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Buy Modular Synth ##HOT##



I've been lurking here, Muffs and on Electro-Music for a while now, tempting myself with a modular synth purchase. After getting a tidy sum back from the government for tax season, I think I'm ready to finally pull the trigger.




buy modular synth



I've mostly been an in-the-box guy up until now, so most of my purchases have been from Sweetwater. I found this shop when searching for "modular synth", but haven't purchased from them before. From what I could find, it seems like they're a pretty legit place. Another one that comes up a lot in my searching is Analogue Haven.


Don't know where you're located, but certainly if you're anywhere near NYC, I'd recommend visiting Control in Williamsburg Brooklyn ( -mod.com). They also do mail-order (including used gear), and from my experience they're the absolute best. Plenty of folks use Analogue Haven too. You won't find much a modular selection from Sweetwater - seems mostly Pittsburgh make, and while I've ordered plenty of studio stuff from them, I doubt they have the expertise to guide you towards your first rack.


The other issue with Sweetwater is that there's really no price breaks on buying modular gear from them. Since the Eurorack market relies on pretty fixed "street" pricing, what you see there is almost always going to be the same as from Perfect Circuit, Detroit, VK, etc. Sweetwater is good about having gear they carry in stock, though; having a warehouse complex the size of some small towns lets you do that!


Fusebox is a three-oscillator monosynth which uses entirely analogue circuitry for all its sounds generation, modulation and internal control functions. The only design aspect that acknowledges the digital age is the inclusion of a MIDI interface that generates a range of CV and gate signals from the external world. It also features several onboard generators, including the Patternator, which is an interesting combination of CV and gate sequencing sources. The Fusebox is a great-sounding synth in its own right, but add in this pattern generation, along with the arpeggiator, MIDI control and patching and it takes on a character and style very much of its own. Well worth a look!


TRINITY is a 3 channel Digital Drum Synth Array packed into a 20hp eurorack synthesizer. Effectively, Trinity performs as 3 powerful drum voices packaged into one beastly drum module with a few tricks up its sleeve.


The name Trinity refers to the 3 drum channels and tips its hat to the core elements of any modern beat driven composition which is typically Kick, Snare and Hat. Trinity takes this simple idea and flips it on its head with 3 channels and an array of drum synth algorithms that use various types of synthesis (Analog Inspired, Additive, FM & Noise). This allows for a wide range of drum design capability that achieves and reaches far beyond the conventional kick, snare ,and hat.


All in all, Trinity packs a hefty punch and weighs in at 20hp, 11 knobs, 3 drum channels, 3 triggers buttons, 4 drum synth algorithms based on 4 different types of synthesis, 24 CV inputs, 3 way output switching with 3 individual outputs, a mix output and a midi over usb connection.


The Trinity demo track, composed by DSTL (@DanielSteeleMusic), features only Modbap Modular instruments. The playlist below provides a look into the composition by breaking it out into stems. The stems showcase Trinity's capabilities within the composition, together on the drum bus with no melodics, and individually by Trinity's drum synth type (Block, Heap, Neon, and Arcade) allowing you to gain full perspective of the potential of each drum synth type.


Modular synthesizers are synthesizers composed of separate modules for different functions. The modules can be connected together by the user to create a patch. The outputs from the modules may include audio signals, analog control voltages, or digital signals for logic or timing conditions. Typical modules are voltage-controlled oscillators, voltage-controlled filters, voltage-controlled amplifiers and envelope generators.


The first modular synthesizer was developed by German engineer Harald Bode in the late 1950s.[1] The 1960s saw the introduction of the Moog synthesizer and the Buchla Modular Electronic Music System, created around the same period.[2] The Moog was composed of separate modules which created and shaped sounds, such as envelopes, noise generators, filters, and sequencers,[3][4] connected by patch cords.[5]


In the late 1970s, modular synthesizers started to be largely supplanted in pop music by highly integrated keyboard synthesizers, racks of MIDI-connected gear, and samplers. By the 1990s, modular synthesizers had fallen out of favor compared to cheaper, smaller digital and software synthesizers.[1] However, there continued to be a community who chose the physically patched approach, the flexibility and the sound of traditional modular systems.


Since the late 1990s,[when?] there has been a resurgence in the popularity of analog synthesizers aided by physical standardization practices, an increase in available retro gear 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 VCV Rack, MAX/MSP, Pd and Reaktor etc.


The difference between a synthesizer module and a stand-alone effects unit 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 have connections so that the device's parameters can be further controlled by other modules (for example, to connect a low-frequency oscillator module to the modulation input of a delay module to get the chorus effect.)


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 manufacturers may require cables with different kinds of plugs.


German engineer Dieter Doepfer 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, Eurorack; as of 2017, over 100 companies, including Moog and Roland, were developing Eurorack modules.[1]


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 19" rack unit system: 6U (Wiard), 5U (8.75" e.g., Moog/Modcan), 4U (e.g., Serge), 3U (Eurorack).


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 linear because the human ear perceives frequencies in a logarithmic fashion, with each octave having the same perceptual size. Some synthesizers (such as Korg MS-20, ETI 4600) use a system where the frequency (but not the perceived pitch) is linear with voltage.


There are also software synthesizers for personal computers 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.


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 LEDs, software modular synthesizers offer the infinite variations and visual patching at a more affordable price and in a compact form factor.


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.


Matrix systems use pin matrices or other crosspoint switches rather than patch cords.The ARP 2500 was the first synthesizer to use a fixed switch matrix.The pin matrix was made popular in the EMS VCS-3 and its descendants like the EMS Synthi 100. Other systems include the ETI 4600, and the Maplin 5600s.


In digital times the clean logical layout of these matrices has inspired a number of manufacturers like Arturia to include digitally programmable matrices in their analog or virtual analog synthesizers.Many fully digital synthesizers, like the Alesis Ion, make use of the logic and nomenclature of a "modulation matrix", even when the graphical layout of a hardware matrix is completely absent.


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 ARP 2600, Anyware Semtex, Cwejman S1, EML101, Evenfall Minimodular, Future Retro XS, Korg MS-10 / MS-20 / PS-3100 / PS-3200 / PS-3300, Mungo State Zero, Roland System 100, Korg Volca Modular and Moog Mother-32 .


There are a few different modular synth standards in existence but by far and away the most popular one is Eurorack. First standardised by Dieter Doepfer in 1996, his decision to make the specification freely available and free to use helped create the dizzying array of innovative brands and modules that we see today. Cheers Dieter! We also stock the mighty Buchla format devices if you want to travel down a different musical path


Modular synthesizers communicate with voltage, carried from module to module by patch cables. (Yes, this is safe!) This means that control signals and audio signals are the same thing. This adds a lot of flexibility! You can, for instance, use an oscillator to modulate a parameter much faster than a normal control signal would. This can create entirely new sounds, and is a great example of how modular synths can be used in creative ways to make sounds that are difficult to produce with a normal synthesizer. 041b061a72


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