SOMETHING OLD, SOMETHING NEW

Apr 1, 2001 12:00 PM, Gino Robair

Modular analog synthesizers are back in vogue with a vengeance--but not just in the world of electronica. Sound designers, remixers, composers, and keyboardists are once again exploring the creative potential that a modular synthesizer provides. When used in conjunction with a MIDI-to-CV converter and a digital-audio sequencer, a modular synth integrates easily into the personal studio.

Why spend a fortune on a vintage synthesizer, which may be somewhat unreliable, contain hard-to-find parts, and require constant upkeep? Technological improvements in materials and circuit design have made analog synthesizers more stable than ever. And a number of daring companies are producing a wide variety of new instruments. The last time EM did a roundup of companies making analog modular synthesizers, there were only three major players: Germany’s Doepfer, England’s EMS, and Serge/Sound Transform Systems in the United States (see “Living Fossils” in the November 1995 issue of EM). Six years later, at least 20 companies offer analog synthesizer modules. It’s true that you probably won’t find an instrument that has the exact sound of a classic ARP, Buchla, or Moog synthesizer. Instead, you have the opportunity to create a highly personalized modular synthesizer that is more powerful, more stable, and less expensive than the highly sought-after—and often temperamental—vintage instruments going for record prices in online auctions.

CREATING YOUR SYSTEM

You should ask yourself several questions before buying modules: Is synthesis or processing your greater interest? Do you want a huge rack of inexpensive modules or a smaller rack of more expensive, high-performance modules? Do you have any hang-ups about cable size, knob size, or audio quality? Do you have a knack for or interest in DIY projects?

If you want to create a basic monosynth that you can play from a MIDI controller, a selection of single-purpose modules will do. A performance instrument requires VCOs, VCFs, VCAs, and envelope generators (EGs). If effects processing is your interest, you may want to configure a system around a variety of VCFs, ring modulators, and comb filters, with perhaps a couple of LFOs and EGs thrown in for sound shaping.

Modules generally fall into two design categories: simple, single-purpose modules or complex, multipurpose modules. Of course, given enough of the simpler modules, you can get complicated results. But if you want to create large intricate sound masses that evolve over long periods, multipurpose modules are often a more economical means.

The modules from Synthesizers.com, for example, have the look and feel of the classic Moogs, are single purpose, and do exactly what they say — the Oscillator is a multiwaveform, voltage-controlled oscillator. On the other hand, modules from the Wiard Synthesizer Company tend to have added features that the designer felt would maximize their potential: Wiard's Waveform City module combines a VCO, a voltage-controlled digital oscillator (VCDO), a 2-stage envelope generator, a VCA, and extensive patching capabilities. As you may suspect, a wide difference in price and performance exists between the two modules.

In addition, many companies offer modules that include digital technology in some form, whether it's an 8-bit sampler, MIDI-to-CV converter, or VCDO. This technology gives you the ability to utilize analog signals in more sophisticated ways than are possible with an all-analog system.

CHOOSING THE RIGHT SYNTH

The great difficulty in purchasing one of these modular systems is not having firsthand experience with one before buying. The analog synth market is small, and the companies are run by adventurous individuals who sell directly to their customers, so you can't go to the local music store to hear them. In fact, the instruments are often sold as quickly as they are made. That makes comparing modules from the various manufacturers difficult. Attendees to this year's NAMM show in Anaheim, California, had a rare opportunity to get hands-on experience with eight brands of modular synthesizers.

A modular synth is a work in progress, and you can assemble one over time to suit specific budgetary and musical needs. And you don't have to stick with modules made by one manufacturer: all the modules described in this article play well together. The most difficult issues are individual power requirements and module size (see the table “Modular System Overview”). But with a little creativity, planning, and careful layout, you can create an elegant hybrid instrument that will resist obsolescence.

Individual module prices differ markedly, but price shouldn't be the only factor in determining which system you buy. It is likely that you will spend more money building a complex system from simple, low-cost modules than you would purchasing seemingly expensive, multifeatured modules from another manufacturer.

MODULAR HEAVEN

This article will provide an overview of each company producing analog synthesizer modules, whether full systems or single modules. Included are modular and semimodular instruments, synths that have internally normalized connections but allow for patchable interconnectivity between important parameters.

This piece does not have space for details about every module from each manufacturer. Most companies have a complete listing of their modules on their Web sites, often with audio examples. For modules that offer multiple features, I will only describe the basic functionality.

Some companies offer their modules in kit form. Besides being a less expensive way to create an instrument, building a synthesizer is satisfying. When two prices are given for a module (for example, $149/$129), the first price is for the fully assembled version and the second for the module in kit form.

Analogue Solutions

The Analogue Solutions Concussor system from England caters to classic synthesists as well as dance-oriented musicians. The Concussor modules are the same size as modules from Analogue Systems and Doepfer, so they fit the Euro subrack configuration (see the sidebar “Size and Shape”). An interesting design feature shared by the Analogue Solutions, Analogue Systems, and Doepfer modules is a vertically mounted patch bay on the front panel's left side, with manual controls on the right. This arrangement keeps the cable drape somewhat clear of the controls.

In the area of traditional synth modules, Analogue Solutions is quite strong. Its catalog features the VCO2 Dual VCO ($210), the VCO-RM ring modulator ($103), EG02 Dual Envelope Generator ($125), and the LFO1 VCLFO ($165) that includes sample and hold and a noise generator.

The SY02 Multimode Filter/VCA ($170) is designed in the style of the Korg MS-20 filter. It features 2-pole highpass and lowpass filters that when used together can form a 2-pole bandpass filter with two resonance controls. The filter has two audio inputs, two CV inputs for each filter to control cutoff, and two CV inputs for controlling the VCA.

In addition to the eight classic synthesizer modules, the Concussor series includes 12 modules modeled after specific Roland drum-machine sounds. They include replicas of Roland TR-808, TR-909, and CR-78 bass and snare drums, and TR-808 toms, congas, claps, cowbells, hi-hats, and ride cymbal. Each percussion module has plenty of controls for tweaking the sound to more specific tastes and applications, including tuning control, filter balance, and noise. The hi-hat, for example, lets you adjust the open and closed sounds in a natural, musical way.

The TR-909 bass and snare drum modules include CV inputs so you can cross modulate the pitch and extend the timbral possibilities of the instruments. The Concussor percussion modules are a formidable collection that goes beyond the standard drum machine sounds.

Concussor modules have 3.5 mm jacks, and the percussion modules include an additional front-panel ¼-inch audio output jack. The modules are available in a variety of configurations. One in particular is the Mini System ($395), which combines two modules — VCO1 and SY02 — in a single plastic tabletop case (see Fig. 1).

The newest release from Analogue Solutions is the Black Coffee ($300), an 18-HP-wide module that can be used as a standalone mono synth or as an effects processor. Black Coffee has a VCO, LFO, VCF, envelope filter, VCA, ring modulation, noise, and optional MIDI I/O. The front panel has 3.5 mm jacks for reconfiguring the basic synthesizer functions.

The back panel includes ¼-inch audio input and output jacks, a CV pedal input, and MIDI In/Thru. You can use MIDI to control oscillator pitch, gate, and filter cutoff. Roland TB-303 — style Slide and Accent are also available through MIDI.

Analogue Solutions has a couple of sequencer options as well. The GT8 ($115) is an 8-step dual-gate sequencer. The SQ8 ($115) is an 8-step sequencer that can be controlled with CVs and gates. The newest is the Oberkorn ($750), a 16-step multichannel sequencer with a built-in MIDI-to-gate/trigger converter. With its complement of sequencing, percussion, and standard synthesis modules, Analogue Solutions has almost everything you need to create a self-contained multipurpose synth system.

Analogue Systems

Analogue Systems, creator of the RS Integrator module series, is also based in England. Analogue Systems uses standard 3.5 mm connections, and its modules fit the Euro subrack system.

RS Integrator modules have a simple, straightforward layout and provide a classic set of synthesizer building blocks. The RS95 VCO ($129) has sine wave and CV-variable sawtooth, triangle, and pulse waves, each with its own output jacks. The pulse wave has a wide range of variance, from a leading pulse wave, through a square wave, to a trailing pulse wave.

