Minor release 2.12.3 has hit the library.
@DaveVenom : If I change the āStartā knob in Poly Fade from channel 1 to something else, the chain of lit channel LEDs moves as expected, but it doesnāt appear to be reflected on the poly outputs - neither āGatesā nor āEnvsā nor āOutā. They donāt change at all as if the āStartā knob is still at start channel 1. Version 2.12.3 on Windows. Iām not sure if it worked before, maybe the issue came with one of the last releases. Are you able to reproduce this?
Yes, by design, the default behavior is to collapse the selected channels down to always start at channel 1. So if you have the number of channels at 4 starting at channel 3, then input channels 3,4,5,6 will be output at channels 1,2,3,4.
There is a context menu option āMinimize output channelsā that is on by default. If you turn it off then the original channels are preserved, so input channels 3,4,5,6 will be output at 3,4,5,6, and output channels 1 and 2 will be constant 0 volts.
Aaaah, perfect! I have a patch where I donāt have any input, number of channels set to 16, and Iām only interested in the CV from the Envs output to modulate a filter. Makes sense to turn off the āMinimize output channelsā in this case. I just did, and it works! 
Thank your for the quick reply and explanation!
Venom 2.13.2 is now available in the library with 5 new modules plus some nice enhancements to existing modules:
A polyphonic synth voice very much inspired by the Bogaudio FM-OP, but with many additional features;
Watch Omri Cohenās video below for some lovely XM-OP voice examples that introduce many of the moduleās features.
A hybrid polyphonic AD (Attack|Decay) and ASR (Attack|Sustain|Release) envelope generator with looping capabilities and precise V/Oct CV control over stage lengths. Definitely read the manual for this module. It is incredibly flexible, and may very well be the only AD / ASR envelope generator you will ever need.
A polyphonic slew limiter and slope detector for both CV and audio processing. It can do everything a typical slew limiter can do, but it also has some unusual features that make it useful as an interesting audio wave shaper.
It also has gate outputs showing when the output is rising, falling, or flat
Iāve added a demo video in a post below
A polyphonic distortion / waveshaper inspired by the Doepfer A-136 Eurorack module.
The Venom module implements most of the features of the Doepfer hardware, though not necessarily in exactly the same way, and then adds polyphony and additional modulation options.
A dual windowed comparator combined with logic operations inspired by the Joranalogue Compare 2 Eurorack module. The Venom module implements all the features of the Joranalogue hardware, and then adds:
Ugh - I forgot to thank the community for all the helpful comments and suggestions I got on my dev blog thread.
It really is a wonderful privilege to be able exchange ideas in a welcoming environment while developing new modules. I especially want to thank @cubistguitar for his ideas to improve AD/ASR Envelope Generator. And a huge thanks to @andreya.ek.frisk for a ton of helpful feedback and suggestions for XM-OP.
And of course, big thanks to @Omri_Cohen for his video(s) and ideas. That support is invaluable!
No worries, thank you also! The new modules are great and giving feedback on them has been really fun.
Here is a demo of the new SLEW module, showing how it can be used to wave shape audio inputs.
VenomSlewExperiment.vcv (8.6 KB)
This is a great tutorial for me to learn more about the thought process behind wave-based sound design. I also really like the V/OCT on Slew now that I understand it.
So the real star of this release is the new polyphonic stereo Multimode Filter
Here is the Multimode Filter documentation.
The low pass filter is highly resonant without attenuating the bass, yet it will not self-oscillate without applying some band pass feedback to the input. So it is fantastic for pinging!
I was already ecstatic about its capabilities when it was relatively simple. But Omri Cohen convinced me to add some extra features like Morph and Spread that really expand its usefulness. Thanks @Omri_Cohen!
Here is a quick summary of some of the unusual features (but you should definitely read the documentation):
Below are some demo videos and patches. Note that the videos were created prior to a few coding changes, so the patches may not give the exact same behavior. But the videos are still representative of some of the capabilities of this filter.
