No.1 APEX Eurorack Delays

video upload by Cinematic Laboratory

"I am not sure if there's an APEX (best of the best) delay in eurorack. If there was, I would never ended up with so many of them. The 'problem' with eurorack is that each manufacturer adds something special. They have to. I guess my 'problem' is the autistic need to make 'one brand' cases instead of a colorful patch blanket. I never fully realized I had so many delays and even though there is no good and bad in euro, I could easily build a subjective top five - in any order - except for number 1. The top spot has been taken for seven years, but is now on the verge of retirement.

I'll be using a stack of Plaits and Rings as a reference sound, so prepare for a 20 minute 'spa'. In the end, there is an APEX delay after all. I'll add chapters later, for now I want you to relax, listen, maybe even do something else, and when you hear something remarkable, check what's playing. Spin FX delays like FX-AID are not included, but mentioned in general because they're not just delays. I also think the karaoke-chip delays (e.g. Bruxa, Lyra-8 FX) are too exotic but APEX in their own field. I also didn't include any analog/BBD delays because I have no experience with them. This is not a competitive review, it's a lab tour.

Please comment if I overlooked a delay that beats everything else, I don't have/know all of them. It's also cool if you'd share your personal favorite!

Cheers,
Robert"

Teenage Engineering K.O. II KNOCK OUT - How about a FMT and start from scratch?

video upload by Cinematic Laboratory

"The Teenage Engineering is an affordable sampler with 64 MB of memory. In this video I'd like to focus on sampling found sounds, noise boxes and small modular setups. I'll start by formatting the internal memory (FMT) which is a great way to really get to know the KO II without going through all features first. This is not a tutorial. If you want to learn how it works, please visit ‪@SONWU‬ and check out his series which also includes the firmware update.

It's a great machine to stay away from the DAW but also a good 'brain' for sequencing external gear with MIDI, and for turning modular mono sounds into pads and textures. Another cool trick is to sample a chord under each pad, so you can play all kinds of complicated chord progressions with one finger."

Buchla Tiptop 264T | ART protocol hacking with XAOC Drezno

video upload by Cinematic Laboratory

"According to Gur from TTA this was unlikely to work, but 'unlikely' is not impossible. The ART protocol is something like analog encoded digital data used to be transferred over regular patch cables. It carries information that can be used to play quantized notes on an ART capable VCO like the 259t (and obviously the ART series from TTA). I tried using XAOC Drezno to convert the ART signal to bits, and then scramble a few before recoding it back to analog. This is just an experiment and it was a bit too much off-topic for episode 14. It would also make the video too long and nobody's watching the end of long videos anymore. It makes me wonder if this could also work on MIDI data, but that's for another day."

Buchla Tiptop 264t | Buchla 200 Series | Episode 14 | Quad Sample and Hold / Polyphonic Adaptor

video upload by Cinematic Laboratory

"The original Buchla 264 is a very rare module, released in the 1970's. So it's important to realize it's a very primitive way of adding polyphony to a modular system. It's not that different from an early analog polysynth, where voice cards were used to activate two or more voices from a keyboard 'switch'. This is another fine example of doing easy things the hardest way possible, so there should be some reward in it. Apart from the polyphonic switching mechanism - you'd need four VCO's, four envelopes and four VCA's to switch between. I'll start with four Plaits, which can trigger their own internal LPG while distributing Marbles CV/GATE between them.

Then I used the Buchla LEM 218 keyboard to try and make chords. It didn't work so well, because the 264T is too slow picking the right voltage for the right key-down event. The 218 already outputs quantized notes in the 12-TET scale, so how hard could it possibly be to 'sample' the voltage from the played key and hold it? On the original Buchla 264, people used a gate lag (with the 281 envelope generator), to sample the voltage first, and trigger the hold with an end of cycle, just a few milliseconds later. Fortutnately, the 264 also has track and hold. In this mode, it can simply track the keys from the 218 keyboard, and hold it on key down. Works like a charm!

