For the past 10 years or so I’ve always carried some kind of portable recording device and a pair of OKM in ear microphones around with me and kept a kind of aural diary of great sounding things and great sounding places. I’ve made literally gazillions of recordings in places all over this side of the world, and like most diaries these recordings have mainly been sitting in dark cupboards waiting for someone to rediscover them… The Modular Chaos Engine is the perfect repository for 785 of them. I’ve selected the most usefully percussive, clangy, bangy, thumpy, boomy, itchy, scratchy, thwacky and whacky, added a really powerful sequencing engine and made a “found sound” drum machine. There are some really great sounds in there (there is a list of some of them at the bottom of the page).
I’ve also recorded a few more sounds to compliment the “kit” and make it a great resource for building simple or complex rhythmns very quickly and intuitively.
So you can use anything from a grunting pig, to a firework display, to me stamping on the stage at Glyndebourne Opera House as your “kick” drum and combine it with a “snare” made from a Ladyshave mixed with a walk through deep snow, and a hi hat made from crackling onion skins or a wobbly horse fence. There are an unthinkable amount of sound possibilities lurking in there.
It’s called the Modular Chaos Engine because this is the first of more “modules” that will play happily together and allow you to very quickly build really interesting and quite complex rhythms that can work on many levels in your music. They also sound really good on their own of course.
785 individual samples ( including up to 20 variations of each sound) mapped to 12 sample engines from C1 upwards.
12 complex 12 track sequencers triggered from keys C0 and above (adjustable).
The Chaos button for instant randomisation.
The Order button for an instant return to normality.
Comprehensive editing with quick edit system for control of all sounds together, or individual editing of tune, time, low pass filter, high pass filter, attack, decay and volume.
Individual per engine articulation controls.
Separate sequence tracks for sound selection, accent, decay, pan and tuning per note.
Chaotic “looper” control with 32 looping algorithms.