This is the second part of my interview with Ezra Buchla. If you haven’t already, you can read part 1 here.
At first I only wanted to ask him about his experience with the AE Modular system which he had ordered a few months ago. But as we were talking we naturally touched on some more general topics about the current commercial landscape of modular synths and about making and appreciating music in general.
As a DSP programmer by trade, in which direction would you like to see DSP-based modular synth modules evolve in the future? Are there any exciting projects or developments you’re following closely or looking forward to?
To be honest, I have mixed feelings about the proliferation of small computers in modular synthesizers (and elsewhere). On the one hand, it's pretty awesome that embedded computing is so accessible right now. On the other hand, it seems like a strange allocation of resources to have a eurorack system with 20 computers in it or something, all of which are similarly spec'd with different panel art and firmware. not every problem needs to be solved by throwing a 100 MHz processor at it. :)
My tendency is to want my digital devices to be maximally flexible and reusable. there's a huge number of used smartphones and laptops in the world, available basically for free...
So, I like the fact that there are open-source digital modules and that there is a large active community engaged in modifying them. (e.g. Mutable Instruments.) any digital module that isn't open-sourced seems weird to me.
My long association with monome.org speaks to our shared design values with regard to functional minimalism and openness. Last year they released "norns," which I was instrumental in designing and implementing; it is their take on the portable, linux-based desktop sound processor. The upcoming "crow" will be a complementary unit for analog hardware interfacing.
At this year’s NAMM 2019 we’ve seen some big companies getting into the modular world. Especially the Korg Volca Modular came as a big surprise and it introduces the “masses” to west coast synthesis. How do you feel about this “east coast vs. west coast” synthesis and do you even think about this when you are making music?
For what it's worth, I think it's a silly marketing conceit, and always was. Neither Don nor Bob appreciated the terms. Just say what you mean! (sequenced, generative, keyboard-based, FM, additive, subtractive, whatever.) I chose to disengage from the music tech industry in my daily life a couple of years ago and am now working in the hearing industry, which is a lot more fulfilling to me. I’m not sure I like the “toy” aspect of where things are heading and especially how many little computers are now being used and sitting in your rack. You know, there’s a $25 digital board and a nice aluminium panel and it becomes this collector or fashion item and is really marketed towards this certain upper class people that seem to mostly just collect these things. These are just not my values and especially with these digital boards you’re engaging with this global supply chain that artificially deflates the cost of the components. This is just not great for the world. We are now living in a world where people in the developed countries throw away their phone every three years. That’s why I like the really analog designs which have much less impact. I would like to do more with fewer computers.
I can see this is so true. There are so many new Eurorack modules coming out all the time and everyone has to have them. And then on YouTube you don’t really find many people that actually do interesting or even musical things with them.
Yeah, and I don’t really consider myself a musician nowadays. Although I did for ten years when that was my job. Nowadays I don’t feel like releasing electronic music because it feels like a very saturated world. I much prefer to do live performances.
I think it’s really cool, too that the synthesizer market empowers people to created their own sounds. That’s what this is really about, you can create and compose anything you like for your own enjoyment in real time with these machines and that’s the magic of them. At the same time I think it’s a poor fit with the traditional recording industry with their record release cycles. So it’s not appealing to me for instance to release for ambient synthesis music as a professional package because to me it feels unnecessary. It just feels strange to say, here is a recording made by a professional and you should value it more than other recordings made by non-professionals. And at the same time you’re saying, here is a machine that you can buy and make your own ambient music that sounds just like it [was made by a professional]. It is a strange and ego driven world where you’re trying to have both. And people are pushing their own creations out there at this breakneck pace that to me discourages reflection and listening with presence. And this is what I appreciate most in some aspects of ambient or minimalist music. That it’s ephemeral, that it exists in time and is a conscious experience of time and not just the clicking of the next Youtube link.
That’s interesting, that you’re talking about your love for ambient and minimalist music. Where is this interest coming from, what are your main musical influences?
