MimeoPlexus - Adventures in Time, Space and Spacetime.

video upload by Cinematic Laboratory

Cinematic Laboratory Plexiphon posts

"Welcome to episode 02 of my Plexiphon exploration. I must admit I’ve been a bit underwhelmed by it because I was hoping for more like a network behavior where sounds from the past could suddenly return into its input.

Kind of like Mimeophon’s long repeat that remembers almost a minute. It became more and more clear that Plexiphon is indeed an Erbe-Verb V2. Even the CV out is ultimately intended to ‘push back’ the infinite wash so it can be controlled. I guess it’s now a stereo space folder, and once you accept that, it’s quite a cool and creative reverb. But that’s not why I run this channel. People who got themselves a Plexiphon most certainly also have a Mimeophon. And if not, one should at least consider adding one, so one can build yourself a Mimeoplexus. This basically answers my question why there isn’t a bit more ‘plexus’ in the Plexiphon. It’s because Mimeophon already took care if it a long time ago.

In this patch, I’ll use a mono source. In this case, I’ll pick Plonk again so it’s easier to follow what happens to a single mono modal ‘plonk’. MP’s left output goes to left PP input. MP’s right output goes to case out. And then: the loop: PP’s left output returns to MP’s right input.

PP’s right output goes to case out. So the combo pans a bit hard L/R, but the reverb runs through a feedback path. PP can now ‘save itself’ in MP’s long buffer and it can receive its own output many seconds later. Meanwhile, MP can change the delay times, direction, skew, colors, etc. We can’t just fold space, we can fold time too, and make it run backwards.

Now be honest, when was the last time you could creatively mess with relativity?"

New 4 Zone CV Bus Case | Make Noise

video upload by MAKEN0ISE

"A brand new edition of the 7U Case has arrived! So let's make a patch in a Shared System in the 2013 wooden Enclave 7U that is still going strong to this day!

There is at least one error in the voiceover for this video: can you catch it?

Our 208hp 7U 4 Zone CV Bus Case arrives ready to put to use with your modules, patch cables and inspiration. The powder coated metal construction offers excellent mechanical durability. The mounting rails have been updated to black anodized tapped strip, replacing the sliding nut design of previous versions of the case. The lid is removable and can be closed with the system fully patched. The sleek matte black finish was selected to match our line of Black & Gold modules, and it looks great with just about any module installed. This finish will wear nicely showing the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power system is a new approach to accommodating the ever growing universe of Eurorack modules.The multi-zone power solution is like having multiple independent power supplies in a single case. This allows for isolating noisy modules from noise sensitive modules. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. Included are 31 power shrouded connectors to help prevent incorrect installation. The total available power available is +12VDC @ 4A, -12VDC @ 2.4A and +5VDC @ 1A.

CLICK FOR MORE »

New Make Noise 208hp 7U 4 Zone CV Bus Case and CV Big Bus!

Press release follows:

Make Noise is proud to announce our new 208hp 7U 4 Zone CV Bus Case and CV Big Bus!

The 208hp 7U 4 Zone CV Bus Case arrives ready to be put to use with your modules, patch cables, and inspiration. The powder coated metal construction offers excellent mechanical durability. The mounting rails have been updated to black anodized tapped strips, replacing the sliding nut design of previous versions of the case. The lid is removable and can be closed with the system fully patched. The bus boards now includes 31 shrouded headers for connection to modules. The sleek matte black finish was selected to match our line of Black & Gold modules, and it looks great with just about any module installed. This finish will wear nicely, showing the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power system is a new approach to accommodating the ever growing universe of Eurorack modules. The multi-zone power solution is like having multiple independent power supplies in a single case. This allows for isolating noisy modules from noise sensitive modules. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. Included are 31 power shrouded connectors to help prevent incorrect installation. The total available power available is +12VDC @ 4A, -12VDC @ 2.4A, and +5VDC @ 1A.

