A Dub Techno collection featuring over 40 talented and experimental artists from around the globe.
Read MoreElektron Tools
We’ve made something to help you with your Elektronic music.
We call them Elektron Tools. The first one is an LFO cycle duration calculator that makes syncing modulation simple. Just pick how long you want the LFO cycle to last, then use the SPEED and MULTIPLIER settings to set it up.
The second tool is the Octatrack Bank Duplicator, perfect for making templates on your Octatrack. Once your template is ready, connect the Octatrack as a disk, and upload bank01 to the Bank Duplicator. It will create a zip file with your bank duplicated 16 times, properly named. Just replace your original bank files, and you’re all set!
We hope they are helpful.
Best,
Your friends at Modbang
The Story of MIDI: How Music Devices Learned to Talk
The Problem: Lack Of Communication
In the early 1980s, synthesizers were everywhere, but there was a big problem—they couldn’t connect or communicate. Each one was different, and getting them to work together was nearly impossible. Musicians needed a way to make their devices "talk" to each other.
The Solution: MIDI
In 1981, Dave Smith of Sequential Circuits led the charge to solve this. He worked with companies like Roland and Yamaha to create a shared language for instruments. By 1983, MIDI (Musical Instrument Digital Interface) was born.
MIDI doesn’t create sound itself. Instead, it sends instructions—like telling a synthesizer which note to play, for how long, and at what volume. Think of it like sheet music, but digital.
The Big Debut
MIDI got its first big test at the 1983 NAMM show, where two synthesizers from different companies were successfully linked using MIDI. This demonstration showed the world that different music devices could finally work together.
How MIDI Changed Music
With MIDI, musicians could:
1. Control Multiple Devices: One keyboard could handle multiple synthesizers.
2. Sequence Music: Musicians could create and edit music digitally without playing each part live.
3. Live Shows: MIDI allowed instruments, lights, and effects to be perfectly in sync.
MIDI Today
MIDI still powers music production. In 2020, MIDI 2.0 was released, adding more detailed controls and improving communication between devices.
MIDI changed music forever by making it easier for instruments to connect and work together. It's a quiet hero of the music world, making complex electronic sounds and productions possible, even today.
Check out our line of unique and colorful MIDI cables, designed by us.
Siren: Multi-Oscillator Drone Generator Giveaway!
CONGRATULATIONS SHANE JOHNSON, YOU WON THE SIREN!
We are giving away a brand new Siren: Multi-Oscillator Drone Generator and some of our newest premium cables! Watch the video below for a full demo and tutorial on how to use the Siren by EZBOT.
Siren is a digital stereo module packing 21 oscillators and 23 LFOs to generate lush drones. Macro controls set their respective pitch, waveform, and amplitude. Siren is not meant to be the tool you reach for when wanting to write explicit chord progressions and harmonies. Instead, the few provided macro controls make a wide parameter space accessible and fun to explore.
Find sweet spots of your liking by the turn of a knob and add subtle modulation to find new musical ideas and progressions. Use rhythmically related control voltages to explore a vast world of weird musical progressions that fall between the cracks of the discrete nature of music theory.
Plaits Firmware 1.2 Brings the Yamaha DX-7 to Eurorack
Read about the new and perhaps final update to one of the best eurorack modules in existence.
The newest update adds several new synthesis modes and of course DX-7 patch support.
Classic waveshapes with filter: This model allows users to create classic waveshapes with adjustable resonance and filter character. It includes four parameters: HARMO (resonance and filter character), TIMBRE (filter cutoff), MORPH (waveform and sub level), and OUT (LP output). It also includes an AUX output with a 12dB/octave HP output.
Phase distortion and modulation: This model allows users to create sounds using phase distortion and modulation techniques. It includes three parameters: HARMO (distortion frequency), TIMBRE (distortion amount), and MORPH (distortion asymmetry). The OUT output features sync'd carrier (phase distortion), while the AUX output features free-running carrier (phase modulation).
