Starting from scratch? There are lots of different kinds of synth systems: some for percussion, some for sequences, some for keyboard, some for FX. Here is the kind of system that you might find useful if you are a wind player (sax, trumpet) who will wants to play musical lines using a synthesizer.
It is what I would do, if someone asked me to put together a 2021 Birthday present for a wind player.
Controller
You will need a wind controller and a MIDI-to-CV converter.
If these use the MIDI DIN plugs there is no complication. But if they use USB, be aware that they probably expect to both be plugged into a computer, not directly to each other. (You may find some MIDI-to-CV converters that have a USB “host” input, which allows direct connection. Or they may be the newer OTG USB which can switch to a host mode.)
Most MIDI-to-CV converters are not appropriate for wind controllers. The MIDI-to-CV converter has to provide outputs to match your wind controller, otherwise what is the point?
- For a Yamaha controller, this would be Note, Gate, Velocity On, Pitch Bend, Aftertouch or Volume. The Yamaha WX7 has a 7 octave range, so to utilize these, the MIDI-to-CV converter cannot be limiter to 0-5V output.
- For an Akai controller, also add Modulation and perhaps some gates (see the controller documentation.)
To reduce the amount of cabling, it is best to get a converter that provides at least one of fine tuning, or portamento, or LFO (vibrato), or adding pitch bend internally.
Warning: if a MIDI-to-CV converter only has 2 CV output sockets, it is not suitable for a wind controller. If it has 3 sockets, you need to check what it does behind the scenes. You are probably looking for a converter module with 4 or 5 output sockets.
Pre-built: The Doepfer 190-2 seems good. (Not the 190-4.) If you have a USB controller and don’t want to use a computer in between, the Expert Sleepers FH-2 may be in the ballpark. The Kenton converters provide good behind-the-scenes value-adds.
DIY: I am currently trying the Octex MIDI board housed in my own front panel. It requires 12.6V, not Eurorack standard 12V. Seems to work OK.
Oscillator Control
You need a way to combine the note CV, vibrato modulation, and pitchbend. Unless your MIDI-to-CV converter provides them, or unless your Oscillator has a multiple-input CV mixer, you need a mixer and LFO.
The Yamaha WX controllers do not provide a Modulation MIDI signal, which is usually used to control vibrato. So an LFO with delay is useful. Or an expression pedal to control LFO depth. If your wind controller does provide Modulation, then you need some kind of LFO/VCA combination to use it.
You need some kind of mult or buffer as well, because you probably want to drive the LFO or other VCOs from the same CV. A “DC-coupled unity-gain precision buffer” is best, to reduce pitch errors. The ideal buffer would sum three inputs (one precision with slew, two with CV mixing, and provide three buffered outputs.)
As well, if your MIDI-to-CV converter does not provide portamento (which also reduces bum transition notes between difficult fingerings), you may want a slew/lag generator.
Pre-built: I use a Behringer 150 for its delayed and VC-able LFO, but it also provides other useful things: noise, ring modulation, sample-and-hold.
I use Tabaak three-way attenuators into a precision mixer (Analog Solutions, etc). The Doepfer A-185-2 looks like a good precision mixer.
I use a Doepfer slew limiter for portamento. (The Behringer 297 in in the ballpark for mixer/portamento, but you wont use half and it doesnt have enough outputs.)
DIY: There are lots of kits and boards for mixers and buffers, but few with suitable combined function. It might be worthwhile adding normalization (if the boards allow it) to reduce the number of needed cables, in particular from the MIDI converter to the mults/mixers that are likely to immediately follow it.
Dynamics
Dynamics are the heart of a wind-controller. Ideally it is just a matter of putting the Breath Controller/Aftertouch MIDI output as the CV of the VCA.
In real life, you may want better responsiveness.
Pre-Built: no solution. (Perhaps try an Elby Velocitizer on an ADSR, to mix in some attack or tongueing.)
DIY: fricko Blat.
VCO-VCF-VCA-Envelope
For the VCO, you need a VCO that provides a sawtooth output, in order to drive the fricko waveshapers. The combined modules may be a sweet spot, especially because the normalization (what things are connected internally to the module when you have no cables plugged in); this reduces the number of cables getting in the way of fingers, and means you can get a sound up with minimal cables.
However, many combination boards that provide a VCO+VCF+VCA (Lifeforms, Behringer , Frequency Central Monograph)or even a complete synth are very weak on providing the individual outputs for various waveshapes that works well with Splice Combiner and the Waveshapers, so I seems that a dedicated VCO module with multiple outputs may be the best.
