543:, is a family of compound module types that may be a source or a processor. As a source, depending upon the configuration, it may produce a sequence of voltages, usually set by adjusting values on front panel knobs. The sequencer may also output a trigger, or gate, at each step. Sequencers are stepped by a trigger being applied to the trigger input. Designs may allow for stepping forwards or backwards, oscillating patterns, random order, or only using a limited number of steps. An example of an analog sequencer and controller with this level of complexity is the Doepfer A-154, A-155 combination.
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533:(attack, decay, sustain, release) it provides a control voltage that rises and falls. Usually it controls the amplitude of a VCA or the cutoff frequency of a VCF, but the patchable structure of the synthesizer makes it possible to use the envelope generator to modulate other parameters such as the frequency or pulse width of the VCO. Simpler EGs (AD or AR) or more complex (DADSR—delay, attack, decay, sustain, release) are sometimes available.
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exponential frequency modulation, and variable waveshape; the voltage-controlled filter (VCF) that may have both resonance and bandwidth controls; and the envelope generator which may provide outputs at each stage of the process. Examples of more complex modules include the frequency shifter, sequencer, and vocoder.
421:
is that an effects unit will have connections for input and output of the audio signal and knobs or switches for users to control various parameters of the device (for example, the modulation rate for a chorus effect) while a synthesizer module may have connections for input and output, but will also
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Two 3U unit standards, in particular, are notable: Frac Rack (e.g., PAiA), which uses the entire 3U for the front panel, and
Eurorack (e.g., Doepfer) which has a 2 mm horizontal lip that the front panels are seated between. Further minor variations exist where European or Japanese manufacturers
726:
Many early synthesizer modules had height in integer inches: 11" (e.g., Roland 700), 10" (e.g., Wavemakers), 9" (e.g., Aries), 8" (e.g., ARP 2500), 7" (e.g., Polyfusion, Buchla, Serge), 6" (e.g., Emu) and width in 1/4" inch multiples. More recently it has become more popular to follow the standard
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Hardware offerings range from complete systems in cases to kits for hobbyists. Many manufacturers augment their range with products based on recent re-designs of classic modules; often both the original and subsequent reworked designs are available free on the
Internet, the original patents having
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are typically not separable and may physically be parts of a contiguous circuit board. However, the manufacturer provides mechanisms to allow the user to connect modules in different orders and often to connect external components or modules (chosen and supplied by the user) between those of the
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Modular synthesizers may be bulky and expensive. There are some standards that manufacturers follow for their range of physical synthesizers, such as 1 V/octave control voltages, and gate and trigger thresholds providing general compatibility; however, connecting synthesizers from different
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patch leads; in the main power supply, which is most often ±12 V or ±15 V, but can range from 2.5±2.5 V to 0±18 V for different manufacturers or systems; in the trigger or gate voltages (Moog S-trigger or positive gate), with typical audio signal levels (often ±5 V with
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There exist many different types of modules. Modules with the same basic functions may have different inputs, outputs and controls, depending on their degree of complexity. Some examples include the voltage-controlled oscillator (VCO), which may have options for sync (hard or soft), linear or
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A modular synthesizer has a case or frame into which arbitrary modules can be fitted; modules are usually connected together using patch cords and a system may include modules from different sources, as long as it fits the form factors of the case and uses the same electrical specifications.
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Computers have grown so powerful that software programs can realistically model the signals, sounds, and patchability of modular synthesizers. While potentially lacking the physical presence of desirable analog sound generation, real voltage manipulation, knobs, sliders, cables, and
390:. By the 1990s, modular synthesizers had fallen out of favor compared to cheaper, smaller digital and software synthesizers. However, there continued to be a community who chose the physically patched approach, the flexibility and the sound of traditional modular systems.
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may or may not be voltage-controlled. It may be operated with a period anywhere from a fortieth of a second to several minutes. It is generally used as a control voltage for another module. For example, modulating a VCO will produce a frequency modulation perceived as
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and interest, decreased production costs and increased electronic reliability and stability, the rediscovered ability of modules to control things other than sound, and a generally heightened education through the development of virtual synthesis systems such as
627:, is usually used as a control-voltage processor. Depending upon the design, usually an ascending edge (trigger), captures the value of the voltage at the input, and outputs this voltage until the trigger input reads another voltage and repeats the process.