The RS80 VC-LFO ($119) includes sine, triangle, sawtooth, and square wave shapes, with Reset and Linear CV inputs. The module has two modes: low frequency from 0.02 to 5 Hz, and high, from 3 Hz to 1.4 kHz.

The RS Integrator line has two filters. The RS100 ($119) is a 4-pole lowpass, Moog-style transistor-ladder VCF with two audio inputs, two CV inputs, and manual controls for resonance and frequency cutoff. The RS110 Multimode filter ($119) includes two audio inputs and individual highpass, lowpass, bandpass, and notch outputs. The highpass and lowpass filters are 4-pole, and the bandpass and notch filters are 2-pole. The RS110 also has resonance output and input jacks so you can introduce external modules into the resonance circuit.

The Analogue Systems line includes the RS260 Voltage Quantizer ($215) and the RS130 Programmable Scale Generator ($550). Use the voltage quantizer to set voltages into specific values, such as equal-temperament semitones. The RS130 uses a microprocessor to quantize the input into predetermined scales and arpeggios. The module has transposable default settings for major and minor scales and chords, as well as memory for user-defined scales. Both modules are useful when combined with a sequencer or sample-and-hold module.

Analogue Systems sells custom-built cases for its modules. For smaller configurations, the Mini System ($985) comes in the RS10 case, which holds one 84-HP row of modules. The System 1 ($1,600) comes in an RS15 case, which holds two 84-HP rows of modules. Large configurations include the RS8000 ($4,200), a full system of modules that fills four rack panels in a wooden case. The RS8500X ($7,600) system fills four double-width, 168-HP panels. These large systems include bidirectional trunk lines leading to ¼-inch jacks on the back panel, allowing you to interface the system into your studio without having cables running permanently from the front of the instrument.

Analogue Systems has recently introduced the Sorceror ($1,395), a keyboard controller housed in a walnut case with enough space for 168 HP — worth of modules. The price above includes the 4-octave keyboard, the RS-330 Keyboard Controller module with MIDI I/O, the RS-220 X-Y joystick controller, and a power supply for the modules. The MIDI In, Out, and Thru jacks are on the Sorcerer's back panel (see Fig. 2).

Filling the Sorceror's module space costs extra. The demo unit used for this article included two VCOs, two LFOs, two EGs, two VCAs, a multimode filter, noise/sample and hold module, comb filter, an audio mixer, a CV mixer, and a pair of 5-way multiples. When put under MIDI control using the Keyboard Controller module, the result is a powerful synthesizer that sounds fantastic. Any configuration of modules can be used in the Sorceror, including modules from Analogue Solutions and Doepfer.

Big Briar

Some purists will probably argue that Bob Moog's Big Briar doesn't make a true modular synthesizer system. However, with the release of the Moogerfooger CP-251 control-voltage processor ($299), Big Briar's line of Moogerfooger products can be nicely configured into a synthesizer, albeit a somewhat limited one (see Fig. 3).

Indeed, the system lacks a dedicated oscillator if you don't count the company's line of theremins. However, tone sources are available from the LFO and carrier oscillator on the MF-102 Ring Modulator ($299), the LFO and noise source on the CP-251, the LFO of the MF-103 Phaser ($399), and the filter of the MF-101 Lowpass Filter ($299) when set into resonance. The other module in the Moogerfooger line is the MF-104 Analog Delay ($595), which is limited to an edition of 1,000 units.

Moogerfooger effects' main attraction is their voltage control capabilities. Each effect includes powered CV-input jacks that can be used with Big Briar's passive EP-1 Expression pedal ($40). The MF-101, for example, gives you voltage control over the filter cutoff, filter response, the amount of input from the envelope follower that is used to sweep the filter, and the mix between the source and processed signal. In addition, the device has an Envelope Output jack so you can send the contour from the envelope follower to another voltage-controlled device.

Besides the audio input and two audio outputs — mix and delayed signal — the MF-104 has three CV inputs. The CV inputs control the delay time, the mix of dry and processed signal, and feedback amount. However, there are input and output jacks for the feedback loops, so you can patch in an external processor and modify the sound of the echoes.

Although they look like they should be used as floor-bound stompboxes, Moogerfooger effects interface nicely with other synths on a tabletop. Ergonomically speaking, patching the Moogerfooger effects together is cumbersome because the jacks are on the rear panel, facing away from you. The good news is that once you have everything patched, the cables are well away from the control surface. The exception to this is the CP-251, which has all of the jacks on the lower part of the front panel, closer to the knobs. The ½U CP-251 can be rack mounted when the wooden side panels are removed. You can use a second power jack, located on the bottom panel of the unit, when the unit is in a rack.

Big Briar's Moogerfooger effects have the classic look and feel of the early Moog modular synths. The knobs and switches are large and well spaced, ¼-inch jacks are used throughout, the housing is sturdy, and the sound quality is top notch.

Blacet Research

Blacet Research offers seven unique modules available fully assembled or in kit form. The kits come complete with front panels, ⅛-inch jacks, and knobs, and finished modules are compatible with PAiA Fractional Rack cases. Like the modules from Analogue Solutions, Analogue Systems, and Doepfer, the jacks are on the module's left and the knobs on the right (see Fig. 4). But most of the Blacet modules can act as standalone processors.

Although Blacet Research doesn't offer a dedicated, full-feature oscillator, the Dark Star Chaos module ($149/$129) is a multifunction generator that includes a VCO with a 0 to 6 kHz range. The company suggests that the oscillator not be used when accurate keyboard tracking is required.

The name of the module aptly describes its sound. With its noise modulated square-wave VCO, you can easily set up nasty timbres that shift with seemingly endless variation. The Dark Star Chaos module includes a digital noise source, a lowpass noise filter, and pulse-width modulation. Each of these can be adjusted manually or put under voltage control. The combined settings of the noise source and noise filter knobs give the module its chaotic abilities. By setting the knobs to the point where the noise begins to modify the VCO, you can get randomized, rhythmic bubbling that gives you plenty of sound to process with the other modules.

A 2-stage EG, with a gate input and push-button trigger, resides at the bottom of the Dark Star Chaos module next to the audio output. Attack and Decay times are manually adjustable.

Module 2010 Klang Werk ($199/$159) is a ring modulator with the added ability to change, or morph, the carrier signal in various ways, both manually and with a control voltage. The results are strange effects that go beyond the usual timbral ring modulation sounds. The mix control at the end of the signal path lets you balance the processed and unprocessed signals to your taste.

I had the most fun with the voltage-controlled analog delay, the Time Machine ($309/$229). It has an old-fashioned delay sound and the ability to alter the delay characteristics in musically useful ways. The module gives you voltage and manual control over the delay time and the amount of regenerative feedback. The Time Machine includes an internal triangle-wave LFO as a modulation source. The rate and depth of the LFO are also manually and voltage controllable. As you would expect, it is easy to get carried away with a delay with CV inputs.

The other modules are equally charming. The Final Filtre ($189/$139) is a lowpass filter with a surprising 5-pole response. It has a single audio input, a lowpass/bandpass output, and a notch output. CV inputs are given for 1V/octave frequency control and Q. A self-triggering envelope generator that can be operated as a 2-stage EG or LFO fills out the module's features. The Mixer Processor ($127/$99) lets you mix three audio or voltage inputs and offers a phase control for each input and DC bias control for the output mix. At the bottom of the module is a single input and output with a phase and DC bias control.

Rounding out the Blacet modules is the Frequency Divider ($134/$105), which gives you subharmonics of the input, and the EG 1 ($140), a voltage controlled 4-stage envelope generator.

Cirocco Music Systems (CMS)

Owners of ARP instruments may already be familiar with Phil Cirocco's Cirocco Music Systems because of its upgrade packages for ARP 2600, Avatar, and other synthesizers. The CMS 9000 Series modular synthesizer system is a line of 18 modules designed by Cirocco to meet the highest audiophile standards.

CMS modules have normalized connections that can be broken with ⅛-inch patch cords, and the internal signal path for each module is printed on the front panel. Among the modules offered are the 9001 Precision VCO/4-Channel Mixer ($567), the 9002 Dual VCO ($699), the 9000A VCLFO ($125), the 9008 Triple Envelope ($579), the 9010 VC phase shifter ($699), and the 9027 VC Hex Rectifier/VC Balanced Mod. The 9004 Highpass/Lowpass Filter ($631) uses a discrete Moog-style transistor ladder design. The line also includes a sequencer ($935).