You need to buy fricko boards to make these workhorse modules shine:
- After the VCO, put in fricko waveshapers and combiners;
- After or instead of in parallel to the VCF, put in fricko resonators;
- After the Envelope, put in an Elby Velocitizer.
Pre-built:
- The Lifeforms module has good reports.
- The Behringer 2500 1006 FiltAmp looks good.
- I do not recommend any Behringer VCOs: the 921 has inadequate levels for the waveshapers, and the Roland and Arp 2500 versions do not provide multiple sockets for different output waves and so need boosting to play well with the waveshapers. The Frequency Central Monograph all-in-one or the Lifeforms have similar issues (though these are fine products.)
Add whatever the cheapest ADSR you can get: though not the Behringer 911 which requires a special kind of gate input (unless you are willing to make the converter.) Add Elby Velocitizer.
DIY: the Frequency Central “Product” VCO-VCF-ADSR-VCA kit looks very compelling, price and feature wise. Do add the Elby Velocitizer kit. Add fricko waveshapers, combiners and resonators.
Output Module
Commonly, you want some module to convert to the lower output levels, provide the right kind of jacks (1/4″ etc) and to provide headphone outputs which are so useful for practise. But be careful whether the outputs provided are mono or stereo.
Pre-built: I now use a Behringer 305, which is excellent value.
DIY: I have no preference
Case
Warning: be careful of getting a “skiff” case as your first case: they severely limit the depth of the eurorack module. Especially if you want to do DIY building of kits or board.
Prebuilt: I have no preference.
DIY: I like using the ABS slantable mixing desk rack cases. They are stable and portable/luggable, though for tours they need to be in a road case. For the rack frames, I like the racks from German Clicks’n’Clacks.
Power
Add up the power requirements for your modules. Modular Grid is a good site.
The Eurorack bus provides three power lines: +12V, +5V (usually for digital components), and -12V. A way to tell if a module may use the +5V is to check the Eurorack connector the back of the module: if it is a 10 pin socket, the module does not use +5V.
If you don’t know all your modules, estimate 20uA to 40uA per 4HP rack space you have, and that will give you a plausible range: for 84HP that is 0.42mA to 0.84mA. If you are going all analog, you probably need that on the positive the lowest plausible : so about 500uA for +12 and -12V.
If you have some digitial modules, they may take 100uA to 300uA, and you need to check whether they take that from the +5V or the +15V.
If your power supply does not have enough juice, then your oscillators may become unstable. A common rule of thumb is to make sure you have at least 50% more current available than your product rating. For example, if you estimate 650uA for the + and -, then make sure your supply is at least 1mA for them. Not every manufacturer provides a detailed breakdown for on each power line: if a module just says “50uA” then assume that 50uA is required on the +12V and the -12V.
If your case does not allow much room, you need to consider where the power supply goes so it will provide the least interference with where modules go. If your case is shallow, you need to consider busboards with connectors that are parallel to the busboard rather than perpendicular, or power-supply-to-busboard cables with right-angle connectors.
Pre-Built: I have no preference.
DIY: Don’t DIY the AC side unless you have experience, certainly not as a first project. On the DC side, I made my own post-regulator boards. For the busboards, I like the boards from German Clicks’n’Clacks.
Example Configuration
Here is what I think a good-value base system for a wind controller rig made of mainly brand modules, allowing good integration with fricko modules, with enough features to allow expansion rather than replacement.
- Behringer 100 clones:
- 110 VCO/VCF/VCA,
- 150 LFO/RM/noise/S&H
- 305 Output Mix/EQ/cans
- 173 Phase/Delay/Simple LFO (optional)
- VCO
- Expert Sleepers FH2 (with MIDI DIN breakout or adaptor if necessary)
- Doepfer:
- 185-2 precision mixer
- Elby:
- Velocitizer
- Takaab:
- 3AT
- 2Multi
- SAR – portamento (optional)
- Generic:
- Cheapest ADSR or AD/AR on the day
- Cheapest external reverb/FX unit on the day (optional)
- Cheapest alternate/complementary VCF: e.g. a 12db/8ve or BPF (optional)
- Fricko (DIY)
- Blat
- One of each other (optional)
An alternative convenient approach is to start with an all-in-one synth that has adequate breakout point: e.g. Behringer Crave, Neutron or 2600 (but none of their other units). You must have access to the sawtooth output to use most fricko waveshapers (Blip! is best with the pulse out.)
Freak Out! 