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Advanced MATHS: analog-computing patch recipes

  • learner can use MATHS logic and comparator outputs to build flip-flops, rectifiers, and gate extractors
  • learner can exploit feedback and self-patching for shapes beyond Vari-Response, soft-sync, and audio-rate tones
  • learner can compose complex modulators — quadrature/arcade LFOs, clock dividers, sub-harmonics, and voltage mirrors

Build an advanced MATHS-centred patch that layers at least four analog-computing operations (e.g. a comparator/flip-flop gate, a feedback-shaped or bouncing-ball envelope, a quadrature or arcade LFO, and a clock divider or sub-harmonic) into one evolving generative voice, recorded as a two-minute take.

This module turns Make Noise MATHS from a function generator into an analog computer at the heart of a small eurorack generative rig — the kind of self-playing ambient/techno voice you leave running on stage while your hands work elsewhere. In a live set, every extra module costs HP and attention; the whole task here is squeezing comparator logic, memory, rectification, and complex modulation out of the one module you already own, so a single MATHS can sequence, animate, and vary a voice for a two-minute unattended take.

The arc starts supported: replicate single recipes from the manual with a steady clock and a scope or tuner as reference. Begin with gate extraction (“MATHS extracts a gate from a CV by comparing it to a threshold and firing an instant EOR pulse”), then hold state with the set-reset flip-flop recipe, and bend slopes with Variable-OUT-to-RISE/FALL self-feedback. Next, combine pairs: cross-trigger two channels into a quadrature LFO, divide a clock with RISE time, pull sub-harmonics from an oscillator. Add rectification (multing a signal through an inverted channel into OR OUT), soft-sync (patching a sawtooth to the lag input of an audio-rate cycling channel), audio-rate oscillator tricks (injecting into the EOC jack), and voltage mirroring (inverting and offsetting via SUM). Each recipe is a JIT pointer you return to mid-patch rather than memorize wholesale — though the comparator, self-feedback, and clock-divider moves recur so often they should become drilled reflexes. The capstone removes the scaffolding: you choose and layer at least four of these operations into one evolving patch and commit it to a recording.

The required atoms are exactly the operations the capstone menu draws from — comparator gates, flip-flop memory, feedback shaping, full-wave rectification, quadrature motion, clock division, sub-harmonics, soft-sync, audio-rate cycling, and voltage mirroring; you cannot assemble four credible layers without fluency across all of them. Supporting atoms deepen the palette: the two-signal comparator variant, arcade trill, bouncing-ball physics, the OR bus and peak detector, CV multiplication, and gate inversion offer alternate layers and richer variations once the core recipes sit under your fingers.

Atoms in this module

Required — these gate the capstone

Feeding a MATHS output back into its own CV input breaks the linear response, giving shapes Vari-Response cannot
Principle L3 Craft E
Patching Maths Variable OUT back to RISE or FALL CV independently controls each slope's response curve
Principle L3 Craft E
MATHS extracts a gate from a CV by comparing it to a threshold and firing an instant EOR pulse
Procedure L3 Craft E
MATHS implements a 1-bit set-reset flip-flop with CH1 Trigger as Set and BOTH CV as Reset
Procedure L3 Craft E
Maths performs full-wave rectification by multing a signal to CH.2 (normal) and CH.3 (inverted) into OR OUT
Procedure L3 Craft E
Two Maths channels cross-triggered produce 90-degree phase-shifted LFOs (quadrature mode)
Procedure L3 Craft E
Maths divides an incoming clock by a ratio set by the RISE parameter of a triggered channel
Procedure L3 Craft E
Patching an oscillator to Maths trigger input and mixing EOR with the main VCO generates sub-harmonics
Procedure L3 Craft E
Maths soft-syncs to a sawtooth oscillator by patching it to the lag input in audio-rate cycling mode
Procedure L3 Craft E
A Maths channel self-cycling at audio rate is an oscillator, and feeding another oscillator into its EOC output jack alters its tone differently than into Signal IN
Procedure L3 Craft E
Maths mirrors a control voltage around an offset point by inverting it on one channel and summing a fixed offset from another
Procedure L3 Craft E

Supporting — enrichment, not gating

Maths compares two signals and outputs a gate when one exceeds the other via SUM-based subtraction
Procedure L3 Craft E
Maths creates an Arcade Trill complex LFO by triggering CH.1 from CH.4 EOC and patching CH.4 output back to CH.1 Both IN
Procedure L3 Craft E
Maths simulates a bouncing-ball physics envelope by chaining two channels with decaying amplitude
Procedure L3 Craft E
MATHS divides an incoming clock by setting Rise time longer than the interval between triggers
Concept L3 Craft E
Maths multiplies two control signals by patching both to a channel with RISE full CW and FALL full CCW
Procedure L3 Craft E
Maths inverts a logic gate signal using CH.4 Signal IN with EOC as the inverted output
Fact L2 First instrument E
The MATHS OR output passes whichever channel is currently highest, acting as a maximum-voltage selector and half-wave rectifier
Concept L3 Craft E
Maths detects and holds signal peaks by slewing at a slow symmetric rate and reading Signal OUT, with EOR firing a gate at each peak
Procedure L2 First instrument E