The CV Bus is a more functional approach to the “multiple” utility of the modular synthesizer. The CV Big Bus is an evolution of the original CV Bus design from 2013 for Alessandro Cortini's personal Make Noise system. In an effort to accommodate the increased modulation density of the New Universal Synthesizer System, the CV Big Bus doubles the channel count from 4 to 8. These 8 channels are distributed across the center of the system, allowing for quick, clean, and intuitive patching. The numerical indicators are illuminated, providing visual indication of channel number, level, rate and polarity for up to 8 signals to be shared throughout a patch. This distribution method is unlike the typical multiple since the control signals will appear beneath their potential destinations, resulting in less cable mess. The color coding and visual indication makes navigating complex patches easier and more intuitive. Typically, the CV Bus would be used to share the most important control signals in a patch, such as your clock, modulation, sequence, and audio signals - any type of signal the system creates may be shared!

A high quality Stereo Line Driver converts modular synthesizer signal levels to the commonly used Line Level. There are mini-jack inputs for Left or Mono, and Right for Stereo, a single master volume control, as well as a stereo line output pair. The left output doubles as a TRS ⅛” headphone output. These outputs are capable of driving a long cable out to a PA System or a set of Headphones. They are AC coupled with a built-in limiting circuit (with visual indication) that prevents damage to ears and PA system when the patching gets experimental.

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Roland D-05, Make Noise Strega & Ableton Mode | Ambient Drone

video upload by Akihiko Matsumoto

"Sequencer: Ableton Mode https://akihikomatsumoto.sellfy.store...
Discover the Sacred Sounds of the Past: A Generative Sequencer Inspired by Medieval Chant Immerse yourself in a groundbreaking tool designed for creators of ambient, experimental, contemporary music, IDM, and electronica. This Max for Live generative sequencer fuses historical depth with cutting-edge technology, offering a unique journey through time and sound.
Historical Roots, Modern Expression
Developed over a year of intensive research, this device draws from a rich tapestry of medieval chant manuscripts and the intricate patterns of neume notation. Delve into the essence of the eight church modes, enriched with the proto-characteristics of Ionian and Aeolian modes foretelling the rise of major and minor tonalities.
Infinite Melodic Possibilities
Let the sequencer generate melodies imbued with the organic flow and spiritual resonance of early music, now reimagined for contemporary creativity. Whether sculpting ethereal soundscapes or exploring experimental forms, this device breathes new life into your compositions."

Modular session 2026-10-09 live take 150bpm broken beats

video upload by Renku Corporation

"Spent the whole weekend going deep on this one. Lots of stuff going on, this was the 3rd take. Filled up almost all the mutes! The basics of the patch is Zaps into Panharmonium, split from there, and the Buck Modular Drumf**k into QPAS into Rings, split from there. Numeric Repetitor does the Zaps, drums are Social Entropy Engine mostly, and many many others got in on this one. The new WMD Skorpion is used on the Irukandji glitch drum used as a bass, after running through a TTA Z2040 and post-wave-folder is the Morpheus filter. The Tasty Chips ECR1+ is doing a big very thing with convolution. Beads is blurring away, and Clouds is in but you might not know it. Audio Damage Boomtshack is the snare through Godsbox Lollipop compressor with Jomox Modbase as the kick through the Jellysquasher. Main hat is Plonk, Polaris filter, 4ms DLD. The Synthesis Tech E520 processor runs a spectral delay on one path of the Plonk/pan."

Technology, Creativity, and Synthesizers | Make Noise

video upload by MAKEN0ISE

"Technology has always been a part of the development of music. People in the past have imagined many possible musical futures, and sewn the seeds that led us to where we are today. Let's start thinking about some of the ways musicians have utilized encounters with technology to create new forms.

Also:
A patch with MultiWAVE and Plexiphon!
A visual score by Walker, realized sonically by Sean Mahan!

