Just planned this rig with the new Make Noise case for live use with vocals. Easy I/O of mic, line, and modular levels, and midi control. Connecting a MIDI synth gives you cv outs for pitch, gate, trig, velocity, mod wheel, LFO, or aftertouch, allowing you control the patch with your carrier synth. With the Fumana capable of spectral transfer, this rig can be a vocoder and vocal processor, making it easy to patch a thick, fat, unique stereo sound right into the PA. Last 2 modules in the mail, and the case coming in May; psyched to build.


Nicely done...and a good move, getting compression on the input for your modulator signal. You'll find that'll make the Fumana (like most any other vocoder) more responsive to vocal transients once you get it dialed in properly for your voice and mic. You might even consider another input (non-compressed) module to input an external carrier signal.

One tip: the Fumana is brilliantly set up, and can do some EMS Vocoder 5000-like reroutings between the modulator's envelope followers and the output analysis bandpass filter/VCAs. I advise major exploration of those patchpoints; having them is one of the huge plusses of that particular vocoder module!


Awesome Lugia. Thanks much for the tips and your input; you’ve given me some new new spots to dig for treasure. I was considering putting in a stereo I/O module in for the carrier, but there were other modules I wanted to fit and that’s why I ended up with the make noise 7U. Not sure if it’s clear on the grid (was hard to find a Hi-Rez photo when I created it) but the 1U row in the middle has a mono line input with gain pot, and L(mono)/R output patch points to 1/4”.

So one idea is to be able to take something like my OB6 and send a nice bright sound into the 1/4” input, connect a midi cable to yarns and have patch points for pitch, velocity, gate, trig, mod wheel amount, mod wheel LFO, aftertouch, etc., which allows you to build patches that are controllable from the external carrier synth itself....looking forward to new vocal sounds at each show and being able to modulate my eurorack patches when I can’t take my hands off the keyboard.


Oooh just had another idea....something like the ol' Moog Voyager with the expander would be nuts with this. All those cv outs for the touch pad and other controllers, plus being able to use the envelopes and much more sophisticated modulation busses with the eurorack....would be bonkers.


Another bonkers suggestion would be abusing a few of the Doepfer A-144 Morph Controllers in conjunction with the output VCA patchpoints, plus a few syncable (or not!) LFOs.

Scariest. Polymod. Filter. Ever.

That Fumana has abuse potential coming out the ying-yang, believe me.


Yea I really like the idea of mixing synced with unsynced, or polymetric or even poly-tempi, especially with a vocal or melodic part, so it can “groove with its own groove,” so to speak.

Modcan QuadLFO + Make Noise Tempi + Syntherks SP-4DP quad active fader is my current modulation madness. (Just bc i already own the modules; I’d love to try your suggestion.) Tempi is great for polyrhythmic and mutated stuff with CV control of the switchable states as well as clock rotation. I think Synthwerks stuff is awesome and very overlooked. Stuff that’s made to be touched, that can leak, blast, and shape modulation signals...the controllers also make viable parameters still reachable once there is a rainbow hedge growing from my eurorack. Can’t wait to try w the Fumana


Just got the Fumana and took it on its maiden voyage. Really great sounding and useful (abusful) features. The character is more "shimmery" than I had thought, but it still can "womp." Tilt control perfect for fitting sounds in the mix, and sounds wonderful with a little modulation. It sounds like the unvoiced input arrives at the output unfiltered, and is unaffected by the CH 14,15 sliders, despite the preliminary block diagram in the manual indicating differently. You have to use the input gain and envelopes to dial the response in, but its also useful for "choppy" stuff with fast transients, i.e. using a busy high-hat pattern with env times full CCW will give you bursts of your unvoiced signal. The Odd/Even outs are brighter and have more shimmer, which is perfect for stereo drums, and the ALL output rolls off a fair amount of high end, to help keep sibilance from getting out of control when intelligibility is a factor. Smart!

Of course I will set up a vocoder patch next, but I'm starting to see the possibilities with the individual VCA Ins and audio outs. Using the phase switches and a mix of the Main, Odd, and Even outs (+panning) creates a fatter sound than the ALL output alone, and opens up possibilities for parallel processing. Soon will come the time to take a rich, dissonant, drone-like sound and modulate each individual frequency, as you suggested, Lucia. Brainstorming a few ideas for doomsday patches.
....mwahahahahaHAHA HA HA HA HA HA


I get the feeling I've created a monster...although in this case, that's probably not a bad thing.