Interview: The modular expert group A new synth every day

We’ve never done this before: Uually we hold interviews with one or two people, but this time the makers of Doepfer, Vermona, Erica, OXI Instruments, Noise Engineering, Qu-Bit and Tiptop Audio came together at our round table, where we talked about modular hypes, crazy ideas and nothing less than the future of modular systems. So, grab a coffee and enjoy the next few pages to the full. There‘s not only a lot to read, but also a lot to discover!

Beat / Modular systems have quite a run. Many developers and manufacturers build their own modules or integrate CV-ports into their desktop synths or audio-interfaces. So meanwhile almost every studio should be compatible to the world of modular synths. Do you feel that, too?

Kris / There are a million ways to interface line- and instrument-level gear with Eurorack! Whether it’s built-in CV and gates, MIDI, level shifters, or other utilities, getting signals in and out of Eurorack can be done reasonably simply. I think when considering whether to get into modular, the issue is less a question of compatibility and more one of whether it’s a tool that a user will find useful and inspiring. Andrew / It has been great to see an expanding level of support for analog interfaces on other studio gear. The fact of the matter is, although MIDI is great for certain applications, analog voltage has its own skillset which is completely different than MIDI. Gur / I think that some manufacturers feel that adding CV and gate to their non-Eurorack gear enhances their products, while other manufacturers are Eurorack users themselves and want to integrate their own tools into the modular system. If you ask many audio software manufacturers what hardware they have at home, they will say a Eurorack. So it‘s obvious that the integration of all worlds is a wonderful thing and a testament to the success of Eurorack. Dieter / Yes, at least in studios that also produce electronic music.

Girts / Nowadays, modular systems have become an integral part of many studio and live setups, so it’s no wonder manufacturers consider the integration of modular synths in their ecosystem. I believe that the rapid growth of eurorack was the main contributor to the popularity of the Arturia Keystep and Beatstep, which have become essentially industry standard controllers for modular systems. Apart from the obvious MIDI-CV interfaces, Erica Synths have several products that address interfacing modular with other instruments - the Link module in our drum series that addresses audio signal level differences and the Matrix Mixer that can integrate a modular system into studio or live setups at unprecedented depth.

Thomas / I agree with you. Manufacturers of audio interfaces seem to be placing more and more emphasis on DC-coupled outputs in order to be able to output control voltages. CV/gate connections are almost standard on synthesisers and controller keyboards. The modular system no longer seems to be exotic in the home or professional studio.

Beat / In which situations do you prefer a modular synthesizer to a desktop synthesizer and why? Andrew / When I want to explore sound design in a very creative way, I always reach for a modular synth. These are situations where I‘m not sure exactly what I‘m looking for and want to discover something new. If I already have a sound in my head, sometimes it‘s easier to use desktop synths, thanks to the pre-configured signal path.

Kris / Desktop synths aren’t nearly as customizable as a modular synth, so in most cases, I prefer a modular synth. With hundreds of manufacturers making products that are all compatible with each other, the customisation options with a modular synth are almost infinite. Even with one configuration of modules, each time I patch it, it’s like patching a completely new instrument. I find that incredibly inspiring.

Manuel / I think nowadays, with the powerful modules that you can find out there, nothing can beat a modular Synth. No matter if it’s big or a small case with just a few modules. You have the flexibility to combine whatever you need and patch them freely. In our case, we often combine MIDI and CV modulation in our Polyphonic module, Coral. We all know what sending MIDI to a desktop synth means but the real magic happens when you patch a cool modulation source to the input. This instantly brings the sound alive and it‘s so refreshing.

Dieter / When you have enough time to work out the desired sounds in peace and quiet or when special sounds are needed that are not covered by desktop synthesisers.

Thomas / Whenever I want to experiment, the modular system is unbeatable for me. The signal flow is not predetermined and it‘s up to me as the user to decide how and in what way I connect modules together. No pre-wired desktop synthesiser offers me this freedom. Added to this is the intuitive handling with patch cables.

