issue 1 summer 2019

SUZANNE CIANI DAVE SMITH FOLKTEK 4MS NOISE REAP

U.S. $5.95, CANADA $5.95

1 waveform #1 summer 2019
 editor's letter
it's all about the community Patchwerks is at the epicenter of the
In 2012 I moved from a small Seattle synth scene. There is something
mountain town—where I’d been living special in the way that they’ve helped
for six years—to Seattle, Washington. bring people together. They host bi-
While I loved living on the mountain, weekly soldering gatherings, gear
demos, record release parties, Ableton
and was able to spend a lot of time
workshops, and in the summer they
writing and recording music, building have a DJ spin at their awesome in-store
pedals, tube compressors, and getting BBQs. They organize synth meets in
deeper into synths, it was pretty town that are open to the public and free
isolating. I knew it was time to move of charge and put on synth petting zoos.
on when I found myself going to the They do a lot to reinforce the community,
small local grocery store every night to foster it, and open it up to everyone.
just to be around people. Witnessing this local synth community
grow, flourish, and coalesce, is what
inspired me to undertake Waveform.
Although it was a bit of a shock to my
system when I first arrived in Seattle, It’s taken a lot of faith from a lot of
things weren’t that different; I lived people to get this far and Waveform
the same way and felt just as isolated. would not have made it out into the
Then a couple of years ago I discovered world without each advertiser, gear
Patchwerks—Washington state’s only reviewer, company that sent stuff for
review, interviewee, editor, and patron.
synth shop—which became a regular Waveform is supported by donations
haunt of mine. A little later I attended from generous readers such as yourself,
a Modular on the Spot [MOTS] event and the advertisers you see within these
at one of Seattle’s many beautiful photo by tim held pages. Wherever and whenever you can,
outdoor parks and a few months after suzanne ciani and me. please support them and let them know
that I was invited to a modular synth November 2018 that you saw them here. You can meet
house show where I hung around the bonfire, talking with the them, talk to them, see them at meet-
ups, conventions, demos, and in-store events. They support you.
artists and other guests and trying to keep warm. I slowly started
They’re here for you, and because of you. They’re not faceless. They
meeting people that were involved in the synth community here: put back into the community. They helped form the community.
Cindy Reichel and Tom Butcher from Patchwerks, Josh Lim and
Bradley Millington from Modular Seattle [who put on MOTS, With that in mind, I’d like to give a large public thank you to
Modular Nights, and other local events], Tim Held from Podular everyone that supported, believed in, and helped get Waveform
off the ground. Thank you. I’d also like to thank you, the reader.
Modcast, Graig Markel from Recovery Effects, and many more. It No readers, no magazine. Pretty simple. So thank you, too.
was nice to see a thriving community and to be welcomed into it;
one where I felt both at ease, and at home. Ellison Wolf 2019

table of contents Questions/comments/submissions

or to inquire about sponsoring an issue
[email protected]

arius blaze of folktek Page 8 Donate to help the cause

waveformmagazine.com/donate
dan green of 4ms Page 14
Advertising:
suzanne ciani Page 18 Ellison Wolf [209] 643 2411
[email protected]
diy: $8 eurorack delay Page 22
dave smith of Sequential Page 24 Postmaster, reviews, music submissions:
Waveform Magazine
cody iott of Noise Reap Page 30 2301 NE 94th st.
Seattle WA 98115 USA
gear reviews Page 32 Please note that we only review music in physical formats

divkid's "underrated" Page 47 Waveform is printed in the USA & published by

WAVEFORM MAGAZINE LLC
music reviews page 48 All rights reserved

david battino's "synth hacks" Page 49 Subscribe for FREE at

www.waveformmagazine.com
shop talk Page 50 www.instagram.com/waveformmagazine

waveform #1 summer 2019 4

fourmative ONE MODULE, FOUR
ENVELOPES, ENDLESS
CONTOURS POSSIBILITIES

ELEKTROAKUSTISCHE MANUFAKTUR ERLBACH

[email protected] / +49 37422–40270
WWW.VERMONA.COM
 Editor in Chief, Publisher, Graphic Design, Layout - ellison wolf
Editors - sam chittenden, em maslich Technical Editor - bradley millington
Web Guru - robert standefer Music Editor - tim held
Cover Image - ellison wolf
All photographs ellison wolf unless noted
waveform font is our own creation

contributors
david battino’s DIY approach to music began at the em maslich is an editor, artist, and musician. She
Oberlin Conservatory in the days of quadraphonic tape plays Fender Rhodes, drums, synths, and sings in the
loops. He’s the founding editor of Music & Computers band Secretary. View her artwork on instagram
magazine and co-author of The Art of Digital Music. @neverrealalwaystrue.
batmosphere.com secretaryband.bandcamp.com
jason degelman [aka DONALDCRUNK] has been mike mccune is a lover of tornadoes and enjoys
heavily invested in the synthesizer community since tracking them in his spare time. He makes electronic
2003. Pacific Pivot is the latest DONALDCRUNK music but prefers not to share at this time. His choice.
release, combining melodic minimalism and ambient
atmosphere. Listen at donaldcrunk.bandcamp.com. daniel miller hails from the Pacific Northwest and
enjoys long walks with his Corgis and bowling. He's
tim held is the host of Podular Modcast and runs a a proud Union Glazier and performs under the name
digital label called Self Center Records. The podcast Infideltek. You can find him on Instagram or listen at
can be found on your favorite podcast player. Find the Infideltek.bandcamp.com.
record label at selfcenter.bandcamp.com.
bradley millington is an electronic music
bill horist is a world renowned experimental enthusiast, hobbyist musician, and co-organizes
prepared guitarist. He utilizes building tools, surgical Modular on the Spot and Modular Nights in Seattle.
equipment, and modified electronics to mutate sounds. For more information about those please visit
He's performed all over the world and can be found modularseattle.com.
online at billhorist.net.
kyle swisher performs electronic music under the
abe ingle runs AI Synthesis where he teaches synth name DARK SPARKLER and recently released the
DIY and sells PCBs, panels, and kits through his album I No Beast / I No Angel, which was composed
website. He's also a Dungeon Master, and makes music entirely with the SOMA Lyra 8. Download it at
as Force Damage. darksparklermusic.com.
forcedamage.bandcamp.com
aisynthesis.com ben “divkid” wilson is a music producer/composer
turned sound designer and demo video maker. He has
brandon ivers is a DJ and producer of electronic a background in electronic music for media & TV, and
"dance" music under the alias Mr. Snatches, available has authored best selling sample & patch packs. Find
at soundcloud.com/mr-snatches. You can find more of him at youtube.com/divkidvideo.
his writing at XLR8R, and the Stranger.
ellison wolf likes words, building stuff as Zorx
joshua lim [aka Limanjaya] is a music producer, real Electronics, and making electronic music as RATACID.
estate agent, and co-runner of Seattle’s Modular on He also plays in the band Secretary, who recently
the Spot and Modular Nights. He recently released his released their debut Parallels.
latest album, [tea], found at limanjayamusic.com. secretaryband.com
modularseattle.com zorxelectronics.com
graig markel is a musician, recording engineer, and
owner of Recovery Effects and Devices. He performs
electronic music under the name the Animals at Night
and his latest release resides at theanimalsatnight.com.
recoveryeffects.com
7 waveform #1 summer 2019
 inside the world of arius blaze and folktek
photo by katherine greenhoot by ellison wolf

Τ
o enter the folktek universe is to walk into an art and artist-driven company, one that
doesn't design for any particular market so much as it follows its own curiosities,
wherever they may lead.

their high-ceilinged workshop feels like a well-curated art gallery—something it was for the
first year of its existence—with electronic instruments in various states of construction,
skeletal prototypes hooked up to oscilloscopes with multi-color wires, and shelves of
immaculately packaged modules ready for shipment. up a long, steep staircase is a warmly
lit music studio, outfitted with numerous racks of modular synthesizers, both folktek and
‘other,' all housed in custom made cases.

various homegrown desktop machines sit waiting to be played, glowing at the ready. keyboard-
based synths reside tidily on racks next to a computer recording setup. nearby, a cello rests
on its side, adjacent to an electric baby grand piano. opposite the entrance, something
called "the impossible box” stands firm, towering over all who enter, while a record cutting
lathe that was put together from a kit holds court in a corner. there is no missing the
passion, attention to detail, or love for creation in this realm. it is as unmistakable as
it is ubiquitous.

at the center of this all is arius blaze, the driving force behind folktek.
 people don't necessarily accomplish the
tasks that you would hope they would.
No matter how much money I offered,
they wouldn't accomplish what I was
asking, so I said fuck it, I'll buy a table
saw and a chop saw and I'll just figure
it out. I spent a good long time figuring
out how to build the boxes, but they
got more beautiful because I got into
woodworking; so it's just another one of
those things that once you start diving
in, you think, "This is something that I
can fall in love with." I did fall in love
with woodworking for a little bit, then it
scared me.

EW - Scared you in what way?

AB - It's a scary thing, you can chop
your finger right off! I had just a couple
EW - How did you get your start building EW - Totally. It makes it way easier to
moments were it was close to my finger,
instruments? make a refined product.
and I had a piece of wood shoot back
AB - My father was a professional Native AB - Yeah, and then something and hit me in the ribs and then shoot off
American artist/silversmith, so he was happened. I had a realization that this and hit the side of the garage. It sounded
always setting up a studio in every house can actually be art, something beautiful. like a gun went off, and it immediately
we moved to and creating his work, It doesn't have to be something just for looked like I had just taken a kick to the
and from a very early age I just started fun, or that ends up being trash, this can chest from a horse or something. I still do
helping him. So I grew up making actually be something. Over the years it’s some woodworking, but I find I’m a bit
jewelry, learned to paint; I learned how evolved to become more of a blending of gun-shy with it a little bit. Katie, my wife,
to work on pottery. I had art in my life at physical/sonic artistic expression where I she's very comfortable in the woodshop,
all times. Some of that is kind of crafty, could inject my aesthetic into that form. and I showed her what I knew and she
went and learned beyond that, and she
like learning how to use a jeweler's saw.
EW - How old were you when you had enjoys making the boxes. We work well
There’s art on the one hand, but also this
that realization? together. We've been together for a good
meticulous task in order to get the art to long time, and she's the manager here.
work. It's "art-work". AB - I think I was about 21 and just
about to have my first child. It was a EW -Along with Katie, you have two
EW - That sounds like something a big moment when I realized that this is engineers working for Folktek. How is
parent would say to their kid. something that I could actually do with that?
AB - My father might have told me that. my life. My father would always say that
I should just be an artist, and when I AB - For a while, we just had one engineer
started making instruments, he would be and I thought we needed another one
EW - Do you remember the first thing and so I put an ad on Craigslist to see
you ever built? like, “I don't know why you're doing this,
what would pop up. And one dude hit
you should just do your art.” I would say,
me up and was like, “I’m interested,
AB - Oh just some shit. I had no idea “This is my art, you're just not seeing it as
what’s the deal?” So I emailed him back
what I was doing. A lot of the early art, but to me it's my art.”
and said that we’re doing synthesizers,
things I made were just trash. I was not a hit me back if you’re interested. He’s like,
EW - Did he ever come around to
natural at drilling holes. I never worked “Are you kidding me? This is Arius Blaze
understanding it?
in a shop, I never got into shop in high of Folktek? I can't believe that you’re
school, I didn't have that background. I AB - Yeah, I think once he started writing to me! You’re a big part of the
had art. When it came to other things I seeing it become more successful he reason I got into engineering!”
was pretty much lost. I’d never worked understood, but he had the idea that
on electronics, so I started with no being a famous artist was the apex of EW -You obviously hired him, right?
knowledge on how to build anything. "The Human Experience."
AB - Oh yeah. So we have an engineer
The first thing that I got into was just who is into music, but has a straight,
fucking up some toy, just trying to EW - He might be right! So you kind
narrow pathway of how to accomplish
add some switches to it. It started as of learned about electronics and
things, and we have another guy who
just exploration, experimentation. I woodworking simultaneously?
understands synthesis and wants to
remember the first time, which isn't AB - I got into woodworking not because make electronic music. And then me. I
as long ago as it should be, when I I love the craft of woodworking, not then understand electronics enough to be able
discovered the drill press. It changes anyway. I got into it because I had been to question what those guys are doing. So
your whole life. paying people to build me boxes, and we have this interesting dynamic.

9 waveform #1 summer 2019

EW - It sounds like you guys complement it’s time to bring it back up again. And more, so now you're not just making one
each other well. we were thinking, “This is insane, this piece at a time, you're making 25. It got
cannot exist in the house, it just can’t”. to a point where I was tired of drilling
AB - It’s really cool. They're very good So we decided to get the studio. That was all the holes, bending the metal, cutting
at understanding that they’re working two and a half years ago. We were really the metal, etching the plates, all that shit.
with my ideas, and they can do what I’m lucky to get this, and it’s directly across What I do now, the part that keeps me in
dreaming up. Before I was working on the street from what was once the “Blaze love with this whole process, is dreaming
more basic electronic designs. If I’d had Gallery”, a Native American gallery run things up. I don't want to dream up the
the ability I would have done more, but I by my parents when I was a kid. We took same thing that everyone else is doing; it
just couldn’t do it; I’m not that advanced. this whole main space, and turned it into has to have its own character. I get to look
Some things are simple ideas, some of an art gallery, so we had events and we at the things that already exist and draw
them the engineers are like. . . inspiration from them. I get to listen to
did that for a year. Gradually Folktek just
my own process, listen to the music that I
started becoming bigger, so five months
EW -It's not doable? like to make, or the sounds that I want to
ago I built workbenches and put up
hear, or the sounds that naturally occur
AB - It’s all doable, that’s my thing with shelves. It was a hell of a lot of work. when I'm playing my own instruments.
them. I think it’s fun for all of us, and a How do I make something that can be
very rewarding process. EW - Are you still doing custom work? accessible for other people? How do I

"if you create one thing—a movie, an album—it doesn’t speak

to what you’re able to accomplish. it could be a fluke."
EW - You have a reputation for not AB - No. I've done so much of that, I'm make it an enjoyable process, as far as
making any compromises. totally done with it. I still create single playing? How can I put something into
AB - I can probably be a little too hard- works for myself or friends but nothing it that gives it a different character? Not
headed. I'm just trying to do what I want to sell. We have some remnants that are for the sake of being different, but for
to do, and so I can be a little tough like still going out and we just shipped out the sake of creating something in the
that. the last Drum Scape recently, and that's world that's worth creating, something
it. I don't want to do it anymore. It's too that feels like it has a place where certain
EW - Do you think it rubs the people you stressful; it's just too much. When you're people are going to find that character
work with the wrong way sometimes? working with that small [of quantity] attractive and find a way to dig into it in
AB - No, I think everybody here has a there is kind of a pleasure in the process, order to find their sound. I love that. And
good idea of what's happening. I grew but it gets to be overwhelming just trying when it comes to my roots as an artist, I
this, so this gets to be my thing. As much to get by one piece at a time. As soon as still get to put the art into what I create,
as I'm willing to listen and hear people you take on an employee, you have to not just in the sound, but in the physical
out, I'm also very capable of saying no, make choices, and you need to be making aspect, too. It's what keeps me around.
and everybody understands that.

EW - How long have you guys been in

this space?
AB - We got the studio because Katie and
I were working out of our house and it
was getting crazy, [stuff] was all over the
house. We’d pull out boxes and set it up
on the table and start assembling things.
Once we got into modular, we were like,
“We’re doing a hundred of these things?
We don’t have space for this!”

EW - You’re working there, you’re eating

there, you’re sleeping there…
AB - Yeah. You go and you put it all out
on the table, and it’s not even a big table,
and it’s in the living room and it’s totally
covered and crazy, and we have kids, so
let’s break it all down and put it away, and
go ahead and put it in boxes, and take it
all downstairs and put it away and then the impossible box
waveform #1 summer 2019 10
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waveform #1 summer 2019

Folktek is about art, even if we have to fit pen, and I got them all prepped. I made
it within this realm. What I’d really like what I call a “geometric lathe”, it's a
to do is create an actual official Folktek drawing machine that will repeatedly
synthesizer. draw the same abstract image, so each
one [will be] unique, but the same
EW - I wanted to ask you about the image. I was going to put out 25 copies
Impossible Box. When did you build of an EP by Burnt Friedman, and I was
that? talking to Richard Devine, and then
AB - Six or seven years ago. It took me a I was going to put out my own thing. I
year to build. I can't say that I would do think I got halfway through the first run
that again, it was a real undertaking that of the first record and I thought, “This is
in hindsight I kind of wish I wouldn't fucking insane, why am I doing this?” It
have done. Too much time, too much would be a cool project, but the amount
energy. I'd wake up in the middle of the of time and the amount of money I was
night having dreamed about it, about spending, for this to even make any sense
how to do something, and have these at all each record would have to be a
“aha” moments that I would write down. hundred bucks. I would love to do that platform, like a USB interface that you
someday when I have nothing to do but can play them [VSTs] on. I just want it
EW - Did you record your record, that. to light up and to be able to adjust the
Meditations in Jazz, on it? settings without turning knobs, and for
EW - Well, when you retire, you can start the whole thing to be flat and beautiful.
AB - Yes, but it's all based on tape loops. a small press record label!
There are no electronic origins in the EW - Your stuff definitely draws
sounds themselves. AB - That would be pretty fun.
attention. I played a Modular Nights
EW - You recently put out a Folktek VST show last December and had the Matter
EW - So each piece of Meditations was
collection, how was that process? II with me, and people were crowding
created from tape loops?
around trying to get a look at it. The guy
AB - This is our second one, the first one we
AB - Multiple tape loops. Acoustic next to me had the Matter I, but he hadn’t
did was 10 years ago or something. Drew
recordings that I made as well as blips seen the new one. Everybody wanted to
McIntyre takes the lead on development
and little pieces, samples from other and I basically help create the sound and try it out.
things, all spliced together. I started process. When you’re building VSTs, AB - One thing that I don’t like to do is
with three four-tracks, so three different you need to multi-sample, that’s the first to put out a new version of something
loops, and arranged each track to be a thing. So if you’re going to make a guitar that is only slightly different. If I’m
specific instrument, basically, and that's VST, you need to play every single note, going to update something it’s going to
running through a variety of modular you need to make it sound exactly the be something totally different, like these
[gear] and the Impossible Box. And I same. Because you can’t just pitch-stretch [points to Matter II] connection points,
got to manipulate it as I went, building it. So what we do is that we go in, develop where if you have two or three pins you’re
the composition. Just recording the tape a sound, and multi-sample the hell out actually connecting multiple points. We
loops, organizing and orchestrating of it. So if you’re going to take prepared
them, took me a good long time, but it spent months getting it perfect. I made
piano, and you were going to say “Okay, this prototype and I was playing it, and
was a beautiful process; I totally enjoyed we want the dry prepared piano,” you
it. I don't have a grasp at all on what it making videos, and the connections
would record every single note. And then just weren’t getting made after a while,
means to release an album so I just went you think, Let’s do it the same way, but
for it. I got the heavy vinyl, nice Tip-On and we had to change the hole size, like
this time it’s affected, this time it’s going a tenth of a millimeter. We assembled
gatefold. . . If you’re going to do it, going into a cassette tape or something. We’re
to put it out, it should be nice, it should another one and I plugged it in and out
recording it and sending it back over and like 500 times. My fingers were really
be something that's worth it. cutting it up and putting it to line up
sore after.
with the initial recording of the prepared
EW - What's up with that lathe in the piano. And then just do that X amount of
corner? Have you made any records on ways. Some of our stuff is like eight layers EW - You’ve definitely worked in a lot
that? deep, so it takes a long, long time. of different artistic mediums. You made
a full length film, Permeation [set for
AB - I have cut records and I intended to release in 2019].
EW - How long did it take you guys to
actually put out these limited releases,
develop it? AB - Yeah. I’d done a few shorts, but for
but it's a very tedious process cutting
records, and it's very expensive. And it's AB - I think we worked on it most of this I wrote directed, scored. . . I did way
very easy to fuck up. You have to sit there last year, and the final four months too much! It took two years to do the
and watch it, brush the swarf away, and there was a crazy push. It took a long movie. We shot it over the course of 6
it's extremely flammable and it just melts time, but I think we’re going to make months. I just want to do another one. I
all over the place. But I got a plotter, and more collections. I’m starting to work learned my lessons, I have a new script,
I started plotting all the covers with a on developing an actual Folktek-specific I’m ready to go.

waveform #1 summer 2019 12

EW - Did you self-finance it?
AB - Yeah, I just winged It. My dream was to make a movie,
and if I make one movie, well I can’t just make one movie, I
have to make another. It’s the same with anything. If I make
an album, I need to make more albums. If I paint pictures, I
better have enough to put in a gallery. Everything for me is
that way. My whole thing is bodies of work. If you create one
thing, a movie, an album, it doesn’t speak to what you’re able
to accomplish, it could be a fluke. Create a body of work so
that you’re establishing your voice. You have to create a body
of work.

