"Nyquist Nightmare by Modular 4 the Masses
12hp Wacky FM Synthesizer designed to emulate the sounds of scanning radio frequencies and more!"
Modular for the Masses
Nyquist Nightmare
Audio Mangling Modulator/Demodulator
This module is a modulator/demodulator. The top four knobs interact with each other to take a signal and mangle it beyond all recognition, or if you're patient and lucky, let the signal come through mostly unchanged.
What is going on there? you ask. The input is used to frequency-modulate a VCO that can oscillate beyond anybody's hearing range. The resulting (possibly ultrasonic) signal frequency-modulates a second identical VCO. This leads to the kind of signal degradation you might expect from an AM radio transmission. Or a short wave signal fighting its way through a hurricane.
The rest of the knobs control filtering; high-pass to remove the truly ground-shaking rumbles the top for knobs can generate, and resonant low-pass to get the harsh high pitches out of the signal, and emphasize (for example) the frequency range of human speech, if you want to pass old movie dialogue through this.
Also included are a wet/dry control (while prototyping this module I would sometimes spend minutes looking for the perfect knob settings to allow a signal through just to realize the signal source had stopped playing), a CV input for the low-pass filter with an attenuator knob, and a effect volume knob.
Some fun things to try:
with zero input, try to get a modem sound!
connect a simple waveform and massage the top four knobs to fold the wave in surprising ways
David Lynch. Put David Lynch through this.
turn the resonance of the low-pass VCF up and use this as a VCO (not 1V/oct, I'm afraid
Turn both "Carrier" knobs all the way down, so the VCOs are stalled, and listen to the signal bash its way through
"I am borrowing the Knif Audio BBD and it's truly the holy grail of bucket brigade delay units. There are only a handful of them in existence, and I'm lucky to get to use it in my studio for a while. The Prophet 10 was an obvious choice to pair with the Knif BBD. I've been getting to know the Knif BBD and decided to record a 10-minute improvisation for you to be able to hear how beautiful these sounds are. Hope you enjoy. Endless inspiration with these two instruments. They are not only beautiful sounding, but beautiful looking and feeling as well."
Gear used in this video:
• Prophet 10
• Knif Audio BBD
• Analog Cases XTS keyboard stand
"Using patterns from the Schlappi Nibbler to control the current stage of the Joranalogue Step 8, with the Make Noise Math attenuating and offsetting the cv signal to create variations. Sounds are coming from Quad Drum, SSF Entity Ultraperc, Mutable Instruments Plaits, Winter Modular Zaps and Basimilus Iteritas Alter.
"Experience the ultimate fusion of classic analog power and modern timbres as the Vhikk X meets the Moog Messenger in this immersive sound exploration. Check out how the Vhikk X's effects can be leveraged to breathe new life into the Messenger showcasing how these two superheroes complement each other perfectly. The track we create highlights the unique character and tonal depth of my new favorite pairing."
"I dive deep into the raw sounds and harmonic richness of the SED-CSM, a complete analog synth voice from Rides in the Storm. With its dual oscillators, sub-octave generator, ring modulator, and a dedicated noise source, this module provides a massive foundation for everything from earth-shaking bass to evolving drones.
SED-CSM has two LFOs which can go into audio-rate, reaching up to 6.6 kHz and a VCF equipped with a dedicated overdrive switch. The SED-CSM offers endless possibilities for aggressive textures and squelchy, acid-inspired leads.
Complementing this is the QSQ; an 8-channel performance sequencer and MIDI-to-CV interface that serves as the brain of the operation. I show how the QSQ’s 16 analog-style rotary encoders allow for intuitive, hands-on melodic creation. Leveraging features like Euclidean rhythms, per-step probability, and integrated LFO/envelope generation, the QSQ compliments SED-CSM’s raw oscillators.
Timeline: 00:00 Sound demo 00:48 Overview of SED-CSM 04:50 Making a gritty bassline 08:11 Dub-techno chords 10:56 Doombient drones 16:46 Percussive sounds and hihats 17:56 Use LFOs to add hihat ratchets 19:23 Metallic tones and wavefolding 24:41 QSQ sequencer overview 25:34 Adding probability to notes 29:34 Using a sequencer for modulation 30:48 Adjusting a track's playback speed 31:28 MODulation amount 32:23 Using nudge to vary melodies 33:37 QSQ as a MIDI to CV converter 35:22 Mapping velocity from keyboard 36:34 QSQ is a MIDI recorder 38:48 Wrapping up"
"Recorded 'as live'. Bassline is a blend of Roland System 100M + Roland System 500. Lead-ish lines on the Arp2600M moving across Osc 1 through 3. Top line is the Befaco Oneiroi. Drums by the Metamatic-tastic CR78. Effects by Strymon (Bigsky, Nightsky, Timeline, Volante). Sequencing by OXI One."
