# Ohmforce — Bohm - [Manual PDF](../../manuals/Bohm documentation.pdf) --- [Manual PDF / Bohm Documentation](#) # Creative Modulation Ideas for **Ohm Force Bohm** *A Eurorack musician’s take on how to push Bohm beyond “just kicks”* Bohm is marketed as a stereo dual-voice kick system, but the manual makes it clear it can do much more if you treat it like a playable synth voice + rhythmic layer generator + sidechain/effects hub. The biggest takeaway is: - **Bohm voice** can be pitched and sustained with **HIT as a gate** - **Groove** is not just a rumble generator; it’s a second rhythmic synth voice with envelope logic - **Performer** can turn the whole thing into a ducking / filtering / beat-roll performance processor - Different **models reinterpret controls differently**, so modulation feels very different model-to-model That means you can get: - **distorted percussion** - **talking / tearing basslines** - **pseudo-pads and haunted drones** - **industrial tops, reese-adjacent lows, broken techno thumps, DnB stabs** --- ## Best core ideas from the manual Before patch recipes, here are the most important modulation facts from the manual: ### 1. **HIT can be a trigger or a gate** This is huge. If **HIT stays high**, the sound sustains. That means Bohm can act more like a bass synth/drone voice than a one-shot kick. Use this for: - bass notes - held drones - long evolving atmospheric tones - pitch-tracked lines --- ### 2. **PITCH can track 1V/oct** The manual says for proper pitch tracking: - set **PITCH knob fully CCW** - set **PITCH attenuverter fully CW** - choose proper **Pitch CV range** in system settings: `0..1V`, `1..2V`, or `2..3V` - make sure sequencer is **1V/oct** This is essential for: - dubstep bass riffs - DnB subs - melodic industrial percussion - pad/drone harmonics --- ### 3. **CURVE matters a lot** The pitch envelope curve moves from: - **808-style** counterclockwise - **909-style** clockwise The manual notes that fully CCW reaches the fundamental frequency quicker. That means: - shorter, more solid bass pitch center - better bassline tuning - more stable held-note behavior While clockwise can give: - more exaggerated punch / dive - more synthetic attack - more aggressive transient motion Modulate or perform this manually for big character changes. --- ### 4. **COLOR is often a wavetable motion control** On many models, **COLOR** is not simply “brightness.” It often controls: - wavetable position - position over time - transient harmonic content - sound source blend on Groove This is probably one of the best CV destinations for “alive” sounds. --- ### 5. **Groove is a second voice, not just an effect return** Groove has: - its own trigger input: **CLOCK** - relative **PITCH** and **LENGTH** - **COLOR** source blending - **2 / 3 / 4 taps** shaping an envelope - **TAPS CV output** That means Groove can become: - a tuned secondary bass layer - a metallic top layer - an evolving rumble envelope source - a modulation generator via **TAPS out** --- ### 6. **Performer can process kick, input, or both** Performer has: - external stereo input - ducking on every **HIT** - effect modes like **DJ Filter**, **HP**, **LP**, **Beat Roll**, **Slip Roll** - channel selector: **ALL / KICK / INPUT** This opens up a lot: - sidechained pads - pumping drones - beat-repeat resampling - filtered industrial atmospheres --- --- # Best models for the sounds you want ## For distorted percussion Use: - **FM-2X** - **OLP4** - **VX-T** - **PX3** - **SP-6** - **WT-4** ### Why - **FM-2X / OLP4** = sharper synthetic FM attack, industrial metal - **VX-T** = strong transient shaping - **PX3** = weird, hard, experimental with object-hit layers - **SP-6 / WT-4** = layered transient and wavetable body --- ## For dubstep / DnB basslines Use: - **FM-2X** - **HZ-1** - **VX-T** - **XT-88** - **OLP4** ### Why - **FM-2X** = very strong bass transient and FM bark - **HZ-1 / VX-T** = clean-to-nasty wavetable motion - **XT-88** = user wavetable/sample import for custom bass timbres - **OLP4** = weird FM motion and metallic bass growl --- ## For haunting atmospheric pads / drones Use: - **PM-K1** - **HZ-1** - **VX-T** - **XT-88** - **WT-4** - Groove + Performer together ### Why - **PM-K1** can become roomy, resonant, ambient, especially with long held gates - **HZ-1 / VX-T / WT-4** can be softened into wavetable