
As some of you know, Rob Hordijk's Benjolin and chaos theory in synthesis (and elsewhere!) totally fascinate me. Randomness is cool and definitely useful, but chaos theory is another world. When I started viewing strange attractors and the butterfly effect on a scope, chaos theory started to become a little clearer.
If you're new to the Benjolin and chaos theory in general, this article from Perfect Circuit is a fantastic crash course.
My fascination with the Rungler circuit on the Benjolin is a big part of my passion for this module, as is the way the Turing machine circuit works with it all.

So, to take my education on chaos theory and its relationship to this fantastic module from Rob Hordijk to the next level, I turned (of course, lol) to Chat GPT.
I've been doing this with all the modules in my new Serge paperface system (73-75 era), which I just finished building. It's making my transition to this paradigm of working a lot smoother. For those interested, I built a 2-panel custom system from Prism Circuits.
Enjoy this conversation and PLETHORA of information between me and our AI friend, Chat GPT.
(My prompts are in red. GPT's responses I kept in black.)
Tell me all about the Benjolin module, from Rob Hordijk. Explain it to a beginner, and then give me some use cases for the Benjolin in a patch.
What is the Benjolin Module?
The Benjolin is a compact, semi-modular synthesizer module designed by Rob Hordijk. It's a unique and experimental tool built around principles of chaotic synthesis, which makes it ideal for exploring unpredictable, evolving sounds and generative music. The module encourages discovery through its unconventional design, making it highly sought after for experimental synthesis.
Key Features of the Benjolin:
Two Oscillators (VCOs):
It has two analog oscillators, often referred to as Oscillator A and Oscillator B. These can interact in unusual ways to produce complex waveforms.
Oscillator A usually serves as the main tone generator, while Oscillator B often modulates other parameters.
A Rungler:
The "Rungler" is the heart of the Benjolin. It’s a pseudo-random stepped CV generator that creates chaotic and evolving patterns.
It takes inputs from the oscillators and turns them into unpredictable control signals.
The randomness isn't purely random—it's influenced by the interplay between Oscillators A and B.
Filter:
A simple, resonant low-pass filter is included to shape the sound.
The filter can self-oscillate when the resonance is turned up, adding additional textures.
Cross-Modulation:
Oscillators can modulate each other, creating chaotic and rich harmonic structures.
This interaction feeds into the Rungler for even more complex behavior.
Semi-Modular Design:
While the Benjolin has internal connections, patch points allow for external CV and audio routing. This makes it highly flexible in modular setups.
Beginner-Friendly Explanation:
Think of the Benjolin as a little sound laboratory. It has two sound-making engines (oscillators) that can sing together or mess with each other in weird and surprising ways. The Rungler is like a mischievous robot that takes those sounds and makes patterns—sometimes predictable, sometimes wild. You can then sculpt those sounds with a filter to make them smoother, buzzier, or more aggressive.

Use Cases for the Benjolin in a Patch:
Generative Melodies and Rhythms:
The Rungler can generate chaotic but musical stepped voltages. Use these as pitch CV for other oscillators or sequencers for organic, evolving melodies.
Drone Textures:
Set the oscillators to low frequencies and let them cross-modulate for deep, evolving drones.
Use the filter to add movement and dynamics to the drone.
Percussive Noise:
Turn the Rungler output into an unpredictable clock source to trigger drums or envelopes.
Route audio through the filter for noisy, percussive timbres.
Modulation Source:
Use the Rungler output or one of the oscillators as a modulation source for other modules (e.g., filter cutoff or VCA).
Chaotic Audio Processor:
Run external audio through the filter while using the Rungler to modulate its cutoff. This adds an unpredictable, glitchy character to external sounds.
Self-Playing Patches:
Patch the Benjolin to modulate itself. For example, send the Rungler output back into one of the oscillators' pitch inputs for endlessly evolving chaos.
Why the Benjolin Stands Out:
The Benjolin is more than just a sound source—it's a creative tool for exploration. Its design encourages happy accidents and invites you to lose yourself in unexpected soundscapes. It’s perfect for anyone interested in generative music, sound design, or breaking out of traditional synthesis norms.
What does "pseudo-random" mean in the context of the Rungler?
In the context of the Rungler in the Benjolin, "pseudo-random" refers to a process that generates patterns that feel random and unpredictable but are actually influenced by a deterministic system. This means that the output is not purely random but instead depends on specific inputs and rules.

How It Works in the Rungler:
The Rungler uses Oscillators A and B to create stepped control voltages. Here’s how the pseudo-random behavior is generated:
Shift Register:
At the core of the Rungler is a digital shift register, a component that stores binary data (1s and 0s).
The shift register continuously cycles through its stored values, updating them based on new inputs.
Feedback and Input:
One of the oscillators provides a clock signal to the shift register, determining the rate at which it cycles through values.
The other oscillator provides an input signal, which influences the bits stored in the register.