Mentioned in the video: article 'Collateral Damage' by Mark Fell: https://www.thewire.co.uk/in-writing/...

http://www.makenoisemusic.com"

Why doesn't Digital Feedback Blow Up Like Analog?

video upload by Cinematic Laboratory

"When I posted my first Plexiphon video, I got a few comments like ‘how about Bruxa x Plexiphon’, or better, ‘how about two Bruxae x Plexiphon’.
I think I can answer that now. Bruxa is a dominating module. This simply means, whatever you patch up, Bruxa is going to demand all attention. New to modular? Bruxa is a Bruxa is a delay/filter using a crappy karaoke toy chip. Sorry, it’s the ‘lo-fi delay’ that reached a cult status in the legendary Soma Lyra-8 Orga(ni)smic Synthesizer.
And then there’s the PoliMaths vs Maths discussion. Maybe they should have called it the PolyFunction, because it’s not Maths. It’s more like a ‘polyphonic function sequencer’, where a function is nothing more than a rise and fall. A slope or envelope depending on the Coast you’re on. It’s an attack/decay shape to sculpt a sound.
In this patch, I am using Echophon – the echo – as a clock, using the clock divider output. It’s a cool example of working with limitations. There’s no clock module in this case, but any ‘repeat’ that ticks is a clock. So today it’s not a tape delay, it’s just sending blips to PoliMaths’ activation IN. PoliMaths is like an eight channel sample and hold. When a trigger comes in, the module ‘activates’ by reading all knob positions (sampling) and holding them until the next activation. The channel index will decide which of the eight channels is affected. Depending on the SPAN mode/color, the channel will either be addressable (white), rotating (yellow) or fire all (cyan blue). If you’ve updated your PM, there’s a purple mode too (binary logic).
In this patch, the eight envelopes are distributed to various effect modules like Bruxa, more Bruxa and Plexiphon. Depending on knob settings (and especially ABSORB) Bruxa can make percussive sounds with its crappy chip. So what can we do with it? We can make a drum machine that nobody else has.
The patch itself is turning my effects units into an improvised lo-fi CMOS drum machine and Plexiphon is adding a bit of reverb. Even on full strength it can’t compete with the two Bruxae.
There’s an intermezzo where I’ll patch a long loop between Echophon, Mimeophon, Bruxa 1, Bruxa 2, Plexiphon and QPAS. In plain English, it’s making a long FX chain, but the end of chain is also the beginning. A snake biting its own tail. It’s like taking ugly feedback noise, and then try to sculpt it into something that faintly sounds like music – or a score from an 80’s horror sci-fi B movie with lots of sax and violins.
I was expecting something like throwing a mentos in a bottle of Coca Cola, but it didn’t happen. Instead, a nice abstract feedback patch emerged. It turned out to be pretty civilized.
In this video I discovered that feedback patching with digital modules is very different from using analog modules. A well designed digital effect doesn’t explode, it stays clear from crashing into digital brick wall and self destruct. In fact, digital feedback patching is more like continuous sound on sound dubbing. If you’re into chaotic feedback patching, you’ll benefit from adding at least one analog module, like a Serge wavefolder, waveshaper, filter or resonant EQ – or any other brand. Just make sure it’s using real analog components and real voltage instead of coded error handlers, limiters, exceptions and guardrails. In the analog domain, chaos is only bound to the rules of Mother Nature.
The ‘crappy drum machine’ patch is decorated by a second take with Error Instruments x This Is Not Rocketscience Kharper. I am running it through dual Bruxae and Plexiphon, where the PP gets modulation from Bruxa’s mysteriously labeled CV outputs. They basically contain CV related to Bruxa’s internal chip rumble. Nothing special, but super cool as a mod-source."

Ableton MODE Strega

video upload by Akihiko Matsumoto

"Ableton MODE: https://akihikomatsumoto.sellfy.store...
Discover the Sacred Sounds of the Past: A Generative Sequencer Inspired by Medieval Chant

Immerse yourself in a groundbreaking tool designed for creators of ambient, experimental, contemporary music, IDM, and electronica. This Max for Live generative sequencer fuses historical depth with cutting-edge technology, offering a unique journey through time and sound.