Beat / ...and vice versa: When can modular systems

get over-complicated?

Andrew / I suppose that‘s the nature of the beast! But in all seriousness, the one time where I feel the complications pass a breaking point is when dealing with analog polyphonic patching. This was largely the inspiration for our Chord polyphonic oscillator. We wanted to remove the convoluted workflow necessary for traditional poly patching in modular. Manuel / Having a full wall of modular gear with analog VCOs, VCAs, filters, envelopes, and other „traditional“tools is perfectly acceptable. That‘s how synthesis originally began. However, nowadays, you encounter large racks filled with modules, many of which are complex hardware kits in their own right. It‘s challenging to fully utilize these modules due to the limited time available to spend on each one, resulting in a somewhat fuzzy understanding and usage.

Dieter / The configuration of a modular system must be adapted to the user‘s expertise. There is no point in equipping a system with a large number of modules whose function is not understood. Here, less is often more. You really have to understand the modules used, otherwise it becomes too complicated.

Kris / If you’re in a hurry and you really need something you can recall down the line and reshape, modular is a tough sell. Film/game/ tv composers have told us that they have had to work hard to find ways to bring modular into that workflow, for example. It can be done, but it’s often easier to just open a plugin.

Gur / It really depends on what you are trying to do and with which modules. But generally speaking the modular is a quick path to new ideas, but might not be the right thing to use if you are not well experienced with it and you want to get something very specific and quick.

Girts / Modular systems have obvious advantages – customization and personalization and disadvantages – no presets or the ability to save patches and not only patches, but even sounds within a specific patch. Sometimes even slightest turn of a single potentiometer can change a sound

radically and when a sweet spot is lost, there’s no way back… So, if you are looking for predictability, standalone synths are the way to go. Also, I do not believe in polyphony in modular systems – it overcomplicates patching and proper control over the setup and ultimately – it’s waste of rack space with questionable results. There are far more reasonable ways to achieve polyphony with standalone synths. Thomas / Once you have a certain number of modules and connections, you can lose the overview. Especially when there are many mutually influencing modulations, a carelessly pulled cable or the thoughtless adjustment of controls can ruin the whole patch. Often the only thing that helps is a restart, i.e. removing all patch cables and starting again.

Beat / Where do you think modular hardware has an advantage over software?

Thomas / The advantage is clearly that I can touch it. There are certainly an infinite number of controllers to make software tangible. But I still need a computer to do it. Modular hardware is more like a piano: you open the lid and start playing and when you‘ve finished, you close the lid again. There‘s also a special charm to not having to constantly stare at a screen when you‘re making music, exploring sounds or whatever else you‘re using your modular system for.

Girts / All of us at Erica Synths, me included, are hardware people. We believe in performance-oriented instruments where the user interface alone encourages and invites one to interact with the instrument and this philosophy is behind every instrument we design. Obviously, you need software for recording and mastering, but it falls short in sound design and performance, because in order to alter settings on software synths, you need to move a cursor across the screen and do several mouse clicks in order to perform even minor changes in the patch or sound. Inspiration can be very fragile and it can fade away with menu diving and manipulations on a computer screen.

Gur / While software offers the advantage of total recall its sound quality is limited by the interplay of digital resolution and the absence of a tactile interface, both inherent constraints.

Manuel / A few situations:

• Sound design, the way unexpected and incredible sounds can emerge when you are patching a modular are unmatched. Virtual Modular systems are also a good environment, but while you have 2 hands and a bunch of fingers, you only have one mouse pointer, and in any case, they lack the tactile engagement of physical instruments.

• I come up with happy accidents using modular all the time, something that didn‘t occur when I was producing with Ableton. However, it‘s worth noting that DAWs have significantly improved their modulation capabilities.

• If you are planning a liveset, a modular synth can give you a lot of freedom. You have the ability to combine modules as needed, for instance, to create a few signature sounds for the set. That’s one approach.

