Make Noise Plexiphon Deep Dive w/ Tom Erbe

video upload by Perfect Circuit

"The Make Noise x soundhack Plexiphon is an enigmatic effect: it's a stereo / spatial texturizer, designed to take your incoming audio and use it as a seed to create immersive, swirling soundscapes and evolving resonances. You can think of it as being partly like a delay, partly like a reverb, partly like a resonator—but in reality, it isn't squarely any one of these things, instead using their commonalities as a point of departure for exploring unusual sonic terrain.

Of course, it's not the first Make Noise/soundhack collab—it's one in a long line of exciting effects, including the ever-popular Echophon, Erbe-Verb, and Mimeophon. In honor of Plexiphon's release, we invited soundhack's Tom Erbe to our space in Burbank for a live demo and Q&A.

He explained Plexiphon's history, its inner workings, and plenty of ways that you can use it. Scope it out—you might just learn a thing about DSP and the artistry that goes into forward-thinking electronic musical instrument design.

Get a Plexiphon of your own

Learn more about Plexiphon on our blog, Signal"

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?"

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."

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

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."

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."

Modules vs. Plugins! Mimeophon vs. Cosmic Debris vs. Supermassive

video upload by Metamyther

"Which delay and reverb creates the most inspiring soundscapes? In this in-depth comparison, we put the Make Noise Mimeophon WMD's Cosmic Debris Eurorack modules against the Valhalla Supermassive plugin in a head-to-head bout. You'll hear how each piece of kit transforms the same source material. Whether you're building a Eurorack system, comparing hardware vs. software effects, looking for the best delay and reverb for modular synthesis, or searching for new sound design techniques for electronic music production, this demo highlights the strengths and sonic personality of each effect. Which effect belongs in your workflow?"

Chapters:
00:00 - Intro
00:33 - Mimeophon Main Features
04:01 - Cosmic Debris Main Features
09:40 - Supermassive Main Features
13:36 - Vhikk X into Mimeophon
14:55 - Vhikk X into Cosmic Debris
17:16 - Vhikk X into Supermassive
19:31 - Warp Core into Mimeophon
20:58 - Warp Core into Cosmic Debris
23:31 - Warp Core into Supermassive
25:52 - Drums into Mimeophon
26:20 - Drums into Cosmic Debris
27:30 - Drums into Supermassive
30:09 - Scorecard

What is a Plexus | feat. XAOC Samarkanda and WMD Sequential Switch Matrix

video upload by Cinematic Laboratory

"Yes, I want to make a PlexiPhon video too. It's always a joy when MakeNoise announces a new Tom Erbe collab, and always a drag to wait for it to cross the Atlantic. I have it on pre-order since I saw the first video. As far as I can tell, MakeNoise didn't explain what a 'plexus delay' is and how it differs from, let's say, a Mimeophon. At first listen they sound like very close family, maybe even too close. However, MakeNoise did a follow-up video where we could hear how the PP changes its delay line like a chameleon, depending on whatever goes into the module and I had a clear WOW moment.

But I still didn't know what a Plexus was, and since I am writing a Book that's supposed to last at least 50 years, I had to do some research. The term is mainly used in biology, describing complex junctions in our nervous system. The term is adopted by networking and represents a complex node to node network. Now it's a small step from a delay line to a delay network, and from a delay network to a reverb. The fun part about a closed plexus is that it can re-encounter elements from anywhere in the chain. Imagine taps that can select crossroads and take a long way home.

I explored the concept with XAOC Samarkanda Quad Delay, which allows me to 'patch program' any combination of four delays with four feedback paths. It's a plexus, but a very simple 'square'. I decided to use the WMD Sequential Switch Matrix so I could patch the I/O in a 4x4 grid. It still doesn't sound like much, but now a 'tap' can travel over 65.536 different routes (2 to the power of 16) which is more than enough to create a vast diffusion network.

