Modular analog synthesizers are back in vogue with a vengeance--butnot just in the world of electronica. Sound designers, remixers,composers, and keyboardists are once again exploring the creativepotential that a modular synthesizer provides. When used in conjunctionwith a MIDI-to-CV converter and a digital-audio sequencer, a modularsynth integrates easily into the personal studio.

Why spend a fortune on a vintage synthesizer, which may be somewhatunreliable, contain hard-to-find parts, and require constant upkeep?Technological improvements in materials and circuit design have madeanalog synthesizers more stable than ever. And a number of daringcompanies are producing a wide variety of new instruments. The lasttime 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 UnitedStates (see “Living Fossils” in the November 1995 issue ofEM). Six years later, at least 20 companies offer analog synthesizermodules. It’s true that you probably won’t find aninstrument that has the exact sound of a classic ARP, Buchla, or Moogsynthesizer. Instead, you have the opportunity to create a highlypersonalized modular synthesizer that is more powerful, more stable,and less expensive than the highly sought-after—and oftentemperamental—vintage instruments going for record prices inonline auctions.

CREATING YOUR SYSTEM

You should ask yourself several questions before buying modules: Issynthesis or processing your greater interest? Do you want a huge rackof 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 DIYprojects?

If you want to create a basic monosynth that you can play from aMIDI controller, a selection of single-purpose modules will do. Aperformance instrument requires VCOs, VCFs, VCAs, and envelopegenerators (EGs). If effects processing is your interest, you may wantto configure a system around a variety of VCFs, ring modulators, andcomb filters, with perhaps a couple of LFOs and EGs thrown in for soundshaping.

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 overlong periods, multipurpose modules are often a more economicalmeans.

The modules from Synthesizers.com, for example, have the look andfeel of the classic Moogs, are single purpose, and do exactly what theysay — the Oscillator is a multiwaveform, voltage-controlledoscillator. On the other hand, modules from the Wiard SynthesizerCompany tend to have added features that the designer felt wouldmaximize their potential: Wiard's Waveform City module combines a VCO,a voltage-controlled digital oscillator (VCDO), a 2-stage envelopegenerator, a VCA, and extensive patching capabilities. As you maysuspect, a wide difference in price and performance exists between thetwo modules.

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

CHOOSING THE RIGHT SYNTH

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

A modular synth is a work in progress, and you can assemble one overtime to suit specific budgetary and musical needs. And you don't haveto stick with modules made by one manufacturer: all the modulesdescribed in this article play well together. The most difficult issuesare 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 hybridinstrument that will resist obsolescence.

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

MODULAR HEAVEN

This article will provide an overview of each company producinganalog synthesizer modules, whether full systems or single modules.Included are modular and semimodular instruments, synths that haveinternally normalized connections but allow for patchableinterconnectivity between important parameters.

This piece does not have space for details about every module fromeach manufacturer. Most companies have a complete listing of theirmodules on their Web sites, often with audio examples. For modules thatoffer multiple features, I will only describe the basicfunctionality.

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

Analogue Solutions

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

In the area of traditional synth modules, Analogue Solutions isquite strong. Its catalog features the VCO2 Dual VCO ($210), the VCO-RMring modulator ($103), EG02 Dual Envelope Generator ($125), and theLFO1 VCLFO ($165) that includes sample and hold and a noisegenerator.

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

In addition to the eight classic synthesizer modules, the Concussorseries includes 12 modules modeled after specific Roland drum-machinesounds. They include replicas of Roland TR-808, TR-909, and CR-78 bassand snare drums, and TR-808 toms, congas, claps, cowbells, hi-hats, andride cymbal. Each percussion module has plenty of controls for tweakingthe sound to more specific tastes and applications, including tuningcontrol, filter balance, and noise. The hi-hat, for example, lets youadjust the open and closed sounds in a natural, musical way.

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

Concussor modules have 3.5 mm jacks, and the percussion modulesinclude an additional front-panel ¼-inch audio output jack. Themodules are available in a variety of configurations. One in particularis the Mini System ($395), which combines two modules — VCO1 andSY02 — 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 monosynth 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 basicsynthesizer functions.

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

Analogue Solutions has a couple of sequencer options as well. TheGT8 ($115) is an 8-step dual-gate sequencer. The SQ8 ($115) is an8-step sequencer that can be controlled with CVs and gates. The newestis the Oberkorn ($750), a 16-step multichannel sequencer with abuilt-in MIDI-to-gate/trigger converter. With its complement ofsequencing, percussion, and standard synthesis modules, AnalogueSolutions has almost everything you need to create a self-containedmultipurpose synth system.