EW - Would you say that you have an obsessive nature?

AB - Probably. Yeah. I'm driven and I can be obsessive about
art. I get an idea, and it doesn't matter what it is. The other
day I decided that we should make all of our dishes. That was
Friday night, and on Saturday morning we went to the art
store and picked up a box of clay. Then I decided we'd get
a wheel, so I found a wheel on Craigslist, and we went and
picked it up and brought it home, and now it's in the living
room! So now I'm working with my family, trying to get them
into it, and we're working on a set of dishes so that we can get
rid of all of our old dishes. Six months ago we changed our
diet and decided to eat completely different, from indulging
in the many amazing foods in Portland to a much more
exclusive diet, like broth and juice, and so I just got super
into cooking. The past two months I've been in love with
cooking and I spend most of my time in the kitchen. Once
I find that thing that I become passionate about, I become
obsessed and set out to learn everything I can about it. That’s
what happens. Katie put it in interesting way. She said that
I’m obsessive about everything I do, but that the difference
between me and somebody that’s technically unhealthy, is
that I accomplish it, and that is pretty legit, I guess. I get way
into [something] and push it as far as I possibly can, always.

EW - How do you find yourself dealing with people say they

want to do something and then they don't, or take forever to
do it?
AB - If I'm working with somebody on a project and they're
incapable of seeing something through to completion, it's a
bummer. I find that most people do though, if you can direct
them. I know that changes the nature of a collaboration,
but sometimes it just has to be that way. Sometimes you
have to push it and takes a year where you’d hoped it would
take a month. I've walked away from creative and business
relationships where I saw that either we were going in two
completely different directions, or the other person wasn’t
capable of seeing something through to completion, and that
bums me out. Sometimes you believe you can accomplish
something, and it turns out it's just too difficult. It's totally
okay, you just don't want to drag anybody down with you.

EW - If Folktek didn't exist would you still be doing art in

some form or another?
AB - Totally. That's what I'd be doing. That's what I'm still
doing. I’m willing to try things, and I’m OK letting go, too.
I took up tattoo recently, and I’ll either let it go, and it’s not
my thing, or it’s my new shit. That’s my nature, to just keep
trying. I will never be satisfied.
folktek.com

waveform #1 summer 2019

 w hen Dan Green started building guitar effects pedals in high school in the 90’s
there was no way that he could have known that later down the road he would
be at the helm of one of the top Eurorack companies in the market. The industry
was nascent at the time, and he wasn’t familiar with Eurorack anyway, having confused
it with the 500 lunchbox series of equipment that’s used in recording studios. After Big
City Music sent him a Doepfer system to check out—it was at their urging that Green
give making modules a shot—it was game on. From learning about the industry as a
whole, to moving locations to find the right fit, to changing business models, Green's
journey from guitar pedals to the Eurorack world brings to mind artist Ann Hamilton's
“practice of recognizing”: trusting the unknown, staying curious, and being open to
all possibilities—traits as fundamental to success as hard work and tenacity.
by Ellison Wolf
EW - You started as 3ms, right? EW - How did you learn about guy, because St. Louis had tons of free
electronics? buildings. So we paid $800 for this house,
DG - Yeah, it started when I was 16 and fixed it up, got the heat up, got the power
DG - Library books and the Internet. I
living at my parents house. My phone on…
went to U of I [University of Illinois], but
number in high school was “3 MAD SHE”, didn't make it through a whole year before
so the first company was 3 Mad Sheep I just decided it was too slow. It's easier for EW - You bought the house for $800?
Productions. I was making effects pedals me to learn on my own than sitting in a DG - It was my friend's $800. It's a liability
for my band and people were curious, so I class, so I dropped out and moved to St. buying a house like that, because it's always
made some. At some point it went from a Louis. I started an artsy activist house/ falling apart, but for a 19-year-old kid it
hobby to a self-employed business. project space/rent-free thing with another was awesome. We were building guitar

waveform #1 summer 2019 14

pedals in an upstairs room, and that was
3ms Pedals. We only had to sell a few a
month to pay all the bills and everything,
so people [would] just chip in. They were
all my designs, but we were operating like
a collective.

EW - How long did that last?

I lived in that house for 5 years and
then I moved next door. The whole
neighborhood was falling down, and you
have to have the insanity that only a young
person has, that you can do anything. I
knew someone that would use candles
inside; she had a car battery on a dolly that
she would roll up the street to a friend’s
to plug it in and charge it, and then roll it
back down at night to her place and use an
inverter to power her radio. That house is
still going, actually. They're having their
20th anniversary soon.
EW - So what happened after that? and Josh from Big City Music contacted
EW - That’s amazing. DG - I just wanted to get out of St. Louis— me. They'd been buying our pedals for
DG - There are new kids there, and they I’d been there a long time. 4ms had this a while, and he said that I should check
formed a nonprofit. They have their own crazy instrument called the Bend Matrix, out Eurorack, that we should make our
board and everything. a button board, a 4x8 matrix, so you’re pedals into that [Eurorack] format. I was
connecting four things to eight things in thinking it was the lunchbox, the 500
EW - So you kept 3ms going the whole any combination. You can rapidly make series things. I just didn’t know. He mailed
time? and break connections, and it had all of me a case with a bunch of Doepfer stuff in
DG - Well, around that time I got a cease these weird sequence and random things. there to check out, and I fell in love with
and desist letter from the 3M Corporation, We would use it to hook up eight speakers all the connections you could make, and
and so a lawyer friend of mine told me that around four performers; an octafonic the precision; everything did what it said
big companies solve problems with money, system. We had a dream machine in the it was going to do! So we converted our
and to ask them for money. So I wrote
them back and said, “I don't believe I'm in
violation of anything, but in order to settle
this matter amicably I will accept $15,000
“Let's not count how many hours
from you, which modestly covers some of
our expenses, changing our name, and loss
we really spend on kit support."
of customers.” And they're like, “We’ll give
you $58, that's what it costs to register your middle with lights and stuff that flash, and Noise Swash, which was our most popular
name.” I said no and left it at that. Months we’d surround the audience, so you close pedal at the time, over to that format. It
later some other lawyer from 3M said, “The doesn’t make sense as a Eurorack module,
your eyes and hear the music spinning
old guy’s out, and I'm cleaning up. Where but we sold a few of those, and so we then
around you. We were doing that for a few
are we standing in negotiations?” I told converted another one of our pedals, the
him I had asked for $15,000 and he said, years, and then moved to Austin. We were
there for 3 years and then moved here Atoner, which made a little more sense.
“We’ll give you $2,000.” I said, “how about The first real module that we made was
$5,000,” he said, “how about $4,000?”, and [Portland] in 2012. It was a year before
Control Voltage started, and Dark Place the Rotating Clock Divider [RCD]. I’m
I said okay. He asked who to make the
had just started. into rhythms and polyrhythms, and I
check out to, and I had to come up with
thought this whole system [modular] is so
a name so I was like, how about 4ms! We
EW - Portland is kind of a synth mecca, mathematical why is it so hard to make a
posted it all over the Internet and got a lot
of press. We actually had more sales the there’s a lot going on here. So when did 3/4, or 7/13? So I made that [RCD], and it
next year because of that. That was more you start making Eurorack modules? was super popular. People were excited to
money than I’d ever seen and it helped us DG - In Austin in 2009. We were making see a new company jumping in because at
get some new some new tools and to buy these huge boxes where we'd mount all that time there weren't a lot.
bigger supplies of parts. of our pedal effects in, and connect them
together in the back. They were all custom EW - Now there are new companies
EW - So you have 3M to thank for your units that people would contact us to popping up practically every day.
company. make for them, but it was a lot of work DG - Well, production is so easy now.
DG - Yeah, they invested early, with no to do it that way because we were hand When I started doing electronics it was
return! wiring everything. So we were doing that, really hard to get a double sided PC board

15 waveform #1 summer 2019

made for a good price. Now it seems like DG - It's in writing, but there aren’t very EW - I noticed that the artwork on your
you just Google “PCB manufacturing” and many lawyers involved. We’re specific panels has changed from the doodles of
all these places come up, and you can get about what we’re expecting from each the Noise Swash to the multi-colored
an online quote right away, and then get it other and what we're going to do for metal panels of the PEG [Pingable
in 8 days. That definitely wasn't there back compensation and everything, but we keep Envelope Generator], to the PCB black
then. it simple. and white faceplates that you employ
now. Why the change? Do you think this
EW - What's your favorite part about EW - What's the average amount of time is representative of the evolution of 4ms?
running your own company? it takes for you to come out with a new DG - Yeah. Metaphorically our sound has
DG - I like making stuff and just being able module? gotten a little crisper, a little less chaotic,
to have an idea, play around with it and DG - It depends on how many times you and a little more defined, but it really just
end up making a physical thing. It's pretty have to put it on hold. Like the STS [Stereo came about because we started using full
fascinating. Triggered Sampler] took over three years, color RGB LEDs, which if you stick any
but it wasn't like I was working on it all kind of color scheme on the face plates, it
EW - Did you build stuff a lot as a kid? those years. I started it and then I had kind of clashes, so we just went with black
DG - I liked building things like Legos, ideas for the SMR [Spectral Multiband and white.
and I got into model rockets and started Resonator] so I just stopped the sampler
designing my own rocket. I got balsa and pursued the SMR. Then we did the EW - That makes sense. I was looking
wood, made templates for the fins, tested DLD with Gary Hall, finished that, and at your kits, and they look pretty
them for balance and aerodynamics by came back to the sampler, and finally intimidating!
spinning them around on it with a string, finished [it]. It took over three years, but DG - They’re not the simplest kits, but
just using craft store supplies and stuff. I I was working on a lot of other stuff at the we try hard to make our documentation
actually tried to make a product, and had time as well. with lots of step by step photos. I grew up
the templates and some instructions that doing Legos, like everyone did, and I think
were printed out, and put in a nice bag, but EW - Is it common to have starts and that is just kind of the epitome of what kit
I had no idea how to sell [them]. I thought stops with an idea? instructions should be.
I could make a few and put them in garage DG - It's not uncommon. Some things
sales and someone would buy them. happen in one continuous block of time. EW - Good documentation is key.
Some things have starts and stops, or some DG - Our instructions have a lot of text.
EW - How old were you then? other project pops up and seems more One of our policies is that we don't fix
DG - Like eight or nine. It was fun. interesting, or there are delays because of people's kits for them.
parts and suppliers and things like that,
EW - You’ve done a few collaborations and we're stuck waiting six months so we EW - Then you definitely need good
on modules, such as the Dual Tap decide [to] finish up some other thing instructions. People would give up easier
Delay [DLD] with Gary Hall and the and get that out. There are a lot of things if they were able to send you their non-
Tapographic Delay with Matthias Puech. happening in parallel, especially now that
functioning DIY module to fix.
Did you know them before you started I have a bigger design team; we'll have
working with them? Did they contact multiple things being developed, and we DG - Exactly, and it’s DIY, so it is an
you, or you them? also have multiple things on back burners. educational experience. There are people
that want to build a kit and sell it, and we
DG - I knew of them, and in both cases they don't want them to say, “We sent it to the
EW - It seems like it’s pretty seamless for
contacted me first and pitched the ideas. manufacturer and they checked everything
you to work with people outside of 4ms.
It's really just if the timing is right, sounds out and it's good.”
Are you open to suggestions from all the
like a good idea, and I feel compelled to
people you work with, including your in-
do it. Plenty of good ideas come my way, house crew? EW - For a manufacturer, it seems like
but sometimes I feel swamped with other kits are a lot of work.
projects and just pass it up. DG - Totally. It's part of why I like working
with people because I can go and ask them DG - Yeah, it's not that much less work to
what they think or get feedback right away. solder it than it is to sort out all the parts
EW - You don’t release a lot of stuff, so I for the kits, but I love the community of
guess you need to be pretty selective. EW - Is working collaboratively a totally builders, the mentality of it. It's where my
DG - Yeah, and it takes awhile to come different process than when you do it in- heart is and I can't give that up. We don't
out with something because we do a lot of house? lose money on it, but it's never carrying
testing and revisions, for both the hardware DG - It's pretty similar to doing it in-house. us through the winter months! It's one of
and the firmware involved. Sometimes I'll For the Tapographic Delay, Matthias did those, "Let's not count how many hours we
start over from the beginning and redesign 99% of the firmware—the part where really spend on kit support because we'll
from the ground up, so it's a big deal to I would normally sit down and write start to feel bad!”
take on a new project. code—and he also did a lot of videos and
wrote the majority of the manual, so he EW - You’ve taught Modular Synthesis
EW - What's the agreement when you did a lot. We still did all the hardware, the at Portland Community College, so
do a collaboration? Do you have lawyers testing, securing the parts for production, helping people learn and figure stuff out
sort it all out? Is it a handshake deal? promotion, and artwork. is obviously in your blood.

waveform #1 summer 2019 16

DG - It's also trying to find creative ways to have people look critically at their
work. Beginners have a better success rate than advanced people, because
beginners are terrified, and they think they're going to do something wrong
so they check and double check. A lot of times it's just encouraging people
to closely examine their work. Sometimes people think, “I made this thing,
it's perfect. I know I didn't do it wrong because it felt good that I made it.”
Unfortunately the electrons that are trying to go through this path can't do
it because. . .
EW - It’s a backwards resistor!
DG - Or I measured all the resistors in circuit and this one's reading wrong!
It’s just encouraging people to understand that unless you saw smoke or see
evidence of flame. . .

EW - I've had stuff that I've built smoke, and then I figure out the problem
and it still works. I'm always wondering what was smoking. How can that
not be totally disastrous?
DG - There can be a little bit evaporating water or something. If there's a
hole where smoke exited, then that's obviously bad because something
inside came outside. The breath of life has exited.

EW - Along with DIY kits and completed modules I noticed that you sell
4ms socks on your website. Are they ESD [electro static discharge] socks?
DG - They’re not, and that did not occur to me until now. I wear slippers
when I work in the summer, and it probably goes back to when I used to
do a lot of through hole projects and there were a lot of resistor leads all
over the ground, so wearing socks was dangerous. We have a slipper rack
by our door, if people want to wear them they can. It’s optional, though, not
company policy.

EW - Maybe it should be. You could have “Casual Slipper Fridays”.

DG - “Mandatory on Fridays. Slippers only. Or you’re fired!” That would be
awesome.
4mscompany.com

waveform is supported by our advertisers and through generous donations by readers waveformmagazine.com/donate
 SUZANNE
C I A N I
By ellison wolf

waveform #1 summer 2019 18 PHOTO BY: KAREL CHLADEK

A ccording to folklore, the seventh
wave in any set of waves is the largest and
This inclusion, this feeling of physical
continuity, is important to Suzanne. In
a soirée one evening, and this professor
there was trying to make a sound with
makes the most impact. While not exactly contrast to many synth/electronic music his gargantuan computer that filled
science, there is something about the performers who act as sentinels behind three rooms. So I knew that there was
notion that endures in the imagination their modular cases—using them as something, but I’d never seen anything
and nods to a natural order, a rhythm, barriers between themselves and their that produced electronic sound. When
a rightness. It’s no coincidence that audiences; leaving the crowd in the dark I came out [West] the first thing I found
musician, composer, and sound designer [usually in a literal sense] as to what was the San Francisco Tape Music
Suzanne Ciani’s record label is named they’re doing—Suzanne makes it a point Center. It was housed at Mills College,
Seventh Wave; her Instagram handle is to show everyone as much as she can when but had nothing to do with Mills. They
sevwave; her website is sevwave.com; and gave me a Ford Foundation grant, and it
she performs. It’s taken audiences nearly
one of her most popular records is Seven jump-started my involvement with gear.
half a century to catch up to not just to
Waves. They had the first Buchla 100, a lot of
the technology and sound of synthesized
military surplus stuff, and there was this
music, but to the performance aspect of fascination then with technology. We
The connection deepens the more it as well, and that’s something that she had a thing called E.A.T., Experiments
you compare ocean waves to sound doesn’t take for granted. in Art and Technology, run by
waves—the type of waves that this woman who took artists and
Suzanne has spent a lifetime
making, manipulating, and
“what is this? paired them with pure technology

modulating. Both waves this is not a ciani album!” people who were frustrated artists
working in big companies. I did a
diminish in size and power project with somebody who took
the further they get from Everything has its time and place, and stereo signals and created video imagery.
their point of origin, behaving more it’s apparent that the time for electronic We worked in San Francisco at the Palace
predictably in the process. There are, synthesized music is now. This surge in of Fine Arts.
however, things that can influence popularity, this new wave, is the impetus
this predictability. Ocean waves can for the renewal of Suzanne's electronic TH - You said you were becoming
encounter many factors on their journey music career. For the past few years she’s disinterested in playing piano. I was
such as wind or icebergs that can change been traveling the globe with her Buchla wondering if the lack of black and white
their direction, shape, or force before as an ambassador and pillar of the synth keys on the Buchla was something that
they reach their final destination. community and introducing an entirely you were uncomfortable with at first.
Likewise, sound waves can be folded, new audience to her music. SC - Well, you have to understand that I
filtered, fractured, and faded before was proselytized by Don. He had a vision.
reaching our eardrums—if they even I met him 5 years after he had initially
Tim Held [Podular Modcast] and I met
make it that far. Both types of waves— started and he was really committed
with Suzanne at her house last November
one organic, the other man-made from where we spent an afternoon on her to making an alternative interface
electronic building blocks—are polar deck overlooking a serene stretch of the for electronic music. What happened
opposites that exist in the same universe. Pacific while sampling artisanal cheeses when Moog put the keyboard on it,
and talking synths, Don Buchla, and why everybody thought it was a keyboard
In simplest terms, waves are about the she prefers the MArF over the DArF. instrument and nobody explored. I was
transference of energy through space, really sensitive to that, and that's why I
and transference of energy is something completely stopped playing any piano
EW - What was your musical upbringing
Suzanne’s music and performances at all. I didn't want to be associated
like?
embody. She has a deep understanding with a traditional keyboard. The
of the physics of the process, with the SC - I was brought up classically playing elements of analog modular synthesis
ability to harness energy and define a the piano, I majored in music at a are pretty much defined. It actually is
trajectory. The music that she creates liberal arts college, and got a master's an instrument, and what you have are
with her Buchla synthesizer has a flow, degree in composition out in California. these modules and some of them are
an organic evolution that brings to mind Then, when I met Don Buchla, I had a essential because they're sound sources.
the natural movement the of ocean. conversion. It was almost religious. I just And then you have filters, you have gates,
When Suzanne performs, she does so in stopped with my classically based stuff. I sequencers, and the definable thing from
quadraphonic sound, something she’s didn't even want to touch a piano. those basics you can elaborate on.
been utilizing since the outset of her
experimentation with electronic music EW - Were you searching for anything at EW - How was performing on the Buchla
back in the late 60s; hearing music and the time or did it come out of the blue? when you started?
sound in this fashion is so immersive, SC - I think subconsciously I was SC - I was really good at it back then,
so all-encompassing, it’s similar to searching and I had an inkling of this but it was super challenging because,
the feeling of being surrounded by— other possibility when I was still on the honestly, people didn't get it, and when
submerged—in water. You’re a part of it. East coast. Wellesley's brother school you performed you had to explain it to
A component. A conduit. was MIT, a very tech place, and we had people. They didn't know where the

19 waveform #1 summer 2019

 there are fans saying, “What is
this? This is not a Ciani album!”
And they rated it down low,
and it made me really scared.
So I became shy, and I didn't
want any publicity. I wanted to
participate in the Buchla thing,
because I spent a good part of
my life in that, but I didn't want
to confuse them. It kind of took
over. One time I was playing at
Machines in Music and I was
still very shy about this new
identity, and I was talking to
some of the young kids and I
said something about it and
they said, “We love your other
music, too. My parents listen to
it!”

