Those familiar with Hosa will no doubt have seen the number of modular synthesizer products we manufacture. When we set out to make a “beginner’s guide”, we thought this would be the perfect opportunity to get some of our modular friends involved. This week’s blog is by Kris Kaiser from Noise Engineering. Kris shares a basic rundown on modular synths and demystifies a few things along the way.

What is this weird spaghetti monster?

At Noise Engineering, I get a lot of questions from musicians who are interested in modular synthesis. Many seem entirely intimidated by it, or just don’t even know where to start. Introductory modular tutorials abound, but few I’ve found are written to really help musicians capitalize on the knowledge they already have. Today we’re going to dive into modular synthesis using concepts and techniques that you, the musician, already know. We won’t focus on specific modules, but rather concepts. For more information and details, pop on over to the Noise Engineering blog.

I’m a synth player. That doesn’t look like a synth.

I’ve had more than one person approach me at NAMM with the challenge to “teach” them how to play a modular synth. The reality is that a modular synthesizer is still a normal synthesizer, it’s just presented differently and with a lot more flexibility. Like any instrument, it takes time to master. Most people don’t pick up any instrument and master it in 20 minutes; a modular synth is no different.

So, how do modular synths differ from prebuilt synths, exactly? And more importantly, how are they the same?

Think about the standard Korg, Yamaha, or whatever fixed-architecture synth you last bought (or drooled over). In a traditional synth, it comes with a lot of things built in. Everything is prewired and preprogrammed “under the hood.” You press buttons and turn knobs, select the premade sounds, and tweak the parameters that have been built in for you. These can run the gamut of really basic and easy to use to incredibly flexible, but you don’t really get to change the basic architecture of the product.

As the name implies, a modular synth is modular. Instead of an off-the-shelf solution, you pick and choose the components that will allow you to create the sound you desire. Each module does one (or a few) things, so you’re choosing it specifically for that function. This means that if you don’t like the filter you’re using, you can just use a different one, either by putting a different one in the system or pulling the patch cable out of one and putting it into another. Traditional synths aren’t built for that, making it much harder to do in that landscape. In a modular system, you get to build it, not the engineers at SYNTHCORP. You choose your parts and then you make the connections using patch cables (check out Hosa’s Synth Playground for all your cable needs). Just like with a fixed-architecture synth, you make patches, but here they are physical, tangible things.

And the choices! The choices are part of the joy, but also can be overwhelming. There are hundreds of manufacturers, each making anywhere from one to a complete line of modules. In general, they all work perfectly fine together. This means that you can choose a suite of modules from a single manufacturer, build a system with modules from all different manufacturers, or anything in between. The world is your oyster with modular synths.

Key differences between a traditional (keyed) synthesizer and a modular synth

Both types of synths have a primary sound source (an oscillator)

When you want to make a sound with a keyed synth, you hit the key. When you lift your finger, it (generally) stops making sound. The oscillator in a modular synthesizer, on the other hand, just…oscillates. This means that rather than “telling” the instrument to make sound, you have to “tell” it to not make sound, typically by patching it to other modules.

While most traditional synths have a keyboard, modular synths do not

Sure, you can find a keyboard module or interface with an external keyboard, they are not part of a standard setup. So you control modular synths differently, not just starting and stopping and shaping the sound but also pitch sequencing. Rather than the key you press determining the sequence of pitches, modular synth composition is generally more sequencer or DAW oriented. That’s great news for those of you who never mastered those piano lessons, less good for the piano proteges out there.

Since a traditional synth comes prebuilt, its functionality is constrained by what’s inside

With modular, you build the connections every time you use it, which means you essentially have a brand new synth each time you patch. You can change patches or even modules at will. Tired of the sound of one oscillator? Replace it with another! Don’t like that reverb? Drop a different one in. The possibilities are infinite.

A traditional synth is ready to make sound when you buy it

Power it up, plug it in to your monitors, bang on the keys, and you’re making sound. Modular synths require you to do a bit more work: signals flow between components through patch cables, and you decide where it goes, so you have to set up a signal path. Before the fear comes back out, know three things.