Analogue Systems

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

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

The RS80 VC-LFO ($119) includes sine, triangle, sawtooth, and squarewave 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-polelowpass, Moog-style transistor-ladder VCF with two audio inputs, two CVinputs, and manual controls for resonance and frequency cutoff. TheRS110 Multimode filter ($119) includes two audio inputs and individualhighpass, lowpass, bandpass, and notch outputs. The highpass andlowpass filters are 4-pole, and the bandpass and notch filters are2-pole. The RS110 also has resonance output and input jacks so you canintroduce external modules into the resonance circuit.

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

Analogue Systems sells custom-built cases for its modules. Forsmaller 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 anRS15 case, which holds two 84-HP rows of modules. Large configurationsinclude the RS8000 ($4,200), a full system of modules that fills fourrack panels in a wooden case. The RS8500X ($7,600) system fills fourdouble-width, 168-HP panels. These large systems include bidirectionaltrunk lines leading to ¼-inch jacks on the back panel, allowingyou to interface the system into your studio without having cablesrunning permanently from the front of the instrument.

Analogue Systems has recently introduced the Sorceror ($1,395), akeyboard controller housed in a walnut case with enough space for 168HP — worth of modules. The price above includes the 4-octavekeyboard, the RS-330 Keyboard Controller module with MIDI I/O, theRS-220 X-Y joystick controller, and a power supply for the modules. TheMIDI 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 usedfor this article included two VCOs, two LFOs, two EGs, two VCAs, amultimode filter, noise/sample and hold module, comb filter, an audiomixer, a CV mixer, and a pair of 5-way multiples. When put under MIDIcontrol using the Keyboard Controller module, the result is a powerfulsynthesizer that sounds fantastic. Any configuration of modules can beused in the Sorceror, including modules from Analogue Solutions andDoepfer.

Big Briar

Some purists will probably argue that Bob Moog's Big Briar doesn'tmake a true modular synthesizer system. However, with the release ofthe Moogerfooger CP-251 control-voltage processor ($299), Big Briar'sline of Moogerfooger products can be nicely configured into asynthesizer, albeit a somewhat limited one (see Fig. 3).

Indeed, the system lacks a dedicated oscillator if you don't countthe company's line of theremins. However, tone sources are availablefrom 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-103Phaser ($399), and the filter of the MF-101 Lowpass Filter ($299) whenset into resonance. The other module in the Moogerfooger line is theMF-104 Analog Delay ($595), which is limited to an edition of 1,000units.

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

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

Although they look like they should be used as floor-boundstompboxes, Moogerfooger effects interface nicely with other synths ona tabletop. Ergonomically speaking, patching the Moogerfooger effectstogether is cumbersome because the jacks are on the rear panel, facingaway from you. The good news is that once you have everything patched,the cables are well away from the control surface. The exception tothis is the CP-251, which has all of the jacks on the lower part of thefront panel, closer to the knobs. The ½U CP-251 can be rackmounted when the wooden side panels are removed. You can use a secondpower jack, located on the bottom panel of the unit, when the unit isin a rack.

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

Blacet Research

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

Although Blacet Research doesn't offer a dedicated, full-featureoscillator, the Dark Star Chaos module ($149/$129) is a multifunctiongenerator that includes a VCO with a 0 to 6 kHz range. The companysuggests that the oscillator not be used when accurate keyboardtracking is required.

The name of the module aptly describes its sound. With its noisemodulated square-wave VCO, you can easily set up nasty timbres thatshift with seemingly endless variation. The Dark Star Chaos moduleincludes a digital noise source, a lowpass noise filter, andpulse-width modulation. Each of these can be adjusted manually or putunder voltage control. The combined settings of the noise source andnoise filter knobs give the module its chaotic abilities. By settingthe knobs to the point where the noise begins to modify the VCO, youcan get randomized, rhythmic bubbling that gives you plenty of sound toprocess with the other modules.

A 2-stage EG, with a gate input and push-button trigger, resides atthe 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 theadded ability to change, or morph, the carrier signal in various ways,both manually and with a control voltage. The results are strangeeffects that go beyond the usual timbral ring modulation sounds. Themix control at the end of the signal path lets you balance theprocessed and unprocessed signals to your taste.

