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33-493: Doepfer Musikelektronik GmbH is a German manufacturer of audio hardware, mostly synthesizer modules ( modular synthesizer ), based in Gräfelfing , Upper Bavaria and founded by Dieter Döpfer. The product range covers analog modular systems, MIDI controllers , MIDI hardware sequencers , MIDI-to- CV/Gate /Sync Interfaces, MIDI master keyboards and special MIDI equipment. Dieter Döpfer began developing audio hardware with

66-491: A delay module to get the chorus effect.) There exist many different types of modules. Modules with the same basic functions may have different inputs, outputs and controls, depending on their degree of complexity. Some examples include the voltage-controlled oscillator (VCO), which may have options for sync (hard or soft), linear or exponential frequency modulation, and variable waveshape; the voltage-controlled filter (VCF) that may have both resonance and bandwidth controls; and

99-410: A synthesizer are used to create the audio signals. An LFO is a secondary oscillator that operates at a significantly lower frequency than other oscillators, typically below 20 Hz — that is, below the range of human hearing . The frequencies generated by LFOs are used as control signals which modulate another component's value, changing the output sound without introducing another source. Like

132-404: A U measurement up or down to some closer convenient metric equivalent; for example, the common 5U modules are exactly 8.75 inches (222.25 mm), but non-American manufacturers may prefer 220 or 230 mm. Other differences are in the plugs used, which can match 1/4-inch (6.3 mm) or 3.5 mm phone connectors , banana jacks , or breadboard patch leads; in the main power supply, which

165-513: A Voltage Controlled Phaser module for the Formant, a do-it-yourself-kit analog synthesizer from Elektor magazine in 1977. Several legendary modular synths followed while Döpfer also focused on the development of MIDI equipment during the 1980s. In 1992, Doepfer Musikelektronik GmbH released the MIDI analog sequencer MAQ16/3 which was designed in cooperation with Kraftwerk . In the beginning,

198-401: A cohesive product, an instrument. Modules may not be swapped out and usually a typical configuration has been pre-wired. The modules are typically not separable and may physically be parts of a contiguous circuit board. However, the manufacturer provides mechanisms to allow the user to connect modules in different orders and often to connect external components or modules (chosen and supplied by

231-410: A generally heightened education through the development of virtual synthesis systems such as VCV Rack , MAX/MSP, Pd and Reaktor etc. The basic modular functions are: signal, control, logic and timing. Typically, inputs and outputs are an electric voltage . The difference between a synthesizer module and a stand-alone effects unit is that an effects unit will have connections for input and output of

264-425: A modular fashion. A modular synthesizer has a case or frame into which arbitrary modules can be fitted; modules are usually connected together using patch cords and a system may include modules from different sources, as long as it fits the form factors of the case and uses the same electrical specifications. A semi-modular synthesizer on the other hand is a collection of modules from a single manufacturer that makes

297-517: A new, smaller modular system, the Doepfer A-100. This led to a new standard for modular systems, Eurorack ; as of 2017, over 100 companies, including Moog and Roland, were developing Eurorack modules. Modules can usually be categorized as either sources or processors. Standard modules found in a modular synthesizer are: Sources - characterized by an output, but no signal input; it may have control inputs: Processors - characterized by

330-462: A number of manufacturers like Arturia to include digitally programmable matrices in their analog or virtual analog synthesizers. Many fully digital synthesizers, like the Alesis Ion , make use of the logic and nomenclature of a modulation matrix , even when the graphical layout of a hardware matrix is completely absent. The different modules of a semi-modular synthesizer are wired together into

363-817: A signal input and an output and may have control inputs: Hardware offerings range from complete systems in cases to kits for hobbyists. Many manufacturers augment their range with products based on recent re-designs of classic modules; often both the original and subsequent reworked designs are available free on the Internet, the original patents having lapsed. Many hobbyist designers also make available bare PCB boards and front panels for sale to other hobbyists. Many early synthesizer modules had height in integer inches: 11" (e.g., Roland 700), 10" (e.g., Wavemakers), 9" (e.g., Aries), 8" (e.g., ARP 2500), 7" (e.g., Polyfusion, Buchla, Serge), 6" (e.g., Emu) and width in 1/4" inch multiples. More recently it has become more popular to follow

