…Yes, yes, I realise I’ve written a lot about various MI modules and their use in synthetic sound design. I’ll probably write more too. Emilie Gillet has created some of the most useful and groundbreaking synthesizer modules to date, and I feel they deserve long-winded articles on my site at the very least! Anyway, onto Tides v2.

What Is It?

Tides v2 is, at its most basic, a voltage-controlled looping envelope generator with waveshaping. It’s not a new concept, having been very possible with even the earliest Serge systems from 1972, but the implementation is a new concept, and the V2 offers a TON of flexibility. If effectively has 36 modes of operation, but in practical use it has 4, just with 3 frequency ranges (low, medium, high) and 3 EG modes (AR, AD, cycling) each. You can think of it like a classical Serge Universal Slope Generator (USG) but with frequency and skew rather than rise and fall controls, as well as waveshaping.

The Four Modes

Tides v2 operates in 4 main modes: V1, scan, phase, and frequency. Each one offers different signals across the 4 outputs, which can vary based on the EG mode chosen.

V1 mode – This makes V2 operate like Tides V1, where the outputs from left to right are waveshaped, skewed, rise, and EoR (End of Rise). Waveshaped uses all 4 controls to shape the output, namely the Shape knob, which changes the basic shape by altering how fast it rises or falls and in what manner (exponential, logarithmic, linear, or sinusoidal), and the Smoothness knob, which either lowpasses and applies a Chebyshev waveshaper to the shaped waveform. It’s also attenuverted by the Shift/Level knob, which means you can use that as a ringmod with an external signal. The Skewed output ignores shape and smoothness, but uses Frequency and Slope, similar to an MS20’s LFO (or, MG, as it’s called on the MS20). This allows the waveform to go from saw through triangle to ramp at any given frequency. The rise output is high as long as Tides is in the rise stage, and the EoR outputs a trigger when the rise stage is complete, hence the name. In AD mode, you can patch the EoR output to the Trig input to make it cycle with a unipolar wave – normally it’s bipolar – just like the old Serge s (USGs). The Waveshaped signal is the one used for the next 3 modes.

Scan Mode – Scanner circuits are very useful yet peculiar things. They allow you to fade between multiple inputs with a common output or vice versa. Tides v2 does that in a very interesting way in that rotating from noon to clockwise will output the waveshaped signal on outputs 1, 2, 3, then 4, but if you go from noon to counterclockwise it goes 4, 3, 2, 1. This allows you to effectively “sequence” your modulation to different destinations using 1 cv/knob, or at audio rate, send the sound to different places. I’ll admit I mostly use MI Frames for this as it has more options, but in a pinch it’s handy. Can also be used for quadraphonic phase-offset audio modulation stuff when modulated with an external signal, which is neat.

Phase Mode – I use this one a LOT. Basically, it turns Tides v2 into a quadraphonic/quadrature LFO/VCO/EG, with waveshaping. The shift knob will rotate the phase of the 2-4 outputs by a set scaled amount up to 360° on the 4th output when cycling. When used as an EG, this gives different rise and fall times to each output, similar to the slope control works normally. You can use an external signal to modulate phase of the 3 outputs by the set scaled amounts, and at audio rate, effectively meaning that you have a stereo phase modulation waveshaping synth voice at your disposal, among other things. I’ll admit I don’t know the exact scaling used for the 2 and 3 outputs, I just know 2 is less than 3 which is less than 4, and it’s not a 50% reduction because output 3 can go past 180°. Might be thirds. Cool regardless. And it’s bipolar, so the 2-4 outputs can have negative phase as well, which is very rare.

Frequency Mode – This one is just like the phase mode, except it’s frequency being changed instead of phase. At audio rates it’s quantised to musical notes so you can’t do massive detuned sounds with it, but you can do different frequencies of LFOs, and at audio rate does chords when you mix them, and with EGs you get the same shape but at different frequencies, allowing for massive, undulating modulations.

Controls

I realise I’ve already touched on some of the controls above, but they’re worth going into more detail, plus there’s only 5.

Frequency – Thinking in terms of the classical Serge USG, this is like sending a voltage to the “both” input. Higher knob values increase frequency, and thus decrease rise/fall time, and vice versa. When oscillating/cycling, this makes a higher or lower pitched sound/higher or lower frequency LFO.

Shape – This can be thought of like a wavetable of shapes rather than the typical log/exp control found on many USG variants. Many of the shapes available are possible with an old Serge, but require complex switching systems to employ. While the panel graphics may show both rise and fall connected like an LFO, it holds true for envelopes as well, just with a hold in the middle for AR.

Slope – This works like the skew control on an MS-20 LFO, as mentioned above. It’s effectively like adjusting the rise and fall rates inversely but with 1 knob, and always keeping in line with frequency – something few function generators can do.

