Let's talk modular synths

[mate stubb]

This forum is mostly about live playing, but there surely must  be some modular synth enthusiasts here.

 

I'm considering dipping my toe back in after selling my giant Synth of Doom years ago. 

 

I'm thinking Eurorack this time, and building something kinda small that could be good for laptop twiddling. Probably a 104u boat or two at the largest.

 

The sheer number of modules available is overwhelming. I'd like a small but versatile mix of stuff that I can bleep and bloop with. I like a mix of old school analog and newer digital stuff, albeit without much menu diving or displays (e.g. Mutable Plaits). 

 

I'd like to be able to get several things going at once, with say a couple of parts triggered by sequencer and another via midi or touchpads. One sequencer that has caught my eye is the Make Noise Rene. So single modules like Plaits which have a LPG and can be triggered as their own voice are appealing.

 

I'm looking for suggestions for versatile modules that are not super expensive. I might spend $500 on one or two special modules, but that gets expensive quickly.

[sunspot]

The modular rabbit hole.  A quest that can drive a soul to penniless madness.

 

Eurorack/3.5 format is going to be your best bet to keep the cost down.  Here are my bang-for-buck suggestions for it, and the best part is that you don't have to buy a case for either of them:

 

1.  Behringer Neutron - There is a wonderful assortment of patchability and functionality in this traditional East Coast-style analog synth.  Looks like it costs $350 new these days but I paid way less than that a few years ago after it was released.

2.  Cre8audio West Pest - I don't have one of these or heard in person but if you want the West Coast oscillator/wavefolder sound this is only $250 new AND has a built-in sequencer with saveable presets.  I've been tempted to get one but I already have the Make Noise 0-coast that costs twice as much.

 

If you are interested in banana jack format instead of Eurorack, I like the Kilpatrick Phenol but it comes in at $800 new.  Unfortunately the banana jack stuff is typically more expensive than Eurorack, but this little guy has a wonderful array of flexibility and the banana format is a joy to use.

 

I recommend checking out some youtube videos to hear sound samples.

 

[Nathanael_I]

I call mine “The Laboratory”…it’s mostly about being very different from keyboard synths….  Some Mutable modules, Make Noise and the Erica Synths Dada Noise System II.  Earlier this year, I was able to get it all into a Needham Woodworks case instead of several little skiff cases.  It’s a very different way to explore sound…

[Nathanael_I]

The Rene sequencer is amazing. Very creative. Worth splurging for. On sequencers, you kind of have to. There’s the new Buchla 200 modules that I think Tiptop Audio is putting out…. Not expensive. I’d definitely look at used. Lots of very clean gear is available.   The most versatile stuff also seems to cost more…. But I am with you on digital module menus. I have a computer for things than need a UI. Rene is plenty deep. 

[mate stubb]

Are there any Plaits clones out there? I only know of the Behringer Brains.

[RABid]

Rene - I had version one, did not like it. Sold it. Bought Rene 2 a couple years ago. Much better than one, but still.... The thing about Rene is you need to use it every day because of the steep learning curve. If I go two weeks without using it I feel like I am starting over. Have to have the manual in hand. I use two other sequencers now that I love. Intellijel Metropolix which is great for mono lines with lots of control over various parameters. Erica Synths Black sequencer for easy programming of 4 parts. I like these two sequencers because they are deep but I don't need a manual. For my use, Erica Synths Black is the back line producing 4 lines of synth parts. Metropolix is the front man with lots of knobs and sliders to vary the sound one the main line. Note, it is advertised as a two part sequencer, but there are restrictions on the second part and I mostly use it mono.

 

Plats - Lots of companies making Plaits clones. One of my favorites is a company called Calsynth. Good parts and good construction. Pleiades is the Calsynth version. I have to say, Pleiades+Typhoon+Rangoon keeps me happy for hours on end. Typhoon is a Mutable Instruments Clouds clone. Rangoon is a MI Rings clone.

 

For digital one of my favorite companies is Noise Engineering. If I could only have two modules it would be the Intellijel Metropolix sequencer and Noise Engineering Basimilus Iteritas Alter for sound. Wait. What am I saying. Right now the MUST HAVE module is Pamela's New Workout. Okay, if I could only have three modules and needed to make a variety of usable loops...

