Random Video: Chaotic Modular Techno by Leafcutter John

Here's another nice one, by Leafcutter John, who has been uploading a lot of interesting Eurorack videos lately...

Video: Chaotic modular techno

" Playing with a chaotic patch built around the doepfer 'chaos patch' found here http://www.doepfer.de/a100_man/a100_p..."

Uploaded by Leafcutter John

Random Video: Modular 0001 by Unun Septium

I'm glad that more and more people upload their Eurorack videos to YouTube.

This next one (and his first modular video) is made by Unun Septium (from Ununseptium Warehouse), and it shows a quite interesting 17½ minute long live patching experience with pretty basic modules...
Find more info about this patch HERE

Video: Modular 0001 by Unun Septium

" Never did get around to posting a modular video, so here goes.

Knob twiddling tedium for none anoraks. 

This is pretty basic stuff, just an attempt to make some rhythmic noise using only the Doepfer with no external triggers."

Uploaded by Unun Septium

Modular Synthesizer: Cross Modulation & Feedback Patch Doepfer A-100 by Inbetweenmovements

This popped up on YouTube yesterday...

A somewhat weird-sounding demonstration of cross modulation and feedback, but still interesting enough to post here...

Video: Modular Synthesizer: Cross Modulation & Feedback Patch Doepfer A-100

" Thought it would be nice to share with you this patch!"

Uploaded by inbetweenmovements

Drone Patch (Modular Synesthesis Tutorial in 2 Parts) by 4LUNDIN

This interesting set of 2 videos was uploaded to YouTube a few months ago but did not catch my attention until now.
The first part explains how the drone sound in the is made, the second one is just the patch...

Video: Drone patch (modular synesthesis tutorial, pt. 1/2, the Patch)

" Demonstrating a quick drone patch. I'm sick, so don't expect anything very pedagogical. Those into modular synthesis would get a clue anyway. Perhaps I was a bit more absentminded than usual. Please note the weird English accent!
After this video was shot, I recorded a track using the patch of this video, that you may hear what it sounds like in high quality. See pt. 2/2"

Video 2: Drone patch (modular synesthesis tutorial, pt. 2/2, the music)

" The music of this video is recorded using the patch drawn up in the video "Drone patch (modular synesthesis tutorial) (pt. 1, the patch)" ( http://www.youtube.com/edit?ns=1&... )
As for the video to the music of this one. Well, it doesn't suit the soundscape at all, but you gotta nuke something. Ignore it and listen!
All sounds comes from the modular. No multitracking. Additional fx from the Octatrack and mx200 (two of them). Mixed in Cubase. That's it, فقط. "

Uploaded by 4LUNDIN

My Main Live Configuration

An interesting topic popped up on the A-100 Facebook Group recently;
" How do you guys trigger your analogue synths sounds on live gigs? "
I do change my setup from time to time, but i do have some kind of basic setup for my live-sets and jams.
I have a total of 5 VCO's in my A-100 system, and i try hard to get the most out of it every time i play.

 Elektron SPS-1 Machinedrum

At the heart of my setup there is a drum-section, consisting of a Roland R-8 and an Elektron SPS-1 Machinedrum. The Electron is a perfect machine with plenty of  electronic drum sounds, i use the R-8 for the more 'organic' drumsounds.

MSY-2 MIDI-to-SYNC Converter

Synchronizing over MIDI is controlled by the R-8, through the Machinedrum and through a Doepfer MSY-2 MIDI-to-SYNC converter straight into the MAQ 16/3 Sequencer.
The MSY-2 is used to keep my TB-303 basslines in sync with the rest.
I also use the CV and Gate outputs from the TB, i get back on this later.

The MAQ 16/3 is Doepfer's MIDI Analog Sequencer.
It has 3 sequencer rows of 16 steps with Gate and CV outputs, i mainly use the top 2 rows for programming loops and basslines. From the MAQ 16/3 it all turns analog and goes right into my A-100 system.

MAQ 16/3 main controls

Row 1: main row, usually a 16 step pattern;
The  first row's CV goes through an A-180 multiple into two separate A-110 VCO's (with sometimes a slight de-tuning involved )
I often turn one of the VCO's 3 or 4 octaves up and send one of its output waves through an A-115 Audio Divider to add some extra (sub) bass.
These layers all mixed together with an A-138 mixer can be send from here to any other kind of filter or effect module, ending in an A-130 VCA somewhere.
The first row's Gate signal goes into input 1 of my A-143-2 Quad ADSR, that contains 4 independent ADSR-type envelope generators.
Gate input 1 is automatically connected to the switching contacts of the Gate input sockets 2, so from that single input i can retrieve 2 different envelopes.
One of them is sent to a VCA, the other one often goes to a CV 2 input of one of my filters.
That is basically my first (sequenced) A-100 Audio-source #1.

