no not too simple. but i had problems with anuli if i play notes in a range more then 1 octave. if compared with a another voice it seems out of tune.
i do not experience this with fm-ops.
I def patch 2 or 3 at a time, one cross modding the other, both usually get the same pitch sequence and gates, I cannot say I keep track of the ratios I have liked, once you start turning the knobs or sending cv, it really is what you hear over what you see, but Iām sure it is the ones where I multiply and divide together, so you get irregular amounts like 7/3 or 9/2 or 5/11, the combination of several of these makes very curious tones and further modulation gets lots of movement and character from the envelopes and feedback and crossmod amounts moving around some all the time
and I like the range of cross mod options, ring mod and amplitude mod are great tools for shaping things as well, I sometimes like PM for the feedback and ring mod for the crossmod, or vice versa, just having different ways to relate the oscillators mathematically opens up lots of neat sounds
i also experimented with irregular ratios by ear and after reading what experts know about analysing bell overtones.
Yeah thatās a fair point, itās impossible to get Rings/Anuli completely in tune because it uses a lot of partials that are unrelated to the fundamental pitch. I keep thinking about making my own version with less partials and more harmonics, but then it wouldnāt have that ringy bell sound. Also, I canāt code for **** 
The āpoly arpeggiatorā part is the problem, not the oscillator ot FM operator. It is why I was asking here in the first place and I have yet to find one that works as required (by me).
As to FM operators: my main reason for using Kitchen Sink is the practical, music oriented user interface. Every combo of two FM-Ops with a 5 or 7 frequency ration will make metallic noises. But i like the Kitchen Sink UI. I donāt ever need to set ratio to 3,242687, all I need is stepping through whole number ratios. Octave switching is also integrated As an added bonus there are other wave forms than sine and even ways to crossfade between wave forms.
yes i think perhaps this is a reason for not use it for realistic bells. fm seems better. poly fm with different eg and detuning, perhaps.
do you use the output of the second kitchen sink for fm input of the first one? or in parallel with slightly different ratios?
OK last suggestions before I give upā¦.
Iāve never found an arpeggiator I like in VCV, but for simple up/down patterns you could use a sawtooth LFO into Count Modularās Super Sample and Hold and send it a poly clock signal to get the notes in time.
If you have a hardware sequencer, you could use that too (I make sequences on an old Beatstep sometimes, that generates poly gates). An arpeggio is just a simple sequence really, in fact why not program the arp pattern in any one of the poly sequencers in VCV?
I rarely use sequencers these days, envelopes, LFOs, wavetables with a low frequency mode can all make runs of notes, or just polyphonic sample and hold for totally random notes. Itās all just CV innit.
@CountModula off topic, but it would be great if your 1:8 and 8:1 switches were polyphonic.
On topic, this one is polyphonic too VCV Library - Hampton Harmonics Arp as is the one from Bog.
I like Squinktronix Arpeggiator and it is polyphonic and can handle polyphonic gates, if I remember correctly. It has been a while since I decided that this module is the most flexible arpeggiator for my purposes.
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Quick update: I have started work on an arpeggiator that maintains polyphonic channel order on the output. And I just realized that this can also be used to chop up audio signals (by passing the audio signal through the arpeggiator instead of V/oct or going around it, and then using the output gates and ADSR/VCA).
There is still a long way to go, at the moment it only handles a random algorithm and I have some ideas about the arpeggio pattern generator. But it already handles my ātinkling bellsā the way I iimagined.