The interaction between these oscillators and the feedback from the shift register creates the "pseudo-randomness."
Deterministic Rules:
While the process might sound random, the patterns it produces are determined by the starting conditions and how the oscillators are tuned and modulated.
If the same initial conditions are set, the Rungler would generate the same sequence, making it "pseudo" random rather than truly random.
Why This Matters:
Musicality:
True randomness can often sound chaotic and unstructured, while pseudo-randomness creates patterns that feel organic and musical because they’re influenced by consistent rules.
Control and Predictability:
By tweaking oscillator frequencies and other parameters, you can influence the Rungler’s behavior. This lets you strike a balance between chaos and control.
Repeatability:
If desired, you can recreate specific pseudo-random patterns by carefully setting the oscillators to the same frequencies, making it a valuable tool for live performances or precise compositions.
Example of Pseudo-Random Output:
Imagine Oscillator A is running at a steady rate (e.g., a low frequency), and Oscillator B is modulating its pitch slowly. The Rungler might output a series of stepped voltages that change in time with Oscillator A’s clock. These steps might resemble a random sequence, but they’re actually influenced by Oscillator B’s behavior. Adjusting either oscillator’s frequency changes the sequence in a way that feels unpredictable yet tied to the input oscillators.
Can you explain a shift-register to a beginner?
Certainly! Let’s break down a shift register into simple terms and then connect it back to how it works in the context of the Rungler.
What is a Shift Register?
A shift register is an electronic circuit or a small digital device that holds a sequence of binary values (1s and 0s) and moves them through a series of positions over time. Think of it like a conveyor belt for numbers.
Key Components of a Shift Register:
Storage Locations:
Imagine it has a series of "slots" (e.g., 8 slots).
Each slot can hold either a 1 or a 0.
Clock Signal:
This is like a timer or metronome that tells the shift register when to move the numbers to the next slot.
Input:
New values (1 or 0) are added to the first slot when the clock ticks.
Output:
The value in the last slot is sent out of the register.
How Does It Work? (Simple Example)
Initial State:
Imagine we have a 4-slot shift register, and all the slots are initially empty:
[0, 0, 0, 0].
First Clock Tick (Add a New Value):
A 1 is added to the first slot:
[1, 0, 0, 0].
Second Clock Tick:
Everything "shifts" to the next slot, and a new value (e.g., 0) is added:
[0, 1, 0, 0].
Third Clock Tick:
Another shift happens, and a new value (e.g., 1) is added:
[1, 0, 1, 0].
And so on…
This process continues, creating a moving sequence of numbers.
What Makes It Useful?
A shift register is like a memory system that moves data step by step. This can be used to create patterns, sequences, or even animations (like the moving lights on a marquee sign). In synthesis, it’s used to create evolving control voltages or step patterns.
Shift Register in the Rungler
In the Rungler:
The shift register is "filled" with binary data based on inputs from the oscillators.
One oscillator acts as the clock, controlling how fast the numbers move through the register.
The other oscillator determines the new values (1s and 0s) that are added.
The data in the shift register is output as a series of stepped voltages, creating pseudo-random patterns.
An Analogy for Beginners:
Imagine a row of buckets in a line. Every second (clock tick), you move the water from one bucket to the next. At the same time, you pour a new amount of water (new value) into the first bucket. Over time, the water in the last bucket is emptied (output), and the cycle repeats. The Rungler uses this concept to produce evolving, chaotic patterns.
How could the Rungler be used in a modular system in addition to being a good CV source?
The Rungler in the Benjolin is a highly versatile module component that can do much more than just act as a chaotic CV source. Its pseudo-random behavior, combined with its integration into the Benjolin's oscillators and filter, opens up creative possibilities. Here are some ideas for how the Rungler can be used in a modular system:
1. Audio Source
The Rungler's output is not limited to CV; it can also be patched as an audio-rate signal.
Textural Noise: At high clock speeds (via Oscillator A), the Rungler generates gritty, chaotic noise textures. Use this for industrial soundscapes or as a noise source for percussion.
Bit-Crushed Tones: The stepped output of the Rungler can sound like a lo-fi digital signal when clocked quickly, great for creating digital-sounding effects.
2. Trigger and Gate Generator
The Rungler's stepped CV can be treated as a source of unpredictable triggers or gates.
Clocking Other Modules: Use the Rungler output as a clock source for sequencers, drum modules, or logic processors to create evolving, non-repeating rhythms.
Randomized Triggers: Send the Rungler output through a comparator to turn its varying voltages into on/off gates, which can then trigger envelopes or percussion modules.
3. Pitch Sequencer
The Rungler can act as a pseudo-random step sequencer for pitch CV.
Melodic Chaos: Patch the Rungler output to the 1V/oct input of a VCO. As Oscillator B changes its behavior, the "sequence" evolves.