The term “ambient” is a strange one and most of what is called ambient music I don’t care for, it’s too tame for me. But I like Minimalism as a compositional philosophy and ambient music in the sense of Satie’s music or Feldman’s music that is about really experiencing duration. That’s what I grew up listening to. Probably my most formative experiences were a lot of John Cage performances, Feldman performances and Éliane Radigue and Steve Reich which I experienced as a young person. Those were very formative for me in the aspect of how to approach process driven music. Because the interesting thing that synthesizers can do is create autonomous musical processes that provide a different way of accessing the same sort of compositional space that Feldman or Steve Reich were addressing. When I was enrolled in a conservatory as a string performance major and composition major and whether it’s acoustic instruments or electronic, those were always the compositional frameworks that I was interested in and that still interest me.
But I also played a lot in bands and I’m very influenced by Punk music and metal and all kinds of stuff. But in those frameworks the synthesizer has a different role, which is to make a sonic object that is impactful and that is maybe hard to do with other tools. For instance I used to tour with a band where I was mostly singing and I also played this tiny modular that was basically just a triangle core and some feedback - a dual oscillator setup that produced really aggressive sounds which were very physical when you cranked it up in a big room. So I would turn it on for like a second - [vroom] - and that’s what it did.
But these are all just tools like a cello is a tool and you can play Feldman or Xenakis with it [laughs].
So probably many people who are getting into modular synthesizers nowadays aren’t composition majors or may not have much musical education at all (myself included!). What advice would you give these people? What could they study or experiment with?
In don’t know really. I think you should just be aware of what your interests are and what kind of experiences you find enriching. That’s really the only advice I would give anyone, whether they’re a musician or not. One thing that I never understood is this desire or the attitude that I see expressed a lot of “How do I make this kind of music on my synthesizer?” or even “Which synthesizer do I have to buy to make this kind of music?”. This baffles me although I kind of understand it, but to me it misses the point. To me, music is a communicative medium and even to communicate just with myself to express through sound how I perceive the universe. Kind of like a lens through which I see what’s happening right now. And then you can transfer that experience to other people, and that’s what I’m interested in. I never thought “Oh I want to make something that sounds like a Kraftwerk song.” I just never thought that. So maybe this is very cultural. The environment that I grew up in was very much about this sort of experimental sound community in the Bay Area. And this music community was very much influenced by listening practices, maybe even more so than sound production. So if you look at the history of electronic music and how for instance Pauline Oliveros writes about music, she doesn’t write about how do you produce a sound, she writes about how to listen to a sound. The same with John Cage and other of my role models, they were all more interested in listening than sound production. And that’s what I still continue to do.
So my compositional advice is to just listen! But to do this in a really attentive way. This may sound obvious, but I think that a lot of people aren’t really listening in a critical way. You know? It’s really difficult to really listen to what you’re doing. It’s extraordinarily difficult.
On the same topic, I met with Sam Aaron recently who produced a computer language environment called SonicPi, mainly to teach kids music and programming at the same time. And I asked him, how do you teach this to kids? And he said “You don’t. You just show them the command that plays a note at 440 Hz and then you tell them that this number can go up and it can go down. Then you add the command for a pause and you just gave them the tools to play all of western classical music.”
And that’s what is was like for me, too. I had a lot of music education, but the most educational single memory that I recall was actually sitting down at the piano with my dad and he asked me to play just one note. And my dad actually got piano lessons from David Tudor, who was a great John Cage interpreter and an electronic composer in his own right. So these exercises were like “Play and hold this one note and then listen until you can’t hear it anymore.” And that was very impressive because when you pay really close attention then it’s very hard to say that you’re not hearing the sound anymore on a piano. Another exercise was, how soft can you play the note. Just like a lot of Feldman piano pieces have the direction “as softly as possible”. Softness isn’t just about volume, but also about touch, how softly can you touch the keys.Those things together give you an appreciation of the incredible sensitivity of human hearing. The dynamic range of human hearing has about a factor of a million between the strongest and the weakest stimulus that you can perceive.
