Centreville — PlusMix

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PlusMix Manual (PDF)

Creative Modulation Ideas for PlusMix

(centrevillage PlusMix – Unity Mixer with Gate Controlled Switch)

The PlusMix is a utility module that goes beyond standard mixing—its gate-controlled inputs and polarity switches allow for expressive dynamic modulation of your CV and audio paths. Below are creative ways to exploit these features to produce distorted percussive sounds, complex dubstep/drum & bass basslines, and haunting pads.

Module Recap

• Inputs:
• PLS1, PLS2, BASE (audio or CV)
• Outputs:
• MIX
• Gate Inputs:
• SW1, SW2
• Gate Polarity Switches:
• SW1PL, SW2PL
• Mix Logic:
• BASE is always mixed.
• PLS1/PLS2 are mixed when their gate input + polarity status match ("H" + High or "L" + Low).

1. Distorted Percussive Sounds

Goal: Use dynamic switching and fast gates to “punch in” signals and create rhythmic, choppy, or burst-driven percussive textures.
Approach:
- Patch a noise source or a short audio burst to BASE (always present). - Patch a high-gain drum oscillator or complex waveform to PLS1 and/or PLS2. - Use a fast envelope (e.g., AD or AHR) or trigger sequencer to gate SW1 and/or SW2. - Set SW1PL and/or SW2PL to "H" for normal gate behavior (active on high), or "L" for inverted for more off-beat, glitchy gating. - Result:
- Incoming drums or bursts are sharply mixed in for the length of the gates, producing clicks/cuts/rhythmic percussive hits layered atop your noise. - Add distortion (from another module) post-mix for extra saturation.

Variation:
Randomize gate lengths with a random gate/trigger generator for unpredictable percussion.

2. Dubstep / DnB Bassline Madness

Goal: Complex, switchable, morphing bass textures with sharp, modulated movement.
Approach:
- Route two different bass synth voices (e.g., filtered saw from one oscillator, FM bass from another) to PLS1 and PLS2. - Patch a steady sub oscillator to BASE. - Use rhythmic or LFO-modulated gates (sync’d to your beat) into SW1 and SW2 to chop/flick between your morphing voices. - Manually flip SW1PL or automate with a clock divider that provides high/low gate changes for extra syncopation or swing. - Use complex LFOs or random stepped voltages to modulate gates for always-evolving bassline timbres.

Advanced: - Insert audio-rate gates (from a noisy oscillator or burst generator) for glitchy, digital-grit effects. - Run the output through a wavefolder or saturation module for extra edge.

3. Haunting Atmospheric Pads

Goal: Slowly evolving, dark, layered textures using slow gating and polarity inversion for subtle, spectral blends.
Approach:
- Send evolving drones or harmonically rich wavetable oscillators to PLS1 and PLS2. - A steady pad base (filtered noise, choir sample, sine) to BASE. - Slow LFOs (sine, triangle) or shift registers sequence gentle, long gates to SW1 and SW2. - Use SW1PL and SW2PL as manual “mix-in” switches for live performance blending. - Try cross-fading LFO shapes (sometimes manually, sometimes routed from external modulation—e.g., a joystick or envelope follower). - Result:
- Layers move in/out with smooth or ghostly abruptness. Inverted polarity means sometimes the pad will “hollow out” as other layers come in, creating cavernous, spectral spaces. - Can be used on control voltages (CV) for pitch or filter modulation for moving harmonic “clouds.”

Additional Tips

• Precision mixing means you can patch pitch CV through for creative multi-sequenced lines, switching between separate arpeggiators or sequencer patterns on the fly.
• The gate-normalization (SW1 to 5V, SW2 to SW1) means even with nothing patched, you have manual control—useful in live improvisation.

For more module ideas, code, and tools:
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