DivKid Unleashes the Myriad: Nine Oscillators, Infinite Rave Potential

Myriad doesn’t mess about. At 16HP, this stereo oscillator is packing nine internal oscillators split into three groups of three—think of it as your own modular boy band, but every member’s a synth nerd. You can tune, intermodulate, and spread these voices for huge, complex sounds with stereo swagger. The controls are refreshingly direct: three chunky encoders and a screen that keeps you out of menu hell, letting you zip between oscillator models with minimal faff.

Each group can run its own model, from saws and pulses to chirps, metallic FM and even silence if you want to go minimalist. The Epsilon (E) control is the ringleader for global wave shaping—twist it, and you’re morphing pulse widths, shifting formants, or firing up metallic overtones across all groups. There’s a spread input for detuning the mob and an interval knob for octave gymnastics. Everything is CV-able and most controls are attenuverters, so patchers rejoice: this thing invites chaos, not confusion.

Myriad’s synthesis approach is hybrid in the best sense: digital oscillators up front, but all that sound crashes into an analog VCA and drive section for extra bite. The outputs are proper stereo, with both clean and shape taps—drive them to plastic-melting territory or keep it pristine for smooth layering. The interface is a breeze compared to some menu-diving nightmares. Just push encoders for modulation menus, save/exit with X, dive into internal modulators with Y, and get fine-tuning with Z. The design keeps you jamming, not reading a manual.

Crucially, the module’s digital brains get filtered through analog muscle. You can modulate the VCA, smash things through the shape outputs for clipping, and invert CVs for pitch tricks. The frequency control even flips polarity so your pitch CV can go upside-down—handy for those who like their melodies a bit backward. In short: hybrid here means you get the best of both worlds, without the usual hybrid headaches.

Internal modulation is where Myriad stops being just an oscillator and starts acting like a full performance rig. You get a wild roster of onboard modulators: Boids, Lorenz and Rosler attractors, speedy sines, neural networks, and the ever-reliable Drunk Walkers. Each one brings its own brand of controlled chaos, from bird-flock swarms to machine-learning weirdness. Assign them to pitch, shape, or both, then dial in rate and depth to taste.

The beauty here is that you don’t need five utility modules and a spreadsheet to get evolving, animated patches. The modulation section is genuinely creative, letting you inject movement into pitch, wave shaping, and stereo spread in ways that are both hands-on and performable. Want your oscillators to stagger like they’ve been locked in a rave bunker all night? There’s a mode for that. Prefer butterfly-wing chaos or neural-network subtlety? Sorted. It’s all on tap, and all CV-controllable.

DivKid doesn’t just talk the talk—he patches the living daylights out of Myriad. The video runs through massive oscillator stacks, stereo FM mayhem, sequenced octave jumps, and drones that could shake the dust off your speaker cones. Want metallic textures that snarl across the stereo field? Done. Prefer formant-rich chorus organ stabs that sound like a choir with digital rabies? That’s in here too.

For the rhythm-inclined, there’s even a fuzzy lo-fi noise beat trick, using Myriad’s internal noise engines to add vinyl-style crust to your drums. Every oscillator model gets its own spotlight, and the internal modulation options bring patches alive in ways that make you want to ignore your DAW for a week. If you want a sense of just how flexible (and occasionally bonkers) this module gets, you’ll need to hear it in action—no written review can deliver the full sonic slap this thing throws.