Banks 3, 4, and 5 are the 2-voice Yamaha DX-7 patches, 6-operator FM synth with 32 presets: This model is a two-voice, six-operator FM synth with 32 preset sounds to choose from. It includes three parameters: HARMO (preset selection), TIMBRE (modulator(s) level), and MORPH (envelope and modulation stretching/time-travel). The two voices are alternatively triggered whenever a trigger is received on the TRIG input. When the TRIG input is not patched, a single voice plays as a drone, and the MORPH knob allows time-travel along the envelopes and modulations. The LEVEL input can be used as a velocity control, controlling loudness or timbre depending on how each preset is programmed. There are three banks of 32 presets available: basses/synths, keyboards/plucked strings/percussions, and organs/pads/strings/brass.
Bank 2 of DX-7 Patches
Bank 3 of DX-7 Patches
Wave terrain synthesis: This model allows users to create sounds using wave terrain synthesis and continuous interpolation between eight 2D terrains. It includes four parameters: HARMO (terrain), TIMBRE (path radius), MORPH (path offset), and OUT (direct terrain height). The AUX output features terrain height interpreted as phase distortion (sin(y+z)).
String machine emulation with stereo filter and chorus: This model allows users to create sounds that emulate a string machine with a stereo filter and chorus. It includes three parameters: HARMO (chord), TIMBRE (chorus/filter amount), and MORPH (waveform). The OUT output features voices 1&3 predominantly, while the AUX output features voices 2&4 predominantly.
Four variable square voices for chords or arpeggios: This model allows users to create chords or arpeggios using four variable square voices. It includes three parameters: HARMO (chord), TIMBRE (arpeggio type or chord inversion), and MORPH (PW/Sync). The OUT output features square wave voices, while the AUX output features a NES triangle voice. The TIMBRE attenuverter allows users to adjust the envelope shape. To use the arpeggiator, users can simply plug in a trigger input to clock it.
Sadly, Mutable Instruments have closed their doors but that doesn’t mean you can’t get a MI Plaits clone. Mutable has made all of their wonderful eurorack modules open source. Plaits offers a wide range of synthesis techniques for users to explore and create with. Whether you're looking to create classic waveshapes or emulate a string machine, Plaits has something for you.
Download the firmware here: https://forum.mutable-instruments.net/t/plaits-firmware-update/20719
Written by Matthew Piecora (aka EZBOT)
Basement State - Remote House Parties!
Basement State is an up and coming music collective with a heavy focus on modular synthesis and live performance. We at Modbang love what they are doing, so we caught up with Basement State to get the low-down on the thriving collective.
“Basement State is a Seattle-based collective, a small community and a weekly event where musicians try out new ideas for an open minded crowd. Every Friday night we go live at https://twitch.tv/basementstate to jam together and recreate some house show vibes on the internet. It’s an open, inclusive and friendly basement for all.
In its current form we have eight resident artists who play regularly and bring in guests. The rules for who we invite are simple: we’re excited about hanging out with them and they must perform live. That’s it. The lineups swing from noise to ambient and melodic acoustic to techno bangers – we like to surprise, welcome new performers, and embrace technical difficulties.
In early 2020, we just wanted to meet in a friends’ basement and make neighbor-bothering noise together. However, we were also feeling sensible and lockdown-respecting, so we got on a video call instead. Of course that’s nothing like a live show, but even a tiny audience of a few friends was enough to push us to create new tracks every week.
Soon we moved to Twitch and added a few more friends. We keep things low key and no-pressure, but there’s often a sense of trying to one-up the last set you played. Gradually we started to invite guests in each week and structure things under the name Basement State.
The best moments are when artists can try out ideas they wouldn’t usually take to a more formal show. Broadcasting to a friendly audience from your own studio is the perfect place to take a risk and find those moments that surprise yourself and viewers.
Live visuals are a growing part of the night that we’ll keep pushing on – we’re planning some live movie scores soon. We’re also hoping to do some collaborative jams in 2021 and of course we can’t wait to bring this to Seattle venues. However, having a relaxed space to perform remotely is proving to be much more than just a stand-in for IRL shows, so we’re excited to keep experimenting and making noise there too.” -Basement State
Jesse Posco - Modular Musician Spotlight
Jesse Posco recently started a record label called Holohome. The record label was formed with the express interest of giving the proceeds from record sales to charity. Here at Modbang we applaud charitable behavior especially when the impact is coming from a community so dear to us.
