More tips, tricks and suggestions
RATCHET UP YOUR DRUMS
You’ll find a nifty sequencer-based sound called ‘CM Ratchet’ among the many exclusive preset patches we’ve created for you. This patch makes use of multiple sequencers that – for the most part – play a typical Berlin School pattern. However, every few bars, there’s a skittering burst of rapid-fire notes – an oldschool method to add interest to long-winded cosmic jams. You can use the same technique to add occasional drum fills to your sequencerdriven modular beats.
DUDE, WHERE’S MY SAMPLER?
The Nucleus incarnation of Voltage Modular is a decidedly analogue affair. It’s chock full of everything you need to create virtually any classic analogue sound. However, today’s modular synthesist isn’t restricted by such retro restrictions, drawing upon a wide variety of digital modules, including samplers. While you can indeed add an optional sampler module to your rack, you’ll have to divest yourself of a bit of cash to do so. However, if you have a sampler plugin, you can incorporate it into any Nucleus patch using the same methods discussed in our tutorial on modular effects processing. All you have to do is to set your sampler to trigger at the same time as VM Nucleus, and you’ll be able to route it through whatever modules you like. Depending on your DAW, it might take a bit of head-scratching, but it’s well worth the effort.
SONIC REDUCER
Voltage Modular Nucleus offers a crunchy Distortion module for dirtying up your patches and incoming audio signals. However, you may not realise that there is another, less obvious sonic mangler onboard, too. We’re speaking of the Sample And Hold module. When triggered, sample and hold circuits sample the voltage of incoming signals, and play back that voltage, generally all in lock step to a clock, either internal or from an external source. As it happens, you can use a sample and hold module as a sort of analogue sample-rate processor. Try running audio through the Sample And Hold module and clocking its Trigger input from an Oscillator with a high Range setting. Experiment with different incoming Oscillator frequencies. The results will be gritty, metallic, and most unusual!
PULLING YOUR STRINGS
Voltage Modular Nucleus is strictly monophonic. As with sample playback, you can get polyphonic modules, but they’re going to cost you extra. However, you can fake some old-time divide-down polyphony for a stringmachine or organ style sound. All it takes is an external poly plugin that can pump out a simple sawtooth waveform. Route its output into Nucleus as described in the previous entry and trigger it simultaneously with Voltage Modular. This incoming polyphonic sawtooth wave can then be treated as an oscillator in your Nucleus patch. Add a low-pass filter and a couple of envelopes, and you’ll have the beginnings of a pretty convincing string machine. Obviously, you can do a lot more with it besides strings, so don’t be afraid to give it the full modular treatment!
A LEARNING PROCESS
There can be few among us who aren’t impressed by a towering modular system bedecked with cables and knobs – oh so many knobs! It’s the potential for real-time control that draws many musicians into the world of modular synthesis and, admittedly, it’s not easy to replicate that experience with software. Seasoned desktop producers have become accustomed to using generic realtime MIDI controllers to simulate at least some of the workflow, and – assuming you have such a controller – so can you, thanks to Voltage Modular’s MIDI Learn features. Simply rightclick a parameter and choose MIDI Learn from the menu to assign it to an incoming MIDI message. Alternatively, you can click the MIDI tab in your Library to access any and all assignments together.
CONFUSE YOUR CABLES
As you’ve learned, there are some distinctions between the various signals that travel down a modular synth’s patch cords. Some carry audio signals, while others carry control signals. Even the types of control signals differ, with gates, triggers and other control voltages available at any given time. Some manufacturers choose to separate them using specific jacks and plugs – for example, Moog used Cinch-Jones connectors for gates and
1/4" cables for audio and modulation signals.
Like many modern modular systems, Voltage Modular Nucleus adheres to no such distinction, and audio signals might be patched into, say, the Filter module’s Frequency Modulation input and used to force the filter to respond to the audio’s dynamics.
Conversely, a modulation signal could be cranked up high enough to be used as an audio signal. Experiment with unexpected routings – you might be surprised at some of the cool effects you can create.
SEQUENCE YOUR SEQUENCES
If you’ve trawled through our exclusive CM Nucleus presets, you might have noticed that the sequencer patches often make use of multiple Sequencer modules. As described above, they might be used to facilitate occasional flourishes or fills. You will also have noticed that many of them are patched so that the patterns can be transposed by incoming MIDI. With some clever patching, you can use another Sequencer module to transpose instead. You can work out how to divide down the clock so that transposition occurs every ‘x’ number of bars, or use Sync Divider modules driven from a common master clock, such as an Oscillator.
PICTURE THIS
You’ve likely realised that modular synthesisers can be very educational. There are few better ways to learn about synthesis and sound, which is why so many universities plumped for systems back in the 1960s.
Voltage Modular Nucleus offers one essential – yet often overlooked – module that can be most enlightening. We’re speaking of the Oscilloscope. It doesn’t make a sound, send a trigger, or modulate anything. No, it simply shows you what your signal looks like. This is an invaluable tool, allowing you to see, for example, exactly what happens to one waveform when it’s modulated by another, or visualise the shape of an envelope. We urge you to stick one of these modules into your patches when you’re starting out.