Mannequins W/2 Beta Testing

This post is a living document. It’s a precursor to more formal documentation for the new W/2 firmware. This is a wiki post, so you can edit it if you have questions, elaborations, or to point out mistakes etc. Your input is welcomed!

WARNING: Using this firmware will overwrite your existing recordings!!! (289.1 KB) 2021.03.05 (2) (288.1 KB) 2021.03.05 (287.9 KB) 2021.03.04 (287.6 KB) 2021.02.05 (285.3 KB) 2021.01.24b
update procedure

New scroll (printed manual) (710.0 KB) 2021.03.29

Crow 2.1.2 - update procedure


A Mannequins eurorack module, by Whimsical Raps

Version 2.0 has been rebuilt from the ground up, taking into consideration the many issues, complaints and requests from the first version, while trying to maintain the elements most loved by the community of users.

There are now three separate modalities for W/:

  • W/Tape - a simplified rendition of the original W/
  • W/Del - a vari-speed delay/looper with modulation
  • W/Syn - a polyphonic 2-op FM synthesizer with 4 voices

W/ will only run one of these at once, but you can switch at runtime. The settings are remembered across power cycles, and across mode changes.

Modes / Engines

You can jump between the 3 engines by entering the ‘launcher’

  • hold record + play + loop (in that order)
  • the lights above the toggle will fade in until they start flashing
  • now let go & the current engine will be displayed with a dim yellow light

Engine selection is displayed on the yellow lights with an animation mnemonic per mode.

  • loop: W/Del
  • play: W/Syn
  • record: W/Tape

To load a different engine

  • select a new engine with the corresponding button
  • the dim white light will follow your selection, indicating the last preset will be loaded
  • hold the down switch to load (the lights above will ‘charge up’)
  • OR, press up to escape without changing engine

Each engine has a single ‘preset’ to save your favourite settings. To save the current settings as the preset:

  • Open the launcher
  • Your current engine will be highlighted in yellow
  • The accompanying white light will throb indicating it is about to save
  • hold down to save.
  • OR, press up to return without saving
  • OR, tap your engine selection again to flip back to ‘load’ the last saved preset

If you want to return to the default settings (and lose your preset), you can do this from the launcher too:

  • Select the engine you want to load with default settings
  • Tap that engine’s button 3 times quickly
  • The white light will pulse rapidly indicating it is about to be cleared
  • Hold down to clear the preset and load default settings
  • OR, press up to return without clearing
  • OR, tap the engine button again to toggle between load / save

Clearing the Tape (W/Tape)

The audio tape from W/Tape can be completely erased via the launcher as well. Just ‘clear the preset’ with W/Tape selected (record button). There will be a momentary gap in sound, then you’ll be returned to W/Tape with a totally clean slate for recording.

  • Enter launcher (hold record + play + loop)
  • Tap record 3 times quickly
  • The white record light will pulse rapidly
  • Hold the toggle down to clear the tape

Alternate ii address

Each of the three Engines have their own dedicated ii address for digital communication. This means you can use multiple W/ modules on the same ii bus and communicate with them independently as long as they are in different engine.

If you have 2 modules, you may find yourself wanting to control them independently while running the same Engine. To do so, you need to set the ‘alternate address’ for the second W/ module:

  • Turn off your modular case
  • Hold Play+Down
  • Turn on your case

That’s it! There’s no visual confirmation, but you can simply send a command to know it’s working as desired. For those who haven’t used crow to talk to multiple copies of the same module, the syntax just adds an index after the module name. For example, if you set both modules to W/Syn engine, you could play the same note on both modules, but 2 octaves apart like so:

ii.wsyn[1].play_note( 0.0, 5.0 ) -- first device
ii.wsyn[2].play_note( 2.0, 5.0 ) -- second device plays octave up

If you want to return to the normal ii address (say you’ve moved the module to a new case), you do the same startup gesture but holding Up instead of Down:

  • Turn off your case
  • Hold Play+Up
  • Turn on your case

You can remember ‘Up’ as being similar to ‘canceling’ CV assignment or Engine selection - you’re canceling ‘alternate mode’. Conversely ‘Down’ is ‘confirmation’ in W/ speak.


this post is a Wiki. you can edit it if you’d like to add clarifications or questions


W/Tape takes the original W/ firmware and strips it back to the essentials. It’s designed to operate as a virtual tape deck with a long record time (~3 hours per tape), for capturing performances and sonic vignettes. Full vari-speed control, even while recording, allows histories to be manipulated in a performative style.