 

 

[mate stubb]

1 hour ago, RABid said:

 

Plats - Lots of companies making Plaits clones. One of my favorites is a company called Calsynth. Good parts and good construction. Pleiades is the Calsynth version. I have to say, Pleiades+Typhoon+Rangoon keeps me happy for hours on end. Typhoon is a Mutable Instruments Clouds clone. Rangoon is a MI Rings clone.

 

 

I think these 3 would probably be the core of my system. I Really like these modules, but would throw in an analog vco and a smattering of more traditional things.

[The Real MC]

I was thinking something compact too.  Something I could bring for business travel.  That rules out most modular chassis and I didn't want a mass of cables when it is packed.

 

I grabbed an ARP Avatar with that in mind.  I'm currently restoring it as an Odyssey module, junking the useless guitar interface circuit boards and installing a MIDI retrofit from Kenton.  The Odyssey has pretty flexible modulation routings that approach a modular.  There's a LOT of empty space inside the Avatar case and the upper/lower margins of the panel, so I'm adding a pile of circuits and I/O jacks to make it a "poor man's 2600" plus some. I discovered that the PSU in the Avatar is larger than the Odyssey PSU with higher current capacity - with the guitar circuits removed, there is surplus current to power the added circuits.  I'm even cloning the ARP Sequencer - the controls can fit the upper margin of the Avatar panel, and I'm expanding the sequencer from 16 to 32 steps.  That makes is a self contained compact modular that can be carted on business trips.

 

The Avatar is nearly identical dimension-wise to a Voyager, so I called the Moog Store a few weeks ago and they still had a molded case with integrated wheels for the Voyager.  Avatar fits, and the case is perfect for airline travel (don't need an Anvil ATA case).

[mate stubb]

What would be your favorite modules for random / source of uncertainty / algorithmic CV & gate?

[mcgoo]

When Behringer announced their clones of the old moog modules, I started getting visions of building a massive modular synth. A Eurorack system would probably get more use for me though. I'm interested but not craving a modular system... Yet. 

[Nathanael_I]

11 hours ago, mate stubb said:

What would be your favorite modules for random / source of uncertainty / algorithmic CV & gate?

The Make Noise Maths is mine.  Definitely available used.  There's no "standards" in modular, but this module is pretty ubiquitous for a reason....

[CyberGene]

I understand the engineering fun of modular (I’ve only used the virtual Model 15 on my iPad) but I am yet to hear a sound made on a modular system that makes it worth the hassle nowadays. Software synths and semi-modular (or even pre-patched synths in the traditional layout with a simple mod matrix) are good enough to make any synth sound IMO. 

[mate stubb]

7 hours ago, CyberGene said:

I understand the engineering fun of modular (I’ve only used the virtual Model 15 on my iPad) but I am yet to hear a sound made on a modular system that makes it worth the hassle nowadays. Software synths and semi-modular (or even pre-patched synths in the traditional layout with a simple mod matrix) are good enough to make any synth sound IMO. 

 

Modular synths (whether hardware or virtual) can clearly make a vast array of sounds not possible on more traditional synths. Whether that's valuable to the user is a different matter. 

 

I use modulars to slip out of my musician/player mindset and into a sound sculptor mode.  The patching and knob twiddling puts me in a zen like trance where I can turn off my brain and just be.

 

Many ugly sounds can be had but you occasionally find nuggets of sublime beauty. The fact that the patch is ephemeral and may never be recreated makes it more poignant somehow. But then I'm weird...

[RABid]

22 hours ago, mate stubb said:

What would be your favorite modules for random / source of uncertainty / algorithmic CV & gate?

Panchinko (Mutable Instruments Marbles clone)  is my favorite. I have a variety of older modules but Marbles will do two channels of random triggers and voltage AND the voltage can be quantized without using an external module. I use mine to drive my other Mutable Instruments clones. 