Historical Roots, Modern Expression

Developed over a year of intensive research, this device draws from a rich tapestry of medieval chant manuscripts and the intricate patterns of neume notation. Delve into the essence of the Church’s eight modes, enriched with the proto-characteristics of Ionian and Aeolian modes—foretelling the rise of major and minor tonalities.

Infinite Melodic Possibilities
Let the sequencer generate melodies imbued with the organic flow and spiritual resonance of early music, now reimagined for contemporary creativity. Whether sculpting ethereal soundscapes or exploring experimental forms, this device breathes new life into your compositions.

Perfect for music creators exploring:
Ambient soundscapes
Modern classical compositions
Cinematic scores
Experimental electronic productions

Key Features:
1. Generate infinite variations of church-mode-inspired melodies.
2. Adjustable parameters for rhythm, tonal center, and mode.
3. Seamless integration with Ableton Live workflows.
4. Transport your music into a realm of timeless spirituality and creativity."

Plexiphon | The World's Most Haunting Reverb Is Back

video upload by Cinematic Laboratory

"Nobody has said it out loud, but Plexiphon is definitely Erbe-Verb 2.0.
I will prove it by running it with the old Shared System. I replaced Echophon and Erbe-Verb with Mimeophon and Plexiphon but the Shared remains the Shared. However, when experimenting with different sources - and you'd love the #VHIKK X as a guest - Plexiphon suddenly sounds as new as it's designed to be. When I made the 'What is a Plexus' video, I used XAOC Samarkanda to make my own network so if you want to learn what a plexus is, check it out."

Additional Plexiphon posts

A Flock of Birds Flies Across the Landscape | Make Noise

video upload by MAKEN0ISE

"Using the Plexiphon to create a tapestry of sound!

On Saturday, October 3rd, at 3 pm, Tom Erbe will be at Perfect Circuit in Burbank, California [showroom link], talking about all things Plexiphon and soundhack. The event is free!

http://www.makenoisemusic.com"

Guidance | Conducting an Orchestra with Voltage and Feedback Noise

video upload by Cinematic Laboratory

"I've been experimenting a lot this week and this video will focus on feedback patching, with two twists. It's not just circuit noise, I added a delay and a reverb to the chain. But more important, I added a ring modulator, modulated by a sinewave. So the feedback path is constantly flipping, cancelling waves or amplifying them. The idea is not mine, I got it from La Synthese Humaine who got the idea from Jaap Vink (synth & sonology pioneer, NL, 1970's) , linked in the video.

OK so it's mosty sculpted noise with no VCO and no frequency or pitch. I guess we can call it an atonal spectrum, a sum of sines that doesn't harmonize or add up to a note. Then I was wondering, what if we'd use a symphony orchestra to try and align with the tone/cluster, using the noise as a guide? In the early days, one would arrange a score for the orchestra to mimic frequency sweeps, and Xenakis made it a legendary technique using graphical scores. But this is the other way around. The source is my modular feedback exploration, so the score is voltage and audio. There are no notes, no scale, no 440 Hz concert pitch, so the orchestra would need to improvise and approximate whatever pitch is perceived. Will it be messy? Or will we always gravitate to order and balance? Spoiler. We'd do both.

How did I pull this off? I can't tell you. Not yet. Not now. And there's no 'best part' in this video. It's all good. Or all bad.

00:00 Introduction
02:30 Forbidden Planets again
06:00 'Guidance'"

Understanding the Make Noise Plexiphon

video upload by Braintree56

"The Make Noise Plexiphon is a spatial processor - not quite a delay, not quite a reverb - something else entirely.

In this video, I explore what Plexiphon is actually doing and how its interconnected network of delay and feedback paths can move from distinct echoes to dense, reverberant spaces."

Late Night Ambient | Eurorack Performance #39 (MOMENTS)

video upload by David Falcon

"Sometimes music has this magic healing power. While making this one I was reflecting a lot on the small beautiful moments of life we often overlook while we are busy with other stuff. I felt more grounded and inspired me to be more present, more aware. Right here, right now.