EW - Were you aware of the

synth boom that's been going
on?
SC - I had no idea that there
Suzanne's buchla had been this revolution, this
renaissance going on. You can't
sound was coming from, because it's as part of this female pioneer series, imagine how it felt to play to an
not obvious. Today I make sure that and they premiered a piece by Daphne audience that knew what I was doing.
everybody can see me playing and Oram [British electronic music pioneer]. I never had that. I give them [Finders
interacting, but the truth is that there She composed a piece in 1943 for two Keepers] credit for actually relaunching
are a lot of things that unless you’re a orchestras and electronic processing. the second phase of my career.
synthesist you won't understand what Yes, there are women in this now, but
that person is controlling. In traditional guess what? There always have been. EW - Have you been enjoying it, this
music you make an action and you They've been invisible. rebirth? Are you surprised by the synth
get a note. In electronics you make an community now?
action and it's a command. You can get EW - Career-wise, after your Buchla SC - It's a dream come true. For so many
a note, you can start something, you music, you went into what others of the years that I played, there was no
can stop something, you can transpose categorized as "New Age" and released connection, and now people know what
something. You're doing compositional much of it on your own record label, I'm doing. I can't believe it.
interactions on a larger scale. Seventh Wave. Now that your Buchla
music has had a resurgence is the label EW - What happened to your original
EW - You’ve said before that when still operating? Buchla? You didn't have it for a while,
you started, synthesis was like a men's SC - It’s kind of dormant now. My music right? Is it true that it was stolen?
club. What was it like when you were in is just live Buchla, so I don’t know if my
Berkeley in the late 60s? SC - Half of it was stolen, half of it broke.
fan base is that interested. [After college] I moved to New York, and
SC - It was socially liberated. You didn't I just felt synchronous with New York;
go along with an agenda or program, or TH - Do you have different audiences for I loved it. That was a problem because
societal norm, you made your own rules your New Age music and your electronic Buchla was on the West Coast, and the
and you thought originally. Women's lib stuff? Has there been a reaction? Is there instruments were fragile. So when the
was just starting. They had bra burnings any crossover? instrument broke I would ship it back
as a symbolic gesture about what was SC - That's a complex question. I was to Buchla and he would fix it and he
prioritized about a woman's being. very concerned when I started doing live would ship it back to me, and it would
When I came of age in the 60s that was electronic [music] again that I would break [again]. We tried so hard to get
at a height, and now we're back at that alienate my core audience, and that somebody to repair them in New York,
height again. happened. When Finders Keepers asked but his schematics were always a bit
to release some of my historic stuff, I personal, so there wasn't an out-of-the-
EW - How do you feel that translates to thought, “Fine. Why would anyone want box way [to fix it]. I couldn't play the
the electronic music scene? to hear this stuff? Take it!” I thought instrument anymore, so I transitioned
SC - Women were the pioneers in this. nobody would even know that it came to other instruments. For a time my
I played this year at Royal Albert Hall out. And then it's up on Amazon, and studio became the beta test site for a lot

Waveform #1 summer 2019 20

of companies. Eventually I had maybe MArF [Multiple Arbitrary Function to express it. When I first worked with
fifteen people working as synthesists, Generator], and he couldn't fix that Don it was all about how we can make
and I had staff for production. We because he said the new parts didn't fit. a performable musical instrument in
had special consoles built with MIDI I just kind of gave up on it and donated the tradition of all instruments that are
interfaces so five or six people could it to a museum in Canada, although they performable, and that got lost.
work together. It was very sophisticated, did pay me something. That guy later
it became a big studio. But I got out. I got screwed me and made a lot of money
breast cancer, left everything, and came EW - It’s hard to imagine people in the
selling it. I'd be performing and people
out here [Bolinas, CA] and revisited the 70s listening your Buchla concerts.
would come up and say, “I just bought
piano. My first album out here was piano one of your [original] modules.” One SC - Right. I just got a video a couple of
and orchestra, Dream Suite. I sat at that days ago from 1974.
guy bought the empty case for $10,000.
piano and wrote everything I could see
There are so many cloak and dagger
out there, and kind of drifted away. My
stories. It's just disgusting because my
whole tendency was to become more and EW - Of one of your performances? Had
more acoustic. goal was to have it where people could
see it. I’m trying to communicate the you ever seen it?
EW - When you got back to the West story of Buchla. If you look historically, SC - No. I knew it was made, and I’d tried
Coast were you still in contact with Don when something new comes in, a lot of to get a copy of it, but the woman who
[Buchla]? the initial creative force is expressed made it would never give it to me.

"When a person is at risk and in the moment, that energy translates."

SC - Yes, we became tennis buddies. I right away. That initial inspiration, that’s EW - I wonder why?
didn't know what a great tennis player the seed that’s so intensely valuable and
SC - It's complicated. I can only guess,
he was! Over the years of our playing, that’s what I’m trying to show. The guy
but I don't know. I offered money. The
he had health issues, and in the end we was the Leonardo da Vinci of electronic
people who did my documentary [A Life
would go find a court, and I would hit the music instrument design. There's been
in Waves] tried to get it.
ball right to him. He always got it back. I nobody like him.
was really happy to bring him some joy. EW - They couldn’t get it from her either?
EW - Since your original Buchla was
TH - You’ve spent a lot of time composing gone, how did you get back into it? How SC - No. But she died, and her daughter
for piano and a lot of time composing for did you get your current setup? found herself with all these archives.
electronic synthesizer. Do you feel like SC - Don called me and said, “If you're EW - Do you have a copy of it now?
one is more your voice than the other? ever interested, if you're ever thinking
about going back to this instrument, SC - Yes, I just watched it and it's
SC - I think that they complement now is the time. I'm going to sell the hysterical.
each other, that there are areas company.”
compositionally where they overlap. EW - Where did the concert take place?
You see techniques that evolved from EW - When was this?
electronic consciousness applied to SC - Bonino gallery, an Uptown gallery
music like Philip Glass, and in my SC - 5 or 6 years ago. It hasn't been in Manhattan. The audience looks very
writing I have that synthesis of classical that long. I sat down and made a list intrigued—they're just on that journey.
background with electronic techniques of modules, and I gave it to him, and They don't know what it is, and they
or sensibilities. Certain things are anchor that's how I started this system. He had don't care. There is something I wanted
points in my musical consciousness like the DArF [Dual Arbitrary Function to touch on, about whether people notice
Bach and Mozart. Generator], but he didn't have the MArF. about the connection between what
I tried dealing with the DArF, and I you're doing and the sound. The fact
EW - You said you left everything in New even got two of them to make up for the is that the performer is more engaged
York when you came out here, but did fact that it wasn't multiple. When you than when you are just hitting play and
you bring your original Buchla with you? switched octaves on the original one doing a sample thing, where your energy
[MArF], you just flipped a switch, and connection to what you're doing is less.
SC - I did. I set it up here in the living you got discrete, instant changes. With Yes, you're in the sound and all that, but
room, but it didn't work. Don said to the DArF, to change an octave you had when you're engaged in this [points to
send it to Canada, that there was a guy to go through every position. It wasn't her Buchla], the energy, the connection;
up there who could fix it. He had it for performable. This is the problem with people feel that. They're on a journey
2 years. digital. Digital is not about performance; with you. When a person is at risk and
it's about menus and depth, and layers in the moment, that energy translates.
EW - That’s a while! of stuff. If you don't have that front and
SC - My most essential module was the center performability you're not going sevwave.com.
sevwave.com

21 waveform #1 summer 2019

$8 EBAY EURORACK DELAY MODULE
Ebay’s got everything, so it should come as no surprise that there’s a karaoke reverb PCB for only $8 on their site that
can be modified to work with a Eurorack setup as a delay module. It uses the PT2399 chip and there are a couple of
articles floating around the web about how to perform the transformation [shout out to Mike Eckert of FB group
SYNTH DIY and Izhar Ashdot who made a video about this on his Youtube channel], but I decided to go a bit further
and add a couple of Vactrols so that it’s possible to modulate the delay time and feedback amount. Outside of the
PCB, you will need some wire, a 10 pin power header, 4 jacks, a couple of 1k resistors, and 2 Vactrols [DIY style for
me]. Make sure to do an Ebay search for “karaoke 2399 reverb” and to get one that looks like the one below in Fig. 1.
By Mike McCune

Fig. 1

Step 1 Step 3 Step 5

Desolder the input jacks and power con- Wire up the output. Your PCB should have If you’re new to making DIY Vactrols,
nector and remove. Fig. 2 come with connectable wires, so use those. they’re comprised of just an LED [any col-
Measure out about 4” and cut the cable. or will work, though I prefer red] and an
Then strip the white wire and solder it to
the tip of a jack. Twist the silver shield and LDR [light dependent resistor, or photo re-
solder it so there are no loose strands, and sistor], and something to connect the two
connect this to the ground of the jack. The
red wire isn’t used and should be clipped
so as to not be in the way.
Step 4
Wire up the input. The ground of the input
Fig. 2 jack can connect to the ground of the out-
put jack. The tip of the jack should be sol-
dered into the top right jack hole [where
we desoldered the input jack] where it says
Step 2 “MIC 2” as shown in fig. 3. Solder another
Where the power connector was, solder a wire from the tip of the input jack to the
10 pin shrouded header with the unneces- “Lin” input pad on the underside of the Fig.3
sary pins removed. Make sure the cutout PCB; it’s next to the red LED so that you
of the header is facing the outer edge of the are splitting your input signal into 2 and
board so that when the cable is plugged in, will have a “dry” and a “wet” signal and and block out light, such as electrical tape
the red stripe of the power cable will be on have control over both parameters inde- or heat shrink tubing. All of the parts are
the edge-most side of the board. pendent of each other. pretty inexpensive, so search the web, and

waveform #1 summer 2019 22

if you’re planning on building more proj- to the topmost pads [use a blob of solder
ects in the future it’s good to have a bunch to carefully solder the two topmost pads more about vactrols
of each on hand. Fig. 4. together] of the delay [2nd from top] pot with Abe Ingle from AI Synthesis
on the underside of the PCB, as shown in
To make the Vactrol, take the LED and Fig. 7 Vactrols [sometimes called
have it face the LDR. Then use the black optocouplers] have a certain
electrical tape or black shrink tubing to join mystique in the modular world and
them, as shown in Fig. 5. Just remember are used to add voltage control to
which side has the LED leads, and which circuits that lack it. In construction
are the LDR. The LDR leads are usually a they are simply an LED packed with
little thinner, and the LED leads have one a photoresistor, and can be made at
longer than the other. So now that we’ve home by having the two elements
made some face each other, and then encasing it
Vactrols. . . in something like electrical tape or
black shrink tubing to block outside
Fig. 6 light [see Figs. 4, 5]. By driving the
Step 6 LED with voltage, it illuminates,
Let’s hook up Put the faceplate on, and attach the rib- and the photoresistor applies less
Vactrol #1 so bon cable. The red stripe should be on the resistance to a circuit.
Fig. 4 that we can outside of the board [again, on the oppo- LEDs are diodes [light emitting
modulate the feedback amount. Take the site side of the diodes] and thus have a minimum
Vactrol and connect one lead of the LDR red LED], but voltage that needs to be met before
double check they illuminate. This translates
side to the ground lead [shorter lead] of
everything to to a slight “delay” in the resulting
the LED and use wire to attach that to the
make sure you resistance drop, and as a result,
ground on a new jack. This new jack is our Vactrols are poor options for fast
feedback modulation jack. Connect this have it wired
correctly. audio-rate modulation, as the LED
jacks ground to either the input or output Fig. 7 will be too slow to react to the fast
jack so that all of the grounds on the three voltage changes.
jacks are connected. Photoresistors are asymmetrical
and take time once an LED is “off ”
Next, solder to raise their resistance back to
a 1k resistor the null state. This gives Vactrol
to the posi- controlled VCAs their beloved
tive lead [the “bloopy” decay and can add shape
longer one] to an otherwise harsh AD envelope
of the LED, voltage signal.
Fig. 5
and solder The actual specs of a given Vactrol
the other side of the resistor to the tip of will vary between individual units
the feedback modulation jack. [Fig. 6] The from the same assembly line,
other LDR lead is to be attached via wire to meaning that individual modules
the topmost pads [use a blob of solder to can also vary from the same
carefully solder the two topmost pads to- assembly line. While this causes
gether] of the feedback pot on the under- some circuit designers to take great
side of the PCB, as shown in fig. 7. care in their Vactrol selection,
others embrace the chaotic nature
Step 7
of Vactrols.
We’ll add Vactrol #2 so that we can modu-
Vactrols do have a few limitations,
late the delay time, which can bring about
however. They use 0 as their voltage
some really cool results. Connect one leg of
floor and thus don’t respond to
the LDR to the ground lead [shorter lead]
negative CV, their resistance and
of the LED and attach that to the ground
range is generally not well-defined,
Finished! and they can be slow in their
on a new jack. This new jack is our delay
response time, but these are also
time modulation jack. Connect this jacks this project is available some of the inherent characteristics
ground to the grounds of the other jacks for purchase at: that give Vactrols their beloved
so that all 4 jacks grounds are connected. waveformmagazine.com/shop
Next, solder a 1k resistor to the positive
“Vactrollness:”. If you are open to
lead [the longer one] of the LED, and sol-
have a diy project that you'd like to exploration and experimentation,
der the other side of the resistor to the tip
see in waveform? you can use Vactrols to find some
of the delay time modulation jack. The
email us at: really cool, simple ways to add
other LDR lead is to be attached via wire
[email protected] modulation to a circuit.

23 waveform #1 summer 2019

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EW - A little over 40 years ago, in 1978, recallable synth. It seems like an pretty DS - No, that happened to be what my day
the Prophet 5 came out. How do you feel? large jump. job was, and it happened to fold over, since
it’s new technology. I played in bands,
DS - I feel old. [Laughter] When you do DS - But there's a lot of digital logic in
and that's how I got into it originally,
something that long ago, you lose track of the sequencer, and the programmer was
combining the music and the technology
it. It’s a cool thing to do at the time, but it's all logic also. It was kind of like, ”Okay I
backgrounds.
hard to continually dwell on it. One thing know how to program things, and here's
was clear back then, we had no clue that some new synthesizer parts; I can build EW - And then you bought a Minimoog
anybody would still be using them in 40 a synth. And I can combine the two and and built a sequencer.
years. If somebody said, “Do you think make it controllable, and of course I’ll use
anybody will be using this in 10 years?” a microprocessor,” because I had been DS - I bought that Minimoog in 1972
I would have started laughing, but music working on them for three or four years. [points to the corner], one of the first few
technology is much different than most hundred built. It's like serial number 1340
technology, and that's what everybody EW - What were you doing with or something, and they started at 1,000 or
forgets. Are guitars new technology? No, microprocessors? something.
it's wood and strings, there's nothing new
DS - I worked at a semiconductor company TH - You mentioned that you would
about it, and yet people still use them, still
for while, and then I worked at two
buy them, and still sell them. Because it's a never have pictured somebody using the
different companies, the last one designing
musical instrument. The rules are different. technology from 40 years ago now. Was it
printing terminals, these desk size units the same with the soft synth, or were you
that had a printer built in and a keyboard expecting it to take off?
EW - It doesn’t seem like you’re
so you could type up stuff.
constrained much by rules, as your
DS - We knew. At Seer systems, where we
product lineage shows.
EW - Was it a precursor to the word did the very first soft synth ever [Reality],
DS - I had an analog sequencer, a digital processor? our tag line was “The Future of Music
sequencer and then a programming unit. Synthesis”, even though back then it took a
DS - Yeah. The first word processors came
long time to explain to people. We'd be at
out a little later, but it was a microprocessor
EW - And then the Prophet 5. the NAMM Show where somebody would
that would control serial communication,
be demoing it and go:
DS - And then the Prophet 5. It’s a bit of a and control the printer, control the
jump there. [Laughter] keyboard, stuff like that. “Oh, what am I listening to?”
“It’s a soft synth.”
EW - That's what I was getting at. I’m not TH - Did you start studying “What do you mean?”
sure how you can go from a programming microprocessors with the intent of “It's a computer program that makes
unit to the first ever programmable and getting into music technology? music.”

waveform #1 summer 2019 24

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25 waveform #1 summer 2019

“What do you mean?” normally wouldn't get to because it's too you're designing a musical instrument
The concept was so foreign, but we knew hard and too slow. Here you turn a knob, that’s the hardest part: knowing where to
that computers were going to get faster, and something really cool happens. It's an stop. We have arguments all the time with
that it was clearly something that was going idea machine. where to stop. You can't put everything in,
to happen. The only difference was that in you just can't.
my case about two or three years later I TH - It seems like real-time change
realized, for me, as a musical instrument, is something of a priority for a lot of TH - I imagine that temptation has to get
how lame it was! people who are developing sample-based harder year by year with the more stuff
stuff. That, and avoiding menu diving. I you can put in.
EW - I'm going to have to edit that out! imagine as a programming aspect that's
DS - Yes and no. We've been doing it a long
got to be a large mountain to climb.
DS - Everybody knows I think that way. time, and we have a good gut feel for it.
But it's not 100%, there are a lot of really DS - It's huge. Another thing is that it's a When we come out with a new instrument
good things about soft synths. First of all constrained design. The knobs aren’t going - we're working on our next one now -
they’re free. So a lot of kids, a lot of people, to change, there's not going to be an update we try to start with a basic concept. “It
got into music because they had a free where all the knobs change in a week, and should be this, but with this, and kind of
soft synth. And there are a lot of things there’s twice as many features in a menu. this, and appeal to this.” We don't like to
in soft synths that you can do that don't You know that if you come back to the design to any specific genre; we just try to
make sense as a hardware synth. It allows instrument in 10 years, and turn the cutoff build a new instrument with a focus and a
people stay in the box so they can be on the knob, you know exactly what's going to personality and character, and that usually
airplane and put on their headphones with happen because it's a musical instrument, helps us decide where to stop. The other
their laptop and do shit. So there’s a bunch it's concise, it has its own personality, and part of this is that when you're doing a
of reasons why it's really good. But they you're not trying to do everything. We see polyphonic analog synth, every voice costs
don't sound quite as good, and they don't it all the time when musicians play it. And more money. So you might have just a little
interface with a musician like a musical I don't think software is ever a musical feature, but it's x 8, or x 12, or x 16, so that
instrument. Yeah, you can buy a controller instrument. It has its place in technology, also forces you to keep things a little tight.
with a bunch of knobs that mean nothing, and it can sound great and can do a lot of
except that you know that the third one things, but it's not a musical instrument. TH - There must be a lot of variables
in the equation when making an
EW - Having built in constraints is instrument. You want people to be able
almost the antithesis of a software synth. to afford it, but you want people to be
"two or three years later i It's easy to get caught up in having inspired by it also.
realized...how lame it was!" limitless options, and lose sight of being
in the moment when making music. EW - And not everybody is going to be
able to afford it, either.
DS - That’s it. Making music with
inspiration. When we did the Prophet 6, I DS - We don't go down that route. We
over might be the cutoff. It's not a usable don't say this is only for high rollers, and
interactive interface. didn't want to redo a Prophet 5. You know
what features you want to add, but every we don't build something as cheap as we
can. It's really all about the instrument, and
TH - That's what's always been the once in a while I’d go back to the Prophet
we see what price it comes out as. We try
biggest turn-off for me, and why I think 5, and it not only sounds really good, but
to have a general idea of a target, but that's
modular was such a huge draw. the palette of sounds you can get out of it
not what drives us. What drives this is
is so varied, and you look at the front panel
DS - Modular is kind of the ultimate some new creative instrument that we can
and there's nothing there. There's like 10
extreme of that. We’ve seen it a lot over come up with that hasn't quite been done
or 15 knobs, and a handful of switches.
the years, because kids who were brought before and will sing with its own voice. So
How can it possibly give you that much of
up on soft synths who’ve never used a
a breadth of sounds? And so that's why we
real one will come to a NAMM show,
did the Prophet 6. Compared to a modern
put on headphones, and after 5 minutes,
synthesizer, even ours, even the Prophet
say, “Okay. I get it.” That's what we're
12, the Rev 2, or the Prophet 8, it seems
doing with the Prophet X. People have
so basic and so simple. One LFO? Prophet
this thought that this is what a sampler is
12 has 4 x LFOs per voice, so it has 48 x Listen to what the
supposed to be, but what they don't realize
is that this is the only sampler where you
LFOs, and now we just have one? And yet module
it's been one of our best sellers because
can easily and quickly immerse yourself
musicians connect with it and it sounds so
is telling you.
into the musicality of a musical instrument
good. -Todd Barton-
and go in many different directions with a
single knob turn. You're not spending all
EW - I've gotten rid of quite a few
of your time diving through menus and
synthesizers because I never used the
putting on your geek hat in order to make
alternate functions.
music. So this thing will actually lead
you musically into different places you DS - That's the whole concept, and when

waveform #1 summer 2019 26

you have to keep that in mind somewhat. We're not a real big company and what we audio rates, and you can program what the
The Prophet X is kind of pushing it as far found is that sometimes it takes almost CVs do per program. You can have them
as we're concerned, and there's nothing as much work and design effort to get a all driven from the sequencer, the next
else that gets near it at any level, but that module perfect and into production. For time you can have the sliders or an LFO
was a stretch for us price-wise. not much more effort we could just design going out, or you can have an oscillator
a whole instrument, and I'd much rather going out as a control voltage. It's perfect
EW - I was at the Atlanta Synth meet last design an instrument than just a part of to have that with modular. But again, we'd
June and you had a table right next to me an instrument, and we have the advantage rather build a complete instrument than
and there was a Prophet X and people to be able to hit “save”, and we can get it just a part of it.
were freaking out. People were touching back tomorrow. I've never been much of a
it and putting on headphones and losing modular guy. We sell more keyboards than TH - The first thing I ever heard of yours
themselves. we do modules, so do the math! was a Prophet 8. It really showed me
what a synthesizer could be.
DS - There's really something magical
about the sound. It's taken people a little EW - That's one of the beautiful things DS - Because everyone had forgotten.
bit longer to get into it, but once they play about both of formats: being able to save,
it and listen to it and interact with it. . . but also not being able to. EW - Yeah. No screen involved, no
mouse. You said you were out of the
TH - In terms of interaction, you TH - There is a trend towards stuff like industry for almost 20 years. That’s a
mentioned that you thought modular that Make Noise 0-Coast, and the Mother long time, it must have been interesting
synths were the extreme example of that. 32, kind of a semi-modular condensed to come back to it.
You’ve released three Eurorack modules. kind of thing.
DS - Yes. I point to 2002 as a start of the
Is that an area you want to dive more
DS - We have the Pro 2, which is the perfect modern-day analogue revolution, because
into?
interface for a modular system because it's that’s when the Evolver came out, and Bob
DS - We haven't done a new one in a got a very deep sequencer. It's got four Moog came out with the Voyager. Before
couple years, and I don't know that we will. control voltages in and out that can run at that there was really nothing analog, and

The SEQUENTIAL showroom.