“When I was 9, an Aunt and Uncle bought me a Yamaha PSS-100. It was my first exposure to a musical instrument. I certainly couldn't play it with any skill at the time (some things never change) but I spent untold hours with that stupid thing.
My young brain was fascinated with my new found ability to manipulate sound like a magician with just a few button presses. It was just a dumb square wave keyboard with a few options to change the sound but still - I was hooked. Plus, it was very easy to annoy those around me and I found that charming at the time. We would eventually record this to our Talkboy - then playing those tapes at half speed which was our Paulstretch of the day.
Fast forward a couple years, and that same Aunt and Uncle whom had gifted me the PSS-100 had a bigger Yamaha model with loads more poorly imitated instruments at their house. The General Midi drumkit patch quickly drew my interest. I could now make drum beats that sounded in my head like the R&B of the early 90's, when in reality my rhythm was likely as stable as a Wogglebug. Imagine how you, as an adult, might be annoyed as you would hear the same shit General Midi snare and kick drum sound mashed to hell with such pre-teen violence. Looking back, it was just a glimpse into my future ability of listening to the same sounds over into infinity and insanity, trying to make them perfect. I am certain that now, every single day my partner wishes I picked a different superpower.
Unfortunately, as I aged and got more interested in girls, video games and being a moody loner into my teenage years, I had lost my child-like interest I had with those early electronic instruments. It was reflected in my music consumption which in my teens up until that day had been the standard fare. Nirvana, Soundgarden, Pearl Jam, 2-Pac or whatever I felt spoke to my fragile emotional state at the time. But - I remember clearly the day almost 25 years ago when I first heard Aphex Twin's "I Care Because You Do". A close friend had brought in the ICBYD CD to our Graphic Design shop class in High School. I was immediately and irreparably changed at that moment I first heard that first track "Acrid Avid Jam Shred". "What a weird name for a song", I thought to myself. But the sounds! I had never heard anything like this. From that point on - I had to consume everything I could like it. From there, I found Warp Records and Rephlex and devoured artists from B12 to Autechre to Bochum Welt and on and on. "Regular" music could no longer satiate me. It escalated quickly - as when I (remarkably) graduated from High School, all I wanted for a graduation present was a synthesizer. I had experimented with Goldwave, RB-338 and Hammerhead at the time (1999) but I had no taste of the real thing. I ended up with a Casio CZ-5000.
In hindsight - not the best synthesizer to learn on. I quickly and painfully learned that it took a lot more than a "real" synthesizer to make a great electronic artist. It didn't last long in my apartment as I had to sell the CZ-5000 to pay bills.
Since then I've owned (and sold) more synthesizers than I should have. I've recorded countless bands and songs of my own. I'm not sure I'm any better at playing the keys since the PSS-100. My sense of hearing has definitely sharpened and tastes narrowed. And with the pandemic - I've somehow spent less time making music.
Speaking of the pandemic, the best thing about it has been finding social replacement - a synth-based community via Discord to share experiences / thoughts / ideas with. Together our community decided to release an ambient compilation with 100% proceeds to charity (link below) last month. It exceeded any and all expectations raising $1200 for the ACLU. It felt good for all us to do good for others with our music. We intend to release more music soon, all with the intend to benefit different charities around the world.” -Jesse Posco
Take a closer look at Jesse’s work here:
Charity Label: https://holohome.bandcamp.com/
Yamaha PSS-100: http://weltenschule.de/TableHooters/Yamaha_PSS-100.html
Casio CZ-5000: http://www.vintagesynth.com/casio/cz5000.php
Most recent personal project: https://orbofthemoons.bandcamp.com/
New glow cables and restock has arrived!
We are excited to introduce Sublime Glow Patch and Effects Pedal Cables!
Premium quality light green patch cable with green phosphorus. Sold in packs of 6. Choose between 6”, 12”, and 18”
High quality 6” right-angle mono 1/4” TS male to male with green phosphorus. Sold in packs of 2.
Self-Patch cables have arrived and more colors yet to come!
Premium quality transparent right-angle 3” patch cable with blue phosphorus. Sold in packs of 6.
Restock on all colors!
Now with more phosphorus for your glowing pleasure!
