Metamyther’s Modular Mayhem: Live Rig Dissected and Deconstructed

Metamyther doesn’t tiptoe around the evolution of their modular rig—right from the start, we’re thrust into post-Berlin gig reality with a breakdown that’s as honest as a flat pint. The so-called support case hasn’t budged a millimetre since last year, holding down the boring but essential duties: a Keystep slinging MIDI to an OXI, and a Zoom L6 mixer/recorder keeping everything glued together. If you thought the glamour started there, think again.

What’s properly interesting is the modular case itself—a groovebox on steroids, not some wobbly science fair project. The approach is dead simple, prioritising what actually gets played and battered live. The 4C’s oscillator nabs the penthouse spot, while the all-important outputs get tucked away in the top right, leaving precious real estate for modules that need a proper thrashing. It’s a hierarchy where the bottom row is the synth equivalent of being sent to the bar toilets: necessary, but you don’t want to linger.

There’s a method to this patching madness, and Metamyther’s got it nailed. Modules that demand constant fiddling get corners and top spots—think 4C’s, Debil, and VicX—while the likes of Bohm Kick, which mostly sit tight, get banished to the bottom. That’s not just ergonomics, it’s survival for your wrists and sanity mid-show.

Patching is all about fail-safes and keeping your hands off delicate controls. Quadrat 1U steps in as the guardian of the bank knob, so you don’t accidentally ruin a finely tuned interval. Outputs from the 4C’s get routed for maximum control, stereo field modules add envelope and filter drama, and the Zadar injects movement so nothing stays static (certainly not the sound). Drum triggers, meanwhile, get routed through the iDumb for delicious ratcheting, while Sample Drum handles anything from snares to mangled hi-hats. It’s a patching system built for chaos—but with enough guardrails to keep the train on the tracks.

Metamyther’s not here for endless knob-twiddling jams—this set ran tight because every sequence was pre-programmed. Three sequencers run the melodic voices, a fourth drives the drums, and patterns are arranged for a linear, no-faff performance. Colour coding means you know which bit’s busy and which is sparse, and there’s still just enough space left for a cheeky solo if the mood hits. It’s not about killing spontaneity; it’s about stopping your whole set sounding like a blown speaker in a tumble dryer.

If you think modular rigs are static, you’ve never seen Metamyther’s approach—nothing’s perma-patched and the setup changes before you can finish your pint. Both last year and this year’s cases are packed to the gills with 24 modules, but only about half survive the yearly cull. Choosing modules is like picking your football team: old reliables in blue, new signings tested under fire. The deadline of a gig is brutal, but it’s the best way to actually learn what these things do.

Some modules stick around, others get swapped or upgraded. The Bohm Kick replaced a clunky DASPROM/polydactyl combo, freeing up space for more mischief. The VicX still pairs with the Lacrymaveriso, while the introduction of Entumbra means outputs are finally wrangled without fear of cable carnage. Even the multi-effects module got the boot for being too much menu-diving and not enough fun. If you want to know which modules survived and which got tossed, you’ll just have to watch—because the true sound of this evolving monster can’t be captured on paper.