Wish on Daisy patch.Init()

Overview

On a Hermetic Modular Alchemy Lab? Wish started there: Wish on Alchemy Lab.

Wish is a granular texture synthesiser for a stock Daisy patch.Init(), based on Mutable Instruments Beads — Émilie Gillet’s successor to Clouds. Mutable published the Beads source on 12 October 2026. The DSP here is that code, built exactly as Wish builds it for the Alchemy Lab. Same chip, same clock: the Patch Submodule is the same STM32H750 at 480 MHz. What changes is the panel: four knobs, one button, one toggle and one LED in place of Beads’ twelve knobs and four buttons.

Beads records whatever comes in, and plays it back as grains — short slices, each with its own pitch, length and envelope. FREEZE stops recording and holds the buffer. Grains come from the internal clock, or from triggers on the SEED jack. In Synth mode, chosen in SETTINGS, Beads plays grains from its own wavetables instead: FEEDBACK picks one of twelve banks, and TIME sweeps through it.

Named — like everything here — after the nursery rhyme: eight for a wish, the line the channel takes its name from. Not affiliated with, or endorsed by, Mutable Instruments or Electrosmith.

Controls

Four knobs, three layers. The toggle picks PLAY or TONE; holding B7 gives RANDOM. The four PLAY knobs are the four with jacks.

A knob takes a parameter over only once it reaches the parameter’s value, so changing layer never makes anything jump.

The LED is lit while frozen, and flashes on each trigger at gate in 1.

Settings

Hold B7 for two seconds without turning a knob. A knob changes its setting only once it is turned, and the LED blinks the new value’s number.

A new quality or input waits while frozen, as on Beads. The settings, the knobs of the two layers not under the hand, and the calibration are saved, and come back at power-on.

Making a capture to play

1. Patch a sound into In L and play the phrase you want.
2. Tap B7 at the moment you want to keep it. The buffer now holds the audio just before the tap.
3. Play it as a texture: DENSITY clockwise of noon for a cloud, TIME to choose where in the capture, SIZE for grain length, PITCH to transpose.
4. Or play it from a sequencer: gates into gate in 1, pitch into CV_5. Each trigger plays one grain at that pitch. DENSITY fully clockwise plays every trigger, noon none, and anticlockwise divides them.

Turn DRY/WET fully clockwise to hear only the capture, and tap B7 again to record a new one.

Delay mode

Turn SIZE fully clockwise and Beads stops making grains and becomes a delay. Clocked from triggers on gate in 1, it follows their tempo, and DENSITY picks the division. SIZE random (hold B7, knob 2) becomes the delay’s filter: anticlockwise low-pass, clockwise high-pass, noon none.

Calibration

Hold B7 through power-on. LED solid: patch 1 V into CV_5 and press B7. LED blinking: patch 3 V and press. A flurry means done. Until then it uses a sensible default.

Differences from Beads

• Twelve knobs become four on three layers, and four buttons become one.
• There is no SEED button. The internal clock runs, and DENSITY sets it. Triggers on gate in 1 take over, as on Beads, and the internal clock comes back a few seconds after they stop.
• The input mode is a setting. Beads hears whether a cable is in its inputs; the patch.Init() cannot.
• CV is always added at full depth, so the randomisers stay randomisers whether a jack is patched or not. What is lost is Beads’ patched-and-anticlockwise case, where CV sets the amount of randomness.
• The grain gates have their own jack, so they no longer take audio R. As on Beads, the audio is mono while the gate output is on.
• No SHAPE CV and no ASSIGN jack, and input gain is automatic only.
• Dirty tape runs at 48 kHz. Beads slows its codec to 24 kHz for it; the Daisy’s audio library has no 24 kHz setting, so it takes the 48 kHz path Beads also has.
• The heaviest settings thin themselves. Digital stereo with dense grains and random pitch asks for more than the chip has, so past that point fewer new grains start, and the module stays responsive.
• A frozen buffer is not kept through a power cycle.

Provenance

The DSP is Mutable Instruments Beads by Émilie Gillet, MIT-licensed, from pichenettes/eurorack. Built on Electrosmith’s libDaisy. Wish on Daisy patch.Init() itself is MIT. Thanks to Émilie for opening the code up.