In Midweek Modular this week, a VCV Rack module becomes hardware; we mix stereo signals and discover a unique lowpass filter in the valleys of Wales.

Midweek Modular

Let’s not get distracted by a potential new polyphonic Moog. Instead, we’ll bring our attention to the ever-evolving world of modular synthesis. Here are this week’s gems.

Nano Modules VCV Random

This is an interesting reversal of the usual trope of software emulating hardware. Nano Modules has been working with Eurorack simulation VCV Rack to produce a hardware version of one of their modules.

VCV Random is based upon the stock “Random” module that comes as one of VCV Rack’s included modules. Nano hasn’t posted any details about it other than a photo and comment on Instagram. But it looks like it mirrors the functionality completely.

The idea is that from a Sample & Hold circuit, you have four versions of the same randomisation: one stepped, one smooth, one linear and one exponential. So you can choose how the voltage should move between the randomly generated voltage. But then you have some interesting control with the four sliders. The RATE governs how fast new values are generated, but the PROB decides on how likely there will be a new value. RND dictates how close or independent that value will be from the last one. SHAPE determines how pronounced the journey between the values will be.

The Instagram post said it will be available in March, and it will be interesting to see how it differs from the VCV Rack version.

• Nano Modules website.
• VCV Rack Random module.

NOH Modular Lavender

Last week, we were impressed by NOH Modular’s Pianist chord-generating module. This week they have something a little more low-key but still useful. Lavender is a 5-channel stereo mixer module with a couple of nice touches.

There are four left/right channels with independent inputs, and then the interesting bit is an additional channel that can use either a regular mono or a stereo minijack. It’s a really compact and useful way to bring in stereo sources from outside your rack. The other cool feature is the tall VU meter right in the middle giving you a nice visualisation on the overall level.

Lavender is compact, neatly done and useful in an increasingly stereo modular setup.

• NOH Modular website.

Dwyfor Tech Pas-Isel

From a new Welsh modular company comes the Pas-Isel low-pass filter. Apparently, it was inspired by an article on the Buchla 191 filter, which described it as “ignorable”, and then combined with some ideas borrowed from Korg to give it some grunt. It’s quite unique in that it’s comprised of a diode-based and uses high-pass filters in op-amp negative feedback loops to generate the familiar sound of a -24dB lowpass filter.

In use it’s a very straightforward VCF with lots of nice gain on the input and CV control over both cutoff and resonance. The gain does give it some really nice beef as it barrels towards self-resonance. It sounds characterful, and has anunusual look about it.

Pas-Isel is available as a through-hole kit or you can persuade the designer to build it for you for a fistful of tenners.

• Dwyfor Tech store.

The post Midweek Modular: Randomisation, Lavender and ignorable filters appeared first on gearnews.com.

In this week’s Midweek Modular, we unearthed some ancient 1U modules, produced chords of various colours and got stuck into a Modulation Orgy.

A couple of article-worthy modules popped up this week. The first was the Neptune filter from Winterbloom. Although it sounds like it’s going to be ambient and spacey, it’s actually quite filthy, thanks to a good dose of Salt. Read more about that here.

Also, Erica Synths has continued its resurrection of Hexinverter modules with the re-release of the legendary Mutant Machine. It’s drums and percussion that takes 909 circuits and bends them in really wrong ways. Read more about that here.

Midweek Modular

Otherwise, here are this week’s shards of ice falling from the passing comet of modular synthesis.

SetonixSynth 1U Archeology

SetonixSynth has evidently been on a dig and unearthed some precious 1U modules that were, perhaps, lost in time.

The first is the Ancient Scroll, which perhaps led the way to the other and features a voltage-controlled Decay Envelope. It’s very simple. You’ve got a trigger and an envelope output, and a knob to control the Decay. There’s also a CV input for the Decay and a manual trigger. Perfect for enveloping short bursts of filters, percussive sounds, and evolving basslines.

Second, we have Arcane Knowledge, which reveals itself as a vintage VCA with overdrive. Again, it’s desperately simple. You have audio in, audio out and a knob to control the gain. This has a CV input to handle VCA duties, and there’s a switch to push in the high-gain Tube Screamer-style soft clipping overdrive. Lovely.