So my music education was very non-traditional and some of the pedagogical techniques that were most influential to me were not traditional ear training or music theory, but a practice that was rooted in deep listening and experimental performance. Another person I like alot is W.A. Mathieu who wrote a book called “The Harmonic Experience” which has a lot of a sort of meditative training exercises, a lot of singing. This is how I would approach talking to kids about sound and music. I have taught the violin and piano to young kids, but never synthesizers. Only once did I play an old Buchla with my nephew who’s one and a half. He was just fascinated by the fact that you can turn a knob and the sounds goes up and down. That was enough for him and was an almost magical experience.
Thank you Ezra for this very interesting chat!
If you haven’t already, please also check out and listen to this piece that Ezra performed with the AE Modular, his Viola and tenor guitar:
Here are some links to composers and performers that Ezra talked about:
You can read part 1 of this interview here.
(Interviewer: Carsten Eckelmann, Skype interview from 10th February 2019)
Ezra Buchla is an accomplished violinist and musician who is creating soundscapes using just his violin and a computer running the supercollider audio programming environment. He is the son of the late Don Buchla who was instrumental in designing the Buchla music system and through his work defined what some people call “West Coast Synthesis”. Ezra is also a founding member of The Mae Shi, an experimental rock band from Los Angeles.
We were surprised and very pleased when - out of the blue - we received an order for the AE Modular Standard Rack 1 from Ezra so we wanted to find out what his thoughts are now that he had some time to play with it.
The following is my transcript (in sense if not word for word) of some written communication and a subsequent Skype interview with Ezra. It is quite long so we’ll release it in two parts.
Please also check out and listen to this piece that Ezra performed with the AE Modular, his Viola and tenor guitar:
How did you find out about AE Modular and, given that you obviously have access to much more expensive gear, why did you choose to buy a system from us?
I saw it mentioned on the `lllllll.co` forum and was intrigued by the overall design, the motivations and some of the specific modules (like the NYLE filter) and the price was low enough to justify satisfying my curiosity. I’m not a big gear head and I mostly work with computers. That’s why I worked alot with the monome.org project mainly on the "norns" machine. But I was curious about the sound producing components especially the oscillators and the NYLE filter. I really love that filter, it’s totally bizarre, the resonance knob goes to self oscillation at 12 o’clock and you can bleed different inputs depending on the output conductance. When I contacted Robert I was impressed with his passion and the way he talks about his system. So I wanted to evaluate it for the analog sound sources because I wanted to hear if they have more character than just a clean sound. And it was just what I expected, really grungy so I’ll probably run my viola and the guitar or voice through it just to give it some character.
Please be honest and let us know what you think about the AE Modular system. Would you use it for one of your performances?
Sure, I used it in a performance back in October, which went great.
The system I have is quite limited because I was mostly interested in checking out the oscillators and filters, and routing audio through it. For example, I have no sequencing capabilities at all! I tend to want to do sort of strange things with musical event generation, which are best realized on a computer. So I have been intending to build my own 5v programmable sequencer interface, but of course haven't had time.
I'm also not a big MIDI user... so at the moment, the system is basically a source of static textures / drones. This is totally fine with me, and I've spent enough time with it to have some ideas about what few things to add to optimize it for that role...
Which improvements would you like to see, which drawbacks do you see?
The main drawback for me is just the fragility of the sockets themselves. But I see this has been addressed in recent revisions. :)
There are a number of oddities and strange behaviors, but I don't actually see this as a drawback per se. Like, a lot of outputs aren't buffered (?) and adding e.g. capacitance to them (like by touching with a finger) can affect other outputs in the circuit in strange ways.
(that's is sort of a guess... honestly, I haven't even engaged with the system in a "technical" mindset at all. I haven't hooked it up to a scope or even looked under the panels. for now, I'm happy to keep it that way :) )
Would you recommend it to other musicians or students of modular synthesis?
Absolutely. Of course this would depend on the person's needs or intentions. To some extent I think it seems actually a little challenging for beginners. For a practicing musician new to synthesizers, road-worthiness is important, limited signal flow is ok, so semi-modular designs make sense.
But if someone is already familiar with synthesis paradigms (and digital systems can easily provide this experience), or wanting to dive in at the "deep end," then I would definitely recommend the AEM system.
