To illustrate the power of analog sequencers, we invited modular synthesis maestro and educator Omri Cohen to contribute a pair of videos to our YouTube channel. Armed with a variety of modules to supplement his Make Noise 0-CTRL, Omri gives a rundown of six of his favorite ways to extend simple eight-step sequences into way more interesting territories. Though he's using specific modules in some circumstances, a lot of these techniques will work more generally with other modules of the same type. So don't worry if you don't own a Voltage Block or Branches—you still might be able to make these tips work with your personal rig!

Whether you're making generative music or approaching your synthesizer with more of a sound-designer aspect, be sure to scope out both videos to absorb his tips! This article serves as a written accompaniment to Omri's videos, so keep reading as we break down his patching tips.

In Omri's system, he's running one of the 0-CTRL's sequencer outputs through ADDAC's 207 Intuitive Quantizer, a long-time favorite in Eurorack for quantizing pitch voltages to scales. As suggested by the name, the ADDAC207 easily and intuitively allows you to pick and choose the notes for your quantized scale, thanks to its LED buttons arranged in a piano-style layout. Quantizers like this are a great balance between performative trick and safety net—you can still adjust and tweak voltages on your sequencer on the fly to build and sculpt melodic contours, but with the reassurance that "bad" notes won't slip through and ruin the vibe.

In the next patch, Omri explores ways to change up his sequences with probability. One of the coolest features of the 0-CTRL is the presence of a gate output on each step, which means that different envelopes or events could be triggered with each unique step. However, a fun self-patching trick on the 0-CTRL is to take one of these outputs and patch it back to the Reset input, turning an eight-step sequence into a shorter subset of notes, such as three, five, and so on.

For the last patch of the first video, Omri shows another way to use probability with a sample & hold and synced random voltages. Although most of the 0-CTRL's inputs are commonly used with gate and trigger inputs, remember that any and all signals in a modular synthesizer are just voltages that can be used as any sort of signal. According to the 0-CTRL manual, so long as a signal crosses a threshold of +2.0V most inputs will respond accordingly. Thus, even if you don't have Branches or Flip, there are still ways to approximate their effect with more common types of modules.

To demonstrate one way to extract probability out of any arbitrary signal in your rack, Omri uses the unipolar output of the Neutral Labs Pip, a multipurpose CV source with built-in random voltages. By taking a gate from one of the 0-CTRL's step outputs to Pip's trigger input, and then using Pip's output to control the 0-CTRL's playback direction, Omri is using another source of probability to add variety and unpredictability to his patch. Because Pip generates signals in a range from zero to five volts and 0-CTRL is looking for a signal of at least two volts, the chances of a direction switch aren't exactly 50/50, but they're pretty close.

But what happens when you sequence... your sequencer? For this second patch, Omri once again pairs the 0-CTRL with the Voltage Block, but this time more directly controlling the 0-CTRL. Using two channels of the Voltage Block, he patches into the 0-CTRL's reset and direction inputs. By again making use of the Voltage Block's clock division feature and the ability to set each channel to an independent step length, it's possible to impart much more detailed control over even just a simple eight-step sequence. When done well, this feels much more intentional than relying upon probability and randomness.

Another way to use two sequencers together that is especially effective for pitch sequencing is to use one to apply transposition to the other. While the 0-CTRL doesn't feature a transposition input, it's totally possible to do this externally with a CV mixer. Omri uses the Intellijel Quadratt in his case, but any mixer with DC-coupled inputs will work nicely. As you might guess, this is really as simple as just mixing the two sequences together—and so long as this is done before any pitch quantization, it will all stay musically in tune.

For the final patch, Omri flips a classic modular relationship between an oscillator and sequencer on its head. We often control oscillators with sequencers, but what happens when you drive a sequencer with an oscillator? In the case of an analog sequencer like a 0-CTRL, you can often push it into audio-rate territories very easily—just use the square wave output of your favorite oscillator!

Omri demonstrates this with Instruo's Neóni, but of course, any oscillator with a square wave output will work just fine. The interesting thing about using a sequencer as an oscillator is that it effectively allows you to dial in your own custom waveforms. Each sequencer step represents a segment of the resulting waveform, and adjusting its voltage level can create peaks, dips, and contours as desired. Omri demonstrates how useful this can be in creating complex, layered timbres by blending two channels of the 0-CTRL with another waveform from his source oscillator. Since the oscillator is both generating its own waveforms and driving the 0-CTRL, pitches are always synchronized, and patching a different sequencer into the oscillator will control it all in nice musical ways.

If you're interested in more about using sequencers as oscillators, be sure to check out our recent article wholly dedicated to the topic!