And finally, we have the Sands of Time filtered noise source. Same style of simplicity but this time we have analogue and logic-based noise outputs along with the filtered output and a nice bog knob to sweep it. You can select which noise you want to go through the filter.

All three are €70 a pop.

• SetonixSynth website.

NOH Modular Pianist

The Pianist is a complex voiced chord sequencer. It has eight outputs that can drive 1v/Oct inputs on a bunch of oscillators to generate chords. It is packed full of chords with all sorts of qualities and colours and selectable bass notes. The chords are voiced appropriately depending on the progression and you can choose how many outputs to use depending on the number of sound sources you want to bring into the fray.

The interface is run by a little joystick and an OLED screen. There are 32 chords and you have full control over the quality, colour and root note from simple triads to extended chords. You can spread the notes out, invert the chords and enable or disable the automatic voicing.

Chord progressions can be pushed along using randomisation and probability. You can suggest octave shifts and freezing that can flow in and out of your chords.

The Pianist is able to play nicely with Mutable Instruments Plaits and Qu-Bit Chord v2 by using a single output to run the root and others to control the chordal features of those modules.

The sounds coming out of the demo video are beautiful, although The Pianist is only actually producing the note information. I’m not sure I’ve grasped exactly how it all comes together but it looks like it could be a very powerful machine in modular if you have enough voices in your rack. It’s a shame it doesn’t have a MIDI output to run some of those polyphonic modules like the Oxi Coral or Knobula Pianophonic.

• NOH Modular website.

Synthetic Sound Labs Modulation Orgy 2.0

Once you’ve had a Modulation Orgy you’ll never want anything else, until a version 2.0 comes along. As you can imagine, this module has a lot of modulation going on. It’s a very bendy and completely flexible LFO with a tap-tempo and waveform morphing. And everything is CV controllable like all orgies should.

You can control the rate either manually or externally, you can control the tempo multiplier, waveform selection and waveform distortion. Without distortion you can select from sine, triangle, rectangle, ramp, sawtooth, sweep , lumps and random shapes with morphing between adjacent ones. The distortion pushes the waveforms in a sort of pulse-width-modulation kind of way.

An orgy would suggest multiple outcomes happening simultaneously but the module only has a single, “Orgy” output, but there was certainly a lot of fun to be had along the way.

• Synthetic Sound Labs website.

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Erica Synth has revived the Mutant Machine from Hexinverter. It’s based on the TR-909 kick and snare circuits that are then bent in deliciously alarming ways.

Mutant Machine

It’s a fantastically named module that’s ridiculously wide and has a devastatingly stylish “Édition Noire” paint job. It offers a universe of percussive sounds through the abuse of classic bits of analogue circuitry. Erica Synths is at pains to say that there are no microcontrollers running things behind the panel – this is pure discrete, analogue artistry.

Mutant Machine is a module of three parts that fold into a two-part diverse sound source. On the left, the Membrane section uses two core oscillators to push towards that classic 909 kick sound. Each oscillator has three selectable waveforms and very quickly finds itself deviating from its roots.

The middle section works into the Membrane to push these oscillators around. You’ve got detuning, pitch control and envelope shaping. The waveforms can be scanned either internally or externally to generate many more complex timbres. This could, for instance, change waveform on every trigger, or perhaps even more fun is to pump it up into audio rate. And finally a Drive control will build out the sound to its full potential.

On the right is Snappy, which could be called the 909 snare section. It uses a voltage-controlled noise generator to create the fizz and snap of snare-type instruments. Manipulating the pitch can result is a wide range of possibilities.

Finding its alien voice

The CV control and possibly avenues of cross-modulation turn the Mutant Machine into a superb sound design module. There are multiple outputs from which you can pull noise, waves, snaps, clocks and a complete mix tipping it beyond its percussive intentions. And ultimately, it’s all happening via a single trigger input. You can also replace either sound engine with external sources and just use the twisting of the circuitry to mess with other sources.

Mutant Machine is undoubtedly a monster in terms of size and sonic potential. It uses an awful lot of space and knobs to generate a single bonk, but once you’ve modulated the b*stard you’ll discover a stunning stream of alien space noise.

Hexinvertor Mutant Machine is available now for €320.