Patch notes:
I have tweaked a little bit my Palette case again. Zadar was not right for this build so I swapped it for Pamela's New Workout from my bigger case. As the FX was being used as a filter I then decided to bring back the Shakmat Dual Dagger to this case. I love this build so far.

This is my first time with Ornaments and Crime module. It always looked a bit intimidating with all the various modes, but for now I focused only in one (Acid Curds) which is the perfect pair for Saich. It sends 4 note chords to the 4 V/oct inputs of Saich creating these beautiful chords. To add more interest I have Saich in arp mode, modulated with an LFO from PAMS at a different subdivision than the chord sequence. This way pseudo-generative melodies are created. I was improvising changing the subdivision of the arp within Pams.

Then there are Mimeophon and Arbhar providing ambience to the track. Mimeophon is the delay and reverb for the Saich part and in the outro I looped a bit and improvised within the module. It is very performative, it is my favorite part of this module.
In Arbhar is just a simple sample of my kids playing with some instruments and there is a triangle hit in the middle that sometimes pops out in the mix. This element, despite being subtle, is what brings the emotional depth to this piece in my opinion."

Plexiphon Is Now Shipping! | Make Noise

video upload by MAKEN0ISE

"On Saturday, October 3rd, at 3 pm, Tom Erbe will be at Perfect Circuit in Burbank, California, talking about all things Plexiphon and soundhack. The event is free!

The Make Noise Soundhack Plexiphon is a stereo, modeless spatial texturizer which allows for continuously morphing between reverberations and multi-tap echoes, the widest range of possible results being neither reverb nor echo, and all results highlighting and amplifying character previously hidden in the source material being processed.

The Plexus control simultaneously modulates the number of feedback paths in the algorithm, and their entanglement together. The Size of the paths determines the temporal relation between them, operating like a 'delay time,' or a 'room size,' at either extreme of Plexus.

Diffuse and Color offer softening/sharpening/darkening/brightening effects over time.

Couple and Skew are stereo operations: Couple determines to what degree the left and right sides are isolated or intermingled (from 'dual mono' to fully interlaced stereo), while Skew offers simultaneous inverse or tandem control of the left and right paths on the Plexus, Size, and Color parameters.

The Send gate input (normalled high, or patchable) determines whether and when the input signal will be fed into the Plexus.

An envelope follower is provided at the CV output for re-integration of the Plexus into its own controls or elsewhere in the voltage controlled system.

Plexiphon is built from entirely new code by Tom Erbe, specifically for Make Noise’s newest digital hardware.

http://www.makenoisemusic.com/modules..."

Explaining and testing Plexiphon by Make Noise

video upload by Stazma

"More infos and affiliate links in the description // Support on Patreon to get samples from this session: / stazma

Today we are going to check out Plexiphon by Make Noise & Soundhack.

This is a very interesting effect module that blend multi-tap delay and reverb by giving you big macro controls over a giant feedback network.
Like the Erbe-Verb it is fully modeless so it will create all sort of weird unrealistic sounding reverb like effect (hence the name texturizer). The delay side can be a bit more « normal » but the multi-tap nature of it makes it quite weird (in a good way).
It is a very impressive and fun time and space playground.

Have fun!!!"

Torso Live Session #8: Nene H

video upload by torso electronics and Nene H

"torso electronics presents a live session recorded at ikii, an intimate listening space for sound and art in Berlin.

In this episode, Nene H performs with the modular system at the centre of her current live and studio practice. The set moves through raw, buzzing, glassy textures, uneasy rhythmic patterns, and moments of melancholia.

Her live setup is entirely hardware-based, with no computer, timecode, or pre-recorded material. Its voices include a Make Noise DPO, Synthesis Technology Cloud Terrarium, Erica Synths Bass VCO, and Noise Engineering Basimilus, summed through an Intellijel Mixup.

