While putting together a live performance case focused on creating percussion patterns, I ran head-first into a problem that has frustrated many Eurorack users: how to make sure all of your modules agree on where the downbeat is. In this video and article, I sort out what’s going on, and how I fixed it.
We know using one oscillator to frequency modulate another is a lot of fun…but just what is the difference between the different types of FM? I finally got my hands on a module – the Endorphin.es Furthrrrr Generator complex oscillator – that is capable of being switched (with some behind-the-faceplate fiddling) between exponential, linear, and linear through zero FM, so this is a good opportunity to finally make an apples to apples to apples comparison between the three.
I created the original Learning Modular Synthesis course for those who were complete beginners to the world of modular synthesis. The next question became: How do I help users reach the next level? The answer is the Eurorack Expansion Project. The idea is you have a nice core system, and want to know how to intelligently expand it – particularly if you interested in a specific technique or are after a certain sound. I’m tackling this in two parts: an online course, and a weekly series – including a dedicated Patreon page for the hard-core users out there.
The AJH Synth Ring SM is three modules in one: a ring modulator based on an analog transistor core design, a sub bass generator that creates tones 1 and 2 octaves down, and a 5 input mixer based on the classic Moog CP-3 design. This mixer is used to combine the original inputs, ring modular, and sub bass sounds; you can override them by patching in alternate inputs. The bonus preview movie from the soon-to-be-released Eurorack Expansion course focuses on the ring modulator section, showing a few different applications as well as really focusing on the waveforms and harmonic spectra it creates so that you better understand how a ring modulator works: