Stochastic: An Inspiration Generator

Stochastic Instruments Ltd.

in association with

Rethink Random
 © Stochastic Instruments 2021, Stochastic Inspiration Generator User Manual v1.7

Installation and Safety

Stochastic uses the standard Eurorack power connector with the red edge of the ribbon cable
indicating -12V. Always ensure that the power is switched off before installing any unit into
your rack or connecting/disconnecting the power cable. Also ensure you do not touch any
electrical terminals when performing this process, and that your power supply is sufficiently
current rated to serve all the modules connected to your bus board (use modulargrid.net to
check this). Also ensure that you are statically discharged before installation, and avoid touching
the rear circuitry.

If using the Stochastic Expander Module (SEM), you must also ensure that the power is off while
connecting or disconnecting the expander to the main board. Hot-swapping Expanders can
damage Eurorack board: don’t risk it! The SEM attaches to the main unit with one 20 pin
ribbon (supplied). Take great care attaching these, again, with the power off. Please also note,
omsonic and SI Expanders are not inter-compatible: omsonic boards employ two small ribbon
connections and SI units use one large one so there is no way to cross-connect and thus no risk of
accidental damage.

Stochastic Instruments (SI) guarantees this product will be free of material defects and
construction faults for a period of one year from the date of purchase. Malfunctions resulting
from any misuse of the product, user modification of the circuitry, faceplate or firmware, the
application of incorrect power supply voltages or connection of the power cable, design faults of
third-party power cables or bus boards, or any other factors determined by SI to fall under the
definition of ‘user error’ are not covered by this guarantee. SI still undertakes to service units
under these conditions but at standard service rates. Your statutory rights are not affected.

For the period of the guarantee, defective units bought from new, whose fault is deemed by SI
not to be caused by ‘user error’ will be repaired or replaced, dependent upon presentation of
valid proof of purchase from SI by the first owner.

SI implies and accepts no responsibility for harm to the user, or damage to equipment caused
through any operation of this unit.

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Background
Since the first Moog and Buchla models of the mid 1960s, sequencers have only been able to run
linear series of steps in a loop, or address fixed steps in a random order. More modern Eurorack
sequencers have embraced probability to a point, but these only go so far as controlling if an
already fixed step in a linear sequence will fire. In September 2009, composer Phineas Head
(HeadCell) turned this backwards and asked: instead of fixing steps and randomising
progression, what if we fixed notes and probabilized selection?

By 2010 he had analogue circuit sketches but in the pre-boom Eurorack world affordable small
scale PCB manufacture was not viable so it got shelved. By 2014 a functional MIDI version coded
in Python existed, with a Doepfer Drehbank inputting control, and this worked extremely well.
It was tested at the UK’s prestigious dBs Music teaching institute, and used in some live work,
but was again beyond what was feasibly manufacturable at the time as an integrated hardware
unit.

A decade after its initial conception, modern prototyping technology allowed Eurorack
manufacturer omsonic to collaborate with dBs Music’s Modular Research Group to create an
initial run of SIGs. When demand subsequently exceeded omsonic’s manufacturing capacity,
Stochastic Instruments was formed. The Stochastic Inspiration Generator is its maiden product.

What is Stochastic?
A stochastic process (/stəˈkastɪk/ from the Greek στό χος for ‘aim’ or ‘guess’) is one governed by
controlled amounts of randomness. It’s important then to differentiate Stochastic from other
kinds of module: Stochastic is…

● not a traditional sequencer — it doesn’t repeat itself (unless you tell it to!)
● not a step sequencer with probability — you don’t program fixed steps that just vary
● not a pure random source — you can control what it will do (within limits)
● not a chaotic source — identical initial conditions don’t produce identical output

Instead, Stochastic is an Inspiration Generator: it responds to your probabilistic musical

direction but you don’t play ‘on’ it: you duet with it by starting with the fundamental musical
building blocks and controlling how likely different note, duration, octave and transition events
will be.

“The role of the composer is to prepare the elements

which will permit the situation to become complex.”
(John Cage, For the Birds: Sixth Interview)

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Overview
Congratulations on purchasing the Stochastic Instruments
Stochastic Inspiration Generator!

With proper care, this unit will give you years of trouble-free aleatoricism.

Every event Stochastic generates has its note, octave, duration, onset, offset, portamento and
ratchet conditions set by probability controls: you exert as much or as little control over what
happens as you wish. This could be anything: from simple (set C, E, G and 1/16 to 100% for a
random arpeggiator), to complex (full 12-tone aleatoricism with 32640 possible outcomes for
each new event) to highly tonal, melodic and performable (stepwise melody in C Natural Minor
and real-time performable control over Looping and each note’s octave and level).

Stochastic leverages tonal harmony by exploiting the statistical hierarchy of pitches: in any key
some notes turn up a lot, some not so much, some not at all. Being ‘in’ C Major means having lots
of Cs, Gs and Es, a few Fs, some Ds, As and Bs, but no C#s, D#s, F#s, G#s, A#s. A graph of the
counts of each note in a piece in C Major would therefore look a lot like this:

Set Stochastic’s note probabilities accordingly and it runs that logic in reverse by spontaneously
jamming in C Major! Shift the probabilities and morph the tonality, key or mode they define into
new tonal landscapes. Probablise both the overall octave range over which it improvises (to
define register), and the fixed octave and volume offsets of each note (to define harmony). Bass
notes provide root and inversion, so you can imply a change of C Root to C 1 st Inversion by
initially dropping only the Cs by 2 octaves and then only the Es, all in live performance. You can
even set the likelihood that melodies will be more stepwise or more angular: Stochastic thinks in
music theory: it knows the melodic and rhythmic parameters that shape a line and cut a groove.

Stochastic can control rhythm by setting the likelihood of different rhythmic values from an 8
bar drone to constant 1/16 pulses, and also probablise up to 16 different note articulations. And if
Stochastic strikes melody gold, capture your loop, set its start and end point and loop it,
forwards or backwards, fully performably. Capture, edit and mangle, live, on the fly.

