I used to make the “Squinky Labs” modules. Lately I’ve made a few under my “new brand”, Squinktronix.
There are only four of them. The would appear to be useful only for music theory nerds, but actually you can use them (usefully, I hope) if you know or care nothing about “conventional” music theory.
They are mostly quite complex (inside), patchable, and easily compatible with other modules. If you are interested, please take a look.
I like odd numbers, I hope they will become 5 
These panel designs look really sharp. I like the colors and visual style. I’m not sure what these modules do yet, but I will experiment with them this weekend and find out!
Actually, I’m already having fun with Visualizer…
Yeah, module by developers for developers ™. As far as the two “Harmony” modules go the docs are ok, and you can always run whatever in, set for whatever scale, and have fun…
The Harmony module is even more fun. I like how it can create generative melodies with very little effort on my part:
nice!
Beautiful!
Would love to look at and play with the patch. Is it by any chance available for download somewhere?
Thank you! Yes, here is the patch:
squinktronix_harmony.vcv (5.7 KB)
Here is another one with the same idea, but a little more polished. I call it The Comfort of Embers.
Patch is available:
I’m finding Visualizer to be useful quite a bit to see what’s going on with chords as I develop new chord modules. “By developers for developers” is kinda funny, but maybe it is true here, I find it a really handy tool. It’s also a very good educational module!
Also, noticing that your purple panels match with Sapphire quite well.
I love it. A musical tidbit, it is those 5 flats in Phrygian F that makes this scale the most minor scale and the most wistful sounding, in my opinion.
Thanks! Btw, if you have a key with lots of accidentals, and your input has a lot of notes that are enharmonic in that key, they the notation window can get super ugly, with some symbols on top of each other. It was the usual trade-off… mostly likely a fact of life for now, hopefully tollerable.
My favorite stupid Harmony trick: use one Harmony to send the SATB cv to 4 harmony. Then merge the outputs for 16 note harmony.
If they’re all set to the same scale the resulting monster chord should add up as well.
A great way to make a patch run out of CPU bandwidth.
Oh, that’s a cool idea. esp since the results would (I would think) no longer follow the ancient “rules” that are in Harmony. I guess you could to do that “four into four” trick and then only use some of the voices that come out. Or put some randomness in there… I like!
@alainherbuel was asking about chord/key recognition in another module. I don’t know how it works, but I know how Visualizer works.
It eliminates all octave doublings, so, if you have C4 and C5 is just says “I have a C”.
It normalizes everything to ignore the octave.
So, even if there is octave doubling and octave inversions, if you play C, E, and G in any order, any octaves it says “C,E,G - that’s a major chord. It’s C Major”. Then it does some stuff with inversions…
Of course C/E/G is not very ambiguous, or at least it isn’t if you ignore the harmonic context. You can’t ignore that in “real life”, but I can ignore it.
But, What if you add an A to the chord? Is it a C6? Am 7? something else? Well, visualizer says that’s an A minor with a minor 7th. It has a pretty small palette of chords that it can recognize, and C6 is not one of them.
So for visualizer it’s always easy and unambiguous.
If you are interested, the manual has more…
Will read the manual 
Thank you for the patch! I really like your simple yet very compact and effective idea of using Pop as a source for (semi-) random triggers that can drive envelopes, Harmony etc.
Also, using Pivot on audio signals is a revelation. Do you know which effect twisting the 3D input vector has on audio? I seem to hear something like a slight chorus or distortion, but can’t quite decide whether it’s consistent.
If you mean what I’m doing with the Pivot module, it actually isn’t doing much in this patch. I had in mind that I could input an (T, A, S) triplet to it from the Harmony pitch outputs, and pick a pair of those to send as CV to the left and right V/OCT inputs in Warp Core. I could sweep through different integer values of TWIST to pick (T, A), (A, S), or (S, T) as the V/OCT pair. Or I could use non-integer TWIST values to do something really weird.
But I ended up forgetting Pivot was there so I never played with it, LOL. I should go back and mess with that and see what weird things happen.
That’s an amusing story 
. I do not want to go off topic here any further, just this: Ran a few tests and it seems that the effect of Pivot on audio is simply that it creates naturally rotating volume differences between the left and right audio channels, which can yield interesting stereo (phasing?) effects when the Twist knob is moved.