Quantized Outputs: Run the Rungler's CV through a quantizer to lock the output into musical scales, creating unpredictable yet tuneful sequences.
4. Modulation Source for Self-Patching
The Rungler can be used to modulate other parameters of the Benjolin itself:
Oscillator FM: Use the Rungler to modulate the pitch of Oscillator A or B for complex, chaotic FM tones.
Filter Modulation: Patch the Rungler to the filter cutoff for dynamic, unpredictable filtering.
Self-Feedback: Feed the Rungler output back into one of the oscillators' modulation inputs for even more chaotic behavior.
5. Cross-Modulation with Other Modules
The Rungler's chaotic CV can interact with other modules in your system to create complex results:
Control External Oscillators: Use the Rungler to modulate the pitch, FM input, or PWM of an external VCO for unpredictable harmonics.
Modulate a Wavefolder or Distortion Unit: Send the Rungler output to a wavefolder or distortion processor to shape its chaotic audio into even more complex textures.
Randomized Panning or Mixing: Use the Rungler output to control the pan position in a stereo mixer or modulate a crossfader for evolving spatial effects.
6. Shaping Through External Modules
Slew Limiting: Smooth out the stepped output of the Rungler with a slew limiter or low-pass filter for gliding, organic modulation curves.
Logic Processing: Combine the Rungler's output with other CV sources using logic modules (AND, OR, XOR) to create rhythmic patterns or trigger logic.
Envelope Control: Use the Rungler output to influence the amplitude or decay of envelopes, giving your patches dynamic unpredictability.
7. Chaos Controller in a Feedback Patch
The Rungler's output can drive chaotic feedback loops:
Delay Time Modulation: Use the Rungler to modulate the delay time on a delay module for unpredictable echoes.
Feedback Systems: Patch the Rungler output into an effect's feedback loop to destabilize and shape the feedback signal.
8. Drone Enhancement
In drone patches, the Rungler adds evolving textures:
Subtle Modulation: Use the Rungler for slow, evolving modulation of pitch, filter, or amplitude to create ever-changing drones.
Chaotic Layers: Mix the Rungler's audio output with other sound sources to add unpredictable harmonic content.
The Rungler is one of those tools that rewards experimentation. Its unique pseudo-random outputs bring life and unpredictability to patches, and its ability to function at both CV and audio rates makes it a Swiss army knife in modular systems.

Can you explain to a 10-year-old the difference between random and chaos?
Sure! Let's break it down into something simple:
Random:
Imagine you have a big bag of jellybeans, and you close your eyes and pull one out. You have no idea what color it will be—it could be red, green, yellow, or anything in the bag.
That’s random: it’s completely unpredictable, and there’s no pattern.
Chaos:
Now imagine you have a marble on a bumpy slide. You push the marble, and it rolls down, bouncing around in ways that look crazy. But here’s the thing: if you push it the exact same way again, it will bounce in the same way.
That’s chaos: it looks wild and unpredictable, but it actually follows rules. If you know all the rules and how things started, you could figure out exactly what will happen.
How They’re Different:
Random is like pulling the jellybean—there’s no way to know what’s coming next, and it’s not following any rules.
Chaos is like the marble—at first, it seems random, but it’s really following rules, so it’s not totally unpredictable.
Can you give me some creative patch examples for the Benjolin?
Here are some creative patch ideas for the Benjolin to explore its chaotic and musical potential. Each example emphasizes a different aspect of the module’s capabilities and how it interacts with the rest of a modular system.
1. Evolving Drone Patch
Purpose: Create a rich, constantly shifting drone.
Patch:
Take the audio outputs of Oscillator A and Oscillator B and mix them in an external mixer or VCA.
Use the Rungler's stepped CV output to modulate the pitch of Oscillator A.
Use the Rungler's smooth CV output to modulate the cutoff of the Benjolin’s filter.
Add a touch of resonance to the filter to emphasize harmonics.
Optionally, patch the filter output through a reverb or delay module for added atmosphere.
Result: A slowly evolving, chaotic drone that never feels static.
2. Chaotic Percussion
Purpose: Generate unpredictable rhythms and textures for percussive elements.
Patch:
Use the Rungler's stepped CV output to trigger drum modules or envelopes.
Send Oscillator A’s output through the filter to create percussive noise hits.
Use the Rungler to modulate the filter cutoff for variation in tone.
Adjust oscillator tuning to emphasize high-frequency noise or lower rumble.
Result: A dynamic and chaotic percussion sequence, perfect for experimental beats.
3. Generative Melody
Purpose: Create a melodic line that evolves over time.
Patch:
Patch the Rungler's stepped CV output to the 1V/oct input of an external oscillator or the Benjolin’s Oscillator A.
Send Oscillator A’s output through the Benjolin’s filter or an external wavefolder for timbral variation.
Use a quantizer to lock the Rungler CV output to a musical scale.
Optionally, use the smooth CV output to modulate the quantizer’s scale or transpose parameter for extra variation.