• Erica Synths website.
• More from Hexinverter.

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Modular without the modules? Here’s a convenient way to get into modular synthesis. We’re looking at some of the best semi-modular synths for starting your own patch-lead spaghetti empire.

Semi-modular synths first rose to fame with instruments like the Roland System 100, ARP 2600, the EMS VCS 3 and Synthi AKS, and the Korg MS-20.

Although these instruments are revered for their sound, they provided a different approach to sound design than the workflows of classic subtractive synths like the Minimoog.

Choosing the Best Semi-Modular Synths

Semi-modulars differ from regular analogue keyboards and desktop modules in that they provide CV I/O for the various sections of the synth. This enables the oscillator, filter, and envelopes to interact with each other as well as with external instruments.

This allows a huge range of real-time tweaking, which makes them especially useful in electronic music production workflows. Also, many of the semi-modular desktop units you’ll find have their own sequencer, which means you can get creating straight away.

Behringer Crave

If you’re looking for analogue sounds, the Behringer Crave provides a great entry point into semi-modular synths. You get plenty of patching I/O (18/14) and sound-shaping capabilities, plus the VCO chip is based on the CEM3340 which was used in classic synths.

In addition, the 32-note step sequencer and arpeggiator means you can immediately begin creating synth patterns. The Crave offers poly-chaining, and there is a good deal of connectivity for incorporating it with other gear in your setup.

• More from Behringer

Behringer Crave

Customer rating:

(596)

Available for 189.00 € at

cre8audio East Beast and West Pest

Keen on exploring East Coast and West Coast style synthesis? cre8aduio and Pittsburgh Modular have created the perfect duo that allows you to experience the quirks of these two opposing schools of thought in synthesis.

• With the East Beast you get the classic East coast design with a multimode filter
• Meanwhile, the West Pest offers unique features like wave folding, FM, and an LPG-like dynamic section similar to the Taiga

Both are equipped with sequencers, mini button keyboards, and the versatile multimode modulation routing tool. You can also use either of these as Eurorack provided you have 40 HP of space.

• More from cre8audio

cre8audio East Beast

Customer rating:

(13)

Available for 239.00 € at

cre8audio West Pest

Customer rating:

(17)

Available for 249.00 € at

PWM Malevolent

The Malevolent is a simple keyboard-orientated semi-modular synth with a great layout, which makes it a nice choice for beginners. The design feels somewhat familiar, with a few similarities to the Korg MS-20.

You have all the basic necessities, including two oscillators, two envelopes, and an LFO, as well as distortion if you’re looking to get crazy. In addition, the internal arpeggiator has both MIDI and CV outs which makes the Malevolent useful for controlling other gear.

• More from PWM

PWM Malevolent

Customer rating:

(8)

Available for 479.00 € at

Pittsburgh Modular Taiga

It provides a huge amount of creative controls, but the layout of the Taiga is still straightforward enough to get going without having to RTFM. From the extensive 3-oscillator sound generation section to the analogue delay, each section has its own corresponding CV I/O below the controls.

What’s more, there’s a preamp with overdrive below the mixer, a multimode filter, and a dynamics controller. There’s no step sequencer per se, but the MIDI to CV interface allows you to easily sequence patterns from your DAW or another sequencer.

• More from Pittsburgh Modular

Pittsburgh Modular Taiga

Customer rating:

(6)

Available for 739.00 € at

The Moog Studio

With the Moog Studio, you get a complete modular desktop system, with 3 unique synthesizers neatly racked up and a 4-channel summing mixer and 3-way power supply unit.

• The Mother-32 is a single oscillator synth with a 32-step sequencer and a 4 x 8 patch matrix
• The DFAM is a percussion synthesizer with a simple 8-step sequencer and a 3 x 8 patch matrix
• The Subharmonicon is a 2-oscillator synth with an 8-step polyrhythmic sequencer and a 4 x 8 patch matrix

*Each unit offers Eurorack compatibility in a 60 HP format.

• More from Moog

Moog Sound Studio: Semi-Modular Bdl

Customer rating:

(11)

Available for 2,399.00 € at

More about the Best Semi-modular Synths:

• Everything Semi-modular
• All about Eurorack

*Note: This article contains promotional links that help us fund our site. Don’t worry: the price for you always stays the same! If you buy something through these links, we will receive a small commission. Thank you for your support!