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which are organized as interconnectable modules. Many of these are virtual analog synthesizers, where the modules simulate hardware functionality. Some of them are also virtual modular systems, which simulate real historical modular synthesizers.
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A semi-modular synthesizer on the other hand is a collection of modules from a single manufacturer that makes a cohesive product, an instrument. Modules may not be swapped out and usually a typical configuration has been pre-wired. The
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round a U measurement up or down to some closer convenient metric equivalent; for example, the common 5U modules are exactly 8.75 inches (222.25 mm), but non-American manufacturers may prefer 220 or 230 mm.
491:(most usually a square wave or a sawtooth wave, but also includes pulse, triangle and sine waves), however these can be dynamically changed through such controls as sync, frequency modulation, and self-modulation.
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believed modular synthesizers could still be useful for creating unique sounds, and created a new, smaller modular system, the
Doepfer A-100. This led to a new standard for modular systems,
633:, (see also above), as a processor, may have a signal input into each step, (location or stage), which is output, when stepped to. An example of this type of sequencer is the Doepfer A-155.
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Custom control inputs - It is possible to connect any kind of voltage to a modular synthesizer as long as it remains in the usable voltage range of the instrument, usually -15V to +15V.
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The different modules of a semi-modular synthesizer are wired together into a typical configuration, but can be re-wired by the user using patch cords. Some examples are the
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Since the late 1990s, there has been a resurgence in the popularity of analog synthesizers aided by physical standardization practices, an increase in available
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In most analog modular systems the frequency is exponentially related to the control voltage (such as 1 volt/octave or 1.2 volts/octave), sometimes called
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Some VCFs can also be configured to provide band-reject (notch), whereby the high and low frequencies remain while the middle frequencies are attenuated.
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Reconfigurable systems allow certain signals to be routed through modules in different orders without the use of patch cords. Examples include the
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because the human ear perceives frequencies in a logarithmic fashion, with each octave having the same perceptual size. Some synthesizers (such as
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is a transient voltage source. A trigger control signal applied to an envelope generator produces a single, shaped voltage. Often configured as
887:, software modular synthesizers offer the infinite variations and visual patching at a more affordable price and in a compact form factor.
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In the late 1970s, modular synthesizers started to be largely supplanted in pop music by highly integrated keyboard synthesizers, racks of
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to respond to the control voltage, which also filters the sound, allowing more high-frequency information through at higher amplification.
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to include digitally programmable matrices in their analog or virtual analog synthesizers. Many fully digital synthesizers, like the
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760:±5 V headroom); and with control voltages of volts/octave, typically 1 V/octave, but in some cases 1.2 V/octave.
591:- Two audio inputs are utilized to create sum and difference frequencies while suppressing the original signals. Also called an
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Modules can usually be categorized as either sources or processors. Standard modules found in a modular synthesizer are:
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Hybrid synthesizers use hardware and software in combination to realize patches. Examples include the
Arturia Origin by
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have connections so that the device's parameters can be further controlled by other modules (for example, to connect a
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of a signal in response to an applied control voltage. The response curve may be linear or exponential. Also called a
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composed of separate modules for different functions. The modules can be connected together by the user to create a
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lapsed. Many hobbyist designers also make available bare PCB boards and front panels for sale to other hobbyists.
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The basic modular functions are: signal, control, logic/timing. Typically, inputs and outputs are an electric
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1252:." eContact! 17.4 ‹ Analogue and Modular Synthesis: Resurgence and evolution (February 2016). Montréal:
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Due to the continuously variable nature of knobs and sliders, reproducing an exact patch can be difficult.