• You won’t break it by patching modules together
  I’ve had literally hundreds if not thousands of people plug patch cables into our cases at this point, and we have never had someone break something. The worst thing that can happen is that you get no sound or you get a sound you don’t like, and you try something else.
• Patching isn’t that different from routing modulation to parameters on a traditional synthesizer
  The LFO envelope amount knobs on a subtractive synth? That knob lets you make a connection between the envelope and the filter, which you’d just do with a cable in modular. Many synth plugins also let you route modulation sources to a plethora of destinations: that’s almost exactly like patching a modular synth.
• Repeat after me: You won’t break it by patching modules together.

Modular synths have a reputation for being finicky

It’s kind of a well-deserved reputation. To be fair, vintage analog AND analog modular oscillators drift over time and need to be re-tuned regularly; both are also dependent on the temperature. Digital oscillators alleviate the drift and temperature issues in both fixed-architecture and modular synths, and some digital oscillators have the benefit of “remembering” their pitch after power cycle. But the real issue with modular is that it can be painfully difficult to replicate sounds. There are solutions, but many are more advanced. For a lot of touring musicians, performing with modular can take a lot of prep work.

If you’re already a synth person, modular isn’t that different. There are tradeoffs, and while some people we know use modular as a tool in every piece they compose, others use it for very specific applications, while others love noodling around on it and finding happy accidents. You will never be disappointed at the diversity of timbres you can get out of a modular synthesizer, even with a comparatively small setup. Most manufacturers are small and friendly and happy to help answer questions.

Ready to get started? Check out Noise Engineering’s blog for some ideas on small systems to get you started, and lots of other useful guides to getting started in modular synthesis.

Synth Accessories

There are a lot of moving parts to a modular setup, and with a ton of accessory options to keep you patching and help keep things organized. Hosa offers traditional patch cables, Hopscotch piggy-back patch cables, Knucklebones passive mults, and Monkeybars, an extremely versatile cable holder that can be set up three different ways depending on your needs and space requirements. It’s not usually on top-of-mind, but don’t overlook the importance of cable ties to keep your OCD at bay. For more information on Hosa’s modular synth accessories and where to buy, visit their Synth Playground landing page.

While most electronic devices come with their own power supplies, some do not. Even when they do, we sometimes misplace or lose them among a sea of cables. The Hosa ACD-477 Universal Power Adapter is an inexpensive, portable, and versatile solution, ideal for most small electronic devices.

Voltage

AC Input Voltage

The Hosa ACD-477 Universal Power Adapter auto-detects AC input from 100-240V, 50/60Hz allowing for global use. All you need for use outside of the United States is a US to local power plug adapter.

DC Output Voltage

Many devices on the market have different voltage requirements, and the Hosa ACD-477 Universal Power Adapter allows you to switch from 3, 4.5, 6, 7.5, 9, or 12 V operation with a simple turn of the knob on the face of the adapter. Just make sure to have the ACD-477 unplugged from any device when changing DC output voltage. The ACD-477 runs at 80% efficiency with a 1200mA maximum output.

Plugs & Polarity

Many small electronics are made with many different sized plugs. The Hosa ACD-477 Universal Power Adapter conveniently comes with six of the most common types on the market, giving you the versatility to use the same power supply across multiple devices.

The polarity can easily be changed between positive and negative if required by simply reversing the plug. If you require negative polarity, align the “-” sign with the “TIP”, and likewise for positive polarity, align the “+” sign with the “TIP”. Make sure you are always using the correct polarity for any device in order to avoid damaging the electronics.

Short Circuit Protection

To protect your device from experiencing electric spikes which could damage them, the Hosa ACD-477 Universal Power Adapter has a built in SCP (short circuit protection). When the LED light starts to dim, you should unplug your device to prevent any damage.

Portability

Many professionals keep safeguards when they’re at a gig in case there is some type of failure. The Hosa ACD-477 Universal Power Adapter is light, small, and the AC plug folds into the design, saving storage space and making it even more compact for the gigging professionals.

Daisy Chain Extension Cord

For devices like pedalboards where you can utilize one power supply for multiple devices, Hosa also offers the PDC-373 Daisy Chain Extension Cord. These split a single 2.1 mm DC plug to up to 2.1 mm DC jacks, often used for guitar pedals.

