Future Factory by Free the Tone is a stereo delay most often heard creating beautiful ambience. But is is also easily able to do chorus, vibrato, flanging and overdrive (listen around the 9 minute mark for the filth). So here it's teamed with the trusty DB-01, both synced to the same MIDI clock, and the knobs twiddled. The delay comes pre-loaded with 128 presets showing off many of the settings. The interface is certainly unusual but is quite fast to access the various parameters. In the video I mainly tweak the 3-band EQ, modulation and drive. As usual my aim is to give you an idea of what it's like to actually operate and tweak the pedal rather than an idealised selection of sounds. And also as usual I bought this with my own money at full price.

0:00 Sweet and thick
1:34 Dirty and thick
2:37 Flangerish echo
4:38 Ping pong
5:00 Max feedback
5:34 EQ fun
7:03 Long delay
8:19 Tip in the dirt
10:05 Hard modulated
11:30 Metallic scrapings

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The Solina's raw sound is not like your standard synth so it tends to react differently to effects. I tried lots of different effects and picked the most interesting to show here. First up was the Erica Synth AcidBox III which, surprisingly, was an excellent match. Using the AcidBox with full resonance was fun and would sound even better with stereo delay but I wanted to keep things to just one effect at a time here. Perhaps the AcidBox works so well because of the lack of controls on the Solina - suddenly the Solina gets an LFO, filter, resonance, input drive and envelope follower.
The phaser test with the EHX SmallStone, Phaser 95 and PH-1r I also found very interesting. For me the Ph-1r had the richest sound and the SmallStone was identical to the onboard phaser.
In the drive, disortion and dirt department the Glove and B3K had their moments while the Geiger Counter ranged from mild to total destruction and some bit crushing at the end.
I also included a short demo with the Boss Slicer, but that thing requires several hours discussion just by itself.
Where I'm playing a chord with one note I'm actually triggering a Cthulu chord player in the DAW. Most chords are taken from a custom import of the main string line from Bruckner's 7th.

0:00 AcidBox III
2:08 Boss Ph-1r phaser
2:35 MXR Phase 95
3:04 EHX SmallStone
3:43 Boss Slicer SL-2
4:14 EHX The Glove
5:20 Darkglass B3K
6:17 WMD Geiger Counter

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Sound design on a one oscillator bass synth? Yes, a surprising amount. A lot is tied up with the sequencer but there are also some pure synth tips in there as well. Some of them, like filter tracking, I've talked about before so perhaps this is like a "best of" compilation. But it still seems to make sense to have them all in one place. For impatient veterans perhaps only the last section on LFO phase will show anything of more hardcore interest.

0:00 Intro
0:18 Don't crank
0:34 Do crank
1:15 Calibrate
1:55 Waveforms
2:38 Clicky McClick
3:47 Tracking (again)
4:19 LFO rant & vibrato
6:00 Portamento
6:36 Audio rate LFO
8:40 Fake delay
9:24 Gate joy
10:35 Arp gates
11:11 Phase is best
12:51 Hello DFAM

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Two examples of the Midicake Arp driving the Perkons drum machine. There's no patterns or steps programmed here, just MIDI triggers sent from the Arp. Each voice is on a different MIDI channel. Variations are created by a gentle modulation of the beats/bar parameter and the two modulations channels variously affecting velocity, groove length and the rhythm pattern length. Timings on individual parts have also been tweaked using the delay parameter. When you see the orange light on a channel it means that part is muted.
The Arp is of course blind to what might make a pleasing drum pattern so it's a little bit chaotic at times but overall I think it's an interesting end result. If the drums weren't the main focus of your performance, but you needed something that continually changed to the avoid simple continuous loops then this might be a good solution. By switching kits you can also create some interesting fills. And while it might all be a bit loose as a jam, it could easily be chopped up into something much more coherant. And a drum machine that was able to receive note information (like the LXR-02) would be even more interesting.
The Geiger Counter provides some grit and there's also a little Fabfilter Pro-R on the kick (which was taken as a separate out).
Anyway, just a little noodle for your consideration and amusement.