The 6U-tall modules are available individually and in three configurations: the MR-2 ($3,379) contains 6 modules, the MR-10 ($4,699) contains 9, and the MR-15 ($6,499) has 12.

Doepfer

The Doepfer A-100 modular system includes 66 modules, ranging from filters, envelope generators, and MIDI-to-CV converters to more unusual items such as the A-112 8-bit Sampler/Wavetable Oscillator ($195). Doepfer modules are well built but priced surprisingly low for German imports. Most of the modules offer the expected basic control functions. However, they tend to be fairly narrow, allowing you to add more in a rack than you can with most systems (see Fig. 6).

Doepfer has a large number of filters available, notably the A-120 ($85), a Moog-style 4-pole, transistor-ladder lowpass filter; the A-122 ($85) and A-123 ($90), 4-pole lowpass and highpass filters, respectively, using Curtis chips (CEM 3320); the A-121 ($95), a 2-pole Curtis chip multimode filter; and the A-124 ($95), a 2-pole multimode filter modeled after the filter in the EDP Wasp synthesizer.

Other filters include the A-127 Voltage Controlled Resonance Filter ($195), the A-128 Fixed Filter Bank ($160), the A-104 Trautonium Formant Filter ($160), and A-129/1 and A-129/2, the Modular Vocoder Subsystem ($390).

One of the Doepfer system's stars is the collection of modules that makes up the Modular Vocoder Subsystem, which was designed in collaboration with Kraftwerk. The main portion of the vocoder consists of two modules, one for analysis (A-129/1) and one for synthesis (A-129/2). The analysis module includes 15 discreet filters — 1 highpass, 1 lowpass, and 13 bandpass — which yield control voltages that are sent to the 15 CV inputs of the synthesis section.

To take full advantage of Doepfer's vocoder system, you will need slightly more than a rack space to hold all of the various vocoder options, including the A-129/3 Attenuator/Offset Generator/Slew Limiter ($117) and the A-129/5 Voiced/Unvoiced Detector ($95).

Another interesting series of Doepfer modules can be used to replicate the Mixtur-Trautonium, an instrument dating from the 1930s that was designed by Dr. Freidrich Adolf Trautwein for composer Oskar Sala. The first module is the A-113 Subharmonic Generator, which lets you create four subharmonics ranging from 1 to 24, from a square-wave audio input. A series of subharmonics can be saved as a mixture, a term Sala used to describe particular sonorities created with subharmonics. The module lets you switch between four different mixtures. You can save a group of four mixtures as a preset, and save as many as 50 presets.

This module's concept is somewhat similar to mixtures as they pertain to church-organ stops, but it works the harmonic series in reverse. Each subharmonic on the A-113 has its own level control and output jack. In addition, there is an audio mix output and two gate inputs.

Complementing the A-113 is the A-104 Trautonium Formant Filter, which is modeled after the filter used in the Mixtur-Trautonium. The A-104 includes four independent filters, each with its own frequency, resonance, and level controls. Each filter can be switched into lowpass or highpass mode, or turned off. The module has a single audio output and is not voltage controllable. When the A-113 and A-104 are used with a lag processor, you can achieve the characteristic sliding sounds of the Mixtur-Trautonium.

Other notable Doepfer modules include the A-144 Morphing Controller ($65); the A-126 Voltage Controlled Frequency Shifter ($226); the A-136 Distortion Waveshaper ($95); the A-179 Light Controlled CV Source ($95); and the A-178 Theremin Module ($95), which despite its name is not a true heterodyning theremin but makes an interesting controller nonetheless.

The Doepfer A-100 system is an inexpensive means to building a powerful synthesizer. The sound quality is good and the module offering is large and well-rounded, with options that are unavailable anywhere else.

Electronic Music Studios (EMS)

The oldest, largely unchanged modular synthesizers currently manufactured are from EMS in England. The company's most popular instruments — the Synthi VCS3 (Voltage Controlled Studio Version 3) and the Synthi A — have been used by countless artists since the late ’60s. Both synths were renowned for their fine-sounding but unstable oscillators, which made the synthesizers difficult to use as keyboard-driven instruments. EMS has addressed this issue: the latest versions are built to the same specifications as the post-1971 Mark II designs but with greater stability in the oscillators and with an added gate input. The company also provides an oscillator stabilization upgrade for older systems.

The Synthi VCS3 and Synthi A are a collection of preconfigured modules that can be interconnected using a 16516, 256-hole pin matrix rather than patch cords. The good news is that this matrix gives you greater patching flexibility, because each module has 16 input and output connection points. Imagine being able to stack up to 16 patch cords per input and output! But the matrix is not buffered, so slight voltage changes occur each time you add a pin. The original pins were color coded — red, yellow, and white — to indicate the value of the resistors inside. All the new pins contain a 2.7 k resistor with a 1 percent tolerance.

The Synthi VCS3 ($2,700), known as the Putney in the US, is housed in a wooden L-shaped case. The Synthi A ($2,400) is the portable “suitcase” model of the VCS3. The Synthi AKS, which originally included a ½-octave plastic-coated touch keyboard and sequencer, is no longer available from EMS, but the Vocoder 2000 ($1,395) is.

The Synthi VCS3 and Synthi A have an impressive feature set: three VCOs (one that can serve as an LFO), noise, a resonant 3-pole lowpass diode VCF, an enhanced envelope generator, a spring reverb with voltage-controlled mix, a ring modulator, stereo output VCAs, a joystick, a trigger button, an AC/DC voltmeter, and a pair of internal speakers. In addition, there are two ¼-inch line-level inputs, two ¼-inch mic inputs, a headphone jack, and stereo outputs with EQ on the back panel. It's easy to see why these synths have remained popular for so long.

Each VCO has two waveforms. VCO 1 has sine and sawtooth waves, with a level control for each. VCO 2 and VCO 3 have square and triangle waves with corresponding level controls. VCO 3 is suitable for use as an LFO because it has a reduced range of 0.05 to 500 Hz.

One interesting thing about EMS synthesizers is that their oscillators use 0.32V/octave for control, rather than the common V/octave or Hz/V standards. EMS suggests adjusting the input amplifiers on the synthesizer and using a cable with a 100 k resistor to achieve a 1V/octave tuning. Consider this if you plan to use these oscillators for tonal music. Additionally, the VCF runs at 0.2V/octave.

For owners of EMS synthesizers, a host of modifications is available. These range from oscillator stabilization ($27 per oscillator) and 5-second envelope attack-time extension ($22) to an extra audio input ($45) or external gate input ($9). Parts, patch pins, and manuals are also on hand.

If you want to purchase a new EMS instrument, be prepared to wait. These synths are so popular that the lead time is nine to ten months.

Encore Electronics

An interesting new module that deserves mention is the Universal Event Generator ($289; see Fig. 7). Designed by Tony Karavidas to fit the Synthesis Technology MOTM rack configuration, the Universal Event Generator has eight stages, with a Time and Level control for each stage. This permits you to use the module as an 8-stage envelope generator, sequencer, or LFO.

The module has Gate and Time Control Voltage (TCV) input, waveform Out, and Trigout jacks. The Gate input accepts pulse waves, square waves, or fast triangle waves; the TCV accepts 0 to 5V input signals. As you raise the voltage to the TCV input, the time values set at each stage increase. The time values range from 1 ms to 8 seconds.

The Out jack sends a 0 to 5V waveform depending on the settings at each stage. The Trigger output sends a pulse after the module cycles to stage 8. This pulse can be used to trigger another Universal Event Generator for a 16-step sequencer or envelope or some other event.

The Universal Event Generator has three operational modes. In Oneshot mode, the module cycles through all eight stages when it receives a trigger at the Gate input; in Looponly, the module will cycle within the loop points set with the Start and End toggle switches. The Gated mode gives you additional parameters: Step, Release, and Finish Loop. In Step, the module cycles through the stages like a step sequencer, and in Release the module cycles through the stages as long as a gate signal is present. As soon as the gate finishes, the module will jump from wherever it is in the cycle to stage 8. In Finish Loop mode, the module will go through the remaining stages at the end of a gate signal.