Finally, Stochastic can generate full 4 part probabilistic counterpoint with the additional 4hp
Expander module, sold separately.

Fully set across its 4 channels, after just 18 clocks, the possible range of material Stochastic
could produce would exceed 3.85x1086, 10000 times the number of atoms in the universe. Boom.

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Operation Guide
Primary Functions
Stochastic’s basic operation is very easy to grasp yet permits unlimited musical variations. Each
event it generates is the combination of several probabilized parameters, and is indicated by a
combination of 3 state LEDs lighting to show the Note, Octave and Duration of that event.

Tempo / Clock
Stochastic’s internal clock runs 32–255bpm via the Tempo control. It can also be controlled by
an external clock to ClkIn. ClkOut outputs constant 5ms 5v triggers in 1/16 notes while in Run
mode for both IntClk & ExtClk. ‘TrEG ^’ outputs can be Trigs or Envelope functions hence
TrEGs

Run Status External Clock Action

Stopped Absent Switches to IntClk after 0.5sec*, waits for Run
Stopped Present Switches to ExtClk*,waits for Run
Running with ExtClk Stops Waits for next ExtClk indefinitely
Running with IntClk Starts Ignores, continues with IntClk until Stopped
*
Stochastic can only switch clock when stopped. To detect and switch to ExtClk, clocks must occur at >2Hz (0.5sec =
1
/16 @ 30bpm). Slower clocks whilst stopped are not detectable so it will remain in IntClk mode. For slower ExtClks,
multiply it whilst stopped and then divide it once in Run. There is no clock limit in Run: Stochastic will just wait for
the next one indefinitely. If you stop, immediately remove the cable and press Run for IntClk in under 0.5sec, it
remains in ExtClk mode and appears to freeze. Simply stop, wait 0.5sec and Run again to switch to IntClk operation.

Note Probability
Note Probability is controlled by the 12 linear sliders arranged as a musical
keyboard. The higher the slider, the greater the probability the next note will be
the one designated. Pulling a slider fully back means that note will never be
selected. Very low probabilities also affect whether a TrEG is sent (Automatic
Density, below). Note output comes from the CVout jack, scaled to 1v/oct,
ranging 0–7v and held constant until the next note is fired. See Appendix 3 for
typical scale key probabilities.

Octave Probability
Octave Probability is controlled by the horizontal row of 5 rotary pots marked -2,
-1, 0, 1, 2. The more clockwise the pot, the greater the probability the next note,
whatever it is, will be shifted up ( + ), or down ( - ) by 1 or 2 octaves, or remain
central (0). In musical terms this is 15mb/32’, 8vb/16’, loco/8’, 8va/4’, 15ma/2’.

Duration Probability
Duration Probability is controlled by the vertical row of 6 rotary pots marked
with note divisions. The further clockwise the pot, the greater the probability the
next step will last for that duration. When a step fires Stochastic sends a trigger
or envelope from TrEG^ out.

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Run & Initial State

Run toggles between Stop (LED off), StandBy, and Play (solid). On power up, Stochastic reads
all the control positions but will only Play when Run is pressed if at least one note probability is
greater than zero. It makes no sense for Stochastic to play if no notes are selected. With all Note
faders at 0 and Run pressed, Stochastic is in Standby.

To Initialise, longhold Run-then-Loop. This zeros all notes, octaves, durations,

loops and 2ry/3ry functions, and sets Octave and Duration defaults (0 and 1/16).
After Initialisation, Stochastic is in StandBy. As soon as you nudge a slider
Stochastic Play will start in 1/16 notes. This is closest to ‘default’ sequencer
behaviour and the quickest way to reset and get started.

Control Sensing
Stochastic only senses control changes when Running so to ‘drop in’ with a complex
randomisation press Run with all notes down, set your durations, octaves and Secondary /
Tertiary (see below) functions and bring up the notes last: Stochastic will then begin to play
with all your randomisations. Stochastic retains all settings between Primary, Secondary and
Tertiary modes even though they use the same pots/sliders. New values are updated when
returning to a previous mode when a control is nudged. Stochastic is about compositional
spontaneity but can still save all settings past power down (see p24).

Default Octave and Duration

Octave and Duration controls work relative to the default of 0 Octave and 1/16 notes, so on
Initialise, every event initially generated has these values. Raising other Octave/Duration
probabilities means these become more likely but the default may still fire—just less often. To
completely defeat the default (e.g 1/16 ) with an alternative (e.g ⅛ ) turn it up to 100%. Think of
the pots representing their ‘share’ of the probability but the default initialises at 100%. Raising
other pots distributes the share around proportionally so raising ⅛ to 50% shares it 50:50 with
the default. Then, raising ½ to 25% shares it 25:50:25 and further raising it to 50% removes
default 1/16 altogether (0:50:50). Manually raising the default treats it like any other alternative.

Pauses / Rests
A rest occurs when the selected duration lasts without TrEG firing. Rests happen in two ways.

Automatic Density uses the note slider positions to infer note density. With all sliders at zero
raising C slightly tells Stochastic you only want some Cs: a mixture of notes and rests. Raise C to
maximum, you will get constant Cs with no rests. No matter how many notes you select, if they
all have low probabilities, notes will be interspersed with rests. Higher probabilities result in
fewer, and eventually no rests ( = more, and eventually constant notes).

Pause (Run+Octave 0) sets the global probability of a pause / rest and overrides everything: if
Pause is set non-zero, when it is randomly selected TrEG^ will not fire. At 100% Pause,
Stochastic will be ‘silent running’ but is still selecting notes and outputting CV so you have a
different behaviour to explore (by manually opening the VCF, say) than merely Stop.

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Looping
Stochastic can loop phrases like a traditional sequencer. However, unlike a traditional
sequencer, Stochastic itself generates the music hence you don’t pre-plan what is going to
happen from a starting note forwards: you ‘grab’ a loop after hearing the final note which
completes a musically useful generative phrase! This way of conceptualising composition comes
quickly with practice.

