Make Noise — Mimeophon

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Using a Make Noise Soundhack Mimeophon for Dense, Hyper-Complex Percussion & Polyrhythms

The Mimeophon is a stereo, multi-zone color audio repeater and can function as both an effect and, in certain settings, as a percussive voice (Karplus-Strong/physical modeling). Here’s how you can push it into hyper-complex rhythmic territory for advanced Eurorack percussion and sequence processing:

1. Exploit the Tempo Sync, Rate, and Zone Controls

External Clocking and Polyrhythms

Feed several rhythmic sources (polyrhythmic clocks, different divisions/multiples) into the TEMPO input.
Use different sequences or modulation sources to change Zone and Rate—each Zone is a radically different “buffer size” (delay time), from microseconds (flange/Karplus) to 40+ seconds (long loops).
By switching Zones (with sequencers, random sources, or step CV), your repeats can instantly jump to new time grids without Doppler or pitch artifacts. This is great for sudden complex pattern changes.
Manipulate the Rate knob after clocking: Slewless jumps between divisions/multipliers of the incoming clock—use this for sudden polyrhythms within a single pattern!

Patch Idea - Polyrhythm Machine

Sequence the Zone input with stepped random or other sequencer signals unsynced to your main clock.
Use the Rate CV in conjunction with separate division clocks to achieve complex interlocking.
For every clock tick or bar line, force a Zone or Rate change. This "re-maps" the time base for the repeats—perfect for breakbeats, glitches, or evolving groove.

2. Use Skew, Halo, and Ping Pong for Spatial & Temporal Complexity

SKEW

The SKEW function lets Left and Right repeats run at different Rates. Patch an LFO or divide/multiply clocks (one for Rate, another for SKEW control).
Engage Ping Pong or Swap for alternating/phase-shifted patterns in stereo: "echoes" or percussive hits shift and bounce across the stereo field in a non-repetitive way.
With HOLD engaged, change SKEW for evolving gating and “hocketing” effects.

HALO

For dense, spatialized percussion: set HALO near max for a stereo “smear” or diffusion. Combine with high Repeats for a metallic/plate-reverb dreamscape effect—great as a percussive bed or layer.

3. Mimeophon as a Percussive Voice (Karplus-Strong/Physical Modeling)

Zone 0 & Karplus Mode

Patch a short noise burst or impulse (e.g., from Make Noise MATHS or a trigger to noise generator) to the input.
Set Zone to 0 and Rate high (full CW); adjust Repeats for “pluck decay.”
MicroRate becomes 1V/Oct—sequence with pitch CV for percussive pitched hits, almost like a quick acid bass drum or tuned percussion.
Flip the buffer for unusual metallic or shifted harmonics.

Patch: “Karplus Drum Kit”

Rapidly change Zone or Rate alongside triggering audio bursts, turning every percussion step into a different sound engine instance (snare, bongo, kick, etc.).
Modulate Color and Halo for each “hit” for ever-changing texture.

4. Advanced Tricks for Rhythmic Density

Zone Jumps for Micro-Macro Patterning

Use a fast pulse on the Zone input (sequenced) to alternate between micro (Zone 0) and macro (Zone 6/7) repeat sizes, creating both glitch stabs and giant “room” echoes cascading within the same phrase.

Feedback/Repeats Macrocontrol

Automate the Repeats via CV to punch holes or add rolls in the echo. For every hit, you can set Repeats briefly to max for ratchets/rolls, then drop back for staccato fills.

Flip for Off-Grid/Reverse Hits

Gate the FLIP input in odd patterns—suddenly reverses the loop buffer. Use at audio rate for digital distortion textures or at percussive rates for off-grid, glitchy reversals.

RATE Output as a Pattern Source

Use RATE OUT as a clock divider/multiplier for other sequencers/drum voices. Skew, Zone, or Rate adjustments on the Mimeophon will now propagate pattern changes to the rest of your drum voices—automatic evolving patterns.

5. Color, Halo, and Input Gain Modulation for Punch

Color: Use as a dynamic per-hit EQ/distortion. Random modulation here adds variability and punch.
Halo/Repeats: Vary in time, not just set-and-forget! Try patterning both for fills, ghost notes, swells.
Input Gain: Set hotter for overdrive/crunch, or attenuate for pristine ‘ghost’ repeats in the background.

Example Modular Patch Structure

Kick Drum (Trigger) ─> Noise Burst ─> Mimeophon IN L
MATHS Envelope ─> MicroRate (tonality/pitch sweep)
Random CV/Sequencer ─> Zone, Rate, Repeats CV
Stepped Clock Divider A ─> TEMPO
Main Clock ─> Skew (for stereo pulses)
Mimeophon OUT L/R ─> Mixer/Stereo Bus
Rate OUT ─> Envelope Trigger for another drum voice

Summary Table - Perceptual Effects by Parameter

Parameter	Use for Polyrhythms/Complexity	Use for Percussive Impact
Zone	Macro time changes, polyrhythm jumps	Micro time for attack, loop for tails
Rate	Immediate time division/mult, manual groove changes	Fast for punchy, slow for dub/echo
Skew	Stereo polyrhythms, ping-pong, complex grid overlays	Tight or wide image, phase tricks
Halo	Smear, glue, pseudo-reverb for layering	Zero for sharp/repetitive hits
Color	Modulate for timbral counterpoint, dense freq interplay	Set for attack/decay shaping, dirt
Flip	Time-reversal, glitch, pattern morph	Sharp metallic, reverse hits
Repeats	Fills, ratchets, cycle pattern complexity	Low for dry/punch, high for roooooooll
Input Gain	Clip for digital grit, attenuate for only backghosts	Boost for hit, cut for room

Manual Link

Soundhack Mimeophon Manual PDF

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