Result: A self-playing, pseudo-random melody that evolves organically.
4. Feedback Chaos
Purpose: Create intense, chaotic soundscapes using internal feedback.
Patch:
Take the filter output and patch it into the CV input of one of the oscillators.
Send the Rungler’s output to modulate the other oscillator.
Adjust oscillator frequencies and filter cutoff to create feedback loops.
Optionally, send the audio output to a distortion or wavefolding module for added aggression.
Result: A wild, unpredictable soundscape that responds dramatically to small parameter changes.
5. Dual Layered Modulation
Purpose: Use the Benjolin as a dual modulation source for external modules.
Patch:
Use the Rungler’s stepped CV output to modulate the cutoff of a low-pass filter in another module.
Use the smooth CV output to modulate the pitch or FM input of an external oscillator.
Patch the audio outputs of Oscillator A and B into a stereo mixer for ambient layers.
Add additional modulation from the Rungler into the Benjolin’s filter for internal dynamics.
Result: Complex, multi-layered modulation that interacts across your system.
6. Rungler Sequenced FM
Purpose: Create evolving FM tones controlled by the Rungler.
Patch:
Patch Oscillator A’s output to the FM input of Oscillator B.
Use the Rungler’s stepped CV output to modulate Oscillator A’s pitch.
Take Oscillator B’s audio output as your main sound source.
Optionally, use the smooth CV output to modulate the FM index or amplitude of Oscillator B.
Result: Chaotic, evolving FM tones with intricate harmonic structures.
7. Pseudo-Random Clock Source
Purpose: Use the Rungler to drive a clock or trigger rhythmic events.
Patch:
Send the stepped CV output to a comparator or logic module to create rhythmic gates.
Use these gates to clock a sequencer, envelope, or drum module.
Modulate the Rungler’s behavior with external CV (e.g., from an LFO or envelope) to vary the clock speed.
Result: A semi-predictable, evolving clock signal that drives your patch with an organic feel.
8. Chaotic Stereo Effects
Purpose: Create a stereo image using the two oscillators and the filter.
Patch:
Send Oscillator A’s audio output to the left channel and Oscillator B’s output to the right channel.
Use the Rungler to modulate the pitch or pulse width of both oscillators independently.
Use the Benjolin’s filter to process one oscillator for contrast in tone.
Add stereo reverb or delay for a spacious effect.
Result: A dynamic, shifting stereo field that feels alive and unpredictable.
9. Self-Playing Ambient Patch
Purpose: Create a patch that runs on its own, generating unpredictable ambient soundscapes.
Patch:
Use both Oscillator A and Oscillator B as sound sources.
Patch the Rungler’s stepped CV output to modulate the pitch of one oscillator and the smooth CV output to modulate the filter cutoff.
Send the filter output through a reverb or delay module.
Optionally, use an LFO or external CV to influence one of the oscillators for additional variation.
Result: A constantly shifting ambient piece that requires no further interaction.
These examples highlight the Benjolin's versatility in sound design, rhythm creation, and generative music. The key is to experiment and embrace the chaotic nature of the module—you’ll often find unexpected results that inspire new ideas!

Is there any module that is anything like the Benjolin?
The Benjolin is unique due to its combination of features—dual oscillators, the Rungler (pseudo-random generator), and an analog filter—all designed by Rob Hordijk to emphasize chaotic, musical unpredictability. However, there are other modules that share some characteristics or provide similar chaotic, generative, or experimental capabilities. Here’s a list of some modules that are conceptually related or could complement the Benjolin:
1. Rob Hordijk's Other Designs
Blippoo Box:
A standalone instrument by Rob Hordijk, the Blippoo Box shares a similar chaotic and experimental ethos. It uses a dual oscillator system with a focus on feedback and modulation, much like the Benjolin.
2. Modules Inspired by or Similar to the Benjolin
After Later Audio Benjolin V2 (or other Benjolin replicas):
Many Eurorack manufacturers offer versions of the Benjolin, often with slight variations. After Later Audio’s version includes enhancements like separate outputs for oscillators and additional patch points.
Joranalogue Orbit 3:
A dual-chaos oscillator inspired by chaotic mathematical systems. While it doesn’t have a Rungler, it excels at producing musically useful chaotic CV and audio.
3. Chaotic or Pseudo-Random CV Generators
Make Noise Wogglebug:
Combines randomness and chaos generation with an emphasis on quirky and musical results. It’s not identical to the Rungler but fulfills a similar role in generative patches.
Instruō Tàin:
A dual analog shift register that specializes in chaotic stepped voltages, much like the Rungler’s stepped CV.
Mutable Instruments Marbles:
A random sampler and chaotic trigger generator. Unlike the Rungler, it’s digital and offers clock-synced randomness for rhythmic applications, but it excels in controlled chaos.
