Author: Future Music (Future Music) April 7, 2017

If you are new to the world of modular synthesis, these indispensable skills will enable you to take the right step

Modular synthesizer is a synthesizer whose components appear as independent modules, allowing users to define the function and layout of the system, as well as the signal path for audio and modulation through jumpers.

In 1963, RA Moog Co (located on the east coast of the United States) and Buchla (located on the west coast) designed the first available modular system in parallel. Who made the "first" modular synthesizer is a controversial topic, and Bob Moog and Don Buchla often say that each other is the first to get there. We may never have a clear answer, but both Moog and Buchla are developing their own modular systems at the same time.

32 years ahead, we see Doepfer revitalize Eurorack in 1995 by releasing ten modules and a system that defines the Eurorack standard. Eurorack modules are 3U high (U is a unit also used to measure the outside of rack-based synthesizers and studios), and their width is measured in HP (horizontal spacing).

So why choose Eurorack settings? Simple: Easy to get started and a wide range of options, it provides you with the option of building an instrument/equipment that suits your exact needs. The format is not only extended by Doepfer, but also a large number of companies have released modules ranging from cheap and pleasant to esoteric and unique. The platform provided by Eurorack can not only draw inspiration from Moog and Buchla, but also draw inspiration from Serge and EMS, a series of digital synthesis methods, and modern DSP technology.

After the history class, here are nine things every Eurorack newbie should know. For more Eurorack-tion, please get the February edition of Future Music.

Once you have the enclosure, power supply, and control module approach, you will undoubtedly enter an exciting world eager to create your own sound playground. Even in the same type of synthesis, there are many options for different styles and sounds. Suppose you want to build a copy of Moog, there is more than one set of modules to get you close. The same applies to Serge voice reproductions or Buchla style systems-it is almost endless.

We recommend avoiding very specific pre-planned routes and instead think in simpler terms. You will need a sound source, a processor, and a modifier. That could be oscillators, filters, and envelopes. Or it can be a sampler, FX and LFO.

Thinking in more basic terms will help you explore options and build a system that is unique to you. Mix your Moog style oscillator, Serge waveform folder, and modern DSP. This is the charm of the platform.

Take a look at the Frankenstein system that combines ideas from all forms of synthesis: West Coast FM and wave folding, subtractive fat filtering, drums, FX, sequencer and controller-you can make a truly unique system!  

Every patch you make on the modular system is your own. There are no presets or pre-routes that define the sound or modulation you use. The jumper is done with a 3.5 mm mono cable, and any output can be plugged into any input.

Fix something familiar to get started. Check out your favorite soft synthesizer/hardware synthesizer and follow the signal path. It is likely that it will connect the oscillator to the filter and VCA, as well as the LFO and envelope used to control them. Try to remake its audio and modulation signal paths on your module. Then try to reroute the signal to create something new. 

Check your bus board and modules before inserting. The general rule is that the red stripe on the ribbon cable carries a voltage of -12 volts and is usually facing down on the module and bus board.   

You need audio input to bring in external sound, so choose an input module and then choose some FX. Modulation is usually the key to creating something fascinating and unique. So, although it might be fun to fill the box with FX modules, it would be better with some modulation.

Make sure to include an envelope follower to get input related CV data that you can patch around the system. Imagine that if you play harder, the reverberation trajectory is longer, or your phase shifter resonates more...very good!

The LFO/sequencer will help animate older FX (think of it as your automated generation), so be sure to leave room for some of them. 

Do not patch the output of one module to the output of another module. This is the only "rule" you absolutely need to follow. After all, you don’t want to break new toys before they make any noise.

Start with a dual composite oscillator-a module with two oscillators that can be modulated to each other to create a series of FM and AM sounds as well as oscillator synchronization, and sometimes even additional waveform shaping. Here, you can generate a large number of unique and complex sounds that other synthesizers do not have.

You need a low-pass gate (LPG) to control the high-end frequency and amplitude in the signal. Connect your door and trigger to the LPG to turn on the sound and let vactrol sound with its natural sound attenuation. Some good starting points include Make Noise, Sputnik Modular, and Verbos Electronics. 

Don't be afraid to confuse audio and modulation. When modulating at an audio rate, your CV input usually produces a new sound field. 

No matter what kind of experiment you want to try, it's hard not to like the sound of a deep saw wave passing through a fleshy, saturated low-pass filter.

For us, Moog’s sound is all about filters, so by choosing the right sound, you can get very close to the sound of the Moog system, regardless of the oscillator hitting the input. The original Moog filter was a low-pass trapezoidal design, so we recommend checking out the AJH Synth MiniMod series for an incredible Moog Model D clone. To recreate the rest of D, you need three oscillators, a mixer, a filter, two envelopes, and a VCA.

Future Music is the first magazine of today’s producers. Full of skills and techniques, we will help you make great new music.

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