Sequencing comes from the T1 and Make Noise René 2. René moves around a grid rather than following a conventional line from beginning to end, allowing patterns to appear in orders that would be difficult to write by hand.

Rather than following a fixed structure, Nene H records the system, samples it, and plays the material again. Sounds move continuously between synthesis, recording, sampling, and performance, allowing the set to find its shape in real time.

The result is raw, restless, and emotionally charged, shaped by Nene H’s close relationship with a system that has developed its own personality over time.

About Nene H
Nene H is a Turkish-Azerbaijani producer, DJ, and live artist based in Berlin. A conservatory-trained pianist, her work moves between club music, improvisation, composition, and collaborative performance.

Her catalog spans Standard Deviation, Intrepid Skin, Live From Earth, Incienso, and UMAY. Her albums include Ali علي and Second Skin. Her forthcoming EP, Seltsame Fabeln, arrives October 16, 2026 on UMAY."

The 10-Coast Celebration is THIS WEEKEND! | Make Noise

video upload by MAKEN0ISE

"Enjoying a patch with GTE, Spectraphon, and Plexiphon!

Also, come join us on Saturday, September 12th for 10-Coast, celebrating ten years of the 0-Coast!

There will be events throughout the day along Haywood Rd. in Asheville, NC including:

—the Make Noise shop will be open for demos from 2-4:30 (414 Haywood Rd.).

—a tape loop installation by Chris Hamilton and Steve Pescatore — featuring the 0-Coast— will be activated at Lamplight Studios from 2-5pm (2 Westwood Pl., across the street from Make Noise)

—starting at 6pm, the 10-Coast Concert will be held at the AyurPrana Listening Room , featuring a night of live music by the Make Noise Crew made on the 0-Coast! (312 Haywood Rd.)

These events are all free, although the 10-Coast concert requires an RSVP: https://link.dice.fm/Pb9bdbd5ffd2?pid...

We hope to see you there! Happy birthday 0-Coast!!

http://www.makenoisemusic.com"

Make Noise Morhagene // Glitching out a Multiwave drone

video upload by Dexba

"I have too many samplers, and I started my mission to find better or more interesting uses for each of them. The power of the Morphagene lies in being part of a modular system; for example, why not sequence its parameters with the 0-Ctrl?
After changing the S.O.S. mode to make it suitable for live FX usage, I've spent more time than I want to admit (but that's the fun part of modular, isn't it?) constructing this puzzle of balances between something that would become pleasantly glitched, without being annoying or too repetitive, a controlled chaos, if we want.
Ideally, I would have wanted 2 Multimod, to have both stepped and smooth modulations, or maybe a DXG, to control pauses for the Multiwave, but the game was also making something fun and portable in 62HP, and I am pretty satisfied with this first experiment; it won't be the last, so stay tuned, and feel free to comment with your favorite setting for the Morphagene and ideas for a travel setup."

Minimal Electronic Glockenspiel OP-1 field Modular Synth | View on the other side 2026-09-03 by atnr

video upload by atnr

"A piece created with glockenspiel, modular synthesizer, and OP-1 field.

On the modular synthesizer, a bass phrase and synth pad are played. Both sequences are controlled with ‪@MAKEN0ISEMUSIC‬ René. The synth pad is filtered through QPAS and processed with spatial effects using Mimeophon.

On the OP-1 field, a minimal phrase is played randomly using the ENDLESS sequencer. The output is processed through the MOOD MKII with delay while micro loops are layered over the sound.

The glockenspiel is recorded with an NT-4 microphone and a piezo element. The piezo signal is connected to the TX-6 for additional gain, EQ, and reverb."

BRUXA and the BEAST | Make Noise

video upload by MAKEN0ISE

"Like its cousin Strega, Bruxa uses a whole lot of circuitry to process a single signal. In other words, it’s mono, by design and by necessity. Meanwhile N.U.S.S. is a multichannel stereo, maximalist monstrosity. How do we patch them together? Let's find out! "

http://www.makenoisemusic.com