The soundsculpting potential is enormous: it has three (L)FOs and a morphing function that allows you to warp between oscillators, filters, envelopes and arps on two patches in real time and apply an LFO to set the rate of change for each individually; and, given that each patch itself consists of those very settings, the potential combinations are exponential — you can apply an LFO to alter the rate of change applied by another LFO to alter the rate of change applied to yet another oscillator applied to alter the rate of change between two envelopes, filters, groups of filters, arps … it’s utterly insane!