• The other one, if you are aiming for more like an experimental or ambient set, you can try and experiment real time with different patches. I wouldn’t see myself patching a virtual modular in a live situation nor do I believe it would captivate the audience as effectively.

Andrew / I‘ve always thought that modular

synthesizers feel like traditional instruments when you play them. There is a certain magic about creating electronic music on something that doesn‘t have any screens on it. The more time that humans spend answering emails, or working in a digital context, the more special modular hardware will become.

Kris / Software is all-powerful but we hear from a lot of our users that they are on the computer all day. Whether that’s as a musician or in their day job, a lot of people we talk to enjoy the ability to step away from the computer and make music with something tactile for a bit. Whether it’s a source of inspiration or the music they actually capture, being able to physically interact with it is just so much fun. Dieter / First and foremost in terms of feel: direct, manual access to all parameters with the help of knobs, switches, LED displays, etc. Opinions differ widely when it comes to sound. There are many people who can hardly hear any difference between software-generated sounds and real hardware. But some purists swear by purely analogue sounds. Personally, I stay out of this discussion.

Beat / What do you think is currently the biggest hype within the modular scene?

Gur / I think that the Buchla and Tiptop Audio 200t series has been the biggest thing in Eurorack in the past 3 years and will probably continue going into 2024.

Andrew / Modular users are really excited about stereo effects. Historically there were very little effects at all in modular so everyone is making up for lost time.

Girts / The eurorack market is getting saturated and as the last two years have shown, most established modular companies do not see the rapid growth we experienced over course of the past 10 years. Because eurorack has become so diverse, it’s hard to identify any one specific hype like it was with Mutable instruments years ago. This forces manufacturers to get more creative and invent more unique instruments in terms of how they sound and what their user interface is like.

Dieter / Unfortunately, you‘ve come to the wrong place. Essentially, I only know our own products. There is a clear trend towards more compact modules. This is all the more astonishing to me as many customers have criticised the large distances and dimensions of the control elements on the A-100 as being too small from the outset.

Thomas / I‘m seeing more and more modules that are virtually complete polyphonic synthesisers. There is a trend towards having a few modules with an incredibly wide range of functions instead of one module per function.

Beat / Why do you manufacture your own products? What is the difference to other gear? Thomas / The production of music electronics has always been one of our most important mainstays. We not only manufacture our own devices, but also act as a service provider for other companies and brands. Our core competence is the production of small quantities with a high proportion of manual labour. As the entire production chain, from PCB assembly to packaging, takes place in-house, we can react quickly to changes. This has helped us enormously in the last 2-3 years in particular, when component procurement was sometimes very adventurous. Last but not least, we have the quality of our products in our own hands and can guarantee consistent quality.

Andrew / The reasons that we manufacture our own products is three fold: 1. We take pride in the quality of our instruments. 2. We want to minimize our carbon footprint and 3. We want to be in control of our own supply chain. The importance of the last point was really made clear to us during the pandemic. Manuel / When we began the OXI One project, there were very few Grid-based sequencers available on the market. This became quite evident after observing the releases of future products. Coral was conceived to fill a gap in the market for polyphonic modules that incorporate the deep modulation capabilities of a modular system. On top of that, we added multitimbrality to Coral, which means it covers a lot of functions on a compact system. Girts / We start development of any instrument, be it a module or standalone unit, only if we see that we can create something completely new and innovative or do it considerably better than what is already available at the moment. One of the key things we focus on is the user interface - we want the interaction between a musician and the instrument to be as creativity-inspiring and gratifying as possible. Because the interaction is mutual – it works both ways – the instrument talks back to you and reacts in certain ways.

Kris / I think most brands will tell you the same thing: we make the gear we want to use! Some of this boils down to workflow, which is incredibly important but also incredibly subjective. Some of it is the sounds we want. Each maker has their own aesthetic. Our goal with our products is that they are immediate but deep: we want people to be able to plug something in and start having fun right away…but also that you can keep coming back to it and finding more fun things to do with it.