The Universal Event Generator also gives you a choice of linear, logarithmic, and square output wave shapes, so you can tailor the output into complex waveforms. For example, if you create a loop and cycle it quickly, you get an LFO. By changing the wave shape, you can modify the LFO in unusual ways.

The Universal Event Generator is the first microprocessor-based module developed for the Synthesis Technology MOTM system. And like MOTM modules, the jacks on the Universal Event Generator are located at the bottom of the panel, away from the switches and knobs. The Universal Event Generator includes a power cable and can be powered from the same ±15 VDC power supply running the Synthesis Technology modules. However, unlike the MOTM modules from Synthesis Technology, the Universal Event Generator is not available in kit form.

Evenfall

A recent addition to the analog-synth scene is the Evenfall Mini Modular ($699). Designed by Chris MacDonald in collaboration with Grant Richter of the Wiard Synthesizer Company, the Mini Modular was originally sold in kit form. Since late 2000, however, the Mini Modular is only available fully assembled.

The Mini Modular features 12 modules in a preconfigured arrangement with normalized connections between the modules (see Fig. 8). Having the modules prepatched makes the Mini Modular exceptionally easy to use, especially with the built-in MIDI-to-CV interface. After unpacking the synth and powering it up, I was making music with it immediately. The normalized connections and color scheme give the Mini Modular the feel of the classic ARP 2600.

The list of modules includes two VCOs, a VCF, two LFOs, two VCAs, envelope generators, a lag processor, a 3-channel MIDI-to-CV converter, sample and hold, a waveshaper, an attenuator, and a pair of 4-way multiples. That's a lot for a synth that is 3U tall and weighs a mere 2.5 pounds. Because the Mini Modular is so light, it helps to rack mount the synth so it won't wander the desktop from the force of front-panel patching. To get that much power in such a little space, MacDonald uses ⅛-inch jacks and small, narrow knobs. Enough space is around the knobs to allow large fingers to work them, but they take getting used to.

The Mini Modular has three rear-panel jacks: a MIDI input, a ¼-inch output, and a DIN connector for the large Elpac wall-wart power supply. I appreciate having the ¼-inch output on the back because it makes it easy to interface the Mini Modular with the rest of my studio. The rear-panel output is connected to the Attenuator module. If you patch directly from the Attenuator output on the front panel, it disconnects the back-panel output. A nice feature is the front-panel power switch, something many of the other synths in this article could benefit from.

With one exception, the module layout of the Mini Modular logically follows the signal path through the instrument from left to right. The exception is the location of the VCA 1 between the MIDI-to-CV module and VCO 1 rather than next to VCA 2 on the panel's right side, where you might expect it to be. As it turns out, the CV3 output of the MIDI-to-CV module is normalized to the CV input of VCA 1, and the audio output of VCA 1 is normalized to the FM inputs on both VCOs — so it makes sense that VCA 1 is in this location. Although it is a little farther away on the front panel, the output of LFO 1 is hardwired to the input of VCA 1 as well.

Most of the normalized routings are reflected on the front panel in red lettering below the input jacks. Spend a little time with the Mini Modular, and the normalizations become second nature. For example, once you realize that the triangle output from LFO 1 goes to VCA 1, it is easy to visualize the connection. The Mini Modular's manual includes an excellent step-by-step tutorial that walks you through the normalized connections (see Fig. 9).

The VCOs have pulse and sawtooth outputs, with controls for wide-range tuning, fine tuning, FM amount, pulse-width, and pulse-width modulation depth. A Sync switch on VCO 2 allows you to sync the tuning of the oscillators together.

The FM control knobs on the oscillators and filter have both positive and negative positions. They let you sweep the oscillators in contrary motion using the LFO as the modulation source, for example. The trickiest part of using the Mini Modular was getting the FM Control knobs in to the exact center position to remove the prepatched LFO modulation. An easier way is to plug a cable into the FM Control input to break the normalized connection and leave the other end of the cable disconnected.

The VCF is a 2-pole filter with separate bandpass and lowpass outputs. The lowpass output is normalized to the waveshaper and VCA 2. The filter features two inputs with level controls, an FM input with a level control, and an Aux FM input. When you're using the MIDI-to-CV converter, the VCF's Keyb switch allows you to increase the cutoff frequency of the VCF as the MIDI note number rises.

Evenfall includes four patch cords with the Mini Modular. However, there are so many control options that you'll want more cables. Two of the instrument's handiest items are the 4-way multiples, which allow you to take full advantage of the synth's control options. With the combined FM and waveshaping possibilities, I created rich, biting sounds that blended nicely with other synthesized textures.

The Mini Modular is elegantly designed; easy to use; and with 12 versatile modules in one package, a great value for the money. The Mini Modular is a great instrument for anyone new to analog synthesis. For the experienced synthesist, it's a pleasure to use.

Metasonix

The Metasonix products are unique in that they use vacuum tubes in sophisticated ways. The company's founder and designer, Eric Barbour, is well versed in tube technology, and he has put his knowledge to good use by building instruments around the peculiarities of specific tubes.

Vacuum tubes are not put into these products for their marketing value. Each processor was designed around the interesting and often unpredictable properties that vacuum tubes present. For example, the TS-21 Hellfire Modulator ($749) includes a pair of tubes that have never been used in audio products. When they are modulated, they allow you to waveshape a signal to a greater degree than you can with traditional analog synthesizers.

One of the first things you notice with these devices is their response. You need to move the knobs slowly to hear the subtle changes the sound is going through. If you move a knob too quickly, you may miss a world of minute timbral shades. I found it best to move a knob slightly, wait for the tube to catch up, and proceed from there. The feedback and processing grows organically and often somewhat uncontrollably. Metasonix devices give you a chance to explore the subtle instabilities within each system, a quality few other synthesizers offer.

Each Metasonix product is hand wired and built into a heavy-duty 2U case, with a front-panel power switch and a center window that allows you view one of the tubes. All connections are made with ¼-inch jacks and plugs.

The TS-22 Pentode Filterbank ($999) offers four 2-pole bandpass filters with independent controls for tuning and resonance (see Fig. 10). The center frequencies of each filter are tuned an octave apart from the others, and each filter has a 1-octave range. The frequencies of all four filters can be swept from a dedicated knob or with a control voltage. The TS-22 has a single audio input and output, a CV input for sweeping the filter, and a CV input for the output VCA.

This is a module that requires some restraint when it comes to knob turning. The filters, for example, move into resonance easily. When you back the knob out of the resonant territory, it takes a moment to hear the result.

The PT-2 Tube Station ($949) is a monosynth with a VCO, VCF, and VCA, as well as an LFO and a pair of 2-stage envelope generators. Audio and CV connections are all made on the rear panel. The VCO has CV input and FM inputs, controls for level and tuning, and an octave switch. The gate input triggers a pair of envelope generators, one for the VCF and the other for the VCA. Both envelope generators have controls for attack and decay. The VCF is a tube-based 2-pole bandpass filter with individual controls for tuning, resonance, and envelope amount. The LFO has a rate control from 1 to 20 Hz, and a switch that sends it to the VCF.

When used with a MIDI-to-CV converter, the PT-2 requires V/Hz conversion similar to certain classic Korg and Yamaha synths, rather than the more common V/octave conversion. Metasonix can add a MIDI-to-CV converter to the PT-2 by request.

The most recent addition to the line is the TS-23 Dual Thyratron VCO ($799) The module uses a pair of thyratron tubes for the oscillators that cross modulate each other in unpredictable ways. This module also uses the V/Hz control standard.

The tubes in the Metasonix processors offer an amount of unpredictability and timbral variety unavailable in solid-state synthesizers. If you're looking for unusual sounds, Metasonix products are worth investigating.

Modcan

The modules from Canada-based Modcan are well designed, offer a wide variety of control options, and are in some cases multifunctional. Modcan is the first system in this roundup that uses banana jacks and plugs (see Fig. 11). Banana jacks, which feature different colors to indicate their functions, allow you to send the output of a module to more than one input by stacking plugs, thus alleviating the need for mults. Modcan's chief designer, Bruce Duncan, warns against stacking two or more outputs into one input, because it puts additional strain on the power supply.