drones - **XT-88** can use custom wavetables and layers - Performer ducking/filtering can make things breathe --- # Modulation strategies by sound type # 1. Distorted percussive sounds ## A. Industrial metallic kick/snare hybrid ### Try on: - **FM-2X** - **OLP4** - **VX-T** ### Patch: - Send regular triggers to **HIT** - Send a fast random or stepped CV to: - **ATTACK CV** - **TRS DECAY CV** - **TRS TONE CV** - Send a slower LFO to **COLOR CV** - Use **VELOCITY CV** with random accents - Set Bohm FX variation to: - **HARD** - **WAVEFOLD** - **BITCRUSH** if available - **DECIM** if available ### Why it works - **ATTACK** affects transient intensity - **TRS DECAY** changes click/toc length - **TRS TONE** changes dark/bright transient color - **COLOR** moves the oscillator/wavetable body - **VELOCITY** gives non-repeating impact ### Extra trick Use a clock divider/multiplier so one modulation source changes every 2, 3, or 5 hits rather than every hit. That creates repeatable “machine language” percussion instead of chaos. --- ## B. Broken hardcore kick with tearing top ### Try on: - **PX3** - **SP-6** - **WT-4** ### Patch: - Trigger **HIT** with your main rhythm - Send a sequenced CV to **PITCH CV** for tuned percussion jumps - Modulate **COLOR CV** with a medium-speed envelope or LFO - Modulate **FX CV** with random stepped voltage - Turn **LENGTH** fairly short - Turn **CURVE** toward 909 side for more punch movement - Layer Groove lightly with high **COLOR** ### Why it works These models combine wavetable kick body and transient/sample layering. When pitch and color move together, they stop reading as a standard kick and start becoming hard-edged drum voices. ### Performance move Make the **FUNCTION CV** randomize in Studio mode between takes. Since Bohm randomization is designed around “sweet spots,” you can quickly discover distorted percussion presets. --- ## C. Glitch percussion via Groove taps ### Patch: - Main beat to **HIT** - Faster clock, like 16ths or triplets, to **Groove CLOCK** - Modulate **TAPS CV** - Modulate Groove **COLOR** - Put Groove FX on **HP** or **BP** - Keep Groove **VOL** fairly high - Use irregular tap settings on **2 / 3 / 4** ### Why it works Groove repetitions are **retriggered**, not delayed copies. That means the groove voice acts like a sequenced percussion synth. With HP/BP filtering and changing tap levels, it becomes a clattery glitch layer rather than a normal rumble. ### Best use - industrial hats from a kick source - neuro-ish ghost percussion - broken beat tops --- # 2. Crazy basslines for dubstep / drum and bass # First, the setup for proper bass playing Per manual: - **PITCH knob full CCW** - **PITCH attenuverter full CW** - set **Pitch CV** system range properly - use **1V/oct** sequencer - use longer **LENGTH** or hold **HIT gate** This is the main unlock for turning Bohm into a bass synth. --- ## A. FM growl bass ### Best model: **FM-2X** ### Patch: - Send a pitch sequence to **PITCH CV** - Send matching gates to **HIT** - Set **LENGTH** fairly long - Use medium **SUSTAIN** - Modulate: - **ATTACK CV** with envelope or velocity - **TRS TONE CV** with a slow triangle LFO - **COLOR CV** with another slow/moderate LFO - **FX CV** with manual performance or sequencer lane - In variations, explore **RATIO** ### Why it works FM-2X gives you: - sub carrier - modulator-driven attack/growl - wavetable-dependent tone changes - ratio variation for harmonic character shifts ### What to listen for - low ratios = heavier sub and weight - higher ratios = more edge / metallic bark - ATTACK modulation = changes how hard the FM bites - TRS DECAY/TONE = changes the growl contour ### Dubstep move Patch an LFO or envelope to **ATTACK CV** and sync it to phrase length. You’ll get “opening” growls on selected notes without losing low-end consistency. --- ## B. Wobble / vowel-adjacent bass ### Best models: - **HZ-1** - **VX-T** - **WT-4** - **XT-88** ### Patch: - Pitch sequence into **PITCH CV** - Gates into **HIT** - Long **LENGTH** - Moderate **SUSTAIN** - Slow/tempo-synced LFO into **COLOR CV** - Another LFO into **FX CV** - Optional stepped random into **CURVE CV** - Performer FX set to **DJ FILTER** or **LP** - Use Performer channel set to **KICK** or **ALL** ### Why it works On these wavetable-oriented models, **COLOR** often sweeps harmonic position