I had the most fun with the voltage-controlled analog delay, theTime Machine ($309/$229). It has an old-fashioned delay sound and theability to alter the delay characteristics in musically useful ways.The module gives you voltage and manual control over the delay time andthe amount of regenerative feedback. The Time Machine includes aninternal triangle-wave LFO as a modulation source. The rate and depthof the LFO are also manually and voltage controllable. As you wouldexpect, 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 singleaudio input, a lowpass/bandpass output, and a notch output. CV inputsare given for 1V/octave frequency control and Q. A self-triggeringenvelope generator that can be operated as a 2-stage EG or LFO fillsout the module's features. The Mixer Processor ($127/$99) lets you mixthree audio or voltage inputs and offers a phase control for each inputand DC bias control for the output mix. At the bottom of the module isa 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 PhilCirocco's Cirocco Music Systems because of its upgrade packages for ARP2600, Avatar, and other synthesizers. The CMS 9000 Series modularsynthesizer system is a line of 18 modules designed by Cirocco to meetthe highest audiophile standards.

CMS modules have normalized connections that can be broken with⅛-inch patch cords, and the internal signal path for each moduleis printed on the front panel. Among the modules offered are the 9001Precision VCO/4-Channel Mixer ($567), the 9002 Dual VCO ($699), the9000A VCLFO ($125), the 9008 Triple Envelope ($579), the 9010 VC phaseshifter ($699), and the 9027 VC Hex Rectifier/VC Balanced Mod. The 9004Highpass/Lowpass Filter ($631) uses a discrete Moog-style transistorladder design. The line also includes a sequencer ($935).

The 6U-tall modules are available individually and in threeconfigurations: 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 fromfilters, envelope generators, and MIDI-to-CV converters to more unusualitems such as the A-112 8-bit Sampler/Wavetable Oscillator ($195).Doepfer modules are well built but priced surprisingly low for Germanimports. Most of the modules offer the expected basic controlfunctions. However, they tend to be fairly narrow, allowing you to addmore 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-poleCurtis chip multimode filter; and the A-124 ($95), a 2-pole multimodefilter 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 TrautoniumFormant Filter ($160), and A-129/1 and A-129/2, the Modular VocoderSubsystem ($390).

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

To take full advantage of Doepfer's vocoder system, you will needslightly more than a rack space to hold all of the various vocoderoptions, 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 toreplicate the Mixtur-Trautonium, an instrument dating from the 1930sthat was designed by Dr. Freidrich Adolf Trautwein for composer OskarSala. The first module is the A-113 Subharmonic Generator, which letsyou create four subharmonics ranging from 1 to 24, from a square-waveaudio input. A series of subharmonics can be saved as a mixture, a termSala used to describe particular sonorities created with subharmonics.The module lets you switch between four different mixtures. You cansave a group of four mixtures as a preset, and save as many as 50presets.

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

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

Other notable Doepfer modules include the A-144 Morphing Controller($65); the A-126 Voltage Controlled Frequency Shifter ($226); the A-136Distortion Waveshaper ($95); the A-179 Light Controlled CV Source($95); and the A-178 Theremin Module ($95), which despite its name isnot a true heterodyning theremin but makes an interesting controllernonetheless.

The Doepfer A-100 system is an inexpensive means to building apowerful synthesizer. The sound quality is good and the module offeringis large and well-rounded, with options that are unavailable anywhereelse.

Electronic Music Studios (EMS)

The oldest, largely unchanged modular synthesizers currentlymanufactured are from EMS in England. The company's most popularinstruments — the Synthi VCS3 (Voltage Controlled Studio Version3) and the Synthi A — have been used by countless artists sincethe late ’60s. Both synths were renowned for their fine-soundingbut unstable oscillators, which made the synthesizers difficult to useas keyboard-driven instruments. EMS has addressed this issue: thelatest versions are built to the same specifications as the post-1971Mark II designs but with greater stability in the oscillators and withan added gate input. The company also provides an oscillatorstabilization upgrade for older systems.

The Synthi VCS3 and Synthi A are a collection of preconfiguredmodules that can be interconnected using a 16516, 256-hole pin matrixrather than patch cords. The good news is that this matrix gives yougreater patching flexibility, because each module has 16 input andoutput connection points. Imagine being able to stack up to 16 patchcords per input and output! But the matrix is not buffered, so slightvoltage changes occur each time you add a pin. The original pins werecolor coded — red, yellow, and white — to indicate thevalue of the resistors inside. All the new pins contain a 2.7 kresistor with a 1 percent tolerance.