Modcan sells the modules separately or rack mounted. The power supply has a power switch and is attached to the rear panel. The modules are solid and well built; however, their heights don't fit the form factor of other modules in this article.

The Oscillator 01A ($250) has four waveforms. The triangle and sawtooth waves each have two outputs, and the sine and square waves have one. However, the saw and square waves have a range of 0 to 5 volts and are DC offset. The sine and triangle waves are symmetrical at ±2.5V. The oscillator has two CV inputs with controls, a pulse-width modulation input and control, a manual control for pulse width, fine and coarse pitch controls, a sync input, and an overall high and low frequency switch.

The Modcan system features five filters. Both the 4-pole Highpass 14A ($200) and 4-pole Lowpass 15A ($200) include a single audio input and output, two CV inputs, a 1V/Octave input, and a CV input for controlling resonance. Lowpass Filter 02A ($190), based on the Moog transistor-ladder design, has a single audio input and output, two CV inputs, and a 1V/Octave input, but resonance is not voltage controllable. Instead, a pair of attenuators resides at the bottom of the module.

Analog Synthesizer Reviews in EM

Product	Issue
Big Briar Moogerfooger CP-251	3/01
Big Briar Moogerfooger MF-101	6/99
Big Briar Moogerfooger MF-102	11/99
Big Briar Moogerfooger MF-103	4/00
Metasonix TS-21 Hellfire Modulator	11/00
Synthesis Technologies/MOTM	3/01
Technosaurus Microcon and Cyclodon	6/00

The Multimode Filter 10A ($200) is a 2-pole filter with individual highpass, lowpass, bandpass, and notch outputs, two CV inputs, a resonance CV input, and an auxiliary input for resonance modulation. The Diode Filter 23A ($200) has a 4-pole lowpass response based on the diode-ladder design found in the Korg MS-20 and the EMS VCS3.

Morph/Peak and Trough 12A ($200) is a dual-function module. The Morph section lets you combine two waveforms into a new shape. Each of the waveform inputs has a control voltage input for modulation. The bottom portion of the module is the Peak and Trough processor, which sums four inputs and gives you both the highest (peak) and lowest (trough) voltages at dedicated outputs.

Each of the five stages (DADSR) of the Envelope Generator 04A ($200) is voltage controllable. The module also features a switch for setting different linear or exponential response curves to the envelope.

A particularly interesting module in the line is the Wavetable 19A ($250), a digital wavetable oscillator with 64 waveforms available. The waveforms are in two 32-waveform tables, each divided into four banks. The Bank Increment Input and Wave Increment Input employ trigger signals to step through the banks and waveforms, respectively. The 19A module requires a square wave to operate. The Sync Input accepts a square-wave input, and gives you timbral variations as the pitch of the input oscillator is changed.

The Modcan system is very musical, and I found myself sampling most of the sounds I patched up. Useful features are plentiful on each module, and the overall layout of controls is clean and inviting.

Oakley Sound Systems. Based in the United Kingdom, Oakley specializes in kits developed by Tony Allgood. The line includes 12 modules, enough to assemble a full system. The PCBs for the modules are designed for faceplates compatible with the Synthesis Technology MOTM system, so most modules are 5U tall and one to three spaces wide, with ¼-inch jacks along the bottom.

The kits include only the circuit boards and difficult-to-find parts. The other parts you'll need to find yourself. Oakley's Web site has a number of helpful online resources to help you complete your modules. For example, it has a database of front-panel layouts, and it lists a company that will make the panels for you by special order.

The Oakley line includes the usual run of modules but with some interesting features. The One-of-Three VCO ($37) gives you four simultaneous waveform outputs — sine, triangle, sawtooth, and pulse. However, a front-panel toggle switch allows you to determine whether the pulse wave is derived from the triangle or sawtooth wave. The VCO also includes separate exponential and linear FM inputs, a pulse-width modulation input, and a sync input.

Oakley has a couple of different filters built on the Moog-style, matched transistor-ladder principle. The MultiLadder ($54) includes three audio inputs, single global controls for frequency and resonance, and an output for each rung of the transistor ladder. This final feature allows you to use the filter as a 1-, 2-, 3-, or 4-pole filter, or to process and mix the outputs in various ways. The SuperLadder2 ($41) gives you the option of building a Moog-style filter or a diode-ladder filter, similar to that in the Roland TB-303, with the same PCB. The filter also features three audio inputs and two CV inputs in addition to a 4-pole and a 1-pole output. The Noise and Filter ($30) module includes white- and pink-noise outputs, an infrared noise output that sends out a randomized control voltage, 1-pole highpass and lowpass filters with inputs and outputs, and controls for the filter frequency.

Other interesting modules include the Wavefolder ($51), a voltage controllable waveshaper to be used with voltage or audio signals as a voltage-controllable limiter that outputs the signal above the limiter's threshold level; the ADSR/VCA ($31), a combination module with a 4-stage envelope generator and VCA that can be used together or independently; and the midiDAC, a single-channel MIDI-to-CV converter with three trigger types (+5V, +15V, and Moog-style S-trigger), as well as Pitch Bend, Modulation, Velocity, Note-off Velocity, and Aftertouch. For more-experienced builders, Oakley offers the TB3030 SuperBassline ($79), a complete monophonic synthesizer designed with the Roland TB-303 in mind.

If you haven't already gotten into building modules, Oakley provides a good reason to do so.

Orgon Systems

Electronic musicians in Britain and Europe will remember Orgon's monosynth, the Enigiser. Geoff Waterston, Orgon's chief designer, is now offering individual preassembled modules and kits from his Web site. The modules available include the VCO 01 Oscillator ($100/$86), the VCF 01 Multimode Filter ($86/$72), the LFO 01 Dual LFO ($57/$42), the ENV 01 ADSR Envelope ($57/$42), and the VCA 01 Log/Lin VCA ($72/$57). Waterston is selling the PSU Power Supply ($57/$42) as a kit.

Orgon's modules have a simple, utilitarian design. For example, the VCO 1 has individual outputs for sine, triangle, square, and sawtooth waveforms; linear and exponential FM inputs and controls; a pulse-width modulation input and control; and a sync input. The VCF 01 has two audio inputs; two CV inputs that control frequency cutoff; manual frequency and resonance controls; and four audio outputs, one for each filter type (lowpass, highpass, bandpass, and notch).

The modules use standard ¼-inch cables but are 4 inches wide and 6 inches high, which doesn't make them immediately compatible with other module brands. Orgon offers inexpensive preassembled 3-, 5-, 7-, and 14-space cabinets, which include a front-panel mounted power supply. If you purchase more than $146 in modules, Orgon will throw in a cabinet for free.

PAiA

In the early ’70s, John Simonton's PAiA began selling the inexpensive synthesizer kits that spawned a generation of DIY synth hackers. Today PAiA still sells kits, including a number of synth modules that fit into its Fractional Rack (FracRak) 3U mounting system. An important addition to the FracRak system is the Power Wing Accessory package ($18.50), which allows you to mount the PAiA power supply onto the end of the panel so it doesn't take up module space.

PAiA's manuals are highly detailed and clearly written. In fact, each assembly step has a corresponding check-off box so you won't lose your place as you work. At the end of each manual is a description of the modules' various functions and a useful design analysis. PAiA's kits do not include jacks or panels, but each kit has a matched accessory package that includes the additional hardware required to build a complete module. The prices quoted below include the kit and accessory package.

Each module is made up of multiple versions of a basic function, with normalized connections between important parameters. For instance, module 9720, the Dual VCO with Modulator ($103), includes a pair of independent VCOs and a modulator with a 2-stage envelope generator and self-triggering function. VCO A has four waveforms, a built-in lag processor, and a soft-sync input. VCO B has three waveforms, a pulse-width control, and an FM input.

Module 9730, the Dual VCF with Modulator ($96.25), includes a pair of independent 2-pole filters with individual highpass, bandpass, and lowpass outputs. You can also connect the filters to create a single 4-pole filter. Again, the modulator is a 2-stage envelope generator with trigger and gate inputs. The gate input allows you to expand the EG to three stages. When the AR/Cycle switch is in the Cycle position, an LFO with independently adjustable rise and fall times is accessible.