The post The Best Semi-Modular Synths for your Studio Setup appeared first on gearnews.com.

Neptune pushes hard into characterful vibes and wild filtering parties in search of chaos and resonance. It’s designed to be disturbing.

Neptune

With spacy-themed things, one expects a languid oozing into vacuums of never-ending reverbs. You’d imagine a bit of breathtaking beauty, awesomely cinematic soundscapes and wonder, but with Neptune, not so much. Neptune is wild, chaotic, and improper and if you took it down the pub, it is likely to get you arrested.

Neptune is a resonant 4-pole diode ladder filter based on a design by Moritz Klein and built in collaboration with Carson Walls of Decapod Devices. It has the style of Winterbloom bleeding through in the front panel design and background LEDs, and when in full flight, it looks gorgeous.

Filtering Salt

The routing of the filter is a little different to most other filters. Usually, you’d expect to find separate outputs for filter modes, but with Neptune, we have separate inputs for the lowpass and highpass modes. You can use them separately, and Neptune will perform like any other filter. But if you use them together you’ll find some new possibilities opening up for combining and filtering multiple signals.

Neptune is a diode filter and so shares some of its topology with the famously squelchy Roland TB-303. Diode filters are known for their grit and tendency to behave badly when overdriven or pushed to high resonance. But the real distinction of Neptune comes in the form of the “Salt”.

The Salt control on the front panel governs a feedback modulation circuit that can pull Neptune through a back-ripping path of gravel into some wild and chaotic oceans of distortion. It brings in a level of unpredictability that is likely to give you a bit of trouble in the best possible way.

Otherwise, you’ve got a couple of FM inputs for CV control of the cutoff, CV control of the resonance, and a built-in VCA for volume control.

All in all, Neptune is an exciting-sounding and fabulous-looking filter for your rack.

Availability

Neptune is available now for $219 built or $189 as a through-hole kit.

• Winterbloom website.
• More from Winterbloom.

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This week we saw Resonant Gardens, Harmonic Oscillators, Plectrums, Quasars and something to keep your synths nice and clean.

With the NAMM show and the unexpected Buchla and Friends event just past, there have been a few bits of modular we’ve already talked about. In case you missed it check out the 4MS Catalyst Sequencer and Catalyst Controller modules that do some interesting morphing as you scan through modulations with the crossfader. Read more about them here.

Catalyst Audio found a bunker full of old tubes from Soviet-era fighter jets to build a range of module called the MIG Series. Read more about them here.

Then we have a strong vibe of positivity from Buchla in the form of a huge party it threw for itself. It invited all the other modular firms who couldn’t afford a booth at NAMM. Buchla is pushing ahead with reissuing all the 200 Series modules via a new Source of Uncertainty Store, while at the same time continuing to release Eurorack modules with Tiptop Audio.

Midweek Modular

Hiding in the corners of the Buchla & Friends event and elsewhere, we did find some other juicy bits and pieces.

Folktek Resonant Garden

Folktek is one of those boutique brands that produce beautiful and aspirational pieces of modular art. However, they always seem to be unobtainable and I’ve never known anyone who had any of it. Well, Folktek were at NAMM, and the good news is that under new management, it will be building on the artistic vision of founder Arius Blaze and taking things forward. The result should be that Folktek products will hopefully become more available.

This new hope is epitomised in the very Instagram-friendly flagship product, the Resonant Garden. The Resonant Garden is an interactive, electro-acoustic resonating instrument. It contains three effects engines and a whole bunch of sensors to detect touch throughout the front panel. Effects can be interacted with via the gold plates or the intriguing strands that sway and twang about. Each effects engine has seven algorithms, so you can discover all sorts of sonic adventures by getting your fingers in there.

While the Resonant Garden is not new, its availability certainly is. And this revitalised Folktek will be bringing a lot of new modules along soon.

• Folktek website.

New Systems Instruments

New Systems Instruments had three new modules to show at the Buchla & Friends party. The first is a Triphase Oscillator, which offers three phases of sawtooth waveforms through a bipolar mixer. This results in some rather sumptuous and very modulatable super-saw sounds.