Justin Olson - Modular Musician Spotlight
Justin Olson began his music journey with the Violin at age 3 before joining the Phoenix Boys Choir at age 8 where he learned to sight read sheet music and was featured as a solo vocalist. Following his involvement with the Phoenix Boys Choir, Justin went on to play Saxophone in the Junior High School Band and began to learn the Guitar at the age of 12. During this same year, Justin acquired a 4-track tape recorder and began to record himself and write songs. Justin continued to write songs and make recordings through High school, where he joined his first band, which won the “battle of the bands,” and where he performed with the high School Choir.
In College, Justin shared his songs in live performances and open mics. This was a great way to build confidence as a performer, and learn the satisfaction of sharing your creations with the world. As an artist, it is easy to become lost in your head and process, live performance is a very important tool to receive feedback and input that guides your creative output and can give you the needed confidence to share it with the world.
After College, Justin began to play Performance Gigs around the state of Arizona including: Tempe Center for the Arts “ Singer Songwriters Showcase” in partnership with PBS, “Knock the Blues out of Hunger” Blues Festival, Glendale Folk Festival, Weekly “Fun Fridays” at the Tempe Center for the Arts and most recently, a live Eurorack Modular Performance at , “ Wireheads” in downtown Phoenix.
In addition to various live Performances, Justin signed a Music Contract with Electric Lotus Music and Recorded his first Studio album titled, “Amber Waves.”
In 2014, Justin began his journey into Synthesizers, Electronic Drums, Samplers and Drum Machines. Justin wanted to take a step out of his comfort zone and grow as an artist ; He was seeking new challenges and tools to make music. Justin explored many electronic music machines from Elektron, Korg, Moog, Dave Smith etc.
In late 2014, Justin dove into Eurorack Modular synthesis. Justin was struck by the interface of blinking lights, cables and creating his own custom instrument. Eurorack synthesis is an amazing sound creation tool to learn the individual elements of a synthesizer and to become very efficient at signal flow and sound design.
Since 2014, Justin has focused on creating musical projects, performances and albums on his Eurorack Modular. He has released 20+ albums of music during this time-frame and has enjoyed the process of patching a song over hours to days and then performing it live and capturing the performance.
Justin enjoys introducing people to Modular synthesis and being a knowledgeable resource to expose and bring students into the area of study and creation. His mission is to help guide newcomers through the vast market of gear, resource material and introducing them to basic skills that build on each other and provide a strong foundation to continue their very personal journey of building their own Modular instrument.
Resources:
https://www.teepublic.com/user/ptnamusic
Facebook: Justin Olson aka PTNA
Instagram: ptnamusic
Music also available on: Apple itunes, Spotify and Amazon
Analog sucks T-Shirts
Irony never felt so comfortable.
We all have that one synth-head friend who just can’t stand the sound of your digital oscillators.. well now’s the time to buy them a gift.
MODBANG on Podular Modcast
We were fortunate enough to connect with Tim Held of Podular Modcast where we had the opportunity to talk about Modbang’s origin along with lots of other cool, hip, and relevant topics!
July Photo Contest Winner - Brennan Fowler!
Photo by Brennan Fowler
Brennan’s love for keyboards, synthesizers and their infinite sounds began in 2005. In 2008 he joined with Imperial Blend, a band with a sophisticated take on the genre of live electronic jam.
Brennan produces/performs his own music using analog hardware and modular synthesizes. With influences stemming from Brian Eno, Aphex Twin, Flying Lotus and Telefon Tel Aviv, you’ll find him playing everything from beat driven tunes to ambient downtempo.
Brennan began preforming with various keyboards, drum machines, and both hardware and software instruments. He began his Modular journey with a small 6u rack in 2016, Brennan had immediately fell in love with the sounds It could create. He always had interest in Modular Synthesizers before this and had owned a few Semi Modular instruments to get an understanding.
Brennan enjoys hosting Modular on the Spot Greensboro as well as other events, Bringing modular synth enthusiasts together to share their creative sounds with the public.
“I feel at home behind my synthesizers, stretched out before me like a blank canvas, fingers on the keys and ready to paint.” - Brennan Fowler
Link Tree: https://linktr.ee/brennanfowlerib
Steven Ly - Modular Musician Spotlight
“My hardware/synthesizer journey began almost 6 years ago when I purchased my very first synth, the Moog Mother 32. I specifically choose the Mother 32 because I had intent to expand to the glorious world of modular. However, that did not come to fruition until 4 years later when I finally began building my system.
