WHY I don't use MODULAR Synths

Summary

In this video, the creator explains why they don’t use modular synths, critiquing the addictive nature of the Euro rack ecosystem and its tendency to lead to unnecessary consumerism. They discuss the history of modular synthesis, from early pioneers to the rise of Euro rack, and the escalating costs and time demands of building modular setups. Highlighting the performative and often impractical aspects of modular, the creator shares coping strategies and humorous insights, while also reflecting on how modular synthesis, though fascinating, can become a distracting and costly obsession.

Takeaways

• 😀 Modular synthesis can be highly addictive, leading to endless purchasing and expansion of setups, often fueled by consumerism rather than artistic expression.
• 😀 The modular synth ecosystem, particularly Euro, has grown rapidly, with over 600 manufacturers listed, but this growth has also led to financial and mental strain for some synthesists.
• 😀 While modular synths offer immense creative possibilities, they are also incredibly time-consuming to research, assemble, and troubleshoot, leaving little time for actual music-making.
• 😀 Modular systems are often more expensive than traditional fixed architecture synthesizers like the Bass Station 2 or MicroFreak, especially once you factor in the cost of multiple modules and accessories.
• 😀 Modular synths are not widely appreciated outside of niche communities, and many people find them as exciting as a train set in a basement, making them a purely specialized interest.
• 😀 The modular synth world promises limitless sound design potential, but it often results in users spending more time on the instrument than creating music or completing projects.
• 😀 The modular market has a strong element of addiction, with users continually purchasing new modules, leading to significant financial investment and potential emotional distress.
• 😀 Despite the allure of modular synthesis, many musicians are better off with simpler, more traditional instruments that are easier to use and more financially accessible.
• 😀 While some artists, like Colin Benders, have gained recognition within the modular world, they represent a rare exception in a niche that isn't widely understood or appreciated by the general public.
• 😀 The real reason for avoiding modular synths is not because they're bad, but because they require a level of dedication, time, and financial investment that can be overwhelming, especially for people with tight schedules or external pressures.

Q & A

Why doesn't the speaker use modular synthesizers?

The speaker avoids using modular synthesizers primarily due to the addictive nature of Euro rack systems, the significant time investment required to use them, and the financial burden they can place on musicians. They also believe modular synthesis can detract from actually making music.

What is the problem with the pricing of modular synths?

While some Euro modules are cheap, the overall cost can quickly add up. Even with basic or affordable modules, a simple modular setup can be more expensive than powerful, fixed-architecture synthesizers like the Bass Station 2 or Microfreak.

How does modular synthesis compare to fixed-architecture synthesis in terms of time investment?

Modular synthesis is time-consuming. Musicians need to spend significant time researching, assembling, and tuning individual modules. This process takes away from actual music creation, as opposed to fixed-architecture synths, which are more immediate and less time-intensive.

What does the speaker think of modular synth culture in terms of style?

The speaker believes that modular synthesis is not widely appreciated outside of a niche community. They argue that it is not seen as 'cool' by the general public, comparing it to the enthusiasm some people have for model trains.

What does the speaker say about the addictive nature of modular synthesis?

The speaker discusses the addictive qualities of modular synths, likening it to an obsession. They confess that even though they try to avoid purchasing more modules, the temptation is strong, citing the example of their own experience with the Moog Mother 32.

Why is the speaker concerned about the mental and financial impact of modular synthesis?

The speaker highlights how modular synthesis can negatively affect both mental and financial well-being. The constant desire to buy new modules can lead to excessive spending, while the time investment required for setup and patching can result in a lack of productivity or creative output.

What role did the 'Formont' synth play in the history of modular synthesis?

The 'Formont' synth, created by a Bavarian physicist, played a crucial role in the development of modular synthesis. It introduced a universal standard for the format's dimensions and electrical specifications, which helped propel modular systems into widespread use, despite their earlier niche status.

How does the speaker feel about semi-modular synthesizers?

The speaker views semi-modular synthesizers, such as the ARP 2600, as somewhat more practical and accessible, though still expensive. They contrast these with the more versatile, full modular systems which they believe are unnecessary for most musicians.

What is the significance of the Roland TB-303 and the D-404 in the context of modular synthesis?

The Roland TB-303 and the D-404 are considered significant because the latter is seen as the 'root of all evil' in modular synthesis. The D-404, released in 1994, paved the way for the modular aesthetic and sonic style of Euro rack systems, despite being a relatively simple, fixed-architecture synthesizer.

What does the speaker mean by saying 'modular synthesis is a performative element'?

The speaker refers to modular synthesis as a 'performative element' in the sense that it often involves showing off one's setup on social media, troubleshooting, and spending a lot of time configuring patches, all of which can detract from actually making music.