Modular System Overview

Company	Number of modules	Average price per module	Rack config./ module size	Primary cable type	Modules available as kits	MIDI-to-CV module	Sequencer module	Power requirement
Analogue Solutions	31	$90	Euro subrack	3.5 mm/¼"	no	yes	yes	±12 VDC/+5 VDC
Analogue Systems	31	$161	Euro subrack	3.5 mm	no	yes	yes	±12 VDC/+5 VDC
Big Briar	5	$378	n/a	¼"	no	no	no	+9 VDC
Blacet Research	7	$178/$143	FracRak	⅛"	yes	no	no	±15 VDC
Cirocco Music Systems	18	$567	6U (H) × 3" (W)	⅛"	no	no	yes	±15 VDC
Doepfer	66	$97	Euro subrack	3.5 mm	no	yes	yes	±12 VDC/±5 VDC
Electronic Music Studios	10*	$270	cabinet or suitcase	pin matrix	no	no	no	110/220 VAC
Encore Electronics	1	$289	5U (H)	¼"	no	yes	no	±15 VDC
Evenfall	12*	$58	3U	⅛"	no	yes	no	±15 VDC
Metasonix	4	$874	3U	¼"	no	no	no	110/220 VAC
Modcan	22	$255	9" (H)	banana	no	no	yes	±15 VDC
Oakley Sound Systems	12	$120	5U (H)	¼"	yes	yes	no	±15 VDC
Orgon Systems	5	$71/$57	6" (H) × 4" (W)	¼"	yes	no	no	±12 VDC
PAiA	4	$103	FracRak	⅛"	yes	yes	no	±12 VDC/±15 VDC
Serge/Sound Transform Systems	65	$379	7" (H) × 19" (W) panels	banana	no	yes	yes	±12 VDC
Synthesis Technology/MOTM	14	$225/$160	5U (H)	¼"	yes	no	no	±15 VDC
Synthesizers.com	21	$105	5U (H)	¼"	no	yes	yes	±15 VDC
Synthetic Music Systems	5*	$80	1U	3.5 mm	no	no	no	110/220 VAC
Technosaurus (Selector Series)	12	$282	9U (H)	¼"	no	yes	yes	±18 VDC/±20 VDC
Wiard	7	$442	6U (H)	⅛"	no	no	yes	±15 VDC
* these modules are in a preconfigured arrangement

Similarly, the 9710 VCA/Mixer/Noise Source ($89.50) combines a pair of VCAs, a voltage controlled submixer, a noise source, an envelope generator, and a ring modulator in a single module. The midi2cv8 ($123) kit is an 8-channel MIDI-to-CV converter with MIDI In, MIDI Thru, and eight CV outputs.

The 9700S Package ($425) comprises the entire series of modules. The kit includes the midi2cv8, 9710, 9720, and 9730 with all the panels and hardware, as well as a FracRak, patch cords, and power supply.

Serge/Sound Transform Systems (STS). The Serge Modular Music System, originally designed by Serge Tcherepnin, has been around since the early ’70s. The Serge system features an impressive 65 modules that give you the maximum amount of control parameters in the smallest amount of space. Most parameters in a module are voltage controllable, and often the voltage can be scaled in either a positive or negative direction.

Serge modules use banana connectors, allowing you to combine voltages by stacking plugs. You can put as many as four control voltages together and still have linear headroom. To interface your Serge system with other instruments, an adapter panel ($85) with ¼-inch, ⅛-inch, and RCA jacks is available.

A number of improvements have been made to the system since Rex Probe and Sound Transform Systems (STS) began manufacturing and distributing Serge products in 1993. STS has added audiophile-quality components to Tcherepnin's original circuit designs and developed new modules to fill out the line. The upgrade in components has created a system of great stability and precision, with complete phase coherency throughout.

A couple of modules in the product line stand out. The New Timbral Oscillator ($385), for example, has a voltage-controllable frequency range of 0.1 Hz to 200 kHz; three waveform outputs (sine, triangle, and sawtooth); and a voltage-controllable wave shape that ranges from sawtooth wave, through sine and pulse, to square wave. The Variable Q VCF ($300) has independent outputs for highpass, lowpass, bandpass, and notch filters; trigger and 1V/octave inputs; and independent voltage controlled frequency and Q. Each stage of the Extended ADSR ($285) module has a voltage input and control knob. The initial delay time — the period before the envelope begins — is also voltage controllable. There are also trigger and gate inputs and a switch for adding exponential slopes to various parts of the envelope.

The modules in a Serge system are built into 4U, 7-inch-tall rack-mountable panels. You can design your own panel by choosing from the list of individual modules. STS then builds the modules into the panel for you.

STS sells 12 preconfigured panels to meet specific musical needs. For instance, the Blue Voice ($2,235) and the Red Voice ($2,235) are sound-generating panels. For signal processing, STS designed the Soup Kitchen ($3,490) and Soup 2 ($2,820) panels. Real-time control panels include the Sequencer ($575), and the Touch-Keyboard Sequencer ($1,450). Fun Stations ($7,550), complete systems of three preconfigured panels in a portable SKB case, are also available in Blue and Red varieties (see Fig. 12).

The Blue Voice contains eight modules in a single panel: a New Timbral Oscillator, two Precision VCOs, a ring modulator, Variable Q VCF, a Wave Multiplier module, Audio Mixer, and Universal Audio Processor. The Red Voice ($2,235) also packages a New Timbral Oscillator, Audio Mixer, Variable Q VCF, and Universal Audio Processor but adds a single Precision VCO, a Pulse Divider, Triple Waveshaper, X Fader, and a Divide-by-N Comparator. With this many modules in a single panel, cable lengths can be short, which is helpful when you are employing unshielded banana plugs.

The line's newest panel, the Animal ($2,850), fits into the sound generation category and resembles the Blue Voice. The Animal includes a New Timbral Oscillator, a Precision VCO, a Variable Q VCF, Wave Multipliers, Mixer, Smooth/Stepped Generator, Dual Transient Generator, and the Universal Audio Processor.

The Touch-Keyboard Sequencer is a performance-oriented controller — a sort of cross between a keyboard and a metasequencer — that is remarkable for its number of options. It has 16 pressure-sensitive touch plates and four rows of 16 voltage-programming knobs. You have the option of clocking through the rows horizontally like with a traditional step sequencer (for a 64-stage sequence) or clocking vertically. Each way of clocking has its own output system. You can run the sequencer forward or backward or alter the sequence's length by touching the pads. The Serge system also includes five multistage sequencer programmers and an 8×2 step sequencer ($575).

The Serge modular is known for timbral clarity in every register and for its ability to produce rich, slowly evolving sounds with just a few modules. Although the Serge system is priced higher than most others, it's one of the most powerful and versatile analog synthesizers on the market.

Synthesis Technology/MOTM. Paul Schreiber set out to design the “mother of all modulars” (MOTM) when he began Synthesis Technology. MOTM modules include top-quality parts throughout and conform to low-noise, audiophile standards. For example, the modules have few LEDs in order to remove the minute amount of noise each LED introduces into the system.

With a simple layout, large knobs, and ¼-inch jacks, MOTM modules resemble Moog modules (see Fig. 13). However, the modules are designed for high performance and ultra stability. The MOTM-320 Voltage Controlled LFO ($229/$149) has four discreet waveshape outputs and a CV input that alters these waveforms. The frequency range is from approximately one cycle every 30 minutes to 4 kHz.

Most of the modules are available as complete kits (see Fig. 14), rated on a scale of 1 to 5 for difficulty. The Synthesis Technology Web site includes building tips for people new to DIY.