Which modules would you like to see most in the AE environment
I could go on of course, ha.
At the AE Modular forum we have now started a fun little series of weekly challenges which are supposed to inspire people to produce and record small pieces with their system. The challenges are also a bit of a puzzle, like produce sound without using an oscillator, or produce ambient spacey, drones. What challenge would you set us?
So these are almost like scores, right? I did a lot of this work as a composition student, like scores for modular or instructions for modular. I have mixed feelings about it. I don’t really care for the prescriptiveness of the challenges, but I can see how it would be helpful for someone who is starting out and wants to sit down every day and do something, but isn't sure how to go about it. It helps to have a goal in mind. Maybe in a pedagogic sense, it seems cool, but it’s not really for me.
The most interesting thing for me is that because the way the AE system is designed, I believe it cuts a lot of corners. I’m guessing there are unbuffered outputs and stuff like this. It has these strange behaviours that deviate from the sort of ideal that someone might have learned in a software environment and that’s a really valuable thing to have. Like if you have never experienced this tactile environment where you are interacting with a real electric circuit and not just a number that’s copied over here when turning this knob.
Maybe that is a challenge that I would set: “Try to find a behaviour that you can’t explain.”
What would your “stranded on a desert island” music setup look like?
I actually don’t have a lot of stuff in my studio. I have this Italian viola from 1850 which is really nice and if that was the only instrument I could take, I would be more than happy. I also have another very modern viola with a carbon fibre body and an electric pickup which I really like. I also have a tenor guitar which I use a lot and a really nice audio interface and some distortion pedals. There’s a Moog Rogue which is really fun. That and the monome stuff of course and a few weird circuits that I’m working on is really most of what I have in my studio. Probably that’s already too much for a deserted island, but it’s not really a lot.
There’s this interview which I really like with Robert Henke, one of the co-founders of Ableton, where someone asked him about plugins and he replied “You know in Ableton or really any DAW you can have as many compressors as you want. You can serialise them, sidechain them, you can do stuff that no one even imagined being able to do in the ‘80s, not even in a million dollar studio. And now on your computer you can have all of this basically for free.” This is a really great antidote to the gear chasing mentality. You know, doing more with less is the essence of art. For instance the early Beatles records were recorded with one dynamic microphone in the middle of the room in mono.
A lot of my favorite music is recorded with pretty minimal means. My favorite artist Alastair Galbraith in New Zealand really does a lot with a violin, a guitar and tape loops and his voice.
So my deserted island setup would probably be just my viola and if I could bring my computer that would be great, too.
When playing a violin, you are able to add expression and emotion to your sound quite naturally and spontaneously via fine tactile input. Modular synths are often controlled without this kind of “touch” however. How do you feel about this? Do you miss certain controller types for modular synths, or is the often rather algorithmic approach to modular music-making a welcome change or even a challenge? In another interview you said that you mostly use software to program sound (was it csound?). Do you think that you can achieve a similar expressiveness in a live situation with program code as with knobs and faders?
I've mostly used supercollider for the last 10-15 years. I personally tend to use electronic sound structures as environments / processes that proceed sort of autonomously, sometimes in response to acoustic signals.
In both analog and digital systems, expressivity and depth of control are totally achievable. the kind of analysis-driven processes that I gravitate towards are much easier to achieve in the digital domain (e.g. with trivial access to frequency-domain / pitch / timbre analysis.) and on the other hand, direct response to gesture is fundamentally an analog thing.
There's a bit of a paradox in control design: you can make a system that is flexible and patchable, and highly responsive - but controlling responsivity takes practice. In an experimental environment it's cool to change up the gesture -> music linkage, but in I dunno, in more "traditional" music forms it actually seems helpful to have a sensitive but constrained set of gestures, and practice intensively with them. (consider the theremin for example.)
But yeah, for myself, real time control is not actually a big concern, since compositionally I tend towards static structures / minimalism in any case.
This is the end of part 1 of this interview.
Please come back for part 2 where we will talk about the current state of the industry around modular synthesizers, appreciating music and Ezra’s main artistic influences.
