Noise Engineering’s Modular Patch Dissected: Rhythms, Timbres and Sequencing Unleashed

First up is the Basimilus Iteritas Alia (BIA), which lays down a thick, punchy kick. The BIA is triggered by a pattern from Numeric Repetitor, clocked by Horologic Solum, and its output is further beefed up with the Kith Ruina distortion. Manual trigger muting is handled via Muta Jovis, offering hands-on control over the rhythm—a much cleaner approach than muting audio at the mixer. The result is a kick that can be sculpted in real time, both in tone and in pattern.

The second voice, Incus Iteritas Alia, is described as the most complex of the lot. It’s triggered by Gamut Repetitor in Impact Mode, with a slow attack and short decay. Modulation is layered: Pons Asinorum provides envelopes, Yester Versio adds delay, and Mimetic Digitalis injects synced clock into the delay. The patching here is intricate—envelope ramps, LFOs for triplet-like hits, and CV control over both Alloy (timbre) and Time (decay) parameters. Roucha Legio’s stereo filtering is brought in and out via gate sequencing, and delay is clock-synced for further rhythmic interplay.

Sinc Legio takes on melodic duties, set in fold mode with chorus and reverb from Electus Versio. Sequencing comes from Op Ned, which arpeggiates a minor chord with a flat six across two octaves in a zigzag pattern. The vibrato effect is created by routing a trigger through Quantus Trajecta, generating a ‘wub’ envelope that modulates Sinc Legio’s Morph CV. This section demonstrates how even melodic lines can be animated with clever modulation and sequencing tricks.

Throughout the patch, rhythmic and timbral manipulation are front and centre. Selective trigger muting—using modules like Muta Jovis and Confundo Funkidos—allows for manual intervention in the groove, making the patch feel alive and performable. Instead of muting audio post-mixer, triggers are intercepted at the source, keeping the signal path clean and the results immediate.

Envelope shaping is used not just for amplitude but for timbral evolution. The use of Pons Asinorum in LFO mode, for example, creates ramp-up envelopes and triplet-like hits, while Quantus Trajecta’s unique ‘wub’ envelopes add vibrato and movement to melodic voices. Filtering, both static and sequenced, further sculpts the sound, showing how modulation can be used to animate even the most straightforward voices.

The final act of the video is a celebration of using modules ‘wrong’—or at least, in ways not strictly intended by the manual. Lapsus Os is mounted upside down for ergonomic reasons, making its sliders easier to perform with. This small tweak is emblematic of the modular ethos: adapt the gear to your workflow, not the other way around.

For the cinematic two-note drop on Manis Iteritas Alia, P.O.B. uses Lapsus Os to slide between root and a note two semitones down, with Sync Defero precisely measuring and tuning the voltage difference. Confundo Funkidos is used to bring triggers in and out, allowing for dynamic control over when the drop occurs. This approach highlights how utility modules and creative patching can turn a simple idea into a dramatic musical gesture.

The video closes with a reminder that modular synthesis is as much about experimentation as it is about precision. By combining hands-on control, unconventional routing, and a willingness to ‘use stuff wrong,’ the patch achieves a level of dynamism and expressiveness that’s hard to match in more traditional setups.