 

Pamela's New Workout is my favorite cover the basses module. It will do 8 channels of LFO, ADSR, and more. A little menu diving but wow it is worth it to get that much out of a decently small module. While it has menus, it is easy to learn and remember.

 

If you want a large variety of functions in a small space consider an Ornaments and Crimes (uO_c) or Disting EX. Both take some study to learn and it is handy to keep the manual close by, but they will cover about anything. uO_c is CV processing. The price of admission is worth it for the quantizing alone. A uO_c cost less than most 4 channel quantizers, and it can do four independent channels of quantizing. Or it can do 2 channels of quantizing and two channels of random voltage. The Super Disting EX Plus is a bit more but it will also do audio processing. Basically, it is two basic Distings in one module for a little less money and a lot more processing.

 

Let's talk cases. If you want to travel and take it with you, you need to find a balance between size and function. I really like the Intellijel Palette cases and you see them all over YouTube. Be aware that these are shallow and the small 4U version is too shallow to hold the Disting. There are other cheaper cases that I can recommend but nothing with a lid that is travel worthy. The trick with the Palette cases is to buy a batch of ribbon cables and plug them into the case before you start adding modules.

 

One more thing you need, and output module. I'm very picky about these because I want both stereo line out and headphone outs. Panning is important to me and CV control over panning is even better. For a general use budget mixer with what you need I suggest the 4MS Listen Four. 2 mono channels with panning, 2 stereo channels, headphone and main output.

 

I've turned a Intellijel 7U 104hp Palette case into my main. It has a Pamela's New Workout, 2 uO_c and a Super Disting EX alpha. I have a big envelope tapped to the back with quick guides for some of the modules.

[RABid]

Oh, one more thing I can suggest. Arturia KeyStep Pro. It has a built in sequencer and enough CV outs to drive 4 synth voices on the modular. All for less than the price of a lot of sequencers.

[mate stubb]

Excellent suggestions Rabid. I have a Pachenko and a Wogglebug in my modular planner. I used to have a Wogglebug in my Synth of Doom and loved it. As for Pam, apparently the new hotness is Pamela's PRO Workout. I'm trying to avoid menu diving and displays but it might be worth it for her.

[mate stubb]

Speaking of the module planner, I now have over $3500 racked up in my would be rack, which is quite a bit more than I have allocated for this project.

 

So it's time to cut.  First question - Quarks or Rangoon, which would you choose over the other?

[GRollins]

Modular?

Ooookay, here we go...

Initially, my impulse was to go full-on 5U, Moog-style modules (e.g. synthesizers.com), but I started looking at eBay and the used market was rather thin. It's not that I buy exclusively used units, but I want the option. Well...wanted. Stuff came up, but not often enough to suit me. So, I gave up on my Big Knob fantasies and grudgingly went little knob. I just try to avoid the ones that are stupidly tightly packed.

 

For me, the 84HP, 19" rack mount chassis is the preferred system. I've got racks all around me and they can be portable if necessary. At this time, I have six and they're mostly full.

 

Big stuff: Behringer Model D (two of these) and 2600

If you want to get picky, I can patch Voyagers and such in with the Eurorack items, but...

 

As anyone who's read my Deep Oscillator posts will suspect, I've got oscillators. People get passionate about oscillators, but my philosophy is that the filters are where it's at. I went with the Doepfer A-111-2 for several reasons: They allow for fine tuning (for reasons that I do not understand, not all oscillators can do this) and they have a wide range, they're also versatile in that they can be LFOs, etc. etc. etc.

 

I also have Mutable Instruments Elements and Plaits, Intellijel Plonks, Erica Synths Bass Drum, Synthesis Technologies E370, Tip Top One, and probably something I'm forgetting. Now, the trick here is that I frequently (like 70-80% of the time) mix in something from the A-111s to bolster the sound--a predictable offshoot of my Deep Oscillator notions. I'm not shy about using two, three, even four sound sources to get what I want.

 

Filters. This is where things get wiggy. I don't have as many filters as I'd like; they all sound different and I pick and choose, depending on what I'm after. Behringer 121, 904A, 904B, and 914. manhattan analog SVVCF. And others I'm sure I'm forgetting. They all sound different and I'd like to have more.

