Intro

This notebook is the full collection of patches I created for standalone SOMA Pulsar-23 while I was
working on the album “Notebook 24: Pulsar” with the music written exclusively on (and for)
Pulsar-23. Almost every piece combines several techniques, so I guess it can be pretty useful for
learning and discovering Pulsar deeper.

There are 12 patch notes. Each of them consists of three sections:

- connection scheme (drawn while I was checking the patch from its description)
- connection description (written during system unpatching right after the performance)
- a picture of unpatched Pulsar-23 (taken after unpatching)
I believe that strategy can help to avoid some mistakes during patching because it lets to double
check the patch, settings and knobs position. This way I checked each scheme restoring them from
the notes. Hope I didn’t miss anything editing this document because it’s actually created from the
separate sheets I posted on my Telegram channel at very different time during the year.

All patches are listed in album tracks order. You can listen the whole album and each track here, I
think it’s the best way to choose a patch you’d like to explore. Another great option is the YouTube
video playlist containing all the patches as well (link). Additionally there is a corresponding video
link in the beginning of each note. You can click on it to watch the patch in action.

I should say that I haven’t used any other equipment during the recording except a mixer to mix
Pulsar’s main signal with its FX in stereo. I also didn’t pay enough attention to the nice built-in
looper (I think I used it only once in Ono-Ono piece). Please don’t limit yourself - Pulsar has so
many extraordinary features!

Each patch starts playing after you switch the clock source to INT and stops after you switch it to
any other mode (well, except Frustum that uses LFO as a clock source). But for me the funniest way
is to patch trying different things while your Pulsar is playing.

I hope the labelling I use here is clear enough for Pulsar users, but please, don’t hesitate to ask me
anything directly. All the links are at the end of this document. The one more thing I should note is
that I typically connect attenuators (ATT) from left to right. Like the left pin is In and right is Out.
Sometimes it can be important, but it happens that that way doesn’t feel natural for everyone. I
mark in the description if they are connected differently.

I really hope that the notebook and all the materials inspire you to create great music and help you
to get a lot of fun and joy with the awesome instrument Pulsar-23 by SOMA.

Have a nice Shaos pattern!

Vladislav Green
TÆT

2
Table of content:

Intro …………………02
Table of content …………………03
01 Sunburn …………………04
02 Mico …………………07
03 Surd …………………10
04 Goby …………………13
05 Capers …………………16
06 Scion …………………19
07 Gravity …………………22
08 Frustum …………………25
09 Ono-Ono …………………28
10 Iskin …………………31
11 Ahinea …………………34
12 Antenna …………………37
Links …………………40

3
 01 Sunburn

01 Sunburn
Video

The main performance controls here are the switches (mechanical ones). Basically every switch can
bring a feeling of a ‘next song part’ and they are particularly effective when you switch them in
pairs.
Some examples:
- BASS MIDI (plays only resonating LPF) -> BASS PRC (starts percussion)
- BASS CV and FX REV -> BASS PRC and FX DLY - changes intensity and feeling
- BASS PRC and SHAOS 63 -> BASS CV and SHAOS 217 - another song part
Try switching LFO LOW-HI-MID when FX is on DLY mode and BASS in PRC mode - there are some
nice glitches.
It’s also useful to control HHT release to prepare a part change.

4
 01 Sunburn

Connections:

LFO (LOW - MID - HI):

Sync = CLK 1
MOD: CLK 0.25 -> Cap 10 -> MOD

SHAOS (63 - 217):

CLK = CLK 16
S/H = CLK 4

FX: (DLY/REV, DBL)

MAD: +10V -> INV2 (CV = SHAOS DATA) -> MAD!
TIME MOD = LFO Tri
DLY OUT and REV OUT -> 3,5mm Jacks 1,2 as an example for Left & Right Outputs
(Left and Right Outputs mix with the Main Out externally)

BD:
TRIG: CLK8 -> SW1 (CV = SHAOS DIR 1bit) -> TRIG
TUNE MOD = SHAOS DIR 2bit (from BASS CV)

BASS (PRC, MIDI (silent) and BASS mode):