We grew up listening to Industrial/Goth/Synth sounds and so that’s certainly influenced our general perspective. People think of Noise Engineering as gritty and dark gnarly sounds, but I think that misses out on half of what our oscillators can do: we do techno and industrial well, but we can do a synthpop lead and pretty sounds surprisingly beautifully.

Gur / Over the years due to growing experience I realize that I need to control every aspect of the manufacturing of the instruments in order to maintain the quality standard a name like Tiptop stands for. So all our instruments, modules, cases, cables, power supplies, all made under one roof in our own little factory. The result is that Tiptop Audio products have the lowest defective returns in the market, it’s good for us, good for the user, good for our dealers and good for the environment. Obviously that comes with cost and requires putting together these entire production lines, not something that many manufacturers can do or even interested in, but for us it it’s the only way.

Beat / Can you introduce your latest release? What does it do?

Thomas / We recently released the MEX3, an add-on module for our meloDICER. MeloDICER is a Eurorack sequencer based on chance and

probability. With MEX3 it can now be completely controlled and synchronised via MIDI and outputs sequences as MIDI notes.

Dieter / The new modules include the photo phaser A-101-8, a replica of the legendary Compact-Phasings A from Schulte from the 70s, the stereo filter A-121s with voltage-controlled morphing between the filter types, the voltage-controlled dual and quad LFOs A-147-4 and A-147-5, the SSM filter A-105-2 and the polyphonic mixer A-135-5.

Gur / We are thrilled with the official release of our ART technology based modules, marking a culmination of over a decade of dedicated development. This groundbreaking technology, holds immense potential. It is capable of producing unconventional sounds but mainly focused in delivering tunable oscillators and modular synthesizer voices that harmonize seamlessly with each other and with tunable instruments like desktop synths, software synths, acoustic instruments, and vocals.

The polyphonic facet of ART is even more extraordinary, picture being able to patch an OBX or switch modules to configure a PPG Wave. Better yet, envision employing OBX filters on PPG oscillators, all achieved with the richness of analog. The iconic vintage synths of the past were confined to metal enclosures, yet they shaped generations of music. Now, imagine unlocking this power in a modular, fully patchable format.

And it’s not just replicating vintage elements; rather, we can forge entirely new oscillators, filters, modulations, and polyphonic sequencers. To patch polyphony we developed the Polytips, the world‘s first polyphonic patch cables. The possibilities are truly limitless.

Girts / Our latest release was the Dual FX module in our Drum series, developed in collaboration with the Dutch company 112db.com - geniuses when it comes to developing audio effects and the Stereo DJ VCF, also a part of our Drum series. Right now we are working on the Black Resonant Equalizer – a hybrid module featuring an analogue signal path with digital control. This means a user can save presets and change them on the fly during a performance.

Kris / Our latest release is Incus Iteritas Alia. Over the past 10 years, we’ve developed a lot of synthesis techniques we love, but we’d never really had the opportunity to bring them all together. Incus is that. Incus is a 10HP voice that is great for percussion, first and foremost: it can make snares, weird wows, metallic hits. We love it for the variety of kick drums it can make. But beyond percussion, it does a wide range of melodic sounds, too. We were so excited at how versatile it turned out.

Andrew / Our latest release is the Mojave and it‘s a live granular processor. What‘s really exciting about Mojave is the ability to control all of the granular controls in real time, rather than operating on a pre-recorded buffer.

Manuel / Coral was our most recent release, to which we added three new engines: an Additive engine with two kinds of distortion, an Acid engine, and a 3VCO Moog-style engine. Following that, we released the OXI One Black Edition along with its 4.0 firmware. We are currently working on a new project and will keep you all updated about it in the coming weeks and months.

Beat / Who do you mainly want to reach with it? Dieter / Sound tinkerers!

Andrew / We‘re primarily targeting experimental modular users who enjoy a hands-on, performative workflow.

