What Modular system did you go with and why?

[Jazzpunk]

Try as I might to stay away from the modular addiction, the pull is just too strong.

*sound of money being sucked out of bank account fills the air*

I'd like to hear more from modular owners as to why they made the system choices that they did. What sold you on a particular manufacturer and why?

I'm always hearing the plus side of owning a modular so it would also be nice to hear about any down sides that exist (other than constant lack of money due to module addiction!).

Lets' hear about your modular-warts and all!

[chrisso]

Firstly, the only downside for me is the time it takes to get up and running.
Modular patches are built from scratch. Each cable requires a thought process before insertion. On top of that, the tweakability is pretty much endless.
So, less options = quick workflow. More options (as in a modular) and you can spend a day or longer perfecting a single monophonic sound.
My first modular was a Doepfer back in the mid90's.
It was the easiest to get hold of and the cheapest.
I added some Analogue Systems modules, a large Roland 100M system and an Arp 2600.
It was a lot of fun and a great way to learn.
With the modular bug I then ordered a couple of Serge panels.
I immediately preferred the banana cabling and the larger size of the modules.
i also found the modules more interesting. esoteric and I was more likely to create off the wall sounds than replicate a normal mono synth sound with a ton of separate modules, which is something I'd found myself doing with the Doepfer/Roland.
I grew more interested in the esoteric side, especially in contrast to my hardwired analogue synths, so I gradually sold off my mini-jack modular systems and went all banana with 3 x Serge panels, a Synton Fenix, Modcan modules and later on a Buchla 100/200 hybrid system.
I'm pretty happy with my decision.

[alexp]

Originally Posted by chrisso

Firstly, the only downside for me is the time it takes to get up and running.
Modular patches are built from scratch. Each cable requires a thought process before insertion. On top of that, the tweakability is pretty much endless.
So, less options = quick workflow. More options (as in a modular) and you can spend a day or longer perfecting a single monophonic sound.
My first modular was a Doepfer back in the mid90's.
It was the easiest to get hold of and the cheapest.
I added some Analogue Systems modules, a large Roland 100M system and an Arp 2600.
It was a lot of fun and a great way to learn.
With the modular bug I then ordered a couple of Serge panels.
I immediately preferred the banana cabling and the larger size of the modules.
i also found the modules more interesting. esoteric and I was more likely to create off the wall sounds than replicate a normal mono synth sound with a ton of separate modules, which is something I'd found myself doing with the Doepfer/Roland.
I grew more interested in the esoteric side, especially in contrast to my hardwired analogue synths, so I gradually sold off my mini-jack modular systems and went all banana with 3 x Serge panels, a Synton Fenix, Modcan modules and later on a Buchla 100/200 hybrid system.
I'm pretty happy with my decision.

Chrisso, how do you like that Fenix? I have never actually heard one in the flesh, but they seem pretty agressive sounding in the (albeit) limited bandwidth of an mp3.

alexP

[chrisso]

Yes, I would say they are more aggressive than soft/warm.
If you forget about the exclusive/collector value they've attained, they offer a bunch of musical and useful modules in a pretty small package.
The filters are particularly resonant, great for those Daft Punk style filter sweeps of sampled audio.
3 x filters and 3 x oscillators, all with slightly different features. 2 x audio inputs and 2 x audio outputs. Analogue and digital noise. I particularly like the digital noise.
The thing has a lot of great features.
It isn't the kind of synth you instantly recognise when you hear it though.

[ignatius]

modcan: i like the banana plugs and form factor. enough room to get my fingers in there amongst the patch cables plus there's a wide range of modules with constant development from modcan. always new and interesting stuff coming out. i've not been disappointed by anything and it all just sounds amazing and is so well built. like art... but tank-like.

now though i imagine it would be very hard to overlook the eurorack format. there's just sooooo many modules available from so many manufacturers.

though a couple serge panels would be nice too.

[rids]

I weighed my options quite a bit and decided to get the Future Retro XS semi modular and compliment it with a Euro rack, which I'm still building. But right now, the XS makes me think I don't really need anything else. I love it.