over time. This behaves a lot like a wavetable sweep or moving tone contour. Add Performer filtering and you get pseudo-formant movement. ### Make it more aggressive - Add Groove as a higher pitched layer - Set Groove **PITCH** above center - Use Groove **COLOR** to blend noise/grit/sub components - Filter Groove with **BP** or **DIST** - Keep Bohm as the sub anchor This gives a bass patch with: - Bohm = body/sub - Groove = grit/motion/top harmonics That’s a very dubstep/neuro concept. --- ## C. Reese-ish stereo bass stack ### Best models: - **XT-88** - **WT-4** - **HZ-1** - **OLP4** ### Patch idea: - Bohm voice: long bass note sequence - Groove clock: fast subdivisions - Groove **PITCH** slightly above or below center - Groove **LENGTH** around center or longer if repetition source is active - Bohm and Groove stereo width up - Modulate Bohm **COLOR** - Modulate Groove **COLOR** - Use Performer **DJ FILTER** with moderate resonance ### Why it works It won’t be a classic detuned dual saw reese, but it can create a similar feeling: - wide moving low-mid texture - animated upper harmonics - unstable stereo edge - filtered motion ### Advanced trick Use **Panning** system settings: - Bohm hard left - Groove hard right - Performer center or one side Now process left/right externally with separate Eurorack chains for serious stereo destruction. --- ## D. Machine-gun DnB stabs ### Best models: - **FM-2X** - **OLP4** - **PX3** ### Patch: - Short gates into **HIT** - Fast sequenced pitch line - High **ATTACK** - Short/medium **LENGTH** - Random accents into **VELOCITY** - Modulate **CURVE** per phrase - Modulate **TRS TONE** - Use hard distortion mode - Add Groove taps in sync with 16ths ### Why it works This gives sharp, tuned impacts that sit between kick, bass, and tom. Great for: - jump-up stabs - techstep bass punctuation - industrial fills --- # 3. Haunting atmospheric pad sounds This is the most non-obvious use of Bohm, but the manual directly supports it because: - **HIT can sustain with a gate** - **PITCH can track** - **Performer ducks and filters external audio** - Groove can create evolving envelopes and texture layers The key is to stop thinking “kick” and think “held digital resonant voice.” --- ## A. Bohm as a dark drone/pad oscillator ### Best models: - **HZ-1** - **WT-4** - **XT-88** - **PM-K1** - **VX-T** ### Patch: - Send long gates or manually hold **HIT** - Use very long **LENGTH** - Medium/high **SUSTAIN** - Lower **ATTACK** - Slow LFO into **COLOR CV** - Very slow random or triangle into **CURVE CV** - Small pitch modulation from a slow random source into **PITCH CV** in addition to your base note - Use Bohm FX lightly - Use Performer **LP** or **DJ FILTER** - Add external reverb after Bohm ### Why it works A held Bohm tone with wavetable motion can become a haunting sustained sound, especially when pitch dive behavior is minimized and the transient is tamed. ### Important For cleaner sustained notes: - keep **CURVE** more toward the side that stabilizes pitch sooner - lower transient emphasis - avoid overly short **LENGTH** --- ## B. PM-K1 haunted drum room ### Best model: **PM-K1** This model is totally different: - **PITCH** = drum size/tension - **ATTACK** = beater volume - **TRS TONE** = beater reverberation decay - **SUSTAIN** = ambient mic volume - **LENGTH** = room size - **FX** = stereo spread of ambient mic ### Patch: - Send sparse gates to **HIT** - Long gate lengths - Low **ATTACK** - High **SUSTAIN** - Long **LENGTH** - High **FX** for stereo spread - Modulate **PITCH** slowly - Modulate **TRS TONE** with slow random CV ### Result This can create: - ghostly resonant drum rooms - cinematic low thuds - ritual ambient percussion - almost-tom, almost-space, almost-pad textures This is probably the fastest path in Bohm to “haunting.” --- ## C. Pad made from Groove envelope + external sound ### Patch: - Feed a stereo drone/oscillator into **Performer IN** - Set Performer ducking moderate - Send sparse or rhythmic triggers to **HIT** - Set Performer FX to **LP** or **DJ FILTER** - Use Bohm only lightly, or even nearly silent - Set **TAPS OUT** system setting to: - **GROOVE** - or **PERF** - Use that CV output to modulate an external VCA/filter/reverb send ### Why it works Now Bohm becomes the rhythmic ghost controlling another sound source: - the pad