Quick-hold-Loop-then-Run captures the last 18 events into Stochastic’s Loop Buffer. To

edit the Loop, Loop + Tempo sets Loop Start, Loop + 1/16 sets Loop End. Octave and Note
LEDs light to represent looped events and Longhold Loop latches Loop Edit for single handed
manipulation (Loop and Run flash). Press Loop again to exit latch: you can re-enter Loop Edit at
any time. Setting Loop End before Start plays the loop in reverse: LEDs flash instead of light
solid. Single press Loop toggles between Loop Play and normal Stochastic Play.

Loop-then-Run captures a new loop of stochastic events on the fly, whatever the
current Play mode, to the current Loop Length/Start/End points. In Stochastic
Play randomisation continues after capture: press Loop to hear the captured
loop. In Loop Play, the new loop plays immediately on capture. Default Loop
Length is 4 events so Loops can be captured without even setting the Start/End
points. However, you must capture before you can edit Loop Start/End.

Events themselves are held as captured, so their parameters (e.g. Octave) are not editable.

Loop event numbering can be thought of ...or forward from the First event in
as running back from the last event before the Loop buffer, 18 notes ago:
Loop capture... whichever makes
more sense to you!

Forward Loop:
(Octave 0, +1, +2 and
1
/16 LEDs light solid)

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Reverse Loop:
(Octave 0, +1, +2 and 1/16 LEDs flash)
Example: suppose Stochastic generates an 8-note phrase you want to loop and
manipulate

1. Quickly hold Loop-then-Run to capture the last 18 notes in memory. Stochastic

continues playing as normal but Loop flashes to confirm the last 18 notes were
captured.

2. Longhold Loop to enter Loop Edit: the default Loop Length of 4 LEDs displays. Turn
Tempo fully clockwise: all LEDs switch off except 1/16 indicating the most recent ‘right
most’ Loop End event.

3. Turn Tempo anticlockwise to wipe back through the loop, right to left, from the last note
back to the first (oldest) Loop Start note. Octave and Note LEDs light in turn indicating
each previous event in the loop. All LEDs lit show the maximum 18 event Loop.

4. We want an 8 note loop: turn Tempo so 8 LEDs light from 1/16 back to A#.

5. Turn 1/16 to change the Loop End position: the 8 LEDs now shrink backwards. This is
useful if you weren’t quick enough to catch the loop in performance, but also acts as a
powerful performance feature to live ‘play’ your loop in Loop Play.

6. Short press Loop exits Loop Edit.

7. Short press Loop again to toggle between Loop and Stochastic Play.

8. In Loop Play, live edit Start/Stop to chop and reverse the loop

9. Start/End and Force Barline (see below) interact very musically with the Loop, varying
its rhythm but not notes, to provide 54,560 live-performable variations on your loop.

○ A Loop’s implied time signature depends on the sum of all its durations: a 4
event loop is not necessarily in 4/4.

10. Hold Run+Tempo / Run+1/16 (or longhold Run to Latch) ForceBarline Edit and live
remix the rhythm of your Loop in LoopPlay (see below).

○ Achieve ‘beat repeat’ effects by using 1/2, 1/4, 1/8, 1/16

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Secondary Functions: Scale/Pitch Functions with Loop

To access Secondary Functions hold or latch Loop and edit controls.

Individual Note Octaves (Notes + Loop)

Holding Loop and changing a note slider transposes only that note by +/- 2 octaves
(see gold -2, -1, 0, 1, 2 left of the sliders). This is useful to imply harmonisation since lower notes
carry greater harmonic weight. E.g. With all white notes up Stochastic is ‘in’ C Ionian (=Major)
simply because C is the lowest note on the panel. Dropping D an octave changes the harmonic
implication to D Dorian; dropping E would imply E Phrygian and so on. This is great for ‘playing’
Stochastic, reharmonizing its riffs with different bass notes. Remember that a fixed -2 on a note
could still be ‘canceled out’ by a probabilised +2 Octave but on average will be -2 Octaves low.

Dotted/Extended Durations (Durations + Loop)

1
/1 6 Not used for duration (see Loop: Loop End Point)
⅛ → dotted ⅛ = 3/16 Achieve
triplets by using dotted notes as
¼ → dotted ¼ = 6/16 straight eg. use
dotted ⅛ (Loop+⅛) as straight
½ → dotted ½ = 12/16 ⅛ and straight 1/16 will sound
as triplets.
1 → 4 whole notes = 64/16
2 → 8 whole notes = 128/16

Ascend (Octave-2 + Loop)

Progressively skews Note probabilities so each event is more likely to be higher
in pitch than the one that precedes it, causing the overall melodic contour to rise.

Descend (Octave-1 + Loop)

Progressively skews Note probabilities so each event is more likely to be lower
in pitch than the one that precedes it, causing the overall melodic contour to fall.

Portamento (Octave 303 + Loop)

Controls the probability that notes glide from the last pitch rather than step. CVOut ramps from
its current value over the initial half of the new note, modelled on the classic TB303 slide.

Repeat (Octave+1 +Loop)

Controls the probability that the last event will repeat in all of its probabilistic aspects. 100%
Repeat will ‘freeze’ on the note and 50–75% will ‘cluster’ durations, like live human players
play.

Linearity (Octave+2 +Loop)

Progressively morphs Note probabilities so successive notes are closer in pitch. Without
Linearity note events are independent. Partial Linearity clusters them within octaves but still

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permits octave leaps. Maximum Linearity forces completely stepwise motion: no octave leaps
occur but the melodic contour can still traverse through octaves, in stepwise motion.

Tertiary Functions: TrEGger/Timing Functions with Run

To access Tertiary Functions, hold or latch Run and edit controls.