TRIG = CLK 16 (from SHAOS CLK)
LPF FR MOD = LFO Rect
WARP MOD = SHAOS S/H 1bit
CV IN = SHAOS DIR 2bit

SD:
TRIG: SHAOS DIR 2bit -> INV1 -> (Gt to Tr 2) -> TRIG
ENV -> HHT TUNE MOD
BPF FR MOD = SHAOS S/H 3bit

HHT:
TRIG1: CLK 8 -> Cap 0.1 -> TRIG
TRIG2: CLK 16 -> SW2 (CV = SHAOS S/H 3bit) -> TRIG
HPF TUNE MODE = SD ENV

5
 01 Sunburn

Unpatched:

6
 02 Mico

02 Mico
Video

The patch is featured in the SOMA Pulsar -23 patch book (link).

I think its hardest part is to make SD triggering in time using LFO’s rect output.

7
 02 Mico

Connections:

BD:
TRIG: 1. CLK2 -> Gt to Trig (1) -> BD TRIG
2. SHAOS S/H 1bit -> Gt to Trig (2) -> SW1 -> BD TRIG (SW1 CV also = S/H 1bit).
(or just: S/H 1bit -> BD TRIG )
BD TRIG is sent to BASS channel (see BASS)

BASS/PERC:
TRIG: BD Trig -> INV 2 (CV = DIR 2bit) -> Cap(10) -> TRIG (it’s ok without the cap)
OUT -> TUNE Mod
LPF Mod = LFO (Tri)
CV: S/H 3bit -> ATT 2 -> CV and SHAPE Mod and HHT HPF Mod
There’re also some useful effects when you switch the CV/MIDI/PRC

SD:
TRIG = LFO (Rect)

HHT:
TRIG = CLK16
HPF Mod (= BASS Shape Mod = BASS CV) = S/H 3bit -> ATT
TUNE Mod = DIR 1bit

LFO (LOW):
SYNC = CLK1 -> INV
Tri -> BASS LPF Mod
Rect -> SD TRIG

FX:
MAD! = 10V
TIME Mod = CLK Mod = DIR 1bit
DLY OUT ->: - REV IN
- Left Out
REV OUT ->: - FX TUNE Mod
- Right Out
(Left and Right Outputs mix with the Main Out externally)

SHAOS (63):
CLK = CLK 16

8
 02 Mico

Shaos connections check:

S/H 1bit ->: - Gt to Trig -> SW(CV) -> BD TRIG
- SW(CV) CV
S/H 3bit -> ATT -> : - BASS CV
- BASS SHAPE Mod
- HHT HPF FR Mod
DIR 1bit ->: - FX Time Mod
- FX CLK Mod
- HHT TUNE Mod
DIR 2bit -> INV 2

I missed the picture of an unpatched Pulsar (sorry!), but here is the screenshot from the video
instead:

9
 03 Surd

03 Surd
Video

The patch requires a really delicate tuning. I’m not sure it’s possible to restore all the melodies from
the video, but it’s definitely possible to find out a lot of new ones.
The general approach is using one of the SHAOS voltage streams (or LFO) and tuning the range if
needed by using one of four attenuators. When we use resonating filter for playing melodies, we
also have to carefully set up its the central frequency with the amount of the resonance.
In this patch LFO works like a pseudo arpeggiator for a BD channel. By triggering BD we play one
short fragment of a LFO’s wave that perceives as a note. You can find a lot of interesting grooves
and structures playing with LFO frequency.
There is also a nice way to improve a BD channel sequence a bit, but it requires three or four extra
patch cables, so I made it optional, see Connections, BD. It’s not included in the original video, but
I posted a video example on my Telegram and Instagram channels. That version of the patch is
included in album.