Venom Chorale.vcv (7.1 KB)
I filter out a convincing 4 part choir from nothing but noise input. I think it is uncanny how human like this polyphonic patch sounds. I use the 36 dB slope (internally runs the input three times through a 12 dB filter), with high resonance and some feedback, but not enough to self oscillate. The spread is set to a miniscule difference, and the mono subtractive mode is used. This enables the filter to hone in on a specific frequency. I find the voices are more human-like by doubling each voice one octave up, but at reduced input gain.
Venom Filter Jabbering Alien Cats.vcv (4.4 KB)
This is a fun experiment that gives a hilarious result. It uses two filter instances. I was curious what I could do with filtered LFO input.
I feed a three channel polyphonic LFO into the first filter instance in Low Frequency mode. A 2nd LFO modulates the cutoff, and also frequency modulates a 3rd LFO that modulates the Spread. From one 3 channel input I derive 4 sets of CV that are all related, yet different.
The 1st CV set modulates the frequency of a saw VCO, and the 2nd CV set modulates the level of the three voices. The output is fed into the 2nd filter instance in audio mode. The 3rd CV set modulates the cutoff, and the 4th modulates the spread.
All Venom Benjolin Matrix Demo.vcv (11.4 KB)
This is a rehash of an old Benjolin experiment of mine. In this version I replace the Vult Unstabile filter with my Venom Multimode Filter. The resonant character and āpingabilityā of the filter is critical to the sound of a Benjolin, and I am thrilled with the results.
To start the patch, press the bottom button (#5) on the Push module. The patch will automatically stop after cycling through the presets. Or bypass the VCO Unit and manually select any of the presets on the Transit module.
Great work Dave! Love the demo patches.
Thanks Lars!
Sounds really really good Dave, thanks for the gift ! Minor request for a wet dry mix if you think it can fit in the panel. Can always use a send on a mixer though
Thank you so much, Dave, for your amazing new modules! I absolutely loved the catās yowling! I was on the edge of my seat! The polyphonic stereo multimode filter is absolutely awesome!
That would be nice, but I donāt see a way to squeeze in another control and CV input for Wet/Dry without increasing the module size.
Maybe I can add some more modes to the Morph to include Wet/Dry mixes of the various modes:
What do you think?
Hi Dave,
first thanks for your continous efforts to enhance the modules
and the user experience in VCV 
I would vote for more modes of the morph knob,
seems a cool feature enhancement imho
Another great module!
Just had a trialrun. Lots of options, great flexibility and sound. Great to have the steeper slope filter modes. Balancing high Resonance, high Feedback and input levels (and/or gain) might be a bit of a balancing act but great pinging and general resonator characteristics. Great (tanh?) distortion when overdriven.
Obviously the results also depend a lot on the incoming frequency spectrum as well. Iāve been combining it with my favorite variable noise generator: Squinky Labs Colors
The (wide, tuned) Spread option is great, both unidirectional and bi-directional (AM-ish). The Spread knob gives a Spread of up to +/- 2 Octaves, but I noticed that when the filter Spread is controlled via CV the range is not limited to 2 octaves, but can way further up or down.
I noticed that the Spread via CV is almost tracking V/Oct. Setting Spread CV amount to about 99.5% seems to give me near-enough perfect V/Oct tracking.
Thanks. Yes, I have decided to do it!
Thanks @kwurqx!
Yeah - when I first created the filter the resonance was way overbearing. Self oscillation was almost always saturated to the point of looking almost square. I improved things dramatically by gain staging - I multiply the input (not the feedback) by 10 (prior to applying the Gain setting), and divide the output by 10, which brings the resonance more in line with the input, and makes it relatively easy to generate self oscillation that is nearly a clean sine.
But maybe I should have tried some higher gain staging values. Iāll run some experiments, and if I like the results I will provide a context menu option.
Yes - tanh. I put that in the documentation under the Gain heading.
Yeah, I need to update the documentation to make this clearer.
The intent was V/Oct. I thought I checked the self oscillation with the Nysthi tuner, though I didnāt explicitly test using the spread. I will run some tests and make some changes if needed.
Ah that would be a nice way tot do it, TY