Besides the MOTM-320, the MOTM system has 13 additional modules: the MOTM-300 Ultra VCO ($349/$259); MOTM-120 Sub-Octave Multiplexer ($199/$139); MOTM-110 VCA/Ring Modulator ($199/$139); MOTM-101 Noise/Sample and Hold ($175/$125); MOTM-410 Triple Resonant Filter ($279/$199); MOTM-420 Voltage-Controlled Filter ($229/$169); MOTM-440 Voltage-Controlled Lowpass Filter ($269/$199); MOTM-700 Dual Voltage-Controller Router ($189/$139); MOTM-800 Envelope Generator ($129/$89); MOTM-820 Voltage-Controlled Lag Processor ($209/$149); MOTM-910 Cascaded Multiple ($99); MOTM-940 Patch Panel ($89); and the MOTM-130 Dual Pan/Fade VCA ($269/$199). For an in-depth review of the MOTM system, see the March 2001 issue of EM.

Synthesizers.com. Roger Arrick's Synthesizers.com offers a full line of basic modules that have a design aesthetic based on the original Moog modular. Each module offers the traditional control functions. The Q106 Oscillator ($170) features a stepped 6-position octave-selection knob; tuning control; individual linear and exponential frequency controls; a hard-sync input; and five individual waveform outputs (sine, triangle, ramp, sawtooth, and square). The Q107 State Variable Filter ($110) has two audio inputs, 2-pole highpass and lowpass outputs, and 1-pole bandpass and notch outputs. Frequency cutoff and resonance are voltage controllable.

The list of modules includes the Q119 Sequential Controller 24-stage sequencer ($490), the Q105 Slew Limiter ($70), the Q117 Sample and Hold ($80), and the Q109 Envelope Generator ($80).

The QKB15S ($390) is a 5-octave keyboard with a built-in MIDI-to-CV converter and 8-note polyphonic MIDI output. The keyboard has four operation modes: it can be used in two different split configurations or as a single- or dual-voice controller.

Synthesizers.com also offers cabinet choices, such as 44-space ($350) and 22-space ($175) solid walnut studio cabinets and a 22-space portable vinyl-covered cabinet ($200). A Keyboard Garage ($200) for storing your keyboard under one of the studio cabinets is also available.

Synthetic Music Systems (SMS)

Hot off the shelf from the United Kingdom's SMS is the Modular Analogue Rack Synthesizer (MARS; $400), a nice-sounding mono synthesizer in a 1U case. Each of the five modules — VCO, VCF, VCLFO, VCA, and 4-stage envelope generator — is internally normalled but can be accessed individually through the rear-panel patch bay. The MARS includes 16 front-panel knobs and 21 3.5 mm patch points on the rear panel.

The MARS has front-panel VCO controls for tuning and for choosing the modulation type and waveform shape. The VCF is a 4-pole lowpass transistor ladder with a front-panel control for input level, cutoff frequency, resonance amount, modulation amount and waveform type, and envelope. The VCA gives you control of the level and the amount of linear or exponential control. The VCLFO has a rate control.

SMS has crammed several jacks onto the rear panel of the MARS. The VCO has sync, modulation, and CV inputs, and waveform controller outputs. The VCF has a single audio input and output, a modulation input, and a CV input. The VCLFO has four waveform outputs (square, triangle, and positive and negative sawtooth) and a CV input. The VCA has both linear and exponential inputs, as well as an audio input and output. The envelope generator has trigger and gate inputs and an envelope output.

The obvious drawback of MARS is the placement of the patch points on the rear panel, which doesn't lend itself to quick experimentation through patching. However, SMS offers the Planet 7 expander ($400), which not only brings the patch points to the front panel but offers additional features. These include a ring modulator, lag processor, sample and hold, noise, a DC shifter, four attenuator/inverters, and a mixer. Planet 7 has enough rear-panel and front-panel patch points for two MARS synthesizers.

Technosaurus

Swiss synthesizer company Technosaurus has two lines of products: the Small Monster series, which includes the Microcon, Microcon II, Cyclodon, and Effexon; and the Selector series pro-level modular system. EM has covered most of the compact Small Monster products (see the sidebar “Analog Synthesizer Reviews in EM”), so I will concentrate on the Selector modules.

The Selector series comes in system configurations A, B, C, and D. System A has normalized connections, so you don't need patch cords. Systems B, C, and D are preconfigured selections of Selector modules; they contain 8, 15, and 27 modules, respectively.

At 9U high, the Selector modules are the tallest of any in this survey. Uniquely, the modules are divided in two. The upper half contains the knobs and switches, and the lower portion sports a ¼-inch patch bay connected with a multipin cable. This system helps keep the patch cables out of the knobs' way if you have a single cabinet. In customized cabinets the patch bay can be located wherever is most convenient. I used a pair of System B cabinets for this article. Rather than stack the cabinets, I set them side by side so that the cables hung over the side of the table.

The Selector system comes with an external power supply that connects to the back of the synthesizer cabinet with a multipin cable. The back panel of each cabinet has an extra jack so you can daisy-chain two System B cabinets to a single power supply.

A special feature of Selector modules is the inclusion of a wide variety of control inputs. For example, the VCO ($280) includes a hard sync input, a CV input, two pulse-width modulation inputs, and three FM-inputs. With this many inputs, you can set up complex cross-modulating patches fairly quickly.

Another feature of Selector modules is an abundance of level controls. The VCO has a dedicated level control for each of the four waveform's outputs (ramp, sine, triangle, and square). In addition, two of the three FM inputs have level controls.

The basic System B ($3,000) configuration (see Fig. 15) includes three VCOs, VCF2 ($280), Dual Envelope Generator ($280), LFO/Noise ($205), and Control MIDI ($478) MIDI-to-CV converter. Other System B configurations include the Stereo Filter Bank ($3,050) and Stereo Filter Bank II ($2,950), which feature the Triple Resonators ($311) module.

The VCF2 can be used as a 2-pole highpass or lowpass filter or as a 1-pole bandpass or notch filter. Besides the requisite cutoff frequency and resonance controls, the VCF2 is unique in that it has an envelope input, three FM inputs with individual level controls, and two resonance modulation inputs with individual level controls. The VCF2 is a great-sounding filter that you can modulate in extreme ways.

The Triple Resonators module is great for simulating formants that lead to vocal-type sounds. It features three variable-Q resonant bandpass filters. Each filter has its own frequency, Q, and level control, as well as individual FM inputs and controls. When the filters are in resonation, the FM inputs can be used as CV inputs to control each filter's pitch. The module also includes an amplitude modulation (AM) input that affects the mix of the three filters. The Triple Resonators has four audio inputs and two audio outputs. The extra space on the patch bay is used for two 3-way mults and one 4-way mult.

The Octal Subharmonic Oscillator ($465) lets you combine nine sine waves (a basis tone and eight subharmonics) with an FM input and independent modulation inputs for both odd and even numbered subharmonics. The module also includes a highpass filter with two FM inputs and adjustable cutoff frequency.

The Dual Envelope Generator is notable for its fast 70 μs attack time. The module can be used in either a 5-stage (DADSR) or 2-stage (AD) mode. Each EG has a positive and negative envelope output.

Technosaurus recently unveiled the Technosaurus Selector Expander Module (TSEM; $495). The TSEM is reminiscent of the Oberheim Synthesizer Expander Module (SEM) because it packs two VCOs (including LFO and noise), a VCF, a VCA, and a pair of EGs into a single unit. The module also contains 25 patch points, including CV and FM inputs on the oscillators, dual audio inputs and FM inputs on the VCF, and a pair of amplitude-modulation inputs on the VCA. A complete 2-voice synth with two TSEM modules in a walnut desktop cabinet is also available ($1,190).

The latest addition to the Small Monster series is the analog multi-effects processor Effexon ($329). Like the other Small Monsters, it is roughly the size of a VHS video cassette, and it uses a wall-wart power supply, 3.5 mm jacks for control inputs, and ¼-inch jacks for audio I/O. The effects include a ring modulator, two parametric EQs with resonance controls, VC overdrive, and a VCO/modulator.

Wiard Synthesizer Company. Grant Richter considers his Wiard system “a sonic amusement park.” Each of the multifunctional modules is designed to be a standalone processor and to give you the most control options possible within the space of a 10.5-by-2.83-inch panel. Each modules include 16 or more I/O options, 10 manual controls, and, in some cases, a 4-way multiple, space permitting.

The detail in design is evident from the feature layout and informative manual to the elaborate front-panel decoration (see Fig. 16). Each Wiard module has more features than I can describe within this article's constraints. The following descriptions merely scratch the surface of these features. Please refer to the Wiard Web site for a more detailed look at each module.

