: - internal asymmetrical subdivisions - phrase-level evolution - self-related but non-repeating percussion layers - stereo complexity without losing low-end center - emergent polyrhythm from modulation cycle mismatch --- # Summary: what Skorpion is best at for your goal If your aim is **densely rhythmic, hyper-complex percussion with polyrhythms and unusual meters**, Skorpion is especially strong when used as: - a **threshold-based event shaper** - a **derived rhythm CV generator** - a **timbral sequencer** - a **self-modulating transient machine** - a **stereo percussion animator** The most powerful features for you are likely: 1. **Uneven THLD sliders** for non-grid crossing patterns 2. **TRGTs sequencer** for segment-by-segment articulation 3. **COUNT / DAC outputs** for derived control streams 4. **DIFF output** for aggressive transient percussion 5. **SHIFT modulation** for phrase rotation and asymmetry 6. **HALT / HALT IF TARG=0** for stutters, rests, and hard punctuation 7. **Macro modulation** for long evolving rhythmic forms 8. **WIDE/DELAY output behavior** for layered stereo percussion motion If you want, I can also give you: - **10 concrete Skorpion patch recipes** for IDM/glitch/tribal/polymeter - a **system-level patch plan** showing which other Eurorack modules pair best with it - or a **“Skorpion as drum brain” workflow** for building whole tracks around it [Generated With Eurorack Processor](https://github.com/nstarke/eurorack-processor)