0:00 Noodle one
1:32 Noodle two

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It's described as a 4-part arpeggiator and is even just called "Arp". But I think it's better characterized as a 4-part algorithmic phrase sequencer. Because this isn't just a dedicated box with standard arps. It can create long chains of constantly changing sequences which are directly created from your live keyboard input - and it all stays in perfect sync. This half-hour video should at least give you a reasonable taste of what it can do, or if you're a new owner, be enough to get you started.

0:00 Intro demo tune
1:00 Hardware overview
2:40 Routing
3:21 Front panel
8:00 Banks and patterns
9:12 Bios and reset
9:50 Getting started
10:35 Arp settings
17:25 Constant sync
18:00 Top row settings
21:17 Tweakings fun
27:56 Outro tune

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Two Perkons patterns playing three kits tested through four pedals: the WMD Geiger Counter, Fairfield Circuitry Roger That, Darkglass B3K and JPTRFX Add Violence*. I contemplated cutting this down to a four minute highlight video (which would probably get a lot more views) but I think there's real value in showing the actual process of tweaking to get the best sounds. But maybe I'm wrong. What do you think? Show the best bits only, or show the process?
In any case you can see in both the Geiger Counter and Roger That where tiny adjustments can have profound effect on the output and it's pretty clear they get the biggest range of different and usable sounds. The two "small" pedals really only have a single core effect and can only get relatively modest variations from that. But horses for courses.
To balance the varying volume levels I had to be quite heavy-handed on the limiting, so some of the louder sections have been squashed (Fabfilter Pro-L and Cockos ReaLimit). Generally the Geiger Counter had the most consistent volume and was most easily adjusted on the pedal itself, whereas Roger That and Add Violence tended to be most difficult to tame.
* NB: I've adjusted the internal trimpots on Add Violence and they have a huge effect on the sound. I've no idea how far I've diverged - for better or worse - from the original values! (I must do a video where I adjust these in real time. It's such a shame they aren't actual knobs).

0:00 Geiger Counter
6:40 Roger That
12:28 Add Violence
16:44 Darkglass B3K

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Gary Numan's 1979 single 'Down in the Park' has always been a favorite of mine. This cover version (instrumental) has been made using only the Behringer Solina Strings and the Erica Synths Perkons drum machine. The Solina plays all the synth parts while the Perkons does drums and the sub-bass deep hits best revealed on headphones. The images are AI generated using Stable Diffusion.
It wasn't my aim to make a 1:1 copy but in the end I stayed pretty close to the original. Any time I started changing things it felt like I was insulting an old friend.

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The Behringer Solina Strings is controlled by the DB-01. At first blush it seems a bit silly but there are some interesting reasons you might want to try it. And one thing I forgot to mention in the video: The DB-01 is of course in 'scale' mode, in this case E-Minor.

0:00 Smeary arp
1:46 Octaves
3:10 Slowing it down
5:00 Sequencing
6:00 Generative fun

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Last time Perkons got the Acidbox IIIfilter, this time the DB-01 gets a turn. And it turns out two vicious filters in series, both with sample and hold LFOs running in sync but with different times, gives some interesting tones. The first few minutes is me explaining the patch, then at 4:32 I shutup and just twiddle. But maybe it would be better without the talking?

0:00 Blah blah blah
4:32 Sound sound sound

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A stereo filter at the end of an instrument with four multimode filters? Why not, makes sense to me. I've been hunting an interesting filter for ages - preferably stereo. I've churned through the extreme Retro Mechanical Devices long-name-bigbox to the more recent Elta Polivoks, Source Audio Ultrawave and even the filter on the Strymon Mobius. All the of them are gone now except the Mobius.
With the Acidbox III I think I'm close to the answer. Of course the filter itself is the essential core, but two other aspects make this shine: a syncable multi-waveform LFO, and the classic Erica feature of overdrive on the input.
Here I noodle around on a single Perkons pattern with a rare touch of the DB-01 just for a sonic change. Routings are explained in the video. There's no other processing than what you see.