Force Barline (Tempo + Run | 1/16 + Run)

Force Barline Mode forces a new event to occur after a given Time Signature’s
worth of clocks. Holding Run and turning Tempo will light 0 to 16 lights, left to right, bottom to
top, across notes and then octaves. No lights is the default Free Run Mode, ranging up to 16
lights (the 5 octaves and 12 notes) and sets the note count (Time Signature top number). Run +
1
/16 sets the beat type (Time Sig bottom number) indicated by the respective duration. 4/4
would thus be Note LEDs lit to D# (4 top: 4 notes) and Duration LEDs lit at ¼ (4 bottom); 14/8
would be Notes and Octaves lit across all the notes and up to -1 Octave, duration at ⅛; and 3/2
Notes to D, duration at ½.

In Free Run Mode each new event will last its entire duration. This fluidity is part and parcel of
Stochastic’s character and perfectly compatible with both ‘standard’ and more experimental
music, particularly if accompanied by a regular drum pattern. However, some genres consider a
regular downbeat more of a necessity than others. If Stochastic randomised a 1/16 as its first
event on Run, followed by a series of whole notes, it would now effectively be displaced one 1/16
ahead of the beat, not ideal for EDM with a heavy kick on every 4/4 downbeat:
Bars |_______________|_______________|_______________|__ etc
Clk ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ etc
TrEG^ out ||_______________|_______________|_______________|__ etc

Force Barline Mode makes Stochastic re-randomise after a given number of clocks. If we
selected Force Barline at 4/4 (= 16x 1/16 clocks), it will cut short any event which runs over the
bar, and will force a new event to fire to imply the barline e.g.
Bars |_______________|_______________|_______________|__ etc
Clk ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ etc
ForceBar ^ ^ ^ ^ etc
TrEG^ out ||______________|_______________|_______________|__ etc

The first 1/16 still fires as does the following whole note ( 16/16) except Force Barline cuts it short
so it only actually lasts 15/16 . The new event is thus heard as the downbeat of the next bar.
Longhold Run displays current Time Sig and latches you in Barline Edit until you press Run
again, permitting one-handed manipulation useful in Loop Play. Time Sigs are also independent
per Expander track for your PolyMetric pleasure. Appendix 1 shows common examples.

Force Barline with Loop: Loops are n events not n clocks long so a 4 event Loop of 3/16 ¼ ½ ⅛
is 17/16 and wouldn't fit in 4/4. Force Barline forces individual events to the bar so manipulating
it live in Loop Play with Loop Length offers incredible scope for loop manipulation. Force
Barlines to 1/4, 1/8, and 1/16 for Beat Repeat: notes remain fixed but their rhythms change!!

Force Barline can also be triggered ad hoc using a TRS mini-jack for ExtClk with ClkIn>TIP and
ForceBarline>RNG. Any trig received on RNG forces a new event, permitting free external
control over time signature with a standard stereo-to-mono-left/mono-right minijack Y-splitter.
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Individual Note Volumes (Notes + Run)

Holding Run and changing a note slider sets the voltage level of the TrEG^s for
only that note, permitting accents on specific notes. Response is linear.

Irregular Durations (Durations + Run)

Prime number durations sound irregular in Free Run Mode and syncopated in
Force Barline.

1
/16 Not used for duration (see Force Barline: Time Signature Division)
⅛ → 5/16 = ¼ + 1/16 note
¼ → 7/16 = double dotted ¼ note
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½ → /16 = ½ + dotted ⅛ note
1 → 13/16 = dotted ½ + 1/16 note
2 → 15/16 = dotted ½ + dotted ⅛ note

Attack (Octave-2 + Run)

Controls the probability that the next note event will have a
slow attack. TrEG^ ramps up from 0v over the event, automatically scaled to
duration. If this opens a VCF/VCA and the note sounds late, add DC offset or open
the VCF/VCA slightly.

Decay (Octave-1 + Run)

Controls the probability that the next note event will have a slow decay.
TrEG^ ramps down to 0v over the event, automatically scaled to duration.

Pause (Octave 0 + Run)

Controls the probability that the next note event will be a rest (i.e. no TrEG^ will fire). This is
useful to insert rests that override high note probabilities. Pitch CV will still be randomised.

Ratchet (Octave+1 + Run)

Controls the probability that the next event will fire repeated 1/16 notes over its duration. e.g. a
¼ note fires 4x 1/16 notes at the same pitch, a dotted ⅛ fires 3x 1/16 notes. Go Berlin School!

Legato (Octave+2 + Run)

Controls the probability that the next TrEG^ will be a constant 5v rather than a trigger.

Attack/Decay/Ratchet/Legato combine multiply and independently to provide 16

complex articulations if all 4 controls are dialed in (Appendix 2, p20). Pause overrides
all.

We have designed in maximal versatility: TrEG^ will trigger ‘digital trig’ modules (with an on/off response
to Triggers/Ratchet), ‘analogue trig’ modules (vactrol LPGs that respond to Trigger voltage with A/D/L
contoured Ratchets) and ‘CV in’ modules (VCAs/VCFs with the full range of A/D/R/L functions). This is
why we often refer to TrEGs rather than trigs. The raw Triggers themselves are actually 125ms linear
A/D envelopes so Stochastic can mimic LPG functionality with VCAs/VCFs (see Specifications). If you
need shorter square triggers, just externally trigger process the TrEG^ output.
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Expander
NEVER HOT-SWAP EURORACK EXPANDERS!
Stochastic is a completely new concept in sequencing so we’ve worked hard to cram maximum
functionality into the minimum ergonomically performable footprint, for the lowest price. We
want you to retain as much space in your rack (and wallet!) for other devices that play nicely
with it. Equally, you expect multiple tracks from sequencing hardware which unavoidably
increases price and footprint. We believe users should not be bound to large footprint/high cost
units just to incorporate new concepts into their rig, so to balance these competing concerns,
we’ve included the option to achieve full 4–track probabilistic counterpoint by adding the low-
cost 4hp Stochastic Expander Module (SEM).

The SEM adds 3 further independent tracks, for a total of 4 tracks with the main unit. Tracks are
selected for editing with the Track Select buttons on the expander.