10
 03 Surd

Connections:

LFO (LOW):
Sync = CLK 4
MOD = CLK 2

SHAOS (63):
CLK = CLK 2
S/H = CLK 4

FX: (REV, DBL)

MAD! = +10V
DLY OUT and REV OUT -> 3,5mm Jacks 1,2 as an example for Left & Right Outputs
(Left and Right Outputs mix with the Main Out externally)

HHT:
HPF TUNE MOD: SHAOS DIR 2bit -> INV1 -> HPF TUNE MOD
TRIG: SHAOS S/H 1bit -> CAP 0.1 -> TRIG

SD:
BPF FR MOD: SHAOS DIR 2bit -> INV 1 -> ATT 3 -> BPF FR MOD - melody
EXT = GND - to clean up the filter timbre
OUT -> ATT1 -> FX DLY IN - adding delay to the reverb FX
ENV -> FX CLK MOD - a kind of pitch modulation
TRIG = SHAOS DIR 1bit

BASS (CV mode):

TUNE MOD: CLK 8 -> GT to TR 2 -> TUNE MOD - pings
LPF FR MOD: SHAOS S/H 3bit -> ATT2 -> LPF FR MOD - second voice
CV IN: SHAOS DIR 2bit -> ATT4 -> CV IN - bass melody
TRIG = +10V

BD:
TRIG = CLK
TUNE MOD = LFO Tri - a pseudo arpeggio sequence

OPTIONAL MOD (requires some extra patch cables):

BD WTF: CLK 4 -> CAP 10 -> INV 2 (CV = +10V) -> WTF?

11
 03 Surd

Unpatched:

12
 04 Goby

04 Goby
Video

Some settings are rather delicate:

- I’d recommend tuning the Bass in unison with BD - it’ll be the constant low note. The
upper note is played by resonated LPF: increase LPF resonance until you hear the second tone.
Carefully tune LPF FR to the lower note +1 or 2 octaves.
I used ATT1 for tuning and prepared 2 notes for LPF: one when ATT1 is connected and the second
one when there is no connection. But initially I played with LPF FR by hand and it was really cool.
Also, the important part of the Bass sound is in the FX section, find your Bass VOL/FX balance.
- You can find your main groove by tuning LFO’s FREQ and its Form. That’s really
fascinating because you get some additional shots which are not perfectly quantised rhythmically
and in my opinion the rhythm gets more organic with that approach.

13
 04 Goby

Connections:

LFO (Low):
Sync = CLK 0.5

SHAOS (63):
CLK = CLK 8

BD:
TRIG1: CLK 2 -> (Gt to Tr 1) -> TRIG
TRIG2: SHAOS S&H 1bit -> (GT to Tr 2) -> TRIG (connect/disconnect during performance)

BASS (PRC and BASS mode):

TRIG = CLK 8
LPF FR Mod: ATT1 Left pin (connect/disconnect during performance)

SD:
TRIG: CLK2 -> INV2 (CV = LFO Rect) -> (Cap 0.1) -> TRIG
TUNE Mod = SHAOS DATA
BPF Mod = HHT ENV
OUT -> ATT4 -> DLY In

HHT:
TRIG: CLK -> SW2 (CV = SHAOS DIR 2bit) -> TRIG
HPF FR Mod: SHAOS DIR 1bit

FX: (REV, DBL)

TIME MOD = SHAOS S/H 3bit
FB = SHAOS S/H 1bit (connect/disconnect during performance)
MAD!: +10V -> SW1 (CV = LFO Tri) -> MAD!
DLY OUT -> REV IN
DLY OUT and REV OUT -> 3,5mm Jacks 1,2 as an example for Left & Right Outputs
(Left and Right Outputs mix with the Main Out externally)

Interesting performance controls:

- ATT1 Left pin - connected/disconnected - changes the resonating frequency of the Bass LPF like
plays two notes
- Switch the BASS/PRC mode during performance. PRC will keep your resonating note.
- ATT4 - send level of SD to DLY - adding SD to FX glitching layer with some nice pseudo ratchets
- Experiment with SD and HHT Release knobs and FX FB - there are some awesome sounds

14
 04 Goby

Unpatched:

15
 05 Capers

05 Capers
Video

The patch is featured in the SOMA Pulsar -23 patch book (link).