27 waveform #1 summer 2019

it’s what I call the “Digital Dark Ages”. For do now, with a 150 gigabytes of samples, EW - It’s like you have to do filter sweeps
20 years there was nothing. And when and then interact with analog filters again in private! I saw you at Moogfest a couple
those came out, neither one took over the and do things in a more instrument-like years ago when Moog did that toast for
world immediately, but then Bob [Moog] way. But as far as “Firsts” go, I don't do you. What was that like, having another
did more stuff, and I started coming out things so that they're the first. Back then company, a competitor, honor you? Did
with more products, and at the same time it was easier because there was nothing! you know about it beforehand?
people started to buy older products again, “This is the first because it didn't exist DS - I had kind of a hint, but I had no
all the stuff that nobody wanted for 20 years, before.” It was almost like cheating. In the idea. It was very cool of them. Obviously
so the vintage stuff was coming back. It was late 70s and early 80s, every time you’d we're friends with all those guys. We’re
a very slow curve at first. The Prophet 8 is go to a NAMM show there would be competitors, but it's always been that way.
11 years old, and I think that was the next something cool because everybody was In the late 70s it was that way. We hated
big jump for getting things going. That was doing new shit all the time. And then we everybody at Oberheim on a business
right when Moog was getting into the Slim went through the Digital Dark Ages were level, but we were buddies. We’d go to trade
Phatty, so we were both taking jumps. It there wasn't anything new. shows and we’d all go out and drink. It was
was kind of exponential. a small industry, and back then things were
EW - Why do you think there wasn’t moving so fast and we were all just into it.
anything new coming out then?
EW - It still seems really supportive, and
DS - I think a large part of it is that most you’re obviously still having a good time.
"everybody knows what keyboard players only wanted emulative
DS - It's fun what we're doing. The
the cutoff knob will do." sounds from the beginning, and that's why
synthesis technology in the Prophet 6
they loved the Prophet 5. That was the first
predates the technology in the Prophet 5
time that they could have an organ, strings,
because we don't use chips, it's all discrete
brass, synth, whatever, just by hitting a analog circuitry, whereas the Prophet 5
button. You couldn’t do that before. When had an oscillator chip and a filter chip.
TH - Why do you think that was, that
the DX 7 came out, you got the velocity In the Prophet 6, we have discrete filters
returning into that analog, heavier stuff
and 16 voices, and it nailed the Rhodes, so and discrete VCOs, but they're controlled
rather than the digital stuff?
that was huge, because everyone was still by a very high-speed DSP chip, so we can
DS - It's two things: It's the sound and the carrying a 200 lb. Rhodes around. So when control it significantly better than in the old
interface. Basically, for 20 years everyone the M1 came out, that was it. If you're a days. There's a lot of really high tech stuff
was building M1s [Korg M1]. They all touring keyboard player that makes sense, going on inside that makes the really old
had the same row of switches, and no you’ve got to play piano, you’ve got to play tech analog stuff work properly. We get to
interaction unless you liked to punish Rhodes, that's what you've got to do. But continually innovate with new technology
yourself. So people just listened, and they people just got so wrapped up in that, and yet have a foot in the ancient stuff
interacted. A huge part is just that it's old and there was this pent-up demand to because that's what sounds good. Doing
so it's got to be better, there's always some experiment with sound and go in different it this way is like cheating. We don't have
of that. People will sometimes mention directions. It's like everybody was in a to do any balancing or try to make them
like, “Hey, I’ve got one of these things”, and cloud, and a lot of people who used to play sound different or unique, or all the stuff
I go, “That was a piece of shit!“ I won't say were coming back. you have to do in a digital domain because
that, but some of the old synths were just it just works. People can hear it.
not very good. But even then, any sound TH - The funny thing is, when I play one
of those older synths, none of it sounds sequential.com
can be fashionable again.
like what it's telling me it's going to
sound like.
EW - Looking over your history, there
are a lot of “Firsts”. First programmable DS - No, and it's always been that way.
polyphonic synth, first instrument with It's all about the personality and sound.
MIDI. Is there any one that stands out to Emulative or synth? It’s a real easy choice
you, that you're most proud of? for most people. But this time around
everyone's doing it because they like synths,
DS - That's always a hard question, “What's
and that's why I don't think it's going to
my favorite product?”
go away. Subtractive analog synthesis has
been around for over 50 years, it’s passed
EW - Not the modules, obviously.
the test of time. Everybody knows what
DS - The Prophet 5 was the first, of the cutoff knob will do, on any instrument.
course, so there has to be a special place Analog, digital, software, you turn that
for that, but I'm always most excited knob and you know what it will sound like
about whatever I'm working on next. The and it's a good sound. Who knows why
Prophet X is cool, and part of that is just sweeping a resonant filter sounds good?
because I haven't done anything sample We've all heard it a million times, and we limited edition
related in 30 years, so it's kind of fun to get all roll our eyes when we hear it, and it still waveform issue #1 t-shirt
back into it at this level with what you can sounds good! www.waveformmagazine.com/shop

waveform #1 summer 2019 28

Pizza,Weed, Books, Noise.

n
by ellison wolf
Noise Reap logo, doodles by Cody Iott

oise reap's got a reputation.

i've seen their bermuda vco in quite a few racks and decided to get one. soon
after i wound up purchasing their loafers [4xlfo] and isd sampler from their
website. noise reap modules aren't sold in stores—one of the ways they keep the
price down—and with very little information about the company online, i was curious.
one afternoon i met with owner cody iott at his shared workspace office in an industrial
part of portland, oregon. we talked about the origins of noise reap, the joys of being self
employed, and how he's managed to be his own boss for so long.

EW - So tell me the story of how Noise and then bringing them all back. I’d just EW - How long did you have the record
Reap came to be. turned 21 and was just drinking too much store?
CI - Here's the deal. When I was in college and I don't know, it was a wild college CI - Two years, and one year into that was
me and my girlfriend pooled our money thing. That was a flop and we were lucky if when we started fixing stuff. I just wanted
together that our parents gave us for we broke even, but out of that we got a lot people to bring in broken stuff to see what
rent, and opened a record store outside of broken record players and just learned would happen.
of Birmingham [Alabama], in a small how to fix electronics, and that was really
liberal arts college town called Montevallo. kind of how it started. Suddenly we just EW - It’s all broken anyway, what’s the
We lived in the back of the store, which started advertising to bring stuff in and worst thing that could happen?
is technically illegal, and just started we’ll fix it. [We were] way under-qualified
CI - Yeah, but it's horrible fixing record
collecting records we’d find off of Craigslist at the time. It was ridiculous.
players and stereos. Unless
you can find a schematic
online, or unless it's
obvious and something’s
exploded, what are you
going to do? But through
that at the record store
we had a lot of concerts
and shows and musicians
were coming in, and my
brand at the time was
“Electronics Person” so
I started making guitar
pedals. I had a guitar pedal
company called The White
House Electronics, and it
was just the same story.
Way under-qualified, and
I started over-promising
my abilities to guitar
players and making them
pedals that I would have to
learn how to make on the
fly. Eventually that kind

" The mind wants to lock things in place and set them aside." of died down and I just
worked at a pizza place
in Birmingham and kept
studying.

waveform #1 summer 2019 30

EW - What were you studying in school? like, “I'll make this and sell it on eBay, and EW - Well, you obviously learned some
hopefully break even.” business techniques along the way.
CI - My degree is in Sociology, but I just How do you decide what you want your
never really looked [for a job] because I had EW - Do you still sell on eBay? modules to look like? They all have a
already gotten a taste for self-employment. very classic look to them.
CI - No, I stopped doing eBay because
I couldn't take it. Now most of the sales CI - It's actually better to have a unique
EW - Yeah, it's hard to go back! just come straight through the Noise Reap look. I think I can pretty accurately
website. correlate that sales went down since
CI - So I just got a crummy pizza job and
switching to only black paneled modules.
kept studying, and really for a long time, EW - How do you advertise to get the I think the consumer for Noise Reap has
for a year or two, I just did that. And one word out? a Frankenstein system already, and my
day I just couldn't take the pizza job and I
modules used to be a little odder with
didn't show up and I kind of floated, and CI - Oh, I don’t! I don't do anything. I'm
weird doodles and stuff and things that
it was sink or swim with Noise Reap. That horrible [at business].
were quirky.
was in 2015. I was still selling no-name
guitar pedals on eBay; just handmade EW - I see you only have Noise Reap
EW - I think a lot of the early synth
perfboard tonebenders and fuzz faces, and modules in your rack. Do you have any
pioneers were, too. You're carrying on
anything super boutique like that just to stuff from other companies?
the tradition!
make a buck.
CI - I guess so. Some of my best products CI - I have an oscilloscope module from
EW - How did you get into synths coming I stopped selling because I don't like to vpme.de, but otherwise it's all various
from the guitar pedal world? make them. I've been floating off Noise Noise Reap modules and prototypes. I've
Reap, but it's been stunted because I live owned other makers modules, but now I
CI - I first started getting into samplers
off that, so I don't put as much money back like to keep it strictly homemade.
such as the SP404 and MPC1000. I like
into the company. But I've got a part-time
the artist Jeffry Astin, from projects like EW - What’s next for Noise Reap?
job now, specifically to be able to reinvest.
Digital Natives, and Isaac Willow, who
There's like a million Noise Reap modules CI - I'm hoping to finish a basic 84hp 6U
runs/ran a tape label called Housecraft
that have never been released because I system with weird little Noise Reap flavors
Recordings. That introduced me to using
can’t afford to make them. thrown in. As far as new modules, a simple
samplers in weirder loop based ways,
and sampling obscure thrift store finds. 8 HP stereo reverb is something I want to
Around this time I also got into synths EW - So Noise Reap’s always just been do, and I've got a noise module that I want
from an ambient and noisy angle. I think you? to make. I mean the name of the company
my first few synths were an Ensoniq ESQ- is Noise Reap! I'll probably always be
CI - Well, my girlfriend/partner, Mary, updating and tinkering with new module
1, Arturia Minibrute, and a Juno 106.
does all the populating of Noise Reap designs. Even if you finish a system, it will
modules. I just put on the panels and never be permanently done. The mind
EW - What was the first module that you solder the pots. She makes pedals, too,
made? wants to lock things in place and set them
and has her own company called Marbeau aside, but you'll always have new ideas.
CI - The first module was just a utility Synth. She makes noise boxes. We've both
VCO, a straightforward sawtooth VCO. been self-employed for a long time. noisereap.com
A discrete op amp basic design, based off
of the Electronotes oscillator. At one time
I bought the whole $300 [Electronotes]
shebang. There are three whole priority
mail boxes here full of that.

EW - So you just taught yourself?

CI - Yeah. For a long time after I quit my
pizza job, I just woke up, smoked weed, and
hit the textbooks like it was my new job,
and I got a really good fundamental basic
electronics education. The Electronotes
were tremendously helpful.

EW - So why start building modules to

sell? Was it just a natural progression
from selling pedals?
CI- It [Noise Reap] really came out of
wanting to play modular, but not having a
way to afford it. The original idea was just

31 waveform #1 summer 2019

 of them!—the Mark III still resides in its in a safe and musical C0, and chances of
predecessor’s relatively compact 17 HP drift or accident knocking the module
footprint. Industrial Music Electronics out of tune mid-performance are low. As
has a reputation for making digital audio a performer I feel comfortable “getting
products with a harsh sonic signature, and crazy” with the controls of this oscillator—
the previous Mark I and II versions both even the frequency controls!—because
shared these ‘lo-fi’ characteristics. Not so I have confidence that I will be able to
with the Mark III. The sound is clear and recover the previously tuned pitch at any
strong, and virtually alias-free at most point, either by turning to the full CCW
settings thanks to the high resolution 16 position or by reloading a preset.
bit outputs, and if desired, the output mode The Mark III includes an AC coupled
can be switched to emulate the character of FM input on each oscillator, with each

REVIEWS the previous Piston Honda versions.

Wavetable oscillators like this one utilize
‘lookup’ tables--a computer science term
input internally normalled to the output
of the other oscillator. This allows you to
manually introduce audio rate frequency
that refers to an array of stored values that modulation to either oscillator without
are easily accessible by means of an index. additional patching, although controlling
In this case, the values stored in the lookup FM amount via CV requires patching into
table are the waveform data itself--from an external source. The FM input can also
simple analog-style waves such as Sine process audio directly through the internal
and Ramp to more complex, unusual and wavetable when in ‘external’ mode. A
aggressive waveforms. By modulating the bipolar general purpose CV modulation
index with control voltage, you can create a input is provided alongside the traditional
wide variety of evolving and unique tones 1/Vo input, allowing for introduction of
by morphing one wave into another. vibrato or other modulation. Unison mode
The lookup table structure can be is available for each oscillator, allowing for
considered ‘three dimensional’; that a total of 4 ‘stacked’ oscillators at once.
is to say it has three separate indexes. This mega-unison can sound enormous,
These indexes [called X, Y and Z] are but some of the direct sonic intensity of the
arranged hierarchically, with Z being the Mark III is traded for width.
highest level. Each index location can be Doubling the available oscillators within
Piston Honda Mk. III modulated with a +/- 8v control voltage, the same physical footprint is a daunting
Industrial Music Electronics yielding complete access to every nook and challenge, and Mark III manages to
industrialmusicelectronics.com cranny of the 512 locations available. Built- strike an impressive balance of providing
in attenuators for each of the X, Y, and Z the right methods of control over each
The Industrial Music Electronics Piston inputs are essential for yielding more subtle oscillator, physical room to ‘wiggle’ and
Honda Mark III is the latest iteration in results; these knobs, as well as the index prioritization of available features. Some
IME’s storied wavetable oscillator design. location faders, can be set independently controls present on previous versions were
The Mark III presents two wavetable for each of the two oscillators, and saved to removed, and others moved to ‘shaft’ type
oscillators, each with independent pitch a preset if desired. The factory waveforms potentiometers or button functionality.
control and independently assignable can be easily replaced by the user via a The primary frequency controls and
wavetable locations. Unlike the previous Micro SD slot located on the front panel, waveform selection faders are a joy to
Mark I and Mark II designs, Mark III with the excellent WaveEdit tool from use, but some of the shaft-type controls
has a ‘high fidelity’ 16 bit audio output-- Synthesis Technology being suggested for can prove difficult to access in a dense
an instantly audible upgrade. Gone is the custom waveform creation. patch. Nonetheless, when compared with
familiar blood-red 7 segment LED readout, The preset capability demonstrated the density of previous versions and the
replaced with a small OLED display that by the Piston Honda Mark III is uniquely huge feature increase in the Mark III, it
provides a much richer visual feedback as advanced. You can now recall specific is impressive that so much control was
to what the Mark III's intentions are: an tunings, wavetable locations, and menu wedged into the original’s footprint.
oscilloscope displays the currently playing options, either manually, or by means of My overall impression of the Mark III as a
waveform, presets are recalled, tuning a CV input located next to the screen. By user and live performer has been excellent.
information is shown, and menu items applying modulation to this single CV The Mark III is clearly a mature module,
are easily navigated. The Mark III's 512 input, the behavior of the module can with special design emphasis given for use
wavetable locations are actually less than be radically altered, and an additional in a performance context. Audio quality
the Mark II's 4096 locations, however, this mode even allows a trigger to completely is outstanding, and the user interface is
reduction in location quantity actually randomize all front panel settings of the physically satisfying. Preset capability is
improves physical repeatability when module! a welcome attribute for this functionally
accessing specific waves [a full sweep of For those who rely on western tuning, the dense module, and allows for easy access
the slider selects from 8 locations rather Piston Honda Mark III again sets a new to 8 slots of saved panel settings. Those
than 16] and scales well. Despite the litany standard. Simply turning the primary tune seeking instant gratification will find it,
of changes—and in some cases because knob all the way counterclockwise results though the Piston Honda is very much

waveform #1 summer 2019 32

an oscillator in the traditional sense, and anything in between, gave me a sound that have specific cables with the proper ends.
must be patched as such: no internal was dull, quiet, and murky. It lacked punch, Again, both of these minor inconveniences
envelopes, VCAs, or other ‘voice module’ and any sonic clarity whatsoever, and with have to do with being 2hp in size, and not a
functionality to be found here! The build the controls of the pedal were rendered design flaw or oversight.
quality is excellent, featuring a solid metal worthless. I patched up the Stomp Box Overall I’m very pleased with the
front panel with bold and legible writing, Adapter, and it was night and day. The performance and size of the AI Synthesis
panel mounted potentiometers, and even pedal regained its power, details in sound Stomp Box Adapter. It's small enough that
a circuit board designed in such a way that that were previously lost were restored, the it's out of the way, performs its job very
it shields the user from direct contact with knobs actually made audible changes, and well, and is one of those utility modules
most of the electronic components. the volume was restored as well. I did the that’s probably going to be in my rig for as
The Mark III surpasses its predecessors same with some of my other pedals [Vox long as I’m using pedals in my setup.
but still retains the essence of the Piston V810 Valve Tone, Fuzzface, etc], and the - Ellison Wolf
Honda legacy. A myriad of control results were similar; more details, more 2HP +12v: 10.5mA -12v: 8mA
allows you to go from glassy bells to power, and more control over the pedal’s Price: From DIY $10 - Fully built $70
angry modem with a finger gesture, so functions.
that deciding whether to use Mark III in This wasn't the case will all of my pedals,
a subtle, beautiful way, or to succumb to however. Two of the digital based effects I
digital mayhem is a constant struggle. If tried [Caitlinbread Echorec, EH Oceans
you’re seeking a refined digital oscillator 11] handled the level changes just fine
with performance oriented features, the without any help, and certain companies,
Industrial Music Electronics Piston Honda such as Meris, have a built in option to
Mark III is well worth a look. switch between guitar and modular levels
- Jason Degelman in their pedals, so depending on what
17HP +12v: 105 mA -12v: 35 mA pedals you use, something like the Stomp
Price: $525 Box Adapter might not be needed.
But when it is needed, it works great.
The main reason is because the Stomp Box
Adapter employs attenuators on both the
send and the return so you can really dial
in the right levels. No more overloading
the input of your pedals, and no more
weak signal coming out of the pedal back Zlob Modular
into Eurorack world. When chaining Entropy
multiple pedals together, as most of us do, zlobmodular.com
the difference is even greater, making a
tool of this sort absolutely imperative. Zlob Modular makes some really
While there are other ways to perform beautiful and well designed modules,
this same function [other modules, re- adorned in their signature neo-maximal
amping the signal, using a mixer, etc.], I xeno-graffiti [their words!] style that is
can’t think of anything that has this small consistent throughout their product line.
of a footprint, and sits at this price point, They’re usually pretty feature packed,
from just $10 for the PCB to $70 for a pre- have a small footprint, as mentioned
AI Synthesis built module. The review unit came fully before, look cool, and are priced well. The
Stomp Box Adapter assembled, but looking it over, it seems second version of their Entropy module
aisynthesis.com like a straightforward and simple build, is an all analog random voltage and
and unless it’s your first DIY project, you’d noise generator with three noise flavors:
If you use guitar pedals with your probably have no issues putting it together. white, pink, brown, with the white being
modular rig, you’d do well to utilize While the small size is overall an attribute, normalled to the input when in track and
something that can make the two formats due to its diminutive nature, it can be a hold mode. There’s also a smooth random
copacetic with each other. Since modular little tricky to reach the 9mm attenuator voltage out–what Zlob calls “infrared”–
levels are louder than guitar levels, and pots in the thick of an intense jungle of that has a stretching and squeezing effect
your pedals aren't expecting an input this patch cables. That’s the trade-off with of the track and hold function behavior
hot, unwanted distortion, lack of clarity, having such a small footprint that has pots, when patched into the input. Illuminated
noise, and overall level reduction can arise though you’re probably not going to be see-thru spots on the PCB faceplate glow
from not dealing with this properly. AI reaching for those pots much anyway once either red or blue to show whether you’re
Synthesis’ new Stomp Box Adapter is a you get it dialed in. Another thing to note hanging out in the positive [red], or
2hp interfacing module that, solves these is that due to its small size, it uses ⅛” jacks, negative [blue] voltage realm in sample/
problems by acting as a proper bridge typical in Eurorack format, but not at all track & hold and infrared modes, a nice
between the two formats. with guitar pedals. You’ll either have to get touch. At the top of the module there’s a
Patching from my rig into a Recovery a couple of adapters to put on one end of toggle switch to choose either sample &
Effects Sound Destruction Device without your patch cables to go from ⅛” to ¼”, or hold or track & hold, and near the bottom

