Audio synthesis section
Euorack modules are designed to be combined for many different types of audio synthesis.
Eurorack modules as building synthesizer blocks
Eurorack modules are versatile building blocks designed to work together combined into a synthesizer voice.
Synthesis usually starts with module to generate pitch and envelope control voltages. These voltages are then patched to a sound wave generating module, usually a voltage controlled oscillator.
Generated sound wave is then patched to modules that perform sound modulation, such as voltage controlled filters, distortion modules, ring modulators etc. Depending on audio synthesis type one modulator might be enough however chaining multiple modulators allows much more control.
Modulated sound is then patched to voltage controlled amplifier (VCA) that dims the sound volume according to the envelope CV.
This finished sound is often further processed with reverb and delay effects and sent to output module to be sent to sound card or to mixer to send it directly to audio speakers.
Subtractive audio synthesis
Subtractive synthesis is easy to learn as it basically consists of oscillator, filter and amplifier controlled with a couple of envelopes and pitch CV.
Such synthesis is excellent in producing tonal sounds such as baselines, leads and pads. In subtractive setup oscillator us used to generate harsh tones which are then filtered subtracting their harsh harmonics to desired amount with a low pass filter.
Filter plays a key role in subtractive synthesis as it is the main element modulating harsh oscillator sound. Apart of filtering unwanted harmonics - analog filter also offers resonance control that exaggerates frequencies around the filtering frequency.
Subtractive synthesis is widely used in modern synthesizers such as deep sounding Moog , Korg MS20 as well as famous Rolland TB-303 very popular in acid techno tracks.
For mor info about subtractive synthesis please check our dedicated page:
Versatile FM (Frequency Modulation) synthesis
FM synthesis is achieved using two or more oscillators by patching sound wave outputs from one oscillator to modulate another oscillator.
Usually sine waves are used for this purpose as they have the least amount of static harmonics. By modulating oscillator frequency with a sound wave - its output sine wave gets more complex with additional harmonics.
FM synthesis can generate both harmonic and inharmonic sounds depending on frequency ratio between the two oscillators. It can generate a variety of timbres from modern basslines to bells and all sorts of metallic, glassy, also organic windpipe and wooden textures.
Learn how to patch FM audio voice in our frequency modulation synthesis section:
Percussive synthesis
We have engineered dedicated modules to generate analog kick, snare and hi-hats with circuits similar to famous Rolland 808 and 909 drum machines.
Discrete can also be used to generate all kinds of percussive sounds - with many more options and variations compared to classic drum machines.
Both subtractive and FM synthesis can be used to generate percussive sounds; even pure white noise has its uses when generating analog snares, hi-hats and other fuzzy drum sounds.
Our percussive/drum synthesis section offers detailed info how to generate drums and cymbals using our Eurorack modules:
Experimental complex audio synthesis
Having analog design Eurorack modules allow performing different kinds of synthesis at the same time to generate complex experimental sounds.
Our voltage controlled oscillator simultaneously generates sine, triangle as well as harsh saw and square waves. These waves can then be patched to any of the modulation inputs including to FM, shape, pulse with and others to generate almost infinite amount of unusual complex sound structures.
VCA module allows varying the intensity of modulation - from very fast at audio rates for harsh industrial sound or slow using LFOs and envelopes for subtitle changing ambient textures.
Voltage controlled wave mixers and ring modulators integrated in our quad VCA allow mixing and multiplying two waves at audio rates for a wide variety of interesting wave shapes. The resulting waves can be modulated in varying amplitude and patched to FM inputs of the oscillators to achieve a wide range of unusual sounds.
White noise can from our utility module also be attenuated and sent to FM inputs adding variable degree of fuzziness to resulting sound.