Nonlinear Circuits Chaos Modules:
NLC specializes in chaotic systems like the Sloth and Hypster, which generate CV signals with varying degrees of unpredictability. These are great for pairing with the Benjolin or as standalone chaos tools.
4. Multi-Function Generative Modules
Noise Engineering Ruina Versio (or other Versio series modules):
These modules can be firmware-swapped, and some versions generate chaotic audio and CV outputs.
Intellijel Plonk:
Focuses on physical modeling but allows for generative, semi-chaotic sound creation with carefully modulated inputs.
5. Modules with Feedback and Interdependent Oscillators
Endorphin.es Furthrrrr Generator:
A dual oscillator with extensive cross-modulation and wave-shaping capabilities. Its chaotic interdependencies evoke some of the Benjolin’s unpredictability.
Dreadbox Komorebi:
While primarily a BBD-based flanger/chorus, its CV control and feedback paths allow for chaotic modulations when self-patched.
6. DIY and Experimental Modules
Turing Machine by Music Thing Modular:
A random looping sequencer. While simpler than the Rungler, its pseudo-random looping functionality echoes some of the Benjolin's behaviors.
Random*Source Serge DUSG (Dual Universal Slope Generator):
A Serge classic that can create chaotic modulations with the right patching, offering creative CV generation akin to the Rungler.
Why the Benjolin Stands Out:
While these modules share aspects of the Benjolin, none combine its oscillators, chaotic CV generation, and filter in the same all-in-one package. The Rungler remains a unique tool for creating pseudo-random sequences that feel alive and musical. If you’re after the Benjolin’s specific flavor, a direct clone or replica might be the closest match, but many of the above modules can extend its chaos and generative potential in complementary ways.
Explain how the Rungler circuit is related to the Turing machine part of the Benjolin.
The Rungler circuit in the Benjolin and the Turing Machine both share a common foundation in shift register-based logic, but they differ in implementation, complexity, and musical application. Let’s break this down:
1. Core Concept: Shift Register
Both the Rungler and the Turing Machine use a shift register, which is a digital circuit that holds a series of binary values (1s and 0s) and moves them sequentially through its stages. These systems generate patterns of stepped voltages by translating the binary states into analog control voltages.
2. Rungler: A Chaotic Shift Register
The Rungler circuit uses a 3-stage shift register, which means it can store 3 bits of binary data. This data is constantly updated as the circuit runs.
The input to the shift register is determined by a comparator that compares the output of one oscillator (Oscillator A) to a threshold voltage. If the oscillator signal is above the threshold, the input is 1; otherwise, it’s 0.
A second oscillator (Oscillator B) clocks the shift register, determining how quickly the data shifts.
The outputs of the 3 stages are fed back into the register to create a looping, pseudo-random behavior. This feedback introduces a degree of complexity and unpredictability, making the Rungler feel chaotic but still deterministic based on its starting conditions and inputs.
The binary data in the shift register is converted into stepped control voltages for modulation, which gives the Rungler its characteristic chaotic output.
3. Turing Machine: A Random Looping Sequencer
The Turing Machine by Music Thing Modular also uses a shift register, but it’s more focused on producing a looping sequence of binary data that can feel "random" or "controlled" based on user input.
The input to the shift register is randomly generated (e.g., from a noise source) and can be influenced by the user.
A probability knob allows the user to control how much of the random data is "locked in." At one extreme, the sequence becomes fully random; at the other, it loops predictably, creating repeating melodies or patterns.
The output of the shift register is typically interpreted as control voltages or triggers, making it a powerful sequencer.
4. Key Differences Between the Rungler and Turing Machine
Feature | Rungler (Benjolin) | Turing Machine |
Clock Source | Uses Oscillator B as the clock. | Typically uses an external clock or internal LFO. |
Input Data | Derived from a comparator comparing Oscillator A. | Derived from a noise source or random generator. |
Feedback | Feedback from the shift register stages is intrinsic to its chaotic behavior. | Feedback is user-controlled via probability settings. |
Output Use | Outputs chaotic CV and audio. | Outputs stepped CV or triggers for melodic or rhythmic use. |
Behavior | Designed for pseudo-random, evolving chaos. | Designed for user-controllable randomness and looping. |
5. How They’re Related in the Benjolin
The Turing Machine concept is essentially embedded within the Rungler as part of its DNA:
The shift register in the Rungler operates similarly to a Turing Machine, storing and shifting binary data.
The feedback loop in the Rungler (from the shift register stages back to the input) is what introduces chaotic and pseudo-random behavior, much like how the Turing Machine loops its sequence based on the probability setting.
The key difference is that the Rungler’s input is directly tied to Oscillator A, creating a dynamic interplay between the oscillators and the shift register, whereas the Turing Machine relies on a more static noise-based input.
Summary:
The Rungler is like a more chaotic, tightly integrated version of the Turing Machine, tailored to the unique design of the Benjolin. Both are based on shift registers and pseudo-random looping, but the Rungler is deeply intertwined with the Benjolin’s oscillators and feedback system, making it more unpredictable and musical in its own way.
