Mad Sound Factory

This time the little wind-up menace has targeted the Clock input of the DROP and is now furiously driving the divider.

The piezo signal from the toy is amplified and sent into the Clock input of the DROP. Cat provides the clock — DROP just follows the chaos.

Part 1: direct trigger
Part 2: full clock-synced madness

Which version is better? Drop your vote 🤘😺🤘

Adding LFO2 to the trigger input introduces variation and instability into the rhythm.

A wind-up toy drummer recorded with a piezo contact mic.
The signal is amplified and sent into the Trigger Input.
Strong transients = reliable triggering.
With proper grounding, even a mechanical toy can drive the DROP.

Using a guitar to trigger the DROP — don’t forget the ground connection.

Almost any instrument with a pickup can trigger the DROP.
Just don’t forget the GROUND connection!
In this example we use a cigar box guitar with a transducer pickup but any signal with strong transients will work.

Almost any instrument with a pickup can trigger the DROP.

In this example we use a cigar box guitar with a transducer pickup and a single-coil guitar, but any signal with strong transients will work.

Send a loud signal into the Trigger Input or the Sync Input to drive the divider and create rhythmic interactions with your instrument.

Good transients make it work best.

Don’t forget to patch cables properly and make sure everything is grounded.

An audio signal can be used as a trigger source for the DROP.
Instead of a traditional clock or gate, incoming audio transients activate the circuit, creating dynamic and rhythmically responsive results.

LFO1 is internally connected to the divider and works as a clock.
It can also be bypassed to sync DROP with external analog gear.

DROP dividing its own LFO/clock into rhythm and modulation.

16 → Noise Mode
/8 → Noise Freq
/4 → Trigger Input
/2 → Filter Cutoff

A series of micro-tutorials for DROP.
Part 3: Playing DROP by patching cables.

A series of micro-tutorials for DROP.
Part 2: Finger patching.