16
 05 Capers

Connections:

BD:
TRIG = CLK 4
ENV -> INV 2 (CV = SW1 OUT (SW1 IN = CLK 8, SW1 CV = DIR2BIT) -> SD BPF Mod
ENV -> ATT 1 -> HHT HPF Mod

BASS:
TRIG = DATA
CV IN - See SD
ENV -> FX CLK MOD Mod
SHAPE Mod and WARP Mod = S/H 3BIT

SD:
TRIG: CLK 4 -> INV 1 -> (Gate to Trig) -> SD TRIG
Note: TRIG cable connects during performance
ENV -> ATT 2 -> BASS CV IN (needs to be carefully tuned by ATT 2 knob)

HHT:
TRIG = CLK 0.5
(also DIR 2BIT -> TRIG in the middle of a performance)
ENV -> LFO Mod
EXT = LFO (triangle)

LFO:
MID (it’s better to tune the frequency close to the Bass pitch)

FX:
VCA1 CV = DIR 1BIT
VCA2 CV = S/H 1BIT
MAD! = +10V
DLY OUT = VCA 1 - Left Ch,
REV OUT = VCA2 - Right Ch
Both channels should be mixed with the main mono output externally

SHAOS:
CLK = CLK 16

17
 05 Capers

Unpatched:

18
 06 Scion

06 Scion
Video

The patch was created for Modular World 2023 Pulsar-23 Spotlight show. Many thanks Johno Wells
for the opportunity!

Some Basic interactions:

ATT1 - ratcheting amount control
ATT3 - BD intensity control
ATT4 - Perc tone control
HHT REL also affects BD in a very interesting and expressive way
Play with BASS (PRC) channel’s ADD button along with its LPF FR and Q - there’s a ton of
sweet spots

19
 06 Scion

Connections:

BD :
TRIG: 1. SHAOS DATA -> BD TRIG
2. CLK 8 -> Gt to Tr 2 -> Switch 1 -> ATT 3 -> BD TRIG
(Switch CV = CLK 2)
WTF? = HHT Out
ENV -> BASS(PRC) SHAPE Mod (connect during performance)

BASS (PRC):
TRIG: SHAOS S/H 1bit -> Gt to Trig 1 -> INV 2 (no CV) -> BASS TRIG
CV: SHAOS DIR 2bit -> ATT 4 -> BASS CV IN
SHAPE Mod = BD ENV Out
OUT -> DLY IN

SD:
TRIG: CLK 1 -> INV 1 -> Capacitor 0,1 -> SD TRIG

HHT:
TRIG: 1. CLK 16 -> Switch 2 -> HHT TRIG
(Switch 2 CV: SHAOS DIR 1bit -> ATT 1 -> Switch 2 CV )
2. Gt to Tr 2 -> HHT TRIG
(Gt to Tr 2 is already connected to CLK 8)
HPF FREQ MOD = SHAOS S/H 3bit
OUT -> BD WTF?

SHAOS:
Use all three (63, 16 , 217) modes during performance.
CLK = CLK 8
DATA -> BD TRIG
S/H 1bit -> Gt to Trig 1 -> INV 2 (no CV!) -> BASS TRIG
DIR 2bit -> ATT 4 -> BASS CV IN
DIR 1bit -> ATT 1 -> Switch 2 CV
S/H 3bit -> HHT HPF Freq Mod

FX:
Switches: REV, DBL (not on the scheme)
MAD! = VCA 2 Out (no IN, no CV - I still have no idea why it works)
TIME Mod = CLK Mod = DIR 1bit
REV OUT -> Right Out
DLY OUT -> Left Out and REV IN (during performance)
(Left and Right Outputs mix with the Main Out externally)

20
 06 Scion

Unpatched:

21
 07 Gravity

07 Gravity
Video

Highlights:
Playing BD with double modulation on the WTF? pin.
A really simple way to create a stereo delay effect in PCH mode using LFO to create a ping-pong
effect.

About melodies:
The patch requires some delicate tuning. I’m not sure we can precisely restore all the melodies from
the video, but it’s definitely possible to find out very similar or new ones.
The general approach is using one of the SHAOS voltage streams (or LFO) and tuning the range if
needed by using one of four attenuators. When we use resonating filter for playing melodies, we
also need to set up its the central frequency (using corresponding FR knob) with the amount of the
resonance (with Q knob).

