Bohm is much more than a kick module. Reading through the manual, it’s really a performance-oriented stereo kick workstation with three distinct roles:
That means you can use it as:
Below are practical and creative ways to combine it with other Eurorack modules.
The manual makes it clear that Bohm can track pitch at 1V/oct if you:
0..1V, 1..2V, or 2..3VHITUse a pitch sequencer or keyboard controller to play Bohm melodically while still behaving like a kick/bass hybrid.
Because Bohm’s models are not just simple sines. Many are wavetable/FM/sample-layered engines, so you can get: - 808 basslines - FM acid-ish low end - industrial tuned tom/bass hits - per-note kick changes in a groove
Send:
- pitch CV to PITCH
- gate to HIT
- velocity/accent CV to VELOCITY
Now you have a dynamic bass instrument that still has kick articulation.
Groove isn’t just a delay. It creates clock-triggered repetitions, reverb/noise/grit-sub layers, and a tap-based envelope. This is huge.
Clock Groove at 16ths or triplets, and trigger Bohm only on quarter notes. Use Groove to build: - rolling techno rumble - kick tops - pumping noise wash - sub-synced ghost hits
TAPS: Stages, Zadar, Batumi, OchdUse Groove COLOR to morph between:
- kick repetitions
- reverb-based body
- noise
- grit + sub
Then automate it with a slow CV to create a kick that evolves from tight to cavernous over 16 or 32 bars.
Examples: - SSF Stereo Dipole - WMD Overseer - Bastl Ikarie - Joranalogue Fold 6 - Noise Engineering Ruina series
One of the most underrated features in the manual: Groove provides a TAPS CV output. System settings also let that output become:
GROOVE envelopeI BOHM inverted Bohm envelopePERF Performer ducking envelopeBOHM non-inverted Bohm envelopeThis means Bohm can act like a rhythmic CV brain for the rest of your system.
Send TAPS OUT to a VCA controlling noise or hats.
- Kick triggers the groove envelope
- Groove taps create hat swells synced to kick structure
Set TAPS OUT to I BOHM or PERF and patch into:
- a VCA CV input
- a low-pass gate CV
- the level CV of a mixer channel
Now your modular bassline or drone ducks rhythmically.
Send TAPS OUT to:
- filter cutoff CV
- wavefolder amount
- delay feedback CV
This gives your entire patch a kick-related breathing pattern.
Performer is not just an insert effect. It is a ducking processor and performance effects bus for external stereo audio.
Feed another part of your patch into Performer IN, and Bohm will duck it on each HIT.
This means you can sidechain: - pads - drones - stereo loops - a whole submixer - granular clouds - chord voices
Patch your melodic bus into Performer IN, then let Bohm create all the pumping.
Use:
- DUCK for depth
- DUCK TIME variation for release length
- DUCK SMTH to preserve some transient
- DUCK BS to duck only lows for more transparent sidechaining
This is extremely useful if you want a “mastering-style” pump without dedicating a compressor.
Set Performer FX to:
- DJ FILTER
- LP
- HP
- BEAT ROLL
- SLIP ROLL
Now Bohm becomes your transition/performance module for the rest of your patch.
Excellent with: - stereo sampler - drum bus - granular texture source
The CHN variation lets you choose:
- ALL
- KICK
- INPUT
So you can: - filter only the external music while kicks stay clean - roll/stutter only the kick - process everything together for breakdowns
This makes it function like a compact live DJ section inside the rack.
The manual specifically notes:
- Performer can duck external input
- Groove can sustain as a drone with GRV ENV = SUSTAIN
- PERF VOL can be set to affect only Bohm or Bohm+Groove
- Groove can become effectively continuous in some cases
Create a sustained drone from another voice and let Bohm periodically carve holes in it.
INDUCK fairly highDUCK BS low enough that highs remain more presentDUCK TIMEYou get a huge, breathing cinematic low-end structure where the kick doesn’t merely sit on top — it physically sculpts the other sound.
Bohm has 32 programs with 16 steps each, plus:
- snapshot save/load
- LOAD W/ POTS
- Song mode
- Jam mode
- per-knob behavior: LATCH, REL, OVR
This is ideal with sequencers or controllers that can fire step advances.
Use Bohm as a scene-recall rhythm engine while the rest of your system remains semi-improvised.
FUNCTIONSet some knobs to OVR inside the program:
- COLOR
- FX
- maybe PITCH
Now snapshots recall the overall kick architecture, but you retain hands-on control of the “money parameters.”
Because Bohm responds to:
- HIT
- VELOCITY
- FUNCTION CV randomization in Studio mode
- lots of parameter CV inputs
…it can benefit hugely from modular logic.
Create an evolving kick system where: - kick triggers remain stable - accents vary - model variations randomize occasionally - Groove taps reshape on phrase boundaries
HITVELOCITYCOLORFUNCTION CV in Studio mode for randomizationThis turns Bohm into a generative kick laboratory.
Because Bohm is rich in transients and tuned low-frequency content, it works brilliantly as an exciter.
Send Bohm’s output to: - resonator - comb filter - physical modeling module - tuned delay
Use the Bohm envelope from TAPS OUT to modulate the resonator damping/brightness.
Even though Bohm has internal envelopes, using an external dynamics stage gives another layer of articulation.
