Make Shape Move

First Edition
Contents Modbap Modular by Beatppl : Per4mer I

II Beatppl’s Beginners Guide to Modular Contents
Contents
Introduction 1
Case & Power 7
Accessories 15
Make Sound 23
Shape Sound 33
Move Sound 45
Effects 67
Glossary 75
About Us 79
Index 81
Contents Modbap Modular by Beatppl : Per4mer III

IV Beatppl’s Beginners Guide to Modular Contents
1
Introduction
Introduction
Getting Started
Modular synthesis provides the ability to assemble and combine individual
devices to create your own synthesizer or effect rack or drum machine or or
or....... In fact the permutations of modular configurations are almost endless.
The words ‘typically’ and ‘generally’ are used a lot in this guide but in reality
there can always be deviations from the norm. This exploration and trying
usual things is what adds to the interest and challenge of modular. The
beauty of modular rigs is the ability to create your own instrument. Each unit
has a specific role and function and units are ‘patched’ together with cables
which not only route an audio signal but also provide control signals for
operating the device functions. There are numerous modular devices
available which encourages the creativity. But where do you start?
Experimentation and just diving in on a journey is great, but it helps to have
some basic knowledge. This is where this guide comes to the rescue.
Offering a few basic principles and a general roadmap on getting started is
what this is about. This guide is designed for beginners, to help get started
and give a leg up to the first steps in the world of modular. Every journey is
different and the choices and chosen pathways can lead to new adventures.
This guide doesn't design you a rig but it does highlight the choices and
considerations needed to design your own. Enjoy the ride!
Contents Modbap Modular by Beatppl : Per4mer 1

Introduction
MODULAR FORMATS
While there are several formats of modular systems available, this guide will concentrate
fully on the most popular format, Eurorack. The Eurorack format was developed in the mid
90’s and grown from strength to strength over the past 30 or so years. Eurorack wasn't the
first format for modular synthesis and many other formats have come along (and some have
gone) over the past 50+ years. Companies such as Buchla, Roland and Moog have
developed modular systems but Eurorack has become the one with the widest adoption and
attracted a large number of developers in creating modules for this format. The general
principles of a Eurorack system are compliance to the Doepfer standards.
Physically the Eurorack modules would be measured by height, in modular terms called
‘units’ referred to as U with 3U being the standard height. Module width is called ‘horizontal
pitch’ sometimes also called ‘hole point’ or more commonly referred to as HP. Modules
would be housed in a rack also called case or skiff depending on how well featured the rack
is. Module depth is typically between 2.5cm / 1 inch to 4cm / 1.6 inch deep. A Eurorack case
would typically range between 26HP up to 104HP and can be 3U (single row), 6U (dual row)
or much more. The configurations are variable and the nature of modular systems generally
and perhaps its appeal is its customisation and DIY nature.
Eurorack's electrical supply features are +12v, -12v and +5V generally supplied from a
power rail or supply PCB built into the rack or case. This is fed externally from a main supply
converted to DC. The PSU should be capable of supplying the relevant current for the
combined modules.
Audio is what we hear at the output of the system while control signals typically would be a
trigger or gate to activate a function and variable voltages which provide the control over
parameters and features with a range of values. The main terms used here are audio signals
and control voltages (CV), triggers and gates.
2 Beatppl’s Beginners Guide to Modular Contents

Introduction
MAKE - SHAPE - MOVE
Routing between modules usually falls into three categories; Make the sound, typically audio
based sources. Shape the sound to give it a character, change the timbre and contour over
time. Move the control and audio signals using creative patching techniques that modulate
and control various functions. This is what modular is all about. Finally adding effects. It
could be argued in which category each function fits. However the categorisation itself is
really not that important and some functions can operate in more than one category. What is
important is to have some basic understanding of this structure and these three categories
to understand how different types of modules can be paired up with others. Remember rule
one of modular is that there are no rules!
Typical and Common Module Types.
MAKE Sound Sources
Oscillator
Sample Player
Noise Generator
Voice Module
SHAPE Sound Shaping
Envelope
Filter
Gate
VCA
MOVE
Control
Gate
Utility
Mixer
Modulation
Envelope
Trigger Converter LFO
CV Multiple Sample & Hold
Sequencer Scope Function Generator
Effects
Delay
Reverb
Distortion
Ring Modulator

Introduction
STARTING THE MODULAR JOURNEY
The modular journey starts firstly with the idea. What is it you want to achieve? Synth, drum
machine, effects rack? All of the above? Its not unusual for this to then take many twists and
turns as the journey unfolds.
Idea & Objective
Preparation Rack / Case Power
Budget Size Current ratings