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

The Synthi VCS3 and Synthi A have an impressive feature set: threeVCOs (one that can serve as an LFO), noise, a resonant 3-pole lowpassdiode VCF, an enhanced envelope generator, a spring reverb withvoltage-controlled mix, a ring modulator, stereo output VCAs, ajoystick, a trigger button, an AC/DC voltmeter, and a pair of internalspeakers. In addition, there are two ¼-inch line-level inputs, two¼-inch mic inputs, a headphone jack, and stereo outputs with EQ onthe back panel. It's easy to see why these synths have remained popularfor so long.

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

One interesting thing about EMS synthesizers is that theiroscillators use 0.32V/octave for control, rather than the commonV/octave or Hz/V standards. EMS suggests adjusting the input amplifierson the synthesizer and using a cable with a 100 k resistor to achieve a1V/octave tuning. Consider this if you plan to use these oscillatorsfor tonal music. Additionally, the VCF runs at 0.2V/octave.

For owners of EMS synthesizers, a host of modifications isavailable. These range from oscillator stabilization ($27 peroscillator) and 5-second envelope attack-time extension ($22) to anextra 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 tenmonths.

Encore Electronics

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

The module has Gate and Time Control Voltage (TCV) input, waveformOut, and Trigout jacks. The Gate input accepts pulse waves, squarewaves, 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 eachstage increase. The time values range from 1 ms to 8 seconds.

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

The Universal Event Generator has three operational modes. InOneshot mode, the module cycles through all eight stages when itreceives a trigger at the Gate input; in Looponly, the module willcycle within the loop points set with the Start and End toggleswitches. The Gated mode gives you additional parameters: Step,Release, and Finish Loop. In Step, the module cycles through the stageslike a step sequencer, and in Release the module cycles through thestages as long as a gate signal is present. As soon as the gatefinishes, the module will jump from wherever it is in the cycle tostage 8. In Finish Loop mode, the module will go through the remainingstages 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 theoutput into complex waveforms. For example, if you create a loop andcycle it quickly, you get an LFO. By changing the wave shape, you canmodify the LFO in unusual ways.

The Universal Event Generator is the first microprocessor-basedmodule developed for the Synthesis Technology MOTM system. And likeMOTM modules, the jacks on the Universal Event Generator are located atthe bottom of the panel, away from the switches and knobs. TheUniversal Event Generator includes a power cable and can be poweredfrom the same ±15 VDC power supply running the SynthesisTechnology modules. However, unlike the MOTM modules from SynthesisTechnology, the Universal Event Generator is not available in kitform.

Evenfall

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

The Mini Modular features 12 modules in a preconfigured arrangementwith normalized connections between the modules (see Fig. 8). Havingthe modules prepatched makes the Mini Modular exceptionally easy touse, especially with the built-in MIDI-to-CV interface. After unpackingthe synth and powering it up, I was making music with it immediately.The normalized connections and color scheme give the Mini Modular thefeel 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-waymultiples. That's a lot for a synth that is 3U tall and weighs a mere2.5 pounds. Because the Mini Modular is so light, it helps to rackmount the synth so it won't wander the desktop from the force offront-panel patching. To get that much power in such a little space,MacDonald uses ⅛-inch jacks and small, narrow knobs. Enough spaceis around the knobs to allow large fingers to work them, but they takegetting used to.

The Mini Modular has three rear-panel jacks: a MIDI input, a¼-inch output, and a DIN connector for the large Elpac wall-wartpower supply. I appreciate having the ¼-inch output on the backbecause it makes it easy to interface the Mini Modular with the rest ofmy studio. The rear-panel output is connected to the Attenuator module.If you patch directly from the Attenuator output on the front panel, itdisconnects the back-panel output. A nice feature is the front-panelpower switch, something many of the other synths in this article couldbenefit from.

With one exception, the module layout of the Mini Modular logicallyfollows the signal path through the instrument from left to right. Theexception is the location of the VCA 1 between the MIDI-to-CV moduleand VCO 1 rather than next to VCA 2 on the panel's right side, whereyou might expect it to be. As it turns out, the CV3 output of theMIDI-to-CV module is normalized to the CV input of VCA 1, and the audiooutput of VCA 1 is normalized to the FM inputs on both VCOs — soit makes sense that VCA 1 is in this location. Although it is a littlefarther away on the front panel, the output of LFO 1 is hardwired tothe input of VCA 1 as well.

