Meet the modules (part 1) Sync Divider

Oscillator

The heart and soul of any analogue synthesiser, the voltage-controlled oscillator (sometimes called ‘VCO') is the module that produces the various audio (and often sub-audio) waveforms – usually sine, pulse, sawtooth and/or ramp, and triangle waves. Frequency can be controlled via external modules. The Pulse Width of the pulse wave can also be modulated.

Mini LFO

Low-frequency oscillators generate subsonic signals that act as modulation sources. Like audio oscillators, an LFO produces different waveforms at the output – in this case, Square and Triangle waves. They can be used to produce tremolo, vibrato, and other periodic effects. The standard Oscillator module can also be used as an LFO and, in fact, offers more features than this quick 'n' easy compact option.

Amplifier

The Amplifier (ie, VCA) is used to control the level of an incoming signal. It can be used as a passive volume control, but it can also be used to shape the level of an incoming signal over time with a modulation source such as an LFO or envelope. Two response curves are provided: Linear, for getting longer, more gradual responses; and Exponential if you're wanting punchier, snappier sounds.

Noise Generator

A noise generator does exactly what its name implies: it produces a noise signal. Noise, by definition, is comprised of random signals, each with equal power. The result is something like a steady ‘hiss' or ‘wind' sound. This Noise Generator produces two types of noise: White and Pink. Pink noise has a more muted frequency spectrum than the white variety.

Sample and Hold

Like an LFO, the Sample and Hold module produces a periodic modulation source. Unlike an LFO, S&H produces a random modulation signal based on an incoming signal, most commonly a noise generator or oscillator. The period of modulation is determined by an Internal or External clock signal. Sounds complex, but the effect is instantly recognisable.

Envelope Generator

Used to shape a signal over time, triggered by an incoming gate signal. It'll transition through different stages: Attack is how long it takes to achieve its maximum level; Decay is how long it takes to fade from maximum to that set by the Sustain (the held or steady state); and Release is how long it takes to fade from the Sustain level to silence once the gate is released.

Filter

A filter puts the ‘subtractive' in subtractive synthesis. Its role is to filter out select frequencies from the incoming audio signal. This module offers three modes: Low-Pass filters out high frequencies; High-Pass filters out low frequencies; Band-Pass filters out a specified band between the two. Two ‘slopes' are offered: 12dB and 24dB. Resonance emphasises the area around the cutoff frequency.

Ring Modulator

One of the oldest and most identifiable electronic effects, a ring modulator multiplies a pair of incoming signals and produces the sum and difference at the output. It's an atonal effect, ideal for clangorous, metallic effects. This version offers the ability to modulate one or both of the incoming sources. If you're looking for that classic clang, this is the module for you.

Six Input Mixer

A six-channel mixer used to combine incoming audio or control signals. Mute and Solo buttons are available for each channel, as is a Level control. Level and Mute controls are also available to the Master output section at the bottom. Use this module to mix oscillators before plumbing them through a filter, or at the end of the signal chain to blend complex layers.

Arpeggiator

Yes, it's that ubiquitous source of predictable, repetitive mono patterns based on the notes of an incoming chord. The usual playback patterns of Up, Down, Up & Down and Random are provided, as is a Hold button to latch playback. Internal clocking is here, and external clocking is provided as well. Octave Range and Gate Time are also on offer.

Attenuverter

It might have a mouthful of a moniker, but the Attenuverter is actually a simple module. You can think of it as something of a passive level control for audio and control voltage signals. Offering three independent channels, each with a level attenuation knob and an Inversion switch, it does exactly what its portmanteau of a name suggests. Attenuverters are primarily used to dial down the levels of voltage or audio signals.

Glide

Once an obligatory component of the prog rock Minimoog solo, glide (aka portamento) would be revived by its inclusion on Roland's TB-303. This module gives you total control of how glide is applied, with both Constant and Linear modes available, as well as a voltage input that allows external sources to switch glide in and out. This one is your sequencer's best friend.

A modern variation on the clock divider modules found in hardware modular systems, the Sync

Divider provides a means by which incoming sync signals can be divided into different beat or bar divisions, from 1/32 notes all the way up to 4 bars in length. Triplets and dotted notes are also supported.

Bend Limiter

The useful Bend Limiter is used to control how a target parameter responds to signals from an incoming pitchbend wheel or joystick. Typically, a pitch wheel or joystick provides a symmetrical bi-polar signal – the maximum upward throw is the inverse of the max downward throw. The Bend Limiter module provides user-defined ranges for up and down, specified in semitones.

Mod Wheel Assistant

This is similar in remit to the Bend Limiter, but intended as an intermediary stage for the signals from an incoming modulation wheel. Usually used with an LFO module, you can use it to route and control mod wheel control amount of any modulation target. You can also use its onboard LFO with some of its many waveforms.