[Jazzpunk]

Originally Posted by DivineChemical

I chose to start with a Synthesizers.com entry system. Obviously, the price was an attractor, and it's nice to get a basic system like that so that you can get familiar with all the different parts and what each one does so that you can expand from there. Also, I'd heard raves about it being a pretty spot on Moog emulation, and since I only recently gained any respect for the Moog sound I thought this would be a good source of the Moog flavor since with the modular, I no longer have the room for a real Moog. Another nice thing about the entry system is that the cabinet is unfinished and blank. I gave the cabinet to my mom to paint, so now I have a synthesizer unlike anybody else's. The nice thing about modulars though is that you don't have to stick with any one manufacturer. Once I've got the Dot Com system where I want it, I can just pick up a Eurorack and a Fracrac, so that I can just pick and choose whatever Blacet, Plan B, Doepfer, Cwejman, etc. modules I want without having to worry too much about the basic things like multiples, amplifiers, instrument interfaces, and such.

I think you made a great choice. From the demos I've heard, the dot com systems sound incredibly warm and beefy (same way I like my women!).

Does the dot com stuff play nice with others? When you say you'd add a frac or a euro, is that something that would integrate with the dot com you're building or would it be an entirely separate system?

[Jazzpunk]

Originally Posted by chrisso

Firstly, the only downside for me is the time it takes to get up and running.
Modular patches are built from scratch. Each cable requires a thought process before insertion. On top of that, the tweakability is pretty much endless.
So, less options = quick workflow. More options (as in a modular) and you can spend a day or longer perfecting a single monophonic sound.
My first modular was a Doepfer back in the mid90's.
It was the easiest to get hold of and the cheapest.
I added some Analogue Systems modules, a large Roland 100M system and an Arp 2600.
It was a lot of fun and a great way to learn.
With the modular bug I then ordered a couple of Serge panels.
I immediately preferred the banana cabling and the larger size of the modules.
i also found the modules more interesting. esoteric and I was more likely to create off the wall sounds than replicate a normal mono synth sound with a ton of separate modules, which is something I'd found myself doing with the Doepfer/Roland.
I grew more interested in the esoteric side, especially in contrast to my hardwired analogue synths, so I gradually sold off my mini-jack modular systems and went all banana with 3 x Serge panels, a Synton Fenix, Modcan modules and later on a Buchla 100/200 hybrid system.
I'm pretty happy with my decision.

Sounds like a fun journey!

When comparing the various systems you have owned, which have you found to be the most stable? Any of them have trouble tracking pitch across a wide range of notes?

[Dave Peck]

I went with a system that is based on Dotcom for about 80% of the modules as well as the Dotcom studio cabinets, power supplies, etc., augmented with some additional modules from MOTM, Encore, and S&TG ("Suit & Tie Guy"). The Dotcom stuff is a great bargain so I filled the system with as much of that stuff as possible, only going to the other sources for stuff that wasn't offered by Dotcom. I chose this method because I wanted a large-format studio system rather than the more portable but less ergonomic (to me) Euro / Frac formats like Doepfer etc.

The current system includes:

Dotcom stuff -
6 oscs
2 12dB state variable filters
2 18/24dB lowpass ladder filters (Moogish)
3 VCAs
3 4-channel mixers
1 dual 4-ch / 8-ch mixer
4 Panner/faders
5 ADSRs
1 Sample/Hold
1 Noise generator
2 clipper / diodes
3 Dual signal processors
2 Signal Distributors
1 Slew
1 Normalizer (sends KBD CV & GATE to all oscs & EGs)

MOTM stuff -

2 Dual VCAs (for a total of seven VCAs)
4 Dual VC LFOs (total of eight, in addition to the six main oscs)
1 440 Lowpass filter (an expensive splurge 'cause it sounds so damm good)
1 Triple Resonant filter
1 Wavewarper (crazy complex distortion module)

Encore -

2 Universal Event Generators (8-stage EG, multi-segment LFO, step sequencer)
1 Frequency Shifter (out of the cabinet right now, haven't used it much)

S&TG -

2 Analog Wavefolders (similar to Serge Wave Multiplier)

I control the whole rig with a Nord G2 Modular, which allows me to create really complex control signals, banks of step sequencers, random CV stuff, etc. in the G2 and send it to the analog modular via an Encore Expressionist eight-channel midi to CV converter. Works friggen great.

MOTM and Modcan "B" series stuff plays well with the Dotcom system. The modules are a different width than Dotcom, but six panels of MOTM/Modcan B will fit almost perfectly into five panel spaces of Dotcom. You can easily wire them into a Dotcom rig using an inexpensive MOTM 995 power adapter board.

