vco: the performance section — vibrato in cents, onset delay, bend

book/src/recipes/minimoog.md

@@ -64,9 +64,8 @@ patches alone:
 
 All three: `@shape 2` (saw), `@jitter 3 @track 2 @imperfect 0.3`, and
 `smooth` per the patch below. Sum through `*~ 0.36` (≈ 1/2.8, headroom for
-three voices), then `tap.ladder~` at the chapter's voicing: `@mode 0` (the
-lp24 response — the mode attribute is the numeric pole-mix index)
-`@resonance 0.35 @drive 9 @asym 0.45 @comp 0.25`. Keeping `comp` low
+three voices), then `tap.ladder~` at the chapter's voicing:
+`@mode lp24 @resonance 0.35 @drive 9 @asym 0.45 @comp 0.25`. Keeping `comp` low
 preserves the authentic passband droop; `drive 9` sits where the ladder
 notebook measures the tanh stages just starting to thicken (3.5 % THD at
 8 dB). Spend the character budget in the filter first — the chapter's

book/src/recipes/moog-classics.md

@@ -16,11 +16,15 @@ Every patch below is a delta against the wiring and tables of
 [Three oscillators into a ladder](minimoog.md) — build that voice first.
 Two performance tools recur, so here they are once:
 
-- **Vibrato** goes into each `tap.vco~`'s FM inlet, which is calibrated in
-  Hz. For vibrato that reads as a constant musical width, scale the LFO by
-  the note: `cycle~ 5.5` multiplied by 0.006 × the note's frequency is
-  about ±10 cents. Fade the LFO in with `line~` a beat after note-on — the
-  delayed vibrato is most of what makes a lead "sing."
+- **Vibrato** is the oscillator's own now: `@vibrato` (depth in cents, so
+  the musical width holds in every register), `@vibrato_rate` (Hz), and
+  `@vibrato_delay` (ms) — the onset fades in through that time constant
+  and re-arms on every new note, which is most of what makes a lead
+  "sing." ±10 cents at 5.5 Hz with a few hundred milliseconds of delay is
+  the classic setting. (This chapter's first draft had to print a
+  scaling formula into the Hz-calibrated FM inlet here; that formula
+  became the improvements plan's §2, and §2 became these attributes —
+  the audit worked.)
 - **Sequenced lines**: `tap.303.seq~` emits pitch as a MIDI-note signal and
   a gate at 1.0/2.0 — `mtof~` turns the pitch into Hz for the oscillators'
   signal inlets, and the gate drives `tap.adsr~` directly (it opens above
@@ -96,9 +100,9 @@ Deltas from the lead patch:
 | filter contour | `@attack 30 @decay 900 @sustain -10 @release 700`, amount 3000 Hz, base 250 Hz |
 | loudness contour | `@attack 8 @decay 300 @sustain -2 @release 500` |
 
-Then spend all your effort on the vibrato: 5.5 Hz, ±10 cents (the intro's
-formula), faded in over ~400 ms after each phrase begins, and *not* on
-every note. The patch is deliberately close to the ideal oscillator —
+Then spend all your effort on the vibrato: `@vibrato 10 @vibrato_rate 5.5
+@vibrato_delay 400` — ten cents, arriving late, re-arming on each new
+note so held phrase-endings bloom while passing notes stay plain. The patch is deliberately close to the ideal oscillator —
 `imperfect 0.2`, drift at the polite end — because the expressive load is
 carried by the hands, and everything the analog section adds here it adds
 to sustained exposed notes.

book/src/recipes/robot-voice.md

@@ -28,11 +28,12 @@ tap.noise~ (white) ─ *~ 0.1┘
   the [Moog recipe's](minimoog.md) stack values; skip the octave-down
   voice — vocoded speech reads clearest with the energy above the
   fundamental.
-- **A tenth of white noise** (`tap.noise~ @mode white` through `*~ 0.1`):
-  this is the *s* and *t* budget. The object has no unvoiced/sibilance
-  path of its own, so the noise rides the carrier full-time and the
-  modulator's high-band envelopes gate it into consonants exactly when
-  needed.
+- **The *s* and *t* budget.** `@sibilance 0.3` is the built-in version —
+  a seeded noise source in the top bands' carrier, gated by the
+  modulator's high-band envelopes, arriving exactly when consonants do.
+  The manual alternative (a tenth of `tap.noise~` summed into the
+  carrier) remains the craftier option when you want to choose the noise
+  color yourself.
 - **Pitch is the performance.** The vocoder never changes the carrier's
   pitch, so the carrier's notes are the melody. Held chords (an `mc.`
   stack of carriers) make the robot a choir; a single line makes it a