In the Turing Machine on the Benjolin, we can choose between 8, 16, or 127. Why such a strange number as 127?
The 127-step option in the Turing Machine on the Benjolin isn't a random choice—it emerges naturally from the way the underlying shift register logic operates and interacts with binary patterns. Here's an explanation:
1. Binary and Shift Registers
A shift register holds a fixed number of binary digits (1s and 0s). In the case of the Benjolin's Rungler, it uses a 3-stage shift register, but the Turing Machine concept can involve more stages for longer patterns. The sequence length depends on the total number of possible unique states the shift register can produce before it repeats.
2. Sequence Length: Power of Two Minus One
For a shift register of N bits:
The maximum possible number of unique states is 2N−12^N - 1, where 2N2^N represents all possible combinations of 1s and 0s across the bits, and the "-1" accounts for the fact that one state (all 0s) usually locks the system in a "stuck" state.
This behavior arises because the feedback logic of a shift register cannot generate new data from an all-0 state—it essentially halts there.
3. Why 127?
In a 7-bit shift register (as found in the Turing Machine’s 127-step mode), the maximum sequence length is 27−1=1272^7 - 1 = 127 steps before the pattern begins to repeat.
This sequence length reflects the maximum "pseudo-random" output the system can produce before entering a cycle.
4. Why Other Modes Like 8 or 16?
8-step and 16-step patterns are shorter, deliberately constrained cycles. These are achieved by modifying the logic of the feedback or limiting the active bits of the shift register.
They provide musically manageable, predictable loops that are easier to use for rhythmic or melodic purposes.
5. Why 127 Seems "Strange"
In binary systems, values like 8 (232^3) or 16 (242^4) feel familiar because they are clean powers of two. The value 127 doesn’t intuitively feel "neat" to us because it’s not a power of two—it’s the result of 27−12^7 - 1, which is deeply rooted in the nature of how binary feedback systems work.
Summary:
The 127-step option in the Turing Machine reflects the maximum sequence length for a 7-bit shift register in a feedback loop. It’s a logical outcome of binary arithmetic and shift register design, giving the longest possible pseudo-random pattern before repetition. While it may seem odd at first, it’s actually a mathematically "perfect" choice for that setup!
This sounds way over my head. Am I smart enough to use the Benjolin?
Absolutely! You don’t need to fully understand every detail of the circuits or math to use the Benjolin and have fun with it. Modular synthesis can be complex, but the key to using it is experimenting and playing—the technical details are useful for understanding why something works, but they're not necessary to create cool sounds and patches.
Here’s the great thing about the Benjolin: it’s designed to be musical and unpredictable, meaning that even without fully grasping every technical aspect, you can still create amazing sounds just by patching it in different ways.
A few tips to get started:
Embrace the chaos: The Benjolin is about exploration and discovering new sounds. If you patch it and turn the knobs, you’ll get results. The more you experiment, the more you’ll intuitively understand how it works.
Don’t worry about the math: You don’t need to know how the shift register or the binary states work to use it. Focus on what sounds you like and what happens when you patch different outputs together.
Patch, tweak, listen: Just try different things, and pay attention to how the module responds. It’s like playing an instrument—you don’t need to understand the theory of music to enjoy playing and creating sounds.
How to start:
Patch Oscillator A to a speaker or mixer.
Patch Oscillator B into a filter or distortion.
Use the Rungler: This is your source of crazy, evolving control voltages that you can use to modulate other parameters.
Mess with knobs: Adjust the feedback, filter, and oscillators until you get something that sounds cool. Even without understanding exactly what’s happening, you can create interesting sounds by listening.
You’ll learn as you go, and the Benjolin will reward you with creative sounds, regardless of your technical knowledge. In fact, sometimes not knowing the full details leads to even more surprising and inspiring results. So yes, you are definitely smart enough—just have fun with it!
Can you tell me how to create slow evolving patches with interesting textures here and there instead of just bleeps, bloops and filter pings?
Absolutely! Creating slow-evolving patches with rich textures is one of the most rewarding things you can do with modular synthesis. The goal is to have layers of sound that change gradually over time, creating an organic and ever-evolving atmosphere. Let’s break down some ideas and techniques that will help you move away from the typical "bleeps and bloops" and into more atmospheric, evolving soundscapes.
1. Use Low-Frequency Oscillators (LFOs)
LFOs for gradual movement: Instead of creating quick rhythmic pulses or percussive sounds, use slow LFOs (below 1 Hz) to modulate various parameters in your system. These could be the pitch of an oscillator, the cutoff frequency of a filter, or the amplitude of a sound.
Multiple LFOs with varied speeds: Patch different LFOs to the same parameters but with different speeds or waveforms. This creates layered, evolving textures.