I like to look at my setup in three different parts, the modular, the Digitakt, and the Mother 32. The idea behind this is that the Digitakt handles drums and percussion (some midi sequencing if I feel like it), the Mother 32 handles basslines (which is something it does very well), and the Modular handles pads/arps/leads. The case I’m currently rocking is the Intellijel 7u 104hp. I adore this case because of the midi and audio i/o ports built in and the transportability of it. In the 1u row, I have a µMIDI, Noise Tools, Quadratt, and Audio I/O. The µMIDI is my main clock source for when I’m working with the Digitakt or Ableton. I only use the Noise Tools clock for when I want to jam with just the modular. In the top 4u row, I have Plaits, Dixie 2+, Quad VCA, RCD, Morphagene, A-102 (low pass filter), µBurst (Clouds), Mimeophon, Verb, and a Mixup. In the bottom row, I have René v1, Stages, Maths, Cascadence, Pico DSP, mults, and the Ensemble Oscillator. As you can see, I like to keep my voices on top and modulation below.
The idea behind this case is that I wanted to build some sort of “all in one” system. With Plaits, Dixie, Morphagene, and the Ensemble as my main voices, I can dip my toes in all sorts of music styles. The Ensemble is fantastic, from hard hitting percussive sounds for techno/house to sweeping chords for dreamy ambience and drones. I love using Morphagene to play back and mangle field recordings which adds texture to whatever patch I’m working on. I use Plaits and Dixie for leads and arps and occasionally percussion with Plaits. The way I am describing my system makes it sound like it can really do it all. However, it doesn’t come without some limitations, which is what I actually like most about my system. It has multiple voices/oscillators but only one sequencer and filter. These limitations require me to think further outside the box when it comes to patching. Which in turn, puts me in a more creative mindset.”
- Steven L. (Project 32)
You can find him on YouTube as Project32 and on Instagram as p32beepboop
Steven is also responsible for the wonderful Modbang promotional video and cable photos. Thank you Steven <3
New cables are in stock at Modbang!
Video by Steven Ly aka Project 32
November Photo Contest Winner - Fritz Marial
Photo Contest Winner - Fritz Marial
“I was a bass player for 30+ years. A combination of chronic stage fright and changes in life (marriage and fatherhood) put me in a place where I needed a new creative direction, something I could do on my own at home. I had been heavily into pedals and a friend suggested I try eurorack. I was thoroughly intimidated by it, but after awhile I tried a Moog Mother 32 and then it became an obsession. I've been building this rack for a couple of years. The main focus is the bottom row of the top half of the case, the musique concrète section, made up of two Morphagenes, a Nebeulae v2, and now a Sample Drum. In the lower right section of the bottom case I've created a low-budget mixer of sorts with the Acid Rain Navigator and four Northcoast Modular Flint Faders. I primarily create abstract pieces, though I don't have a particular focus on any one style. I generally start from scratch and let the sounds lead me to wherever I end up. One thing I do want to figure out is how to make Jazz with modular, how to channel Nate Smith's drumming, for example (Marbles!). I guess I want to create a mash-up of Terry Reilly, Delia Derbyshire, Nate Smith, Nurse With Wound, Todd Barton, and... everyone else.
I unpatch completely (except for a few clock and trigger patches) between every piece so everything I do, for the most part now, is one pass with minimal mixing in Sonar. While some of my patches take more or less time, most of my patches come together within a few hours and I don't obsess much. I do not use MIDI at all. I utilize two ALM/Busy Circuits S.B.G.s to integrate two separate signal paths through my pedal board.
There is much to be said for having a smaller, more focused rig, but as someone who is unlikely to ever perform I like to have as many options available as possible. I've enjoyed experimenting with sound with eurorack more than at any time since I first picked up a bass. The possibilities are endless and there is always something learn. It's also tailor-made for a gear fetishist. It's been a life-changer, creatively, for me. I feel very fortunate to live in Seattle (and the PNW in general) where the modular scene is incredibly welcoming. That said, I've found that to be true of the eurorack/modular community at large.