Read up Footprint Mounting arrangement
Compare options Mount / Stand Connectivity
Talk to your store PSU Integrated Labelling & Nomenclature
Podcasts Mobility Documentation
Forums Protection Electrical protection
Modular communities Physical strength Safety
Reputation Materials
Expansion options Often integrated with case in
modern systems
Accessories Core Modules Build & Test
Fixing screws Type Tools

Patch cables Feature set Accessories
Carry bag Price vs Functions Logical order
Table mount / stand Options Time management
Power cables Size - HP Planning
Blanking plates Current mA Requirement Checks + Double Checks
T-Shirt - Get One! Reputation Expectations
Support Safety
Documentation
Milestone (End?)
The Journey Goes On

Introduction
SAFETY
Eurorack operates on low level DC voltages for it is inherently safe. There are a few things
to consider when working with modular gear to avoid damage and issues.
Safety and Setup Checklist
• Read the manuals. Documentation with modular gear varies in content and quality.
Always read the installation instructions and guides before undertaking any work.
• Ensure you have the correct tools. Don't try to compromise with the wrong tools, for
example a flat blade screwdriver on a cross point screw. Eurorack gear has some
precision components so take care when using them.
• Check and double check. Especially before powering on.
• Ensure the cables are corrected correctly, red line on ribbon cables at the -12V end.
• Pins properly aligned and connected - no misalignment.
• Correct power connection.
• Patching should follow the correct protocols and the inputs are ok for the connections.
Some modules offer protection, but ensure that the right patching is made.
• Cases are usually open plan. Avoid cables or items dropping into the case structure. Use
blanking plates where possible to cover unused regions of your rack.
• Securely attach modules and devices. Screws should be properly fastened. Screws are
typically very small and generally supplied with modules, take care when installing.

2
Case & Power

Case & Power
Build on a strong foundation
While the first step in starting out in the modular world is to plan and develop
your ideas and objectives, the next step, and first practical one is to decide
on your case and power supply. These can be purchased together as a
combined solution or separately and configured to suit. Integrated case and
power supplies are a common options with modern technologies ensuring
the choices are much easier and reducing the need for power consumption
calculations. Think about what you will use it for (studio or stage), future
aspirations in your modular expansion and of course budget. The case may
limit your possibilities but that might be a good thing in a creative sense. Too
many options can compromise creativity and a limited choice brings focus.

Case & Power
EURORACK ENCLOSURES
There are many terms used when talking about Eurorack cases. Some may have slight
differences in definition but usually these are interchangeable in the modular language. A
Eurorack case or rack can be purchased off the shelf with in built power supplies or custom
designed and build from scratch. Multiple rows of rack space offer up flexibility and the
expansion can be huge in terms of physical size and number of modules. A rack normally
consists of a physical enclosure with mounting rails for modules set at the specific Eurorack
3U height. The width is measured in HP (Horizontal Pitch) which also refers to the module
size too. Further down the line when adding modules and building the system HP is an
important consideration. Starting small is usually a good idea but beware as your ideas and
creativity can quickly outgrow the physical space you have. Some cases such as the Intellĳel
range have introduced a 1U format in addition to the 3U to better manage space for modules
that make sense being a shallow size. Skiff cases are usually smaller, typically 1 x 3U row
and often based on the core mounting frame, with open architecture rather than inside an
enclosed case, although they can also be enclosed too.
Power supplies need to be capable of serving the current (mA) needs of the combined
modules you have planned in your system. Also needs to have the right number of physical
headers or connectors which supplies to each module.
There are a few standards and considerations to take into account when evaluating the best
options for you. Case and power supply choice is all about personal preference, budget and
ambition. There is never a ‘right’ size but there can be a ‘right’ size for right now.
#1 Rule of Thumb
The most common case size options are 84HP and 104HP

Case & Power
CASE / RACK OVERVIEW
The rack width is determined in ‘Horizontal Pitch’ - HP for

example 84HP. Racks can host multiple modules. The
number of modules is determined by the module HP width.
3U - 3 Units height is the

Eurorack standard.3U is
5.25inch / 133.4mm.
12HP 24HP
Modules range from PSU supplies +12V, -12V, +5V

1HP upwards to Modules to each module.
Usually 10 or 6 Pin headers.
Secured with M3 Cable connects the PSU Modules mounting
Screws to each module. Usually rails.
(occasionally 2.5mm) 10 or 6 Pin headers.
3U is the normal module height.

The width of the module is
presented as HP. Depth is up to
4cm / 1.6inch although some
modules may be slightly deeper.

Case & Power
CASE / RACK SELECTION
There are a many factors to consider when selecting a Eurorack case. Not always the right
decision will be made but having clarity in he overall objective will help steer the right
decisions and reduce risks.
Rack Selection Checklist
• What is the HP size required? This is based on your target module requirements. Check
out modular grid online configurator to help. Remember a few things?
• A bigger rack offers future expansion and flexibility, but it does also encourage a
bigger spend on modules. A smaller HP may help protect your budget (and pocket).
• How much space do you have in your studio or location. The footprint and practical
operation should be considered.
• Do you need to transport the rack regularly. Weight will increase as more modules
are added. Would multiple smaller racks work better?
• What module HP will be installed?
• Bigger rack will need a bigger PSU and interconnection board. Also patch cable
lengths.
• Weight and physical stability. Cases can be metal, wood or open skiffs. These options
will also affect weight but may be more robust if this will be used on the road and for live
touring.
• How does the PSU connect. Is it robust and suitable. Is there an integrated On/Off power
switch?
• Blanking plates. These are more than just for aesthetic looks. Blanking plates can protect
from foreign objectives falling into the rack damaging the PSU or Modules. Its not
uncommon for patch cables to fall into the case and touch PSU so these may be a useful
consideration. These are often purchased as accessories.
• Additional features.
• Are there any interconnections built in for MIDI, Audio, CV or Gates? These can save
money later for additional hardware.
• IS there a cover or any physical protection or is the case open. Are any covers
suitable for use when patched?
#2 Rule of Thumb
When using Eurorack on the road or in a live performance environment,
consider a case thats easily transportable with a carry handle. A lid allowing the
patch cables to remain is also useful. Bear in mind when travelling by plane its
size and security regulations.

Case & Power
POWER SUPPLY OVERVIEW
There are several types of Eurorack power supply. Backboards with header connectors and
flying cables to a rack mounted PSU are two common options.
PSU Module with Flying Bus Board
Case Mounted PSU
Plus
Ribbon Per Module

Case & Power
Pin Description 11 9 7 5 3 1
15 13
1, 2 -12V. Connect red stripe to this edge.
3, 4, 5, 6, 7, 8 Ground 14 12 10 8 6 4 2
9, 10 +12V 16
11, 12 + 5v - Not used on 10 Pin headers.

13, 14 Control Voltage. Not used on 10 pin headers.
15, 16 Gate. Not used on 10 Pin headers.
-12V
-12V
Cable connected to PSU with
red conductor / edge aligned to
the -12V pin. This should be
labelled on the board.
Cable connected to the 10 pin module

header. This may be 6, 8, 10 or 16 Pins
depending on the module design. Ribbons
are usually supplied with the module
Eurorack modules use the +/-12V power supplies as the main power source. These will be found on all modules. Some
modules also use 5V although this is not always the case. The 5V is sometimes used on modules where both analog
and digital circuitry exists to provide power to the digital components.
Most modules including Modbap modular digital modules come equipped with reverse power protection so as to avoid
any power damage to the module if plugged into power backwards. Check with the manufacturer for power safety.

Case & Power
POWER SUPPLY SELECTION
Power Supplies often come as part of a rack / case package. The advantage with this is that
it avoids building and testing and also the PSU is usually selected to match the maximum
module count for the case. Alternatively a PSU may be selected separately which allows a
closer specification to your exact needs.
PSU Selection Checklist
• Determine the current rating that is needed to supply all the modules in your set up
effectively. The PSU rating will be per rail, for example 1 Amp for the +12V rail. This can
be calculated by adding up each of the modules current rating per rail. The total module
current should be accommodated by the PSU. For example 1200mA total for each
voltage rail when adding up the modules will be covered easily by a 2500mA rated per
rail PSU.
• Does the supply host the necessary rails. +12V and-12V are essential but check,
especially with pre-used and older boards that 5V exists. Upgrade modules do exist if
needed to add a 5V supply.
• What configuration is your preference? Chained flying lead types or individual ribbon.
The individual ribbon offers more flexibility and are less susceptible to interference.
• Mains input supply connection. Is the cables long enough and is the format suitable? For
example is a AC o DC power block suitable for studio or stage use.
• How many connectors (called headers) are available on the PSU to connect to the
modules? Are there enough for the modules and also future modules to match the case
size.
• Labelling and nomenclature. Can you easily see the header configuration to ensure
correct connections are made.
#3 Rule of Thumb
When planning the power supply current, as a general guide consider

1 Amp rating per row of modules.

3
Accessories
Accessories
Cables and Stuff
This may seem an unusual section to have its own chapter. But the choice
of accessories and ancillary gear can make a big difference to the user
experience when working with a modular system. There is nothing worse
than the excitement of receiving a new module and then the disappointment
in finding it cant be used fully as it cant be connected, patched or assembled
into the rack. Having a set of essentials at hand is important.

