Hi sorry for not replying (I'm a derp), I don't mind giving you some more input at all!
WARNING Unending wall of text:
You are getting a constant tone from Braids and AC because the are oscillators and not voices. To explain- a voice is a single discrete synthesis unit containing everything you need for a "complete" sound. Multiple voices controlled independently or together give you polyphony or overlapping leads...but buying four or more of everything gets expensive fast. Read on for a breakdown and options.
You've got a synth voice in your case already, the Atlantis. In that case, its a pre-made block module. This is good and bad. Notice its made up of all the basic building blocks of 'subtractive' synthesis: waves from oscillators are colored by a filter, then when you hit a keyboard key or a sequencer sends a gate signal, the VCA opens and closes, controlling the amplitude, AKA volume, of your oscillators so you're not droning all the time (unless you want to drone!).
However, going from 0% percent volume to 100% instantly when you hit a key, and back to 0% again is harsh and boring. So you sculpt a shape with an envelope and send it to control the smoothness of the VCA's opening and closing over time. Filter cutoff is another popular destination for envelope CV. Try other places!
To summarize: a simple (subtractive) synth voice is: OSC -> filter -> VCA modulated by ENV
So an oscillator or VCO is part of the voice, specifically the source of sound waves at a specific pitch. So if you have two oscillators in a voice, it must be polyphonic then, and can play a two note chord right? Actually....probably not. A single voice is capable of one pitch at a time by definition. Why have more than one per voice then? Because a single VCO sounds boring compared to multiple detuned ones. Its a key ingredient in making the much sought after 'fatness'.
So taking this all into account lets look at your rack and get your voices set up. I'm going to assume this is all stuff you have IRL as of this post. So to fully use Braids and AC we need more VCAs to stop them droning and envelopes to make interesting VCA trajectories. You've got some of the best complex envelopes made actually, with maths and the PEG! However that's only 3-4 envs total. You'll want a little more. Go simple this time with something like This.
OK now you need VCAs. You've got 7 envelopes, so get like 7-8 VCAs right? You'd be ok with that BUT there's a saying in modular synthesis: you can't have too many VCAs. This is because VCAs are also used to turn CV on and off, you know, like LFO modulation signals. Think about it....CV is used for modulating stuff a lot of the time. If you can control whats modulating the modulators with VCAs then you can build those huge Rube Goldberg patches that sound like electronic ecosystems. More VCAs = more organicness, so to speak.
One important thing to know when choosing VCAs and envelopes: they come in linear and exponential/logarithmic response curves. WTF does that mean? Short answer: machines process change linearly (so mainly module-to-module CV), humans process change exponentially/logarithmically. If you look at the Intellijel Quadra, there's a switch between each of the A and D knobs. You can see that it selects between what looks like a curvy shark fin and a more regular sharp triangle. The shark fin is an exponential curve and the sharp triangle is linear. So the quadra lets us choose the smoothest response for our signals per envelope, handy!
If that isn't making sense I urge you to do some of your own research, and sorry if I'm telling you stuff you already know. Here's another thing to check out related to envelopes and VCAs: Vactrols and Low Pass Gates, they might interest you.
Good luck I hope this helps!