I am aware it's a lot of patching and most of you won't be able to follow, but you can freely experiment in VCV too, and learn a LOT. And let's not forget the PlexiPhon can be on its way to the stores right now, which could downsize my experiment into one convenient little module. I can't wait to get my hands on one. But honestly, if you own a Samarkanda, experiment with it first, and only buy new stuff if you really have to. Remember this: It's not the module, it's the behavior!"

Elektronische Musik with the Audrey II Horrorscape Synth processed by the Make Noise Morphagene

video upload by Genshi Media Group

"::| WARNING! EXTREME FREQUENCIES AHEAD! USE CAUTION |::

Elektronische Musik with the ‪@SynthuxAcademy‬ Audrey II Horrorscape Synthesizer processed by the ‪@MAKEN0ISEMUSIC‬ Morphagene, QPAS, and Mimeophon... with modulation provided by the Make Noise MultiMod.

#ElektronischeMusik #MakeNoise #Morphagene"

Almost Perceptible

video upload by Oxix52

"The sequence is from both oscillators of the DPO sequenced from the Rene 2. The lead is the XPO played from the 0-Coast. Everything goes through the QPAS and Mimeophon."

XenoMorph II - MakeNoise Polymorphism with NUSS and Morphagene

video upload by Cinematic Laboratory

"Five years ago, I already played with the idea of expanding the Morphagene into a shapeshifting creature. I used two Phonogenes to process the Morph's L and R outputs, inspired by a lo-fi Ciat-Lonbarde Cocoquantus. It was a fun experiment. This Xenomorph is different, a worthy V2. It's a custom 104 HP system I designed as a synth I did not know how to make:

Morphagene
Mult
MultiMod
PoliMaths
QXG x 2
X-PAN
Mimeophon

When used in a skiff, X-PAN is replaced by X-OH (output) and a mult. If you have stackables, you can even use the new GTE. The idea is to bring the stereo Morphagene OUTS together with the QXG outs, so you'll need to stack/mult one Morph out into MultiMod.

The 7U case obviously has the CV bus and - can / could - contain the regular NUSS layout AND the Xenomorph Granular NUSS system. Together they could hold two universes which makes it Multiversal (NMSS) which logically brought me to the name 'Nemesis'. We often assiciate that name with something bad, but after a bit of research it translates to 'the force that reveals your limitations'. So when we meet our Nemesis, the only thing we need to do is grab another patchcable and say 'why stop here?' bla, bla, bla.
Seriously. This is an amazing layout.

Even though MultiMod was never intended for audio, again it's my favorite way to use it, and now it's the core of this setup. It will take the L[mono[ channel of Morphagene as an input so it will create eight roughly independent tentacles. MultiMod has a NUSS header on the back, so without any cable clutter it connects to QXG's audio in and PoliMaths will do the envelopes. So I am basically replacing the MultiWAVE for Morph + Mod as the new sound engine.

I did not realize I'd be getting a genuine granular synth on steroids. A workstation."

Korg Phase8 + Make Noise Morphagene & Mimeophon (in two parts)

video upload by Genshi Media Group

"::| WARNING! EXTREME FREQUENCIES AHEAD. USE CAUTION! |::

A second test of the @KORG_INC Phase8 Acoustic Synthesizer, this time paired with the @MAKEN0ISEMUSIC Morphagene and Mimeophon. Sadly, at around the 7:29 mark, the Morphagene crashed! I have never experienced that before in the 9 years of owning the Morphagene (I made a separate "crash report" video which I am sending to Make Noise as I am able to reproduce this bug 100% of the time.)

As for the Phase8... I love this thing! As a percussionist first (my Father started me on the drums when I was 4 years old and over the years I picked up many different percussion instruments) the Phase8 just warms my heart. The kind of interesting rhythms you can get, along with the accents that can be achieved by placing objects on the Resonators (no, it's not just a gimmick) allows for the creation of everything from India Tabla style sounds, to West African rhythms, and more! It really is a creative and inspiring tool...."

