Make Noise MultiMod: Eightfold Modulation Mayhem in the Modular Realm

The video opens with James Cigler introducing the MultiMod, a module he’s clearly been anticipating for years. Positioned as more than just a standard LFO, the MultiMod is described as a device that takes a single input and generates eight correlated but distinct outputs. This concept, long desired by Cigler, is immediately set apart from the typical fare of modular modulation sources.

Rather than simply duplicating an input, the MultiMod offers a palette of subtly varied signals, each with its own phase offset and spread. This approach enables a level of modulation complexity that would otherwise require a small army of LFOs or function generators. The initial demonstration keeps things straightforward, using the MultiMod in LFO mode to animate a basic sawtooth patch, but the promise of more elaborate patching looms large.

Moving beyond the basics, Cigler patches the MultiMod’s outputs to a variety of destinations, demonstrating how a single modulation source can enliven an entire system. Four outputs are routed to modulate the frequency, resonance, and radiate controls of the QPAS filter, while others are sent to the left and right filters of two Bruches modules. This distribution of correlated voltages creates interrelated motion across multiple parameters, resulting in a rich, animated soundscape.

The remaining outputs find their way to the Mimeophone, modulating its mix to introduce evolving ambience and repeats. By adjusting the spread and time controls on the MultiMod, Cigler shows how the balance between filter movement and ambient delay can be shifted, giving the patch a dynamic, evolving character. The key takeaway is that the MultiMod’s eight outputs aren’t just clones—they’re carefully offset variations that can be strategically assigned for maximum sonic interest.

The heart of the MultiMod’s appeal lies in its modulation options, which Cigler explores in detail. With the module set to process an external input, he demonstrates how a single articulation—such as a pressure point gesture—can be smeared across the system, creating eight delayed, slightly sloppy copies. Each output reads from a buffer in a sine wave shape, introducing wow, flutter, and a pleasingly imperfect character to the modulated signals.

Key parameters like time and spread are manipulated to control the degree of delay and correlation between outputs. The hold function allows the user to capture a moment of modulation and stretch it out, while increasing the time parameter smears the captured gesture further. This section highlights how the MultiMod excels at generating evolving, organic modulation that can be tailored to suit everything from subtle filter tweaks to dramatic, time-warped effects.

Cigler’s final patch takes the MultiMod into the realm of audio processing, feeding a sine wave from the Spectraphon through the module and mixing all eight outputs. The result is a wild, unpredictable texture that pushes the boundaries of what’s typically expected from a modulation source. By routing the outputs through Optomix and X-Pan, and then into QPAS and Mimeophone, the patch becomes a playground for stereo movement and spectral chaos.

Throughout the demonstration, Cigler underscores the flexibility of the MultiMod—whether used for tempo-synced rhythmic effects or for generating dense, ambient layers from a single input. The module’s ability to create both subtle animation and full-blown mayhem makes it a compelling addition to any Eurorack setup. The video closes with a clocked sequence driving the patch, showcasing the MultiMod’s capacity to transform simple sources into complex, evolving soundscapes.