The Unperson’s Polymeter Playground: Rhythms That Refuse to Behave

Forget what you thought you knew about polyrhythms—The Unperson sets the record straight right out of the gate. Turns out, what most of us call polyrhythms are actually polymeters: different sequence lengths running side by side, refusing to sync up until the stars align. It’s like throwing two drunk robots into a ring and watching them try to dance together.

By tweaking sequence lengths on the Oxi One, The Unperson shows how easy it is to break out of the loop prison. Suddenly, your bassline and drums are looping at different rates, creating patterns that only line up every 28 steps (or whenever the synth gods decree). The result? Grooves with way more character and less of that soul-crushing repetition. If you’re after static, predictable beats, look elsewhere.

The Unperson doesn’t just talk theory—he gets his hands dirty with a DrumBrute Impact and a modular rig that’s clearly seen some late nights. By adjusting last steps on individual drum parts, he transforms a basic four-on-the-floor into a shifting, unpredictable groove. The FM drum, cymbal, and low tom all get their own sequence lengths, making the beat mutate every time around.

This isn’t just for show. The technique is dead simple but instantly lifts your patterns out of the cookie-cutter bin. Watching the DrumBrute and modular modules interact is like seeing a toaster-fight in a power station—chaotic, crunchy, and weirdly satisfying. The Unperson’s style is all about hands-on experimentation, and it’s obvious he’s not afraid to break the rules to get a groove that slaps.

The Oxi One’s Matricial Sequencer gets a deep dive, showing off its four independent sequencers and the ability to set different lengths for triggers, octaves, and glide. The Unperson demonstrates how you can create polymeters not just with notes, but with modulation parameters—so nothing ever quite repeats. It’s like building a rave bunker where every wall moves at its own speed.

Pamela’s Pro Workout gets its moment too, with quantised sample and hold driving oscillators into polyrhythmic madness. There’s even a callout for help from Pam’s power users, as The Unperson battles modifiers and BPM quirks to wrangle a seven-step sequence. Both devices prove themselves as sonic street weapons for anyone looking to inject chaos into their grooves.

The Unperson wraps up with a nudge to the audience: don’t just watch—get your hands on these techniques and see what kind of rhythmic monsters you can unleash. Whether you’re patching modulars or just fiddling with a drum machine, the world of polymeters is wide open for sonic mischief.

If you’re tired of loops that put you to sleep, now’s the time to experiment. And if you want the full effect—the evolving patterns, the gnarly grooves—do yourself a favour and watch the video. Some things just can’t be explained in text.