33 waveform #1 summer 2019

 there’s also a toggle to choose between slow inspired, and as previously mentioned,
or fast for the infrared output. There are feature packed modules.
trimmers on the component PCB to adjust The TPC Slim VCO is based on the
the spread of the random voltages out, as Bergfotron Advanced VCO and has 8
well as a trimmer to adjust the white noise possible wave shape outputs that are
amplitude, which in turn influences the selectable by pushbutton: triangle, saw,
rate of the infrared out. All of this in only double saw, pulse width, sine, ramp, even
3hp is pretty impressive. harmonics, and double pulse wave. It’s also
The Entropy does, and excels at, what it possible to cycle through the wave shape
advertises. You get a dead simple sample/ selection via CV in, a really fun feature. I
track & hold circuit with rate control via the patched it to the 180 degree output on the
hold input, and the three aforementioned Schlappi Engineering Angle Grinder [see
analog noise sources, which sound great. review] on the low setting and it freaked
When pushed into duty the pink noise it out in a good way, shuffling through
worked well for a fuzzy hi hat sound, and the different waves. There’s a “Lock/Free”
I liked the way the brown noise added switch for the oscillator, which allows you
grit to the square wave sequence I was to lock up a reference frequency via a tiny
messing around with. There are plans screw adjustment on the front panel, handy Manhattan Analog
for an expander module which will add when tuning to other oscillators in your Steiner Synthasystem VCF
functionality such as glide and more noise system, and a static square wave output manhattananalog.com
colors among other things. You’d be hard that’s useful for clocking or synching
pressed to find a similar module that does to other devices. The TPC can also be Manhattan Analog’s Steiner
so much in such a little package, while switched into service as an LFO and there’s Synthasystem VCF is based off of the
looking so stylish. even a built in sample & hold. This thing Synthacon, a monophonic synth made
-Mike McCune has it all! One thing to note is that the rate by Utah based Steiner-Parker from 1975-
3HP +12v: 10mA -12v: 10mA 1979 that was originally made to be an
of the S&H is controlled by the coarse tune
Price: From DIY $25 - Fully built $100 alternative option to the more expensive
knob and is really only functional between
a 9:00-11:00 setting, so if you want to use Minimoog and/or Odyssey. While the
the oscillator at the same time as the S&H, Synthacon never reached the same heights
you’ll be confined to pretty low tones out as the aforementioned, having sales in the
of the oscillator, from about 1-40 Hz. In hundreds as opposed to the thousands,
my testing I really wasn’t able to employ it’s prized nonetheless, due to its relative
the S&H and VCO simultaneously with scarcity as well as its unique filter, designed
any real usability. by company co-founder Nyles Steiner.
While it’s great that the TPO Slim VCO While quite a few Eurorack companies
does so much, the real question of course, have made their versions of this famed
is how does it sound? Let's just say that I filter, and Arturia even based their Brute
had a hard time stopping myself from not filter on it, only one company, Manhattan
listening to its 100hz saw wave with a slight Analog, has made an officially licensed
pulse wave modulation all day, it sounds so re-issue of the famed filter that has the
blessing of Nyles Steiner himself, with
good. All of the other wave shapes sound
Steiner even getting some of the proceeds
equally as good, and checked out under
for each unit sold.
the watchful eye of my oscilloscope, they
The Steiner Synthasystem filter sports
also looked near perfect. But wait. . . there’s
a -12db/octave multimode filter, with
Blue Lantern more! It’s also got a sync function, the pulse
two parallel outputs, two CV inputs, and
TPC Slim VCO width modulation is CV controllable, as
cutoff and resonance controls. Not having
bluelanternstore.com is frequency modulation, it has a linear
a Synthacon in the flesh to do a side by
control with CV in, and it has two CV ins
side comparison, but having experience
Blue Lantern’s Flavio Mireles has an for modulating the oscillator, which I love, with a few recreations of the filter, the
obsessive tinkerer/hacker mentality that so that you can easily run an arpeggio or best I could do was watch as many videos
is obvious when you see how packed sequence and then change the pitch of as I could find and listen to a handful of
his modules are. Knobs, jacks, switches, the entire thing via a ribbon controller or sound samples of the original to see how
buttons, words, letters, drawings, symbols; modulation wheel. The TPC slim VCO is the MA filter compared. Like the original,
there’s nary a millimeter of free space to a solid, well built, stacked to the rafters the Steiner Synthasystem has three modes:
be found. Even their buffered mult has module that’s extremely fun to dig into. It a low pass filter, a high pass filter, and a
25 jacks! It’s as if the modules can barely sounds great and is fast becoming one of band pass filter, and can go from bubbly
contain the ideas and potential sonic rabbit my favorite oscillators. aquatic sounds to fizzy whines to glitched-
holes held within. And while this busy- - Ellison Wolf out unpredictable howling. Its charm–the
ness may turn off some, that’d be a shame 12 HP reason for the acclaim–is not for the faint of
because Blue Lantern puts out some really Price - $289 heart. This is a beast that dares you to tame

waveform #1 summer 2019 34

it. It can get mean, it can get nasty, and it tips, and more importantly, they feel great.
can get out of control with self-oscillation, Not too much tension, not loose. Perfect.
though, due to its circuitry, it doesn’t lose While SLOPES has all of the features I’ve
volume with the increase of resonance as come to expect from a classic 4-stage ADSR
did the Minimoog and Odyssey. A pretty envelope generator; [attack, decay, release,
key factor. and sustain] it also has an integrated VCA
Two questions that are sure to be asked on board, a huge plus. On top of that it
are: why isn’t there a notch mode, and why has ENV+ and ENV- outs, which means
isn’t there CV control over the resonance? that from one module I can utilize the
The answer, according to Manhattan envelope [including its inverse, the ENV-]
Analog’s Jason Coates, is that since they to manipulate three separate elements. The
aren’t on the Synthacon, they aren’t on this, other attribute that I like is the ability to
as he wanted to keep this as close to the CV/gate control each stage of the envelope
original filter topography as possible. Can’t [minus the sustain]. In practice, this means
argue with that. when I feed the “Release” CV input an LFO,
As far as I could tell the Steiner I get a tremolo-ish effect at only the end of
Synthasystem is a pretty spot on recreation the cycle. Feeding the “Attack” CV an LFO
of the original, and it’s easy to see why it’s yields an almost attack/release ramp up on Schlappi Engineering
so prized. It sounds gnarly and completely just the attack phase of the cycle. Feed it a Angle Grinder
different from the Moog filter, the pre- gate and you can randomize the triggering schlappiengineering.com
eminent filter sound at the time of the of the envelope, or sync it up to break it
Synthacon's existence and arguably still. If into mathematically [and rhythmically] The Schlappi Engineering Angle Grinder
you’re looking to break out of your ladder complex patterns. is a 100% analog quadrature sine wave
filter dependence, and want something a The main CV in affects the whole oscillator with a waveshaper section that is
bit edgier, this is a great way to go. envelope. For example, when fed the ramp wonderfully designed, both externally and
-Mike McCune up LFO on my 4ms QCD I got what sounds internally. Its LED game is, as the kids say,
14HP almost like a reverse playback sound. on fleek, the panel layout allows for access
Price: From $109 - $219 “TRIG” in, when fed a clock/gate signal, to all controls when fully patched, and it’s
triggers the opening and closing of the wonderfully tweakable in live situations
envelope no matter where in the cycle the due to the large sized metal knobs and
smooth as silk sliders.
envelope is. It can be used for really cool
The Angle Grinder is comprised of two
effects, like when I put a gate into “TRIG”
sections: Spin and Grind. The Spin section
at triple the rate of the “GATE” in, I was
consists of four outputs ranging from 0 to
getting a triple beat break that spanned the
90 to 180 to 270 degrees when oscillating.
entire cycle of the envelope. At quadruple
This offers four sine waves or, if in lower
the rate, I’d get a four beat break, etc. Patch
ranges, four LFOs. The Grind section is
a clock out into the “Decay” CV in, and
where the real fun is. Its output sends a sine
you get an accent that adds emphasis to the
wave similar to that of the Spin section,
beat whenever the clock pulses.
but Grind's output can really be brought
Two things I would love to see on this to life when utilizing its waveshaping
are a loop/env switch [and if that was gate/ sliders. The input of the Grind section
CV controllable to switch between the two, can receive audio or CV, so you could pass
that would be amazing], and a manual gate another VCO or other modulation source
trigger, despite the fact I rarely manually through Grind in order interact with the
trigger an envelope when I have that waveshaping sliders as well.
Noise Reap option. What’s really neat about these two sections
Slopes Control-wise, I was able to get snappy is that you can feed the Grind section
noisereap.com snares, short string plucks reminiscent of into the Spin section and the waveshaper
violin staccatos, and a lot of cool rhythmic will become a voltage controllable non-
When it comes to controlling ADSRs, manipulations. I feel corny admitting linear feedback network–turning the four
I like sliders. They’re good to nudge when this, but I get a ton of pleasure from just oscillator outputs into mangled filters with
you just want a small adjustment and I slowly nudging the attack slider up a bit their own unique frequency responses.
like the way they look, especially when to smooth out the attack of an arpeggiated You can also use the four sine wave
most Eurorack modules seem to be so sequence, and then bringing it back down outputs and send them to different VCAs
[justifiably] heavily knob reliant. to shorten it. Don’t let SLOPES fool you, with their own distinct envelopes being
Right out of the box, I like the look of its simple design aesthetic belies its well fed into them, which, when paired with
Noise Reap’s new SLOPES. The simple executed abilities. delay and/or reverb, can make for quite an
layout of the module, combined with its - Ellison Wolf elaborate swath of sounds. On top of this
pale yellow PCB faceplate is appealing. 12HP +12v: 40mA -12v: 30mA cloudy blanket add the Grind output with
The sliders look great with their rubber Price:$120 your favorite CV sources controlling the

35 waveform #1 summer 2019

 waveshaper inputs, and marvel at a fully counter-clockwise toward oscillate, the time, a voltage controlled LFO with both a
fleshed out, one-voice patch. Grind oscillator output is blended in. You triangle and square wave output, 16 patch
When it comes to bass, the Angle can push this section further if the Grind points, 13 sliders, 4 knobs, and a built in
Grinder delivers. No matter what section’s input knob is played with. While MIDI to CV converter. You can polychain
frequency range I want my lows to occupy, all of this is happening, patch one of the with up to 2 Lil' Erebus, so you can have a
I can find it here. Whats more, if I want to sign wave outputs to your mixer for a little crew of Lil’ Erebi at your disposal, and
use a bassline as both an anchor point [low, more rounded out version of what is being there’s a DIP switch on the back of the PCB
soft sine wave] and a focal point [brash, fed into the Grind input. To give it extra that selects between using the Lil’ Erebus
wiggly, squacky] I know it’s achievable character, turn the Damping knob from as a paraphonic or monophonic device
through the use of the Grind out and one Filter to Oscillate. and also handles MIDI channel selection.
of the four sine wave outputs. When using The Angle Grinder is a really unique As for the build quality, you couldn’t ask
this approach I typically run one of the and versatile module, and as complicated for much more for the price. The sturdy
sine wave outputs directly into a mixer as everything I have mentioned might multi-green metal faceplate is attractive,
while passing the Grind output through a sound, it’s a pretty easy module to get the and the knobs and sliders feel sturdy
VCA controlled by a basic envelope, and I hang of. I don’t think I’ve gotten all that the enough, if not bulletproof. The jacks and
utilize the waveshaping and Grind inputs Angle Grinder has to offer, so I’m looking pots are all PCB mounted and, though not
to give the mid and high frequencies of the forward to a long and fruitful relationship enough to concern me, when patching
bassline more character. The Spin section’s with it. you can see the circuit board flex ever so
sine output creates a smooth, almost - Tim Held slightly. I think one more standoff in the
inaudible foundation for the extremely 18HP +12v: 81mA -12v: 78mA right location, solidifying the faceplate to
active and dynamic Grind bassline with Price:$310 the PCB, could stop the flexing altogether.
which to dance upon. Sometimes I don’t The demo unit I received was pre-built,
use the sine and Grind output at the same but a look under the hood to see what
time, but rather fade one out as the other DIY’ers would be up against revealed a
comes in, to emphasize feel. lot of components in that 42HP space. It’s
Even though the Angle Grinder excels recommended by Dreadbox [and I agree]
at bass, it’s certainly not limited to the that if you go the DIY route, to study their
low end of your patch. You can make construction manual before purchase to
leads with this thing! Slap some CV into make sure you’re up to the task of building
those wave shapers and feed a super fast it, as they offer no support. If the prospect
Maths channel 4 into the Grind input and of doing so without a safety net seems
whisk yourself back to the time of baggy daunting, there are a few forums/websites
orange pants and pacifier necklaces. I Dreadbox around to give you some tips, a pep talk,
find that I prefer to manually control the Lil' Erebus or just to talk you off a proverbial ledge if
waveshaping sliders when playing leads dreadbox-fx.com need be.
rather than using a lot of modulation I used the Lil’ Erebus as a Eurorack
sources to do so, as this gives the lead line a The Lil' Erebus, from Greek manufacturer module as opposed to a desktop, and once
little more unpredictability and adds some Dreadbox, is an all analog, paraphonic I cleared out some space in my rack and got
human feel. synth, and a direct descendant to their it settled into its new home, I was ready to
The Angle Grinder can also be utilized beloved Erebus desktop synth, which make some noise. But before I could do so,
as an LFO. Having its four sine waves out of had 3 iterations and is now discontinued. I had to figure out one of its quirks. Since
phase with each other allows it to be used Unlike the big Erebus, the Lil' Erebus can the VCA is not normalled to the envelope,
in interesting ways and for multiple jobs. be used as a Eurorack module as well as a but to the gate input, you will need to give
Once again the Grind section steals the standalone desktop synth, and comes both it a gate signal to get some sound to your
show. Use the Grind output as the LFO and pre-built and as a DIY kit. The desktop ears. It took me a minute to figure this out,
then feed another LFO, slope, or envelope version comes with a power supply but once I patched in the gate signal I was
into one or more of the waveshaping inputs board and can be housed in its cardboard up and running.
to create a highly complex modulation container, which is way nicer than it It was surprising how much fun I had
source. I personally like using it to sounds, and helps keep the cost down. with just this module and my Arturia
modulate the PWM of an oscillator, and The Lil' Erebus sports 2 oscillators: a Keystep, patching it to itself, utilizing both
then speeding the LFO up to audio range saw wave and a pulse wave, each with LFO shapes, and messing around with
to land on a note that compliments the individual level and tune controls that the envelope generator. It’s got that classic
voice that’s being modulated! you can choose to pitch either separately Dreadbox sound, and the built in echo,
Using the Angle Grinder as a variable or simultaneously. Those are routed to which sounds cool and vintage-y, can get
state filter, the option to blend the outputs a 2-Pole low-pass filter, which features downright dirty and lose itself pretty easily,
of the oscillator and the signal being a CV input for cutoff modulation, and though it’s not untamable. While there are
sent into the Grind input for filtering are then hardwired to the internal ADS obvious differences between the Lil' and
makes it really interesting. When using envelope generator, which has its own big Erebus [only 2 VCOs as opposed to 3,
the Grind section, the Grind/Spin knob output for utilization elsewhere. There is less patch points, etc.], the character of the
filters the signal fed into its input if turned also a PT2399-based echo with feedback original Erebus is still retained. The Lil’
completely clockwise, and as it is turned control and CV in to modulate the echo Erebus is nobody’s diminutive sidekick; it

waveform #1 summer 2019 36

stands firmly on its own. and as an indicator of the currently playing patterns. The third channel, labeled 'C' [for
The Lil’ Erebus is styled in the grand sequence/s. On the right side, there is a 4x4 Cartesian mode] shares the X and Y clock
tradition of vintage analog synths as there grid of gold touch plates [with increased sources, advancing the sequence along the
are no menus, no hidden features, and sensitivity over the original René’s touch axis of the same name with each gate or
no encoders to select anything with, so plates] acting as a programming interface trigger. What makes this configuration of
once you learn how it works–a pretty easy for setting myriad options and for channels so ingenious is that by sharing X
proposition–you can get down to enjoying interacting with the sequencer as it plays. and Y clocks, the C channel is rhythmically
making music/noise with it and never look Above the grid are additional touch plates related to the X and Y channels while
back. for selecting the channels and their pages retaining an independent path and
My only hesitation with the Lil’ Erebus of options, along with managing global sequence of voltages. Having the X and
would be whether or not I’d want to commit settings and stored states. While this might Y channels advance steps using Snake
to the 42HP space that it takes up if I chose sound daunting at first, even with the mode ensures those sequences also remain
to keep it in my rack. But the fact that this increased number of channels and features uniquely different from the Cartesian
can so easily–and inexpensively–be built René is remarkably intuitive to use thanks sequence using the same clocks. All three
and used as a desktop synth as well as a to clear labeling and the combinations channels also have their own CV and Gate
Eurorack module, makes this a no-brainer of color, blinking/breathing lights, and outputs.
if you like how it sounds and what it does. illuminated page labels. Admittedly, a few René is always in one of two modes:
For the price, it’s one of the best deals out of the button combinations for various channel programming mode or settings
there, whether you opt for the DIY or pre- tasks can be hard to remember and I mode. In channel programming mode,
built version, and the more time I spend did have to reference the manual at first you select a channel to program [X, Y,
with it, the more I dig it. If you can make to remind myself what all of the lit up or C] and navigate among six pages of
some space, either in your rack or on top of indicators meant, but this is to be expected options using the <- and -> touch plates:
your desk, do so, and show the Lil’ Erebus when learning deep modules. Access, Gate, Glide, Snake, Fun[ction],
some love. While traditional sequencers typically and Quant[ize]. Access turns steps on
- Ellison Wolf step through a sequence in a linear and or off–useful for reducing the sequence
42HP +12V 80mA -12V 80mA predictable manner, René–which derives length or to interactively choose which
Price: From $180 - $295 its name from René Descartes, the steps are enabled in real-time. An option
mathematician, philosopher, and creator on the Fun page toggles whether René
of the Cartesian coordinate system–uses immediately jumps to an accessible step,
the concept of Cartesian sequencing. or "sleeps" [maintaining the voltage of the
In this method, a sequence can move current step] when an inaccessible step is
up, down, left, right, diagonal, etc., and reached. This has the effect of tying notes
its 16 steps are mapped to the 4x4 grid for the duration of multiple clock pulses.
and may be indexed by X and Y clocks Gate determines whether a gate [or trigger,
independently along their respective axes. depending on the Trig option in the Fun
When using only a single clock source, page] is output when a step is reached
the original René offered an alternative to [independent of whether access is enabled
Cartesian sequencing called Snake mode, for a given step], Glide enables or disables
which traverses the step grid along one of portamento per step, and Snake selects one
16 user-selectable paths. Snake mode is of 16 predetermined paths through the
Make Noise retained in the new René and is integral step grid for channels X and Y [this doesn't
René to the operation of its first two channels. apply to the Cartesian channel]. Fun
makenoisemusic.com In this method of sequencing the order in toggles per-channel options, modulation,
which steps are originally programmed is and CV settings for the X and Y channels
Nine years after its debut, Make Noise has not necessarily the order in which they will only. There is also a Scan option, which
released the 2nd version of their popular be played, giving rise to new permutations sets the step values for the current channel
René module. René version 2 preserves of the original sequence. You can easily to match the physical position of the step
what made the original so magical, while create unpredictable sequences that feel programming knobs. Since René is always
significantly expanding its capabilities far more organic than what you’d expect, playing back values from memory, Scan
to [quite literally] new dimensions. The and this yielding of precise control is what is useful to quickly copy programmed
concepts and programming interface of makes this new version of René so joyful values from one channel to another which
the new version will be familiar to users to play. may not necessarily match the knob
of the original René–there’s just more of In contrast to the single channel of the positions. Finally, Quant specifies a user-
everything: more channels, more states, original, René version 2 has three sequence programmable scale & voltage range from
more Snake patterns, and more CV and channels. The first two channels–labeled 1 to 4 octaves [you can also specify no scale
Mod options. 'X' and 'Y'–are completely independent for continuously variable, unquantized
The first thing you notice about the from each other, yet share a common voltages–useful for modulation].
new René is how striking the front-panel feature set. Each takes a separate gate or Both X and Y channels have Mod and
interface is. On the left, 16 tri-color LED trigger as a clock source to advance the CV inputs that take a gate or CV signal,
knobs are arranged in a 4x4 grid, serving sequence and the traversal of steps follows respectively. Depending on the settings
both as a way to program voltages per step one of the 16 aforementioned Snake mode chosen on the Fun page, these inputs have