Regardless, this old-school analog polyphony is a lot of work and requires either a lot of modules, or specialized quad versions of your basic VCO, VCA and Envelope Generator. However, the module provides lots of cool resources you can use on a simpler setup, and results may be even cooler than trying to create polyphony. For instance, the polyphonic adaptor can double as a clock divider, which is missing from the current Buchla/TTA 200 series. It's super useful to clock a delay or sparse event. When combined with the 242 pulser, you could use a 11-step sequence, and pick every 2nd, 3rd or 4th event, creating all kinds of odd variations without changing the 'pins'.

Then there's ART, which is a new digital protocol for tuning a VCO, and sending quantized note and gate information. This requires an ART capable VCO like the 259T. While it's tempting to use two of those, it's much more fun to just use the principal VCO in ART mode, and use the modulation VCO in standard mode. Your voice will be in tune with other sources, but you'd still be able to create some new textures and leads. Quantized notes will steal some of the Buchla magic, so this is a best of both worlds. So if you're not pursuing polyphony (which isn't unwise), the 264 is a great source for stepped random voltages, divisions and quantized notes. Highly recommended for all you generative music lovers."

ADDAC 511 Stochastic Voltage Generator

video upload by Cinematic Laboratory

"ADDAC has added a really promising voltage generator to the line-up, which is labelled 'stochastic'. There are roughly three levels of randomness covered by the module. The first is traditional random voltage we know from sample and hold circuits. Then there's aleatoric, which is more controlled e.g. by using a scale and time signature variations. Aleatoric is about throwing dice, but these are used to generate variations in a stream of scaled notes. The final mode is 'stochastic' where a composition is created by setting rules and boundaries that would sculpt the composition. This can go as far as introducing chances of individual notes, scale changes and key changes, but also includes generation of expressions and envelopes. While this is still unnatural, it mimics a performance of a natural player.

The 511 has four channels with gate/CV outs, there's an internal clock, but are four external clocks to drive all kinds of events. You have eight CV inputs to add external influences and there are three logic outputs which will support conditional boolean events, counters and clocks. This is simply not a module I can explain in 20 minutes and a 60+ page manual is inevitable.

Compared to competitive modules like the SIG and the Melodicer, the 511 is prepared to design first, and play later. The others are more for live improvising with generative parameters, where the 511 lets you prepare the parameters with three states per preset, and each preset can be a movement in your performance. It all sounds like a lot of work, and it is, but IMHO the 511 is currently the most powerful generative module in eurorack.

I also need to say that there's a LOT of code involved. There's a menu per button approach, but still, there are a lot of buttons. This also applies to the SIG and honestly it could use a menu. I still haven't figured out the SIG. Melodicer is super easy, but it can only generate one CV/GATE pair.

Since it's also brand new, there may be updates. If you don't have the patience of an early adopter, I'd recommend sitting this one out."

See the announcement post here.

Stardate 2381.2 Holodeck Patch | MN-004 Morphagene Computer Fun

video upload by Cinematic Laboratory

"When you load a collection of Star Trek Enterprise sound effects into a Morphagene reel, it kind of triggers the imagination. I loved watching the original series on TV when I was a kid, and the love never went away. In this video, I imagined a 24th century holodeck simulation of a rare archeologic find, a MakeNoise synthesizer case unit thing. Ofcourse, as a 24th century researcher I needed to try and figure it out, and to fix accuracy issues with the holomatrix. The Enterprise computer has been of great help.

And yes, I used AI to recreate her AI computer voice because Majel Barrett is no longer with us. For me, personally, it's good to hear her voice again. It's functional use, and used with respect. There's no other way to make her say 'modular synthesizer is now off-line'."

Buchla/Tiptop 292T RoHS | Buchla 200 series | Episode 13

video upload by Cinematic Laboratory

"This week, the 292t quad lo-pass gate finally arrived at the EU and the UK, but without the toxic vactrol components. As you may know, vactrols require the use of cadmium, which is mildly radio active and it should not end up in the environment. The 292t RoHS can safely be disposed when it turns out it ain't no Buchla anymore.