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

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

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

The VCF is a 2-pole filter with separate bandpass and lowpassoutputs. The lowpass output is normalized to the waveshaper and VCA 2.The filter features two inputs with level controls, an FM input with alevel control, and an Aux FM input. When you're using the MIDI-to-CVconverter, the VCF's Keyb switch allows you to increase the cutofffrequency 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 ofthe instrument's handiest items are the 4-way multiples, which allowyou to take full advantage of the synth's control options. With thecombined FM and waveshaping possibilities, I created rich, bitingsounds that blended nicely with other synthesized textures.

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

Metasonix

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

Vacuum tubes are not put into these products for their marketingvalue. Each processor was designed around the interesting and oftenunpredictable properties that vacuum tubes present. For example, theTS-21 Hellfire Modulator ($749) includes a pair of tubes that havenever been used in audio products. When they are modulated, they allowyou to waveshape a signal to a greater degree than you can withtraditional analog synthesizers.

One of the first things you notice with these devices is theirresponse. You need to move the knobs slowly to hear the subtle changesthe sound is going through. If you move a knob too quickly, you maymiss a world of minute timbral shades. I found it best to move a knobslightly, wait for the tube to catch up, and proceed from there. Thefeedback and processing grows organically and often somewhatuncontrollably. Metasonix devices give you a chance to explore thesubtle instabilities within each system, a quality few othersynthesizers offer.

Each Metasonix product is hand wired and built into a heavy-duty 2Ucase, with a front-panel power switch and a center window that allowsyou view one of the tubes. All connections are made with ¼-inchjacks and plugs.

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

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

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

When used with a MIDI-to-CV converter, the PT-2 requires V/Hzconversion similar to certain classic Korg and Yamaha synths, ratherthan the more common V/octave conversion. Metasonix can add aMIDI-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 oscillatorsthat cross modulate each other in unpredictable ways. This module alsouses the V/Hz control standard.

The tubes in the Metasonix processors offer an amount ofunpredictability and timbral variety unavailable in solid-statesynthesizers. If you're looking for unusual sounds, Metasonix productsare worth investigating.

Modcan

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

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

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

The Modcan system features five filters. Both the 4-pole Highpass14A ($200) and 4-pole Lowpass 15A ($200) include a single audio inputand output, two CV inputs, a 1V/Octave input, and a CV input forcontrolling resonance. Lowpass Filter 02A ($190), based on the Moogtransistor-ladder design, has a single audio input and output, two CVinputs, and a 1V/Octave input, but resonance is not voltagecontrollable. Instead, a pair of attenuators resides at the bottom ofthe module.

Analog Synthesizer Reviews in EM

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

Morph/Peak and Trough 12A ($200) is a dual-function module. TheMorph section lets you combine two waveforms into a new shape. Each ofthe waveform inputs has a control voltage input for modulation. Thebottom portion of the module is the Peak and Trough processor, whichsums 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 settingdifferent 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. Thewaveforms are in two 32-waveform tables, each divided into four banks.The Bank Increment Input and Wave Increment Input employ triggersignals to step through the banks and waveforms, respectively. The 19Amodule requires a square wave to operate. The Sync Input accepts asquare-wave input, and gives you timbral variations as the pitch of theinput oscillator is changed.

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

Oakley Sound Systems. Based in the United Kingdom, Oakleyspecializes in kits developed by Tony Allgood. The line includes 12modules, enough to assemble a full system. The PCBs for the modules aredesigned for faceplates compatible with the Synthesis Technology MOTMsystem, so most modules are 5U tall and one to three spaces wide, with¼-inch jacks along the bottom.

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

The Oakley line includes the usual run of modules but with someinteresting features. The One-of-Three VCO ($37) gives you foursimultaneous waveform outputs — sine, triangle, sawtooth, andpulse. However, a front-panel toggle switch allows you to determinewhether the pulse wave is derived from the triangle or sawtooth wave.The VCO also includes separate exponential and linear FM inputs, apulse-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) includesthree audio inputs, single global controls for frequency and resonance,and an output for each rung of the transistor ladder. This finalfeature 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 adiode-ladder filter, similar to that in the Roland TB-303, with thesame PCB. The filter also features three audio inputs and two CV inputsin 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 outputthat sends out a randomized control voltage, 1-pole highpass andlowpass filters with inputs and outputs, and controls for the filterfrequency.