An Ambient Exploration in Microsound in Two Parts with Morphagene & Mimeophon

video upload by Genshi Media Group

"::| TO HEAR THE FULL RANGE OF FREQUENCIES AND STEREO EFFECTS, A GOOD PAIR OF HEADPHONES IS HIGHLY RECOMMENDED |::

An Ambient Exploration in Microsound in Two Parts with the ‪@MAKEN0ISEMUSIC‬ Morphagene & Mimeophon. Part one also includes the Make Noise QPAS. Both parts towards the end also include a pair of Radio Music modules (though in Part One the second Radio Music module wouldn't trigger). I will be releasing a 5 Track Album with more of these explorations within a week or two. Further details of this video:

You may be asking 'Why didn't he just use modulation on those parameters?' When I'm using a small setup with just two or three modules, I like to manually "play" the modules like an instrument; using my intuition to guide how I am going to evolve the sound. In my main, bigger system, I of course use all sorts of modulation for some of these things with modules like Batumi, Samara, Zadar and others, but I still always leave room to play the instrument manually.

I've been interested in Granular synthesis and Microsound ever since getting Curtis Roads' book 'Microsound' when it first came out in 2001, but even before that, I had been interested in Musique Concrète, with my first experience of that being when my father (who was a Radio DJ and Concert Promoter) brought home the just released Beatles 'White' album and hearing 'Revolution No. 9' for the first time. I was four years old, and it freaked me out! Part two of this video towards the end gets a little 'haunted' as well, inspired by that revolution of musique concrète!

#Morphagene #Mimeophon #musiqueconcrete"

SISTERS - Ambient session #29 // Mannequins Three Sisters, Arbhar, Panharmonium, Subharmonicon

video upload by David Falcon

"First sounds with the Mannequins Sisters, such an interesting little module. In its core is a triple filter (Hi, Low and Band Pass) but it works great as an spectral mixer. I am slowly modulating the frequency cutoff so that the different sounds come and go progressively. Very little resonance added, it can be very resonant!

// Patch Notes //
Voice 1- Arbhar recording of my voice and ambient sounds with the internal microphone. High input of Sisters.
Voice 2 - Maths Tom sound into Rings. Center of Sisters.
Voice 3 - Panharmonium with a Random sequence from Pams into the Low input of Sisters.
These 3 voices go into the Xaoc Praga mixer, with Mimeophon and FX Aid in the sends. I am modulating the volume and panof
Voice 2 from Øchd and Pams, and the panning of Arbhar from Pams too. The mix goes through Qubit Mojave for the occasional reversed granular bleep.
Voice 4 - Subharmonicon through Blooper as a delay and Mercury 7 as Reverb.
Voice 5 - Low kick from DFAM


Recorded in a single stereo mix and mastered in Ableton."

Some Beginner-Friendly Musings on Eurorack Delay Effects (feat. Mimeophon, Ghost, Effexx RT1701)

video upload by The Sound Convergence

"Just some thoughts on Eurorack delay effects.
If you are buying your first effect module, make sure to not only look at the features but the layout and workflow."

0:00 Intro
0:30 Mimeophon as an Instrument
1:30 Mimeophon Karplus Strong / Reverb
2:00 Mimeophon with CV Modulation
2:42 Mimeophon Pros/Cons
3:03 Ghost as a Workhose
4:05 Ghost Karplus Strong / Reverb
4:52 Ghost Pros/Cons
5:43 Effexx RT1701 as a Studio Effect
7:17 Effexx RT1701 Pros/Cons
8:16 Take-Aways

A favorite patch with Make Noise NUSS!

video upload by SUTURE SOUND

"You're hearing all channels of MultiWAVE gated by QXG into Mimeophon. Tempi clocking. Rene 2 provides a handful of minor scale notes that the oscillators grab onto. PoliMATHS provides the envelopes. Its Accumulate input is patched, but at a rate only slightly slower than the main clock, so only a couple notes end up layered at a time. All modulation from Multimod, with the important destinations being the oscillator waveshapes, the envelope fall times, and channel selection at any given moment."