The static ‘cues’ of v1 have been removed, instead opting for a simple live-looping style. This change has drastically simplified the user interface, and makes it far easier to know “what’s going on” at a glance. (Some people really loved those cues, so we’re planning on a ‘vintage mode’ which will emulate the cue system.)

The tape is now a giant loop of audio. ~3 hours continuously rolling. There is no longer a ‘start’ or ‘end’ of the tape, just a giant blank canvas to layer upon. NB: 3 tapes (3 hours each) will be available with the 2.1 update.

Recording is continuously variable between overdub & overwrite (from the front panel), so you can layer additively, or have the past gradually fade away with each pass.


Playback is controlled with the ‘play’ button along with the toggle (‘up’ and ‘down’). Playback can be in either direction, with varying speeds, and nudged around manually.


Toggle playback

  • play: start/stop playback state (maintains speed & direction)

Change playback direction (works while stopped or playing)

  • down+play: activate playback in reverse direction
  • up+play: activate playback in forward direction

Change playback speed

  • play+up: increase playback speed (double)
  • play+down: decrease playback speed (halve)

Manual motion (stopped)

  • up: fast-forward, accelerating the longer you hold (up to 2x)
  • down: rewind, accelerating the longer you hold (up to 2x)

Manual motion (playing)

  • up: momentarily push speed faster (up a perfect fifth)
  • down: momentarily pull speed slower (down a perfect fourth)


The white play light indicates forward playback, pulsing relative to the playback speed
The yellow play light indicates reverse playback, pulsing relative to the playback speed


Recording is a simple toggle on/off, though the ‘style’ of that recording can be modified. Do this by holding ‘record’ and either up(overwrite) or down(overdub). The yellow light above record will indicate the style chosen. As the brightness increases, the ‘erase head’ is more active, clearing more and more of past recordings. The erase level will also be shown above the toggle while ‘record’ is held.


Toggle recording

  • record: enable/disable recording mode
  • play: start/stop the recording

Set recording style

  • record+up(hold): stronger erase head. set to max for overwrite
  • record+down(hold): less erase. set to min for overdub


The white record light indicates whether record is engaged.
The yellow record light indicates the amount to reduce previous recordings.


Looping is similar to many loop pedals and is oriented toward live usage. There are three states to looping: empty, capturing, playing. Press loop to set the start point and again to set the end point, automatically engaging the loop (and disabling recording). You can retrigger a playing loop to the start with a quick tap of loop. Cancel an active loop (or a capturing loop) by holding loop.

Looping is independent of Recording, so if you want to live-loop input, you’ll need to have record active when setting the loop. In order to enable cleanly capturing a loop of sound, record will be disabled when defining the end of the loop. If you want to layer sounds frippertronics-style, you’ll need to re-engage record after defining the loop end.

Loops can be scaled by holding loop and flicking up/down to double/halve the length of the loop. When dividing the loop in half, W/Tape will zoom into the half that contains the current playhead. Zooming out to a bigger loop will always push out the loop end.


Loop is empty

  • loop: set the start point of a new loop → capturing

Loop is capturing

  • loop: set the end point of the loop, and disable recording → playing
  • loop(hold): cancel the start point → empty

Loop is playing

  • loop: retrigger the start of the loop
  • loop(hold): clear the current loop → empty

*NB: If you don’t want recording to disable when you set the loop-end point, you can override it by attaching a CV to record.