Accessories
RACK SCREWS
Yeah well maybe not the most exciting topic, but definitely an essential one. Eurorack
generally uses M3 - 3mm size screws, occasionally 2.5mm are used with some rack rails.
The mounting can be direct fixing where the screw attaches directly into the tapped rail or
where bolts are used behind the rail. Direct tapped rails are recommended, less fiddly and
less risk of losing a bolt into the rack case.
Screw Selection Checklist
• The mounting rails are defined in the rack selection or build design. Ensure this suits
your needs at the outset.
• Ensure you know the screw size for your rack, typically M3 for Eurorack.
• The easy option is using the supplied screws with the module.
• Screws may scratch and chafe the module front plate, especially when rearranging
regularly. Nylon washers can avoid damage to the face plates and also ensure a tight
grip on the module without over-tightening.
• Use the correct type of screwdriver and correct size and don't over-tighten.
• Consider ‘Knurlies’ as an option. These are knurled M3 screws with a nylon washer and
the option to adjust with finger grip, screwdriver or Allen key. The screws are specifically
designed for this purpose but can add expense to the budget but are ideal when
developing and evolving a system setup.
Standard M3 Screws. Standard M3 Screws. Knurled M3 Screws. Knurled grip,

Usually supplied with a Usually supplied with a nylon washer, tool options for
module. Directly screwed module. Screwed into the adjustment. Screwed into the nut
into the rack mounting rail nut in the mounting rail or directly in the mounting rail

Accessories
BLANKING PLATES
Yeah we know, we are still on the mechanical stuff right! Blanking plates, while not
essential, can be seen as something that adds to style and design of your rack, but also
helps protection and durability.
Blanking Plate Selection Checklist
• The main practical purpose of the blanking plates is to protect the case and especially
the inner components and modules. With this in mind basic plates will suffice.
• Blanking plates are dimensioned in the same format as modules i.e. 3U and HP width.
This can help calculate whats needed. It is recommended to mix sizes to allow new
modules to be added while retaining the options for blanking.
• Some manufacturers supply specially designed and illustrated blanking plates. This does
not improve the practical functions but does make things look better. There is however a
cost consideration here.
• Blanking plates do add weight so during transportation and mobility this is a

consideration and the protection / durability vs weight is a trade off.
• Blanking plates can also be used to add separation between modules. This is useful to
give improved visibility and access and easier cable routing when using complex
modules.
Example 4HP Beatppl

blanking plates

Accessories
PATCH CABLES
Patch cables are the essential element used to connect between modules and devices.
They are the audio and control highway that links functionality and gives modular format its
power of configurability and customisation.
Standard inline TS Mono 3.5mm Jack.

Common patch cable allowing narrow entry to
the module patch inputs and outputs
Standard angled TS Mono 3.5mm Jack.

Common patch cable allowing angled cable
entry to the module patch inputs and outputs
Stackable inline TS Mono 3.5mm Jack. Patch

cable allowing cable entry to the module patch
inputs and outputs.
Additional patch cables can piggy back into the

patch cable and hence the module connection.

Accessories
Patch Cable Basics
Patch cables are generally mono cables. The normal Eurorack standard is 3.5mm / 1/8 inch
plug which uses the Tip and Sleeve (TS) for carrying the connection. These are common
cables and easy to find, usually described simply as ‘patch cables’.
Tip. Audio / Control Signal
Sleeve. Ground
Lengths will vary and it is

recommenced to keep a
selection of lengths.
3.5mm / 1/8 inch jack male
to male patch cable.
Typical Lengths are:-
10cm, 15cm, 20cm, 30cm,
50cm, 80cm, 120cm.
Cables are often color coded.