In this video I'll do a quick test using both versions but as always, TipTop Audio did a truly amazing job. It still has the magic of the original 292c, but it's a bit quicker because there's no vactrol memory effect. The bad news is that you can't strike it with a short blip, ping or trigger. The good news is that it sounds as tight as a doornail and when you use envelopes, you will not get the feeling it's not a 292.

Still, it's impossble they will respond in the exact same way. Even the original vactrol 292 would expose tiny differences from unit to unit, where the RoHS version will be consistent. I am a huge fan of LPG's and I always assumed you can't have a decent LPG without vactrols. The excellent Natural Gate from Rabid Elephant already proved me wrong a long time ago, and the 292t RoHS confirms it. There's no need to get yourself an 'original' 292t with an illegal import. The EU/UK version is fine!"

DELLA - This Tiny Expander Turns Scrooge Into a Modular Powerhouse

video upload by Cinematic Laboratory

"The Scrooge drum module was already a dirty, lo-fi monster. But with the forthcoming expander, it becomes something else entirely — a modular brain of your Eurorack system, dedicated to beats, beeps, pops and all kinds of moving parts. More CV control, more flexibility, more madness.

In this video, I show how this tiny add-on takes Scrooge from a simple noise-maker to a full performance-ready rhythm engine — perfect for hard techno, industrial, and experimental electronic setups.

However, Neutral Labs was planning to offer it as a DIY little module only.
Please comment if NL needs to change their mind! It doesn't work for the desktop version with the wooden box, but IMHO it should always be included with the Eurorack version."

Scrooge Drum Synth Module – Dirty, Lo-Fi & Built for Industrial Techno

video upload by Cinematic Laboratory

"In this video, we dive deep into Scrooge — a raw, lo-fi drum synthesis module that’s perfect for hard techno, industrial, and experimental sound design. Neutral Labs Scrooge embraces the imperfect 'malfunction' aesthetic with gritty, noisy textures that cut through the mix and add serious attitude to your tracks.

Whether you're building a hybrid setup with DAWs or going full hardware live performance, this module delivers punch and character in spades. It’s not just another drum synth — it’s an instrument with personality.

Lo-fi sound generation
Great for hard techno & industrial
Works with MIDI, DAW and modular setups
Available as a desktop and eurorack version

Hands-on control and expressive sound shaping
How would YOU use Scrooge in your setup?"

MotorSynth MK2 | By Gamechanger Audio

video upload by Cinematic Laboratory

"When the first Motor Synth was introduced back in 2019, the synth community unanimously agreed to disagree. For some the MOTOR Synth appeared to be a completely ridiculous, overengineered and limited instrument - at one point the phrase “pure embodiment of evil hipster trash” was used, while others called it one of the most innovative and exciting instrument designs the industry had seen in years. The truth lies somewhere in the middle and I feel it's MUCH better and cooler than people think it is.

However, spending 3K on it doesn't make it yours. It's packed with so many features you'll need to find your own gemstones buried in the trash. After spending four days with this unit (on loan, not mine) I realized theirs true magic when it's limitations are starting to work against it. It excels when it fails. Please note, this unit makes a LOT of noise even when it's not connected to any amp or audio interface. Still, the mechanical noise is an essential part of the final experience and you should always record it, even when you decide not to use it later. Most of my recordings in this video has the camera audio, attenuated at -10 dB. It's really loud, but it's not a motor synth without it.

The synth is simply too expensive to make this a review, and I don't do reviews anyway. I try to focus on production value. If you're a pro composer for films and games, this thing is a highly recommended no brainer. The same applies for evil hipsters. If not, try to borrow one from an evil hipster and sample the hell out of it.

Big thanks to Gamechanger Audio for letting me borrow it. This video is sponsored by me, no money changed hands and I can't keep it.