Loop scaling

  • loop+up: double length of the loop
  • loop+down: halve length of the loop

NB: when scaling, if you release the toggle before the loop button, the loop will retrigger when releasing loop. If you don’t want to retrigger, release loop before releasing the toggle.


empty both lights are off
capturing the yellow light will pulsate
playing the lights will fade yellow to white (or vice versa if playback reverses)


In addition to the live performance controls listed above there are additional parameters for configuring the tape machine. These are accessed by ‘chording’ two buttons and modifying via the toggle (which will display the current value):

  • (loop+play) + (up/down): ‘Monitor’ level. Control the amount of signal at the IN jack to be passed to the OUT jack. Essentially a ‘dry’ level control
  • (play+record) + (up/down): ‘Record’ level. Sets the gain of the IN jack before being recorded to tape. Reduce it below unity to enable more layers of sound-on-sound before clipping, or increase it above unity if your sound source is too quiet (warning: the lights will not show how far above unity you are, but will be limited to 2x gain). REMOVED, CV control remains.
  • (loop+record) + (up/down): ‘Echo Mode’. see next section.

Echo Mode

In normal usage, it is customary to playback the tape after first erasing old material. This means that when ‘overwriting’ the tape, you won’t hear any (unrelated) sounds previously recorded over the tape. Indeed that is the desired behaviour when ‘recording over’ unwanted material.

In contrast, when setting up a tape loop or echo it is desired to hear the delayed sound before erasing & replacing it with new sound. To enable this feature, use Echo mode:

  • (hold loop+record) + (up/down): change head-order, displayed above the toggle. yellow(down) is standard tape deck, white(up) is echo mode.

Note that in ‘overdub’ mode, this setting has no impact, as the erase head is effectively disabled.

When the recording-style is between ‘overdub’ and ‘overwrite’ modes, Echo Mode determines whether the first echo is at the erase-head level (normal mode), or full volume (echo mode).


THIS and THAT can be freely assigned to any of 6 parameters by holding record while inserting the cable. Each input is assigned separately and have the same destination options. Choose the destination parameter by pressing the 3 buttons, then press down to confirm your choice. If you don’t want to change the assignment, just flick the toggle up to return.


  • yellow+white: allows clocked looping. Resets to the start of a playing loop.
    To record a loop, triggered by CV:
  1. Attach & assign your CV cable to loop
  2. Tap loop to ‘arm’ loop recording. It will flash like a regular loop press
  3. The first CV pulse after arming, sets the loop-start point (both loop lights will flash)
  4. The next CV pulse will set the loop-end point and start looping (and disable recording).
  5. Any subsequent CV pulses will reset to the start of the loop.


  • yellow: tape speed (additive). when stopped it’s fast-forward / rewind.
    when playing it adds to the current speed for vibrato and FM effects.
  • white: tape speed (exponential multiply). when stopped has no effect.
    when playing shifts the tape speed, where 1-volt-per-(double speed).
    pitch shift a recording like a melody by using a sequencer.


  • yellow+white: record level. At 0V no recording or erasing occurs. As the voltage fades up to 5V record level is increased to full, and the erase-strength reaches whatever the panel erase strength is set to.
    From 0V down into negative regions behaves the same as positive, except fades to the opposite erase-strength vs positive voltage. If your erase strength setting is set to overdub, negative voltages will approach overwrite.
    Use a 5V+ gate signal as a momentary record gate.


  • Monitor level. Adds the CV input to the monitor level setting. The volume control goes through-zero and up to 2x gain, so there’s plenty of creative things to do without even touching the tape. Send in negative values to invert the input signal, or positive values to add gain to a signal. It handles audiorate reasonably well for balanced-modulation of the dry signal. Can be a nice way to do double-duty if W/Tape is just acting as a backing track.


  • Input gain. Sets the gain level of the input signal before it enters the tape machine. Happens in parallel to monitor so they are independent of each other. Essentially a VCA right before the record head. When activated the ‘default’ level (0V) is zero gain, so attach a unipolar envelope to increase record level with CV, or a voltage offset to control the level directly.


W/Tape has an extensive ii implementation, allowing for many extended techniques not possible (nor practicable) via the front panel.

