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New Wave of Modular

New Wave of Modular

Working regularly with synthesisers, you know the features you value (and wish for). So isn’t it about time you hand-picked some synthesiser modules and built your very own sound? Chris Steller shows you how.

18 April 2013

Presets can be the perfect entry point to instant creativity, but can also bring swift death to your originality. Modular synthesis is the antidote for saved files, software and presets. It doesn’t even offer recall, so a patch you spent hours deliberating over could potentially be unrepeatable. It’s definitely not for the faint of heart, but neither is true originality.

Take a few left-field ideas, like putting a distortion effect in the middle of a traditional path; maybe splitting a waveform’s output to go through multiple filter or effect treatments to be combined again further along the signal path; or using the output of a wavetable to modulate a pitch, filter or volume, instead of your common garden-variety LFO. While these experiments are possible in the software realm, the best way to get to grips with these sonic departures is by choosing and combining your own synthesiser components, and entering the modular world.

BACK ON RACK

Modular synthesisers have been around for a long time, in quite a few different size and power formats, with a slow rise and fall in popularity every few decades. Traditionally the domain of larger educational institutions, modular synthesis has been hampered by issues of cost, size, and consequently, a relatively small following… until recently.

Modular’s most recent standard, the Eurorack format, was introduced with Doepfer, Analogue Systems, Analogue Solutions, and the now defunct Plan B. Doepfer and Analogue Systems offered more traditional modules, and Analogue Solutions specialised in analogue drum modules — reproducing individual components of the ‘TR’ drum machine. New arrivals followed from Livewire and Cwejman (try ‘Shwayman’ as an approximate pronunciation).

Now there’s a huge number of companies producing modules for the format, at least 100 brands, with companies spread from Portugal to Australia, selling everything from kits to completed modules. With a number of modular blogs and forums (like www.muffwiggler.com) now in full swing, many more designers are selling their PCBs directly to users, with user orders financing the production runs, and member collaborations providing improvements and updates, as well as designs for module front panels. There’s never been a better time to buy in.

THE DAW IS OPEN

If you are thinking that the downside of a modular system is that it can’t be integrated with your current DAW hardware/software, then here’s some news will really brighten your outlook. Another relatively recent innovation in the modular synth world is the introduction of control voltage and gate control through a specified audio interface being used in conjunction with your computer: what about eight channels of CV from an ADAT port of your audio interface, controlled by Expert Sleepers’ Silent Way VST/AU plug-in, with their ES-3 module? MOTU has also been working with this concept via its Volta software plug-in and outputs from its industry-standard audio interfaces. Kenton and Pittsburgh both produce a MIDI/CV module, and ADDAC Systems of Portugal actually has a USB sound card module — plenty of connectivity to integrate your modular.

DON’T JUST FLOG IT WITH A STICK

Another plus in the new wave of Eurorack modules has been the introduction of a plethora of new controller modules (traditionally, modulars were limited to joysticks and not much more). For example, Make Noise manufactures a series of controllers, especially the Pressure Points module, which allows real-time control of expression or pitch. Synthwerks has a series of force sensing resistor (FSR series) and slide potentiometer (SP series) modules capable of sending CV messages.

MODULUXXX FESTIVAL

If this has piqued your interest in getting your hands dirty one module at a time, then getting along to the Moduluxxx Mini Modular Synth Festival , Sydney, May 25-26. In its second year, the festival will include:

Sample & Hold Petting Zoo

This event is an all day ‘expo’ of modular synthesisers open to the public. Local instrument builders, inventors, manufacturers, distributers and collectors will gather together to present their modular synthesisers to the public. Something like a cross between a synthesiser convention, a museum and a LAN party. It’s a great chance to see the impressive array of modules and their ‘handlers’ in one place.

DIY Modular Workshop

Many people choose to build their own modular synths from an ever-expanding selection of kits available from around the world, then building their own enclosures and designing their own panels. This represents a much cheaper way to get into modular synthesis but can become an obsession in itself. The workshop will include a hands on soldering session where you build your own Eurorack format mixer that is yours to take home.

Moduluxxx Dork Talk

Dorkbot is a regular meeting for ‘people doing strange things with electricity’. Sydney Dorkbot will present a very special Moduluxxx edition featuring presentations by local makers and designers of modular synthesisers.

Moduluxxx Showcase Gig

A raucous gig featuring 100% modular synthesiser-using artists. The gig will be held at the Red Rattler in Marrickville on Saturday the 25th of May.