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396-408: A standard oscillator, this usually takes the form of a periodic waveform, such as a sine , sawtooth , triangle or square wave . Also like a standard oscillator, LFOs can incorporate any number of waveform types, including user-defined wavetables , rectified waves and random signals. Using a low-frequency oscillation signal as a means of modulating another signal introduces complexities into

429-472: A typical configuration but can be re-wired by the user using patch cords. Some examples are the ARP 2600 , Anyware Semtex, Cwejman S1, EML101, Evenfall Minimodular, Future Retro XS, Korg MS-10 / MS-20 / PS-3100 / PS-3200 / PS-3300 , Mungo State Zero, Roland System 100 , Korg Volca Modular and Moog Mother-32 . Reconfigurable systems allow certain signals to be routed through modules in different orders without

462-434: A variety of applications. They may be used to add simple vibrato or tremolo to a melody, or for more complex applications such as triggering gate envelopes , or controlling the rate of arpeggiation . Differences between LFO rates also account for a number of commonly heard effects in modern music. A very low rate can be used to modulate a filter 's cutoff frequency, thereby providing the characteristic gradual sensation of

495-489: A variety of different waveforms , a rate control, routing options (as described above), a tempo sync feature, and an option to control how much the LFO will modulate the audio signal. LFOs can also be summed and set to different frequencies to create continuously changing slow moving waveforms, and when linked to multiple parameters of a sound, can give the impression that the sound is "alive". Electronic musicians use LFO for

528-407: Is most often ±12 V or ±15 V, but can range from 2.5±2.5 V to 0±18 V for different manufacturers or systems; in the trigger or gate voltages (Moog S-trigger or positive gate), with typical audio signal levels (often ±5 V with ±5 V headroom); and with control voltages of volts/octave, typically 1 V/octave , but in some cases 1.2 V/octave . In most analog modular systems

561-469: The System 100m in 1979. In the late 1970s, modular synthesizers started to be largely supplanted in pop music by highly integrated keyboard synthesizers, racks of MIDI -connected gear, and samplers . By the 1990s, modular synthesizers had fallen out of favor compared to cheaper, smaller digital and software synthesizers. However, there continued to be a community who chose the physically patched approach,

594-405: The cutoff frequency of a low-pass filter to create a distinctive opening-and-closing effect. Due to the popularization of these genres, the LFO wobble is now being found in other forms of electronic dance music such as house music . LFO is commonly used in future bass music to enhance synthesisers, along with side-chain. The British electronic music group LFO take their name directly from

627-411: The audio signal and knobs or switches for users to control various parameters of the device (for example, the modulation rate for a chorus effect) while a synthesizer module may have connections for input and output, but will also have connections so that the device's parameters can be further controlled by other modules (for example, to connect a low-frequency oscillator module to the modulation input of

660-472: The company had direct sales and interested musicians would receive a demonstration by visiting other customers since the modular systems were deemed too difficult for typical music shop employees to demonstrate. Facing greater publicity, Doepfer shifted the distribution to specialized points of sales. Modular synthesizer Modular synthesizers are synthesizers composed of separate modules for different functions. The modules can be connected together by

693-492: The continuously variable nature of knobs and sliders, reproducing an exact patch can be difficult. There are also software synthesizers for personal computers which are organized as interconnectable modules. Many of these are virtual analog synthesizers, where the modules simulate hardware functionality. Some of them are also virtual modular systems, which simulate real historical modular synthesizers. Computers have grown so powerful that software programs can realistically model

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726-653: The envelope generator which may provide outputs at each stage of the process. Examples of more complex modules include the frequency shifter, sequencer, and vocoder. Modular synthesizers may be bulky and expensive. There are some standards that manufacturers follow for their range of physical synthesizers, such as 1 V/octave control voltages, and gate and trigger thresholds providing general compatibility; however, connecting synthesizers from different manufacturers may require cables with different kinds of plugs. German engineer Dieter Doepfer believed modular synthesizers could still be useful for creating unique sounds, and created