Row 2: Usually 6, but sometimes even 3, 8 or 12 steps long;
The CV signal from the MAQ's second row goes straight into my third VCO.
One or multiple waveforms can be sent from there and used for various different purposes, filters etc... coming together in A-130 VCA nr 2
Gate 2 goes into the third input channel of the Quad ADSR, i split up this with another multiple so i have 4 identical envelopes for use in the rest of my system. One of them goes to VCA nr. 2
So that's my second (sequenced) A-100 Audio-source #2.

VCO 4 is controlled by the CV coming from my (synced) TB-303.
The 303's gate signal triggers an ADSR for another A-130 VCA envelope.
I can send this audio-signal through all sorts of modules, resulting in A-100 audio-source #3

My 5th VCO ( and my only A-111 High End VCO ) is used for my solo's.
With an A-182-1 Switched Multiples i can easily switch between my MIDI masterkeyboard or my A-198 Ribbon Controller.
More info on this in detail HERE.
The Ribbon Controller CV goes into my A-156 Quantizer and an A-170 Slew Limiter for easier playing and a nice glide effect, as blogged HERE.
The Gate signal from my MAQ's row 3 (max. 16 steps or pauses) is sent to the 4th input of the Quad ADSR.
I like using this programmed (almost arpeggio-like) envelope to open a filter or amplifier with this, watch the video to see what i mean by that.
I have plenty options to do whatever i want with the wave-forms from this 5th VCO, but I like to keep the sawtooth wave for the A-129 Vocoder.
I guess that makes up audiosources #4 (vocoder) and #5 ( the VCO ) then...

What i did not mention here are the various other mixers and multiples used, the added noise, filters and LFO etcetera, but i hope you understand this is just the basic configuration of my A-100.

Video: Just me... and the Music take 1, an older jam by myself (from YouTube)


" Live Electronic Jam by NetPierre.NL feat. Doepfer A100 + Ribbon Controller, TB303, Machinedrum and effects, no post-production, and sadly no compession ) "

Saving Patches

One of the downsides of a modular synthesizer is the lack of memory banks.
There are times when you have finally found that perfect sound, but need some modules for other patches...
A good (photographic) memory will often do the job in the more simple cases for anyone, but for bigger patches you might need a little reminder sometimes.

To 'store' patches you have a few options;
First, always try to sample the sound you made with a (hard- or software) sampler. Although that often does not catch every aspect of your sound, it is always good to keep what you made in some audio-way. Try sampling it in all its varieties, with your favorite settings and or knob-twists.

Okay... you now have the sound , but not the list of modules that were used to make that sound.
Doepfer came up with the nice idea of patch-sheets in the last page of every module's manual.
You can print out these modules, stick them on a bigger sheet (i've even seen some on pinboards) and draw in your knob-settings and patchcables.
The idea is/was nice, but i hardly ever used these sheets. But it can be handy for some...

I also like the online Eurorack Modular Synth Planner. With hundreds of modules from 52 different manufacturers (!) you will be able to configure your patch including a variety of colored patch-cables and save it as a screenshot.
This great site is regularly updated with the latest eurorack modules, but still has a few (small) bugs and imperfections. Follow them on Twitter to get their latest updates.
Another online planner is Stefan Breitenfeld's Modular Planner, also very neat but with much less manufacturers/modules.

My personal favorite way to store my favorite patches is the modern way.
Thanks to my smartphone i always have a digital camera in my pocket.
One or two quick snapshots of my patches is often enough, and only takes a few seconds.

To Patch... or Not to Patch

'patch'  -  [ pach ] :

verb: To connect together, as the inputs and outputs of various modules, generally with patch-cords.

noun: The configuration of hookups and settings that result from the process of patching, and, by extension, the sound that such a configuration creates.

from: Vintage Synthesizers by Mark Vail

- Related forms:

patch·a·ble, adjective
patcher, noun
patchless, adjective
un·patched, adjective
well-patched, adjective

from: dictionary.com

more on Wikipedia

A-178 Theremin Control Voltage Source

The Theremin, invented in the late 1920's by Léon Theremin was one of the earliest electronic instruments.
The instrument is known for it's distinctive ( spooky ) sound, but most of all for it's playing method; Instead of playing it with a keyboard, the Theremin has antennas that sense the movement of the players hand, without touching the instrument.
Best known for playing the Theremin is Clara Rockmore, one of Theremins finest students.