--- crow style ii interface
-- setters
record( is_recording ) -- set state of recording
play( is_playing ) -- set state of playback
reverse() -- reverse tape direction
speed( rate/num, (optional)denominator ) -- tape rate as a float, or fraction
freq( v8 ) -- set rate in terms of 1-volt-per-octave, where freq(0) == speed(1)
erase_strength( level ) -- when recording, sets the gain of old material. 0==overwrite
monitor_level( gain ) -- set the gain of the 'dry' path direct from IN to OUT
rec_level( gain ) -- set the gain of IN before sending to the tapedeck
echo_mode( active ) -- set to 1 for 'destructive looping' effects
loop_start() -- start a loop at the current tape location
loop_end() -- set the end point of the loop at the current tape location
loop_active( is_active ) -- activate the loop (can recover old loops)
loop_scale( scale ) -- multiply or divide loop size by scale. send 0 to reset.
loop_next( direction ) -- move loop brace forward/backward to adjacent tape. 0 jumps to start of the current section (ie retriggers)
timestamp( seconds ) -- move tape playback to an absolute location in seconds
seek( seconds ) -- move tape playback by seconds relative to the current location

-- getters
get('record') -> is_recording
get('play') -> is_playing
get('speed') -> rate
get('freq') -> v8
get('erase_strength') -> level
get('monitor_level') -> gain
get('rec_level') -> gain
get('echo_mode') -> is_active
get('loop_start') -> timestamp in S
get('loop_end') -> timestamp in S
get('loop_active') -> is_active
get('loop_scale') -> scale
get('timestamp') -> timestamp in S

Using a combination of local storage and the timestamp commands, your script can replicate the behaviour of the cue system.

loop_scale and loop_next can be used for dynamic rhythmic looping with nested slicing & playback of the tape.

speed and freq can be used to modulate tape speed in musical ways, especially useful for treating recordings as samples to be re-pitched. freq is an easy way to have musical relationships of tones, while speed makes poly-rhythmic playback or just-intoned harmonies possible through ratiometric speed setting.

In a pinch, you can use a stream of ii commands to add additional CV control over W/Tape. Parameters like rec_level which are not available as CV destinations on panel, can thus be added.


this post is a Wiki. you can edit it if you’d like to add clarifications or questions


Something between a tape echo and BBD delay. Delay length (at regular 1x speed) can be set from 4 seconds down to 1ms. You can (dramatically) reduce the speed to stretch the ‘4second’ loop up to 1 minute.



  • yellow: Mix
  • white: Freeze (toggle on/off)


  • yellow: filter frequency. controls lowpass filter in feedback loop.
  • white: modulation amount. positive is fast rate, negative is slow rate


  • yellow: rate
  • white: feedback

loop + play: tap-tempo, loop setting & max-time access

  • tap the toggle down repetitively to set a tap tempo
  • tap the toggle down then up to set a loop time directly (down is loop start, up is loop end)
  • hold the toggle down to release the current loop, enabling the maximum delay time
    nb: decrease ‘rate’ before setting very slow tap tempo or loops to enable times over 2seconds

play + record. zoom

  • recursively zoom into the delay buffer by factors of two. Works great with a long delay time.


THIS and THAT can be freely assigned to any of 10 parameters, by holding record while inserting the jack. Each input is assigned separately and have the same destination options. Choose the destination parameter by pressing the 3 buttons, then flick the toggle down to confirm your choice. If you don’t want to change the assignment, just flick the toggle up to return.


  • yellow: mix (-5,5)
  • white: freeze (momentary gate). Positive edges flip the panel state. Set panel to freeze, then gates will punch-in to the loop. Set panel to unfreeze, for CV control of inifinite sustain.
  • yellow + white: strike. trigger a pulse of noise into the delay line (for string & percussion synthesis)


  • yellow: lowpass (-5,5). Sets the filter frequency cutoff in the feedback loop. Best used with very high feedback levels (even 100%). With the shortest delay times, it sets the timbre of ‘string’ synthesis, while with long ‘loop’ times, it can be played to carve away the existing tape material.
  • white: modulation (-5,5). set the depth and speed of modulation. positive values use a fast vibrato speed, while negative values are slow sweeps. NB: modulation is linear, meaning the apparent depth will be greater at slower delay rates. Use it for chorus, vibrato, flanging or wow & flutter.