The Harmonic Shift Oscillator is looking at the space between harmonics and pushing them apart. It uses FM synthesis ideas to push things around but avoids negative frequencies to keep things unexpectedly melodic.

Finally, the Inertia Function Generator simulates movement by generating curves from input stimuli. It can generate envelopes and LFOs, become a slew limiter, a percussive sound generator and a resonant filter.

• New Systems Instruments website.

Null Modular cases and dusters

Null Modular makes a range of flat-pack Eurorack cases made from recyclable materials. They are available in 40 HP and 80 HP sizes and look suitably natural and pleasing. It also had some cool flip up/down stands, 3D printed from plant-based biodegradable materials.

But the coolest thing of the lot was the range of Synth Dusters. These are brushes housed in a bunch of characters that you can customise and tweak to be your perfect, dust-conscious companion. Love it.

• Null Modular website.

Prism Circuits

We don’t often cover Serge format modular, so it’s great to see something new happen in this space. Serge uses the 4U standard and is slightly larger than Eurorack, which definitely brings some advantages.

Prism Circuits showed the Quasar Modular System that was inspired by the circuits made by Serge Tcherepnin in the 1970s. It looks amazing and quite baffling but the idea is produce an affordable and accessible synthesizer that could be customised to suit the musician. The idea is that you design a complete faceplate which is the front end for all the individual module circuits that live behind. It’s a very interesting and focused approach to modular.

The Quasar system features two panels and is a fixed system designed for improvisation and live performance. It’s full of cryptic symbols designed by Serge to help you navigate your way around – once you understand it. Fascinating.

• Prism Circuits website.

Morphor Plectrum

Morphor likes to mess around with BBD delay chips. Last year, they released the AP-1, which they called the Analogue Plectrum that used Karplus Strong to produce plucked sounds. This year they have a new version simply called the Plectrum.

Plectrum is a fully analogue module based on a 124-stage Bucket Brigade Delay chip for producing those Karplus-Strong plucked sounds. This time, it has CV-controlled feedback to push the sustain of the notes into self-oscillation, giving it far more places to go.

Morphor also had an eight-voice Ensemble chorus effect and other modules coming along including a VCO, VCA, ADSR and LFO.

• Morphor website.

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Behringer takes on the classic Grampian analogue reverb in the Spring Reverberation 636, but is the size and shape too huge for Eurorack?

Spring Reverberation 636

Back in the day, reverbs took up quite a bit of space. The very fact that you have to shake a physical spring to generate the reverberation meant that these units were big. Digital technology, of course, sorted that all out and made reverb and other effects far more compact and convenient.

But something like the Spring Reverberation 636 is not meant to be convenient. It’s meant to impose itself onto your desk and demand to be used.

So, what do we have? Well, the original 636 contained a nice big reverb tank consisting of a pair of suspended springs connected to electromagnetic transducers to simulate the effect of a live hall. It had a reverb time of more than 2 seconds. There were two independent inputs: one for low-impedance sources such as microphones, the other for higher-impedance signals such as guitar and preamps.

The microphone preamp consists of a DC feedback pair with the input transistor biased for low-noise operation. It’s supposed to be driven hard in order to get the best out of the mechanicals and the signal-to-noise ratio. There’s an overload indicator light to let you know when you are hitting those limits.

Behringer says they’ve replicated it perfectly and so we can assume it has all the same sort of stuff going on. On the front panel, you get gain controls for the mic and aux channel, plus a mix control over the reverb. The preamp has become renowned for its saturation and that alone makes this a useful box.

Eurorack friendly

Behringer has added a bunch of Eurorack connections along the top of the front panel for easy patching. That’s certainly useful, but in Eurorack terms, the Behringer 636 is ridiculously wide.

There are plenty of spring reverb modules available for Eurorack, and all of them place the reverb tank outside the rack to save space. I don’t think many people are going to be dropping this thing into their modular case.

However, the presence of the connections does make it easier to plug-in from your modular, but I don’t think Behringer needed to build it into a Eurorack format case. All the same connections can be found on the back of the unit as 1/4″ jacks, so you can use it as a desktop effects unit.