This is a link to the projects that Ezra participated in:
Ezra also a bandcamp page:
And he is a founding member of The Mae Shi, an experimental rock band from Los Angeles:
Dear AE modular Community,
December was an extremely busy month with many orders and again I’ve tried my hardest to assemble and send them out in time, but even though the new production measures have helped a lot I’ve still a long list of orders to ship. My apologies to all that have missed their system for Christmas and are still waiting for it.
In December I also released not just one, but six new modules which now brings the count of available modules to 32!
I did take it more easy over January, but have still continued to work on shipping orders and also designing and testing prototypes of new modules, so stay tuned, there’s more to come!
New Rack Cases!
The new cases are finally here! They come in single and double rows and three different widths. They also feature a new power distribution system which makes it possible to combine them without using the Racklink module. A new hinge can be used to attach two or more together to form a much bigger rack.
These are all now available directly from the web store.
New Module Release
The OR2x4 is a logic module which provides two logical OR circuits and a gate trigger with which you can trigger the output of the module. Two of these modules can be combined to an 8 input OR via a switch.
This module can now be ordered from the webstore.
News from the Forum
The forum is growing and we could celebrate our first 1,000 posts this month!
Weekly Patch Challenge
Mark aka @thetechnobear has started the weekly Patch Challenges and these proved to be a great source of inspiration and I hope that these will attract more people to post their creations on the forum. You can find the patch challenges and other performances here:
The NAMM 2019 show was in full swing in January and of special interest was the new Korg Volca Modular, which at first glance looked compatible with AE, but on further investigation isn’t. See the discussion about this here: http://forum.aemodular.com/thread/151/korg-volca-modular
Personally I see the Korg Volca Modular as a great entry into the world of modular synthesis for people that are new to this. With a growing range of over 32 modules the AE Modular product range can then provide the variety of additional modules once someone wants to expand their Volca modular and dive deeper into synthesis.
Upcoming Events in 2019
Tangible waves will be present at the April MEFF event in Florence, Italy! If you live nearby please come and visit us. More information about this event is here: http://tiptopaudio.com/meff/
There is also a London meetup of Synthesis Enthusiasts called CV FREQS and they meet next on February 23rd. More information here: http://forum.aemodular.com/thread/170/cv-freqs-xi
Dear AE modular Community,
The year 2018 comes to an end, and I want to take this opportunity to say a big THANK YOU to all of you! It was an exciting year with really a lot of work. Over the last few months there was even so much going on that those of you who had ordered in this time had (and still have) to wait several weeks for shipment... Although I’m not happy about this fact, it nevertheless made it clear to me what an awesome community you are. No one was really complaining, instead I have heard so many understanding and encouraging words from you, it’s totally amazing!
In the meantime I got support for the production, and a big bunch of development tasks (see below) have been done, so I am looking forward to a wonderful and exciting year 2019 for AE modular! Together with your support and inspiration it will grow with a lot of new modules and mature further - and all this would not be possible without YOU!
A special thanks goes to Carsten and Felix for their incredible and enthusiastic support; you guys really rock! The heaven has sent you!
So again, a BIG, BIG THANK YOU! You are such a wonderful community!
New Standard Rack and Modules
Just in time for Christmas I have finished work on optimising and redesigning some modules that are part of the standard Rack 1 and Rack 2. In addition there are now also new variations of the cases which can now also be connected to each other.
Rack 2 now contains the trigger sequencer TRIQ164 as standard (which is the successor of the STEP10)
As before the complete systems are available in the shop now in their new configurations.
These are the new modules:
As you can imagine this was quite a lot of work, but in my opinion it was necessary to overhaul some of these fundamental modules before they are released to a much greater market in 2019 (more about this in a later post).
News from the Forum
There wasn’t a huge amount of discussion on the forum, but I was really happy to see more original performances and I am impressed on how well those artists managed to fit the AE system into their compositions!
Meanwhile The Tuesday Night Machines was tinkering again and is now controlling his AE modular with an IR remote: http://forum.aemodular.com/thread/114/receiver-module-easy-building-attenuator
Just a reminder for everyone, that tangible waves will again be at the Superbooth next year and that we will make this an event that you don’t want to miss!