Most theremins use two antennas, usually one for pitch and one for volume, so with two Doepfer A-178 Theremin Voltage Source modules, an oscillator (VCO) and an amplifier (VCA) module, it is quite easy to re-create the sound of a 'real' Theremin. You can even easily extend that sound by patching in filters or other modules.

And again, that is what makes the A-100 modular so versatile. 

Instead of just recreating the original Theremin you can use the module as a control voltage source for other modules. 

The voltages can be used for controlling any voltage controlled parameter of the A-100, e.g. pitch or pulsewidth (VCO A-110/111), loudness (VCA A-130/131/132), panning (A-134), filter frequency or resonance from all of the filter modules, phasing (A-125), frequency shift (A-126), resonance peaks (A-127), envelope parameters (A-141/142), and tempo (A-147), to name just a few ;-)

The Gate-output with adjustable threshold (not available on the original Theremin) is a nice extra output. I often use this for (re-) triggering notes or filter effects, but it can also be used for starting sequences (A-155) or for reset or switching functions (A-152).

Doepfer recommends if two or more A-178 are used the distance between the modules/antennas should be at least 30 cm to avoid interference.

Busboard Access

Updated August 25th 2011

A good patch can sometimes turn out to a whole spaghetti of patchcables.
Luckily Doepfer provided the A-100 system with a subsystem that makes the routing of some Gate and CV signals through the internal busboard-system possible.

It's too bad that not all modules have this ability, but for some modules this is a good way to avoid "over-wiring" your system with patch-cables.

Only modules A-110 (Standard VCO), A-111 (High end VCO), A-111-5 (Mini Synth. Voice), A-140 (ADSR), A-164-1 (Manual Gate), A-185-1 (Bus Access), A-185-2 (Precision Adder) and A-190-1,2,3 and 4 (Midi Interfaces) have access to the CV or Gate signal of the A-100 busboard.

The A-164-1, A-185 (-1 and 2) and A-190 (-1,2 and 3) can be used to "write" the busboard, i.e. they can output the signals to the bus.

The others are able to "read" the busboard, i.e. they pick up the signals CV (A-110, A-111, A111-5) resp. Gate (A-140, A-164-1) from the bus.
The A-111-5 can pick up CV and Gate from the bus. Also the planned A-143-4 Quad VCLFO/VCO will be able to read the A-100's busboard.
For details please refer to the user manuals of these Doepfer modules.

Most of the modules come with jumpers inside that can connect or disconnect the signal from and to the busboard. If other modules should be able to "write" or "read" the bus some of them can be modified. More on this in a future modding blogpost.

Doepfer warns on their DIY-site for shortcircuiting modules and/or busboard, so please take note:
Pay attention that only one module is allowed to "write" to the same bus signal.  If two or more modules write to the bus this leads to a short circuit of the corresponding outputs.
Please let me know if i forgot some modules in the Feedback section of this post, thank you!

Oscillator Synchronizing

Interesting sound-effects can be obtained by the synchronising of (multiple) oscillators.
In a typical setup, one oscillator (master) restarts the cycle-period of the other one (slave) , what results in equal base frequencies on both oscillators. This is called Hard Sync.

The result is an irregular waveform with it's own harmonic spectrum, completely different from 'standard' waveforms

Soft Sync is a more general name for all kinds of oscillator synchronisation.
This form is very similar to Hard Sync, but here the slave oscillator is forced to reset to zero with every cycle of the master regardless of position or direction of the slave waveform, which often generates asymmetrical shapes.

In Soft Sync, rather than resetting to zero, the wave is inverted;  its direction is reversed.
Further variations to the sound can be made by comparing the sounds with different comparison tresholds. For more info see the Wikipedia page on Oscillator Synchronisation
Soft Sync sounds smoother  and distinctly different from hard-sync.
It is difficult to replicate this effect on digital synths, due to aliasing problems.

Soft Sync-like effects can also be created with other modules, for example a phaser or a Phase Locked Loop (PLL) Module.

A Question of Cables

Doepfer sells  patch-cables for the A-100 system (3.5 mm plug mono jack) in many different colors and sizes.
The latest addition to the Doepfer assortiment are the orange 50 centimeter patchcables with angled plug on one side. 

The prices are fairly acceptable, and the more you buy ( at once ) the cheaper they get each...
Sizes vary from 15 (yellow), 30 (black) , 50 (grey), 80 (red) , 120 (blue) to 200 (green) centimetres, but i wish they also had other lengths. (...and colors)

Let me know in the comments if you know a place where they sell patch-cables in other colors or lenghts, it will be appreciated.
Purple ones would be nice... but not too long... ;-)

Best Friends Forever V

The Best Friends Forever section on this blog is a selection of modules that always stay connected, even when i create new patches.