Other interesting modules include the Wavefolder ($51), a voltagecontrollable waveshaper to be used with voltage or audio signals as avoltage-controllable limiter that outputs the signal above thelimiter's threshold level; the ADSR/VCA ($31), a combination modulewith a 4-stage envelope generator and VCA that can be used together orindependently; and the midiDAC, a single-channel MIDI-to-CV converterwith three trigger types (+5V, +15V, and Moog-style S-trigger), as wellas 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 RolandTB-303 in mind.

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

Orgon Systems

Electronic musicians in Britain and Europe will remember Orgon'smonosynth, the Enigiser. Geoff Waterston, Orgon's chief designer, isnow offering individual preassembled modules and kits from his Website. 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 akit.

Orgon's modules have a simple, utilitarian design. For example, theVCO 1 has individual outputs for sine, triangle, square, and sawtoothwaveforms; linear and exponential FM inputs and controls; a pulse-widthmodulation input and control; and a sync input. The VCF 01 has twoaudio inputs; two CV inputs that control frequency cutoff; manualfrequency and resonance controls; and four audio outputs, one for eachfilter type (lowpass, highpass, bandpass, and notch).

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

PAiA

In the early ’70s, John Simonton's PAiA began selling theinexpensive synthesizer kits that spawned a generation of DIY synthhackers. Today PAiA still sells kits, including a number of synthmodules that fit into its Fractional Rack (FracRak) 3U mounting system.An important addition to the FracRak system is the Power Wing Accessorypackage ($18.50), which allows you to mount the PAiA power supply ontothe 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 loseyour place as you work. At the end of each manual is a description ofthe modules' various functions and a useful design analysis. PAiA'skits do not include jacks or panels, but each kit has a matchedaccessory package that includes the additional hardware required tobuild a complete module. The prices quoted below include the kit andaccessory 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 ofindependent VCOs and a modulator with a 2-stage envelope generator andself-triggering function. VCO A has four waveforms, a built-in lagprocessor, and a soft-sync input. VCO B has three waveforms, apulse-width control, and an FM input.

Module 9730, the Dual VCF with Modulator ($96.25), includes a pairof independent 2-pole filters with individual highpass, bandpass, andlowpass outputs. You can also connect the filters to create a single4-pole filter. Again, the modulator is a 2-stage envelope generatorwith trigger and gate inputs. The gate input allows you to expand theEG to three stages. When the AR/Cycle switch is in the Cycle position,an LFO with independently adjustable rise and fall times isaccessible.

Modular System Overview

Similarly, the 9710 VCA/Mixer/Noise Source ($89.50) combines a pair ofVCAs, a voltage controlled submixer, a noise source, an envelopegenerator, 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, andeight CV outputs.

The 9700S Package ($425) comprises the entire series of modules. Thekit includes the midi2cv8, 9710, 9720, and 9730 with all the panels andhardware, 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 theearly ’70s. The Serge system features an impressive 65 modulesthat give you the maximum amount of control parameters in the smallestamount of space. Most parameters in a module are voltage controllable,and often the voltage can be scaled in either a positive or negativedirection.

Serge modules use banana connectors, allowing you to combinevoltages by stacking plugs. You can put as many as four controlvoltages together and still have linear headroom. To interface yourSerge system with other instruments, an adapter panel ($85) with¼-inch, ⅛-inch, and RCA jacks is available.

A number of improvements have been made to the system since RexProbe and Sound Transform Systems (STS) began manufacturing anddistributing Serge products in 1993. STS has added audiophile-qualitycomponents to Tcherepnin's original circuit designs and developed newmodules to fill out the line. The upgrade in components has created asystem of great stability and precision, with complete phase coherencythroughout.

A couple of modules in the product line stand out. The New TimbralOscillator ($385), for example, has a voltage-controllable frequencyrange of 0.1 Hz to 200 kHz; three waveform outputs (sine, triangle, andsawtooth); and a voltage-controllable wave shape that ranges fromsawtooth wave, through sine and pulse, to square wave. The Variable QVCF ($300) has independent outputs for highpass, lowpass, bandpass, andnotch filters; trigger and 1V/octave inputs; and independent voltagecontrolled 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 voltagecontrollable. There are also trigger and gate inputs and a switch foradding exponential slopes to various parts of the envelope.