 

Sequencers: Intellijel Metropolis and Winter Modular Eloquencer. I don't really like the Metropolis--too limiting--but it's comparatively easy to use. The Eloquencer is an incredible piece of hardware, but the learning curve is so steep as to approximate vertical. But, man, what that thing can do! You can tell it what key and scale you're in (and it knows an ass-load of scales, including some you've never heard of), then tell it to improvise, assigning a probability to how likely it is to deviate from the literal settings. Un-friggin'-believable. These things are expensive, but I swear, for what they'll do, they ought to cost twice as much.

 

There are the usual assortment of oddities, like a Doepfer stereo panning unit, phase shifter, quantizer, etc.

 

XAOC Batumi LFO--I like this li'l bugger. For whatever reason, I find this thing more intuitively obvious and versatile than other LFOs.

 

Intellijel Outs for sending stuff to the outside world.

 

Mutable Instruments Yarns for MIDI. Unlike others, this will do four simultaneous MIDI channels. To me, this is a no-brainer.

 

I've got to scoot, but I'll add one thing: If my rig got struck by a meteorite, which units would be first on my replacement wish-list?

Winter Modular Eloquencer

XAOC Batumi

Mutable Instruments Yarns and Elements (Plaits? maybe, maybe not...)

Synthesis Technologies E370

Doepfer A-138s mixers, plural (not listed above, but priceless for sub-mixes)

Behringer filters...all of 'em...don't overlook the 914, it's a gem, and the 904B is a rare bird, in that it's a high pass in a world thickly populated with low pass filters

I have other units that I specifically would NOT buy again, such as the Doepfer phase shifter (wimpy sound), Mutable Instruments Shades (useless for what I want to do), and others. Knowing what to avoid is as important as knowing what to buy.

 

More later if I get some time...

 

Grey

 

NOTE: Mutable Instruments is going out of business. What this means to the individual who might want to acquire some of their modules will vary.

[RABid]

19 minutes ago, mate stubb said:

Quarks or Rangoon, which would you choose over the other?

Rangoon is a resonator that has a few built in sounds but is mainly designed to resonate the input. While Rangoon plus Clouds (Typhoon) is a popular pairing that has become a standard it is a bit limiting is what you get out. Elements (Quarks) is a very deep synth with a very narrow focus. It does bow, mallet and strike sound generation with lots of parameters. I would start with Plaits or a Plaits clone. MI just released an update to the code that adds even more synth engines. It will give you the greatest variety of sounds but not as much control over those sounds.

 

Right now my MI rack is Plaits into Rings, both original MI modules. And Rangoon into Typhoon. Both are driven by Pachinko (Marbles). Rings and Typhoon have stereo outs that go into my Listen Four mixer. These are in a 4U Intellijel Palette and I have a 1U uO_c to give me some variety in controls. I also have a Noise Engineering Vox Digitalis Step Sequencer. Simple, cheap, and saves patterns. I started with the Plaits and used my Kepstep to control it. Added Rings. Picked up the Pachinko and used one channel to play notes on Plaits and the other channel to change sounds on the Plaits. There is a CV input for changing sound and that adds a lot of dimension to Plaits. Later I ordered Rangoon and did Plaits into Rangoon into Rings. After that I got Typhoon and paired it with Rangoon.

 

Seriously, don't bother planning out a case at this time. Start with a pair, like Plaits and Pachinko. Spend some time with them before you make any other decisions. Do think about the case you want and an output module. I started with two modules. Live wire Vulcan and Dalek. That pair brought a lot of enjoyment and I still have them.

 

Case

Output module

Something to trigger notes

Something to play notes

 

[mate stubb]

Lots of good advice, thanks! I've been thinking a max size of 2 4U skiffs either 84 or 104 hp wide. Given that I went way over budget partially populating the max size case, I'll cut back to 84 hp and plan away. 

 

I would probably build the pair of skiffs into some sort of foldable case when the time came. But to get started I could just go with a single skiff and a couple modules as you say. These modern modules are so feature crammed that it makes sense to start with only a few!

