Microsound Alchemy: Make Noise Explores QMMG and XPO in Sonic Detail

Pulsar synthesis is tackled first, with the creation of short amplitude envelopes applied to simple waveforms—here, the XPO’s sine output is the star. The QMMG’s first two channels are set to VCA mode, shaping the amplitude of the incoming signal, while the subsequent channels are switched to high-pass mode for further timbral refinement. The resulting signal path is a classic example of Make Noise’s modular philosophy: flexible, layered, and ripe for modulation.

The patch is animated by a Maths channel, which provides dynamic CV to the QMMG, and is triggered by the EOR output from the opposite side of Maths. Randomness is injected via the Wogglebug, whose stepped random output is routed through attenuators to modulate both the envelope shapes and the filter cutoff points. The result is a lively, ever-shifting soundscape, with stereo motion introduced by multing CV signals to the XPO’s modulation inputs. This section showcases the modules’ ability to generate complex microsound textures from relatively simple building blocks.

Glisson synthesis is all about crafting small sound events with embedded frequency glissando—essentially, micro-events that swoop up or down in pitch. The patch leverages Maths to create upward motion, while the EOC gate clocks the Wogglebug, injecting further unpredictability into the duration and direction of each glisson. The sum output from Maths, combined with a negative offset, is used to randomise both the depth and polarity of the pitch modulation.

This approach results in a patch where each micro-event is unique, with the oscillator’s pitch moving variably up or down. Stereo interest is maintained by modulating the XPO’s stereo outputs, and the overall effect is a dense, intricate tapestry of glissandi. The video demonstrates how these techniques can be layered and recorded, providing a practical template for anyone looking to add movement and complexity to their modular patches.

Trainlet synthesis enters the fray with the use of short bursts of impulse streams, generated by cycling Maths channels controlling the XPO’s sub output. This signal is then multed to two high-pass filters on the QMMG, creating a stereo field of percussive, grain-like events. Each new amplitude event triggers a fresh impulse frequency, ensuring the texture is always in flux.

Further modulation is applied by routing both smooth and stepped random CV from the Wogglebug through attenuators, shaping the filter behaviour in real time. The result is a patch that feels alive, with constantly shifting timbres and rhythmic patterns. This section underlines the QMMG’s versatility as both a filter and a VCA, and highlights how impulse-driven microsound techniques can yield surprisingly organic results in a modular context.