  • yellow: rate (v8) for repitching the delay line in a musical way. Sample the input with freeze then play it with a sequencer.
  • white: feedback (-5,5). -5V will have give a single repeat, while +5V (or above) will give infinite repeats for building sound-on-sound loops
  • yellow + white: TODO decay time. set the feedback level in a rate sensitive manner. useful for striking the delay line

loop + play

  • clock. lock the delay time to an incoming clock pulse. TODO tape-speed (panel control & cv) will multiply/divide this clock time. if the clock increases too far, W/Del will halve the buffer length to enable the faster speed. CURRENTLY: 4-clocks per 1-delay-time.

play + record

  • zoom. set the size of the delay buffer by dividing it in half, recursively. useful for multi-segment looping. positive values ‘zoom in’.


  • Pitch-relative decay time (ii & cv)
  • TODO When using a clock input, rate controls integer multiplication/division of the clock for time&pitch related shifts.


For now, see:

All the basics, but also ‘pluck’ for K-S style string synthesis.

Describe the different approaches for dealing with time/rate duality:

  • L/P/C + Freq for mlr style chopping
  • Time + Rate for fixed rythmic delays
  • Clock + Rate/Freq for synced things
  • Time(0) + Freq for K-S pitches

this post is a Wiki. you can edit it if you’d like to add clarifications or questions


2-op FM poly synth. Can be triggered with v8 & gate as a complete synth voice, or via i2c for full poly control.



  • yellow: LPG time. envelope time of the ‘vactrol’. down is slower, up is faster. (big range!)
  • white: LPG symmetry. skews shape of the ‘vactrol’. down is faster attack (and default is almost at the minimum). up is a big lazy ramp up.


  • yellow: FM envelope amount. Sets the amount of the amplitude envelope to control FM depth. works positive or negatively, and combines with FM Index
  • white: FM index. Sets the static amount of FM modulation. Can be positive or negative and combines with FM envelope amount.
  • Hint: works great with FM index & envelope set in opposing directions!


  • yellow: Ramp. Sets the tilt of the oscillator. This means Sawtooth->Triangle->Ramp for triangle waves, or PWM for square waves, or something softer than triangles over sine waves. Interacts with FM when moving away from the centre.
  • white: Curve. Sets the waveshape of the oscillator. Centre is triangle, down (negative) is squarewaves, up (positive) is sinewaves. You can sweep this parameter as a kind of ‘harmonics’ or control.

loop+play (white lights next to both)

  • FM ratio (numerator). Change the ratio of the FM modulator to carrier. Quantized to integers. Has the effect of adding overtones up the harmonic series. Flick toggle Up/Down to step through integers, lights above Loop indicate intensity.

play+record (white lights next to both)

  • FM ratio (denominator). Change the ratio of the FM modulator to carrier. Quantized to integers. Has the effect of adding undertones with the inverse harmonic series. Flick toggle Up/Down to step through integers, lights above Loop indicate intensity.


THIS and THAT can be freely assigned to any of 10 parameters, by holding record while inserting the jack. Each input is assigned separately and both have the same destination options. Choose the destination parameter with the buttons, then flick the toggle down to confirm your choice. If you don’t want to change the assignment, just flick the toggle up to return.

Note how the CV mappings follow the param modification pretty closely


  • yellow: envelope speed.
  • white: envelope symmetry. negative values make the attack sharper, positive values give long lazy swells
  • yellow+white: envelope gate. receives a gate signal to articulate a new note. pitch CV is only captured while this gate is high.


  • yellow: FM envelope amount. bipolar setting so it can counter-act the FM index amount. CV is added to the panel setting.
  • white: FM index. sets the static amount of frequency modulation. bipolar setting so it can counter-act the FM envelope amount. CV is added to the panel setting.