[GRollins]

I don't know about you, but I feel that the more "feature crammed" a device is, the harder it is to use. I'm not overly fond of deep menus--gimme single function knobs whenever possible.

 

The Eloquencer is about as menu-y as I care to go and it's only sorta medium on that scale--and I would gladly trade a few HP for more buttons or knobs, so as to get rid of some of the menu layers. The vast majority of my Eurorack things have knobs that do what the label says and only that. This fetish for smushing forty-'leben functions into a device 1HP in width doesn't make sense to me at all.

 

Grey

[mate stubb]

Hey Grey, since you are an oscillator man, have you tried any of the through zero oscillators? I used to have one from Cyndustries and it was the bomb. You can modulate them much deeper without them crapping out and get some interesting DX and wavetable like timbres.

[GRollins]

Honestly, the sub-zero (sounds like the temperatures we're going to have for the next few nights) devices I have on hand generally end up doing something I don't want them to do at a moment when I really, truly don't want them to do it. Bear in mind that I'm not seeking beeps and bloops, I'm after noises that (as we put it in a thread a year or two ago) sound like they could have come from real instruments or from nature. I want notes that play at well-defined pitches. I want drums that sound like real, acoustic drums, not like '80s synth percussion. I want everything to be constrained and predictable. I don't need wide sweeps (synth equivalent of a dive-bomb whammy bar on a guitar), because "real" instruments or sounds made by living creatures rarely go more than two or three octaves (yes, yes, yes...88 keys on a piano can go quite a ways, but most compositions don't utilize even one extreme, much less both in the same work); but within that octave or two, they're often very complex, timbre-wise. If I want some sort of swoopy sound (whale song? aliens? alien whales???), I pull out my theremin.

 

Grey

[RABid]

54 minutes ago, GRollins said:

I don't know about you, but I feel that the more "feature crammed" a device is, the harder it is to use. I'm not overly fond of deep menus--gimme single function knobs whenever possible.

For my first three years in modular I was buying a lot of used Doepfer modules. Single purpose and great for learning. My goal was to replicate and exceed my EML-400/401 in Eurorack form. Still got most all of it. Two 9U cabinets and a 6U base. One 9U is dedicated to sequencing with two A-155's, a controller, couple of quantizers, precision adders and offset generators. It is a fun system for sure but I have not turned it on since I got the Metropolix and the Erica Synths Black sequencer. The BIG difference, the new sequencers will save my work. When I create something on the Doepfer system I know going in that it will not be saved. Sometimes that is discouraging when creating music rather than just sounds.

 

But I do understand what you are saying and that is one reason I don't like Maths. It is as if the developer wanted to take four simple functions, put them in one module and make it as complicated as possible. Confusing graphics, sparse labeling and jumbled layout makes it much more difficult than it should be. I'd rather use a collection of Doepfer basics to accomplish the same thing. With the Doepfer modules and can get more exact. Example: the Maths can be used as an LFO, but you don't get all the options for wave shape that you get on a dedicated LFO. Why settle for simple AR on Maths when you can use an ADSR with more control? A lot of people look at Maths as the module that can do a bit of everything. I use it and think "if I had a dedicated LFO/EG/etc... I could do more".

[mate stubb]

59 minutes ago, GRollins said:

 I want notes that play at well-defined pitches. I want drums that sound like real, acoustic drums, not like '80s synth percussion. I want everything to be constrained and predictable. I don't need wide sweeps (synth equivalent of a dive-bomb whammy bar on a guitar), because "real" instruments or sounds made by living creatures rarely go more than two or three octaves (yes, yes, yes...88 keys on a piano can go quite a ways, but most compositions don't utilize even one extreme, much less both in the same work); but within that octave or two, they're often very complex, timbre-wise. If I want some sort of swoopy sound (whale song? aliens? alien whales???), I pull out my theremin.