Accessories
Patch Cable Selection Checklist
• Use a selection of lengths to ensure there is no cable stretch and also excess cable
does not hinder your set up.
• Make use of the color coding for cables. You can adopt a color scheme for length which
is the most common option or by function, i.e. CV, Audio, Trigger etc. Whatever works
best for you.
• Consider a cable tidy holder. This becomes an extremely useful addition and worth the
investment as the module count grows, so will the number of cables. Easy access and
storage allows you to concentrate on workflow and creativity.
• Invest in high quality cables from reputable brands. The cable needs to be durable and
less susceptible to interference. Patch cables get a lot of use so quality counts.
• Build a combination of styles including inline and angled connectors and also stackable
cables to allow multiple patches to a module connection.
• A patch cable collection can grow over time. It isn't necessary to buy all cables at the
outset. Cables will be acquired and collected as the system develops. Some high end
module designers may even supply patch cables with the module.
• Take care when patching. Leaving cables dangling and one end connections may be
susceptible to grounding and noise. This may be undesirable and potentially risk
damage...... It may also be a desirable creative intent !!!
• Consider the connector barrel thickness. The access to module connections is often
cramped and limited, especially with multiple modules racked side by side. If the barrel is
too thick it may not be possible to use the cables side by side.
• Consider a multiple / splitter device. This allows connecting multiple cables together. For
example one cable from a module output may be routed to multiple locations when
connected with a multiple unit. Rack mounted Multiples (multi’s) are common but also an
external splitter is useful.
• Stereo or Mono. While in some instances a stereo patch cable will work, this is not
necessarily the case and will differ depending on the connected device. It is
recommended therefore to use mono patch cables unless the set up and device
specifies otherwise.
#4 Rule of Thumb
Invest in a cable organizer of some sort to to keep the cable clutter

down and to organize your cables by length, type, color when not in use

Accessories
OTHER ACCESSORIES
The essential accessories have been covered, but there are a few other things that may be
considered when starting out with Eurorack modular set ups.
Selection Checklist
• Tools. It is advised to use small gauge tools designed for electronic use and not the
larger household and electrical tools. The main tools include a cross point and flat blade
screwdriver suitable for the M3 screws. Also small snipe nose pliers and tweezers,
particularly useful if changing module PCB and PSU PCB links and connecting ribbons.
As a beginner these should be enough and for the more adventurous a soldering iron,
side cutters and wire strippers may come in handy in future.
• Stickers. Every modular geek has stickers.....well they come with all modules don't they?
• T-Shirt. Only for advanced users!
#5 Rule of Thumb
Check out the range of Beatppl apparel including

producer T’s and more available online at
www.beatppl.com.

4
Make
Make Sound
Audio generators
So after 3 chapters of guidance and advice and we haven't made a single
sound yet. So here is where the magic happens. Making or generating a
sound is the starting point in modular and in fact any synthesis format. This
core audio is shaped and manipulated later but first the sound needs to be
created. The range of Eurorack modules is huge, with synth functions,
effects, modulation, sound sources, controllers and sequences and more.
Making a sound concentrates on the audio generation modules that can be
assembled into the rack and available to be patched to other modules. The
most common sound modules are VCO’s (Voltage Controlled Oscillators)
with full synth voices, sample players, noise generators, to name a few, also
available. It is strongly advised to read the accompanying documentation
supplied with your module in order to install it correctly and to get the best
from its design when in use. This section will not teach you about every
module or even every function. It will however give the basic principles of
working with the most common modules, to get you started and give a solid
knowledge base from which to expand and build your system.

Make
WHAT IS SOUND?
Before getting into the actual type of sound generators in modular synthesis lets start by
giving a basic and brief explanation of what sound is. Audio is a set of waveforms that can
be heard by human hearing. These waveforms oscillate at various frequencies (speeds) and
at various amplitudes (levels) and can also be combined to create something we can hear
and in fact interpret. This could be speech, music, ambience or many other everyday audible
things. Human hearing operates between 20Hz - 20KHz. Frequency affects our
interpretation of pitch and allows us to create and determine musical notes. Amplitude can
determine perceived loudness. Generating frequency rich waveforms is the basis from which
to mould and shape sound. Waveforms are clearly the most important element in sound
theory and in turn in modular synthesis.
Anatomy of an Audio Waveform.
Audio Frequency Spectrum

440Hz
Middle A
Pitch is determined by the Frequency is determined by

specific fundemental the number of cycles per
frequency second (Hz) generated
20Hz Frequency Spectrum 20KHz
1 Cycle
Sine Wave Wave shapes are linked to
their harmonic content
Amplitude
Phase is the lateral shifting
of the waveform cycle
Harmonics are the elements that make up the audio spectrum. How these are arranged will
determine the sounds timbre. A pure sine wave has only one harmonic called the
fundamental while a square wave includes odd harmonics. Frequency affects pitch. So by
shaping the audio spectrum and by adjusting frequency this can create and change a sound
and its timbre, character, tone and pitch (notes). Carving out frequencies is called
subtractive synthesis. Controlling and modulating frequencies with each other is called FM
or Frequency Modulation synthesis. These are the two most common methods in modular
set ups. Adding harmonics is also possible for additive synthesis and using discretely
defined waveforms can be used in wavetable synthesis, another modular synth format.