Adding Tracks with Track Select

Tracks B, C and D can be ‘overdubbed’ at any time whilst running by simply pressing the new
Track Select button. Stochastic switches to the new track while continuing to play any existing
tracks. On the first press, the new track will be selected but Muted and in Standby (default
Octave 0 and 1/16 Duration are set, with no notes pre-selected). Set the track’s notes, octaves,
durations and 2ry/3ry parameters as desired and then press the track select again to unmute.

Confirm the track is playing by checking the corresponding TrEG^ LED. Tracks run to the
common Clk but their settings, including Loop and Time Signature, are fully independent.

Full Initialise (Run+Loop) vs Track Initialise (Run+Loop+TrackSelect)

With SEM connected longhold Run-then-Loop Initialises all tracks but to initialise single track,
longhold Run-then-Loop-then-TrackSelect. On power up, Tracks B, C, and D are initialised.

Mute: Toggle Track Select

Press TrackSelect to toggle Mute Track. No TrEG^ will fire on the track until unmuted.
Pressing Track Select before pressing Run can make the track or unit appear to be
unresponsive, but it’s merely Muted: repress and press Run. Red TrEG^ LEDs indicate track
mute status.

Copy Track
Hold SourceTrack-then-DestinationTrack to Copy: e.g. hold A-then-B copies Track A to B. If
source track is empty, nothing happens. Tracks run in Sync but have independent TimeSigs and
downbeats so you can perform your drop-ins and create 4 Track PolyMetric madness.

Track Indicators
Orange Track Select buttons are blank if the track is empty, flash if programmed but unselected,
and light solid if selected for editing. Again, check red TrigOut LEDs indicate for mute status.

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Function Summary
Secondary Function Tertiary Function
Primary Function
(+Loop) (+Run)

Run Initialise All Toggle Run

LED Off: Stopped (longhold Run then Loop: all LEDs light) Press to toggle Stop or Standby/Run
LED Solid: Running Initialises pr() on all Tracks to default Longhold Latches Force Barline Edit

Loop Toggle Loop Capture Loop

LED Off: Loop empty Press to toggle Loop or Stochastic Play (quick hold Loop then quick press Run while
LED Flash: Loop loaded/Stochastic Play Longhold Latches Loop Edit Running) Overwrites existing Loop with new
LED Solid: Loop Play (press Loop again to exit) stochastic material

Tempo Set Loop Start Point Force Barline Beats e.g 7/4
Internal tempo 32–255 bpm

1
/16 note Set Loop End Point Force Barline Div e.g 7/4
D
5
u 2
/16 = ⅛ note 3
/16 = dotted ⅛ note /16 = ¼ + 1/16 note
r
a 4
/16 = ¼ note 6
/16 = ⅜ = dotted ¼ note 7
/16 = double dot ¼ note
t
11
i 8
/16 = ½ note 12
/16 = ¾ = dotted ½ note /16 = ½ + dot ⅛ note
o
n 16
/16 = 1 whole note 64
/16 = 4 whole notes 13
/16 = dot ½ + 1/16 note
s
15
32
/16 = 2 whole notes 128
/16 = 8 whole notes /16 = dot ½ + dot ⅛ note
N
o Individual Individual Individual
t Note Octaves Note Volumes
e Note Probabilities
s Set fixed octave offset per note Set fixed TrEG^ voltage per note

-2 Octave Ascend Attack

32’ / 15mb Increases pr(next note higher than last) Sets pr(ramp up EG)

-1 Octave Descend Decay

O 16’ / 8vb Increases pr(next note higher than last) Sets pr(ramp down EG)
ct
a 0 Octave Portamento Pause
v 8’ / loco Sets pr(next note glides from last) Sets pr(noTrEG^) = rest
e
s +1 Octave Repeat Ratchet
4’ / 8va Sets pr(next note repeats last) Sets pr(ratchet TrEG^)

+2 Octave Linearity Legato

2’ / 15ma Increases pr(next note close to last) Sets pr(constant 5v sustain EG)

E
Track Select / Mute
First press selects Track for editing
X Subsequent presses toggle mute Initialise Selected Track Only
pa Hold X then Y copies X to Y (longhold Run then Loop then Track Select)
n Initialises all pr() on selected Track to default
de LED Off: Unselected & empty (default) Track light goes out
r LED Flash:Unselected but populated
LED Solid: Track selected

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Function Index
Ascend: raises the melody on average, p8
Attack: ramps the note volume in, p10
Automatic Density: triggers firing or not based on note fader level, p6
Decay: ramps the note volume out, p10
Demand Mode: each Clock In forces a new randomization, p9
Descend: lowers the melody on average, p8
Durations: note lengths, p5
Expander: adds 3 more Tracks, p11
External Clock: ranges arbitrary length - low audio, p5
Envelope Functions: Attack, Decay, Ratchet, Pause, Linearity, p10
Free Run Mode: successive durations may tie over barlines, p9
Force Barline Mode: a new randomisation always occurs on the barline, p9
Individual Note Octaves: set +/- 2 octave offset of only specific notes, p8
Individual Note Volumes: set TrEG^ level of only specific notes, p10
Initialise: Zeros all settings to defaults, p7
Internal Clock: ranges 32-255bpm controlled by Tempo, p5
Legato: makes the notes at full volume for its duration, p10
Linearity: makes the next note closer to the last, p8
Loop: Loops a range of up to 18 previously generated events, p7
Loop Play: played events fixed and looped , p7
Melodic Functions: Ascend, Descend, Portamento, Repeat, Linearity, p8
Memory Store: Stores complete state to memory for recall after power cycle, p24
Mute: mutes one track only, p11
Notes: note pitches, p5
Octaves: note octaves, p5
Pause: rests for the selected duration, p6, p10
Portamento: slews from one note to the next, p8
Pseudo-Tracks: see p16
Ratchet: pulses the note at 1/16 for its duration, p10
Repeat: repeats the last note, p8
Rest see ‘Pause’: rests for the selected duration, p6, p10
Run: starts/stops playing, p6
Secondary Functions: Ascend, Descend, Portamento, Repeat, Linearity, p8
Stochastic Play: played events selected stochastically, p6
Tempo: controls the internal clock, p6
Tertiary Functions: Attack, Decay, Ratchet, Pause, Linearity, p10
Track: 4 available independant tracks with the optional Expander, p11
TrEG: combined Trigger/Envelope Generator output, see p5, 11 & 20
Triplets: see p9
Tuplets: see p17