The Sequantizer Module ($399) includes an 8-step sequencer with voltage quantization and a lag processor for adding glide between the steps. It also has CV inputs for changing the octave of the entire sequence. The module includes a Select control, which allows you to step through the sequence stages one at time when no clocking pulse is received. When the sequencer is being clocked, the Select control allows you to gradually permutate the sequence's order into eight different patterns. The permutations resemble English change-ringing patterns.

The Envelator ($399) contains two independent 2-stage envelope generators with voltage-controllable attack and decay times. The two EGs can also be mixed to form an ADSR envelope generator. The module includes positive and inverted voltage output jacks, in addition to a retriggering mode that gives a triangle- and square-wave LFO signal, which can be employed for clocking other modules in the system or for general-purpose modulation.

Waveform City ($549) combines a true analog VCO, a nonlinear function generator that can be used as a VCDO, a 2-stage envelope generator, and a VCA. A collection of 256 8-bit waveform samples are arranged in a 16×16 matrix of Banks and Waves, and the wavetable is under complete voltage control. You can sweep through the wavetable with an external signal or the internal EG.

The Classic VCO ($399) includes four waveform outputs, a random-voltage output, a pulse-width modulation input, two FM inputs (one with an attenuator), a linear FM input (with attenuator), a 2-stage (AR) envelope generator/lag processor, a 2-input VCA, and a 4-way jack multiple.

The Omni Filter ($549) is a 4-pole multimode filter with four inputs and outputs. The selection of filter mode — highpass, lowpass, bandpass, and allpass with 720 degrees of phase shift — and filter resonance are under voltage control. This allows you to sweep between filter types while adjusting the Q of the filter.

The Dual Mixolator ($399) is a pair of stereo VCAs that can function independently or together. The VCAs can function as a crossfader, panner, mixer, or ring modulator for audio or control signals. Each VCA has three audio inputs, four outputs, and a modulation input. Two of the audio inputs, X1 and X2, are mixed together and used for the right channel in a stereo setup. The third input, Y, acts as the left channel. Each VCA has four audio outputs, one each for the X and Y signals, and one each for phase-shifted X and Y signals. The modulation input allows you to crossfade the X and Y inputs between two channels.

The newest Wiard module is the Borg Filter ($399), which combines a pair of 2-pole filters based on the characteristics of the Buchla Model 292 lowpass gate and Korg MS-20 highpass and lowpass filters. The Borg also includes a pair of independent LFOs. The filters can be used separately or together to form an interesting 4-pole filter. Like many Buchla modules, the Borg filter employs vactrols in the circuit design, which results in a slewed response that gives the filter more of an acoustic sound.

The Wiard Joystick Controller ($299) is a 2U panel featuring a pair of joysticks with corresponding X and Y voltage outputs, a pair of trigger buttons with gate outputs, a voltmeter, and four cable converters with ⅛-inch, ¼-inch, banana, and RCA jacks. A single joystick, trigger, and patch panel resides on each side of the panel, with the voltmeter centered between the two control sections.

The Wiard modular provides a powerful sound generator and processor in a relatively small space. Although the system doesn't come cheap, you definitely get your money's worth.

GOIN' MOD

As you can see, you have a large number of choices when designing an analog modular synthesizer. Remarkably, the price of a modular system has remained relatively low compared with the cost of the first generation modules. And after four decades, the designs and materials have improved while the prices have remained steady.

With the addition of microprocessors, hybrid modules are now common, giving you an even greater timbral palette. A fully equipped analog modular synthesizer offers you levels of sound exploration that have yet to be modeled.

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Gino Robair is an associate editor at EM. Special thanks to Alex Artaud, Joel Chadabe, Robert Clarida, Ben Covington, Steve Curtin, Tony Karavidas, Lucid Technology, Dean Santomieri, Mickey Tachibana, and W. Scott Vance.

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SIZE AND SHAPE

Although there is no standard size for analog synth modules, there are some common sizes. Knowing which systems fit these particular sizes will help you assemble the module configuration that best suits your needs.

Most of the modules in this article conform to the international rack standard in height and width. The standard horizontal rack width is 19 inches, but individual modules come in a wide variety of widths. That means you will have to do some organizing if you want to fill a rack space effectively.

There are several standards when it comes to module height. One vertical rack unit (U) is 1.75 inches. Original Moog modules were a standard height of 8.75 inches or 5U. The modules from Encore Electronics, Oakley, Synthesis Technology, and Synthesizers.com fit that profile. PAiA's Fractional Rack (FracRak) system is 5.25 inches or 3U tall. Modules from PAiA and Blacet Research fit that configuration.

The Euro subrack standard is also 3U tall, but the mounting rails are somewhat different. Modules from Analogue Solutions, Analogue Systems, and Doepfer fit that standard. In the Euro subrack, the 19-inch width is divided into smaller units known as HP (horizontal pitch) or TE (from the German for “parts per measure”). Each HP/TE unit is 5.08 mm, or 0.2 inches. Modules come in sizes ranging from 4 to 72 HP/TE. A 19-inch rack holds 84 HP/TE.

If you're planning to mix modules from different companies within a 3U rack, note that the position of the screws on the front panel of the modules may differ slightly from company to company. That is especially true if you're mixing modules from European and U.S. manufacturers. Additionally, power supply issues will need to be addressed.

If you have any concerns regarding compatibility issues about a module you want to add to your rack, share them with the manufacturer of the modules you are purchasing. They will give you advice on how to mount the module and power it up. It is in the company's best interest to make you a satisfied customer, because they know that you will be back for more once you get a taste of modular synthesis.

CONTACT SHEET

Analogue Solutions/Enport (distributor), tel. (402) 398-0198, e-mail enport@home.com, Web www.analoguesolutions.com

Analogue Systems/Enport (distributor) tel. (402) 398-0198, e-mail enport@home.com, Web www.analoguesystems.co.uk

Big Briar, Inc., tel. (800) 948-1990 or (828) 251-0090, e-mail info@bigbriar.com, Web www.bigbriar.com

Blacet Research, tel. (707) 869-9164, e-mail blacet@blacet.com, Web www.blacet.com

Cirocco Music Systems, tel. (610) 694-8886, e-mail filter@nni.com

Doepfer Musikelektronik GmbH/Enport (distributor), tel. (402) 398-0198, e-mail enport@home.com, Web www.doepfer.com

Electronic Music Studios, tel. 44-172-688-3265, e-mail sales@ems-synthi.demon.co.uk, Web www.ems-synthi.demon.co.uk

Evenfall/Encore Electronics (distributor), tel. (925) 229-8875, e-mail info@minimodular.com, Web www.evenfall.com

Encore Electronics, tel. (925) 229-8875, e-mail sales@encoreelectronics.com, Web www.encoreelectronics.com

Metasonix, tel. (650) 369-8272, e-mail synth@metasonix.com, Web www.metasonix.com

Modcan Synthesizers, tel. (416) 465-5346, e-mail inquiry@modcan.com, Web www.modcan.com

Oakley Sound Systems, tel. 44-176-888-1934 or 44-779-095-5536, e-mail oakley@techrepairs.freeserve.co.uk, Web www.techrepairs.freeserve.co.uk

Orgon Systems, tel. 44-191-290-2592, e-mail geoff.waterston@virgin.net, Web www.orgon.fsnet.co.uk

PAiA Electronics, Inc., tel. (405) 340-6300, e-mail paia@paia.com, Web www.paia.com

Serge/Sound Transform Systems, tel. (262) 367-3030, fax (262) 367-3434

Synthesis Technology/MOTM, tel. (888) 818-6686, e-mail synth1@airmail.net, Web www.synthtech.com

Synthesizers.com, e-mail info@synthesizers.com, Web www.synthesizers.com

Synthetic Music Systems/Enport (dist.), tel. (402) 398-0198, e-mail enport@home.com, Web www.smssynthesizers.freehosting.net

Technosaurus/Drum Machine Museum (distributor), tel. (415) 503-0477, e-mail mickeyt@drummachine.com, Web www.technosaurus.ch

Wiard Synthesizer Company, tel. (414) 769-0791, e-mail sales@wiard.com, Web www.wiard.com