  • yellow: ramp. negative values create sawtooth waves, and positive create ramp waves. adds to the panel control. When curve is set to square it becomes PWM.
  • white: curve. sweep through the curve settings. 0V is triangle, negative values fade to pulse waves, and positive values to sinewaves.
  • yellow+white: pitch (v8). sets the pitch of notes triggered with envelope gate. 0V plays C3. once the gate goes low, pitch is ignored, so you can create polyphonic arpeggios by setting slow envelopes.


  • FM ratio (numerator). Change the ratio of the FM modulator to carrier. Quantized to integers. Has the effect of adding overtones up the harmonic series.


  • FM ratio (denominator). Change the ratio of the FM modulator to carrier. Quantized to integers. Has the effect of adding undertones with the inverse harmonic series.

NB: numerator & denominator control are highly interactive with each other, and dependent on FM index and/or FM envelope amount being non-zero.

IN jack

Similar to THIS and THAT, the IN jack is assignable to different parameters. As the jack is AC coupled you can’t send static CV values, but you can apply audiorate modulation, LFOs and envelopes etc.


  • yellow: Ramp modulation
  • white: Curve modulation


  • yellow+white: Trigger. Pings the LPG on the rising edge of the input. Works well with triggers from sequencers or LFOs. Will happily go into low audiorate territory which can be great with a really fast arpeggio controlling Pitch.

Full ii docs are to be added, but the patch function needs to be clarified (as the second argument is an enum that is not listed elsewhere):

ii.wsyn.patch(jack, routing) or W/S.PATCH jack routing, where:

  • jack is either 1 or 2, referring to THIS or THAT respectively
  • routing is an integer from 1 to 10 selecting the destination for CV received at the jack
    1 = ramp
    2 = curve
    3 = fm_env
    4 = fm_index
    5 = lpg_time
    6 = lpg_symmetry
    7 = gate (ie create a note at current pitch)
    8 = pitch (volt-per-octave, only affects notes while gate is high)
    9 = fm_ratio (numerator)
    10 = fm_ratio (denominator)

This functionality is primarily designed for automating synth ‘presets’ where you want to map continuous signals into different destinations.


Wonderful work. Enjoyed the live stream and your excitement was infectious. Time to dust off my sadly neglect width and breath new life into it.


Yes, stability has been addressed in a number of ways:

  • The SD card driver is re-written from the ground up for simplicity & performance
  • The startup routine is much more robust if your card takes a while to boot
  • Tape storage is now 16bit (was 24bit) for a substantial reduction in throughput (helps a lot with dropouts)
  • The ‘frozen card’ issue has been solved (i believe) when leaving the module untouched for an extended period
  • Smarter RAM-buffering of the card means dropouts are less likely
  • More RAM is devoted to buffering the card than previously.

And when things do go wrong (they eventually will as a card starts to die at some point in the next 20 years):

  • If the card fails to deliver data in time, it gives you silence (not the awful digital noise of v1)
  • The other 2 modes (del + syn) are still available.

The cards will degrade and potentially fail in time. I’d imagine a couple years of use out of a card at least. The most likely point of failure is if you set a loop in a single location and just record over and over. Similar to tape, it wears out, albeit less beautifully.

TODO lets make a Wiki post of good replacement cards. If you can find them, the best I found were 4 or 8GB cards, Class 10.


Sorry, this may be silly, but it was unclear to me if this meant holding down the button corresponding to the engine or holding the switch down. I figured out that it was the latter on my second try.

Looking forward to trying out my new module!


Does this mean the SD card needs to be reformatted to use the new firmware?

1 Like

The main reason for removing ‘cues’ was that, in practice, they were incredibly difficult to manage without a more full-featured UI. It was just unrealistic for them to be anything other than “oh here’s a thing i tried once”.

This update is trying really hard to keep each functionality focused and the UI as small and intuitive as possible.

No need as W/ doesn’t use a filesystem :cowboy_hat_face:

HOWEVER! Using the new firmware will OVERWRITE your old recordings!

It does mean however, you can just put any card in and it’ll run instantly with no configuration.


