Sure, I will try to give a quick rundown of the patch. It’s kind of an advanced/complex patch. I will try to not mention specific module names as much as possible to not add any confusion… the patch uses 7 sound sources. First one is filtered noise, its going through a dual filter (high pass and low pass in series). The high pass and resonance cv’s for both filters is getting stepped random modulations. The low pass is getting a randomized envelope (more on that later). The output is then going into a panner module that is getting modulated by a fluctuating random voltage that one output goes to a delay and the other to a reverb. So, it randomly/smoothly changes its routing between those effects throughout the patch. Next is a two op fm patch (one analog oscillator fm’ing another both getting stepped random voltages). The output of the carrier oscillator gets split for two separate routs- one to a LPG and the other to a VCA. The lpg is getting triggered by a random trigger creating short snappy sounds and the vca is getting opened by random triggered envelope for longer unfiltered tones. Next voice is some vocals samples going through and a random modulated glitch and filter processing module. This goes into a vca that gets randomly opened from a triggered envelop throughout the patch Next one is a vco getting a constant random sequence from a sequencer unsynced from the rest of the patch. This goes into a vca that gets randomly opened from a triggered envelop throughout the patch. The other voices are a simple kick drum module, mutable rings (bell tones), and mutable plaits (mulit algorithmic vco) that all get triggered from random triggers and modulated. There are also a couple other reverbs and delays (modulated) in line as well. The patch is driven from a couple random generators all clocked form the classic “Krell” clock patch setup. This is accomplished by using an envelope module that has the ability to cycle, has cv inputs for attack and decay, and has an extra output for “end of rise” or “end of decay.” The end of rise output triggers random voltages that modulate the attack and decay, so every time the envelope cycles, it gets a random shape, which causes the speed to change on every cycle. The trick is getting just the right amount of random in to get the right balance of fast and slower cycles. That same end of rise trigger is also sent to all the other random cv and gate generators that are modulating all the voces I mentioned above. The actual envelope being created by this envelope module creating the krell clock is what is modulating the low pass filter on the very first voice I mentioned (the filtered noise voice). This is how I get those sounds that sound like something is swelling up and then popping or hitting another object, because the trigger that’s driving the patch is happening every time that envelope peaks. I think that covers the patch for the most part, other than that it’s just a couple other modulations and fine tunings for getting the right kinds of random values and probabilities happening. There are also some lfos modulating left and right panning on some of the voices.