>Step by step

1. The Sequence

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In this tutorial, we’ll show you how to build classic Berlin School-style sequences using software you already own, courtesy of our complementary plugin suite. Use your preferred DAW, but, as previously, we’ll be using Tracktion Software’s free T7 DAW for our examples.

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We’ll use MIDI tracks, so let’s assign our USB MIDI controller keyboard to Track 1. In T7 DAW, this is done by using the drop-down menu that appears when clicking the empty slot in the track’s header (left) and choosing an input. We’ve selected ours, labelled ‘USB O2’. We’ll use this track for our first sequencer passage, calling it ‘Sequencer 1”.

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The sound of the Berlin School was defined by its use of modular synths and sequencers and we’ve got a humdinger in the Suite. It’s called Voltage Modular Nucleus and it comes to us courtesy of Cherry Audio. In T7 DAW, the plugin can be instantiated by dragging the grey ‘+’ icon to the left of the volume control on the track’s right side.

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You’ll see a drop-down with a ‘Synths’ category, from which Voltage Modular may be selected. Having done so, you’ll be presented with a module rack. The top row includes panels that connect to your host and/or the outside world. All available modules will be shown in the browser on the left. You can click the Library button up top to reveal them.

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Modules are added from the browser. Start by adding an Amplifier, which can be dragged to the right side of the rack. Connections are made with virtual patch cables. These can be created by clicking and holding on a jack. Connect the Amplifier’s Output to the 1L(M) jack in the Main Outs to host panel to route audio from the modular to the host.

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You’ll need an Oscillator to make a sound, and a Filter module too. Find the Oscillator’s Square wave output among the jacks at the bottom, and patch it to the FIlter’s Audio In jack. Patch the Filter’s low-pass jack (bottom left) to the Amplifier’s Input. Increasing the Amplifier’s Gain knob brings the sound into play. Turn that knob back down to nil.

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For control over the Amplifier’s Gain: add an Envelope Generator module and patch its Env Out jack to the Amplifier’s CV In. Clicking the Env’s Gate button triggers the Env, activating the Amp’s Gain. Add the 8-Step Sequencer module. Route its Gate Out jack to the Env Generator’s Gate In. Press the Seq’s Start to trigger the Env Generator.

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Not very exciting! Not to worry. Stop the Sequencer. Adjust its Rate to 90bpm. Note the rows of buttons/sliders. The buttons determine if a step is heard, the sliders the frequency or voltage of that step. Connect the Sequencer’s Output to the Osc’s Keyb CV jack. This lets the Sequencer control the Osc’s pitch. Adjust the sliders for a different pitch each step.

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Our pattern consists of C2, C2, G2, E2, C3, G3, C3, E3. Now shape the sound a bit. With the sequence playing, reduce the Env Generator’s S(ustain) slider to nil and set its D(ecay) and R(elease) sliders to 200 ms. This causes the Env to shape the volume over time. Now, reduce the Filter’s Cutoff to 800Hz and increase Resonance to around 24% for a muted tone.

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Next, route the Envelope Generator’s Env Out to the Filter’s Freq Mod 1 input and set the Filter’s Mod 1 Amount to 30%. This causes the filter’s Cutoff to be shaped by the Env Generator. We need a Delay module. Disconnect the Amplifier’s Output from the Main Outs and send it to the Delay’s Input instead. The Delay’s Output should go to the Main Outs 1L(M).

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Berlin Schoolers such as Klaus Schulze liked using a keyboard to transpose the sequence. We can do the same by going to the CV Outs panel and patching its Pitch output to the Osc’s Keyb CV, alongside the cable coming from the Sequencer. You’ll want to lower the Osc’s Range to 32’. Now, our CMaj pattern can be transposed via incoming MIDI notes.

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Set host BPM to 90. Lash the Seq to the host with a Sync Divider module. Find the Transport panel. Connect its Sync Out to the Sync Divider’s Sync In. Route the Sync Divider’s Clock Out to the Seq’s Ext CLK jack. Click Ext. Patch the Transport panel’s Play and Stop jacks to the Seq’s Start and Stop, respectively. Now, the host’s transport controls the sequencer.