What it is and what it was built for
René is a 34hp Eurorack module built as a three-dimensional composition instrument. It was built to replace linear step sequencing with performative, spatial programming—using X, Y and Z axes to generate three simultaneous sequences from minimal analog input.
How it works, in terms a player would use
René maps voltage inputs to X, Y and Z axes. Each channel outputs a stepped sequence derived from those axes. You twist illuminated knobs or tap touch buttons to set points in 3D space. Programming happens live: every adjustment changes timing, pitch and modulation simultaneously. It connects to TEMPI via Select Bus for tempo sync.
What it does better than anything else
It is the only instrument that uses the Cartesian coordinate system to break analog sequencing out of linearity. It turns three voltage sources into a live, evolving tesseract of interdependent sequences. Nothing else forces pitch, timing and modulation to negotiate each other in real time.
What it does badly
It does not store individual steps. It stores STATEs—entire 3D configurations—but offers no way to edit one point without affecting the whole spatial relationship. It gives no visual timeline, no quantisation grid, no CV record/playback per axis. It withholds linear recall.
What people made with it
The sources do not specify any works, artists, recordings or performances made with René.
Who should use it, and who should not
Use it if you treat sequencing as gesture, not notation—if you want voltage to behave like clay, not code. Do not use it if you need precise step editing, pattern chaining, or compatibility with DAW-style workflows.
Is it worth your time
Yes—if you need a sequencer that treats time, pitch and control as interlocking dimensions, not separate lanes. No—if you rely on grid-based editing, step-by-step recall, or deterministic pattern chaining.
