LE BINÔME MK3
INTERTWINED DYNAMIC PERCUSSIVE MACHINE
THE FINAL VERSION OF BINOME IS HERE
Fully analog, BINOME MK3 has a single unique goal: To push its owner’s creativity into unconventional dynamic percussive territories through straightforward functions. BINOME has many faces, but its main function remains percussive sounds, either standalone by using its internal noise source, turning the filters into VCOs, or by using external VCOs, or adding any external sound/noise source like BOUCAN or OXYMORON and shaping it with the multimode filters.
It can also be used as a one-stop hub to make different kinds of full synth voices, or “simply” as a dual dynamic voltage-controlled envelope generator.
Both channels have individual positive and negative outputs with custom shapes that can be seamlessly changed from exponential to linear and logarithmic. In addition to the accent inputs that double as velocity control, you have voltage control over amplitude (LEVEL) and length (DECAY).
There are two modes: SHARP for a fast response and BLUNT for a nice punchy but smoother attack. On top of that, an additional 3-way switch gives you access to 3 EG types:
CLASSIC: shapes like the ones used in old drum machines.
STING: extremely fast and short envelopes, perfect as a versatile ping source or for GATLING-GUN brrrp brrrp madness.
HYBRID: the custom shape mode from the previous BINOME version.
This makes BINOME a real full-featured envelope generator, not just a utility!
Each channel is fully independent with its own controls, inputs, and outputs, but they share an additional audio input routed to both filters. They also have a common output that mixes both signals in parallel, giving you options: dual mono? stereo? mono-to-stereo, merger? With three inputs and three outputs, you decide.
In DYNAMIC mode, each channel will respond to the other’s trig when they hit at the same time, creating even more interesting results with different channel settings. You can also use the right-down switch to CHOKE or FADE channel A with channel B. If you don’t want surprises, switch to FIXED mode, simple.
The SABOTAGE function is a cross-feedback distortion on audio and voltage summing of channels A and B, literally destroying the concept of each control as every move reacts to the other channel. Chaos, controlled chaos, that’s the Sovage way!
The filters have a resonant tone that adds natural ringing to your drums, plus extra dust when driven at the inputs. You can choose between 3 modes: High-Pass, Low-Pass, and a homemade Cross-Pass filter. Since they can auto-oscillate, you can also use them as VCOs, perfect for bass drums, toms, or FM percussion.
With BINOME’s odd configuration, you can get very interesting spatial results, like turning any mono VCO into a full stereo synth voice by modulating DECAY and LEVEL on both channels. The same works with audio signals, LEVEL can act like a stereo panner.
Within one module, you can make effective combinations: Dual multimode filter, stereo rhythmic panner, dual kick/snare, or even a full standalone synth voice.
Straightforward, versatile, and always encouraging exploration. Creativity has no limits. LE BINOME is not just for percussion.
QUOTE :
"DYNAMIC COUPLE GOALS!"
CONTROLS :
LEVEL – AMPLITUDE (Channel A or B):
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Adjusts the level of the audio and the amplitude of the envelope output.
CV ZONE “X” – EG DEPTH / EXT.CV (Channel A or B):
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Attenuator for the IN CV ZONE of the selected channel. If nothing is plugged into IN CV ZONE, it acts as a depth function for the EG going into the ZONE of its respective channel. For example, you can make a pitch decay effect to design kicks, toms, or acids without any cable.
ZONE “X” (Channel A or B):
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Adjusts the cutoff frequency of the selected channel’s filter, or the pitch if in oscillator mode.
REZ “X” (Channel A or B):
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Adjusts the intensity of the resonance of the selected channel and can be pushed to auto-oscillation.
DECAY (Channel A or B):
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Adjusts the length of the envelope of the respective channel, from short to infinite. Fully clockwise opens the VCA.
DECAY SHAPE (Channel A or B):
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Adjusts the shape of the envelope of the respective channel, from exponential to linear to logarithmic in BLUNT mode, and from exponential to linear in SHARP mode. The exponential envelope shape, when fully turned to the left, has a special mode named “REVERB,” which slowly fades without totally reaching zero volts, giving a natural room reverb effect.
CV LEVEL “X” (Channel A or B):
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Attenuator for the IN CV LEVEL input. Can also be used for amplitude modulation or to duck the output.
NOISE INJECTION / EXT.IN CH. “X” (Channel A or B):
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Adjusts the amount of signal going into the selected channel, either from the internal white noise generator or from an external sound source.
MAIN INPUT:
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Adjusts the amount of signal going into both channel filters.
SABOTAGE:
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Adjusts the amount of artifact applied to the circuit. SABOTAGE is a cross-feedback distortion on audio and voltages summing from channels A and B, literally destroying the concept of each control as every move reacts to the other channel in a chaotic way, from audio input to amplitude level and trig amount. Enjoy the chaos!