 

Grey

 

 

Err, through zero modulation is used for timbre modulation exactly as you describe, not alien whale songs. I used mine mostly for melodic stuff. If you are doing audio rate modulation (which you generally are when creating a new timbre) you use a second oscillator for the modulator and set it to track the keyboard also, so that the timbre stays consistent across pitches. You can just drive it harder for more dramatic timbres. If you VC the amount of modulation with an envelope, it sweeps from more to less modulation as the note decays and you get a dampening effect exactly like acoustic instruments.

 

If the modulation oscillator is NOT tracking the kbd, then you will get the clinks and clanks like ring modulation. It may still not be your cup of tea, but I wanted to make the point that you can do lovely timbre shifts with it. I had 10 VCOs in my last system at one point and it was my favorite by far.

[GRollins]

12 minutes ago, RABid said:

For my first three years in modular I was buying a lot of used Doepfer modules. Single purpose and great for learning. My goal was to replicate and exceed my EML-400/401 in Eurorack form. Still got most all of it. Two 9U cabinets and a 6U base. One 9U is dedicated to sequencing with two A-155's, a controller, couple of quantizers, precision adders and offset generators. It is a fun system for sure but I have not turned it on since I got the Metropolix and the Erica Synths Black sequencer. The BIG difference, the new sequencers will save my work. When I create something on the Doepfer system I know going in that it will not be saved. Sometimes that is discouraging when creating music rather than just sounds.

 

But I do understand what you are saying and that is one reason I don't like Maths. It is as if the developer wanted to take four simple functions, put them in one module and make it as complicated as possible. Confusing graphics, sparse labeling and jumbled layout makes it much more difficult than it should be. I'd rather use a collection of Doepfer basics to accomplish the same thing. With the Doepfer modules and can get more exact. Example: the Maths can be used as an LFO, but you don't get all the options for wave shape that you get on a dedicated LFO. Why settle for simple AR on Maths when you can use an ADSR with more control? A lot of people look at Maths as the module that can do a bit of everything. I use it and think "if I had a dedicated LFO/EG/etc... I could do more".

 

As far as saving, the Eloquencer will, the Metropolis won't. So will the E370, for that matter. I take meticulous notes on EVERYTHING that I regard as important and store them as a doc file with the same name as the tune I'm working on so I can find it easily. I can recreate anything I've done on Eurorack--it just takes attention to detail. Yeah, it can be a pain in the butt, but it's doable.

 

Maths? Oh, gawd, don't get me started!

 

I have a simple rule: If I can't read the nomenclature, I won't buy the damned thing. I don't care if it's God-In-A-Box, I won't buy it. I have no patience with all the stupid graphics [certain companies] use. I don't need attitude, I need a musical instrument. That's one reason I feel drawn to the Moog modulars...I can read the bloody labels and they mean something. The calibration lines around the knobs are fine and precise. If I set something to -1 originally, when I set it to -1 the second time, it will be -1, not -1.5, because some nitwit specified a calibration line wide enough to park your car on (e.g. Tip Top). And the artwork people put on things? Oi! Confuses my poor eyes and does nothing functional. The Mutable Instruments pieces have art, but it's not overly dramatic and at least I can read the labels. The XAOC Batumi has some lines on it, but they're more subtle than some of their other units and I can live with it. Off the top of my head, I don't think anything else I own has "art" on the front, and all the lettering is legible.

 

One Box Does One Thing is the reason I got into modular to begin with. I wanted to do something with my Voyager but couldn't, because the thing's hardwired to go from point A to point B to point C to point D. There's no way to insert C between A and B; can't be done (unless maybe you've got an XL or can do what you want with their waaay overpriced breakout boxes). So I bought modules. If somebody starts sticking 37 things in one module, I'm right back where I started. Nope. Uh, unh. Gimme basic boxes for basic functions. I'll put it all together. It's my Erector Set, and I'll damned well build what I want with it!

 

Grey

[mate stubb]

42 minutes ago, GRollins said:

 

One Box Does One Thing is the reason I got into modular to begin with. I wanted to do something with my Voyager but couldn't, because the thing's hardwired to go from point A to point B to point C to point D. There's no way to insert C between A and B; can't be done (unless maybe you've got an XL or can do what you want with their waaay overpriced breakout boxes). So I bought modules. If somebody starts sticking 37 things in one module, I'm right back where I started. Nope. Uh, unh. Gimme basic boxes for basic functions. I'll put it all together. It's my Erector Set, and I'll damned well build what I want with it!