[Fluxpod]

Do dsp Mods count?
If yes... I did go the soniccore route for the graintable abilities with the flexor pack and for the safeability/recall and the sound.I just do not have the space and money to justify a hw one.Just over 300 modules is ..faar more then i would and could buy in the real hardware world.I wouldnt push the nord modular out of the bed aswell;).

[dan p]

Thats pretty friggin awesome Dave Peck.I am across the bay and have read your posts.Toft 32 guy here!
Same Initials here too!

Dan P

[Jazzpunk]

Originally Posted by Dave Peck

The current system includes:

Thanks for the great info and the detailed breakdown of your rig. Sounds like a pretty kick ass set up.

[triez]

I went with a .Com system as I like to have decent sized modules with 1/4 inch jacks that, like a big console, I can stand back and have a really good visual on what's going on.

I then normalled the hell out of it so that I can use it live as 2 synth channels with no patch leads whatsoever, which clears up masses of cable clutter, so that the patch cabling on the system is for more esoteric routing, with no loss at all in modularity. Effectively I made it like a Roland System 700 or an ARP 2600, so I have the best of both worlds, and it is quite easy to do. Here is a picture.

http://moonpony.net/modular/mdc.jpg

[Dave Peck]

.... The mockup I attached shows the layout pretty well, but I like this "action" shot better (it's my avatar). This shot was taken before I got the Wavefolders, and when the Frequency Shifter was still installed (top row, 5th module from the right).

This system is just about perfect for the kind of work I do, which leans toward classic lush synth sounds. When I want to do some crazy experimental stuff I typically use the G2 and the original NM, but I'll bet Chrisso's Serge/Fenix/Modcan"A" series banana system is the bee's knee's for doing that stuff in the analog domain. Chrisso! Send some pix of your rig!

[Dave Peck]

Originally Posted by DivineChemical

I can just throw money at the modular whenever I feel like it since modules are cheaper than whole synthesizers. I can just buy a module or two to tide me over. So really, the modular is beneficial to me financially as well as musically.

I missed this part the first time - what a fabulous rationalization for buying gear! I think I'll use it too.

Kinda like "but honey, I HAD to buy these shoes - they were on SALE!"

[Doktorfuture]

I have about 70 modules of Modcan now. It's thrilling. Amazing. I got the Modcan A (Bananas). Love the workflow, love the sound. Build quality amazing.

I've supplemented with a few Frac modules turned into Bananas:
- The wiard boogie/borg filter
- A bunch of metalbox stuff
- A few blacet goodies turned into banana

But ultimately, the Modcan is the one I chose. Bruce Duncan is extremely good with delivery times. Expensive, but awesome.

I love the Moog 904A filter (only one with a range switch that I know of). The delay is good, the latest digital oscillators (modcan makes a few analog oscillators (some are LFO's that track into audio too) and 2 or 3 digital ones) and crazy grunge CV recorders and goofy things like Quad LFO's are pretty amazing.

Originally Posted by Jazzpunk

Try as I might to stay away from the modular addiction, the pull is just too strong.

*sound of money being sucked out of bank account fills the air*

I'd like to hear more from modular owners as to why they made the system choices that they did. What sold you on a particular manufacturer and why?

I'm always hearing the plus side of owning a modular so it would also be nice to hear about any down sides that exist (other than constant lack of money due to module addiction!).

Lets' hear about your modular-warts and all!

[Jazzpunk]

Originally Posted by Dave Peck

MOTM and Modcan "B" series stuff plays well with the Dotcom system. The modules are a different width than Dotcom, but six panels of MOTM/Modcan B will fit almost perfectly into five panel spaces of Dotcom. You can easily wire them into a Dotcom rig using an inexpensive MOTM 995 power adapter board.

Awesome tip thanks. I'm definitely leaning towards the dot com but knowing I can add the modcan 4075 and CEM filters as well is really cool!

[Jazzpunk]

Originally Posted by Doktorfuture

I have about 70 modules of Modcan now. It's thrilling. Amazing. I got the Modcan A (Bananas). Love the workflow, love the sound. Build quality amazing.

Sounds killer!

[Black-Man]

MOTM user. Probably because of the form factor (didn't need a custom cabinet... used an angled 24-space efx rack), the wide selection of filters available (440,420,480 and 490) and availability - I got in the game early. Support is excellent... Paul is a great guy.

[chrisso]

Originally Posted by Jazzpunk

When comparing the various systems you have owned, which have you found to be the most stable? Any of them have trouble tracking pitch across a wide range of notes?