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Example Tutorial
1. Connect Stochastic’s CVOut to VCO v/Oct CVin and TrEG^ to VCF CVin
2. Slave Stochastic’s ClkIn to to a standard sequencer’s ClkOut
3. Set up a 4-to-the-floor kick with the standard sequencer to act as a reference grid
4. Initialise Stochastic (longhold Run-then-Loop) and manually zero all controls
5. Raise 1/16 and 0 Octave
6. Start Stochastic by pressing Run
7. Slowly raise Note C and notice how the 1/16 become more dense as the fader rises
8. With C about ⅓ the way up, raise D# and G to the same for a random arpeggiator
9. Now bring in D, F, G# and A# to make a scale of C Natural Minor (albeit spelled wrong!)
10. Raise them all to maximum and note how there are no longer any gaps in the triggers
11. Imply a chord change to G# (= A♭) — hold Loop & drop G# down to -2 Note Octave
a. Stochastic remembers the original position of G# so it still fires with fader down
b. Notice how the drop in octave impies the harmony
c. Bring G# back up to normal 0 Octave pitch (Loop+G# to centre) and drop A#
d. Bring A# back up to normal 0 Octave pitch (Loop+A# to centre) and drop C
12. Now play with Note Volumes: pull down D, F, A# (Run+D etc.)
a. Notice now how those notes recede into the background
13. Open out all the Octaves
a. Notice how the ‘melody’ is now much more ‘jumpy’ and less linear
14. Make it more linear by upping Linearity (Loop & +2 Octave)
a. Notice how the melody will be more stepwise again, while still spread out
15. Try ‘steering’ the melody with Ascend and Descend (Loop & -2 or Loop & -1)
16. Make some notes glide by adding Portamento (Loop & 0 Octave)
17. Bring in some longer durations
a. Notice how now, against the 4-to-the-floor, events sometimes don’t line up
b. Force Barline to 16 (= 4/4) and notice how they now do line up
c. Use a TRS ClkIn jack to force on the 16 from the master sequencer
18. Bring in some alternative durations
a. Bring in some dotted notes (Loop & ⅛ or ¼) and notice the triplication
b. Bring in some irrational durations (Run & ⅛ or ¼) and notice the syncopation
19. Vary note transitions by altering Envelope Function (best with longer durations)
a. Try just Attack: Run & -2 to max
b. Zero Attack and try Decay: Run & -1 to max
c. Zero Decay and try Legato: Run & +2 to max
d. Zero Legato and try Pause: Run & 0 to max
e. Zero Pause and try Ratchet: Run & +1 to max
f. Now set all Envelope Functions to 50% and hear how they combine!
20. Dial in 100% Repeat (Loop & +1)
a. Notice how the note sticks infinitely
b. Play with its Note Octave and Volume (Loop + Note or Run + Note)
c. Bring Repeat back to around 25%
21. Loop (Loop-then-Run, set Length Loop+Tempo/Loop+1/16 and try reverse)
22. Beat Repeat in Loop by setting Force Barline to 1/1, 1/2, 1/4, 1/8, and 1/16
23. Capture Loops on the fly in Loop with successive presses of Loop+Run

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Advanced Stochastic Cookbook

In addition to its primary role, Stochastic has many additional tricks up its sleeve.

● Using TrEG^ as note CV Individual Note Volume allows for Arbitrary Voltage Mode
(e.g. microtonal CV values!). These could be even be arbitrary pitches from a riff, stood
for by each ‘semitone’, and so permitting stochasticly controlled melodic re-
organisation!

○ Sending the TrEG^ through a quantizer to a second VCO creates an incredible

additional ‘pseudo-track’ for each track. Each track’s Attack/Decay sweeps
then become scales or arpeggios. Alternatively, by setting all events to Legato,
Individual Note Volumes become a second line of independent homophonic
pitches, held for duration!
○ In combination with the Expander this creates the potential for 8 lines of music
(as 4 homophonic pairs)!

● In Demand Mode, a single note varied from 0-100% probability can ‘pass through’ an
External Trigger to TrEG^ like a Probabilistic Trigger Skipper or Bernoulli Gate.
○ Extending this idea, by using other durations you now have a Probabilistic
Clock Divider.

● Stochastic can be used as a Probabilistic Transposer in combination with a

conventional external sequence (in octaves, fifths or any semitone amount you wish via
the note probabilities) by summing its output with the source sequencer through a unity
gain mixer (we recommend the Tubbutec Sumtiple or Shakmat SumDif).

○ Combining a conventional external sequence’s trigger (only) with Stochastic’s

Attack/Decay control gives you a Probabilistic Envelope Generator to apply to
your otherwise conventional sequence.
○ Setting a faster stochastic melody and/or Loop on track 1, long drones on track 2
and then unity summing these lets SIG stochastically transpose itself across
phrases of (repeating?) melody.

● Sending just TrEG^ to a drum module gives probabilistic drums with Kick, Snare, Open
and Closed Hats on Expander ChA, B, C and D. Using CV to select sample gives incredible
glitch drum effects!

○ Using Force Barline divisions in Loop Mode is an ideal way to achieve beat
repeat effects, since each division is double or half its neighbour!
○ In your sampler, map sets of 5 samples in ‘groups’ based on octaves of pitch-
classes (e.g. octaves of Cs, C#s, Ds etc.). You can then use Stochastic’s semitones
to select a sample group and the octaves to set the relative probability of each
member of that group firing.

