Make Noise — Maths

• Manual PDF

Make Noise Maths Manual PDF

Using Make Noise Maths for Densely Rhythmic, Hyper-Complex Percussion

The Make Noise Maths module, while not a sound source per se, is a flexible function generator, envelope, logic, LFO, CV processor, and clock/trigger manipulator ideal for generating intricate rhythmic patterns and evolving percussive complexity in a eurorack system. Below are strategies and patch ideas for using Maths to craft polyrhythms, strange time signatures, complex clock divisions, and unique percussive manipulations.

1. Mathematics as a Rhythmic Brain: Clocks, Dividers & Gate Manipulation

A. Polyrhythmic Clocking with EOR/EOC

• Use Maths’ Channel 1 and 4 in cycling mode, straight or modulated, as clocks with different cycle lengths/times.
  • EOR (End of Rise) and EOC (End of Cycle) outputs give gate/pulse signals at function phase boundaries.
• Set Channel 1 for a 5-step pattern, Channel 4 for a 7-step pattern (for instance) by adjusting Rise/Fall and using external modulation.
  • Patch both EOR/EOC outs to trigger drum modules or envelopes for polyrhythms.

B. Generating Odd Time Signatures

• Use Trigger Input to sync Channel 1 or 4 to a master clock, but set Rise or Fall to an “unnatural” division.
  • The slopes act as clock dividers; e.g., a long Rise ignores several repeated triggers, only passing every 3rd/4th/5th.
• Chain EOR/EOC and Trigger/Cycle inputs for cross-patterned triggers.
  • Example: EOR from Channel 1 triggers Channel 4, EOC from Channel 4 back to Channel 1.

2. Evolving Rhythmic Complexity through Self-Modulation & Feedback

A. Feedback for Irregular/LFO-Driven Patterns

• Take a Variable Output and patch it to the Rise/Fall/Both CV input of the same or another channel.
  • Attenuverter controls turn simple LFOs into bouncing, mutating rhythmic CVs.
• Mult complex outputs into clock dividers, logic modules, or further Maths channels for procedural rhythms.

B. Logic & Comparator Processing

• Use the OR output to combine multiple triggers/gates, generating composite clocks for off-beat/irregular hits.
• Patch a steady pulse and a Variable Output (ramped slope) into separate channels, take the OR output as a trigger “mask” or gate-extractor with rhythmic swing or gate delay.

3. Maths as a Percussive Modulation Source

While Maths doesn't directly output audio, it processes control voltages: - Envelope Follower/Transient Generator: Patch percussion audio into a channel's Signal Input, use EOR/EOC or the Variable Output as rhythmic triggers for other voices, compression, or synced CV. - Voltage-Controlled Pulse Delays allow “flam” or ratcheted percussive effects—use EOR outputs with varied Rise/Fall for swung/offset hits. - Bouncing Ball and trilling patches (from the manual) create irregular, dynamic envelope shapes; use for unique hats, rimshots, or FM timbre tweaks on percussion voices.

4. Voice & Effect Manipulation for Percussive, Punchy Results

If you use Maths to control VCFs, VCAs, or even as an audio-rate oscillator:

• Ping Maths at Audio Rate: Patch a fast LFO (cycling channel as audio osc) through a low pass gate or filter for metallic, pseudo-physical drum sounds.
• Complex Envelope Percussion: Use both Channel 1/4 for layered attack/decay; combine envelopes in the SUM/OR bus for one-shot punchy transients or compound percussion (stacked drums).
• Voltage Mirror/Pseudo-VCA Patches: Achieve hard, clipped modulation—great for unusual transient snap or accent envelopes.

5. Patch Examples from the Manual Adapted for Rhythmic Complexity

• Clock/Divider Patch: Send master clock to Channel 1 Trigger. Use Rise parameter to set division, EOR out triggers percussive voices on divided clock.
• Flam/Offset Beats: Use Pulse Delay (EOR out with varied Rise/Fall) to introduce microtiming between sequential drum triggers.
• 281 Mode: Interlocking cyclic channels create overlapping and displaced rhythmic contours—each can modulate a different drum sound or effect.
• Chaotic LFOs: Create morphing patterns by feedback patching Variable Outputs into Rise/Fall/Both of other channels.

6. General Tips

• Modulate everything: Use slow, cycling envelopes on Rise/Fall of fast triggers for controlled drift and non-repetitive rhythms.
• Explore SUM/OR: Blend triggers/gates/offsets for evolving, dynamic rhythmic sources and CV for percussion modulation (decay, pitch, filter).
• Latch and Reset: Use BOTH input as a reset/gate width for further temporal manipulation.

7. Inspirational Patch Starters

• Use EOR to clock a sequencer, EOC to clock off-beat percussion.
• Patch envelope or LFO from Maths to VCA controlling drum body, another to VCA controlling “noise” or “FM ring”.
• Use the OR bus as a pulse generator modulating a sample’s start point or a drum synth’s pitch parameter.

For more detailed reference, you can find all official patch ideas and detailed operation:

Make Noise Maths Manual (PDF)

Generated With Eurorack Processor