Springs and space

Judging from the demo video, the 636 sounds rather fabulous. It is instantly recognisable and full of character. You start to think about reverb differently simply because it’s sitting there front and centre.

It looks a little bit strange from our modern perspective of digital effects and miniaturisation. But it really does feed into the analogue aesthetic that we all seem to love without question.

Pricing and availability:

The 636 is now available for order from Thomann.

Behringer Spring Reverberation 636

Available for $181 at

• Behringer website.
• More from Behringer.

*Note: This article contains promotional links that help us fund our site. Don’t worry: the price for you always stays the same! If you buy something through these links, we will receive a small commission. Thank you for your support!

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Like Clint Eastwood in Firefox, Catalyst Audio has snuck a bunch of vacuum tubes out of Soviet-era MIG fighters to make Eurorack modules.

MIG Series

All right, so it’s not very much like Clint Eastwood stealing an advanced fighter, but it does feel almost as exciting. In something approaching reality, Catalyst Audio and co-conspirator Electroserf came across a bunch of Soviet-era tubes that they decided to use in a range of vacuum-infused modules.

The line up currently includes a VCO, VCA, VCF, Noise and Mixer. They have about 1,500 tubes in stock so this is going to be a limited edition series. I have to say they look and sound pretty fabulous.

The modules

The VCO uses a pair of tubes to generate the oscillations and another tube to push them into folding. The oscillator tubes each produce half of the waveform. They switch at audio rate, which lets you alter the balance between them to shape the waveform. There’s also a Resonance control on the tubes that boosts the leading-edge harmonics, along with an offset and bias for more tonal changes. 

The VCF uses a pair of tubes to overdrive resonance to deliciously rip harmonics from heart of the waveforms. The tubes have enabled Catalyst to bring some controls to the front panel that you wouldn’t normally find on a filter.

The VCA again uses the tubes to push resonance and overdrive. You get the feeling that your modular will be dripping in resonance-injected warmth by the time you get to the end of the signal chain. It can also be a ring modulator. 

The Noise module also called the MIG Thrust, can handle different varieties of noise, from white to pitched, with a fantastic amount of deterioration. 

The series should come along in summer, and the price is expected to be around $400. A row of these machines would make for a stunning bunch of modular grunt.

• Catalyst Audio website.
• More from Catalyst Audio.

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It’s one module with a reversible faceplate to give you the phase-based Catalyst Sequencer or macro morphing Catalyst Controller. Inconvenient or pure genius?

Catalyst Sequencer

It starts off as a regular step sequencer with up to 64 steps that feed eight output channels. Each output can be CV or gate and has its own length, quantizer, transposition, clock divider, randomisation, and voltage range. The “phase” idea is that the sequencer is scrubbable via CV or from the Phase Scrub crossfader to let you select steps. You can push through it and back again, modulate through it, ping-pong or inject complex waveforms for complex patterns.

I have a lot of questions, like are all the channels feeding on the same sequence? How do you write the sequence in the first place? And what is it all about? Looks like fun though.

Catalyst Controller

If you hold down a special combination of buttons then the Sequencer transforms into the Catalyst Controller. It then has eight channels of CV generation with a crossfader that morphs between scenes. A scene is like a snapshot of CV levels at all the outputs so you can move through different levels of output. You can also use the buttons to leap from scene to scene or use an external CV to move about however you like.

You can record up to 20 seconds of CV action to each of the outputs. They can also be gates and can be randomised, and you can set slew and morph times. It really is a veritable function junction of CV generation.

If you prefer the Controller to the Sequencer, then you can flip the faceplate and have it a bit more permanent.

Emblematic Systems Catalyst

The 4MS Catalyst Controller is based on the original Catalyst module from Emblematic Systems. I’m not sure what the relationship is, but they appear to be sold out and unavailable. It looks like 4MS has taken on the idea and developed it into the Sequencer as well as the Controller. It then gives us this dual-firmware idea, which is pretty neat. There are no videos yet on the 4MS modules, but here’s one modular artist, Trovarsi, on the Emblematic Catalyst Flow.

Overall, the crossfader gives it a very playable and performable vibe, and I’m looking forward to seeing exactly how the sequencer pans out.

The price is $395 and should be available in April.

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