This combination is not much different from my earlier BFF posts, only thing is that here the modules are already connected internally, and not externally with patch-cords.

The two modules, A-160 Clock Divider and A-161 Clock Sequencer are unmissable for rhythmic purposes and for syncing with MIDI or a ( voltage controlled ) LFO.

The Divider is syncronized via the Trigger and Reset Inputs, this module divides the frequencies in steps from /2, /4, /8, /16, /32 and /64, resulting in very usable trigger signals.

The synced Clock Sequencer is a very simple sequencer with 8 steps, the speed of the steps is controlled by the input of the Divider. In fact this combination of modules is an impressive sequencer on it's own.

The outputs of both modules can be used to control any clock, trigger or gate input.
For example, you can use them to trigger envelope generators, resets and (voltage controlled) switches.
It is also possible to use the A-161's trigger outputs to reset the A-160, check out the video below for the basic functions of these modules.

Video: A-160 Demo


Thanks to @Hawklord2112 for the kind permission to use this video

Quick Tip II - Frequency Displacement ( Picture )

"If, instead of patching the outputs from the analysis section to their  'proper' respective outputs in the synthesis section, you swap them about instead, interesting frequency displacements occur in the vocoder output"

* from the A-129/1/2 Modular Vocoder Manual

Best Friends Forever IV - XL Edition

This next quick patch is a small extension of my earlier Best Friends Forever posts.

Although i don't always use this patch, i do like the simplicity of it, getting me more out of my Slew Limiter.

As blogged earlier, I use the A-182-1 Switched Multiple mainly to switch between my keyboard ( via MIDI ) and my A-198 Ribbon Controller.
For this i split up this Multiple in two halves, the upper half controls the Gate, the lower half controls the pitch ( CV )

The black cables that go into the Switched multiple are for ( quantized ) Ribbon Control if channel 2 is selected, the yellow ones are for keyboard control, via channel 1

The only advantage in this patch is that i am now using both halfs of the A-170 Slew Limiter, the lower ( and more extended half ) for the Ribbon Controller, the upper half for the incoming output of the MIDI-CV Interface.

Best Friends Forever III

My next unseparable combo is a threesome this time.

This is another essential combination for me, because i use my A-198 Trautonium/Ribbon Controller a lot to control my A-100 system.
The yellow patchcables between these modules always stay connected whenever i start a new patch.

The Voltage Control output ( pitch control ) of the Ribbon Controller goes straight into the A-156 Dual Quantizer.
This module divides the signal into various little steps that provides many different possibilities to scale the notes that are played, allowing the player to play more accurate notes and scales.

Note that I use the lower and more extended half of the Dual Quantizer.
The upper half has less functions and can only divide the signal into steps of 1 /12th Volt = 1 Volt per Octave


Last in the line is the A-170 Dual Slew limiter. With this one i can add a subtile portamento to the signal.

Again, only the lower half of the module is used in this patch, because this half has more possibilities.
The slewrates are adjustable from low to mid or high, and it has separate controls for rise and fall times.

This patch gives me all the control that i need, and i cannot do without any one of these in my live-setup.

Best Friends Forever II

Two other modules i hardly ever unwire are the A-190 MIDI-CV/Sync Interface and the A-182-1 Switched Multiple.
I use this combination to quickly switch between my Keyboard and my A-198 Ribbon Controller to control various sounds.

Like i did with my A-180, i split up the A-182-1 into a 2 x 4 Multiplier.
The lower half handles the Gate signal while the upper half handles the CV/Pitch.

The yellow cables from the A-190 go directly into the Multiplier, and the black cables that go into the Multiplier come (almost) directly from the A-198 Trautonium/Ribbon Controller's outputs, one rack lower.
With the red switches i can now manually decide what instrument i would like to use for the sound i am working on...

If i switch it to 1 it uses my MIDI keyboard, if switched to 2 i can use my Ribbon Controller.

Best Friends Forever I

Van PatchPierre

A few times a year i unwire my whole A-100 system, it's like putting up a fresh canvas. New inspiration, new sounds in this case.

There are a few thing i never unwire, because i use them that much.

My first example is this one; The A-174 Joystick and the A-175 Dual Voltage Inverter.
They both sit neatly next to each-other in my rack, and i always keep the two yellow cables between them connected. What a dynamic duo...

I use my A-174 the most for controlling the cutoff of filters or for controlling the speed of the A-147 Voltage Controlled LFO module

The A-175 is such a simple but effective module, and its inputs are internally linked, so you can use the other socket as a mini-multiple

This allowes you to have both control voltages and its identical inverted voltages available at the same time.