0:00 Routings setup
1:06 Acidbox III overview
2:49 All twiddle no talk

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The Perkons drum machine doesn't always have to pound out crazed gabber or hard techno. This piece started as an exercise to create a classic retro drum machine kit: bass drum, low tom, crispy snare and cymbal. Then I wanted to make a single pattern that could sustain itself for several minutes without sounding like a simple loop. So the tracks are running at different speeds, use ratchets, parameter locking, a little LFO and the "odds" feature where steps only sound every 2, 4 or 8 bars. Add to that a little live muting, one kit change, and some samples.
The movie clips and samples are all from the 1957 movie "The D.I."
Routing setup is: Voice 1 bass drum straight out to the DAW. Voice 2 low tom out to the Canyon delay then to the DAW. Voices 3 snare and voice 4 cymbal to the main out and into the Nemesis delay for a tiny touch of stereo delay. There is no sound processing in the DAW.
As usual it was very tempting to do further processing and add in some extra music but I thought it best to leave this as "pure Perkons". The samples are there because no one can listen to a three minute drum solo and remain sane.

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Four short noodles with the Behringer Cat and a Free the Tone Future Factory FF-1Y stereo delay. The delay cost almost exactly twice as much as the (recently discounted) Cat but it certainly makes the Cat twice as sweet. In fact I couldn't play anything mean and dirty through the FF-1Y, it just coats everything in beauty.
Two things really struck me with the FF, first its seemingly effortless deep stereo field, and second, the rich reverb-like atmosphere. It makes the raw little 2-note CAT sound like a far more complex poly.
The sounds here from the FF are modified presets. There's absolutely no other effects or processing applied. If anyone wants to hear more I'll do a deep dive into the FF. For now it's my favorite delay.

0:00 Ominous strum-drone
1:13 Sweet resonant keys
2:51 Cheesy square riff
4:15 Thick arp

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Am still in the "getting to know you" phase with the Perkons so am here combining a simple pattern with a couple of kit changes and a lot of track muting.
But the vital part is the WMD Geiger Counter pedal. I was very fortunate to find one of these brand new to buy (in Germany). I paid more than the old list price but everyone raves about how good this pedal sounds. And it is certainly a good fit for the Perkons. It's also helping with my color issues :) I don't touch any of the Geiger Counter's controls so this not a showcase for the pedal, but will get to that soonish. Or very soonish if there's any interest in a deep dive...
Here channel one of the Perkons is on its own output to the DAW and is otherwise completely uneffected.
The other three channels are all going through the Geiger Counter then into the Boss EQ.
No other effects or processing in the DAW this time except of course for the added samples - a two and half minute drum solo would have been too much even for me. You'll also see a few video edits where I've chopped this down from the 11-minute original.
Finally, the pattern actually starts on beat 13, which reminds me of the bad old days with the DB-01 before it got its "pattern rotate" feature and you could change the start point. Well, live and learn guv'nor.

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If you don't know the movie "This is Spinal Tap" this video isn't going to make much sense, so here's a quick explainer. Spinal Tap is a 1984 fictional documentary about the rock band Spinal Tap. Among their many problems is the cover of their new album "Smell the Glove". The band wanted a greased woman on all fours smelling a glove - shops and the record company say no.
So the video intro is a few seconds from the movie and images are my AI-generated prompts attempting to create a 'Smell the Glove" album cover.
As for the audio: The DB-01 is going into the Oceans-11 reverb (which is usually off) then in The Glove, then to the Nemesis delay. There's a tiny bit of EQ in the DAW.
Drums are from the Perkons going into the Death By Audio Rooms reverb. That then gets another layer from the Fabfilter Saturn plugin in the DAW. So hardly a clean or produced drum sound but meh, this was meant to be a simple demo of the Glove pedal, but that got "out of hand" hahahahahaha.

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What a stupid title. It's a combination of the Chug pedal used on the synths (DB-01 then the Behringer Cat) as well as the Perkons doing drums. The title coulkd have been more useful but then I'm beginning to suspect my dry and useful titles make absolutely no difference to anyone or any metric.
This piece started as a dull test of whether a DI box made any difference to the performance of the Chug pedal. It did - it made it worse. Then I just started noodling with the pedal to see whether I could coax some different sounds out of it. Couldn't do that either. It sounds good but it only has one way it grates the audio.
So then I thought I'd better add some drums so the Perkons got it's first run. It's so huge I have to work out a way to get multiple items in frame without everything looking tiny.
Against my usual policy I added some effects on the Perkons (but not on the synths) in the DAW. The Perkons got a little EQ to take out some of the massive bottom end, a little Fabfilter Saturn to dirty it up and a touch of Pro-R reverb. I wasn't using individual outs so it just got slathered over everything. A few gratuitous samples to finish.
0:00 DB-01 and Perkons
2:15 Cat and Perkons

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0:00 Intro blather
0:52 Blood and dragons
2:00 Pedal talk
2:10 Music begins (talk ends)
4:50 Knob twiddles
6:54 On duophonic synth
9:08 Final thoughts (talk starts)

I like pedals that mess up synths and give them an edge. Sadly a lot of distortion, drive and fuzz pedals simply don't work well with synths. At least half the pedals of this sort I buy are almost useless on synth and never make it as far as a video. Instead they go straight into the "buyer's remorse" bag to be resold. There seems no way to tell ahead of time which will work and which will just sit there with the knobs having almost no effect. So it's an anxious lucky dip.
The Chug pedal by Solar Guitars is a reasonable success on synth, tried here with the DB-01 Bassline and the Behringer Cat. Some of the gain controls do almost nothing but overall you can sculpt a pretty nasty sound and, depending on the synth, do some extra shaping with the gate control. Strangely the gate was vital to reduce noise on the DB01 but wasn't even needed on the Cat.
I bought this pedal with my own money at full price. I haven't communicated with Solar Guitars other than as a regular customer. The links here are for your interest only:
More details on the Chug pedal:
https://www.solar-guitars.com/product/chug/
Ola Englund's "Will it Chug" series:
https://youtu.be/4D4iYZi4RI8

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The microSD card is the heart of the LXR-02 drum machine. Here I update the firmware, load all the default factory content and add the extra Hrtl project with kits and demo patterns from the Erica Synths website.
If you've bought a used LXR-02 and want to "factory reset", or just want to update the firmware, or start with a fresh "blank canvas" then this is for you.
In the process we look at the contents of all six factory projects as well as the free Hrtl project. At the end I quickly play through the 16 Hrtl kits and demo patterns.

0:00 intro
0:15 Checking the firmware
0:35 Remove the card
0:52 Get the new files
1:30 Card contents
2:20 Load new files
4:00 Factory content
5:20 Load Hrtl project
6:35 Insert SD card
7:05 Firmware updater
8:00 Test
8:20 Hrtl kits (no more talk)

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Saw is everyone's friend, square is famous, so where does that leave triangle? The quiet one of three three, but beautifully formed and hides many talents. This is sort of a jam video, a tribute to the triangle but also a way to demonstrate a few different techniques to use when playing live.
First, the triangle is the only primary waveform used here to generate all the sounds. That varies from the cute little plinky sounds of a pure high triangle to the almost brassy sound when the sub-oscillator is layered in.
The pattern consists of just three notes spanning three octaves so it's incredibly basic. But the contrast between the low hits and high plinky-plonks going through the Nemesis delay rhythmic setting creates the illusion of a much richer - even layered - pattern with drums. But of course it's all just one layer on the monophonic DB-01.
I'm playing the DB-01 arpeggiator over the top of the pattern and this causes the pattern notes to sometimes be "overwritten" and drop out which appears like a pattern variation. Then by varying the length of the arpeggiator gate you can get apparent note length differences between the pattern and the arp. The LFO synced to a 6-beat loop on a saw shape adds to the variations.
As usual there are no other effects used or DAW processing. But I did do some chopping up of the piece to trim it back from its magnificent 18-minute original :)
Images are all original creations on the theme of triangles using the Stable Diffusion AI platform.

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Yes, it's my first Cat video, the Behringer Cat, which recently plunged in price by almost 50 per cent. It cost me substantially less than the Nemesis delay which it's paired with here. It's a bargain and since there was zero chance of me ever buying (and hoping to maintain) a 50-year-old original Cat it seemed a fair deal. Strangely enough I'd been looking at this synth for a month or so specifically because of two features: It's paraphonic with separate VCO 1 & 2 CV inputs; and it has beautifully raw cross-modulation. (More with the CV inputs in a later video)
This is also my first unboxing video (a challenge accepted from Berin) but I couldn't bring myself to utter lines like "here is the power supply, oh and a lovely sticker" so there's some Cat sounds over the top. There's a lot of dischordant sounds in this demo but that's what I bought it for. Of course it can do all the usual things too.
The Nemesis delay is slopped over the top of everything for which I offer no apology since it sounds so much better that way, covers up sloppy playing, and makes filter twiddlings interesting. But if anyone really wants 100% raw stuff let me know. As usual there is no post-production audio trickery, the path is Cat to Nemesis to you. And for any Cat veterans out there I'm sure various settings were either redundant or bypassed (I couldn't work out the second envelope), but it's early days so live and learn. It was fun not needing to even look in a manual though, it's there in front of you. One thing that did strike me was how powerful the resonance is. I've been spoiled by the no-risk DB-01 Polivoks resonance which happily goes to 100 per cent anytime. Not here!
Visuals are AI-generated images made using Stable Diffusion. Being the creative type I came up with my very own set of AI word prompts, which I think makes me "lead visual artist, SFX supervisor and CGI chief designer".