Kris / Everyone! Incus is part of our Alia platform. Last year, due to parts limitations, we had to discontinue our flagship module, Basimilus Iteritas Alter. The outpouring of support was immense and we decided to bring it back as a new platform. We have three different platforms, and each one has multiple firmwares. Anyone who owns a platform module can swap out to the other firmwares for that platform any time, 100% free. As of January 2024, if you buy an Alia module, you get six different modules, so there’s something for everyone on Alia.

Gur / ART is for everyone. It solves lots of technical problems, makes the integration with computer sequencing so easy using the Octopus module playing many different sounds together to build complete tracks. Whether you choose to patch it one day as a multi-voice classic synth or explore unpredictable configurations the next, the system retains all the familiar strengths of Eurorack while introducing a new level of usability. This innovative approach addresses the needs of musicians who may not have found such features in Eurorack systems before and new users who expect a smoother and less complicated dive into Eurorack.

Beat / If you were to assemble a small case for beginners, what would it contain?

Girts / I would recommend checking out our mki x es DIY.EDU series of modules. They not only allow one to build a fully featured modular system, but also to get into the basics of electronic engineering and DIY. It’s a cost-effective way to start modular.

Andreas / I‘d recommend four modules to start with - sound source, sampler, effect, and modulation. This would equate to the following modules: Surface physical modeling voice, Nebulae v2 granular sampler, Nautilus delay and Chance random voltage generator. Manuel / To get started with modular synthesis, a basic setup might include a sequencer, a full voice with oscillator (could be analog like Nano ONA or digital like Bastl Pizza), VCA, Filter (preferable analog) and ADSR Envelopes (or those provided by the sequencer), a simple FX unit like the ALM MFC and an output module. Understanding the sound path is a fundamental subject of getting into modular synthesis.

Kris / We get this question a lot and it really depends on what the person wants to do with it. A case for someone who is a proficient software user who wants to use modular effects and someone who wants a small, self-contained box that they can jam with are really different! We always try to help people tailor a case to their individual needs.

Gur / If you‘re utilizing a DAW, MIDI sequencer, Elektron boxes, or you are a keyboard player, my recommendation is to start with the Octopus paired with three or more ATX1 or Vortex oscillators. To build voices, it‘s recommended to incorporate quality filters, envelopes, and VCAs. In this regard, the Z2040 filter is a top choice, and for an efficient combination of VCA and envelope functions, the Control Path group module is a small, cost-effective solution.

For a polished finish, consider integrating effects at the end of your voices. A Z5000 to process a mix of voices or a dedicated effect module per voice (if within budget) would be highly beneficial.

If you prefer using Eurorack sequencers instead of a computer or MIDI sequencers, opt for the ART 1V/ Oct Quantizer instead of the Octopus.

This setup serves as an excellent starting point and as you become more adept, then expanding to the polyphonic ART modules such as Vortex6, Octopus, Octostages, and Octogain.

Thomas / It‘s difficult for me to make a generalised statement on this. It depends very much on what you want to achieve with a system. One person wants a sound generator, the next an effects unit. Therefore, my basic recommendations are:

• Provide enough free space even with a small case. When you first start out, you soon realise that additional modules are useful. It would be annoying if you then had to invest in a second case.

• Make sure you have a solid power supply. The fun of the modular system stops when the power supply unit breaks down or negatively affects the signal quality of the modules.

• Plan for output and input modules. The sounds from the modular system should be able to be passed on or enter the system in decent quality. Hum and noise take the joy out of patching. Dieter / I had a beginners‘ workshop at the „Music from Electricity“event in Vienna last week, where exactly this question arose. I had the following modules in this case: 3 VCOs, noise generator, mixer, VCF, dual VCA, dual LFO, 2 envelope generators, sequencer, multiple, keyboard with CV/gate output. You can actually use it to demonstrate all the basic functions of an analogue synthesizer.

Beat / And if you were to assemble a small case for travelling, what would be in it?

