Weaver

A transposition-overlay metasequencer — a melody machine where the melody is emergent, not programmed. Six layers each run a small voltage shape (ramps, zigzags, pendulums, octave jumps) at their own clock rate; their sum, added to the ROOT input and quantized to a scale, is the melody. Because the layers repeat at different periods, the combined line only comes back around after their least common multiple — it evolves for bars, it jams. Feed the ROOT a new note and the whole living contour re-voices instantly.

The display

Six lanes, one per layer (A violet, B cyan, C amber, D green, E pink, F gold): each shows its own shape's steps with the current step lit, advancing at that layer's own rate — a /1 layer sprints while a /64 layer crawls, and you watch every sequence progress at its own pace. The strip below is the composite: the summed contour over three bars, the rhythm shape's fired ticks, the playhead, and the sounding-note flash.

Controls

  • Layers A–F — each: a Shape (32 to choose from), a clock Div

(/1 = every 16th, /16 = once a bar, all the way to /128 — an 8-step shape at /128 takes 64 bars to complete: true slow modulation), and a bipolar Amount (add the shape, subtract it, or silence the layer at 0). The interplay of layers at different divisions is the whole instrument.

  • Rhythm 1–4 — four more shape, division, and amount sets, drawn from a

separate vocabulary of accent patterns, that decide when Weaver plays. They sum the same way the melody layers do. Fill at 100% fires every tick; lower it and only the strongest hits survive, so sweeping Fill thins the groove a step at a time. Give a rhythm layer a negative Amount and it cuts holes in the others at its own rate.

  • Gate / Glide / Octave — note length (fraction of a step), pitch slew

for the liquid-jam feel, and a base octave shift.

  • 🎲 DICE — re-rolls the layers (taste-constrained: a slow ground shape,

a fast motion shape, spice sometimes). One undo step per roll.

  • Scale / Root — the quantizer: the layers make the motion, this makes

the key. The ROOT input transposes everything (sequence it for chord changes).

  • Clock — three modes, see below.

Clock

  • Ext — one pulse at CLK = one 16th. RST restarts the weave from its

first tick. ▶ ⏹ are inactive: the cable is the clock.

  • Int — free-runs at its own BPM while ▶ Run is on. ⏹ stops and releases

the gate. This is the only mode where the BPM box is editable.

  • Song — the weave follows the timeline. One tick per 16th, counted from

the start of the song, so the position is derived rather than counted: drop the playhead anywhere and Weaver plays exactly what belongs at that point in the song, the same every time. ▶ ⏹ are inactive here too — the timeline's transport drives it. The BPM box dims and shows the song's tempo.

While the song is stopped, Weaver sits on the tick the playhead is parked over and the display shows where it will start; pressing play fires that tick rather than skipping it. Because a rest can be long when Fill is low, a jump also restores the held pitch and accent — the ones a continuous run would be carrying at that point — by looking back for the most recent hit. Glide does not carry across a jump: the pitch arrives snapped, then glides normally from there.

⏮ rewinds. In Ext and Int it restarts Weaver's own weave; in Song it rewinds the whole song, since Weaver's position is the song's. RST follows the same rule.

Inputs & outputs

  • ROOT — 1V/oct base pitch (0 V = C4). Sequence it and the jam follows

your progression.

  • CLK / RST — the clock in Ext mode (one tick per pulse) and restart. Both are ignored in Int; in Song, RST rewinds the song.
  • PITCH — the melody: quantized, latched per fired tick, glided. 1V/oct.
  • GATE — 10 V gates per fired tick.
  • RAW — the unquantized composite as CV: the same living contour, free

to drive a Wavetable's POS, a filter, anything. The melody and the modulation breathe together.

Tips

  • Start simple: A = Octaves at /8, B = ZigZag 4 at /1 (the default).

Then bring C in at /3 with a small negative Amount and hear the phrase stop repeating.

  • /3 and /6 divisions against /4 are the secret to long evolution —

they push the repeat point way out.

  • For slow modulation, bring E or F in gently (Amount 20–40%) at

/32–/128: the whole melody drifts over minutes, like a key-center tide.

  • Patch RAW → Wavetable POS and PITCH → Wavetable V/OCT: timbre and

melody carved from the same weave.

  • Sequence ROOT with the Piano Roll (slow whole notes) for chord changes

under the jam; add Glide ~20% for the classic liquid lead.

  • Turn Fill down with a Pendulum rhythm shape for breathing, syncopated

gaps instead of a 16th-note machine gun.