Smoothness – This is where you get your Chebyshev waveshaping from, but also lowpassing. From noon clockwise, you get waveshaping, but from noon counterclockwise, you get a lowpass filter applied. This allows not only for intricate, complex shapes, but also smoother modulation, and you can modulate this to simulate a west-coast wavefolder into an LPG.

Shift/Level – This changes per mode. In V1 mode, it’s an attenuverter, but with voltage control means it works like a ringmod. Can also give you inverted functions. In Scan mode, it works as the control/voltage for a scanner circuit, with noon clockwise going from 1 to 4, and from noon counterclockwise going from 4 to 1. This also allows for amplitude modulation. In Phase mode, it adjusts phase of outputs 2-4, which can be modulated for – you guessed it – phase modulation. In Frequency mode, it adjusts frequency of outputs 2-4 up or down from noon.

Patch Ideas

If you’re even a mildly experienced synthesist, you’re likely seeing the power of this module already. However, I’ll outline a few unique uses below.

Stereo waveshaping FM synth – in audio rate, cycling, phase mode, take the last 2 outputs, and modulate shift with an external oscillator. This will perform FM synthesis, effectively, but with 2 outputs with different phase shifts you get stereo. Add waveshaping (especially modulating Smoothness) and you’ve got yourself a powerful synth voice.

Ring-modulated modulation – We all know modulating modulation is fun, and that’s certainly true with Tides’ Shift parameter in V1 mode. Just modulate it with anything while in any mode (as long as it’s in V1 mode) and you’re set to ring mod/amp mod your 1st output!

Clocking – something I like doing is using Tides as a pitch-tracking oscillator (or chord generator) and an in-time LFO. Both of those are possible when you plug any oscillating signal into the Clock input. Frequency will multiply or divide up to 4x from noon, and every other control works as normal so you can get some wild stuff going on, all while keeping perfect time/pitch. Try this with the ringmod idea, or to create massive 8-oscillator chords with Plaits by clocking from the aux output!

Basic VCO – Everyone needs a basic oscillator in their rack. Thankfully, Tides can fill that role in V1 mode! Output 3 is always pulse-variable square (PWM via slope), output 2 is always triangle (but can be skewed to saw or ramp with Slope), and output 1 can be a sine or other weird waves. It handles 1v/o, exponential FM, linear FM, hard sync with the trig input, and LFO range. Why get an A-110?

Shift Modulator – Useful for other things as well, the ability to create a realistic “bouncing” modulator in the same vein as a sports car banging through gears and the clutch forces the engine to change revs is very useful… and easy with Tides. Just set it to be an LFO in V1 mode, high (but not max) slope, patch output 3 into an inverter then to smoothness with slight modulation from center. This will create a smooth rise with a short fall that bounces on the way down. Combine with a sequence (such as from Stages) in time with Tides to get a full gear shifting modulator.

Sequential Modulator – I’ve used this in a number of ambience patches to set off or modulate various events, or even use as sounds within the patch. Set it to be an LFO at any speed in Scan mode, and send the outputs wherever you need them, be it a mixer, VCA, effect, whatever. Modulate Shift through the full range with a smooth random source (like a Lorenz generator) to get modulation and/or sound to various locations at different times. As mentioned above, this is more useful with Frames/Plancks if you can get one. Should write an article on that too…

Complex Quad EG – Set up Tides to be an AR/AD envelope generator in Phase mode. Each trigger will have different rise/fall times for each output, which you can combine with an analog OR gate or use separately to modulate various parameters. Useful for drones like space ships and laser weapons as well as slower modulations like ocean waves or wind, especially if triggered with a clock such that Tides is working like a quad LFO with different rise/fall times per output.

Random Source – if you want a random modulation source that’s very different to anything else you’ve used, set it up as an LFO and modulate every parameter. It’ll shift in frequency, shape, and depending on mode, amplitude, phase, and more, creating both smooth transient voltages and fast, harsh ones.

How Can I Use It?

I’ve talked yet another reader into buying something, yay! The good news is Tides V2 is available for free in VCV Rack! This means you can use it not only within the VCV environment, but if you set things up correctly you can output Tides’ signals as MIDI CC for use with other plugins like samplers or external synths and effects. Modulation is a very powerful tool in any sound design, not just modular synthesis, so it’s good that VCV is able to bring it to the masses for free. Feel free to buy music made with VCV via the Switched On Rack Bandcamp, or buy VCV modules to show your support!

If you’re more into hardware like I am, I highly recommend buying an actual MI Tides v2 from a retailer. Mutable Instruments is leaving the Eurorack space within the next year or so, so it’s good to support now before you can’t. If you’re short on space or cash, I personally use Michigan Synth Works’ 8hp clone of Tides v2. I actually use several MSW MI clones, including Twist and Plancks, and can say the service is fantastic.

Enjoy!