Zlob — Triple Cap Chaos

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Using the Zlob Modular Triple Cap Chaos for Dense, Hyper-Complex Percussion

The Triple Cap Chaos is a 2hp chaos-based analog oscillator and audio mangler. It's uniquely suited to generating unpredictable, rich audio textures and pseudo-rhythmic elements through its chaotic attractors, audio-rate oscillation, and audio/CV mangling capabilities. Let’s break down how you can exploit its features for generating dense, polyrhythmic, and highly percussive sequences in a Eurorack setup.

Module Type:

Primarily an Audio Source & Mangler/Processor
- Not a traditional voice or effect, but chaotic oscillator with audio/CV processing abilities.

Techniques for Hyper-Complex Percussion

1. Percussive Voice Creation Using Audio Outputs (X & Y)

• X Output: Sinusoidal, noisy, “windy” textures—can form the basis of snare-like or metallic percussion.
• Y Output: More squared-off, harsh/aggressive—great for kicks, claps, or highly electronic percussive hits.

How to use for punchy, unique percussion: - Short EG or VCA: Trigger the X or Y outputs with short envelopes through VCAs for sharply defined, punchy percussive hits.
- Randomized Triggers: Use a clock divider/multiplier and trigger the EG/VCA at different rates for automatic polyrhythms. - Layering: Combine both X and Y outputs to form composite drum sounds with organic top end/noise and a beefy fundamental.

2. Audio/CV Mangling for Evolving Patterns

• IN Jack: Feed drum machine, oscillator, or existing modular percussion through the AC-coupled input.
• As the "IN" interacts with the chaotic core, it generates heavily modulated, shifting timbres and tones.
• External Modulation: Patch complex LFOs, stepped random voltages, or sequencer channels to "CV IN" (expects -5V to +5V). This disrupts the normal chaos and steers the resulting signal into even wilder, more unpredictable pulses and waveforms.

Patch Ideas: - Send a simple drum loop or repeating synth line into the IN and modulate Width/Emanate with polyrhythmic/irregular CV sources (from a Pamela’s New Workout, Zadar, Maths, etc). - Use rhythmic clocks or gates at different divisions or from Euclidean/sequencer modules to modulate the chaos parameters for complex, evolving syncopations.

3. Polyrhythm & Complex Time Signatures

• Voltage-Controlled Chaos: Using the CV input, feed in rhythmic, stepped CV (from a melody sequencer or trigger-to-CV converter at different clock rates).
• This makes the chaos evolve at unrelated time signatures from the main clock, overlaying random, rhythmic bursts on top of the expected meter.
• Divide/Multiply Triggers: Use the Triple Cap Chaos’ X or Y output as an audio-rate clock source (run through an envelope follower or comparator) to extract gates/triggers, then use these for triggering percussive voices in unusual rhythms.
• Sync Your System to the Chaos: Pass the X or Y output through a clock extractor module (e.g., Mutable Instruments Peaks, Pamela’s New Workout clock input) and sync sequencers or clock dividers to the chaotic output for organically evolving, non-repeating complex patterns.

4. Sound Shaping for Percussive Emphasis

• Emanate Knob (Spectrum/Activity):
• CCW = more chaos = more gnarly, noise-based percussion and wild sample & hold artifacts.
• CW = more stable oscillation = tight, almost FSK/Buchla drum tones.
• Width/CV Att: Fine-tune the chaos/oscillation to sweep the sound into more tonal or sharper, more digital/bitcrushed realms—ideal for hats, claps, digital percussion splashes.
• Fast Short Envelope Modulation: Patch velocity or accent envelopes to the CV input to accentuate certain hits/passes, adding hyper-dynamic, punchy variation to the stream of sound.

Creative Patch Example:

Chaotic Bongos with Polyrhythmic Modulation
- Patch X output through a VCA, envelope the VCA with different-length clocked triggers (e.g., 3-step and 5-step divisions for polyrhythm). - Modulate Width with slow LFO or stepped sequencer at yet another unrelated division. - Feed Y output through a wavefolder or lowpass gate for “woodier” percussion layers. - (Optional) Feed a syncopated sequence or another random CV to IN for evolving chaos, bringing random grain or “flam” to the hits.

Quick Summary Table

Final Notes

• Experiment with feedback: Try patching audio or CV from Triple Cap outputs back into its IN or CV input for even more self-organizing complexity.
• Non-repeating patterns: The chaotic core ensures no two passes are identical—great for glitch and complex IDM, breakcore, experimental techno, etc.

Generated With Eurorack Processor