22
 07 Gravity

Connections:

SHAOS (217):
CLK = CLK 16
S/H = CLK 2

BASS (CV):
TRIG = +10V
CV IN: SHAOS S/H 1bit-> ATT1 -> CV IN - main bass
LPF FR MOD: SHAOS DIR bit -> ATT2 -> LPF FR MOD - resonating voice

SD:
TRIG: CLK 8 -> INV 2 (CV = +10V) -> TRIG - repeating note

After these connections are done - it’s time to tune the system up.

LFO (LOW):
Sync = CLK 4

FX: (REV, PCH)

MAD! = +10V
REV OUT - > DLY IN
DLY OUT -> VCA 1 (CV*) -> Left FX out
-> VCA 2 (CV*) -> Right FX out
*CV: we’re making a ping-pong delay effect manually using LFO
LFO Tri -> VCA 1 CV
-> INV 1 -> VCA 2 CV

Outputs of VCA 1 and VCA 2 => 1/4 or 3,5mm Jacks to mix with the Main Out externally

BD:
TRIG 1: CLK 4 -> Gt to TR 1 -> TRIG
TRIG 2: SHAOS DIR 1 bit -> Gt to Tr 2 -> TRIG
WTF? 1 = BASS OUT
WTF? 2 = SHAOS DATA
TUNE MOD = LFO Rect

HHT:
TRIG = +10V - from BASS trig
HPF TUNE MOD: SHAOS S/H 3bit -> ATT4 -> HPF TUNE MOD - melody (tuning again)

23
 07 Gravity

Unpatched:

24
 08 Frustum

08 Frustum
Video

The main clock is generated by the LFO and can be affected by other elements in the chain
(well, in a not very clean way).
Interesting performance controls:
ATT1 acts like patch intensity knob
BD TUNE Amt - lets you get an effect of splitting BD envelope or a delayed Kick.
Use SHAOS 217 to 16 and 63 to 16 switching to find a groove as usual.
ATT4 is a bonus - I haven’t used it in a video but it’s worth to try it. It can be used to create
fills manually by moving ATT4 knob counterclockwise and back to Max position. But since it can
change your line I’m suggesting you to patch its right cable via the Switch and use something like
CLK2 as CV to get some regular changing. You’ll need one more patch cable though.

25
 08 Frustum

Connections:

Clock source switch in a middle position - we’re going to clock Pulsar from LFO.

LFO (Low):
Rect -> CLK ( then CLK -> ATT4 Right Pin and from Left Pin -> HHT TRIG)
Rect -> SHAOS CLK ( then SHAOS CLK -> Gt to Tr -> BASS TRIG)
Tri -> BD TUNE Mod

BD:
TRIG: SHAOS S&H 1bit -> (Cap 10) -> SW1 (CV = SHAOS DIR 1bit) -> TRIG
TRIG - > WTF? (during performance)
ENV -> MAD!
BD TUNE Mod (See LFO)

BASS (PRC mode):

TRIG: (see LFO)
LPF FR Mod: 1. SHAOS DIR 2bit
2. CLK16 -> ATT1 -> LPF FR Mod
CV: SHAOS 2bit -> ATT2 -> CV

SD:
TRIG: SHAOS S&H 3bit -> (Cap 0.1) -> INV2 (no CV) -> TRIG
BPF Mod = SHAOS DIR 2bit

HHT:
TRIG: 1. (see LFO)
2. CLK16
TUNE Mod = CLK4
HPF FR Mod: SHAOS DIR 1bit -> INV1 -> HPF FR Mod

FX:
Switches: REV, DBL
REV OUT and DLY OUT -> 1/4 Jacks 5,6 as an example for Left & Right Outputs
(Left and Right Outputs mix with the Main Out externally)

26
 08 Frustum

Unpatched:

27
 09 Ono-Ono

09 Ono-Ono
Video

There is a little trick: BD channel used to play Kick and Bass at the same time and BASS channel in
PERC mode plays percussion sounds. So please note:
- BD and BASS stand for channel name here
- Kick and Bass (or Baseline) stand for the sound.