0:00 Unboxing with bloops
1:02 Paraphonic grind
1:36 Filter sweeps
2:32 Awful twiddlings
4:04 Sick mid
4:23 Twiddlings two
4:55 Not Arabic

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This piece began as a demo for the Boss SL-2 slicer pedal. After noodling with it I thought it'd be interesting to slice up a distorted sound, so added the trusty Darkglass B3K which just loves chewing the the DB-01's Polivoks filter.
Turns out that the SL-2 is a lot more subtle than just the obvious rhythmic patterns. Here's there's three intertwining elements: The actual programmed pattern of notes on the DB-01; the DB-01's synced LFO with a sawtooth wave giving a separate filter envelope hit every 8 beats; and then the SL-2 which superimposes its own pattern on top. The mix of the DB-01 pattern and SL-2 pattern is set on the pedal, and the relative strength of the LFO filter hit depends on how much you open the filter. So with three synced patterns clocked together there is much fun to be had. Which is why I didn't make it past preset one in bank A.
I was going to layer this up with some other sounds but thought it was more useful to show the degree of complexity that you can get from a mono synth and a couple of pedals looping through one 32-step pattern.
This is all one take with no DAW effects or processing (other than the added movie quotes of course), but I did chop out a few sections to trim it down from its original 7-minute version.
As soon as I can make it past the first few presets I'll do a real walkthrough of the SL-2 - it's an incredibly deep machine. Like so many pedals and synths the satisfaction and beauty comes from subtle tweakerings. The main change I made was to switch it into 'ping-pong' mode which is perhaps a bit too strong if you listen through headphones - well, live and learn. My only immediate advice with the SL-2 is that, unless it's the master, it's absolutely vital for it to run off a common MIDI clock. You also must be able to send a MIDI clock restart.
The short intro video and title of the piece "You Love That Machine?" is one of the quotes about halfway through. They're taken from the low-budget classic "Creation of the Humanoids" - one of my all-time favorite movies.
The robot-human images are all originals generated by me using AI. All 79 images (plus a few extras) are on my Patreon page for download and you're free to use them for any purpose.

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Who doesn't like a bit of guitar feedback squeal? A great sound which has no easy synth equivalent. Yet maybe here we come close. An Erica Synths DB-01 goes to an EHX Oceans 11 reverb which gives the required feedback starter sound, which is then torn up and given bite by a Fairfield Circuitry Roger That, and at the end for a different flavor, a Dark Glass B3K. With some careful twiddlings the ear-splitting awfulness is quite playable and ready for friends, family to enjoy.

0:00 Guitar examples
0:40 Synthy things
2:05 Reverb starter
2:48 Feedback squeal
4:20 Ear killing highs
4:50 Darker & dirtier
7:20 B3K playable filth

Guitar clips at the start are from the Dead Kennedys and The Partisans.