Route Bohm into: - VCA controlled by another envelope - LPG for woody damping - transient shaper/EQ
You can: - choke the tail - emphasize the punch - make kicks more percussive and woody - create “gated industrial” kicks
This is especially useful on the more sample-layered or FM-heavy models.
Bohm’s controls are macro-based and model-dependent. That means a single CV modulation can produce lots of meaningful movement.
COLORCURVETRS DECAYTRS TONEFXCOLORTAPSDUCK / FXRecord one manual gesture with Planar 2 or Voltage Block to sweep:
- Bohm COLOR
- Groove COLOR
- Performer FX
Now one movement transitions the whole drum ecosystem from dry punch to huge rave wash.
Bohm is already dual voice with Groove, but it becomes monstrous when layered with a third kick.
Use Bohm for weight and long body. Use another kick module for midrange click. Mix externally or send one through Performer input.
Send the other kick through Performer input so Bohm ducks it rhythmically.
Very strong for modern techno.
Bohm outputs true stereo audio. That’s unusual for a kick module and worth exploiting.
Use Bohm model STEREO variation to widen, then feed into stereo reverb/delay.
Use the system PANNING settings: - Bohm left - Groove right - Performer center or opposite side
Then process the channels separately downstream.
This is powerful if you have: - dual mono filters - separate distortion paths - independent channel VCAs
Hard-pan Bohm left and Groove right, then: - distort left harder - filter right darker - recombine in mixer
Now your kick system has internal width and movement rather than just a centered thump.
The PM-K1 model is unusual: it’s a physical model of an acoustic bass drum, with controls for: - drum size/tension - beater volume - beater reverb decay / tone - room size - ambient mic volume - stereo spread
Use PM-K1 not as a club kick but as a cinematic percussion anchor.
Because PM-K1 ignores many standard controls, it behaves like a different instrument entirely — perfect for ambient, soundtrack, experimental techno intros, or acoustic-electronic hybrids.
The XT-88 model lets you load: - up to 16 custom wavetables - up to 256 samples - user WAVE files - custom layering samples
Create your own signature percussion engine by loading: - vinyl clicks - foley hits - metal textures - modular recordings - field-recorded impacts - vocal consonants
Then use Bohm’s macro controls to transform them into playable kicks.
Pair Bohm with: - a desktop editor workflow - DAW resampling - field recorder - other Eurorack samplers for source generation
Make your own layer folders: - “Clicks” - “Hard tops” - “Dust” - “Industrial” - “Wood” - “Broken speaker” - “Rave transient”
Then use snapshots to create genre-specific sets.
Important manual detail:
- Bohm main voice is triggered by HIT
- Groove voice is triggered by CLOCK
They don’t have to be the same rhythm.
Use different rhythmic divisions for each.
HIT = quarter notesCLOCK = 16thsCLOCK = dotted 8thsExamples: - Pam’s - Tempi - Rotating Clock Divider - Euclidean Circles - Shakmat Time Wizard - Doepfer trigger tools
Groove becomes a rhythmic “afterimage” of the kick rather than a static tail.
The Performer FX modes include:
- BEAT ROLL
- SLIP ROLL
These are performance-oriented and excellent in live modular where most systems lack DJ-style loop effects.
Feed a whole drum/percussion submix into Performer IN.
Let Bohm provide the kick and ducking.
Then punch in beat roll for transitions.
Modules: - Bitbox - Squid Salmple - Assimil8or - Erica Sample Drum - WMD/SSF percussion modules - Stereo mixer before Performer
This can replace a lot of external mixer DJ FX tricks inside the rack.
Because Bohm is highly transient and structured, it is a fantastic source for: - envelope followers - transient extractors - comparators - audio-to-CV tools
Use Bohm audio to derive modulation for the rest of your patch.
This is especially nice if you don’t want to use TAPS OUT and want audio-reactive behavior instead.
Because the module has performance-oriented controls and scene memory, it pairs really well with hands-on controllers.
Map different control sources to:
- Bohm COLOR
- Bohm FX
- Groove VOL
- Performer DUCK
- Performer FX
Now one hand can: - increase kick aggression - raise rumble - deepen sidechain - sweep DJ filter - then recall a new kick snapshot
That’s an entire live techno performance workflow centered around Bohm.
Because Bohm models cover FM, physical modeling, wavetable and layered samples, they respond differently to niche processors.
This creates recursive drum architecture.
If I were designing a compact system around Bohm, I’d pair it with:
With that, Bohm can sit at the center as: - kick - bass - sidechain processor - transition effect - scene memory brain
Examples: Crater, Ruina, Pam’s, Ikarie, Bitbox, Planar 2
Examples: Mimeophon, Rings, Ensemble Oscillator, QPAS/Ikarie, Batumi
FUNCTIONExamples: Hermod, Tetrapad, Cosmix Pro, Squid Salmple
Examples: Arbhar, Data Bender, Compare 2, Morphagene
HITCLOCKCOLOR around repetition/reverb blendResult: full kick/rumble/pump ecosystem from one hub.
PITCHHITVELOCITYLENGTHResult: kick that plays notes and still slams.
INCHN = INPUT or ALLDJ FILTER / BEAT ROLLResult: modular DJ-style transitions without external mixer FX.
HITCOLORTRS TONEResult: self-evolving industrial kick landscapes.
Bohm is best treated not as “a kick module,” but as a low-end performance instrument. The most interesting combinations come from treating its parts separately:
If you want, I can also make you any of these next: