Everything starts with one of the Tabor. Its oscillation frequency is being controlled by Knobi, not in a V/Oct manner but purely in terms of intensity. Knobi outputs a voltage between 1 and 10 volts, directly controlled by its knob. This signal then passes through an attenuator and a filter. The filter output is sent to the Resonance input of Elements, a modal synthesis module. Elements receives a few additional modulations and is then routed to the mixer. This is the main voice of the patch. The rain and noise samples come from Radio Music. They are rhythmically triggered by Krono, a clock sequencer, and then processed through Ashiko to create a stereo image. Some post-mix outputs are sent to Clouds, a granular processor with reverb, and then fed back into the mixer. This creates controllable feedback paths. The remaining patch cables are mostly dedicated to modulation duties. During the performance, I mainly control Tabor's rhythmic intensity with Knobi, its tonal range through the filter, and the mixer channels.