Guess I’m spending the next few hours “digitizing” my “tapes” :slight_smile:


I :heart: @Galapagoose + 20 characters


Just installed and played with W/Del and W/Syn for a few minutes. Wow. UX feels pretty graspable even in the short amount of time I had, and the sounds were great. Looking forward to testing further.


Cant wait to try this after dinner :slightly_smiling_face: the sounds earlier during MAPS were amazing


anyone else having trouble with the crow zip on osx? it’s showing as and saying it’s an unsupported format when I try to expand (I’ve tried a few other programs, no dice).

went to git to download the wtwo branch zip and ran into issues there as well (crow.bin was missing).


Yeah, seems as if its been taken down for some reason.

Deliriously excited about this—so happy to have what I thought was a busted w/ brought into a second life. Here’s a couple notes from my first sesh with it :slight_smile:

In synth mode:

  1. I was using a gate to trigger the LPG. If I pulled out the cable sending the gate signal when the gate was high the LPG would remain open. (If I pulled it out when it was low it would remain low as expected). With the LPG open and the synth droning, if I would plug the gate signal back in it would remain droning a bit longer even as gates are firing, although I could hear a bit of the LPG happening in the background. After a few triggers it would return to normal function. Not the biggest problem, but I assume it’s a bug since that’s not how the LPG metaphor would work.
  2. Does it “learn” v/8 sequences somehow…? if i take the sequence out it keeps playing some note changes…

In delay mode:

  1. I was getting some squeaky noisiness when the delay was active/unfrozen which would go away when I would freeze the buffer. Hard to tell over twitch, but it seemed like maybe you were experiencing some of this in the twitch stream Trent? Maybe some sort of aliasing? I didn’t experiment with different inputs, was just using a Mangrove through a DPLPG, nothing too loud or unusual.
  2. The “freeze” control is a bit unclear to me: is it a toggle “on/off” or is it fading between a frozen buffer and an active buffer? It sort of seemed like that was what was happening but I couldn’t figure out how that would work in my head…
  3. Was not able to get “loop + record” to toggle zooming. I was able to successfully CV control zoom, but whenever I touched “loop + record” whichever button I touched first would toggle between it’s two LEDs indicating its individual parameter options.

Really looking forward to checking out tape mode—it’s the one I’m most skeptical about because I love og w/ so much. Keeping one w/ in trad firmware for the time being :stuck_out_tongue_winking_eye: Definitely cues can be a bit of a bear, although I liked that the difficulty and frustration of it reminded me of working with tape :stuck_out_tongue:

EDIT: okay i was wrong, this update is great for tape mode too loool

PS I have a Teletype, don’t have either w/ hooked up to ii at the moment, but happy to change that if there ends up being teletype stuff to test! :slight_smile:


This looks great - will definitely update and report back

ps - the crow wiki link at the top post is not working

Here’s a couple of videos I put up on Instagram of the FM synth. It’s a joy with Cold Mac and Just Friends :slight_smile:


I only caught the first hour of the demo last night, but this look great. The change in the tape mode looks a little more intuitive, and far more immediate. The other modes sound interesting.

I do hope we get the new i2c commands on Teletype. Trents comments about the int size on TT versus Crow with respect to the timestamp command (large tape length will need large int) sounds like its worth discussion. Hopefully we can find some sort of workaround. What would be the addressable length of tape if we keep the same op, and the smaller int size?


Woah, this is way more than I was expecting. I love that you can change modes during runtime. W/synth and w/delay work as expected and sound great. I’m stumbling through using w/ tape mode at this point. Not totally sure what I did, but I hit a point where tapping the record button isn’t engaging record*. And looking at the this/that assignments under ‘record’ I only have the option of a ‘yellow+white’ functionality.

*edit: so it appears that record gain in adjustment affects the white record LED level. If your record gain is all the way down its not going to record anything, so I guess that makes sense.

In w/delay I think this is actually play+record.


is there a way to clear the entire tape in w/tape mode? (in the previous firmware this was holding down+rec on boot)