Mod FM D Gets a Proper Desktop Case

You might remember the stand alone eurorack desktop version with wood side panels previously posted here.

via Jomox:

"A year ago we released the Mod FM as a Eurorack module.

Now the almost identical product is being released as a desktop device with its own power supply, MIDI, standard 6.3mm balanced outputs and analog volume control.

The Mod FM D even has an analog side chain stereo input, via which external signals can be fed into the effects of the Mod FM D and mixed with the synth.

The ratio of synth+input/effect can also be continuously adjusted analog using a potentiometer.

The Mod FM D is a complete 8-voice FM synthesizer in desktop format that promises enormously powerful sounds out-of-the-box without sacrificing the usual CV modulation options.

It has 4 operators and 2 LFOs/VCOs per voice. In addition, it has 2 analog filters and analog VCAs per voice, which give the Mod FM D analog depth and warmth, although the FM engine is of course digital.

Each voice has its own CV/Gate inputs and an individual output. There is a stereo mix-out on which the even and odd voices are distributed, and on which internal effects such as delay and reverb can be mixed.

In addition to the CV/Gate control, the Mod FM D has MIDI In and Out and a USB C connection that also processes MIDI.

This allows you to create extremely good and metallic-sounding FM sounds, crisp basses, but also soft and deep-sounding analog sounds and all kinds of crazy stuff without much effort.

In addition, the Mod FM D also offers numerous external CV modulations, for example to modulate each operator individually or to control the FM envelopes.

The Mod FM D is also fully multi-timbral, i.e. each voice can have its own sound in Multi Mode, which is also saved as such in the Multi Set. This brings us to the biggest advantage of the hybrid approach:

Analog and modular can become a trap with complex sounds, and FM is complex per se, because you can never get the same great sound from before exactly the same way. The ability to save helps here.

The sections in detail:

Matrix FM:

4 operators are arranged in a matrix in which each operator (= sine oscillator) can be frequency modulated by the other three. The 16 endless controls in the matrix each set the modulation value (FM Amt).

The basic frequency of each operator can be set individually (diagonal controls).

There are various overtone modes that determine whether an operator is controlled by the keynote (CV) (base operator) or locks in as an overtone (overtone operator) on the assigned base operator. The number then determines the nth overtone or harmonic above the base operator's basic frequency.
The overtone operator follows the base operator, but can also modulate or be modulated freely.

Each operator has an ADSR volume envelope. This envelope can also frequency modulate the operator.

Algorithm:

The algorithms from the well-known FM synthesis are actually special cases of the entire matrix, and since unmanageable feedback can quickly occur if you change all the values ​​of the matrix, we have implemented the algorithms.

There are 26 algorithms that are based on the DX 9 with its 4 operators.

It is also possible to enter the frequency of an operator in full Hz, but these are then fixed and cannot be changed via the keynote, but only by modulation. Useful for percussive sounds, for example.

LFO/VCO:

Each voice has 2 LFOs, each of which can modulate the frequency (FM) or the amplitude (AM) of an operator. Each LFO has 64 different waveforms, which are shown in the right display.

Another feature here is that each LFO can be switched to a VCO. It can also be fed directly into the signal path and reacts to the keynote. The original LFO rate becomes the detune. This means that you can also create classic-sounding square/sawtooth analog basses or string pads.

Filter:

Each voice has an analog filter, which is implemented using the SSI2140 component from Sound Semiconductor, which in turn is based on the old SSM2040 SSM filters that were often used in Oberheim Synthis and the first SCI Prophet 5 in the 1980s.

The filter has a 24dB low-pass output and a 12dB state-variable multimode filter, the characteristics of which can be continuously faded from TP/BP/HP. Both filter types can be mixed independently of each other.

The ADSR for the filter is fast and has a direct effect, the resonance is easy to adjust. The filter has its own LFO for the cutoff, which is independent of the LFOs in the digital sound engine and also has 64 waveforms.

The VCA is a fast transistor VCA, which is important for snappy sounds and is used in all Jomox drum products. Therefore, the ModFM can also be used as a rich sound source"

Check with dealers on the right for upcoming availability.