Make
VOLTAGE CONTROLLED OSCILLATOR (VCO)
The most common sound source is a Voltage Controlled Oscillator which generates audible
waveforms. The manufacturer of each module will determine the exact design of each
function. There are many configurations including multiple and complex oscillator models
available. The basic generic features found in most VCO’s are covered here.
Frequency, manual rotary

control coarse adjustment.
Sets the pitch / note.

control fine adjustment
1V/OCT is CV control of the Sync, to synchronise with an

frequency and hence pitch. external clock or device.
Control Voltage input to Control Voltage input to

control onboard features. In control onboard features. In
this case assigned to Pulse this case assigned to
Width Modulation Frequency Modulation.
Manual rotary adjustment to Manual rotary adjustment to

control level of PWM control. control level of FM control.
Audio outputs, usually options for a

variety of wave shapes are provided
and depending on design can often
be used concurrently.

Make
Frequency.
The frequency adjustment sets the pitch of the VCO. Pitch is the tuning and typically has a
manual coarse and also fine control. External control over frequency can also be provided
for example to control notes in a melody from a sequencer. This is provided using a control
voltage input often labelled as 1v/Oct, meaning for each 1v change in control signal will
adjust the frequency and hence pitch by an octave. This is an exponential input and may
also be provided in the form of an exponential FM - Frequency Modulation control. Additional
features on some VCO’s may also include a linear FM input and offering a different
characteristic to the sound.
Sync.
VCO’s can be synchronised with external gear and other modules. Sync would provide the
link to an external clock. What this typically means in practise is the that the sync control
would trigger the reset of the phase of the oscillator waveforms. May also be called Reset.
PWM.
PWM or Pulse Width Modulation is a common feature where a pulse or square wave output
exists. This may be controlled by CV or manually with a rotary control. Pulse width
modulation does exactly what it says modulating the width of the pulse and adding variety
and a gnarly texture to the audio designated pulse / square output.
Output.
The audio output may be selected through dedicated outputs for each wave shape or may
be selected to a single output with on board selection. Multiple outputs are usually
configured to operate simultaneously allowing connection to several of the wave shapes.
Each shape carries a different timbre and may be selected for different functions such as
leads, bass or percussive applications.
Other Features.
Other elements that may be found in a VCO. A sub oscillator may automatically give an
additional output usually 1 or 2 octaves below the main oscillator. Fold or offset may provide
additional onboard wave shaping and manipulation. Pulse width as well as pulse width
modulation is also a feature that makes an appearance in some designs. Some VCO’s also
provide a noise option, especially where they are focussed on percussive applications.

Make
Wave Shapes.
VCO’s may contain one or more wave outputs. These are also the same waves seen in
LFO’s where of course they are driven at a much lower frequency. Where LFO’s typically
operate as a modulation source, VCO’s operate in the audible oscillation frequency range.
PWM may be applied

Amplitude
Amplitude
Time Time
SINE WAVE SQUARE WAVE

Pure tone, no additional harmonics, Hollow, Odd Harmonics, Clarinet
whistle, sub bass. and Wind instruments.
Amplitude
Amplitude
Time Time
TRIANGLE WAVE SAMPLE & HOLD

Silky and Smooth, Few Harmonics, Stutter, Glitchy, Variable, Unpredictable,
Wind instruments, Wood, Mellow. mix of waves and harmonics.
PWM may be applied

Amplitude
Amplitude
Time Time
SAW TOOTH WAVE (Reversed is a ramp) PULSE WAVE

Highly harmonic, church organ and Hollow, Odd Harmonics, Nasal, chorus
flutes, brass instruments. like when modulated.

