UPDATE 5 FEB 2015 - 99 MODULES
UPDATE 5 FEBRUARY 2015 - 99 Modules
Every module uploaded to date, including Michael Stocker’s new MWave and R U Certain? modules.
99 modules to test your ears, your sanity, and your CPU.
I removed the second sequencer and a couple LFO’s. The new modules include
• Certain? (Two of these)
• Seq-6 (Two)
• MWave (Two)
• X-P (Two)
I also updated all 8 Wurst modules to version 2, and the DigiW module to version 2.
My thanks and compliments to Michael Stocker, to everyone whose work his work incorporates, and, as always, to Herwig Krass. Enjoy, and let me know if you have questions or comments.
QUICK START GUIDE: In a modular synthesizer, you can connect anything to anything. Go from dark to light: left click an output (dark gray) and then an input (light blue) to create a cable connection. To delete a cable, click on the red input and it will disappear. All connections must be made explicitly: if there's no cable, there's no connection. Control the color of future cables with the CTRL module in the lower right corner. You can also change the transparency of all cables there.
One output can control many inputs, but each input can only have one incoming connection. To have more than one output control an input, run the outputs through a mixer and then connect the output of the mixer to the input. The knobs on L (linear) mixers work in a linear way; the knobs on an E (exponential) mixer work exponentially. (Human perception of pitch and volume increases exponentially, so it's good to use an E mixer for those.)
Turn down the volume before you start messing around - you might get a loud surprise if you don’t. Try connecting an oscillator, to a filter, to an input of SCA1, and then to the OUT module. All the white modules are duophonic; all the blue modules are monophonic; to go from white to blue, you must go through the dMIXpm module first; vol1 and vol2 are polyphonic inputs, and A is a monophonic output which can feed to the other blue monophonic modules (and similarly, vol1 and vol2 are polyphonic inputs and B is another monophonic output which can feed to the other monophonic blue modules). All signals must get to the OUT module before you can hear them. If you don't hear anything, maybe you need to bring the frequency of the oscillator into the audible range by running PITCH into it from the keyboard, or connecting a MOD module to the pitch of the oscillator and turning the MOD knob up. Or maybe you need to adjust the gain on a mixer or filter.
DESCRIPTION: I built this ensemble using every available module from Herwig Krass’s Modular X framework, plus all the add-ons built by Matthias Schaffner and Michael Stocker. (If I’ve overlooked one, please let me know.) My goal was to offer every original module, and every available add-on, in one large ensemble, organized in a more or less rational way.
You’ll find a rack of sequencers and envelopes; then a whole rack of LFOs and oscillators; then a whole rack of filters and wave shapers; and finally, a bank of mixers and a bank of effects.
Because this ensemble contains many other people’s work, I didn’t include their documentation. You will find that in their original entries in the user library, along with example ensembles to show you how they work. All of these deserve your study and attention.
I encourage anyone interested in learning about how to work with modular synths to download Herw’s Modular 1 ensemble. Carefully read the wonderful manual and study the examples that come with it. His RUHR synth and documentation are also very helpful and inspiring.
If you want to build a modular ensemble of your very own, you can download Modular-X and its various add-ons, and then design and build to your heart’s content – it’s like Lego for synthesizers. I was building my own modular within minutes of downloading Modular-X, and if I can do it, you can too.
Mod-X oscillators and filters “expect” an input, from the keyboard or from another modulation source. If you use them without this, they probably will not operate within the range that you are interested in. You can patch in the midi pitch, or use a MOD module to put in an input to bring the oscillator into the range you want.
This is a large ensemble, and some people may find it unwieldy. My hope is that it will give you a chance to find out which modules you really like, and some ideas about how you may want to build a smaller and more focused ensemble that will let you do exactly what you are interested in. (And if you do, I hope you’ll upload and share it.)
But if you simply like the feeling that more is more, then the Allegheny Modular was made for you.