00:00 Introduction
03:04 Day 1 - First patch with the Linnstrument (MIDI)
06:47 Day 2 - Using the V1 and V2 Sends for stereo.
08:23 Randomizing presets
10:01 Day 3 - Adding external modular FX
13:22 Motion REC
14:39 Dark Ambient with slowed down audio (50%)
16:24 Vocoder
17:50 Day 4 - Driven my Marbles CV and Triggers"

MultiMods | NUSS Episode 02 | One is enough, but why stop there?

video upload by Cinematic Laboratory

"The MultiMod is now officially my favorite module of 2025, but the year is still young and spring is in the air. Between you and me, I got a second one because of the audio processing. Yes I know it's a 1 to 8 CV processor but when you speed up an LFO, it becomes sound and when you spread it up, it becomes a cluster. I'll add chapter markers later because it's a long video.

I've been inspired by the works of Allen Strange and Curtis Roads, so you can expect some strange recipes and microsound adventures. It must be a coincidence but MakeNoise also covered gate delays. I'll use the 281t for mixed envelopes triggered by Pams, and the MM will make variations from it. It's great fun to send all kinds of CV to the Morphagene and it's even more fun to use two MM's, one for modulation, and one for sound 'surrealization'. I picked a new word so I will not give the false impression 'it can do audio rate'. It's more like experimental 'abuse' of the 24 bit AD/DA converter that just happens to respond extremely well with any sound source.

In the final scene I'll use a Lyra-8, which is a dream combo because the Lyra-8 is mono and it becomes a stereo Lyra-64 with MM."

Mastering is a Fine Art | But the basics are useful too!

video upload by Cinematic Laboratory

"First of all I am not a mastering engineer. I learned the basics at Abbey Road Institute which involve EQ, glue compression, a bit of analog color, a bit of sparkle (exciter), a tiny bit of glue reverb and a final EQ to iron out the final extremes. I learned from certified mastering engineers in London, but I don't have their experience of making any track from any artist sound better and ready for the big world. That's beyond a skill, it's an Art (with a capital A) and it takes years to learn. It would also require good ears, great taste, the ability to understand what the customer wants and extensive knowledge about what's competitive.

I've added this video to the Modular Classroom playlist [embedded below], but it's not a regular episode. I just feel it belongs there.

In the modular niche we don't work with console mixes (or tracks in a DAW). We usually record a single take to a single track and when it's recorded we can't tweak anything. It's 'frozen' in time. It's also unlikely to be able to record the same piece twice. In the modular niche we're back in the late 60's and early 70's. But we also have the advantage of using a real instrument that sounds amazing.

I recorded a problematic track for this video. I didn't know it was problematic until i listened with headphones. If you care a bit about a good final track, ready sharing on your new BandCamp album, here are a few tips you may find useful. Since we can't really change our stereo track, we may need to photoshop it a bit. With Mastering, 'less is more' is the golden rule. Sometimes people ask me about my 'mastering chain' because they like the sound of my patches. The hard truth is that I don't use any. I can't make it more less. I just record raw, and iron out possible problems BEFORE I record. When I record a Serge case, I don't have to fix anyhting. When I record a case with many digital modules, I get in-case clipping, tough resonance and stereo low end issues (mud). A DAW like Ableton offers all the tools you need, but the FabFilter tools are worth buying. You don't have to worry about subscriptions and new versions, they're excellent.

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MakeNoise MultiMod | New Universal Synthesizer System | Episode 01

video upload by Cinematic Laboratory

"The MultiMod is the first module in the New Universal Synthesizer System (NUSS), but also the first module designed by the new MakeNoise expanded development team. I am not sure, but it seems they managed to capture one of Moog's former lead designers who also contributed to the Muse. As always, expectations were high, but as always, MultiMod generously exceeded them.

Yes I know it's 'just' a digital mult with built in waveforms, and everything that comes in, goes out eightfold. It's either identical, like a true mult, or shifted in phase, reshaped or skewed. It can be clocked and frozen. I should have been impressed by having eight LFOs in various speeds and shapes but I know how to make music with those. In 2025, most of us do. However, running the MultiMod with audio rate signals is pure bliss. It's not advertised as such, I don't think MakeNoise even mentioned it in the manual or in their official videos which almost seems they've already seen an 'audio processor' in some secret office. I am speculating here, but a New Universe is bound to expand.