Make
SAMPLER
Another sound source that is growing in popularity is the sample player or sampler. This is a
module that is based around digital technology. Samples are played back and in some cases
can be recorded into the device. Due to the digital nature and ability to innovate all samplers
carry dedicated feature sets based on each manufacturers unique design. For example loop
functions may be included. There are very few standard features.
Sample display and options

pages

control fine adjustment
Feature navigation and

menu options
Sample Start/ End,

Removable memory card for
occasionally length will be
transfer and storage of
here. Sets the sample
sample data
positions.
Menu navigation
Sample selection and pitch.
External and manual trigger

to initiate sample playback.
Audio output.
Optional and configurable control

voltage inputs. Options such as
sample start, loop etc are possible.
Eurorack samplers generally follow two models - digital sampler and tape loop.
Digital samplers provide more predictability over samples. Tape loop based samplers
are more about splicing and manipulation and are great for happy accidents.

Make
DRUM AND PERCUSSION SOURCES
There are some sound sources and oscillators designed specifically for drum and
percussive sounds. This may include multiple sources to cover kick, snare, hats etc or
maybe dedicated to a specific sound i.e. Snare. Given the nature of percussive sounds
frequency / pitch control, noise and envelopes are often integrated features. The example
shown illustrates the multiple drum options with a toms module.
Multiple synth channels, for

toms this may be high, low,
mid tom, but could be kick, Pitch or frequency control to
snare etc. tune each sound
Decay envelope to shape

the hit, Particularly useful on
percussive sounds.
Occasionally mix options are
on board of each synth
channel
Option for external tuning

with CV level
Drum hit trigger / gate.
Individual track audio

outputs
Combined mixed output for all

channels.

Make
SYNTH VOICES
While the discrete sound source options are quite common, there are also full synth voice
options which integrates some additional elements such as filter and envelopes. The beauty
of modular is being able to assemble the individual elements and develop the number of
voices uniquely.
What is a voice?
A synth voice is a singular synthesizer element that creates an individual sound. This may
include the end to end elements such as an oscillator, filter, envelopes. A voice can be
played by a single keyboard or sequencer note and is therefore monophonic.
Is one voice enough?
It depends on the application of how many and the voice configuration needed. Monophonic
applications may be ok for things like bass and individual drums. Adding more voices means
that more notes can be played simultaneously i.e. when playing chords. Multiple voices
therefore means the synth can be played polyphonically. Desktop and stand alone synths
may have multiple voices integrated into the design. In Modular terms each voice and
combination of voices can be created from scratch and developed using a variety of
modules and configurations.
Does each voice need to identical?
Each voice can be created differently. For example different oscillator types or waveforms or
mixing various manufacturers designs. This is very much user dependant and contributes to
the creativity and flexibility when working with modular.
How many voices would i need?
This all depends on the application but generally speaking a voice for each note when using
chords or for melodies. Each drum synth may need its own voice and so will bass. However
this is assuming a full orchestra of instruments. Remember, this is modular meaning there
are many creative shortcuts and workarounds that can help. For example some oscillators
have multiple waveform outputs, filters can also self resonate and generate audio.
What are the synthesis types?
There are many types of synthesis. The most common is subtractive where harmonics from
the frequency spectrum are removed or filtered out to shape the sound. Additive synthesis
adds harmonics. Wavetable formats use sound samples and waveforms as the sound
source and morphing between wavetables can provide creative and unique sounds.
Frequency modulation (FM) uses a modulation waveform to affect another waveform and
various configurations can create different sounds and timbres. Others such as ring
modulation are also available but less common.

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OTHER SOUND SOURCES
Several other sound sources exist which can either provide the sound fo ra
dedicated synth voice or can contribute to the tonal nature of an existing oscillator.
Noise
Noise basically contains ALL frequencies. White Noise has a constant energy level
across the frequency range. This sounds high pitched and wind like. Pink noise has
equal energy for every octave and sounds deeper and more bass orientated. Noise
can be included in the VCO module although dedicated modules for noise are also
available. Noise can be fed into an existing audio chain to add more character and
variation or be used as the core source for percussive sounds such as hats and
cymbals.
Filters
Filters are designed to shape the frequency spectrum of an audio signal. However
many filters have a resonance feature which can drive the filter into self oscillation
and thereby generate its own audio.
External Audio
The possibility to feed external audio sources is possible.

5
Shape
Shape Sound
Sound shaping modules.
While generating a sound is the first step of synthesis this alone can be quite
static and lacking in interest. This is where the sound shaping functions
come into the process. Sound shaping can both contour and evolve the
sound working on basis of its journey over time. Also sound can be shaped
in terms of its frequency content which will affect its character and timbre.
Sound can also be shaped using a gate or a Voltage Controlled Amplifier
(VCA). These are the four main approaches to sound shaping and how it can
be applied to various functions during sound design and synthesis
development. This section covers the main sound shaping options although
other functions also exist.