37 waveform #1 summer 2019

 different effects. A gate at the Mod input modules via the Select bus, allowing you to
for a channel gate can reset the channel's use René as a control center across multiple
sequence, inject additional clock pulses to modules at once, such as the Make Noise
advance the sequence [merged with the Tempi, Expert Sleepers Disting mk4, and
primary clock input], toggle the direction the WMD Sequential Switch Matrix.
of the sequence, or start/stop the sequence. While nearly everything we’ve come to
A CV signal at the channel's CV input know and love about the original René has
can be added to the channel's voltage been enhanced in this update, there are a
output [also quantized, for transposition few take-backs and design concessions.
within the chosen scale]. It can also alter One thing I personally miss is the ability to
the step location [an offset, relative to hold one or more touch pads while playing
the current step] or dynamically choose in Play mode, to temporarily constrain
among the available Snake patterns. A René to only those steps; very useful for
sample & hold option makes use of both dialing in precise voltages by holding each
the Mod and CV inputs to sample the CV step plate as you turn the knob, even when
input only when a rising edge is detected a clock source is present. All in all, any
at the Mod input, adding that value to the compromises are negligible in comparison
SOMA Laboratory
voltage output until another rising edge to the huge new feature set, and it’s likely
Lyra 8
is detected. The channel CV inputs have that Make Noise will address changes in a somasynths.com
a potentiometer normalled to +5v so you future firmware update. Hailing from Russia and built like your
can manually set a fixed CV value even As for tips and tricks, I love that you can babushka’s favorite samovar, the SOMA
when no CV input signal is present. The store custom scale/quantization settings Lyra 8 Organismic Synthesizer is a touch
final feature of channel programming with each state, which lets you quickly sensitive polyphonic synthesizer triggered
mode is Latch mode. In this mode, you create chord progressions by altering the by the user's body capacitance via the
can selectively override the Access and available notes in each state. Transposition round metal sensors located at the bottom.
Gate programming for the sequence by using CV to add voltages [still quantized] is With 8 variable wave shape oscillators, 4
toggling steps on and off as you would another way to generate a lengthy musical
envelopes, 2 LFOs, a bunch of frequency
when normally programming. This allows progression from a single sequence, and
modulation options, built in vibrato, 2
you to non-destructively create variants of you can add voltages through manual
delays, and distortion all being controlled
your sequence in a performance setting, interaction [say, using Pressure Points],
by a menagerie of knobs and switches, this
with the ability to instantly revert to the or perhaps patch the CV output of one
synth’s visual style hearkens back to the
originally programmed values. channel of René to the CV input of another
days of early Moog and EMS, and is like
One additional feature in the new channel to sequence the transpositions. I
René that’s not found on the original and find that using a slower clock division for something out of a synth-nerd Twilight
takes it to a whole new dimension, is the the channel doing the transposing yields Zone.
introduction of the Z axis. This is a matrix good results, allowing the modulated One thing that sets the tone [literally]
of 64 stored states [across 4 banks] that channel to complete its full sequence right off the bat and that SOMA points out
can be manually selected, advanced by a before being transposed. Another favorite early in their manual is that their oscillators
gate input at the Z-Mod input, or indexed technique of mine is to store an identical are not VCOs, and that "instead of having
by a CV signal at the Z-CV input. When sequence across multiple states, but just a linear or logarithmic dependency on
you store a state, all of these parameters change a few parameters like Access, Gate, control voltage, they resemble the tone
are retained and can be instantly recalled or Mod/CV functions for each state, to generators in old electric organs." Indeed,
[while René is playing]. In essence, yield some interesting variety over the the timbres of the 8 voices that the Lyra 8
René is not just three Cartesian planes sequence that you can recall easily when produces do not sound like your typical
of sequences, but rather three cubes of performing. You can change settings and triangle or square waveforms. The notes
sequences whose Z dimension [or depth] parameters on-the-fly without stopping are enveloped by a haunting mist and
can be traversed in real-time! This opens the sequence and without fear of losing in some mid-range frequencies, have a
up all kinds of possibilities for chaining the original stored states, and it’s easy to spitty woodwind quality. These non-VCO
states together into longer sequences, start with a standard repetitive sequence oscillator's wave shapes are controlled
subtle or dramatic alterations of sequence and end up somewhere completely by a "SHARP" knob that determines the
parameters between states, and plenty different, while still relating musically and shape of the paired voices–from triangle
of hands-on interactivity to infuse near rhythmically to the original. [counterclockwise] to square [clockwise]–
infinite variability into your performances. With the new René, happy accidents effectively changing the voice's tone from
Settings mode re-purposes the X, abound. It’s incredibly fun to interact and soft and dull to bright and "SHARP”.
Y, and C channel selectors to manage play with and rewards exploration. For Voices are paired up as 1+2, 3+4, 5+6, an
multi-state programming and pasting me, this is what I love about modular in 7+8, with each pair sharing an envelope, a
[Mesh-programming, per the manual], general, and René captures that spirit modulation knob that sets the depth of the
state selection, and global settings–where beautifully, sending me to new places I LFO, external CV, Total Feedback [we'll get
you can save the entirety of all states of could never otherwise reach or imagine. to that later], and Frequency Modulation
René with a single button press. René - Bradley Millington [if engaged by the modulation switch]. The
can also communicate state changes and 34 HP +12V 235 mA -12V 0 mA paired voices are then grouped 1-4 and 5-8
Mesh-programming commands to other Price: $525 and are governed by an overall pitch knob

waveform #1 summer 2019 38

that can transpose the group. Take this the top for me is the MOD DELAY section. that is due to the utter strangeness of its’
with a grain of salt as you'll need to have Two delay times share a feedback and mix internal effects. Thankfully, for those of
this knob turned nearly all the way up to knob, and can either be modulated by its us wishing to impart a bit of the Lyra-8
preserve the tuning stability of the grouped own delay time, as in "SELF" mode, or by mystery in their modular, Soma has taken
voices, and twisting the knob while the the LFO in square or dual triangle mode. the entire effects section of the synth [sans
voices are active sounds like changing the I've spent hours with the feedback turned the “hyper LFO”] and put it in a Eurorack
speed of a record player mid song. up to get the delays into self oscillation module. Dubbed the Lyra-8 FX, you’d be
Each group has an optional "HOLD" while experimenting with different hard pressed to find a delay + distortion
knob that can send the voices into a modulation settings, and though the delays combo that had results this unusual.
continuous drone, with "HOLD" taking its do get pretty noisy when set to longer delay The build quality was the first thing
cue from the envelope settings, selectable times, the Lyra's M.O. is just that; Noisy. that struck me with the FX. If you’re
via a toggle switch. In the unlabeled up Speaking of noisy, the signal path comes occasionally disappointed with the knob
position, you'll get a slow decay lasting to an end in the distortion section with a quality of certain Eurorack modules, you
around 30 seconds, while in the down "DRIVE" knob that controls the amount of need not worry here. The chunky Moog-
“FAST” position, the decay is a short 0.5 distortion, and a "MIX" knob that blends style knobs look and feel great, adding
seconds. If the envelope is slow the paired the clean signal with the distortion. a certain gravitas to endlessly cranking
voices will start to drone when "HOLD" With its many voices, "HOLD" function, feedback and distortion. The unit itself is
is set to 12 o'clock. When the envelope and modulation options, the Lyra 8 is a also quite heavy and appears to be hand-
is "FAST" the voices won't drone until drone king. It can sound majestic and built, with no SMDs that I could detect.
the knob is set to 2 o'clock or higher. soaring, while constantly teetering on the Overall, a big step up in quality from your
While the range between settings is vast, edge of chaos– as if it's dying to become the typical Eurorack module.
in the context of the instrument it feels main focus of your electronic doom metal The UX of the panel is intuitive, and
appropriate, and varying the envelope band. Similar to a modular system, some after a naive glance, you might be thinking
settings between the voice pairs can allow settings are almost impossible to recreate, “this is just a dual-tap delay with distortion,
the user to manually play one pair of voices and because of this I've become a bit of a right?” Not entirely. Many modules in
while the other pair can drone on without documentarian with the Lyra 8. Once I Eurorack have moved away from the one-
being touched. land on an inspiring setting I'll commit function per module approach into more
The "VIBRATO" switch turns the effect it to tape because there's a good chance “macro” territory, and I’d definitely place
on for all voices, but each voice has an I'll never hear those fowl squawks, whale the Lyra-8 FX in that latter tradition. For
individually varied rate of speed and moans, or snarling Baphomet sounds example, if you crank the feedback on most
depth. I adore this feature because it brings ever again. Confident in it's choices, delays, you’ll get a runaway delay trail that
a human affect to the fold and feels like SOMA's Lyra 8 Organismic Synthesizer is usually requires some external modulation
a string octet with its members varying a fascinating specimen, one that I’ve lost to make sound interesting. You’ll get
in talent, causing a symphony of rippling many hours to. the same thing here, too, but depending
waves to beautifully clash. Turning on the - Kyle Swisher on how you gain-stage the input, and
"TOTAL FB" [feedback] feature replaces Price: $839.99 how much wet delay you use, you can
LFO or external CV modulation with a [Kyle recently released an album performed entirely get all manners of chaotic interactions.
feedback loop by routing the Lyra's output on the Lyra 8. Find it at darksparklermusic.com.]- ed. My personal favorite: running a loud
signal back into the voice. I refer to this as percussive sound in with a low[er] delay
the "Apocalypse" setting as it will sonically mix, which squashes down the delay trail
destroy everything in its path. almost like it’s being sidechain compressed
My vote for the most charmingly against the input with a long release.
convoluted section of the Lyra 8 is the Each delay tap has a time parameter
"HYPER LFO" corner. It consists of and again, you might think modulating
two square wave LFOs, each with their either of these would be straightforward.
own frequency knob, which determines However, edging both knobs within
their LFO rate, labeled as "FREQ A" and similar ranges of each other produces
"FREQ B." Both LFOs are tied together anything from comb filtering to chorus to
and will in tandem effect the signal they’re an almost spring reverb-like sound. There
modulating. The "AND / OR" switch will are many sweet spots to be found here, and
add FREQ A to FREQ B when in the I feel like I was only scratching the surface
down position, or will multiply FREQ A after a couple weeks of use. Especially after
by FREQ B when in the up position. The modulating the time parameters externally
link switch adds a soft FM between the and/or using self-modulation [accessed
two LFOs. All of this peculiarity provides Soma Laboratory via switches], which somehow degrades
interesting rhythms when they are heavily Lyra-8 FX the sample rate of the delays. Patching in
modulating a set of voices, and this section somasynths.com a time-synced LFO or inverted envelope
impressed me most when I twisted and follower with drums was especially fun
switched aimlessly, eventually falling upon Soma Laboratory’s Lyra-8 synthesizer here.
a rhythm that I wasn't expecting. is one of the more mysterious pieces Part two of the Lyra-8 FX is a grimy
The feature that puts this machine over of gear in recent years, and a big part of distortion circuit that runs post-delay.

39 waveform #1 summer 2019

 It’s hard to characterize this distortion quality options are available to brandish
compared to a typical pedal because for and protect your Eurorack instrument.
one, it operates on a full frequency range. Most are plywood, or chipboard and
Run a kick drum in and you’re not going to tolex, and don’t possess the style and
get a puny, fuzzy result back– especially if craftsmanship of the traditional 5U and
you use the mix knob. It also sounds like it Buchla formats. Finding an attractive,
has a pleasantly subtle low-pass filter, and hand-made case for my studio became
even when you’re pushing it super hard a frustrating task until I stumbled on a
you get tons of harmonics, but not much company called Art For the Ears.
high frequency harshness or blurriness. Owned and operated by Dave Solursh
The distortion’s drive parameter can be in Collingwood, Ontario, Art For the
modulated, typically useful when paired Ears creates well-designed, distinctive
with an envelope follower, however, when cases to house your instrument. His
you modulate it at audio rate, things can cases range from dovetail skiffs, to a
get really weird. Using the delay feedback unique boat-style system [shipped flat
method I mentioned earlier with the and assembled by the user], to one-of-
drive modulated by a oscillator can give a-kind custom made cases. I opted for
the distortion the pitched qualities of its the 6U “Liberty” case. Electrosmith
modulation source. This is where the effect The Liberty arrives flat and incredibly 2144 LPF
really starts to sound alive as it ducks the compact. Detailed instructions walk electro-smith.com
delays against the input and splatters out through the assembly process, building
these feedback-esque distortion shrieks 2 aluminum boats that the Liberty Typically when I have a DIY project on
from the modulation. Add some self- cheeks bolt into. The cheeks are solid my docket I tend to give myself an evening
patching in here and you don’t even need wood, finished with oil and wax, and to dig into it, but this build was so quick,
an input source. available in Maple, Walnut, Cherry, my iron barely had time to heat up before I
One minor complaint I have with the FX Mahogany, Poplar, Ash, and Jatoba. I was finished, and the whole deal only took
is that it’s purely mono. I couldn’t help but opted for Walnut. It's dark, lush, and me 15 minutes to complete.
wish I had two of them for stereo duties, cut with laser precision. Dave offers The ElectroSmith 2144 is a 4 pole low-
although two of them without ganged incredible customer support for help pass filter with a 24dB per octave slope that
controls would be a bit unwieldy. Also, if in choosing as well as the assembly utilizes the reissue of the SSM2044 filter IC
you’re looking for bread and butter type process. found on numerous vintage synths such
sounds, I would recommend looking Art for the Ears also manufactures a as the Crumar Bit 99, Emu Emulator, and
somewhere else. The Lyra-8 FX has a power solution for their cases, consisting Korg MonoPoly. It comes with all surface
particular quality that demands being of a row power module [Flower Power] mount components pre-soldered onto a
front and center. This is one of those effects and bus board. Their supplies use high- submodule, and with the bulk of the work
that can very quickly overpower whatever end switching regulators with internal already done, all that’s left to do is solder
you’re feeding it, albeit in a fascinating short protection. They have extremely the pin headers, pots, jacks, and put it all
way. Consider this in the same realm as low ripple, and are up to 97% efficient. together.
the Erbe-Verb, where the effect is really an Microfit 3 Molex connection wire is The metal faceplate is simple, attractive,
instrument in itself. used to connect to the bus board, which and free of clutter. There are two inputs,
- Brandon Ivers can fit through the grill holes of the knobs for frequency and resonance
20 HP +12V – 90ma -12V – 20ma boats, enabling them to share power. with CV ins to control each, and an
Price: $320 The Liberty case is small enough for output. The 2144 is warm and smooth
the beginner [6U, 104hp], but still leaves at lower resonance settings, but can get
plenty of room to grow into. In the event fat and nasty with self oscillation when
you do outgrow the case, additional the resonance hiked is up. When it self-
boats and hardware can be purchased oscillates, it generates a pure sine wave and
to expand your case into the 9U Goo can therefore act as a VCO, tracking volts
or 12U Hexy. With the exception of per octave pretty well.
the dovetail skiffs, all Art for the Ears My first synth was a MonoPoly, one that
parts are interchangeable, allowing you I sorely regret selling, and messing around
to create a customized studio case that’s with the 2144 almost brought me back to
right for you. those early days when I’d hole up in my
The Liberty is a great solution for studio doing filter sweeps at 3am with my
Art for the Ears anyone looking for a first-rate case for cans cranked up.
Liberty case their Eurorack instrument. With quality The 2144 comes as a DIY kit or premade
artfortheears.com materials, skillful workmanship, unique but the build is so easy, save some coin and
designs, and great customer service, I put it together yourself.
With the popularity of the format highly recommend Art for the Ears. - Mark McCune
and increasing amount of companies - Graig Markel 4 HP
manufacturing products for it, few Price: Available upon request Price: From $79 - $119

waveform #1 summer 2019 40

 control of the time and feedback track this algorithm was designed with that
very smoothly and you can get some very intention in mind, though it certainly
engaging results when the right audio and isn’t limited to that. Having the ability to
CV signals are used. The Ping Pong delay use multiple sets of samples–and two at a
shines brightest in its stereo capabilities, time–is extraordinarily useful to have in
and I love putting soft percussive patterns your setup, whether it be for percussive
through it to create a sense of space within elements, call and response vocal samples,
a patch. Before you go spending four- or even extended, lush pads to bleep and
hundo on a dedicated delay, ask yourself blop over.
what you want out of the effect. You may I have found this to be a super helpful
find the Disting MK 4 has everything you and versatile module. Unlike many multi-
need. function gadgets in the music gear world,
When I got my first functioning modular the Disting MK 4 does a lot, and does it all
setup way back when, one of the first things well. You could literally build a complete
I tried was the classic bassline that ducked system out of only Distings. It’s affordable,
with every kick drum hit. Of course, this is easy to update, has an amazing manual, a
achievable with the use of envelopes and mountain of demo videos, and is only 4HP.
Expert Sleepers VCAs, but why use up those patch points I say this with no hyperbole: I want at least
Disting MK 4 when you can have the 4 Distings in my setup.
expertsleepers.com Disting do it with only 3 patch cables? - Tim Held
Typically the audio signal itself is what 4 HP 51mA +12V 19mA -12V
How does one review something like drives gain reduction when concerning Price: $189
the Disting MK 4 from Expert Sleepers? compression, but within this algorithm,
It is almost akin to describing a cloud in gain reduction is controlled by an external
the wind or a time-lapse video of a high signal–audio or CV–making for a super
rise being built. The Disting isn’t a “thing”, easy patch.
despite its name convincing you otherwise, I’m not sure VCO is the first thing that
and is in a constant state of evolution. comes to mind when modular enthusiasts
However, this difficulty in describing it is hear the word Disting, but I am going to
due to what may be the most fascinating work on changing that. I initially thought
thing about this module: it is a union of the VCO algorithms would be most useful
outstanding physical design and robust to cover my more basic oscillator needs,
firmware that might be the real-world but I was pleasantly surprised to find
analog to Skynet. that within the different combinations of
What began as a 16-in-1 multi-functional waveforms and the way you could shape
module is now on its fourth version with them with CV, that the waveshaping VCO
a whopping 97 distinct algorithms that is a contender in the fight for the main
range from utilities to effects to sound voice in a patch. Between the 2 outputs,
sources and beyond. One of the biggest this algorithm offers parameters that allow
improvements made by Expert Sleepers for 3 different combinations of waveforms: Folktek
with the MK 4 over previous incarnations triangle/square and triangle/square, Matter II
is the LED screen. What was already triangle/square and sub-octave square, folktek.com
a reasonably navigable module is now and square/pulse and sub-octave square.
supremely accessible. Like many public Additionally, each output’s waveshape/ When Arius Blaze of Folktek released his
swimming pools, this menu has a no diving PWM can be attenuated manually or by first Matter module, I was immediately
policy, something very much appreciated CV control. I recommend starting with captivated by its otherworldly appearance.
by me. a simple sequence fed into the 1V/octave Alien etchings on a copper patina faceplate
What initially drew me to the Disting was and a slow LFO into the waveshape/PWM and tiny colorful electrical wires jutting
its delay capabilities. Currently the Disting input and slowly increasing the LFO speed from an exposed T-shaped header were
has four different delay algorithms: Tape to audio rate to get a feel for this algorithm’s like nothing I'd ever seen. Upon hearing
Delay, Voltage Controlled Delay Line, Ping character. patch examples on Folktek's website, I
Pong Delay [Z feedback], and Clockable In terms of available samplers, there seems realized it was capable of sonic textures
Ping Pong Delay [Z input scan]. I highly to be a lot of variation in functionality, that were equally unique in the Eurorack
recommend all of them, though the Ping and Disting’s sampler algorithms may world. While Matter is presented as a
Pong [Z feedback] is the one I gravitate be its crown jewel. One feature that very "drum-wave" percussion module, these
towards the most. This algorithm is a few samplers have is the ability to play are not ordinary drums. It clicks, pops,
simple yet highly effective stereo delay; two samples at one time, something the hisses and howls. Frogs, birds, and crickets
one audio input, two audio outputs, with Disting’s dual audio playback algorithm live inside it. It's an ecosystem, an organic
clock input and feedback input. Of course supplies, with each sample having its jungle. I had to have one.
the clock and feedback are manually own input and output. This is excellent Enter Matter II, a fully realized version
adjustable via the two encoders. The CV for triggering drum samples, and in fact of what its predecessor intended to be,