You can get pretty nice results using controls 1-4 from the list of basic performance interactions:
1 ATT1 - Kick mute and timbre
2 BD REL - Bass envelope control
3 BD Drive - Kick and Bass timbre (please don’t miss - it sounds awesome)
4 LFO Waveform - Bass Envelope Shape + additional Kick
5 BASS Shape + REL - Percussion timbre

I would find inspiring starting with just four connections using knob positions from the picture:
CLK -> LFO Sync
LFO Tri -> BD Trig
CLK16 -> ATT1
ATT1 -> BD WTF?

28
 09 Ono-Ono

Connections:

BD:
TRIG = LFO Tri - bass envelope: turn LFO waveform knob counterclockwise to kick.
WTF?: CLK16 -> ATT1 -> WTF? - main Kick: turn ATT1 counterclockwise to Mute (it affects
the timbre as well)
TUNE Mod <- HHT ENV - pitch and glide for the Bassline

BASS (PRC):
TRIG: CLK -> INV2 -> (Gt to TR) -> BASS TRIG
INV2 CV = SHAOS S/H 3bit
CV: SHAOS DIR 1bit -> ATT3 -> BASS CV IN
LPF FR MOD <- SD ENV

SD:
TRIG: CLK8 -> SW1-> SD TRIG
SW1 CV = CLK4
the Looper was used as well to play some additional SD beats (see the video’s first part)

BPF FR MOD = SW1 OUT + SHAOS DIR 2 bit

HHT:
TRIG = SHAOS 1bit S/H - it also affects the Bass pitch (via Env output)
HPF Freq Mod: SHAOS S/H 3bit -> ATT2 -> HPF Freq Mod
TUNE Mod = CLK
Attack and Release define the Envelope used to:
- make some Bass glide
- open/close both FX VCAs

LFO SYNC = CLK - your Bass Envelope trigger

SHAOS CLK = CLK
LRST = CLK1 (for SD live looping)

FX:
Switches: REV, DBL
MAD! = +10V
TIME Mod = CLK Mod = DIR 1bit
REV OUT -> REV IN - for some feedback
REV OUT and DLY OUT -> VCA1 and VCA2 respectively
VCA1 CV = VCA2 CV = HHT ENV
VCA1 OUT and VCA2 OUT -> 1/4 Jacks 5,6 as an example for Left & Right Outputs
(Left and Right Outputs mix with the Main Out externally)

29
 09 Ono-Ono

Unpatched:

30
 10 Iskin

10 Iskin
Video

After BD and BASS is patched it’s recommended to tune it more or less to the same pitch. Or to
some other interval you find cool.
You can get a nice drone from BD by pushing its Add button between beats (see the video)

31
 10 Iskin

Connections:

LFO (Low):
Sync = CLK 2

BD:
TRIG = CLK 0.5
ENV:
1. -> BASS TUNE mod
2. -> INV1 -> BD TUNE Mod
3. -> ATT 2 -> BASS LPF Fr Mod
WTF? = VCA1 Out (no In; CV = LFO Rect) - adds another little Kick to the groove

BASS (CV mode):

TRIG = LFO Tri
OUT - > DLY In
SHAPE Mod = LFO Tri
WARP Mod: CLK 16 -> Cap 0.1 -> WARP Mod

SD:
TRIG: CLK 1 -> INV 2 -> Cap 10 -> TRIG
INV 2 CV = +10V
ENV -> SHAOS Mod
OUT -> HHT Ext - disconnect it during performance to rise the intensity a bit
try CLK 2 -> BPF Fr Mod - connect during performance - then repatch it to TRIG

HHT:
TRIG: SHAOS S&H 1 bit -> Gate to Trigger -> TRIG
TUNE Mod = SHAOS DIR 1bit

SHAOS - 16
Find some cool pattern switching to 63 or 217 and back. FREQ knob = surprise generator.