Early Bird tickets are still available until 31st December at https://www.superbooth.com/en/tickets_en.html
Growing the community
I’m really happy with the way the community has been growing in the Forum and on Facebook. The forum has developed into a great resource for people new to AE Modular and those that are experimenting and finding new and exciting ways to play with it.
I believe that the forum is the best medium for the community to discuss ideas and store tips and tricks. But If you would rather receive news via email, please sign up to my new mailing list which will send you news like in this blog post straight into your inbox:
And if you have any ideas, feedback or questions, please never hesitate to contact me, via the forum, the contact form on the website, or via facebook!
One thing that I would love to see and hear more is how you make music with the AE Modular! There are already some great examples out there from Felix, Mark, Zbigniew and Olivier, but I think there are many more talented musicians in our community and I would like to encourage you to record and post what you do.
New Module Released
This month I’m happy to again release a new module - The Wavefolder! It is based on a design by the great Ken Stone who in turn based his design on a circuit created by R. Lockhart.
Felix of The Tuesday Night Machines has again provided two fantastic videos on his channel which showcase this module wonderfully.
Here is a Tutorial:
Jam with Patch Notes:
You can buy the module in the online shop:
Over the last 3 months I have worked very hard on improving the whole range of modules. Starting with the introduction of the new patch sockets I have looked at each module included in the Standard Racks and worked on improving them. Last month I released the TRIQ164 which has now replaced the STEP10 module in the Standard Rack 2. In December I will release many other new and improved versions of the standard modules, eg. a new 2OSC which is still analog, but the frequency is digitally controlled so that it now tracks perfectly across the whole range. I’ve also developed a new dual envelope module to replace the 2 single envelopes in the standard rack.
And finally there will be a new rack design which will be better extensible and come in 3 widths.
More on this to come in the next few weeks!
Visit me at Superbooth 2019
Tangible waves will again be at Superbooth next year and I’m already planning how to make this an event that you don’t want to miss! I hope to see you there!
More information about Superbooth 19 at the website: http://superbooth.com/
News and Updates from the Forum
New AE Modular Performances
It’s so great to hear (and see) the AE Modular in action and I am amazed at the creativity at display by the members of our community. I’m just listing the last few performances that were posted in the forum over the last few weeks:
Also Leon asks for artists who may be interested in participating in a Compilation Tape! Please read more here: http://forum.aemodular.com/thread/103/looking-artists-compilation-tape
The newly released book Patch & Tweak has a half page feature of tangible waves and the AE Modular system!
It is a great book with fantastic photos, interviews and too many ideas to count. If you haven’t been part of the kickstarter you can buy the book online at https://www.pushturnmove.com/products/patch-tweak-exploring-modular-synthesis
The only flaw regarding AE is that the book says, the frontpanels are made of cardboard, which is not true - it’s MDF board :-)
September has come and gone without a blog post partly because I was still busy with orders and re-arranging the production process. I also took some time off to go on a short holiday and take a breather from the work that has come piling in for the last 3 months now! Overall I am really happy about how the AE Modular is going, with a steady influx of new orders for systems and modules and the forming of a very interesting and welcoming community of AE Modular users over at the forum.
In order to cope with the amount of orders I have made some changes to the production process and now have some help with the assembly and packaging. Also I now get more components pre-soldered by the factory which also saves a lot of time.
The TRIQ164 will eventually replace the STEP10 module and offers 4 independent channels of 16 steps each! Perfect for sequencing drums (now we just need a drum module - but wait, it’s already in the making!)
It is now available in the shop at https://www.tangiblewaves.com/store/p52/TRIQ164.html
Of course I also take some time out to design and develop new modules and there are a few new ones which I hope to release early in November:
Please check the Sunrise Page for the release plans.
News from the Forum
The forum was very active last month. It’s really great to see how the community grows and how creative some members are. Here are some of the highlights:
All in all the Forum was a great place to hang out and if you haven’t joined it yet, please do so at http://forum.aemodular.com .