book/src/recipes/sequenced-modular.md

@@ -75,17 +75,16 @@ Then the two moves that carry twenty minutes:
 |---|---|
 | loudness `tap.adsr~` | `@attack 2 @decay 180 @sustain -12 @release 120` |
 | filter `tap.adsr~` | `@attack 2 @decay 160 @sustain -20 @release 160`, amount 1800 Hz, base 150 Hz |
-| ladder | `@mode 0 @resonance 0.3 @drive 6` |
+| ladder | `@mode lp24 @resonance 0.3 @drive 6` |
 | slew (`slide~`) | short; raise it only for deliberate swoops |
 | seq | `@swing 0` — the genre is a grid, and the delay does the humanizing |
 
 Two period tricks worth their lines: pan alternate notes (a `length 8` row
 of accents driving `tap.pan~` recreates the famous ping-pong doubling), and
-put an eighth-note delay after the voice — the echo, not the sequencer, is
-where these records' motion lives. Note `tap.delay~` is a plain
-integer-sample delay (no feedback, no interpolation), so use it for the
-single slap and patch feedback around it, or reach for Max's delay objects
-for modulated regeneration.
+put an eighth-note `tap.delay~` after the voice (`@feedback 40 @mix 30`) —
+the echo, not the sequencer, is where these records' motion lives. Since
+its rebuild the delay interpolates (Hermite) and regenerates through a
+DC-blocked loop; `@interp 0` remains the bit-faithful legacy mode.
 
 Glue: an 808 closed-hat row in 16ths from the drum scaffold, mixed low.
 Accents land in this scaffold too: turn up `tap.adsr~`'s `velocity`

book/src/vco.md

@@ -199,6 +199,32 @@ tolerances** so each seed misbehaves in its own direction:
 point to in a mix; 1.0 is a unit with a story. At 0, every seed is the same
 ideal machine — the analog section never costs you the reference oscillator.
 
+## The performance section
+
+Where the analog section models what the circuit does on its own, these
+controls model what a hand does to it — added after the Recipes chapters
+had to teach a scaling formula to get constant-width vibrato out of the
+Hz-calibrated FM inlet.
+
+- **`vibrato` / `vibrato_rate`** — a sine LFO on the pitch, depth in
+  **cents** (0–100) and rate in Hz, so ten cents is ten cents in every
+  register. Measured: at a commanded ±100 cents the peak cycle-to-cycle
+  deviation reads 90–110 cents, and the modulation crosses its mean at
+  exactly twice the commanded rate (pinned by test).
+- **`vibrato_delay`** — the singing control: the vibrato fades in through
+  a one-pole with this time constant (ms), **re-armed on every new note**
+  (every frequency-target change), so held notes bloom and passing notes
+  stay plain. Pinned: early deviation under 60 % of settled, and shallow
+  again right after a note change. The signal-rate frequency inlet
+  deliberately does not re-arm — there, you are the modulation.
+- **`bend`** — pitch bend in semitones (±24), riding the standard `smooth`
+  ramp: the wheel, as an attribute. Pinned within 5 cents of the
+  commanded interval.
+
+All of it is deterministic with no randomness — and at depth 0 the output
+is **bit-identical** to the ideal oscillator (pinned), so the reference
+instrument is still free.
+
 ## The Moog recipe, honestly
 
 The sound everyone wants from this object is three oscillators into a ladder.

book/src/vocoder.md

@@ -62,6 +62,24 @@ pads — the "choir" setting. This knob is the vocoder's attack *and* release;
 Makeup level, since a band-multiplied signal usually lands quieter than
 either input. Linear, boring, necessary.
 
+### `sibilance` — the built-in *s* and *t* budget
+
+The classic channel-vocoder unvoiced path (Dudley's lineage): a seeded
+internal noise source blended into the **carrier** of the bands above
+~4 kHz, still gated by the modulator's envelopes — so consonants articulate
+even over a dull carrier, and only when the modulator actually has
+high-band energy (pinned: a silent carrier with an HF-rich modulator
+speaks at `sibilance 1`; a low-only modulator stays quiet). At the default
+0 the original silent-carrier contract holds exactly, bit-identical —
+turning it up deliberately relaxes that contract for the top bands. The
+noise is deterministic per `seed`, family doctrine.
+
+### `mix` — the synth under its own robot voice
+
+Equal-power blend of the dry **carrier** against the vocoded output — the
+classic parallel move (the pad fades in under itself talking). Endpoints
+are exact: 100 is bit-identical wet, 0 returns the carrier untouched.
+
 ## Choosing the two signals (the actual craft)
 
 - **The carrier must have energy where the modulator has bands.** The eternal