For me personally, biased and subjective, is one of the best effects you can get for your modular, even though it's not supposed to be one. The only thing I regret is ordering a second one for stereo crosspatching."

Serge Filter Tour | Serge Modular | Episode 07 | Res EQ, VCF2, Siegfried, VCFS, VCFX, VCFQ

video upload by Cinematic Laboratory

"There are currently 1601 filters on ModularGrid. It may be impossible to pick the right one for your case. If we check out the modular pioneers, we'd see Moog's legendary ladder. Buchla only made a rare triple bandpass, Roland and Korg refined far eastcoast synthesis and there are a few exotics like the Wasp and the Polivoks. In this video I want to focus on the Serge filters (eurorack format) which I rediscovered last year. He has five designs with distinct differences. There's the RES EQ fixed filter bank, the VCF2 variable bandwidth with no resonance (?), the VCFS with a variable slope (?) and the highly appreciated VCFQ with variable resonance. A few weeks ago Serge released the VCFX with a 'new gate' on a single panel. It's a simple utility filter on its own, but combined with the gate we'll have a patch programmable LPG. Or a bandpass gate.

I'll be using the Schlappi THREE-BODY as a triple sawtooth voice making a chord. It's a big and nasty sound that could use a filter. It inevitably turned out to be a long video because I had the pleasure to go through five different filters. I tried to keep it fresh and entertaining. Who doesn't love playing the cut-off :)."

A Cure for Boredom | The Modular Classroom | Lesson 04

video upload by Cinematic Laboratory

"In this lesson, we'll explore chaos together."

Cinematic Laboratory Modular Classroom

Voltage Math | The Modular Classroom | Lesson 03

video upload by Cinematic Laboratory

"In the previous lessons I tried to explain that learning modular synthesis is about learning voltage. The basic chain of VCO, VCF and VCA is not where it begins. On many classic synthesizers, this is where it ends and a lot is going on under the hood. Things you can't see. On a modular, you can wire it all up and it's OK to wire up a basic chain with a voice, filter, amp and envelope. Just don't expect it to sound like something else.

I guess many of you own a Buchla 281 and 257 in some way. If you have a Maths, you got those too. If you have anything that moves, it may be inspired by the Bucha's. Even a simple attenuator or crossfader starts here. In this lesson, we'll learn a few truly basic concepts, where voltage goes up, goes down or stays idle. Voltage is potential and you'll need to open the floodgates. It's such a clichee to call it a magic world, but actually, it is."

Cinematic Laboratory Modular Classroom

242T Programmable Pulser | Buchla 200 Series EP.12 | By Tiptop Audio

video upload by Cinematic Laboratory

"I've been wondering how to approach this episode. If this were a module review, the 242 would not be able to stand up against modern 21st century sequencers. It's basically a 12 step sequencer with three rows of pulses so you can't even do a four on the floor. We need to remember we didn't have those in the late 60's, so let's not worry about that too much.

The classic pin-controlled 242 was custom made for CBS and it didn't carry the Buchla name. CBS (California Broadcast Systems) was licensed to build and distribute the 100 series and it eventually stopped because CBS didn't see a future for electronic instruments. I guess you need to have a long term vision, and CBS clearly had a different one. Regardless, the 242 is extremely rare. Fortunately, the 242T is not. Tiptop abandoned the pins and fancy illuminated buttons in favour of small buttons and a LED matrix. The 242t is a Tiptop first, and a CBS/Buchla later.

The 242 is a retro-futuristic trigger sequencer with some weird outputs. The ABC pulses are extremely short, but the alternating outputs are longer. Then, there's this SAW CV output which is tied to the master clock. There are start/stop and reset inputs and a CV controlled Period which is not unlike a frequency when pushed to audio rate. I tried to ping the 296 Spectral Processor with the ABC outputs, but these are barely audible. If you want to ping a rhythm on the 296, you'll need to use 281 envelopes and patch from there. Using them to ping a 292 vactrol is just wonderful.