While I do have a bandcamp page, it is currently just a placeholder until I have a properly mixed and mastered cassette to put out into the world. For now, my experiments and sketches can be found on Soundcloud, and I occasionally post videos on Instagram” - Fritz Marial
https://soundcloud.com/baltergeistsound
https://www.instagram.com/baltergeistsound/
October Photo Contest Winner - Edgemont Martin!
Edgemont Martin
“I built this setup narrow and wide to be mounted above my Kawai EP-608 electric piano with the intent of external signal manipulation. It has since evolved into a fully functional ecosystem capable of almost anything. The core of this system is the combination of the Befaco Rampage (DIY) and the uO_C. This usually generates the distorted sense of time I like to use. Rings is mainly a resonator for the external sources (Kawai) and I like to pitch it with the u_OC (sequins) while playing piano in orchestrated arrangements. Sometimes Rings is used in the 'traditional' sense, as an oscillator as well. The Blue Lantern Mycelium Synth is a great layout of Plaits. Combined with the Hermippe VCF (also in the same format) it becomes a thing. The Hermippe is also a submixer, having 2 separate inputs with level adjustments. Clouds I really got to capture grains from the piano, but I have become fixated on mainly the alternate modes and Parasites. I use them almost exclusively. Hidden in the pic under the leads is an Erica Synths Pico VCA. It is linear only and I just use it to fade things in and out (pads I guess). It has made its way into other territory, but not regularly. The Pico DSP, tiny and really useful. I particularly like the leslie, pitch delay, and mono delay modes. The 2hp passive Mult is a staple. I want a summing unity gain mixer right next to it.
The section on the right is the audio section. The Erica Synths Black Stereo Mixer is simple and useful. I use it both as a submixer or as a final output mixer. Everyone I talk to says the Erica Black PFL is useless, but I use it all the time. Splitting the signal correctly, this is wicked as a mute bank mixer. The Befaco Output V3 is tiny and relatively good. The Befaco InAmp is used to bring in audio to the system at the correct levels. It is housed in an Erica Synths 126hp 3u case.
I do not record my work that often. I see this as 'letting it live' (and die). The sonics range from dark drone experiences to Krautrock inspired voyages. All of it is performed live. If I do record it there are to be no overdubs. If you do not know me in real life, you will most likely never hear it and that is preferred. Sometimes I might share a cell phone clip of a generative piece on my Instagram (moribosa), but mostly I just post pictures of my life there. My Facebook page is strictly personal and I do not use it to share my music or art.” -Edgemont Martin
Have you seen our new eurorack covers?
If it rains, we got you covered.
Our eurorack covers were just released last week for all 6U/7U 104HP cases. Two different types of covers were made. The first type is a waterproof and sun resistant cover made of 100% rip-stop nylon for ultimate durability. This cover is perfect for any user who enjoys making music around vibrant landscapes or attending outdoor meetups such as modular on the spot. It is also great for users living in small or shared spaces who want some extra spill protection. The second type is a studio dust cover that comes in unique limited edition patterns and is made of a 100% cotton. It is for the user who wants to protect their rack from dust, small debris and also block out light while leaving a patch in place.
How it started?
Like many others, my partner, Matthew Piecora’s studio is a part of his living space. He would stay up late working on a patch then go to bed and not want to turn off his eurorack. The light emitting from all of the modules was distracting, especially since he uses our glow cables, I wanted- no, I needed to do something about it. At modular events in the park I would see people wrapping their skiffs in blankets or coats to protect them from possible inclement weather, I mean we do live in Seattle.. Everyone knows how expensive gear is in the modular community and the idea that people are leaving their racks so exposed made me crazy! The costly hard covers some people have are not easy to transport and sometimes wont fit over cables. I decided something had to be done, if not for the sake of the modules for my own sanity.
I started sewing prototypes of the covers you see today in early 2019, it was a satisfying puzzle figuring out what pattern would give the most snug fit and remain secure while a spaghetti plate of patch cables were scattered across the face of the modular synth. Eventually I came up with a practical design that incorporates all of the following;
Small portable - Fits in your pocket
Unique corner hugging padded sides
Material sewn from only one piece of fabric to insure durability
Military grade shock cord to adjust the covers fit
Rip-stop nylon for the best water protection
Premium hardware
Light blocking, dust protection, spill resistant
Every cover is made by hand and signed by me then embroidered with our logo locally. We take pride in knowing that our product is sustainable and animal friendly. I’m not a musician, this is my form of art and I hope you enjoy it.
