Our Eurorack module combinations for audio synthesis
Eurorack modules are designed to work as synthesizer building blocks combined into a synthesizer voice.
Subtractive audio synthesis
Subtractive synthesis is the most straight forward form of analog music synthesis consisting of oscillator, filter and amplifier controlled with envelopes and pitch CV.
Such synthesis is excellent in producing different types of basslines, leads, pads and other tonal sounds. In subtractive setup oscillator generates harsh tones which are then softened (subtracted) to desired amount with a low pass filter. Character of subtractive voice depends greatly on the initial waveform, type of filter used, also resonance and many other parameters to sculpture a unique synthesizer sound.
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.
Versatile FM (Frequency Modulation) synthesis
FM synthesis shapes sound by modulating frequency of one oscillator using another oscillator. Traditional sine waves are used in this case as they have the least amount of harsh harmonics. Such sine wave FM oscillators are often called operators.
Depending on frequency ratio between the operators FM synthesis generates tones with different harmonic structure. It can generate a variety of sounds from modern basslines to bells and all sorts of metallic, glassy, also organic windpipe and wooden tones.
Our dual analog triangle core oscillator offers different types of FM synthesis with separate inputs for each one. They can be used at the same time to generate many unusual tones.
Analog drum/percussive synthesis
We have engineered dedicated modules to generate analog kick, snare and hihats with circuts similar to famous Rolland 808 and 909 drum machines. However oscillators and filters can also be used to generate all kinds of percussive sounds – with many more options and variations compared to classic drum machines.
Percussive sounds usually have fast volume attack and decay. Generated sounds are usually atonal focussing more on texture and pluckiness of the sound instead of harmony and tone.
Both subtractive and FM synthesis can be used to generate a variety of percussive sounds; even pure white noise has its uses when generating analog snares, hihats and other fuzzy drum sounds.
Experimental audio synthesis using advanced modulation techniques
Subtractive, FM and amplitude modulation synthesis can be used at the same time to generate complex tones and textures.
Our oscillator can generate both sine waves, triangle waves and harsh saw and square waves. These waves can then be patched to FM or shape modulation inputs to generate almost infinite amount of unusual complex sounds.
Paired with voltage controlled amplifier (VCA) it is possible to vary the intensity of modulation, this modulation can be very fast at audio rates for very harsh industrial tones or slow using LFOs and envelopes for subtitle changing ambient textures.
Our VCA is equipped with voltage controlled wave mixers and ring modulators that mix and multiply two waves at audio rates generating more interesting wave shapes. The resulting waves can be attenuated with VCAs and patched to FM inputs of the oscillators to achieve a wide range of unusual sounds.
White noise can also be attenuated and send to FM inputs adding variable degree of fuzziness to resulting sound.
The most important thing in complex sound synthesis is modulation – variating the strength of modulating inputs so the generated sound would change over time.