SWITCHES
FILTER MODE:(Channel A or B)
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HIGHPASS – CROSSPASS – LOWPASS. Switch between three filter types: A classic High-Pass, Low-Pass, and a special homemade all-pass filter called CROSSPASS. CROSSPASS turns the ZONE control into a crossfade between fixed filters: Low-Pass at the left position, Band-Pass in the middle, and High-Pass at maximum, with notches in between.
DECAY SWITCHES:
Each Envelope Generator has 2 sets of switches, giving a total of 6 starting shapes and behaviors.
SWITCH 1: Overall behavior
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SHARP: Sharp, fast, and spiky.
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BLUNT: A special homemade aggressive but rounded shape, resulting in smoother attack and better response to the DECAY SHAPE function. It also reacts differently to gate length when triggered by TRIG input, and it won’t retrig on chained long gates, making it useful when used with glide into 1V/Oct for example.
SWITCH 2: Starting shape
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CLASSIC: A reproduction of classic drum machine envelopes.
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HYBRID: My personal take on percussive envelopes.
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STING: A special mode capable of delivering very fast and short envelopes. It can be your favorite versatile PING tool for tone shaping or your MACHINEGUN mode bbbrrpppp at 300BPM hardcore stuff, you got me!
B FADE A / X / B CHOKE A:
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B FADE A: Channel B acts as an inverted envelope follower, lowering the amplitude of Channel A.
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X: Normal mode…what is “normal” anyway? Beware of the DYNAMIC switched ON, this is not normal at all!
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B CHOKE A: The voltage coming out of Channel B mutes any signal from Channel A until the end of its cycle. Works better with short settings.
ACCENT / VELOCITY:
DYNAMIC:
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In dynamic mode, the behavior of the module changes depending on whether accent cables are plugged.
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With nothing plugged: channels accent each other when trigs hit at the same time, creating more interesting results with different settings per channel.
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The output level changes dramatically depending on whether the accent jack is plugged.
[ACCENT INPUT BEHAVIOR]
ACCENT JACK CH.A solo:
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Floating cable: Increases amplitude and level of both channels at maximum accent, cancels passive accent when both trigs hit together.
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Cable plugged: Channel A returns to normal level, only Channel B stays accented.
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Receiving accent: CH.A reacts to accent trig without interfering with CH.B.
ACCENT JACK CH.B solo:
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Floating cable: Increases amplitude/level of Channel B only, cancels passive accent when both trigs hit together.
Cable plugged: Channel B returns to normal level. -
Receiving accent: CH.B reacts to accent trig without interfering with CH.A.
ACCENT JACK CH.A + CH.B:
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Floating cable: Increases amplitude/level of both channels, cancels passive accent when both trigs hit together.
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Cable plugged: Both channels return to normal state and react independently to accent trigs.
FIXED:
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Self-explanatory: no tricky intertwined stuff, just normal mode. When you plug a cable into the accent/velocity input, the output level stays stable. An accent trig accentuates the output amplitude like when both accent inputs are plugged in DYNAMIC mode.
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CONNECTIVITY :
INPUTS:
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MAIN INPUT: Audio input routed to both channels.
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EXT.IN (A / B): Per-channel audio input. If nothing is plugged, internal noise is injected.
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ACCENT / VELOCITY (A / B): Accent input or velocity control from a sequencer, also works with modulation like an LFO.
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IN CV DECAY (A / B): CV input for controlling DECAY (Input A normalized to B).
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TRIG (A / B): Trigger input for envelopes (Input A normalized to B). Trigs react dynamically to gate lengths in SHARP mode and don’t retrig in BLUNT mode.
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GATE (A / B): Additional gate input. Combined with TRIG, can create open/closed hi-hats or turn BINOME into a 4-voice monster.
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IN CV LEVEL (A / B): CV for controlling LEVEL / EG amplitude (Input A normalized to B).
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IN CV ZONE (A / B): CV for controlling ZONE (filter cutoff). Breaks EG normalization when patched.
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1V/OCT (A / B): Volts/octave input. Great for percussion, FM textures, or basslines. Not fully stable as a VCO over 2 octaves. (Input A normalized to B for stereo).
OUTPUTS:
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VOLTAGE OUT (A / B): Normal and inverted envelope outputs.
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MIX A+B: Mix output of channels A and B with light compression.
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AUDIO OUT (A / B): Audio outputs of each channel.
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TECHNICAL INFOS :
Current Consumption:
- +12V: 61mA
- -12V: 55mA
- 5V: 0mA
Width: 26HP
Depth: 24mm (33mm at power input)
Front Panel: 2mm aluminum, textured black paint with pseudo-holographic effect
MEDIA :
MODULARGRID :