breathes with the kick - Groove envelope creates non-standard swells - Performer ducking gives transparent or exaggerated pumping This is excellent for: - haunted pads behind broken beats - sidechained cinematic wash - evolving dub-techno atmospheres --- ## D. Granular-feeling haunted loops with Performer ### Patch: - Feed texture, radio noise, field recording, or resampled ambience into **Performer IN** - Set channel mode to **INPUT** or **ALL** - Use **SLIP ROLL** or **BEAT ROLL** - Trigger **HIT** sparsely - Use synced Performer FX switching if desired - Modulate **DUCK** - Modulate **FX** - Mix in Bohm quietly as a low pulse ### Why it works Performer can stutter and resample input around hits, which turns static ambience into ghost rhythm. Great for: - dark DnB intros - haunted breakdowns - IDM-ish shattered atmospheres --- # Cross-modulation ideas using Bohm’s own outputs and logic ## 1. Use **TAPS OUT** as a modulation source The manual says TAPS output can emit: - **GROOVE** envelope - **I BOHM** inverted Bohm envelope - **PERF** performer envelope - **BOHM** Bohm envelope This is one of the coolest features. ### Uses: - send to external filter cutoff for synced movement - send to VCA controlling noise layer - send to reverb send amount - send to wavefolder depth - use **I BOHM** to create inverse movement against the kick ### Great patch - Set TAPS OUT = **I BOHM** - Route to external oscillator VCA - Now your external drone swells in the spaces *between* the kick hits That’s instant haunted atmosphere. --- ## 2. Groove as modulated bass grit layer The Groove section has: - repetition - kick reverb - noise - grit + sub Since **COLOR** blends these, slow CV on Groove COLOR can morph from: - rhythmic repeat - to hiss/noise texture - to gritty low-end layer This is extremely useful for neuro / bass music hybrid patches. --- ## 3. Performer ducking as rhythmic spectral carving The **DUCK BS** variation sets a band split frequency: - lows duck - highs preserved This is powerful and easy to miss. ### Use it for: - keeping air/transients from an external pad while clearing room for Bohm low-end - subtle sidechain instead of full pumping - rhythmic bass/pad integration For haunting pads, this is often better than full-range ducking. --- # Specific patch recipes # Patch 1 — “Neuro Kick Bass Monster” ### Goal Aggressive bassline with attack bark and moving upper harmonics ### Model **FM-2X** ### Patch - sequencer pitch -> **PITCH CV** - gate sequence -> **HIT** - velocity lane/random accents -> **VELOCITY CV** - envelope/LFO -> **ATTACK CV** - slow LFO -> **TRS TONE CV** - manual or sequenced modulation -> **FX CV** - Groove CLOCK -> 16ths - Groove COLOR around grit/noise area - Groove PITCH slightly above center - Groove FX = **DIST** - Performer FX = **DJ FILTER** - Performer CHN = **KICK** ### Notes Keep Bohm as the sub/fundamental and Groove as the upper dirt. --- # Patch 2 — “Broken Factory Percussion” ### Goal Metallic industrial percussion line ### Model **OLP4** or **PX3** ### Patch - Euclidean triggers -> **HIT** - stepped random -> **PITCH CV** - random gate accents -> **VELOCITY CV** - slow random -> **TRS DECAY CV** - fast attenuated random -> **ATTACK CV** - Bohm FX = **HARD** or **WAVEFOLD** - short **LENGTH** - Groove clock at odd division - Groove FX = **HP** ### Notes This produces a line that sits between tuned drum hits and machine noise. --- # Patch 3 — “Dubstep Wobble Pad” ### Goal A sustained, wobbling dark harmonic bed ### Model **HZ-1**, **WT-4**, or **XT-88** ### Patch - hold **HIT** high with long gate - root pitch to **PITCH CV** - slow sine LFO -> **COLOR CV** - second slower triangle -> **FX CV** - tiny slow random -> **PITCH CV** mixed in - Performer IN <- external reverb return or texture source - Performer DUCK moderate - Performer FX = **LP** - CHN = **ALL** ### Notes This works best if you reduce the attack transient and let wavetable movement do the talking. --- # Patch 4 — “Ghost Chamber” ### Goal Haunted cinematic percussive ambience ### Model **PM-K1** ### Patch - sparse triggers/gates -> **HIT** - slow random -> **PITCH CV** - slow random -> **TRS TONE CV** - high **SUSTAIN** - long **LENGTH** - high **FX** width - external shimmer or long reverb after Bohm ### Notes This makes spectral low-end drum ghosts and ritual room tones. --- # Patch 5 — “Self-Pumping Atmosphere” ### Goal Pad that breathes around Bohm hits ### Patch - external pad/oscillator/mixer send -> **Performer IN** - Bohm plays sparse kick or bass pulses - set **TAPS OUT** = **PERF** or **I BOHM** - send TAPS OUT to external filter/VCA controlling a second drone - Performer DUCK moderate to high - Performer DUCK BS set so highs remain - Performer FX = **DJ FILTER** ### Notes This makes the whole system feel like one breathing instrument. --- # Best modulation sources to pair with Bohm ## Great CV types for Bohm Because many parameters are macro controls, Bohm responds best to **musical**, not purely chaotic, CV. Use: - **slow triangle / sine LFOs** for COLOR and FX - **stepped random** for VELOCITY, ATTACK, PITCH jumps - **envelopes** for ATTACK and FX - **burst/ratchet clocks** for Groove CLOCK - **sample & hold** for transient tone changes - **sequenced CV lanes** for COLOR movement phrase-by-phrase --- ## Best parameter pairings ### For bass - **PITCH + COLOR** - **PITCH + FX** - **ATTACK + TRS DECAY** - **COLOR + Performer filter** ### For percussion - **ATTACK + TRS TONE** - **PITCH + VELOCITY** - **CURVE + LENGTH** - **Groove COLOR + TAPS CV** ### For atmospheres - **COLOR + FX** - **PITCH + CURVE** very slowly - **Performer DUCK + DJ FILTER** - **TAPS OUT -> external VCA/filter** --- # Underused manual features that are especially creative ## 1. **Load snapshots with pots positions** This means you can create families of radically different bass/percussion/pad states and recall them like presets for a set. Use it for: - section changes in a live DnB set - switching from kick to bass drone instantly - verse/chorus transitions --- ## 2. **Program knob modes: Latch / Relative / Override** If you want one control always live during performance: - set that parameter to **OVR** Example: Keep **COLOR** on override in a live bass patch so you always have hands-on “wobble depth.” --- ## 3. **Panning modes** Hard-pan: - Bohm left - Groove right - Performer center or opposite side Then process channels separately outside Bohm. This is killer for: - stereo bass mangling - asymmetrical distortion - pseudo-mid/side destruction --- ## 4. **Post EQ** Since Bohm and Groove can get very bass-heavy or harsh, Post EQ can be used like global voicing: - cut excess mud - boost bite - tame fizz Very useful if you build dubstep/DnB patches that overload the low mids. --- # My strongest recommendations If I were using Bohm for your goals, I would focus on these 5 workflows: ## 1. **Use HIT as a gate** This is the biggest key to turning Bohm into: - bass synth - drone - pad voice ## 2. **Treat Groove as a separate texture oscillator** Not just rumble. Use it as: - tops - grit - ghost notes - bass harmonics ## 3. **Use Performer as part of the sound design, not just end-of-chain** Especially: - DJ FILTER - LP/HP - ducking - beat/slip roll on input or kick ## 4. **Modulate COLOR constantly** On Bohm and Groove both. This is where a lot of movement lives. ## 5. **Use TAPS OUT as a real modulation source** It can animate the rest of your rack and make Bohm the rhythmic brain of a larger patch. --- # Quick starting recipes ## Fast distorted percussion starter - Model: **PX3** - Short LENGTH - High ATTACK - Medium TRS DECAY - Random VELOCITY - Slow COLOR modulation - FX distortion mode - Groove HP filtered tops ## Fast dubstep bass starter - Model: **FM-2X** - PITCH track enabled - HIT as gate - Long LENGTH - Moderate SUSTAIN - LFO on COLOR - Envelope on ATTACK - Performer DJ FILTER ## Fast haunted pad starter - Model: **WT-4** or **PM-K1** - Long gate to HIT - Long LENGTH - High SUSTAIN - Slow COLOR or PITCH modulation - Performer LP - external long reverb - TAPS OUT to modulate another drone layer --- # Final thought Bohm is most interesting when you stop asking it to be a kick drum and instead patch it like: - a **bass voice with transient architecture** - a **dual-voice percussion synth** - a **stereo drone generator** - a **sidechain and resampling performance processor** If you want, I can also turn this into: 1. a **set of specific patch sheets**, 2. a **genre-focused guide** for **dubstep / neuro / industrial techno / dark ambient**, or 3. a **“best CV inputs by model” cheat sheet**. --- [Generated With Eurorack Processor](https://github.com/nstarke/eurorack-processor)