● Controlling other (non-pitch) functions with CVOut submits any voltage controllable
function to probabilistic control. For example, the notes from C–B can become Pan

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Location Probabilities from left to right (C=hard left, F#=centre, B=hard right) if you
feed the pan CV input of a mixer (e.g. WMD Performance Mixer).

● Stochastic follows any rhythm sent from another conventional sequencer on its ClkIn.

○ These do not have to be regular so Stochastic will shuffle and swing if you send it
shuffled or swung clocks.
○ In addition, setting Force Barline to a non-multiple of an input rhythm
(effectively counting events, not 1/16) will cause it to reset Iso-Rhythmically. Ars
Nova? Techne Stochastica!
○ While externally clocking, mult Stochastic’s CVOut to your VCO’s pitch and your
External Clock’s rate for some Cowell/Theramin Rhythmicon action!

● Externally clock Stochastic at audio rates, and treat its CVOut as audio for a gnarly
Probabilistic Noise Oscillator!

○ Looping makes a more pitched sound: experiment with the effect of semitone,
octaves, durations and Loop Start/Stop

● Flicking up and back single Note sliders ‘plays’ Stochastic like a conventional
keyboard.

○ In keeping with our philosophy of a ‘sequencer you can direct and play’, you will
also get used to ‘steering’ the melodic lines Stochastic produces by careful
manipulation of the Ascend, Descend and Linearity functions.
○ Setting a single note to max will repeat the pitch indefinitely, but its Individual
Note Octaves and Volumes remain playable in real time, permitting manual
octaving, fades and ‘freezes’.

● Because Stochastic always passes on its clock to ClkOut (be it Internal or External)
several Stochastics can be daisy chained together.

○ Even when not in main use, Stochastic is a useful Trigger Processor, able to
convert any leading edge into a 5ms 5v trigger from ClkOut.

● Setting max(Linearity) and max(Portamento) with all octaves and notes at 100% creates
a Random Walk LFO module!

● Extend p9’s triplet trick to quintuplets (Run+⅛), septuplets (Run+¼), undectuplets

(Run+½), tredectuplets (Run+1) and quindectuplates (Run+2). Spicy.

● Experiment with ‘pseudo Euclidean Rhythm’ e.g. set 6/16 TimeSig with 100% ¼
durations to get a constant swing pattern. Which other combinations work?

● Duplicating 1 track to all 4 creates an ensemble of 4 ‘players’ riffing together with the
same constraints but constantly differing variations. Think Gaelic Psalmody at Berghain.

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Technical Specifications
● Width: 18hp (unexpanded), 22hp (expanded)
● Height: 3U
● Depth: 32 mm (unexpanded), 32 mm (expanded)

● Tracks: 1 + 1 psudotrack (unexpanded), 4 + 4 psudotracks (expanded)

● Internal tempo range: 32–255bpm
● External tempo range: arbitrary–500Hz (>2Hz trigIns required to initially lock to
ExtClk)

● ClkIn TIP: accepts +/-12v, responds on leading edge 5v threshold

● ClkIn RING RevC boards only: accept +/-12v, responds on leading edge 5v threshold
● ClkOut: 5v 5ms impulse
● CVout: 0–7v
● TrEGout: 5v 125ms exponentially decaying impulse
○ leading/trailing edge linear ramp, duration dependant if Attack/Decay set
○ full 5v DC if Legato set

● +12v current draw: 50 mA (unexpanded), 70 mA (expanded)

● -12v current draw: 30 mA (unexpanded), 45 mA (expanded)
● +5v current draw: 0 mA (unexpanded), 0 mA (expanded)

Credits and Acknowledgements

2009 conceptual design & software, 2019 functionality/front panel layout: Phineas Head
Firmware design, 2019 hardware consultation, 2021 SI hardware design: Stuart MacVeigh

Development support: dBs Music Modular Research Group www.dbsmusic.co.uk

2019 hardware, front panel artwork: Fenn Marks / omsonic omsonic.co.uk

Manuals, Website & Project Management: Phineas Head

Initial 2009 analogue circuit consultation: Keith Wood
Early MCU consultation: Liam Grazier
Early Firmware consultation: Jake Shaw-Sutton

General Testing: dBs Music undergraduates/postgraduates

Beta Testing & Suggestion Credits: Matt Ward (ForceBarline refinement), Chris Pratt (Latching &
ArbitraryVoltageMode), Perry Callaghan (manual refinement), Stuart MacVeigh (TrEG combinations)

Stochastic shout outs to the hero composers that inspired it: JSB, WAM, AFWS, JMC, SMR, MLN, MF, BPGE
Phin shout outs to Lucy, Maddy, Marsha, Tony, Gizmo, Mr. Whizzah 🐾 [Save the World Entire:
v.ht/vegan ]

Special thanks to Olly Thomson & Nige Burt of dBs Music for believing in the project.

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Appendix 1: Some Common Example Time Signatures

Clock Count Time Signature Lights
◦
0: Free Run Mode None ◦◦◦◦◦ ◦
◦
Default Power On Mode ‘Linear Meter’ ◦◦ ◦◦◦ ◦
◦◦◦◦◦◦◦ ◦
•
1: Demand Mode 1/16 or ◦◦◦◦◦ ◦
◦
◦◦ ◦◦◦ ◦
Each ClkIn Forces New Event on ClkIn •◦◦◦◦◦◦ ◦

◦
12 3/4 ◦◦◦◦◦ ◦
•
•◦ ◦◦◦ ◦
••◦◦◦◦◦ ◦
◦
12 6/8 ◦◦◦◦◦ •
◦
•• ◦◦◦ ◦
••••◦◦◦ ◦
◦
14 7/8 ◦◦◦◦◦ •
◦
•• •◦◦ ◦
••••◦◦◦ ◦
◦
16 4/4 ◦◦◦◦◦ ◦
•
•• ◦◦◦ ◦
••◦◦◦◦◦ ◦
◦
18 9/8 ◦◦◦◦◦ •
◦
•• ••◦ ◦
•••••◦◦ ◦
◦
20 5/4 ◦◦◦◦◦ ◦
•
•• ◦◦◦ ◦
•••◦◦◦◦ ◦
◦
24 14/8 ••◦◦◦ •
◦
•• ••• ◦
••••••• ◦
◦
256 16/1 ••••◦ ◦
◦
•• ••• •
••••••• ◦
‘16/0.5’ = 32/1
Longest available time sig, also useful if ◦
512 running Stochastic clock doubled
••••◦ ◦
◦
(i.e. so 1/16 sound as 1/32) •• ••• ◦
••••••• •

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Appendix 2: Ratchet/Attack/Legato/Decay TrEG Combinations

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Appendix 3: Scale Probability Profiles

In all cases, transposing the root -1 or -2 octaves will add solidity to the feel of the mode.