41 waveform #1 summer 2019

 and grown up in every way. It’s even even at maximum volume. Lastly, there - Bradley Millington
more aesthetically beautiful [available in is a VAC V+ input that allows for vactrol- 18 HP
dazzling gold, in addition to copper], more based amplitude modulation of the entire Price: $449
solidly constructed, and is welcomingly output of Matter II.
more predictable and tunable. A pin matrix Sonically, Matter II is unlike anything
design has replaced the original's Dupont else in Eurorack. It can be noisy and crude,
wires and headers, serving to create like a bent or broken circuit, but can also
connections in the underlying circuitry make fairly clean-sounding percussive or
for sound exploration. In place of surface tonal sounds, tunable using the CV knobs.
LEDs, a warm amber glow emanates from While the circuit is a bit of mystery, there
underneath the faceplate to indicate CV are certainly multiple oscillators, a noise
activity at its inputs, and the black-and- generator, and at least one filter in there. Winter Modular
gold module looks quite at home nestled A single pin per matrix keeps Matter II in Eloquencer
between my Make Noise Rene 2018 and percussive territory, but as you add pins it winter-modular.com
Pressure Points. Even its packaging is more produces more continuous drones. With
polished, as it arrives in a solid matte-black three channels to play with, you can mix Winter Modular’s Eloquencer sequencer
box with a gold embossed logo that could and match these textures, and because each is very easy to get along with. Its intuitive
have easily shipped from an Apple store in channel has an upper and lower section layout and functionality lends itself well to
some upside-down dimension. that can emit different sounds, it can feel being a great performance tool, and means
Matter II's interface hosts three channels, like six or more channels when CV'ed. It's that you won’t need to study the well
each consisting of a V+ input to activate great for percussion of the organic and written manual too hard, or commit too
the sound and an upper and lower section acoustic variety: toms, bongos, cowbells, many button combinations to memory.
represented by two pin matrices, for a total wood sticks, and short clicky pops or I decided when I started that I would see
of six. The module comes with ten solid chirps. As a drone, it can sound like how far I could get without looking at
metal pins that you can place into any of running water, buzzing bees, or an entire the manual or watching any tutorials, as I
the 18 holes of a single matrix to affect the swarm of wasps. All played together, it's deemed from first look that I could figure
audio output of the corresponding channel. like a surreal electronic rainforest, dense it out without any help. I was mostly right.
Being primarily a percussion module, a enough to delight all by itself. If it has one Front and center on the Eloquencer is
gate or trigger would be most common to drawback, it might be that it has a readily an LED screen that displays which steps
input into V+, but it's possible to patch an identifiable timbre that can sometimes be of its 8 tracks are activated, and where in
audio signal here for the module to mangle hard to fit into a broader mix, especially the sequence you are for each of its tracks
and process. The pin matrix design is melodic patches, though in an atonal mix through a moving blinking cursor. Left
infinitely more usable than the fiddly it sits very well. It also sounds fantastic to right is its default movement, however
Dupont cables of the original Matter and through effects, exaggerating the sounds the direction can be changed, both overall
depending on the positions of the pins into something huge and encompassing. for the entire sequence, as well as for
you get vastly different sounds from the When passing audio to the V+ inputs, each individual track or groups of tracks,
module. Similar to the original, Matter I like using the CV input to crossfade and there are several patterns [forward,
II will be extensible using cards that fit between different processing paths of backward, pendulum, random, etc.] to
onto the main panel via the pin matrix, the upper and lower channel sections for choose from.
allowing for customized circuits that can extra movement. Finally, the VAC V+ lets From left to right above the LED screen
add anything from reverb and delay, to you chop up the entire output of Matter is a play/stop button and buttons for the
sequencers and more. Folktek also claims through a single onboard vactrol VCA. step parameters for each step that are
Matter II will eventually pair with the Part of the allure of Folktek's modules is available; CV, Gate, Gate Length, and
original Matter using a 2hp extension the guesswork involved in unraveling their Ratchet. Pushing each button will cycle
module that sends all 18 pin matrix points mysteries, and Matter II is no exception. It through additional options related to their
to Dupont. is meant to be explored rather than fully button nomenclature. The CV options are
Each channel has a bipolar CV input, understood or controlled. It is intentionally CV note, CV variation probability, and
which essentially crossfades between the unwieldy, eccentric, and surprising. I CV range probability. Cycling through the
sounds of the upper and lower sections of can’t underscore enough what a marked Gate will bring you gate, gate probability,
the channel. Amber backlights under each improvement this is over the original and Tie [for tying steps together]. Gate
pin matrix illuminate so you know where Matter, and if you tried and abandoned Length holds its namesake, as well as gate
you are between the upper and lower the first version, don't let that deter you length variation probability and gate rate
sections of the channel. Related knobs from this revision. It retains the original length probability. Lastly, the Ratchet
either attenuate the CV signal found at the character of Matter I, but dramatically button also has ratcheting probability and
input jack, or allow for manual crossfading improves the engineering and design, fixes ratchet variation probability. One thing
between the two sections when no CV the former's volume issues, is much easier that separates the Eloquencer from many
signal is present. A single jack outputs to interact with, and is far more predictable of its sequencing brethren is what Winter
the unified sound of all three channels at in terms of configuring sounds. It's not for Modular calls “Controlled Chance”:
modular level, a significant improvement everyone, but for those into the fringe, it the ability to decide when and where to
over the original Matter, which was doesn't get much more exotic and exciting randomly effect various parameters for
universally considered to be too quiet than this. each step, controlled by the probability

waveform #1 summer 2019 42

parameter. The Ratchet feature puts this geared towards setting up a sequence, the released the EME, their MIDI interface
on display quite well, as you can control ones I utilized the most were the Step Mode, for the Eloquencer which will make this
the frequency and randomness of these Track Shift, and Track Length functions. much easier by giving the ability to input
parameters to give variation–sometimes Hold Function and Track Len. to select information using a MIDI keyboard
subtle and sometimes not–to a sequence and then choose which track you’d like to or other MIDI device–a welcome
while still retaining its core feel and adjust with the track buttons on the right. enhancement. YES? NO??
values. This "Controlled Chance" is a Then just hold the two step numbers that Perhaps the most amazing thing I
really important feature that helps give you’d like to cycle through on that track find about the Eloquencer is that apart
the Eloquencer the ability to surprise, and you can see the parameter settings on from the song mode, I use almost every
something I relish, and something most the OLED screen. As far as performance function. There’s nothing superfluous
sequencers lack. tactics go, it’s one of my favorites, along or unnecessary to it. It’s not going to do
Next, we come to the Function button, with manipulating entire sequence lengths everything, but its feature set is so well
which gives you access to the 16 step on the fly. I find it fun to run through a suited to playing instead of programming,
button’s secondary functions, which are: sequence a bunch, then stutter through that it can be played as an instrument.
Tempo, Shuffle, Scale, Step Mode, Track just a few steps for a while, before opening There are a couple of things, however, that
Shift, Track Length, Random, Fill, Live it back up to the full length. It’s like the I wished the Eloquencer had.
Recording, Mute, LFO, Mod, Aux, Clock, physical version of a drop: Take something One is the ability to play only certain
Freeze, and Revert. Third tier functions out, and then put it back in. There are notes or steps in a track in real time by
are also accessed by pressing the Function other live performance functions which holding down said step/note buttons as the
button and holding each step button for are really fun, such as FILL mode, which sequence is going. It’d be cool if there was
a longer duration of time, and are mostly activates all steps in the selected tracks, a way to do that for the entire sequence
for programming a song or pattern and overriding all Gate and Gate probability at one time as well–so that the entire
copying/pasting parts around. settings, thereby “filling” the track until sequence could cycle through, say steps
On the right of the Eloquencer you’ll deselected, and the Live Rec mode, which 5/11/14 while holding down those 3 step
find each of the 8 track’s Gate and CV/ has three different sub-modes: Gates Mode, buttons–as it could make for a really cool
AC [accent] outputs, which can be either CV Mode, and Free Play Mode. These are performance aspect. An octave up/down
linked or unlinked for a given track, while useful for adding/changing things in real function would be nice as well.
the other side of the Eloquencer has a time and the changes are recorded into the There are features present that I have
MicroSD card slot [card included] for sequence–except while in Free Play Mode hardly mentioned, and some not at all,
saving up to 128 projects–probably more which allows you to add CV wherever in let alone gone into depth with [the ease
than you’ll ever need. Also on the left the sequence you are without making it a of changing a scale, the LFO feature, etc.]
side is an OLED screen and push button permanent addition to said sequence. but they are merely icing on the cake.
encoder, which is where all of your menu There’s a random [RAND] function that The Eloquencer should be on your list if
options abound. For those of you who makes it possible to randomize every you’re looking for a sequencer that you
bemoan menu diving–I feel you–but I aspect of your sequence, from gate length can perform with in real time [as well as
didn’t even think twice about it when using to CV, as well as the probability of each program] with an intuitive layout that
the Eloquencer as the menu section was feature for a completely 3 tiered random can handle both rhythmic and melodic
laid out well and easy to navigate. sequence. This is really simple to do by just sequences well. It's become the brain,
At the top of the unit you’ll find 2 selecting the RAND button and choosing heart, and soul [yes, soul!] of my setup.
assignable CV inputs for modulating any the track/s and what you want randomized. - Ellison Wolf
aspect of track parameters, a RESET input, It’s a quick and easy way to change things 38 HP 170mA +12V 60mA -12V
CLOCK input [which can be divided up with little effort. Price: $625
or multiplied] for external clocks, AUX The third tier options mostly have to
output [for configurable trigger/gate do with pattern arrangement and song
options], and CLOCK output, used for construction, and are features that I don’t
controlling other devices, which can also use much. I might alternate between a few
be divided or multiplied. different sequences during performance,
At the bottom of the Eloquencer are 16 in real time as I move along, but I usually
step buttons. Pushing one will activate the don’t construct pre-arranged songs, or
step and when held–in conjunction with sequences of patterns. I like to feel free to
the push button encoder–enables you to go wherever the mood takes me. Having Tendrils
adjust the parameters of the selected state. said that, it was a nice surprise to find that Right Angle Patch Cables
While only 16 step buttons are present, it was easy to figure out how to do this with tendrilscables.com
you can configure the Eloquencer to run a the Eloquencer.
sequence up to 64 steps. These step buttons Inputting melodies into a 16 step track is My modular performance/travel case is
also serve second and third tier functions a bit of a chore, and more so if you want to a $5 thrift store find that I pulled into use
depending on how long you hold the do it for multiple tracks, as you currently because I thought I could have modules
button down along with the “Function” have to select each step in the selected on both the bottom and the lid and still be
button. track, then use the encoder to choose the able to leave all patched up when closed.
While some secondary functions, such note for each step. However, by the time Well, normal patch cables are too tall, so
as Tempo, Shuffle, and Random, are more you read this Winter Modular will have when carrying it to and from gigs I’ve

43 waveform #1 summer 2019

 either had to unpatch everything, carry given a warm analog sound by passing which spans from sharp and aggressive
the bottom and top of the case separately, them through a AS3330 based VCA, while [logarithmic setting] to smooth and drawn
or wedge a towel in between both sides still retaining the crisp digital bite and out [linear setting.]
to keep the case partially opened. These stability one would expect from a sample As part of the Erica Synths Techno
are hardly ideal “solutions” and I quickly based kit. System, Cymbals makes a lot of sense. It
realized that I would need to go for some Cymbals gives us one global tune knob fits in perfectly with the feel and sound
right angle patch cables if I wanted my case that handles the overall pitch for both of that system, and I can’t think of any
to function as desired. There aren’t a lot of cymbals simultaneously and a Select knob, other cymbal module you’d want if that’s
these to choose from, but after doing some for selecting the bank of samples. There is the system you’ve got going. Outside of
online searching I wound up ordering a no indentation, only visual demarcations the Techno System, it still sounds really
few multi-packs of Tendrils cables from for this knob, so you have to pay close good. It blended well with my other drum
Analogue Haven, the only place that attention to where the knob is if you like modules, and for the most part, the 10
carries them in the US. a particular sample set. Additionally, all sample packs covered pretty much any
I really like the weight of these cables 10 sample packs are tied together in pairs. crash and/or ride sound I could want.
as they’re not unnecessarily beefy and So, for example, if you wanted to combine - Daniel Miller
therefore don’t clutter my view or take up crash number 6 with ride number 2, you’re 10 HP 95mA +12V 36mA -12V
any more space than they have to. They out of luck. Since the cymbals are sonically Price: $230
come in a multitude of colors and lengths linked this makes sense, but it would be
[10/15/20/30/45/60 cm] and are so low nice to have the option to mix and match.
profile, that they actually sit below every The same could be said for the global tune
knob in my setup. They’re exactly what I knob as well, but adding these options
was looking for and I can now say, both in would be sure to increase the module
jest and in seriousness: Case closed. size, and for the amount of sounds and
I mean, I rest my case. I mean… options you get with Cymbals, 10hp is no
- Ellison Wolf small feat. Especially when compared to
Price: from $1.79 ea. to $14.99 for a 6 pack same size or bigger drum modules that are Befaco
much more limited in terms of sounds and Knurlies
control over those sounds. befaco.org
In contrast to the Tune and Select knobs,
both the ride and crash cymbals have their I never thought I would be excited enough
own Decay knobs as well as inputs for CV to do a review about screws, and yet here
control over the Decay, so you can have a I am, extolling the virtues of the Befaco
long decay and then bring them down into Knurlies. They've been indispensable
nice sharp bright metallic sounds for some when moving stuff around to rearrange
tight crisp hits and vice versa. my rig for reviews and product Instagram
The last two knobs are attenuators that videos, and for that I am very thankful.
let you dial in the perfect amount of CV The Knurlies come in 2 different thread
to the overall tuning and decay of both the sizes and corresponding colors; the black
samples simultaneously. M3’s, and the silver M2.5’s. They're 6.5mm
This module really starts to shine when in length from the bottom of the screwhead
you start applying subtle amounts of to the end of the screw, with 6mm of usable
modulation into the Crash Decay and Ride tread. Each screw comes with a 0.5mm soft
Decay CV inputs. A slow LFO or random plastic washer that is pre-attached, thereby
modulation opens up the feel of your minimizing rack rash-a nice plus!
drum pattern, giving it a more human You can tighten them many ways; with a
Erica Synths feel. Combine this with playing around small flathead screwdriver, a small Phillips
Cymbals with the loop toggles while your pattern is head screwdriver, a hex key, or by hand,
ericasynths.lv running, and you’re left with some really my preferred way. There's a diamond
nice happy accidents that give your groove engraved tread throughout the screwhead
If you’re sitting in front of your Eurorack some breathing room. The loop switch is a giving you something to grip so there's no
rig and wondering, “How will I ever get really fun feature, as when it’s on you’re left more slippage.
this cover of ‘10:15 Saturday Night’ by The with a delay type of effect from the samples The Knurlies are well designed, attractive,
Cure, with those super sweet drum parts, being caught in different loop points at and as far as I know, the only screws
all in one patch?”, well look no further. As different stages of the decay. designed primarily for modular usage.
part of their Techno System, Erica Synths Finally, there is an accent input to apply They also come in a handy screw top lip
brings us a “Cymbals” module, one that’s even further rhythmic variations and balm sized tin to keep them all together.
packed full of features and 10 custom two additional trimpots are found on the Is there anything that Befaco didn’t think
ride and crash cymbal sample sets, all in back side of the module allowing you to of? I bought 100, but I’m going to need 100
a tidy 10hp space. Produced and crafted adjust the overall sensitivity of the accent. more.
by musician Nero Bellum, of the band Another two trimpots on the back allow - Ellison Wolf
Psyclon Nine, these samples have been you to adjust the shape of the VCA ranging, Price: from $12.50/25 - $40.00/100

waveform #1 summer 2019 44

 using it as a crude wavetable oscillator Connecting The Missing Link to your
or for drums and a more typical sample home Wi-Fi network [needed for Ableton
playback, Play fits the bill nicely while still Link] is simple. When you first start
being modulation-friendly. the device it won’t be able to connect to
- Brandon Ivers your network and will then go into what
2HP +12V: 85mA -12V: 3mA is called “Access Point mode”. Like the
Price: $149 name suggests, this turns The Missing
Link into its own “Wi-Fi” access point
that your laptop, iPhone, and other Wi-
Fi enabled devices can connect to. This
means that if you play a live gig or are
jamming somewhere that doesn’t have
Wi-Fi, you can still use Ableton Link,
which is incredibly useful. I will note
that when I used the Missing Link on my
own Wi-Fi network, I would sometimes
lose the connection between the device
and my computer, since Ableton Link
2hp can sometimes be a little finicky. I found
Play that the device works flawlessly and that
twohp.com Circuit Happy I didn’t lose connection when in Access
The Missing Link Point mode.
2hp have a ridiculous amount of useful, circuithappy.com The Missing Link has all of the features
diminutive modules that you can fit just that you would expect from a clock device.
about anywhere in your rack, but the Play is One of the great things about electronic Although it requires some menu-diving,
a real favorite. Using an included SD card, music in 2019 is the vast multitude of the device is simple, easy to use, and
you can play up to 32 different samples via ways to sync your modular or hardware features only 2 buttons [stop/ play and
trigger, with modulation ability over the gear to your DAW. There are tiny devices tap tempo] and 1 encoder, which allows
sample selection and pitch. You also have like Bastl Instrument’s Klik, full-fledged you to scroll between all of the different
some very basic looping functionality, and sequencers like Arturia’s Beatstep, and of device settings. The BPM page allows you
a few other advanced settings that can be course plenty of eurorack options. Joining to change the tempo, and if you change
edited via a text file on the SD card. the fray, Circuit Happy has arrived with the BPM on the Missing Link, the change
My favorite thing to do with the Play so their very first product: The Missing Link, will be reflected on the other devices
far is pair it with something like Malekko’s a tiny desktop device that functions as the that you’re connected to, and vice versa.
Voltage Block, making it very easy to bridge between your hardware and your The Loop page lets you set the length of
sequence sample selection per step. Add computer. the loop of beats in a bar, which will help
in some pitch modulation, and you can The feature that makes The Missing determine when the Missing Link will
easily do a full drum track with a single Link stand out in an already crowded send a CV trigger out of the reset jack on
Play. Unlike a lot of modern hardware sea of clock devices is the addition of the back. This coincides with the Reset
sample players, Play can transpose pitch Ableton Link support. Ableton Link is Mode page, which allows you edit the
both very low and very high, which makes a technology that allows Link-enabled point in the loop that a reset trigger will
devices to sync their clocks wirelessly via be sent out. The PPQN page allows you to
it particularly useful for sound design. The
Wi-Fi connection. You can sync multiple divide the clock signal by 1, 2, 4, all the way
V/Oct input responds pretty well to most
laptops running Ableton, sync your MPC to 32, and finally, the Start/ Stop page lets
envelopes you throw at it. For example,
to one of the many iOS or Android apps, you toggle whether or not you want the
if you want to add a tight pitch envelope stop/ play button on the Missing Link to
and even sync Ableton with video and
for more punch in a drum sound, that’s light mapping software. The possibilities control all Ableton Link devices connected
no problem. Play can sort of do FM- are endless, and now with The Missing to it, which is very useful, though it’s only
like sounds with audio rate modulation Link your modular synth [or anything compatible with Ableton Link 3.0. If you
as well, but the results are a little more that takes CV clock] can now be a part of have older drum machines or MIDI-only
unpredictable. this ecosystem. Being able to easily clock hardware, you can use the USB out to
My only gripe with Play is that the voltage my modular to Ableton has completely connect your MIDI devices to the Missing
ranges for modulation are a little odd and changed the way I use hardware for music Link provided you have a micro-USB /
will likely need to be offset if you’re trying production as my modular can now fully USB-MIDI adapter.
to get the most out of the unit. Pitch goes integrate with my DAW and other Link- If you’re an Ableton user, The Missing
from -1.5V to +6.5V and file selection is enabled devices. It really feels like the gap Link is a perfect addition to your studio.
-5V to 5V. Also, for certain sounds like between my laptop and my instruments Bridging the gap between my computer
808 kick drum samples, there will likely be has been bridged. This new found ability and my hardware gear has really fueled
some clicks when the sample is re-triggered has seriously changed the way I use my my creativity and inspired me in ways that
quickly without a VCA somewhere in the modular in music production and has otherwise wouldn’t be possible. I absolutely
mix. For as inexpensive and small as Play sparked all sorts of creativity. I’ve even recommend it.
is, I’m willing to put up with a couple thrown my iPhone into the mix, thanks to - Josh Lim
quirks. It sounds great, and whether you’re the many iOS apps that support Link. Price: $200