FX:
Switches: REV, DBL
MAD! = +10V
FB Mod = CLK 0.25
DLY OUT -> DLY IN
REV OUT and DLY OUT -> 1/4 Jacks 5,6 as an example for Left & Right Outputs
(Left and Right Outputs mix with the Main Out externally)

32
 10 Iskin

Unpatched:

33
 11 Ahinea

11 Ahinea
Video

The patch is featured in the SOMA Pulsar -23 patch book (link).

34
 11 Ahinea

Connections:

BD:
TRIG 1. CLK1 -> ATT1 -> TRIG
TRIG 2. CLK8 -> SW1 (CV = CLK2 + LFO Rect) -> TRIG
ENV (1) -> WTF?
ENV (2) -> BASS TUNE Mod (optional)

BASS (PRC):
TRIG: S/H 1BIT -> Cap. 0.1 -> TRIG
SHAPE Mod = SD ENV
LPF FR Mod = DIR 1BIT
CV: DIR 1BIT -> ATT2 -> CV IN

SD:
TRIG: CLK8 -> Gate to Trigger -> TRIG
EXT = HHT OUT

HHT:
TRIG = BD TRIG
OUT -> SD EXT
TUNE Mode = HPF FR Mod = DIR 2BIT

LFO (HI):
SYNC = CLK 0,5

SHAOS:
CLK = CLH4

FX:
MAD!: +10V -> SW2 (CV: S/H 3BIT -> INV -> CV) -> MAD!
REV OUT -> REV IN
REVOUT - Left Out
DLY OUT -> Right Out
(Left and Right Outputs to be mixed with the Main externally)

35
 11 Ahinea

Unpatched:

36
 12 Antenna

12 Antenna
Video

37
 12 Antenna

Connections:

LFO (Low):
FREQ, AMT and Form knobs let you find a beat. It’s hard to find the exact groove but there is a lot
of cool rhythms to stop with while you’re searching.
Sync = CLK 8
Rect -> BD TRIG
Tri -> FX CLK Mod

SHAOS:
CLK = CLK1 (experiment with the different clock when the patch is ready, it’s cool)
To stop Shaos during performance - connect +10V to CLK

BD:
This actually is a Bass drone. BD’s ATT and (especially) REL knobs are linked to the BASS (Perc)
volume and feel. Use it during your performance.
TRIG = LFO Rect
TUNE Mod = SHAOS S&H 1bit
ENV -> INV1 -> BASS TRIG

BASS (PRC mode):

SHAPE and WARP knobs let you destroy and restore the sound of percussion.
TRIG: BD ENV -> INV1 -> TRIG
CV: SHAOS S&H 1bit -> Cap 0.1 -> CV
SHAPE Mod: CLK8 -> Cap 10 -> SHAPE Mod

SD:
Sonars.
TRIG = SHAOS S&H 3bit
BPF Mod = SHAOS DIR 2bit
OUT -> ATT -> FX REV IN

HHT:
Noise and accents
TRIG: CLK1 -> INV2 (no CV) -> SW1 (CV = SHAOS 3bit) -> TRIG
HPF Mod = HHT TRIG
OUT -> ATT -> FX REV IN

FX:
Switches: DLY, DBL
MAD! = +10V
REV OUT and DLY OUT -> 1/4 Jacks 5,6 as an example for Left & Right Outputs
(Left and Right Outputs mix with the Main Out externally)
38
 12 Antenna

Unpatched:

39
Links

SOMA Website https://somasynths.com/

SOMA Pulsar-23 page https://somasynths.com/pulsar-23/

Full album TÆT - Notebook 24: Pulsar https://taet.bandcamp.com/album/notebook-24-pulsar

Video playlist of all the patches (YT) (it’s too long - just click here)

Modular World 2023 Pulsar-23 show (click here)

SOMA Pulsar-23 patch book (get a copy)

TÆT Bandcamp page https://taet.bandcamp.com

Instagram https://www.instagram.com/taet.music/

YouTube channel https://www.youtube.com/@TAET

Telegram channel https://t.me/taetmusic

VK https://vk.com/taetmusic

Email TÆT [email protected]