Thomas / Actually, the same criteria apply to me here. The three points mentioned above probably play an even greater role when travelling. I would also go for high-quality cables. If you have even one defective cable in the patch, it can ruin your gig. At least at home or in the studio you have the time to troubleshoot in peace, on the road it can get tight. Andrew / For traveling you don‘t really need much if you‘re clever about it. I‘d recommend putting together a case with our Nebulae v2 sampler, Bloom sequencer, and Mojave granular processor.

Dieter / That‘s difficult to answer. On the one hand, of course, it depends on whether it is essentially intended for sound generation, sound processing or control, whether it is to be operated completely stand-alone or in combination with other devices. The question of how big the system can be is also crucial to what I would put in it. And then it‘s also the case that a configuration also depends on my form of the day. I‘m always faced with the problem of what to pack in a case for travelling. This composition would look completely different today than it would in a month‘s time, because it always has to do with what you imagine the system should do.

Kris / Horologic Solum (clock), Numeric Repetitor (rhythm sequencer), Mimetic Digitalis (CV sequencer), 3x Alia (probably Debel, Basimilus, and Incus Iteritas Alia), Desmodus Versio (another one of our platforms that can be swapped to different firmwares), Xer Dualis (stereo mixer), Sono Abitus (output module for balanced outs and headphones).. Manuel / A sequencer, internal or external like the OXI One with the OXI Pipe Eurorack breakout module.

Coral module for synths and drums (or a couple of modules to cover one of those duties), small stereo mixer like the Nano St-MAR, 1 or 2 effect units (i.e. NE Versio or QuBit Databender) and 1 or 2 modulation units (like the Batumi or ALM PAM Pro or øchd). You can make full tracks with those or go nuts with sound experiments. A small case is needed like the 4ms pods or the small cases we are going to launch in collaboration with Nano modules.

Beat / Where do you see modular systems in five years? How will the usage change?

Thomas / You will probably be able to integrate your modular system even more seamlessly into the studio setup and perhaps have even more features in a smaller space. Whether you want that is another matter. Fortunately, the range of modules is so huge

that there is something for every taste and hopefully that will still be the case in five years‘ time.

Manuel / It‘s difficult to predict, but regardless, our mission as manufacturers should be to educate new users so that their journey into Eurorack is more enjoyable, less frustrating, and generally less expensive. This could be achieved by reducing prices or by offering greater value. Additionally, we should continue to push boundaries and offer innovative products that provide creative capabilities beyond what desktop synths can compete with.

Girts / It’s hard to make predictions, but I think that modular systems will become even more integrated in live and studio setups.

Andrew / There has been a lot of change in modular over the last five years, and I suspect that trend will

Inspiration can be very fragile, and it can fade while diving into menues and manipulating the computer screen. «

(Girts)

continue. I anticipate many more digital designs and especially modules that combine different types of functionality into single products. The next evolution in modular will be condensing common signal flows behind the panel so that it takes fewer modules to accomplish every day tasks.

Kris / The last few years have been such a wild ride with parts shortages and the pandemic that at this point, we’re just happy to be here. We don’t have a clue what normal is at this point, so it’s hard to guess what it looks like five years from now.

Gur / The ART modules, with their open and freely accessible signal specification, unlock a myriad of new possibilities for all makers in the filed. This inclusive approach encourages other key manufacturers to explore its potential. Additionally,

I anticipate a continuing growing trend in the development of more digitally focused modules. However, as this trend expands to bigger and bigger processors, it poses a challenge in terms of power requirements. Manufacturers will need to innovate to create more power-efficient modules.

It‘s noteworthy that some modules utilizing an 80mA DSP processor can achieve functionalities comparable to a 400mA processor – highlighting the importance of code efficiency in module design. Dieter / I have decided not to make any more statements about this. I‘ve always been completely wrong in the past. I was asked this question for the first time shortly after the A-100 was launched and I said that if the whole thing went on for 10 years it would be more than I expected. That was 25 years ago and I was so wrong...