The modules in a Serge system are built into 4U, 7-inch-tallrack-mountable panels. You can design your own panel by choosing fromthe list of individual modules. STS then builds the modules into thepanel 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) aresound-generating panels. For signal processing, STS designed the SoupKitchen ($3,490) and Soup 2 ($2,820) panels. Real-time control panelsinclude the Sequencer ($575), and the Touch-Keyboard Sequencer($1,450). Fun Stations ($7,550), complete systems of threepreconfigured panels in a portable SKB case, are also available in Blueand Red varieties (see Fig. 12).

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

The line's newest panel, the Animal ($2,850), fits into the soundgeneration category and resembles the Blue Voice. The Animal includes aNew Timbral Oscillator, a Precision VCO, a Variable Q VCF, WaveMultipliers, 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 16pressure-sensitive touch plates and four rows of 16 voltage-programmingknobs. You have the option of clocking through the rows horizontallylike with a traditional step sequencer (for a 64-stage sequence) orclocking vertically. Each way of clocking has its own output system.You can run the sequencer forward or backward or alter the sequence'slength by touching the pads. The Serge system also includes fivemultistage sequencer programmers and an 8×2 step sequencer($575).

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

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

With a simple layout, large knobs, and ¼-inch jacks, MOTMmodules resemble Moog modules (see Fig. 13). However, the modules aredesigned for high performance and ultra stability. The MOTM-320 VoltageControlled LFO ($229/$149) has four discreet waveshape outputs and a CVinput that alters these waveforms. The frequency range is fromapproximately 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 Website includes building tips for people new to DIY.

Besides the MOTM-320, the MOTM system has 13 additional modules: theMOTM-300 Ultra VCO ($349/$259); MOTM-120 Sub-Octave Multiplexer($199/$139); MOTM-110 VCA/Ring Modulator ($199/$139); MOTM-101Noise/Sample and Hold ($175/$125); MOTM-410 Triple Resonant Filter($279/$199); MOTM-420 Voltage-Controlled Filter ($229/$169); MOTM-440Voltage-Controlled Lowpass Filter ($269/$199); MOTM-700 DualVoltage-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 theMOTM-130 Dual Pan/Fade VCA ($269/$199). For an in-depth review of theMOTM system, see the March 2001 issue of EM.

Synthesizers.com. Roger Arrick's Synthesizers.com offers a full lineof basic modules that have a design aesthetic based on the originalMoog modular. Each module offers the traditional control functions. TheQ106 Oscillator ($170) features a stepped 6-position octave-selectionknob; tuning control; individual linear and exponential frequencycontrols; a hard-sync input; and five individual waveform outputs(sine, triangle, ramp, sawtooth, and square). The Q107 State VariableFilter ($110) has two audio inputs, 2-pole highpass and lowpassoutputs, and 1-pole bandpass and notch outputs. Frequency cutoff andresonance are voltage controllable.

The list of modules includes the Q119 Sequential Controller 24-stagesequencer ($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-CVconverter and 8-note polyphonic MIDI output. The keyboard has fouroperation modes: it can be used in two different split configurationsor 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-spaceportable vinyl-covered cabinet ($200). A Keyboard Garage ($200) forstoring your keyboard under one of the studio cabinets is alsoavailable.

Synthetic Music Systems (SMS)

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

The MARS has front-panel VCO controls for tuning and for choosingthe modulation type and waveform shape. The VCF is a 4-pole lowpasstransistor ladder with a front-panel control for input level, cutofffrequency, resonance amount, modulation amount and waveform type, andenvelope. The VCA gives you control of the level and the amount oflinear or exponential control. The VCLFO has a rate control.

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

The obvious drawback of MARS is the placement of the patch points onthe rear panel, which doesn't lend itself to quick experimentationthrough patching. However, SMS offers the Planet 7 expander ($400),which not only brings the patch points to the front panel but offersadditional features. These include a ring modulator, lag processor,sample and hold, noise, a DC shifter, four attenuator/inverters, and amixer. Planet 7 has enough rear-panel and front-panel patch points fortwo 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 modularsystem. EM has covered most of the compact Small Monster products (seethe sidebar “Analog Synthesizer Reviews in EM”), so I willconcentrate 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 thissurvey. Uniquely, the modules are divided in two. The upper halfcontains the knobs and switches, and the lower portion sports a¼-inch patch bay connected with a multipin cable. This systemhelps keep the patch cables out of the knobs' way if you have a singlecabinet. In customized cabinets the patch bay can be located whereveris most convenient. I used a pair of System B cabinets for thisarticle. Rather than stack the cabinets, I set them side by side sothat the cables hung over the side of the table.

