Odd over Even: Verbos Electronics Explores the Voltage Multistage 10

The Voltage Multistage 10 is introduced not just as a sequencer, but as a deliberate design choice—ten steps, neither the classic eight nor a neat sixteen. Verbos Electronics highlights how this odd length is intended to break away from the rigid, divisible structures that dominate much of electronic music. By choosing ten steps, the module naturally encourages patterns that refuse to loop predictably, opening the door to subtle rhythmic evolution.

In the patch, two voices are controlled by separate sequences, with the top row modulating decay time and the bottom row handling filter cutoff. The video sets the stage for exploring how these odd and even sequence lengths, when paired, create a fertile ground for micro-variation and evolving textures. It’s a clear invitation to think beyond the bar line, letting the sequencer’s structure drive musical unpredictability.

The core of the demonstration lies in pairing sequences of different lengths—one ten steps, the other sixteen. By syncing their clocks but offsetting their step counts, Verbos Electronics shows how the resulting patterns drift in and out of phase. This creates a constantly shifting relationship between the two voices, as their cycles only occasionally align before diverging again.

The effect is most apparent when both sequences are set to the same length: the patch loops in a predictable, even manner. But as soon as one sequence is extended by a single step, the interplay becomes far more complex. The video makes it clear that this approach is about generating organic variation, with the phasing of odd and even sequences acting as the engine for evolving, non-repetitive grooves.

A key feature of the patch is the use of the sequencer’s rows to modulate both decay time and filter cutoff. The top row of each sequence is routed to control the decay of its respective voice, while the bottom row shapes the filter cutoff. This dual modulation approach allows for intricate sculpting of each sound’s envelope and timbre, with the sliders providing hands-on control over how each step behaves.

The video demonstrates how these modulations interact: longer decay times on certain steps can create moments of sustained resonance, while filter cutoff changes add further movement. Importantly, the presenter notes that opening the filter on a step with a very short decay may have little audible effect—a reminder that envelope and filter modulation are deeply interdependent in shaping the final sound. The result is a patch that’s static in timbre but alive with micro-variation.

The demonstration moves into sound design territory by integrating both harmonic and complex oscillators into the patch. The harmonic oscillator is routed through the Bark filter, while the complex oscillator takes a more direct path. The use of quantized random modulation on the Bark filter’s width and center parameters introduces a new layer of unpredictability, with each pulse generating a fresh value in sync with the sequence.

Further complexity is added through audio-rate modulation—amplitude modulation on the complex oscillator and frequency modulation on the harmonic oscillator—resulting in textures that range from bit-crushed to discordant. The video notes that no melodic information is present, giving the patch a droning, atonal character. However, the presenter suggests that introducing external sequencers and volt-per-octave control could easily transform this into a more melodic, harmonically rich setup.