The PlusMix is a gate-controlled unity mixer, ideal for high-precision CV or audio mixing, and can be dynamically controlled via gates and polarity switches. Its architecture gives you powerful tools for sculpting percussive, polyrhythmic, or complex modular rhythmic music.
Route multiple sequencer CVs (possibly from polyrhythmic sources, e.g., a 7-step and 5-step sequence) into PLS1 and PLS2. Use gate/trigger patterns from your rhythm/clock modules (e.g., Euclidean sequencers, clock div/mults, logic processors) patched to SW1 and SW2.
Result: Only at specific beat coincidences do one or both patterns merge to the output. Complex, evolving melodics or modulation.
Example Patch: - PLS1: 5-step modulation CV, clock-divided. - PLS2: 7-step modulation CV. - SW1: Main clock triggers. - SW2: Swung/divided clock or logic OR from other percussive triggers.
This propagates polyrhythms to any CV destination (oscillator pitch for tuned percussion, filter cutoff, etc.).
Feed PLS1/2 with audio-rate percussive sources (e.g., different digital noise bursts, metallic FM hits). Gates to SW1/SW2 select which layer is present, with polarity switches (SW1PL/SW2PL) providing instant inversion/mute.
Result: Rapid, switchable layering of drum hits, claps, glitches—unique composite percussion sounds that change at intricate rhythmic intervals.
Insert a logic or probability gate module before SW1/SW2. Now, percussion layers or modulation get mixed in only on rare, non-regular triggers, producing unpredictable fills and accents.
Example:
- Probability gate on SW2.
- Odd step triggers on SW1.
- Two contrasting percussion voices, switched as dictated by the gates.
Use when unpatched (SW1 & SW2 normals engage), and flip polarity switches for instant, punch-in/out percussion changes; perfect for rimshot/hat/snare switching on stage.
Because PlusMix is high-precision, send pitch CVs to PLS1/PLS2/BASE and merge them rhythmically to oscillators tuned for percussive synth drums. This creates drumlines with evolving, rhythmically changing tunings—think Aphex Twin/IDM drum edits.
Feed in pulse trains from different clock-divisions (e.g., 3/16, 7/16, 13/16) to SW1/SW2, with percussion CV/audio routed accordingly. Utilize the gate polarity switches to invert or phase-offset layers, exploiting the normalization to create cross-rhythm accents as the clocks "breathe" together.