"In today's guide to synthesizer filters I break down filters and show how you can use them to make music. Whether you’re working with eurorack, hardware, software, analog, or digital synths, this guide should help you further understand filters.
We start with the basics, looking at what filters do and how low pass, high pass, and band pass filters shape sound. From there, I move into modulation, showing how to use envelopes and LFOs to add movement, rhythm, and expression to your patches.
I also cover filter self oscillation and how filters can become sound sources in their own right. Towards the end, we get into more advanced techniques like filter banks and stereo filtering to create wider, more complex sounds and mixes.
If you’re into synthesis, sound design, or electronic music production, this will give you techniques you can immediately apply to your own tracks.
Topics covered include synthesizer filters, eurorack and modular synthesis, sound design, envelopes, LFO modulation, filter self oscillation, filter banks, stereo filters, and electronic music production.
Perfect for fans of synthesis, sound design, eurorack, modular systems, and electronic music production.
"Listen the new Radical Frequencies Dual Retro VCO playing an arpeggio , showing all waveforms and making Pulse with modulation and Hard Sync between the vcos . It goes through the RF Mixer and then to Diode Dream Vcf as it suits this oscillator perfectly! #eurorack #modularsynth #radicalfrequenciesmodular #dualretrovco #drvco #diodedreamvcf #analogsynth"
"Handmade Dual VCO of discrete core capable of internal FM cross modulations - Hard sync and Ring Modulator
• Analog discrete saw core oscillators with Saw, Pulse, Triangle and Ring Modulation wave outputs.The sound is warm and fat, emphasizing odd harmonics for this big retro sound. My purpose here is to approach the sound of classic synths from 70s, that we all loved. • The SAW wave produces rich bass frequencies, sweet mids and smooth highs but overall, it is still well balanced across the full frequency range. The Triangle wave is almost perfect in shape with no buzzy hum sound. The pulse wave can produce that chorus-like phasing effect, when using an LFO to modulate the PWM input and does so in a very unique way, as it changes the phase of the signal as well. • Two identical VCOs : VCO ALPHA and VCO BETA, with the ability of hard sync as each VCO syncs internally with the other. Using the attenuator knob for SYNC, you can go from zero to soft sync(11-12 o’clock) to hard sync when the knob is fully CW. For syncing you just need to turn CW, the sync knob of the VCO you want to be the slave. Don’t open both the sync knobs at the same time unless you want to make some weird sounds. • There are external sync inputs for each VCO as well. External oscillators can be used as masters, just feed the output of the oscillator of your preference, into the sync input or either ALPHA or BETA. Just remember to feed a saw or a square wave, into the SYNC input. This is very important in order to sync the oscillator. A ramp wave it will not sync at all! (The RF DPVCO for example is a ramp out VCO and if you want to use it as master you must invert the signal first.) • Both ALPHA and BETA track 5 octaves accurately, tempco resistors are attached to the tuning ICs CA3046 on both VCOs. Separate voltage regulators for each oscillator can achieve the best sounding results without drift or bleed pitch, between VCOs. • Both VCOs go from a relative fast LFO range with the coarse tuning knob fully CCW, up to high frequency oscillation. • Octave Switches of 3 positions: 1 octave down - , zero , 1 octave up +, are available and make patching, fast and intuitive. • There are internal normalisations for exponential as well as linear FM and both have independent EXP FM and LIN FM, attenuators. • You can select the wave for the internal FM buss via the front panel switches .Options are Triangle and SAW. The internal FM wave, is independent per VCO as well. • There are also internal normalisations for PWM, where each VCO modulates the pulse width, of the other and both use the triangle waveform. • There is a PW offset, per VCO - negative phase pulse width at CCW to + positive phase at CW and 50-50 duty cycle square wave, in the middle of the knob. • Ring Modulation section is a separate feature where X and Y inputs are internally connected with the VCOs as well. It has 2 inputs, X and Ψ and one out, RM. The inputs are internally connected to the internal FM buss switch of triangle - saw selector. VCO ALPHA is internally connected into Ψ input and VCO BETA, into X input. You can feed the RM inputs any wave you desire from other VCOs as well . • An external patch cable breaks the normalisation of all internal connections, via input jacks. (EXP FM, LIN FM, PWM, SYNC, X Ψ)
• Important note about tuning : The vcos need at least 30 minutes warm up before using it for good tracking. Also when you have to tune the vcos it’s better the octave switches to be in the middle position and all the fm and sync knobs must be closed (CCW)
• Large range of sounds with countless sweet spots - ultra stable tuning for FM sounds by using the FM and SYNC knobs simultaneously - fat basses, classic leads and drones. Feed the DRVCO into a good filter and you will enjoy it as it was meant to be! The VCF that I suggest is the RF Diode Dream VCF as it is a ladder filter and suits it perfectly! Of course any other filter of your taste can be used with great results."
"What if you could get a complete synthesizer voice — oscillator, filter, and VCA — all in a single Eurorack module? In this video I demo three self-contained voice modules that are perfect for small racks, live performance, or anyone just getting started with modular synthesis.
I cover:
🔹 Frequency Central Product – pure analog, East Coast character, pre-patched and ready to play
🔹 Knobula Monumatic – 8-voice polyphonic (!), built-in reverb, huge sound in minimal HP
🔹 Mutable Instruments Plaits – 24 algorithms, incredible sound variety, my go-to for live performance
Whether you're new to Eurorack and don't know where to start, or you're deep in the rabbit hole and protective of your HP, these modules prove you don't need a massive rack to make great sounds.
CONTENT:
00:00 Intro
00:57 What is a synth voice?
01:33 Frequency Central Product
04:25 Knobula Monumatic
07:05 Mutable Instruments Plaits
08:51 Jam
🎹 Modules featured:
• Frequency Central Product – £325 (PCB/panel DIY kit £90)
• Knobula Monumatic – £400
• Mutable Instruments Plaits / After Later Audio Beehive clone – £200"
"These days of war take me back to the modular—its randomness, its sense of probability, and the inspiration it provides.
It’s also an opportunity to dive deeper into some of the more complex modules and really learn them.
A ratcheting exercise with Maths led to a lovely sequence that called for live drums—and that was my cue to return to my solenoids.
At the beginning of the video, you’ll hear the raw sound of the snare in the room, followed by the recorded version of it in the context of the track.
"Here we have SUMP PUMP from Robots Are Red (with circuit design from Setonix Synth). It's a 6HP stereo Eurorack noise gate that can also invert its behaviour into a compressor and with the 'floor' control it can also be an expander. We've 3 umbrella sections in the video with compression, noise gate and sidechain ducking techniques. Check out the patches and let us know which is your favourite. There's also an exclusive run down of the dirty bass patch on / divkid"
*TIMING INDEX // CHAPTERS*
00:00 Intro & previews
01:00 What are we doing & feature run down
PATCHES // COMPRESSION
03:17 Setting up compression on beats
06:05 Adding excitement to thick distorted bass with expansion
08:17 Reshaping chords with compression
PATCHES // NOISE GATE
10:00 From basic to creative noise gates
13:56 “Beat density” with floor control (thanks to RAR for the idea!)
PATCHES // DUCKING & SIDECHAIN
17:48 Big dumb bass ducking - good fun & how to set it up
19:34 Creatively duck ambient FX - I love this mixing/production trick
It's a noise gate, it's a noise suppressor, it's a compressor, it's an expander, it's stereo.
The Specs and Stats:
Width: 6hp - Attack and Release knob for envelope(s)
- Threshold for suppression/compression (0V - ~8V)
- Floor controls the amount of suppression/compression from -100dB to Unity and even up to +10dB for expanding the louds louder or make the quiets a bit louder.
- Level controls your overall output level
- Gate/Comp switch: When in "Gate" mode, whenever the input falls BELOW the threshold level, the envelope will engage towards the floor setting. When in "Comp" mode, the envelope will trigger when the input rises ABOVE the threshold setting.
-Stereo inputs and outputs. The envelope follower is assigned to the Left input, so the L input can also be used as a sidechain input for a mono signal (into In-R).
- Engage input. This is a gate input for manually engaging the envelope.
- Threshold CV input. This offsets from your knob position.
- Floor CV input. This also offsets from your knob position.
- Duck CV Input. This is an envelope follower input that applies and inverted envelope to the level of the signal. Send a simple pulse or trigger, an actual kick, an envelope, or anything else into this to duck your signal.
-Envelope Output. The envelope Output does not follow the "floor" settings and always outputs a full voltage envelope.
Special thanks to SetonixSynth and many others for really helping make this module a reality.
"Quelques variations expérimentales autour des nouvelles patterns de Sisyphus. Nous avons rendu la version 2 beaucoup plus malléable en traquant les glitchs, les craquements et les auto-oscillations les plus violentes. En revanche, nous avons conservé, et même renforcé, tout ce qui faisait de Sisyphus un instrument de recherche et d’expérimentation pour toutes les musiques, même les plus expérimentales !
Plus d'informations ici :
https://www.kaona.fr/index.php/fr/pro...
A few experimental variations around the new Sisyphus patterns. We made version 2 much more flexible by hunting down glitches, crackles, and the most violent self-oscillations. At the same time, we kept — and even enhanced — everything that made Sisyphus an instrument for research and experimentation across all kinds of music, even the most experimental.
More information here:
https://www.kaona.fr/index.php/en/pro..."