All my use is in a home studio environment, so tracking across a wide range of notes over a period of time is rarely an issue. Most have no issue tracking over a couple of octaves. Some systems drift, but I have my guitar tuner constantly by my side and I can honestly say tuning issues have rarely stopped me from putting down a performance.
The least stable system I've come across to date is probably the vintage Buchla I own.
It's not the kind of system you use for elaborate polyphonic pads, or for funky bass lines anyway. Sometimes the drift leads you to a more interesting sound. I find it adds charm to be honest.
The Modcan and Fenix are basically solid.
The Doepfer I used to own wasn't quite as solid, but basically stable enough to work on all day.
To be honest, after a few years I noticed my music was more clinical sounding than many commercial releases. My synth sounds a little less fat and characterful.
So after an initial tuning, I tended to tune the oscillators by ear throughout the session and I found any drift or variance in scaling only helped to 'big up' the sounds and differentiate them from the virtual analogues everyone else was using.
I realised this after listening closely to some Chemical Brothers and Aphex Twin tracks.
Sometimes the individual oscillators in a single patch were tuned a semi-tone apart (in a most discordant way).

[Jazzpunk]

Originally Posted by chrisso

All my use is in a home studio environment, so tracking across a wide range of notes over a period of time is rarely an issue. Most have no issue tracking over a couple of octaves. Some systems drift, but I have my guitar tuner constantly by my side and I can honestly say tuning issues have rarely stopped me from putting down a performance.
The least stable system I've come across to date is probably the vintage Buchla I own.
It's not the kind of system you use for elaborate polyphonic pads, or for funky bass lines anyway. Sometimes the drift leads you to a more interesting sound. I find it adds charm to be honest.
The Modcan and Fenix are basically solid.
The Doepfer I used to own wasn't quite as solid, but basically stable enough to work on all day.
To be honest, after a few years I noticed my music was more clinical sounding than many commercial releases. My synth sounds a little less fat and characterful.
So after an initial tuning, I tended to tune the oscillators by ear throughout the session and I found any drift or variance in scaling only helped to 'big up' the sounds and differentiate them from the virtual analogues everyone else was using.
I realised this after listening closely to some Chemical Brothers and Aphex Twin tracks.
Sometimes the individual oscillators in a single patch were tuned a semi-tone apart (in a most discordant way).

Great info man, thanks!

You raised an issue I've been curious about when you mentioned polyphonic pads. Excuse me for the super newb question but what the hell is needed exactly to build a polyphonic modular?!

It's easy for me to wrap my head around a basic 3 osc set up as it basically just mimics most mono synths that I am familiar with but beyond that, the signal flow starts to get a little fuzzy.

For instance, in Dave Peck's set up above, he has 6 osc and multiple 'everything' after that! I'm assuming that kind of thing can be used for pads as well as monophonic lines (unless he's just pounding out 6 osc MONSTER basslines!) but I am unable to grasp the signal flow based solely on reading the components listed above.

[Reptil]

the A-111 have been very stable in tune. I didn't notice any drift, often keep the patch for a week until the rest of a song is finished.
for a controlled drift I use multiple VC controlled LFOs in a slow cycle. plus one LFO unsynced
often using the same control signal to the envelopes and VCLFOs to vary the cutoff or resonance (slightly)
big part of the fun is how to tune the patch, it can be done by ear, it's not difficult to get something interesting to fit the song.
have been using the ringmods to get a "chopped" sound, funny that was mentioned too here lately.

Record everything, then make adjustments, once in a complicated patch thát sound is gone, it is difficult if not impossible to get it back exactly 100%.
every time something new

[Jazzpunk]

Originally Posted by DivineChemical

You'd need a MIDI to CV converter capable of polyphonic CV communication. For each note of polyphony, you would have to duplicate the exact same signal chain.

Got it. Thanks!

[RobJB06]

Originally Posted by Dave Peck

I went with a system that is based on Dotcom for about 80% of the modules as well as the Dotcom studio cabinets, power supplies, etc., augmented with some additional modules from MOTM, Encore, and S&TG ("Suit & Tie Guy"). The Dotcom stuff is a great bargain so I filled the system with as much of that stuff as possible, only going to the other sources for stuff that wasn't offered by Dotcom. I chose this method because I wanted a large-format studio system rather than the more portable but less ergonomic (to me) Euro / Frac formats like Doepfer etc.