759-408: The flexibility and the sound of traditional modular systems. Since the late 1990s, there has been a resurgence in the popularity of analog synthesizers aided by physical standardization practices, an increase in available retro gear and interest, decreased production costs and increased electronic reliability and stability, the rediscovered ability of modules to control things other than sound, and

792-401: The frequency is exponentially related to the control voltage (such as 1 volt/octave or 1.2 volts/octave), sometimes called linear because the human ear perceives frequencies in a logarithmic fashion, with each octave having the same perceptual size. Some synthesizers (such as Korg MS-20 , ETI 4600 ) use a system where the frequency (but not the perceived pitch) is linear with voltage. Due to

825-623: The introduction of the Moog synthesizer and the Buchla Modular Electronic Music System , created around the same period. The Moog was composed of separate modules which created and shaped sounds, such as envelopes , noise generators , filters , and sequencers , connected by patch cords . The Japanese company Roland released the Roland System 100 in 1975, followed by the System 700 in 1976 and

858-600: The resulting sound, such that a variety of effects can be achieved. The specifics vary greatly depending on the type of modulation, the relative frequencies of the LFO signal and the signal being modulated, et cetera. An LFO can be routed to control, for example, the frequency of the audio oscillator, its phase , stereo panning, filter frequency, or amplification. When routed to control pitch, an LFO creates vibrato . When an LFO modulates amplitude (volume), it creates tremolo . On most synthesizers and sound modules, LFOs feature several controllable parameters, which often include

891-412: The signals, sounds, and patchability of modular synthesizers. While potentially lacking the physical presence of desirable analog sound generation, real voltage manipulation, knobs, sliders, cables, and LEDs , software modular synthesizers offer the infinite variations and visual patching at a more affordable price and in a compact form factor. The popular plugin formats such as VST may be combined in

924-430: The sound becoming clearer or closer to the listener. Alternatively, a high rate can be used for bizarre 'rippling' sound effects (indeed, another important use of LFO is for various sound effects used in films). Dubstep and drum and bass are forms of electronic music that employ frequent use of LFOs, often synchronized to the tempo of the track, for bass sounds that have a "wobble" effect. For example, by modulating

957-422: The standard 19" rack unit system: 6U (Wiard), 5U (8.75" e.g., Moog/Modcan), 4U (e.g., Serge), 3U ( Eurorack ). Two 3U unit standards, in particular, are notable: Frac Rack (e.g., PAiA), which uses the entire 3U for the front panel, and Eurorack (e.g., Doepfer) which has a 2 mm horizontal lip that the front panels are seated between. Further minor variations exist where European or Japanese manufacturers round

990-564: The use of patch cords. Examples include the Oberheim Matrix and Rhodes Chroma , and Moog Voyager. Hybrid synthesizers use hardware and software in combination to realize patches. Examples include the Arturia Origin by Arturia (fully self-contained), Clavia Nord Modular and Clavia Nord Modular G2 (these need an external computer to edit patches) and Audiocubes . Low-frequency oscillator Low-frequency oscillation

1023-423: The user to create a patch . The outputs from the modules may include audio signals , analog control voltages , or digital signals for logic or timing conditions. Typical modules are voltage-controlled oscillators , voltage-controlled filters , voltage-controlled amplifiers and envelope generators . The first modular synthesizer was developed by German engineer Harald Bode in the late 1950s. The 1960s saw

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1056-632: The user) between those of the instrument. Matrix systems use pin matrices or other crosspoint switches rather than patch cords. The ARP 2500 was the first synthesizer to use a fixed switch matrix. The pin matrix was made popular in the EMS VCS-3 and its descendants like the EMS Synthi 100 . Other systems include the ETI 4600, and the Maplin 5600s. The clean logical layout of these matrices has inspired

1089-484: Was introduced with modular synthesizers of the 1960s, such as the Moog synthesizer . Often the LFO effect was accidental, as there were myriad configurations that could be "patched" by the synth operator. LFOs have since appeared in some form on almost every synthesizer. More recently other electronic musical instruments , such as samplers and software synthesizers , have included LFOs to increase their sound alteration capabilities. The primary oscillator circuits of

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