Stazma and Todd Barton made excellent video manuals, so I am not going to explain the module in this video. Since nearly every Buchla module is either quad or dual, I used two 242 modules. I had to. Imagine it's the early 70's and it's the Dawn of Synthesis. We have no idea what the future will bring."

The Modular Classroom | Introduction | Intended Audience and Approach

video upload by Cinematic Laboratory

Mutable (ST)RINGS | Modular Composing | Open Sequencing

video upload by Cinematic Laboratory

"I guess it's much cheaper to find new use to existing modules instead of getting more modules that don't really add anything new. We all know Mutable Rings, it's our modular guitar. So how about trying to play it like a guitar? In this video, I'll use a static arp, like the strings on a guitar, tuned to whatever you like (like Fripp's New Standard Tuning) and then move the individual notes around like a fretboard. It's like a note-by-note transpose. Do you know any sequencer that can do this? Sure! Five12 Vector has chance operations and subsequencers. Westlicht has note ranges and you can use Track B to transpose track A. But you can't transpose the indivual notes in an ARP with their own subsequences. I've been working on this idea because it's a cool addition to our stochastic generative dice controlled compositions. I'd like to all it 'open sequencing' as a tribute to 'open composers' from the 50's and 60's. People like John Cage and Hans Otte, but also people like Robert Fripp (tuning of fifths) and Hans Zimmer (double harmonic dune scale).

It's even cooler to use a module that allows you to build what doesn't exist yet, lke Monome Teletype. I wrote a script you can load in your module, but Teletype is also part of the VCV free module collection. I bet you'd never use it without some help. So here's a script you can cut, paste in a .TXT and load it into the 'active script' of Teletype."
--COPY AFTER THIS

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It's all Voltage | The Modular Classroom | Lesson 1 (feat. Serge DUSG and GTS)

video upload by Cinematic Laboratory

"OK, here's episode 1 of my modular classroom series. Again. I had to reupload due to editing errors. So I worked on it some more, added some stuff and removed a segment that went to Lesson 2.

I had to pick a reference because we all own different case layouts. I assume everyone can follow and try some of it if you own a Maths, Falistri, Rampage or Abacus. I'll be using Serge DUSG and GTS for most of this video. I did not include the 281T quad function generator because it will get its own lesson.

We're going to be taking about rise and falls a lot. They're the foundation for modular sound generation and movement. It's all voltage. When we think of a triangle wave as a basic waveform, we can break it apart and see it as a rising voltage, a falling voltage in a repeating cycle over periods of time. Time will determine if it's a VCO or LFO."

Slope Language | The Modular Classroom | Lesson 2 (feat. Maths, Rings and Clouds)

video upload by Cinematic Laboratory

"In Lesson 1 I introduced a hidden sonic world of rise and falls, a foundation for making sounds and movement and for interaction with other sounds and movements. I realized it's hard to make lessons without reference gear and I picked Maths as the No. 1 module to explain the core concepts of low level synthesis. While making this lesson, I figured out this 'slope language' which could be an alternative to patch diagrams. Diagrams only work on a system with a fixed layout and modules. In modular this just doesn't work because all modulars are different and personal.

I also needed to find a way to combine high level music making with low level modular techniques and explain why it's worth it to dive a bit deeper. I used Rings and Clouds as a methaphor for 'fastfood' because it's really easy to make great music. This often sounds like a bad thing but it's not. Too easy is good. It confirms that modular synths can be cool. But it's even cooler to hear what happens when we add a bit of low level movement. Sticking to the metaphor of cooking with sound, it becomes a Chef's kitchen, where Rings/Clouds are the signature ingredients, and Maths is the secret sauce.

The goal for these classes is to learn how to think in voltage slopes (rise and falls) and these 'slope language' diagrams seem to work for lots of module combinations. I was able to 'translate' a Maths patch to Tides and Blinds. It works because we're taking a step back from the panel layout, and focus on what the voltage is doing. The recipe. For me, it felt like a missing link that really helps me to explain things. Now let's hope this works for you too."