My thanks to everyone who is giving their support to this growing community and those who are being very patient with me while they wait for their orders to process!
August was again a busy month here at tangible waves! I’m still working very hard on getting all the orders out of the door while improving the production process and also designing and testing new modules. I’m very grateful for the patience and kind words of those who are now waiting some time to get their AE Modular system.
NEW Module available - MULTIFX
It is with great pleasure that I announce the availability of the MultiFX module. It is based on the Spin FV-1 chip, which is also being used in many very successful Eurorack effects modules. The module comes with 7 factory effects and 8 that are custom programmed. In total there are 15 effects, each of which can be modulated with 3 parameters and these can in turn be changed via the knobs or CV. In addition you can change the resolution to high or low (for some dirty, glitchy sounds) and add in an analog feedback.
The Tuesday Night Machines has prepared a very thorough demo:
And this video shows the MultiFX module being used in a Shimmer Jam:
You can order it from the tangible waves shop at
Updates from the Forum
Our new forum opened at the end of July and while only 6 weeks old it is already buzzing with activity. We have over 42 members who have written and contributed to 180 posts. As usual there are a few members who are more active than others, but over time I hope that more and more people will post their ideas, creations and tips so that the community as a whole can learn and grow.
Here are some highlights from the forum so far:
We posted our first Content Spotlight in late July and it was well received. It featured Felix aka The Tuesday Night Machines. Check it out at the link below: http://forum.aemodular.com/thread/15/content-spotlight-july-felix-nightmachines
Also, if you have questions about any of the tangible wave products, please post them to the tangible waves sub forum: http://forum.aemodular.com/board/4/tangible-waves
New and Improved Modules coming soon
Even with a busy month with so many orders to fulfil, I’m also spending time designing, testing and perfecting existing and redesigned modules.
I know that most of you want more features in the AE system as this forum thread shows: http://forum.aemodular.com/thread/8/future-module-list
Designing and building all of these modules would take quite a long time, so I’m thinking about how to enable others to design and sell modules for the AE Modular format. Please stay tuned for updates on this.
You can always check the Sunrise Page on this website for updates on new modules as they progress through the stages from design to production ready.
What’s going on behind the scenes
Besides the “big” news like new modules, there are several improvements to other parts of the AE Modular system that are in progress or already done:
I am happy to announce the official opening of the AE Modular Forum at http://forum.aemodular.com.
This forum is intended to serve as the online hub for the small but growing community of enthusiasts of the AE Modular synthesizer system. I hope that you will join me to discuss how the system can be extended and used in your creative work. The forum will also serve as a support channel where you can post any questions you have about the tangible waves modules. I will also post regular updates about upcoming modules and invite people to showcase their designs, performances, etc.
It is my hope that many of you will sign up and join me in the forum to make it grow into a valuable online resource for all things AE Modular!
New Module - The Nyle Filter
The NYLE FILTER is an adaption of the Steiner Filter for the AE modular palette. It contains the classic filter curves lowpass/highpass/bandpass with adjustable filter frequency and resonance. The unique feature of this filter type is, that there are separate inputs for lowpass/highpass/bandpass (not separate outputs as with other filters). This allows quite unusual sounds if different signals are fed into the different inputs. Each input has its own attenuator. For frequency CV control there are two inputs with individual attenuators. The resonance can also be CV controlled! The sound goes from quite soft filtering with low resonance setting to a quite intense resonance peak to full self-resonance.
The Nyle Filter module is now available at https://www.tangiblewaves.com/store/p47/NYLE_FILTER_%28Steiner_type%29.html
For questions and discussion, please visit the thread on the new forum
A video with sound bites and patch examples is in the works and I will post this soon to the new forum. So please join!
New Accessory - The Eurorack Frame
The AE modular Eurorack adapter frame allows to integrate AE modular modules into Eurorack systems. It is basically an empty eurorack-sized frame that can take up to 16 units of AE modules where two units are occupied by the mandatory MASTER module. Via the MASTER module the frame is powered from the eurorack bus.
There are 3 variations of 8U, 12U and 16U now available at
For questions and discussion, please visit the thread on the new forum