Black Noise — Cosmos

Manual PDF

COSMOS: Eurorack Modulation & Sound Design Strategies

Based on the COSMOS manual, here are focused approaches to coaxing distorted percussion, crazy basslines for DnB/dubstep, and haunting pads. The COSMOS’ deep analog logic, signal folding, rectification, and flexible CV routing make it a wild processor for modular explorers.

1. Distorted Percussive Sounds

a) Clamping VCA (p. 21, "Clamping VCA")

Patch: Send a short envelope or percussive noise burst to the X input. Patch a fast, snappy envelope (from Maths, Function, or similar) to the Y input. Use the inv. TZ CLIP out for your sound.
Modulate: Use the envelope's decay CV to create transient shaping. Increase the envelope depth for harder, squashed distortion.
Enhance: Add an offset before the Y input for more extreme clamping/distortion, making the percussive attack even sharper. Try the touch pads to introduce manual "hits".
Character: This introduces analog distortion that enhances percussive transients—great for techno/dubstep snares, glitch kicks, or metallic rimshots.

b) Full-Wave Rectifier (p. 18, "Full-Wave rectifier")

Patch: Send your drum audio into X, the corresponding inv out to Y. Take the MAX output for a fully-rectified, harmonic-rich drum sound.
Modulate: Use a fast LFO or another envelope on the offset CV to dynamically "bend" the harmonics for each drum trigger.

c) Complex Ring Modulation (p. 23, "Complex ring modulation")

Patch: Use two VCOs or drum signals, routed through attenuators/offsets into the X and Y inputs.
Modulate: Use envelopes or stepped random CV into the offset/attenuator modules for shifting metallic clang and broken digital-sounding percussion.

2. Crazy Basslines (Dubstep/Drum & Bass)

a) TZ Clipper - XOR Logic (p. 14)

Patch: Send a triangle or sawtooth from a VCO into X, a sub-octave square or LFO or another VCO into Y.
Modulate: Modulate the frequency and offset of the Y input for constant movement. Self-patch the COSMOS outputs to other parameters for complex chaos.
Output: Use the TZ CLIPPER or XOR out for gnarly, squelchy, phase-inverting, FSU-style tones typical of modern DnB/Dubstep.

b) Harmonic Wave Shaper (p. 28)

Patch: VCO into X. Send TZ clipper gate out through a fast slew or LPG, then negative offset to Y. Take TZ CLIPPER out.
Modulate: Use sequencer, LFO, or envelope into slew time and offset CV for "punching," folding, and tearing basslines.

c) Self-Oscillation & Feedback (p. 24)

Patch: XNOR gate out > X input. Add slew or filter in the feedback for pitch control.
Modulate: Use envelopes, random sources, or touch plates to add fiery, spiky, unpredictable movement to your basses.

3. Haunting Atmospheric Pads

a) Envelope Combiner (p. 33)

Patch: Layer two independent slow envelopes into X and Y. Take the MAX or MIN output for a morphing, organic pad shape.
Modulate: Use slow LFOs to vary envelope parameters over time. Send additional LFOs or envelopes to input offsets for swelling movement.

b) Window Comparator (p. 20)

Patch: Patch a gently moving LFO or drone oscillator through an offset generator into X; the inv-X out, also through an offset, into Y. Take the OR gate out for a gated pad signal.
Modulate: Slowly modulate the offsets (window center/width) for evolving, ghostly gating and harmonic shifts.

c) Full-Wave Rectifier + Envelope Follower** (pp. 18, 34)

Patch: Layer atmospheric samples or field recordings into X, inv out to Y. MAX output through a fast slew/LPG for an evolving, cloud-like control voltage or re-shaped drone.
Modulate: Use the CV outs to modulate filters, reverbs, or other ambient processors.

d) Touch Plates for Expressive Modulation

Keep one or both inputs unpatched and use touch plates to bring in subtle or dramatic voltages. Great for slowly morphing pads with hands-on control.

General Modulation Tips

Self-Patching: Experiment with COSMOS’ own outputs modulating its own inputs for complex, self-organizing textures.
Logic Gates for Rhythms: Use trigger/gate outs and their NOT/falling-edge versions to set up shifting, polyrhythmic modulations across your voices and FX.
CV-Controlled Offsets: Always exploit GOMA or similar for live CV-driven offsetting, making every effect dynamic.

Experiment! The COSMOS is an analog computer-in-miniature—patching is open-ended, unpredictable and often yields surprising musical gold.

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