The Selector system comes with an external power supply thatconnects 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-chaintwo System B cabinets to a single power supply.

A special feature of Selector modules is the inclusion of a widevariety of control inputs. For example, the VCO ($280) includes a hardsync input, a CV input, two pulse-width modulation inputs, and threeFM-inputs. With this many inputs, you can set up complexcross-modulating patches fairly quickly.

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

The basic System B ($3,000) configuration (see Fig. 15) includesthree VCOs, VCF2 ($280), Dual Envelope Generator ($280), LFO/Noise($205), and Control MIDI ($478) MIDI-to-CV converter. Other System Bconfigurations include the Stereo Filter Bank ($3,050) and StereoFilter 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 a1-pole bandpass or notch filter. Besides the requisite cutoff frequencyand resonance controls, the VCF2 is unique in that it has an envelopeinput, three FM inputs with individual level controls, and tworesonance modulation inputs with individual level controls. The VCF2 isa great-sounding filter that you can modulate in extreme ways.

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

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

The Dual Envelope Generator is notable for its fast 70 μsattack time. The module can be used in either a 5-stage (DADSR) or2-stage (AD) mode. Each EG has a positive and negative envelopeoutput.

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

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

Wiard Synthesizer Company. Grant Richter considers his Wiard system“a sonic amusement park.” Each of the multifunctionalmodules is designed to be a standalone processor and to give you themost control options possible within the space of a 10.5-by-2.83-inchpanel. 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 andinformative manual to the elaborate front-panel decoration (see Fig.16). Each Wiard module has more features than I can describe withinthis article's constraints. The following descriptions merely scratchthe surface of these features. Please refer to the Wiard Web site for amore detailed look at each module.

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

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

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

The Classic VCO ($399) includes four waveform outputs, arandom-voltage output, a pulse-width modulation input, two FM inputs(one with an attenuator), a linear FM input (with attenuator), a2-stage (AR) envelope generator/lag processor, a 2-input VCA, and a4-way jack multiple.

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

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

The newest Wiard module is the Borg Filter ($399), which combines apair of 2-pole filters based on the characteristics of the Buchla Model292 lowpass gate and Korg MS-20 highpass and lowpass filters. The Borgalso includes a pair of independent LFOs. The filters can be usedseparately or together to form an interesting 4-pole filter. Like manyBuchla modules, the Borg filter employs vactrols in the circuit design,which results in a slewed response that gives the filter more of anacoustic sound.

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

The Wiard modular provides a powerful sound generator and processorin 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 ananalog modular synthesizer. Remarkably, the price of a modular systemhas remained relatively low compared with the cost of the firstgeneration modules. And after four decades, the designs and materialshave 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 analogmodular synthesizer offers you levels of sound exploration that haveyet to be modeled.

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

SIZE AND SHAPE

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

Most of the modules in this article conform to the internationalrack standard in height and width. The standard horizontal rack widthis 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 arack space effectively.

There are several standards when it comes to module height. Onevertical rack unit (U) is 1.75 inches. Original Moog modules were astandard height of 8.75 inches or 5U. The modules from EncoreElectronics, Oakley, Synthesis Technology, and Synthesizers.com fitthat profile. PAiA's Fractional Rack (FracRak) system is 5.25 inches or3U tall. Modules from PAiA and Blacet Research fit thatconfiguration.

The Euro subrack standard is also 3U tall, but the mounting railsare somewhat different. Modules from Analogue Solutions, AnalogueSystems, and Doepfer fit that standard. In the Euro subrack, the19-inch width is divided into smaller units known as HP (horizontalpitch) or TE (from the German for “parts per measure”).Each HP/TE unit is 5.08 mm, or 0.2 inches. Modules come in sizesranging 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 a3U rack, note that the position of the screws on the front panel of themodules may differ slightly from company to company. That is especiallytrue 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 amodule you want to add to your rack, share them with the manufacturerof the modules you are purchasing. They will give you advice on how tomount the module and power it up. It is in the company's best interestto make you a satisfied customer, because they know that you will beback for more once you get a taste of modular synthesis.

CONTACT SHEET

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

Analogue Systems/Enport (distributor) tel. (402) 398-0198, e-mail enport@home.com, Webwww.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-mailenport@home.com,Web www.smssynthesizers.freehosting.net

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

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