Get a pad out of rainmaker

Hello modular junkies ;),

I am standing knee deep in the muddy rain I have produced with the rainmaker. Nice module, to explore unknown sound scapes never heard before :).

Is it also possible to form a pad out of the rainy? If so, I would be really happy for one or two hints to show me the right direction.

Thanks :),


could use some more context, what type of pad?

its usually quite easy
many times all you need it a simple sound source, like a simple chord, adjust maybe some feedback detuning and grain size, crank some feedback and you now have a pad. add in the comb filter at a high density if you like it

pitch shifting a tap a 5th and selecting it for feedback can be nice for pads too


Hey damase,

thanks for your answer.
I refer to those typical space sounds which sound light and airy, typically drowned in heavy reverb.

Since the rainmaker seems to be capable of more than delay, or I experience it like a sound designing journey device, I tried to build something like a pad but wasn’t that successful in that respect.

I will try your suggestions as soon as I get my hands on it again.


your input sound is going to have a drastic effect on the output depending on your settings. try something more subtle, or even quiet/dialed back with an LPG for color, then use the various tools RM has to offer to develop some high frequency content back.

i also suggest starting from a blank preset, so that you can focus your RM sound in and understand whats going on

i can just say definitely keep trying, because you are correct its just about the perfect tool for designing your pads and imo its great at light and airy

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Thanks for your further hints and tips, sadly I am about to go to sleep now without any chance to fiddle around :(, have to work tomorrow while most people here enjoy their holidays, grmpf ;)…

I will definitely try your suggestions :slight_smile: and report back.


Fun challenge!

I would also recommend starting from a blank preset.

For this kind of thing, I would set CMB>Delay, Comb clock to size with a small division, TRIG to noise burst. Then you can press the TRIG button to generate bursts of white noise that will resonate from the comb section. Now you can send gates to TRIG and melodies to the Comb 1v/oct input to create melodies and start playing around with the comb settings. Maybe turn off the delay section so you can focus on the sound of the Comb section until you get it the way you like it. Then reactivate the delay section and set the TAP# to COMB SIZE and you can start making things really crazy by introducing filter and pitch settings to the taps. Happy puddle splashing!

I demonstrate it a bit in this video:



it happens that I am just in front of the RM and fiddling and twisting knobs. I mostly get interesting and weird drone like sounds, but still trying to get into those airy and light sounds. I will follow all the tips and experiment further (a funny journey I have to admit :)) and report back.


So, here I am again, sadly without further success on my misson, therefore with some more learning by noodling. Gonna still persue my target. Anyway, and not to derail the thread, but I cant get my head around the concept of stacks and tap# and so on. The manual states that a stack takes the same feedbacktime of its last tap thats in the stack. Thats leads somehow to the assumption that one can assing different feedbacktimes to each tap#, but I dont get how. Also I cant figure out what tap# under global feedback settings does. I also watched the video on youtube but alas, I do not understand it.

I beg for some explanation :),
so back, to some more noodling…


Edit: ok, tap times/delay times seem to be groove related, I think I did not notice that on my various readings in the manual.

Each tap is one offset in time. So for example if your clock division is set to 1/8, each tap will be an eighth note later than the preceding tap. TAP# determines the point in time where feedback is siphoned from the delay buffer. So if TAP# is set to 1, and each tap is an eighth note, feedback will be added from the delay buffer to the wet signal every eighth note.

Stacks group the taps into bundles. So if you have four stacks of four, taps 1 - 4 will all occur on the first eighth note, 5 - 8 on the second, 9 - 12 on the third, and 13 - 16 on the fourth.

I think I got that right.

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Hey Scott,

thanks for the detailed explanation :),

come good into the New Year,

All the Best,

If you’re still having problems, have a few stacks of three of the drone sound, slightly detuned from each other for a nice chorus sound. Then tune the each stack to be a note in a major chord, and you should be able to transform that into a nice pad. If possible, add some reverb