More info available at www.moduluxxx.com

DIY MODULAR

One of the best aspects of current modular, from a person of average means, is that there are quite a few manufacturers who produce kit versions of their modules. My start in Eurorack modular was with some of Elby Designs’ offerings; Laurie Biddulph is based in northern NSW and he has produced a good number of strange and wonderful modules which can be purchased as complete kits, including PCB, faceplate and components. You can even purchase the PCB on its own and do the rest as you see fit.

4ms Pedals, as its name implies, started as a manufacturer of guitar effects pedals, and soon realised that its kits were being utilised in other places. The natural progression was to offer Eurorack-format module versions of its effects, in the form of the Swash and Atoner. 4ms also offers a series of clocking divider and multiplier modules which are ideal for sending timing signals to other clock related modules.

For lovers of analogue drum machines, Hex Inverter in the US specialises in reproducing individual replica PCBs with its NeinOhNein modular clone series, as well as other complete sequencer modules and effects.

BUILDING A WISHLIST

Modular Grid allows you to recreate your current system, or plan your next chunk of modular expenditure. Selected modules are also tallied to give visitors insight into the most popular modules.

www.modulargrid.net

The Modular Planner allows you to add modules from different manufacturers, and view space requirements and electrical current draw.

www.modularplanner.co.uk

The Eurorack Database is possibly the easiest to navigate of the modular planning sites, with sensible categorising of modules, cases, power supplies, and more.

www.eurorackdb.com

AUSTRALIAN EURORACK IMPORTERS

Equinox Oz: www.equinoxoz.com

Rhythm Active: www.rhythmactive.com.au

Elby Designs: www.elby-designs.com

Awave: www.awave.com.au

AUSTRALIAN EURORACK IMPORTERS

Equinox Oz: www.equinoxoz.com
Rhythm Active: www.rhythmactive.com.au
Elby Designs: www.elby-designs.com
Awave: www.awave.com.au

NEW WAVE

Obviously, with so many manufacturers and experimenters in the market, it would be impossible to mention every module that’s available in this article, so I’ll focus on some interesting and innovative offerings.

One of the most significant changes in modern synthesiser module design, is the introduction of new sound generating and processing methods; the first notable entries were in the proliferation of distortion/bit crusher modules, many of which were converted from stomp boxes (4ms Pedals and Malekko Heavy Industry), or wavetables for signal generation and modulation (The Harvestman Model 1991 Piston Honda, WMD Geiger Counter, Synthesis Technology E350 Morphing Terrarium), digital oscillators, programmable DSP effects (TipTop Z-DSP), voltage-controlled WAV players (ADDAC Systems ADDAC101 and Mungo Enterprises’ w0 and g0), and of course, the advent of USB connectivity on a module for programming (Snazzy FX Ardcore).

Highly respected analogue synth designer, Ken MacBeth (search for Macbeth’s coveted M5n and M3x modules) has also joined the fold, offering high-end oscillators and filters, along with envelope generators and audio mixer, plus some very neat keyboard controllers to come.

Australia’s own Mungo Enterprises recently launched three modules, the most complex of these, the g0, described as a Granular/Microsound/Sampler/Delay/Pitch Shifter module. The g0 uses an SD card slot to access mono WAV files which can be manipulated down to individual sample level, including elastic manipulation of audio in real time, and control of the playback in length from grains up to rhythmic loop sampling.

More home grown product comes from Innerclock Systems, based on their industry standard Sync Gen range of desktop products — the Sync Gen II LS. Innerclock Systems’ synchronisation products have found themselves in systems belonging to some of the better known music technology artists around the planet.

Another left-field module idea, attempting to take advantage of the popular notion of using effects pedals with modular synths, is The Harvestman’s Model 1979 Stilton Adaptor — a four-channel effects insert module, which utilises TRS cables for the convenient insertion of pedals into the signal path.

This is more of a starting point for people who want to research modular synthesis and how to get involved. It can be as cost-effective or wage-consuming as you like, but fortunately, there are plenty of on-line resources to see and hear individual modules, and discuss them with other users. As I said earlier, there is so much available, and different plans for each person, so get cracking on your research, and enjoy the journey.

Chris Steller has worked as a composer, programmer, sound designer, product specialist, product manager, clinician and teacher. What he doesn’t know about synthesisers he is certainly willing to find out. Ask via Steller Sound Technology: [email protected]

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