The current system includes:

Dotcom stuff -
6 oscs
2 12dB state variable filters
2 18/24dB lowpass ladder filters (Moogish)
3 VCAs
3 4-channel mixers
1 dual 4-ch / 8-ch mixer
4 Panner/faders
5 ADSRs
1 Sample/Hold
1 Noise generator
2 clipper / diodes
3 Dual signal processors
2 Signal Distributors
1 Slew
1 Normalizer (sends KBD CV & GATE to all oscs & EGs)

MOTM stuff -

2 Dual VCAs (for a total of seven VCAs)
4 Dual VC LFOs (total of eight, in addition to the six main oscs)
1 440 Lowpass filter (an expensive splurge 'cause it sounds so damm good)
1 Triple Resonant filter
1 Wavewarper (crazy complex distortion module)

Encore -

2 Universal Event Generators (8-stage EG, multi-segment LFO, step sequencer)
1 Frequency Shifter (out of the cabinet right now, haven't used it much)

S&TG -

2 Analog Wavefolders (similar to Serge Wave Multiplier)

I control the whole rig with a Nord G2 Modular, which allows me to create really complex control signals, banks of step sequencers, random CV stuff, etc. in the G2 and send it to the analog modular via an Encore Expressionist eight-channel midi to CV converter. Works friggen great.

MOTM and Modcan "B" series stuff plays well with the Dotcom system. The modules are a different width than Dotcom, but six panels of MOTM/Modcan B will fit almost perfectly into five panel spaces of Dotcom. You can easily wire them into a Dotcom rig using an inexpensive MOTM 995 power adapter board.

Dave,
Do they do any wavetable (digital) oscillators for that format? Thanks

[Beermaster]

The modcan/cyndustries modules are beautifully built and so sturdy too !

Down sides of modulars:

Keeping a track of whats happening where with a big patch

The time it takes to get even a really basic patch up and running

The brain power it takes to think the patch through

Never being able to create an identical sound with no patch storage and so many variables

When is the system ever complete. My home system provides heat and hot water for the whole house ! ( not that it gets hot . .oh, no no no )

Beer

[Dave Peck]

Originally Posted by DivineChemical

You'd need a MIDI to CV converter capable of polyphonic CV communication. For each note of polyphony, you would have to duplicate the exact same signal chain.

Yup. The Encore Expessionist midi-CV converter that I use is an eight channel device, and each of these channels can either be a keyboard CV + gate (for one voice of a poly synth) or it can provide a control signal via a midi cc number. So for example, you can have a mono synth with seven more control signals (wacky LFOs, whatever) or a five voice poly synth with three more control signals, etc.

I've used my modular as a three voice poly synth a couple of times, but modulars are really not the best way to do a poly synth patch. It takes up the whole friggen synth to make a fairly basic sound. Better to use a real analog polysynth for that stuff and use the modular for all the amazing things that you CAN'T do with the simple voice architectures found in the polysynths.

[Jazzpunk]

Originally Posted by Dave Peck

I've used my modular as a three voice poly synth a couple of times, but modulars are really not the best way to do a poly synth patch. It takes up the whole friggen synth to make a fairly basic sound. Better to use a real analog polysynth for that stuff and use the modular for all the amazing things that you CAN'T do with the simple voice architectures found in the polysynths.

Can you explain how you use your 6 osc set up (just curious how you arrived at that number)? Is it for monster unison type leads or for complex sequences? Using some of the osc as modulation sources? All of the above?!

(as you can tell I've never even been in the same room with a modular so feel free to dumb down your explanation as much as possible!)

[Dave Peck]

Originally Posted by RobJB06

Dave,
Do they do any wavetable (digital) oscillators for that format? Thanks

Dotcom doesn't offer one, but the Blacet Miniwave module can be fit into a Dotcom system. You can either get the original Blacet version & make your own front panel & modify the power harness as a DIY project, or you could get the Modcan "B" series version which will fit into a Dotcom cabinet just as well as an MOTM module would (you will still need to modify the power harness, or just get an MOTM 995 power adapter board).

There is also the Modcan VCOD which does some great FM-type stuff, and the expensive but amazing Cyndustries Zeroscillator, which is available in several formats including 100% Dotcom compatable.

info:

Untitled Document

Blacet Research Mini Wave

Cyndustries - Modular Analog Synthesizers