Interested in purchasing your own Hosa ACD-477 Universal Power Adapter? Get yours today.

Hosa’s TRACKLINK USB interfaces give players and creators the option of bypassing a traditional audio interface in order to record or practice. TRACKLINK interfaces are USB cables with ¼ inch, XLR, or MIDI connectors on one end meant for guitar, microphone, and keyboards.

Getting set up with TRACKLINK is quick, easy, and convenient. We’ll take you through the setup steps for both Mac and Windows operating systems, but bear in mind there may be some variation as operating systems (OS) are often updated. The same rule applies to the recording software (DAW) you’re using, since all have some degree of difference in how they arm inputs.

XLR or ¼ inch to USB

First start by plugging the UXA-110 into a microphone, the USQ-110 into a guitar or ¼ inch output, then directly into your computer and follow the directions below based on your OS:

Mac OS 10.0 or later

1. Go to Apple Menu > System Preferences and click Sound
2. Click the “Input” tab
3. Select “USB PnP Sound Device”
4. Input level of your computer should reflect incoming signal
5. Click the “Output” tab
6. Verify your normal output option is selected
7. Close window

Windows 10

1. Allow Windows to install the driver before proceeding
2. Go to Start Menu > Windows System > Control Panel
3. In Category View, open Hardware & Sound
4. Open Sound
5. In “Playback” tab, select your desired playback option and click the “Set Default” button
6. Click the “Recording” tab
7. Select “USB PnP Sound Device” and click the “Set Default” button
8. You can verify and adjust input levels by clicking the “Properties” button
9. If you made any changes, click the “Apply” button
10. Click the “Okay” button

*If you have Windows 7 or Vista, here are links to additional instructions for the UXA-110 and USQ-110.

Start Recording with Your TRACKLINK

Each software will be a little different, but it is important to select the TRACKLINK USB interface as input only and arm your audio track. Make sure the levels are low enough so you don’t pick up unwanted noise.

Below are quick visual guides for setting up your TRACKLINK USB interface:

MIDI to USB

First start by plugging the USM-422 into your keyboard, synthesizer, or drum machine, and then directly into your computer. Be sure that the red input is plugged into your keyboard’s output, and the black output is plugged into your keyboard’s input, then follow the directions below based on your OS:

Mac OS 10.0 or later

1. Go to Applications > Utilities and open Audio MIDI Setup.app
2. If MIDI window is not visible, go to the top menu and select Window > Show MIDI Window
3. Verify an active device named “USB 2.0 MIDI” exists
4. Highlight device and select “Test Setup”
5. Clicking the arrow pointing out of the USB 2.0 MIDI icon should cause the green light on the TRACKLINK interface to flicker
6. Playing keys on your MIDI keyboard should cause the blue light to flicker and the IN arrow in the computer’s MIDI window to become active
7. If the test succeeds as explained above, close the window

Windows 10

1. Allow Windows to install the driver before proceeding
2. Go to Start Menu > Windows System > Control Panel
3. In Category View, open View Devices & Printers under the Hardware & Sound category
4. Confirm “USB 2.0 MIDI” icon is present
5. Close Control Panel

*If you have Windows 7 or Vista, you can find additional instructions here.

Functions and Indicators

• Solid red LED indicates proper USB connection
• Flashing green LED indicates MIDI transmission from computer
• Flashing blue LED indicates transmission from MIDI controller

Start Recording

Remember that MIDI transfers only data, not audio, so you need to arm the MIDI track in your DAW with a sample. A demonstration for how to assign the input and arm the track for PreSonus Studio One can be seen here:

Below is a quick visual guide for setting up your TRACKLINK USB MIDI interface:

TRACKLINK Limitations

It’s important to note that any cable of this variety is taking the place of a traditional audio interface, and thus all of the analog-digital conversions happen inside the cable. Given the size and component limitation, you can sometimes pick up extra noise or experience some latency. These are not meant to be a 1:1 direct replacement for a proper audio interface, but rather a simple and affordable solution for beginners or those who don’t feel a traditional interface is necessary for their limited purposes.

For more information on where to purchase a TRACKLINK USB interface, you can find a local or online Hosa reseller here.