MAKEN0ISE PoliMATHS: Oscillation, Submixing, and Audio-Rate Adventures

A standout feature demonstrated is PoliMATHS’s ability to act as an eight-voice sound source, with each channel capable of running oscillations at audio rate. By disengaging from the QXG and patching directly, users can access these oscillations for audio duties, not just slow modulation. The oscillators are positive-going by default, making them suitable for function generation, but a long press on the mode button transforms them into bipolar oscillators—ideal for audio-rate applications.

The shape control morphs the waveform from saw to triangle to ramp, with saw and ramp sounding nearly identical when monitored directly. In this bipolar mode, the oscillators also track one volt per octave, opening up melodic and harmonic possibilities. The video demonstrates how these features allow PoliMATHS to step out of the shadows as a mere utility and become a full-fledged audio source, capable of complex, layered textures.

Submixing is where PoliMATHS flexes its muscles in a crowded rack. By holding two buttons, users activate submixing mode—indicated by green windows—which changes the behaviour of the outputs. Instead of each output carrying a single channel, outputs now provide mixes of channels based on which jacks are patched. For example, output two delivers channels one and two if output one is unpatched, and output eight sums all eight channels unless earlier outputs are tapped.

This clever system allows for custom mixes without a mess of external mixers or tangled patch cables. Patching into any output to the left of a current submix breaks out those channels, creating new submixes and freeing up the remaining outputs for further routing. The result is a highly adaptable module that can provide anything from single-channel signals to complex, layered mixes—all from the front panel, no extra hardware required.

The practical applications of PoliMATHS’s design are explored through a series of patch examples. One approach is to use its outputs to modulate filter frequencies, such as sending a channel to control the QPOS filter’s cutoff. By leveraging the submixing options, users can create temporal layers and overlapping modulations, crafting evolving soundscapes or intricate FM textures.

When output levels are pushed beyond their maximum, the oscillators fold over, generating more complex signals—ideal for those seeking a bit of sonic chaos. The video also demonstrates using different output combinations (like outputs 2 and 6) to modulate separate destinations at audio rate, resulting in rich, dynamic textures. These features make PoliMATHS not only a modulation powerhouse but a tool for creative signal routing and sound design, well-suited for adventurous patchers looking to push their systems beyond the obvious.