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0:00 A few demo sounds
2:27 Overview - power, tails, bypass etc
5:38 The value of 100% wet
6:34 The controls
8:10 Factory reset
8:55 Programming fundamentals
14:10 Hall
17:03 Spring
19:45 Plate
22:50 Reverse
26:09 Echo
30:35 Tremolo
34:54 Mod - Chorus
36:58 Mod - Flerb
37:36 Mod - Chorus & Flerb
38:56 Dyn - Swell
40:24 Dyn - Gate
43:30 Dyn - Ducking
45:15 Auto Infinite
48:15 Shimmer
51:23 Poly

The EHX Oceans 11 reverb is a much deeper, weirder and more interesting effects unit than you might expect. It's called a reverb pedal but can happily function as a multi-effects unit with excellent delay and tremolo and passable chorus and flanger. And various reverbs of course. Here I go through all the settings and options in detail and only repeat myself once or twice.
The pedal does has a reputation for complexity, but spend a mere hour here and you'll be completely at ease with all its functions and be suitably rewarded with a huge range of flavors. Don't judge it on a 30-second demo of hall and spring, that is a mere spec of its powers.
Despite the length of this video there are two little things I left out. Double-click the footswitch when in spring reverb mode to simulate "kicking the box" and hearing a little "doiing". And somewhat similarity, if you press and hold the footswitch (in most modes) the reverb will infinitely sustain.
Also be assured that when I say in the video about the green, red and orange LED colors that's what they actually are in reality. Unfortunately in the video they're almost completely washed out - my lighting skills and the idea that "I'd fix it in post" were both inadequate.
As usual this is not a sponsored video. I bought the Oceans 11 with my own money at full price.

Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: https://www.youtube.com/@intracosmos

For days I've been trying to make an "Oceans 11 - Complete Walkthrough" video, but I keep getting distracted by the sounds. So I gave in and made this first. Originally I was going to just take a few seconds of this but I like drony dirty choiry things and thought you might enjoy it too, especially as it was so simple. The danger with a giant multi-tier stand of vintage polysynths is that you might feel obliged to use several of them at once. Less is more. At about the halfway point (as mentioned in the video) I add in some FabFilter Pro-R "Cathedral" reverb at 50% mix. But there's no other DAW fiddlings.
Since I blab endlessly in the video I won't repeat all the info here but merely add that the FM knob on the DB-01 is very useful but could perhaps be great. Imagine if it could be somehow locked to the chosen scale? Now that would lead to all sorts of good things.

Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: https://www.youtube.com/@intracosmos

Not depressed enough about everything yet? Maybe this can help! Here's the DB-01 synth in a single take with a little help from some pedals. No other music or processing. Sampled voices are from the brilliant 1984 UK movie "Threads" a harrowing, grim and completely believable movie about the lead up and aftermath of a global nuclear exchange. There's no happy ending.
(And yes, for anyone who saw my last video this is exactly the same setup - I was noodling afterwards and this just fell out).

Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: https://www.youtube.com/@intracosmos

It's the one trick grammy award winning dentists don't want you to know - yet nine out of 10 cats agree!
Seriously though there are functions on some machines that you just never get to unless you go digging. I'm a big fan of the DB-01 arp, especially jamming over the top of existing sequences. And recently I made a huge discovery. Well, actually, a tiny and insignificant realization, but it was that in the DB-01 arp section "PIA" stands for "piano" and "STP" stands for "step". For two years I was guessing at that acronym. A cosmic ray must have nudged a defective neuron aside. Yeah, obvious to you but not me. It turns out that "step" is a fantastic auto-slicing jamming function.
In the comments a while back someone said they enjoyed my "crusty" take on things. That means "a little bit grumpy". I like that. I am a little bit grumpy - about a lot of things. One thing I don't like is demos with too many machines. What tends to happen is that one (or more) machines get latched onto some never-ending-16-step-loopy-thing. Or maybe more than one. I don't like that (but of course I've done it lots of times). They've got too many machines and feel obliged to use them. I get irritated these days when just one machine is endlessly repeating a 16-step pattern. Did any of the great composers just mindlessly copy bar after bar after bar of the same sludge just to fill out supporting instruments? Of course not. (Although I do like Phillip Glass)
OTOH modern machines usually present you with a 16-step grid. So what can you do?
Which brings us back to STP "step" mode on the DB-01 arp. A single, boring, 16-step pattern can be sliced up on the fly and made into endless variations. Possibly the best use of this is recording it as audio and slicing it up in the DAW. Or perhaps live performance. Whatever you do it's a good way to make 16-steps a lot more interesting.
The quick version of this is to take an empty pattern, go into the randomizer and "randomize all" (the button on the far right). Now you have an unplayable mess. But with the "step" arp (latched) you can probably pick out selected parts and make something coherent. In any case it's entertaining. What do you think?

Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: https://www.youtube.com/@intracosmos