-Sefra Mendall
September Photo Contest Winner - Hannah Carlson!
September Photo Contest Winner - Hannah Carlson!
Hannah Carlson
“I’m inspired by how many different mediums you can use to make music. I love modular but it is not the only thing that I use to make music I see it as it’s own instrument where it can be a supporting part and also a lead. I’m inspired by using familiar sounds and vocal samples which is why I chose the morphagene to create that soundscape and be easily manipulated. Plaits is the other voice I have which is run through my sequencer the Doboz prizma II. Since I’m working with limited space I needed a sequencer that was compact and could have multiple steps and functions which it definitely delivers. I run the sequenced plaits through the chrono blob 2 which I’m absolutely in love with. All the different types of stereo delay creates different rhythms from the plaits almost every time I use it and use the Dixie 2+ to modulate whatever I’m feeling it’s a fun thing to patch live into the plaits to create a variation on a pre existing sound. With everything being clocked with the mutant brain I use my model samples as the master clock which I use as my percussion sounds. I love having so many options since I have limited space but I use those limitations as fuel for creativity.” -Hannah Carlson
August Photo Contest Winner - mafmadmaf!
August Photo Contest Winner - mafmadmaf!
“This setup is made for my trip to Japan. The core of the setup is Qu-Bit Chord V2, a 5-output VCO based on chords, and it is the successor of the V1. It can play two sequences at the same time when using both V/OCT input and LEAD input, so I will get a 3-voice chord and a lead. It is brilliant! Based on this feature, the micro O_c I choose for its dual-channel sequencer, Sequins, which plays 2 separate sequences at the same time. Ant then Tangle Quartet by ALM, 4-channel VCA, is perfect pair with Chord's outputs. Last but not least, Zadar is in the game definitely for any 4-channel VCA. 4 outputs, 4 VCAs and 4 envelopes. This is closely interlinked. I put them into a 60hp skiff case for traveling to Japan and finally, I can play modular in the forest, on a Shinkansen and a plane. While I brought an instrument with me on a journey, it changed the interaction between me and the field. This time I took my modular far from where we live, into a scene more than 900 years old. This journey has a special meaning for me, while I mainly play around the intro arpeggios of 'Merry Christmas Mr. Lawrence' by Ryuichi Sakamoto. I live-patched and recorded in the forest which surrounds the Togakushi Shrine, Nagano, Japan. Here is the film: https://www.youtube.com/watch?v=TqqY2tre04Q .
I focus on live patching and recoding, so my Instagram & YouTube channel is the main carrier of my works. Though I still put my music on SoundCloud. It is a totally different experience when you see modular music played live. I live in Guangzhou, China and I do modular music in the realm of ambient and experimental.”
-mafmadmaf
July Photo Contest Winner - Jesse Humes!
July Photo Contest Winner - Jesse Humes!
Jesse Humes
“I’ve been designing my modular set up around sound exploration, generative music, and performing. Initially, I wanted to be able to develop new sounds that I could use for music production. As I got deeper into putting my setup together I was finding how much fun it is to patch generative ambient pieces. I also really enjoy using my rack in tandem with Ableton, I like to set up my drums in Ableton using it to send a clock to my midi module, which I then send into Marbles. Marbles drives my sequencer, Rene. For my voices I use two VCO’s, as well as Rings and Plaits from Mutable Instrument. For my filters I use a Wasp and a Polaris. I love using Clouds as my effects, it has a beautiful reverb. I consider my system to be a bit of a hybrid of analog and digital modules. I’m always looking for ways to improve my modular setup.” -Jesse Humeshttps://www.instagram.com/jesse.humemus/
https://open.spotify.com/artist/56DZUy5vW0II49mJKOU2Sj?si=rVkJcv9bSdeE4SO41r3X1Q
https://open.spotify.com/artist/54eC08D78hislOSxGJT8tu?si=xG5Y2vruTB6hHoZf4sqWCQ