Moog — Mavis

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Moog Mavis User Manual PDF

Using Moog Mavis for Densely Rhythmic, Complex Percussion in Eurorack

The Moog Mavis is a powerful analog synth voice and utility module that, when integrated with Eurorack, can deliver unique, punchy, and percussive sounds for hyper-complex rhythmic explorations. Here’s how to unlock its potential for polyrhythmic, polymetric, and rhythmically dense percussion patterns:

1. Mavis as a Percussive Voice

a. Short Envelopes for Percussion

• Patch: Set the Envelope Generator’s Attack and Release to minimum. Keep the Decay low and Sustain at zero, or low for snappy triggers.
• Use: Patch external triggers/random gates to the GATE input. Every trigger generates a sharp percussive blip—good for short analog kicks, blips, snaps, or hats.

b. Self-Oscillating Filter “Ping” Percussion

• Technique: Turn the Filter Resonance to maximum or near maximum. Patch an envelope or sharp CV pulse into the CUTOFF input to "ping" the filter into self-oscillation.
• Result: Generates analog “conga”, “bongo”, or woodblock style percussion sounds, especially when modulated at audio rate.

c. VCO Hard/Soft Edges for Noise

• Noise Percussion: Use the pulse or saw waveform and modulate the Pulse Width for more noise-like, metallic percussive attacks.
• Patch: Route the VCO output through the Wave Folder for aggressive, harmonically rich percussion.

2. Modulation for Complex Rhythms

a. Sample & Hold: Rhythmic Modulation Source

• Patch random/stepped CV from the S+H OUT to any mod destination (VCO pitch, VCF cutoff, or VCA level).
• Trigger S+H with a non-square clock or irregular gate sequence (from external clock dividers, logic, or sequencers) for nonlinear, or polyrhythmic patterns.
• Route S+H output to VCF CUTOFF or VCO PITCH for glitchy, percussive pitch/filter jumps.

b. LFO Audio Rate & Cross-Modulation

• The LFO can run at audio rates (up to 550Hz). For FM drum effects, patch the LFO out to the VCO’s pitch, or the VCF’s cutoff.
• Use the LFO RATE CV input and fire it from erratic clocks, random gates, or complex clock multipliers for unpredictable or polyrhythmic movement.

3. External Sequencing and Polyrhythmic Gate Sources

• GATE input: Accepts external rhythmic triggers; sequence Mavis from a clock divider, logic module, or a polyrhythmic gate generator.
• Layer patterns by sending multiple independent clocks/gates through a logic module that merges them, then patch to Mavis GATE.

4. Layered and Stacked Percussion (Mix & Mult)

• Use the onboard Mixer and MULT to:
• Combine Mavis’s output with other voices (or itself via feedback patches).
• Duplicate a random/unusual modulation source (from S+H or LFO) and send to both pitch and filter for “macro” percussion changes.
• Feedback the Wave Folded output or filtered output back into the Mixer for drone/percussion hybrids or “FM percussion”.

5. Unique FX—Wave Folding and Feedback

• Wave Folder: Not usually present in analog monosynths. Patch any percussive signal (from Mavis or external) into FOLD IN and modulate the FOLD depth (manually or by CV) for snappy, complex, and harmonically saturated electronic percussion.
• Combine with high resonance, tight envelopes, and modulated pitch for full-spectrum digital-esque percussion.

6. Patch Ideas for Advanced Rhythmic Percussion

Polyrhythmic Filter Ping

• Patch two (or more) clocks/gates (with different divisions/lengths) into logic, sum to GATE IN.
• Modulate filter cutoff by fast S+H or LFO, set resonance high.

Pseudo-Granular Percussion

• Use S+H or LFO, set to irregular triggers, and patch to VCA CV.
• Fire GATE with clock dividers on different timebases (e.g., /5 against /7).

Harmonic “Metallic” Percussion

• Use VCO saw → Wave Folder → VCF high resonance, pinged by envelope.
• LFO and S+H mixed (via Mixer) to modulate both cut and pitch—creates atonal, metallic textures.

External CV and Sequencing

• Use external Eurorack sequencers to send non-standard gate and cv voltage sequences (Euclidean rhythms, probability-based steppers, function generators).

General Tips for Punch & Uniqueness

• Use the Envelope’s Attack/Decay/Release in the sub-10ms range for super-punchy enclaves.
• Use the Attenuator to shape modulation amounts, making motion more or less extreme.
• Exploit unusual waveforms (combined saw/pulse, folded, FM) for nonstandard percussion timbres.
• Sync multiple Mavis with other Eurorack voices or percussion modules for polymetric layers.

Full Moog Mavis User Manual PDF

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