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LPG - Low-pass gate, is a compound module, similar to a VCA combined with a VCF. The circuit uses a
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was the first synthesizer to use a fixed switch matrix. The pin matrix was made popular in the
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Other differences are in the plugs used, which can match 1/4-inch (6.3 mm) or 3.5 mm
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Matrix systems use pin matrices or other crosspoint switches rather than patch cords. The
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The clean logical layout of these matrices has inspired a number of manufacturers like
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Website dedicated to tutorials, news, performances and more using modular systems
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and Clavia Nord
Modular G2 (these need an external computer to edit patches) and
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Noise source - Common types of noise offered by modular synthesizers include
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system: 6U (Wiard), 5U (8.75" e.g., Moog/Modcan), 4U (e.g., Serge), 3U (
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1114:"Eight of the most important modular synthesizers in music history"
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616:. When used in a control voltage path to an oscillator, produces a
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A Generalized
Introduction to Modular Analogue Synthesis Concepts
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manufacturers may require cables with different kinds of plugs.
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The first modular synthesizer was developed by German engineer
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The difference between a synthesizer module and a stand-alone
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Generalized
Introduction to Modular Analog Synthesis Concepts
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Analog Days: The
Invention and Impact of the Moog Synthesizer
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in the late 1950s. The 1960s saw the introduction of the
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Resource for vintage synthesizer information and images
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1225:"Robert Moog, Creator of Music Synthesizer, Dies at 71"
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Modern manufacturers of modular hardware synthesizers
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Network of modular synth manufacturers and producers
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for logic or timing conditions. Typical modules are
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165:. Unsourced material may be challenged and removed.
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1141:"This is the early history of the synthesizer"
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970:, make use of the logic and nomenclature of a
465:and Roland, were developing Eurorack modules.
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1335:Article on modular analog synthesis concepts
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461:; as of 2017, over 100 companies, including
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292:. The outputs from the modules may include
66:Learn how and when to remove these messages
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786:There are also software synthesizers for
243:Learn how and when to remove this message
225:Learn how and when to remove this message
123:Learn how and when to remove this message
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27:Synthesizer composed of separate modules
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898:may be combined in a modular fashion.
338:Buchla Modular Electronic Music System
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1311:Information on classic modular synths
1194:Pinch, Trevor; Trocco, Frank (2004).
1010:Electronically reconfigurable systems
659:Buchla Electronic Musical Instruments
1352:Modular Synthesizer Comparison Chart
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914:, a compact semi-modular synthesiser
609:a voltage output to multiple inputs.
602:Mixer - A module that adds voltages.
426:module to the modulation input of a
163:adding citations to reliable sources
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1321:Modular Analog Synthesizers Return!
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677:(formerly Big Briar, formerly Moog)
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661:(formerly Buchla & Associates)
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430:module to get the chorus effect.)
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277:with a modular synthesizer in 1982
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1323:Article about new modular systems
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47:This article has multiple issues.
1223:Kozinn, Allan (23 August 2005).
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36:
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402:, MAX/MSP, Pd and Reaktor etc.
150:needs additional citations for
55:or discuss these issues on the
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990:/ MS-20 / PS-3100 / PS-3200 /
878:Wren for Windows (open-source)
306:voltage-controlled oscillators
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1309:120 years of Electronic Music
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955:and its descendants like the
782:Modular software synthesizers
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485:Voltage-controlled oscillator
314:voltage-controlled amplifiers
567:Voltage-controlled amplifier
7:
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1026:Hybrid modular synthesizers
612:Slew limiter - A sub-audio
103:the claims made and adding
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1139:Lee, Sammy (3 July 2018).
823:CreamwareAudio Modular III
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310:voltage-controlled filters
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1457:
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1346:Mechanical specifications
1281:"DIY Info for AE modular"
1267:"Technical Details A-100"
902:Semi-modular synthesizers
556:Voltage-controlled filter
371:in 1975, followed by the
1294:Wren modular synthesizer
1200:Harvard University Press
1072:
1034:(fully self-contained),
717:Technical specifications
511:low-frequency oscillator
424:low-frequency oscillator
18:Semi-modular synthesizer
1171:Oxford University Press
696:Sound Transform Systems
665:Doepfer Musikelektronik
582:resistive opto-isolator
575:two-quadrant multiplier
978:Patch override systems
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363:The Japanese company
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174:"Modular synthesizer"
1584:Modular synthesizers
1485:Instrument amplifier
1357:Modular Form Factors
1022:, and Moog Voyager.