45 waveform #1 summer 2019

 Scanned Synthesis and reading and under- but I can’t say I mind. As a matter of fact,
standing the Scanned manual and how all ever since Scanned made its way into my
of the parameters work will most definitely household, it’s taken over daily soundtrack
heighten your appreciation for this synthe- duties as I just turn it on in the morning,
sis method, and help to get the full grasp walk away, and let it do its thing, tweaking
what both Scanned, and Scanned Synthe- it throughout the day to suit my needs.
sis are capable of. If you haven’t grasped it yet, this is one
In terms of sound, after the user selected really versatile and unique sounding mod-
wavetable goes through the Hammer and ule, and it makes me wonder why Scanned
the resulting waveform is floating in the Synthesis hadn’t made it into modular
ether, the potentially endlessly evolving synthesis until now. Scanned is so har-
soundscape can be controlled by the knobs monically dense, and there are so many
that either control the objects themselves methods of manipulation here, when my
[Mass, Center, Stiffness, Damping, Fre- slowly bleeding alien score finally lets go of
quency, and Fine], or the Hammer [Shape, this material world I know I won’t have a
Strength, Update Rate]. problem summoning another slightly less
At its most basic, Scanned works in- sentient being to put on sonic life support
credibly well as a typical VCO–just more for my daily aural entertainment.
QU-Bit harmonically rich and sonically interest- - Ellison Wolf
Scanned ing than most. Going for a short plucky 16 HP 100mA +12V 13mA -12V
qubitelectronix.com sound [Mass low, Damping about mid, Price: $349
Update high, etc.] can make a straight up
Qu-Bit’s Scanned is a free-running awesome acid drenched kick, or pitched
wavetable oscillator and/or triggered higher as some kind of bashy steel drum.
sound source that utilizes the little-known Feed a sequence into the v/Oct with the
method of Scanned Synthesis. Conceived Frequency high and you can be the master
by Max Mathews, a legend who’s univer- of your own 80s video game soundtrack,
sally recognized as the father of computer and if you’re looking for something to
music, until now Scanned Synthesis was usher in the apocalypse with some utterly
only available in software configurations, nasty sonic destruction, look no further;
so it’s pretty cool that Qu-Bit has released Scanned’s got you covered. I even made
Scanned because it’s not just a new way to a one-voice dance track with a 140 BPM
create sounds, but a new way to create new quarter note gate into Excite, and a slow
sounds. moving LFO synced via my 4ms QPLFO
Explaining what Scanned Synthesis is and patched into the Center input, with a ran-
how it works isn’t super easy. Case in point, dom sequence patched into the v/Oct. I
taken from Qu-Bit’s website: “The wavet- was totally blown away by how easy it was
ables are dynamically generated from a to get something so full sounding with just
set of "objects" tied together on a virtual this simple patch using only the one sound Meris
string. These objects have physical proper- source. Enzo
ties. . . which affect the way that the string Scanned has so much inside it, that it meris.us
moves through space and time.” It took doesn’t even need outside modulation
me more than a minute to fully wrap my sources to change timbres and create For such a modest sized pedal, Meris’
head around this part, as anytime I hear movement, as it has the ability to do it all multi-voice instrument synthesizer pedal,
the terms “space” and “time” next to each on its own. Still, one of my favorite things Enzo, has a lot going on inside its golden
other I think of Star Trek, but the next step to do with it is to put a random, slow- brushed aluminum shell. It’s a dual oscilla-
in Scanned Synthesis is a little more to take ly moving gate into the Excite input, and tor synth boasting three synth modes, trig-
in, as in order to animate, or excite, the then to patch various modulation sources gered and envelope follower options, a su-
waveform, the objects are “morphed into into the Shape, Mass, Damping, and Rate per-glissy portamento feature, and 6 filter
the currently selected hammer shape and inputs. Then I throw the output it into my types, as well as envelope-controlled ring
then released.” I like to visualize an em- Blue Lantern Asteroid VCF, and finally go modulation, two tap delay, pitch shifting,
bosser, leaving its imprint on paper, then through a homebrew DIY spring reverb, and all sorts of MIDI madness.
letting that paper float free in a universe and just let it run. The semi-constant ping- Right out of the box I am immediately
of its own creation, changing with the ele- ing of the Excite input is enough to keep pleased with the quality of the power sup-
ments, or in this case, however the param- Scanned moving all day, and I’ve been able ply as the cable is nice and thick. I know,
eters are adjusted. to coax tons of evocative tones out of it–my not the sexiest of starts, but for those of us
Luckily, using Scanned requires no pri- favorites being sounds that are reminis- who spend time on the road, this is import-
or knowledge of its namesake synthesis cent of gravel being scraped by a thin steel ant. The 3-panel card that comes with the
method, or being able to conceptualize plate, and a low groaning ache that sounds device gives a clear and concise overview
floating textiles in unknown galaxies. like an alien bleeding out internally, ever of what each of its 6 knobs, 2 footswitch-
Having said that, however, learning about so slowly. Grim, perhaps. Strange, maybe, es, and 2 buttons do, and also explains the

waveform #1 summer 2019 46

10 global setting options. Still, I found it amazingly well, though every once in a Mode, Expression pedal modes [Variable
helpful to have the more comprehensive while there are little half-step misfires in control pedal; external TAP; Button switch
user manual found on the Meris website POLY and ARP modes, and sometimes re- [for external preset pedal] and MIDI], Kill
nearby, and the fact that the manual name- ally dissonant chords seem to confuse the Dry [for if you want only a wet signal when
checks Terry Riley, Joe Zawinul, and Van- pedal while it tries to identify pitches. Still, effect is on], Global Tempo, and other
gelis makes me feel that I am among kin- the pedal stands up admirably to more MIDI options. Also in Global Settings are
dred spirits, emboldening me onward into conventional chord extensions and really the Trails and Split Output options. With
uncharted territory. only buckles under the weight of stacked Trails ON, the delay “trails” off, as opposed
Each knob and footswitch has main func- seconds or chords where the pitches are to an immediate cutoff when the BYPASS
tions as well as ALT functions, accessed by really close together, as even one interval switch is hit, and the Split feature enables
holding the ALT button and messing with of flat seconds tracked well. you to run the output of Enzo to one amp
the knob or footswitch in question. The The two foot switches are BYPASS and and the rest of your signal to another,
ALT button also gets you into global set- TAP, which will tap tempo-set the delay as thereby maintaining a pure, clean synth
ting on power up, and saves presets. You well as the arpeggiation. I love that I can sound in one channel while rolling your
can purchase a 4-switch proprietary unit tap the tempo of either the Delay or ARP unsullied guitar tone through whatever
for easy access for up to four presets, and while in BYPASS mode,a crucial detail for distortions, fuzzes, bitcrushers, and other
Enzo also features 16 internal preset loca- live offerings as it solidifies that grand and effects are in rest of the chain.
tions, accessible by MIDI Program Change lock-stepped time warp into the 70s upon Each time I sit down with Enzo I feel I’ve
messages. switching the effect on. ALT functions se- barely scratched the surface of what it can
The SYNTH MODE button selects be- lect filter envelope with TAP, and Synth do. Once you toke those first takes, become
tween MONO for single note madness, Waveshape with BYPASS. the knob-spinning stargazer you know you
and POLY for lush, ambient chordal pad- The knobs [PITCH, FILTER, MIX, are, and start dialing in your trippindicular
ding. These are both reflected with LEDs SUSTAIN, FILTER ENV, and MODULA- bliss, the celestial vaults of neo-Seventies
indicating your selection and if both LEDs TION] are pretty self-explanatory, as are will be conferred. That the Meris team is
are illuminated you’re in ARP mode and their ALT functions. After some fussing on top of their craft with Enzo is evinced
will be flipping your lid over the delicious- these will make sense aurally even to those by the excellent sounds, superb tracking,
ly Krauty arpeggiated invocations trig- who may not understand synthesis on a solid build quality, and overall attention to
gered with single notes and chords. If nei- deeper level. The Global Settings, accessed detail that this pedal holds within, a ped-
ther LED is lit you’re in DRY mode, which by holding down the ALT button on power al that truly is so much bigger inside than
is anything but. Here, you have access to up and waiting for the LEDs to flash three out.
pitch shift, delay, filter, and compression times, offer some great features that may - Bill Horist
for more guitar-like manipulations. be a little more down to earth than the ce- Price: $299
Despite the fact that there is so much go- lestial vaults of the actual synth options.
ing on with Enzo, it’s pretty responsive to Now all six knobs, both footswitches, and WANT SOMETHING REVIEWED?
the uncarved block approach, and a great the SYNTH MODE buttons assign vari- Contact us at
load of fun can be had right away. Enzo ous properties regarding Mono/Stereo in- [email protected]
tracks both deft melodies and laden chords put mode, Line/Instrument level, Bypass

DivKid’s lutely isn’t! Most analogue filters are

basically just older circuits that are
of white noise is a personal favourite]
and a mix of key tracking, a tight de-
UNDERRATED cloned and tweaked, so what’s so cay envelope, and a stepped random or
Northcoast Synthesis interesting about the Leapfrog? sequenced modulation source, keeping
It’s a low pass filter with a fifth-order the filter moving over a sequence. It’s
Leapfrog VCF “leapfrog” core that has five integrators, also a nice crunchy sound for a drum
northcoastsynthesis.com along with multiple feedback loops. bus, or even in a delay feedback path
To quote the North Coast Synthesis adding char-
For some reason or another certain website yet again, “The near-elliptic acter and satu-
pieces of gear get overlooked upon re- response curve has an extremely sharp ration to oth-
lease, and so I wanted to start a series cutoff, with ripple in the passband, and erwise plain
called “Underrated Modules” high- nulls in the stopband frequencies cho- digital delays.
lighting equipment that I think de- sen to be musically relevant.” You’ll no- The North
serves more attention. This will also tice the extreme drop around the cutoff Coast Synthe-
marry up to a new video series on my right away, like your frequencies fell off sis Leapfrog
Youtube channel allowing you to ful- a cliff rather than rolled gently down filter is avail-
ly discover something you might have a soft 2-pole hill, and the Leapfrog’s able as a DIY
missed. sound is driven, deep, and fantastic. kit or assem-
To kick things off we’ve got a great There’s a lovely saturation and charac- bled, and you
filter called the ‘Leapfrog VCF’ from ter that you can’t escape, and the Leap- can check out
North Coast Synthesis, which they frog works really well with a mix of rich my demo vid-
state on their website that is, “Not your low pitch waves going in [saw wave, eo of it at:
grandmother's synth filter”, and it abso- -1 octave sub square, and a smidgen youtube.com/divkidvideo. Cheers!

47 waveform #1 summer 2019

 MUSIC REVIEWS
Various Artists
Tone Science No. 2: Elements and Particles
DiN Records
din.org.uk
UK composer and musician Ian Boddy has been releasing records for quite
a while, having established his DiN record label some 20 years ago. No. 2:
Elements and Particles is the second offering of his new-ish modular focused
sub-label, Tone Science, which he established in 2018. A cool feature in this
comp is that the liner notes detail the synths/tools used to create each piece,
with some very familiar names contributing to the record.
Featuring 9 tracks, and running at just over 60 minutes, Elements twists
and turns, starting with Todd Barton’s, beautiful Buchla created "Floating
World", moving on to German based Hainbach's utilization of Peter Blasser’s
Ciat-Lonbarde [interview forthcoming in Waveform #2!] wood based
instruments, to more Buchla, but with a harder feel, from Nathan Moody
on his track, “Prophet and Loss”, and ending with r Beny’s gorgeous “Marine
Layer”. Every track on this compilation is worth a listen, and I’m looking
forward to Tone Science No. 3 and beyond! - Ellison Wolf

Brett Naucke
Multiple Hallucinations
Hausu Mountain
hausumountain.com

I first got acquainted with Brett Naucke's Multiple Hallucinations while

driving for the last time over Seattle's Alaskan Way Viaduct [RIP], my
favorite strip of local highway.
11 minutes into the first of two 15 minute tracks, “Hallucinations I-XVII”, is
where Naucke's sequences of flute-like leads dance over a thudded out, slow
and entrancing rhythm. The song’s sonic strata was an aural representation
of what I saw from my drivers seat of ferries taking off and docking as the
was sun was setting. As I approached the end of the Viaduct the track grew
darker and breathed a bittersweet closure to this somewhat somber passage.
“Hallucinations I-XVII” faded out and the second track, “Hallucinations
XIX-XXV”, squawked, blipped, and blarged like a modular system patched
by a confused demon. Then, like an angel of salvation, lush pads surfaced
and shone a light on all of the devilish chaos.
Listening to Multiple Hallucinations is an emotionally morphing experience
that gives more and more with every listen. - Tim Held

Todd Barton
Multum in Parvo
Blue Tapes
bluetapes.co.uk
The Latin phrase multum in parvo translates approximately to "a great
deal in a small space", or "much in a little". It’s a fitting title for composer,
sound designer, multimedia performer, and analog synthesist Todd Barton’s
2018 Blue Tape release. Composed on the Buchla Music Easel and Epoch
Hordijk Benjolin, the composition evokes things like space, ocean depths,
and biomorphic abstractions all within its under-an-hour running time. Mr.
Barton crafts a terrific study in improvised soundscapes that could be an epic
poem, an elegy, or an alarm. From the opening moments, there is a sense
of dislocation; you are no longer where you once were. Fast moving sounds
lob and volley as pulses shift into liquid phrases that fall into percussive
sequences. There’s a sense of the physical - warm, organic distortion,
repetitive drones, deep sweeps and fluttering vibrations. There’s a sense of
the metaphysical —voices of ghosts or machines, or ghosts of machines no
longer needed. Most of all there’s a sublime sense of other and mystery.
Cover art by Ursula Baron [ursulabarton.com]. - Em Maslich
waveform
waveform #1 summer
is supported by 2019 48 by our readers. info at www.waveformmagazine.com/donate
our advertisers and through donations
S Y N T H H A C K S #01 I could run the MicroMonsta from a
5V USB battery pack. [These adapt-
Going Mobile with MPE ers cost about $8 on Amazon; mine
is sold under the wonderful brand
by David Battino name “Sparking.” I also use it to pow-
Batmosphere.com er 9V guitar pedals from USB.]

I
The second hack was to set up my
like small synths iPhone as a Bluetooth USB hub so I
with big personalities, so I really could play the MicroMonsta from my
enjoy the Authothingies Micro- Roli Seaboard Block. First I connect-
Monsta [audiothingies.com; 252€]. ed the MicroMonsta to the iPhone
This 8-voice polyphonic MIDI mod- via the Apple Camera Connection Kit
ule is built in small batches by a one- cable, which has a Lighting plug on
man company in France and features one end and a USB-A jack on the oth-
two digital oscillators that let you er. Next I connected the Seaboard to
load your own wavetables for fan- the phone over Bluetooth with Roli’s
tastic burbling textures, along with a Noise app, then quit the app to free up
sub-oscilator and a noise source for the MIDI stream. Finally, I used the
richer sounds. There’s also a multi- Midiflow app [midiflow.com; $6.99]
mode filter, an arpeggiator, and delay to set the Seaboard as the input and
effects. Although the MicroMonsta is the MicroMonsta as the output. Play-
just 5x7 inches, it includes six editing ing the Seaboard then played the Mi-
knobs, four of which you can assign croMonsta—no AC power required.
to parameters like cutoff and wavesh-
ape for playing live. The Midiflow app routes incoming Bluetooth MIDI
from the Seaboard to the USB out of the Camera
The MicroMonsta is also one of the Connection Kit, playing the MicroMonsta.
few hardware synths that supports
MIDI Polyphonic Expression [MPE],
which lets you control each voice in-
dependently from compatible con-
trollers like the LinnStrument and
Roli Seaboard. For example, you can
play a chord and then apply vibrato to
just the top note, or bend two notes in
opposite directions.
To make all this sonic power even
more portable, I did two hacks. First,
I added a 5V-to-9V voltage booster so

49 waveform #1 summer 2019

 shop talk

foxtone music
4024 e 46th street, minneapolis mn 55406
foxtonemusic.com
owner - eric fox
opened- october 1st, 2005
specializations - showroom for Buchla, black
market, dreadbox, polyend, and zvex modular

why did you open your shop? which historical figure do you most
I had been working for a couple of other guitar- identify with?
related national chain stores and saw some things Although he may not technically be “historical” yet,
that I would do differently and decided I should just I would say Steve Jobs. For the fact that he wasn’t
do my own thing. Besides, who doesn’t want to be necessarily the most technical person, but was a
their own boss and be surrounded by music all day!? visionary who made sure to surround himself with
those that had superior skills in order to complement
what’s your favorite part about owning any of his shortcomings. Please note—I am NOT
your shop? comparing myself to Steve Jobs!
Creative control. I’m an artist first and foremost,
and getting to put my stamp on something is what what are your plans for the future of the
fulfills me. Since I don’t tour anymore as a musician, shop?
this is the next best feeling. We still want to primarily focus on just a few
brands, but doing more workshops and events in
when you first opened, what were your the community is something that needs to happen.
goals, and have they changed?
I really wanted to see if my definition of “customer is there anything unusual about the shops
service” would truly work compared to being history?
surrounded by bean counters at the corporate We started out as a more general music store that
level. Once I proved to myself that a high-school sold guitars, rented band instruments, and taught
dropout from a small town could successfully run music lessons. It wasn’t until 2010 that we started
a retail store, that’s when I started getting into the carrying synths and esoteric electronic instruments.
idea of being more involved behind the scenes with
product development and helping others grow their favorite synth?
brands. So now Foxtone really only focuses on I’m quite smitten with the Buchla Easel and EMS
brands that I’m personally a part of, where before Synthi. Although I’m not any good at either,
we were always trying to have everything. the sounds that people are coaxing out of these
instruments are incredible.
any crazy store stories? what is your idea of perfect happiness?
I would say one of the most memorable ones is an Hanging out on a beach in January with my wife
attempted break-in at my back door that was caught and kiddo while the people I trust are taking care
on camera where this idiot and his girlfriend came of the shop. No phone. No Internet. No snow. No
back three times with different tools trying to pry worries.
the door open. After the last failed attempt, he then
tried to drive his car into the door at like 5mph. No most famous person you’ve sold gear to?
damage was done and I would have never known if We’ve actually deal with a fair amount of, I guess,
I hadn’t checked the video. Meth is a hell of a drug. “famous” people. One of the only times I got giddy
and wanted a pic was with comedian Nick Swardson.
favorite synth artist?
Hmmmm……I’m going to say Suzanne Ciani for anything else you’d like to say?
the simple facts of not only is she amazing, she has I just want to thank everyone for their support. I’ve
just been a constant force and able to make a living evolved quite a bit as both a company and a person
for how long now? On top of that she has been very over the years. While Foxtone isn’t nearly as active
helpful to myself and others by sharing her time and as a retail store as we once were, behind the scenes
knowledge on a personal level. we’re busier than we’ve ever been!
The sharpest tool in your shed. ValhallaDSP
Creative Tools for Audio Workers. www.valhalladsp.com