Major Scale Note Probabilities

C C# / D♭

D D# / E♭

F F# / G♭

G G# / A♭

A A# / B♭

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Natural Minor Scale Note Probabilities

C C# / D♭

D D# / E♭

F F# / G♭

G# / A♭
G

A A# / B♭

Suggested Modal Scale Probabilities

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C Ionian

D Dorian

E Phyrygian

F Lydian

G Mixolydian

A Aeolian

B Locrian

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Addenda

Omsonic / Stochastic Instruments Ltd.

While omsonic were the original manufacturing partner for the Stochastic Inspiration Generator
they were unable to meet the demand for the module. This precipitated the creation of the
Stochastic Instruments Ltd. company, so from January 1st 2021 all Stochastic Inspiration
Generators and their Expanders are made and supported by SI. In deference to omsonic’s role in
originally realising the project, we retain with slight updates his panel artwork under licence.
omsonic continue to support all Stochastics sold by them before 1/1/21, while all SI Stochastics
fall under SI's ongoing support: see https://www.stochasticinstruments.com/faq for details.

While SI Stochastics are basically functionally identical to the omsonic-made ones, our
hardware redesign brings some important additions and upgrades: SI SIG/Expander units…

● have internal Flash Storage Memory to retain their settings after power-off
● have a TRS ClkIn jack to set an Arbitrary Barline on an external trigger
● are 32mm Skiff Friendly
● use an Analogue Noise Source rather than a PRNG
● have Centre-Dented Sliders to better identify
○ 50% probability point
○ ‘home’ Individual Note Octave
● have full 16bit TrEG Outputs

Store Settings to Flash Memory

SIG’s design philosophy is first and foremost about improvised performance and discovery rather
than traditional through-composed sequencing and pattern storage. However, we recognise that
you will create amazing patterns with SIG that you might want to recall the next day. As such, SI
SIGs allow the full storage of all the unit’s settings and Loop material, on all tracks.

Remember that this is not a performance feature: SIG has been carefully and deliberately
designed away from being a pattern sequencer so the concept is not to store and recall in
performance. Rather, this is a way to pick up your improvisation at a later date. This means there
is no ‘recall’ function per se: SIG simply returns to your last saved settings on power up.

To store all settings, longhold Loop-then-Run while stopped. Remember that

doing this while running captures a new Loop so it’s important to be stopped:
again, this reinforces the idea that this isn’t a performance feature.

All red accidentals will light (while the unit erases the last store), followed by all
orange naturals (while the unit writes the new settings). The process takes about
2 seconds and you can resume normal operation immediately after. On power off
all settings and Loops at the point you saved are retained, and immediately available when you
power back on.

To perform an erase operation, first Reset (longhold Run-then-Loop) then Store.

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CVOut Calibration (RevG)

Board Revision G adds a small multi-turn trimmer pot on the rear of the unit to calibrate CV out.
This is factory set and it should not be necessary to adjust but there is always variation in VCO
input impedance so we added it to cover all eventualities. To adjust, Set ‘C’ ¼ to max with all
Octaves at 0 except -2 and +2 at max. Attach a frequency counter to your VCO (or listen!) and
adjust the micropot with a plastic or otherwise non-conductive screwdriver until you achieve a
perfect 4 octave shift. Take extreme care not to short out any of the circuit since the power will
be on. We recommend sitting your SIG upside down in a horizontal rack so there is no chance of
slippage and shorting.

External Clock/Force Barline Trigger Timing

Some external clocking set ups can cause SIG to ignore External Force Barline triggers.
Fortunately however there is a very simple trick to address this.

First, check your basic wiring setup is correct with these steps:

1. Power on
2. Reset (longhold Run-then-Loop) to clear any pre-existing settings
3. Plug in your Y cable to ClkIn and a VCO/LPG on from ChA CV/TrEG respectively
4. Send SIG an external clock (on the tip input)
5. Press Run and dial in some notes
6. SIG should start to play 1/16s
7. Dial down all the durations
8. Turn up the '2' duration (the longest, bottom one) to max
9. SIG's events should immediately slow down to 2 bars of 4/4 (i.e. 32 clocks)
10. Now send SIG external Force Barline Trigs on the ring input of the Y-splitter

Result: You should notice that the long events are cut short whenever you send the Force
Barline trig. If they are not, the first thing to check is that you have the right kind of Y splitter—
that is, that input 1 of the Y splitter only goes to the tip and input 2 only goes to the ring. It won't
work if both inputs go to both tip and ring. That is, you need an 'insert splitter' or L/R splitter,
not a 'headphone sharer'.

If you are confident that the splitter is correct but SIG still ignores external barline trigs then the
issue is easily addressed by checking the timing relationship between the two external triggers.

External Force Barline trigs need to fractionally lead the External Clock. We’ve found a
range of lead/lags work, from as little as 1ms, but you shouldn’t need more than 15ms. This is
because the barline (ring) input is sampled on each rising clock (tip) edge or SIG may miss it.
After the CLKin edge occurs, the program samples the barline input within 1µs so if the barline
line is not asserted by then it may be missed. If the barline line is still asserted at the following
clock edge, it will be processed then, so its duration can have an effect too, and it's actually
worth experimenting with this because you can get some interesting effects with it!

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