The Prizma also appears to need a clock to step it. Try this instead:
Tides: Set up an LFO frequency waveform with a hard leading edge ('slope' to full-left). Patch UNI to CLK on the Prizma. Your clock speed is now controlled via the FREQUENCY on the Tides.
Prizma: Patch CV to V/OCT on Braids. Patch your TR outs to TRIG1 on Peaks and GATE on the ADSR.
Braids: Patch OUT to IN on Ripples.
Peaks: Patch OUT1 to ADSR on the Erica VCA. The Peaks' envelope settings now control the overall amplitude contour of the patch.
ADSR: Patch OUT to FREQ on Ripples. The ADSR now controls the timbral contour. Since this and the Synthrotek ADSR are being triggered synchronously, it's now possible to have different amplitude and timbral changes as part of the single event being triggered, like one has on a Minimoog, etc.
Ripples: Patch whichever output you like to the INPUT on the VCA. The VCA's OUTs are now sending your patch's audio at synth level, and this can either go out of the synth (after stepping it down somehow to line level) or on to the Clouds and/or PRE/KM for further processing.
...at least, that's where the wires all should go. Once that's established, though, some judicious exploration of the various control settings will yield a massive amount of timbral, temporal, and amplitude variation just from this simple sequencer patch. Good luck!