994:, Mungo State Zero,
681:Synthesis Technology
282:Modular synthesizers
262:(c. 1972 to c. 1981)
159:improve this article
1377:Doepfer Eurorack 3U
1165:Vail, Mark (2014).
1120:. 21 September 2017
1036:Clavia Nord Modular
318:envelope generators
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701:Studio Electronics
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1458:52. Amplification
1367:Synthesis MOTM 5U
1209:978-0-674-01617-0
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686:PAiA Electronics
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453:German engineer
375:in 1976 and the
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334:Moog synthesizer
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1020:Rhodes Chroma
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1000:Volca Modular
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504:low frequency
501:
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447:Doepfer A-100
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294:audio signals
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271:Steve Porcaro
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176: –
175:
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170:Find sources:
164:
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148:This article
146:
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86:This article
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34:
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30:
19:
1553:Telharmonium
1545:
1507:("feedback")
1372:PAiA FracRak
1289:
1275:
1261:
1244:
1232:. Retrieved
1228:
1218:
1195:
1189:
1166:
1160:
1148:. Retrieved
1144:
1134:
1122:. Retrieved
1117:
1081:
1062:Sound module
1029:
1013:
981:
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946:
928:instrument.
924:
921:
917:
890:The popular
889:
881:
785:
777:
764:
762:
753:banana jacks
746:
737:
725:
722:Form factors
711:Synton Fenix
652:
649:Latest FĂ©nix
547:
546:
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475:
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436:
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419:effects unit
416:
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286:synthesizers
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181:
169:
157:Please help
152:verification
149:
119:
113:January 2015
110:
87:
63:
56:
50:
49:Please help
46:
29:
1541:Synthesizer
1465:Bass guitar
605:Multiple -
377:System 100m
358:patch cords
330:Harald Bode
1563:Trautonium
1442:51. Action
1234:3 December
1150:2 November
1093:References
1040:Audiocubes
988:Korg MS-10
968:Alesis Ion
941:EMS Synthi
814:(The Grid)
796:AudioMulch
769:Korg MS-20
757:breadboard
743:Electrical
675:Moog Music
623:S&H -
618:portamento
548:Processors
395:retro gear
373:System 700
354:sequencers
185:newspapers
97:improve it
52:improve it
953:EMS VCS-3
854:Pure Data
803:Modular V
729:rack unit
631:Sequencer
571:amplitude
560:frequency
537:Sequencer
509:LFO - A
489:waveforms
379:in 1979.
342:envelopes
296:, analog
215:June 2020
101:verifying
58:talk page
1578:Category
1558:Theremin
1052:Chiptune
1046:See also
984:ARP 2600
949:ARP 2500
874:VCV Rack
845:Model 15
773:ETI 4600
733:Eurorack
525:EG - An
459:Eurorack
400:VCV Rack
388:samplers
336:and the
1546:Modular
1032:Arturia
998:, Korg
992:PS-3300
964:Arturia
925:modules
859:Reaktor
833:Doepfer
801:Arturia
620:effect.
607:Fan out
520:tremolo
516:vibrato
477:Sources
412:voltage
350:filters
324:History
260:Moog 55
199:scholar
95:Please
1526:Buchla
1480:Pickup
1206:
1177:
1124:31 May
892:plugin
864:SunVox
838:MaxMSP
828:Csound
807:Bidule
765:linear
565:VCA -
554:VCF -
506:noise.
502:, and
483:VCO –
365:Roland
352:, and
201:
194:
187:
180:
172:
1073:Notes
818:ChucK
755:, or
669:A-100
587:RM -
496:white
428:delay
300:, or
290:patch
206:JSTOR
192:books
1531:Moog
1434:list
1236:2018
1204:ISBN
1175:ISBN
1152:2019
1126:2020
1018:and
1002:and
910:The
885:LEDs
849:Kyma
843:Moog
727:19"
531:ADSR
500:pink
463:Moog
384:MIDI
316:and
284:are
275:Toto
178:news
1432:) (
1254:CEC
896:VST
735:).
595:or
539:or
273:of
161:by
99:by
1580::
1423:5.
1227:.
1202:.
1198:.
1173:.
1169:.
1143:.
1116:.
1101:^
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203:·
196:·
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120:(
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64:(
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