2. Slow, Wide Modulation with Oscillators
VCOs with slow modulation: Instead of using your oscillators for rapid or percussive sounds, modulate their pitch slowly using LFOs or sequencers. Set the modulation depth to low so that it’s subtle, but constantly moving.
Detuned oscillators: Use two oscillators in a slightly detuned configuration. This will create a rich, evolving sound, especially when paired with slow modulation.
3. Generative / Evolving Sequences
Generative patches: Use the Rungler or a random voltage source (like a Turing Machine or a random CV generator) to generate slow, evolving sequences. Slow down the clock that drives these sequences to create a gradual, unpredictable movement that isn't tied to a rigid rhythmic pattern.
Quantizer: After generating a random or chaotic CV pattern, use a quantizer to restrict the random voltages to a specific scale. This can produce harmonious, evolving melodies or chord progressions that still feel natural, even though they are randomly generated.
4. Feedback Loops for Rich Textures
Feedback in filters and delays: Feedback is key to creating rich textures. Patch an audio signal (e.g., an oscillator or noise) through a filter with feedback. Gradually turn up the feedback so it creates a deep, self-oscillating sound, then use an LFO or envelope to modulate the feedback amount slowly over time. This creates an organic, evolving sound.
Delay/Reverb feedback: You can also introduce delays or reverb with feedback into your patch. These effects naturally create evolving textures, especially when they are modulated slowly. Use an LFO to modulate the delay time, feedback, or wet/dry mix for slow, evolving echoes.
5. Complex Envelopes for Slow Movement
Slow envelopes: Instead of traditional ADSR envelopes for percussive hits, use slow envelopes that open up over a long time, for example, with very slow attack and release. These can control parameters like filter cutoff or the amplitude of a sound, allowing it to swell and fade slowly, creating a constantly evolving texture.
Multi-stage envelopes: Use complex envelopes like the Instruō Tsunami or a Multi-mode Envelope Generator to create gradual movement. These envelopes could control multiple parameters in your system, including filter cutoff, oscillator pitch, and modulation depth.
6. Noise and Grain Processing
Noise sources: Use noise as a texture element. White noise or pink noise can be filtered or processed with delay and reverb to create evolving atmospheres. Experiment with modulating the noise color and filtering it to produce interesting textures.
Granular synthesis: If you have a granular module (like Mutable Instruments Clouds or 2hp's Freeze), try using it to process static sounds (like noise or drones). Granular synthesis takes short segments of sound and plays them back in unpredictable ways, which can create slow, evolving soundscapes with a lot of rich textures.
7. Wavetable or FM Synthesis for Movement
Wavetable oscillators: If you have a wavetable oscillator (like the Intellijel Shapeshifter or Piston Honda), you can create slowly evolving timbres by modulating the wavetable position with an LFO or envelope. This is great for creating textures that gradually shift and change over time.
FM synthesis: Use FM (frequency modulation) synthesis, where the timbre slowly evolves as the modulation depth or carrier frequency changes over time. You can make complex, organic textures with this method, especially when combined with slow modulation.
8. Layering with Different Modules
Layering sounds: Create several layers of slowly evolving sound sources, each modulated by different LFOs, envelopes, or random sources. These could be different oscillators, noise sources, or even filtered feedback loops.
Phase and time shifting: Use phasing effects or time-based modulation to create deeper textures. For example, use two oscillators that are slightly detuned and modulate their phases to get a subtle, evolving sense of movement.
9. Using Filters Creatively
Filter sweeps: Instead of using filters for sharp cutoffs, use them slowly to gradually change the harmonic content of a sound over time. This can be especially effective with low-pass or band-pass filters. Slow, sweeping filter changes will keep the sound fresh and evolving.
Resonance: Increase the filter resonance gradually over time to emphasize certain harmonic content, turning a simple drone into something more interesting. Slowly adjust the resonance amount using an LFO or envelope.
A Simple Patch Example to Get You Started:
Oscillator A (low-frequency, maybe a sine wave or soft square) patched to a filter.
Use an LFO to modulate the filter cutoff slowly.
Patch a second oscillator (slightly detuned from the first) into the same filter, but with different modulation or another LFO controlling pitch.
Add noise as a texture source and filter it slowly, possibly with an envelope controlling the filter resonance.
Route the Rungler to modulate some parameters randomly—perhaps the filter cutoff, or the oscillator pitch.
Finally, patch the output to a reverb with feedback or use a delay with LFO-controlled parameters.
Final Thoughts:
The key to slow-evolving patches is subtlety and layering. You want to avoid sudden changes and focus on gradual, evolving movements. LFOs, feedback, slow envelopes, noise, and granular techniques will be your best tools for building rich, atmospheric textures.
Experiment with these techniques, and don’t be afraid to just let the system evolve—sometimes, leaving things to chance or feedback can lead to the most interesting results!

