Noise Engineering’s Modular Case: A Patchwork of Voices and Control

Stephen McCaul, Chief Noisemaker at Noise Engineering, opens the video by introducing the modular case that’s been the backbone of his recent performances. The setup is impressively compact, yet it manages to pack in a wide palette of sonic options. This case is not just a collection of modules—it’s a carefully curated ecosystem designed for both flexibility and immediacy in live jams.

The focus here is on how much can be achieved within a relatively small footprint. Stephen hints at the sophistication of the system, noting that it contains six voices—quite a feat for a case of this size. The video promises a breakdown in six parts, each delving into a different aspect of the rig’s design and function.

Mixing duties in this rig fall to the Zero Mixer, which Stephen uses to create two distinct submixes. The first three voices are routed through Send A to form a rhythm submix, which is then compressed by the Libre Legio. This parallel compression setup allows for dynamic interplay between kick, hi-hat, and other rhythmic elements, resulting in lively ducking and punchy dynamics that are crucial for performance energy.

Send B on the Zero Mixer is dedicated to the Electus, providing tempo-synced reverb that Stephen controls via a return channel for precise wet/dry balance. After effects, the main output passes through the Polydactyl, where saturation is modulated in real time for added texture and drive. This routing scheme not only maximises sonic control but also enables hands-on manipulation of mix and effects during a set.

At the core of Stephen’s performance workflow is a prototype sequencer—a one-off device that, while unlikely to see commercial release, is central to his creative process. The sequencer offers a 16-step grid with manual editing and the ability to overlay Euclidean and linear rhythms via sliders. This makes it possible to rapidly sketch out everything from straightforward beats to complex, syncopated patterns with minimal effort.

The sequencer also features a sync stack for pitch control and can trigger arpeggiated parts, demonstrating its flexibility in both rhythm and melody generation. All triggers are managed through this device, allowing Stephen to shape intricate grooves and evolving sequences on the fly, a testament to the modular ethos of hands-on experimentation.

The lower left of the case is home to three Lapses and a Mimetic Digitize, which Stephen describes as the master control hub. The first four sliders govern decay times for the initial voices, enabling smooth transitions and dynamic shifts in the patch. The next set of controls handles cross-modulation, routing envelope outputs from one voice to multiple parameters on another, resulting in complex, evolving interactions and the occasional wild sonic detour.

Further modulation comes from the Mimetic Digitize, which provides four channels of step CV. These are mapped to various parameters, including tone controls for the kick, saw mod on the Vert, and saturation on the Polydactyl. This setup allows for deep, real-time manipulation of timbre and dynamics, highlighting the creative workflows that modular synthesis excels at. Stephen wraps up by noting that, apart from a single external effects module, everything heard in his recent jams comes from this self-contained case.