 

Grey

 

This is a key point. Different synth design philosophies dice the functionality pie up into different slices. With something like Serge, they were giving you the most basic building blocks (integrators, etc). You could build an Envelope generator by stringing several of them together and have complete flexibility, but would you want to? 

 

I think of Moog as coming from lab test equipment. Whether by chance or collaboration, the module function density he chose became a global standard. I've had years with that paradigm and found it a great blend of fast sound sculpting and flexibility.

 

This time around I want to check out other types of synthesis hence my interest in the Mutable stuff. Highly sophisticated, but for the most part no displays or menu diving. i'll make the occasional exception - all things in moderation!

[GRollins]

Moe,

One thing I kept running into was when the piece ahead hit 0V and couldn't go any further, then the through-zero piece would cut off or freeze at zero or whatever, depending. Same thing going the other way--leading piece goes below zero and the following piece doesn't know what to do with a negative signal. Yes, this all boils down to signal path sequencing--making sure that you know which pieces input or output what voltages, but it was all more trouble than it was worth for me. I never saw that it would do anything for me that I couldn't do (more predictably) some other way.

 

I'd like to note that I'm not generally drawn to the sound of overdriven opamps. Tubes...yes, I'm very much open to overdriven tubes, but not solid state. A lot of people go gaga over the sound of overdrive in a Eurorack piece. Not me. To my ear, that harshness is nearly always unpleasant. Yes, this closes off many avenues that others would gladly explore. I have no problem with that. If they're getting sounds that work for them, that's what it's all about.

 

I don't usually modulate timbre. There are exceptions--I do things in the E370 where the sound morphs, which is kind of its raison d'etre, but that's getting off into another realm and it does it without crossing zero, if I recall correctly.

 

I cannot think of a single instance where I've pushed something (e.g. filter) into self-oscillation. I'll sometimes go right up to the threshold, where it's just barely audible, but no further.

 

A lot of the above is due to my hearing. I get migraines. Most people who have sensory problems during migraines are photophobes, meaning they're sensitive to light. Not me. I'm a phonophobe. I'm sensitive to sound. High frequencies make me very unhappy indeed. I avoid harsh, high frequency sounds like the plague. Pure high frequencies aren't so bad. A wide open, self-oscillating filter is like an ice pick to the brain.

 

I was in a store a week or two ago and they played Axel F. from Beverly Hills Cop over the intercom. Supersaw City. I was in a vulnerable pre-headache sort of status. I left the store. It just wasn't worth it.

 

Grey

[mate stubb]

Migraines suck. My wife has had them all her life. It's unfortunate that certain sounds affect you that way. The one thing that I hear that sends me cringing is out of tune singing or playing.

[GRollins]

Moe,

Mutable's got--or had, see note above about them going away--a whole raft of things that I've never tried. I like Elements better than Plaits, but some people really like Plaits. I have both, so I don't have to choose.

 

Don't get me wrong, I love my Moog stuff. Two Voyagers (kbd and RME), a Little Phatty (I think it's the oldest, most basic one), and a Big Briar (still Bob) theremin, so I'm on that train. I don't own any actual Moog 5U modulars, just the Behringer clones of same. That said, the Moog modular building block philosophy, for me, strikes the right balance between function and flexibility.

 

I coded in Assembler for a while. Ultimate programming power and flexibility, but it's a lot of work. I went back to C. The building blocks were the right size for me. At this point it's been thirty years or so since I've written a computer program. I'd have to dust off some very creaky brain cells if I needed to code in any language today.

 

I do not regard myself as a master sound designer. I get something in my mind's ear and I sit and think about how to achieve that sound with the synth stuff available. Then I put thought into action. But at the end of the day, it's all about the melody for me. I'm not worried about whether the sound I'm using has been done before or if it's a preset or whatever. If I can make up a melody that makes someone whistle or hum after they hear it, then I feel that I've done my part to make the world a better place.

 

Grey