A Flutter in space | Eurorack Patch with Qu-Bit Stardust

video upload by Mars Machine

"My second patch with @QuBitElectronix Stardust! Plaits through Clouds is the main lead. Stardust is playing a loop recorded from 2hp Pluck, with delay from Mimeophon."

Antonus 2600 - Test Drive 2

video upload by Tumeni Knobs

Part 1 here

"This is an extended version of the patch I created for the Antonus 'Patch Challenge'. The 90 second version was featured on their social media sites. :-) I really enjoyed listening to this patch and messing around with it, so thought I should record a longer version. This is a combination of generative and performance patching in that I could let it run for hours and it would be dynamic enough to listen to in the background, but it also was good fun to actively mess around with.

The hardware is the Antonus 2600 DIY version, with the Antonus SidecARP Eurorack expansion case, the Arturia KeyStep Pro and Fractal Audio VP4.

SidecARP modules are, from left to right:
ALM - Pamela's New Workout
Stochastic Instruments - Stochastic Inspiration Generator
Qu-Bit - Surface
Addac - Swell Physics
Molten Modular - Motion MTR
Black Corporation - Deckard's Voice
Make Noise - Mimeophon
Qu-Bit - Nautilus,
ALM - S.B.G Pro
Roland - 531 Mixer

KSP provides a clock signal to PNW and the five step "anchor" arpeggio to the 2600 Osc 1. SIG provides three separate sequences to ARP Osc 3, Surface and Deckard's Voice. The notes are based on the Dm scale. 2600 Osc 2 is LFOing the Cutoff. 2600 Noise is randomly mixed in for added texture. VP4 is used for some subtle flanger and reverb on the 2600 (through the S.B.G. Pro), but I also mix in some clock-sync'd panning and some delay. Surface goes into Nautilus and Deckard goes into Mimeophon. All mixed together in the Roland 531 mixer. Recorded on iPhone 12 Max through an iRig Pro from 531 line outs."

Audrey II Horrorscape Synth + lx-euclid + Faselunare Vega + Mimeophon

video upload by Genshi Media Group

"::| TO HEAR THE FULL RANGE OF FREQUENCIES AND STEREO EFFECTS, A GOOD PAIR OF HEADPHONES IS HIGHLY RECOMMENDED |::

I've been away from my studio for a bit, so thought I'd throw something together.... just quickie: the ‪@SynthuxAcademy‬ Audrey II Horrorscape synthesizer along with the ‪@ATOVproject‬ lx-euclid 4 channel Euclidean rhythm sequencer driving the ‪@faselunare‬ Vega 4 channel Drum module which is going into the @MakeNoiseMusic Mimeophon."

Studio Ambient Session with Moog One, Prophet-10, Music Easel : Soundwalk 2025-10-10

video upload by atnr

"A piece created with ‪@SequentialLLC‬ Prophet-10, ‪@MoogSynthesizers‬ Moog One, ‪@buchlausa‬ Music Easel, and modular synthesizers — an ambient electronica track built from layered sounds recorded while walking around the studio.

The Prophet-10 is connected to a blueSky reverb, played with long release settings while manually opening and closing the filter.

Both the Moog One and ‪@NordKeyboards‬ Nord Lead provide synth pads. The Nord Lead runs through the ‪@gfisys‬ Specular Tempus with a deep reverb.

In the small Intellijel modular case, the ‪@MAKEN0ISEMUSIC‬ Morphagene plays back recorded piano sounds, with additional reverb added via a Clouds clone.

In the 7U Intellijel case seen on the right side of the screen, the Instruō Cs-L is processed through QPAS and Mimeophon for filtering and delay effects.

The Music Easel is connected to a ‪@ChaseBlissAudio‬ MOOD MKII, adding rich reverb. The Easel is played with noticeable portamento while performing on the keyboard."