Can you give me some tips on how I might combine a module like Ian Fritz Hypster with the Benjolin to achieve the Blippo box kind of interaction?
The Blippo Box is a combination of the Benjolin and Hypster, which allows them to interact in creative and complex ways, creating glitchy, evolving, and percussive textures. Here's how you might combine these two to achieve something similar in your own modular setup:
1. Conceptual Overview
The Blippo Box utilizes the chaotic properties of the Benjolin (specifically the Rungler) and the Hypster's feedback, modulation, and wavetable-like shifting to generate complex textures and rhythmically evolving sounds. By combining both modules, you can create self-generating, unpredictable, and highly dynamic patches.
2. Patching Ideas for the Interaction
To recreate a Blippo Box-like interaction, you need to blend the chaos and randomness from the Benjolin with the wavetable shifting and feedback modulation of the Hypster.
Patch 1: Hypster as a Chaos Modulator for the Benjolin
Hypster for Feedback Modulation: Use Hypster's output to provide feedback modulation to the Benjolin. For example:
Patch Hypster's output (which will be a stepped, chaotic wave) into the Rungler input of the Benjolin. This adds an additional layer of chaotic control to the Rungler, making the random step values more dynamic and unpredictable.
You can also use Hypster's output to modulate the cutoff frequency of the Benjolin’s filter, introducing random variations in timbre that evolve over time.
Pitch Shifting with Hypster: Use Hypster's output to control the pitch of the Benjolin's oscillators, especially Oscillator A. Since Hypster's waves have an inherent wavetable-like quality, this creates evolving pitch shifts in the Benjolin, adding extra harmonic complexity.
Patch 2: Feedback Between the Two Modules
Benjolin as a Modulator for Hypster: The Benjolin’s oscillators or Rungler can modulate parameters on the Hypster to introduce chaotic feedback effects.
Use the Benjolin's outputs to modulate the Hypster's parameters, such as the waveform selection or modulation depth. This creates evolving textures that build on each other, making the whole patch more interactive and unpredictable.
Feedback Loops: Try creating a feedback loop between the two modules:
Patch Oscillator A from the Benjolin into the input of Hypster, which will process the signal and output a stepped, shifting waveform. Then, route Hypster's output into the Benjolin's filter or other parameters.
Adjusting feedback levels between the two can create a rich, dynamic, and chaotic interaction where each module influences the other's behavior over time.
Patch 3: Glitchy Percussion with Wavetable Shifts
Hypster for Percussive Texture: If you're looking to generate glitchy, percussive textures like the Blippo Box, route the Benjolin’s Rungler output to modulate Hypster’s parameters:
The Rungler output is a random CV source, and when it modulates Hypster’s waveforms, it creates shifting, glitchy sounds that evolve over time.
Use slow envelopes to modulate the filter cutoff or resonance of the Benjolin’s filter in response to Hypster’s evolving waveform, producing complex rhythmic textures that change gradually.
3. Creative Tips
Clock Division and Timing: Experiment with slowing down the clock that drives the Benjolin’s Rungler and Hypster's modulation. Use clock dividers or slow LFOs to slow down the modulation rate, creating an evolving, less rhythmic, and more atmospheric interaction.
Play with Feedback: The real magic of the Blippo Box comes from feedback. The Benjolin and Hypster both respond well to feedback routing. Start by patching simple feedback paths, and adjust the depth of the feedback to create interesting sonic textures that evolve over time. Too much feedback can result in chaotic oscillations, while moderate feedback will lead to slowly shifting textures.
Use Noise Sources: You can patch a noise source into the input of the Hypster for additional richness. This allows the feedback system to evolve and creates more unpredictability in the textures.
Filter Modulation: Apply modulation from both modules to control each other's filter settings—for example, use Hypster's stepped output to create rhythmic pulses and route them to modulate the Benjolin’s filter cutoff. This creates evolving tonal changes alongside the chaotic rhythms.
Example Patch Summary:
Hypster’s Output → Modulate Benjolin's Oscillator A pitch for evolving tonality.
Benjolin’s Rungler output → Control Hypster's modulation depth or waveform switching.
Oscillator A (Benjolin) → Feed into Hypster’s input for chaotic feedback.
Slow LFO → Modulate Benjolin's filter cutoff and Hypster’s waveform for evolving textures.
Create a feedback loop between the Benjolin and Hypster, modulating each other’s parameters over time.
By combining the randomness of the Benjolin with the waveform shifting of the Hypster, you’ll get evolving, glitchy, and atmospheric textures similar to the Blippo Box! Just remember that feedback and slow modulation are key to achieving those dynamic, organic changes.
That's all for now on the Benjolin. Stay tuned for more conversations with Chat GPT!
If you have some more (or new!) interest in Rob Hordijk, check out this video series with him explaining some of the modules in his system.
"Conversation with Chat GPT about the Benjolin, from Rob Hordijk."
Published 1-20-25 by Johno Wells
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