Shape
WHAT IS AN ENVELOPE?
In the context of modular an envelope is a function that shapes the contour of a sound over
a time period. This can be applied to various parameters to contribute to the design of a
sound. For example it can shape the sound output to bring an evolving nature to the sound
or it can be applied to effects or parameters of other functions to shape how these are
applied to the sound. The most common envelope is called an ADSR. This represents the
Attack, Decay, Sustain and Release phases of the sound. Other envelopes exist, some very
unique and some a variation of the ADSR model, for example AR.
Anatomy of an Envelope.
ADSR Trigger / Key

ON OFF
Envelope that shapes the

sound over time
Amplitude
Can be applied to parameters
or the basic sound
ATTACK DECAY SUSTAIN RELEASE

(time) (time) (level) (time)
AD AR AHDSR
Attack Decay Attack Release Attack Hold Decay Sustain Release
Trigger / Key Trigger / Key Trigger / Key Trigger / Key Trigger / Key
ON OFF ON OFF ON OFF
A good example with envelopes is in creating the ‘clicky’ start to a kick sample. Typically a
short attack would control the initial part, emphasising the fast thump. A short release would
keep the sound short without lingering. Another example would be for a pad or drone sound.
Longer attack and release with a higher sustain would extend the drone shape while shaping
for interest.
Envelopes are also used often as modulation as well as in sound shaping.

Shape
ADSR ENVELOPE
ADSR is the most common envelope, but other variations such as AR, ASR are available
also these can be found with exponential as well as linear envelope features.
Attack time. Modules may offer

manual and also CV control
Decay time. Modules may offer

Sustain level. Modules may offer

Release time. Modules may offer

Gate or Trigger initiates the envelope

cycle starting at the Attack phase. Audio output, often with options
for an inverted envelope output.
Multiple outputs are common.
Options may be available to retrigger
the gate during its cycle
#6 Rule of Thumb
Some filters have a Q Compensation function. This rebalances the low
end of the spectrum especially to compensate the loss of low end when
increasing resonance. Ladder filters normally have this feature.

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ENVELOPE FEATURES
There are many envelope shapes and styles available which may include unique and
custom features. We only cover the most common features here. These are however
fundamental elements of most envelopes and especially applicable to the ADSR and its
permutations. Some devices have PCB links / jumpers for configuring envelope styles.
Attack Time.
This is the time it takes from an envelope being triggered to it reaching its full level. Transient
sounds for example percussion will use short attack times while longer evolving drones may
use a longer attack. May be a manual control and / or CV input control.
Decay Time.
This is the second time stage after attack. This is the time between the attack time ending
and the envelope settling to its normal sustain level. This is the initial peak with full harmonic
content applied until reaching sustain. May be a manual control and / or CV input control.
Sustain Level.
While other parameters are time orientated in an ADSR, Sustain is a level. This sets the
sounds continuous level for the duration of a trigger being applied. May be a manual control
and / or CV input control.
Release Time.
At the point of the trigger or note end the release stage will start. This is the duration
between the sustain level and the sound reaching silence. May be a manual control and / or
CV input control.
Exponential
The traditional shape is linear but options to affect each stage ‘curve’ exponentially is also an
option on some models.
Output
The output is the control of the envelope shape which affects its chosen destination. The
examples above for ADSR are in the context of shaping the audio wave. This is normally
applied to a controlling function such as a VCA (Voltage Controlled Amp). This control
voltage will then shape the audio signal. Some envelope modules offer multiple outputs as
the same envelope same will be used in multiple patched locations. Also inverted outputs
are available on some designs. Output range will vary by design but typically is 0-10V. This
can be -10v for inverted envelopes and also other variations 0-5V, 0-8V are not uncommon.

Shape
Gate / Trigger
Its is normally required to initiate the envelope cycle. This is performed with a trigger or gate
signal that ‘kicks off’ the envelope. The normal process is a gate will trigger the envelope
start and it will run through the times set until its head, a one shot approach.
Retrigger
While the one shot approach to envelops is common, some models provide the ability to
retrigger the envelope during its cycle. While the envelope gate can remains triggered a
retrigger would restart the attack phase when activated. Often retrigger is ignored if the main
gate / trigger is not active.
Manual Trigger
Some modules provide a manual trigger button to initiate the envelope as well as the gate
option.
LED Indication
Some envelopes have LED indicators showing the envelope is triggered and in some cases
each stage of the envelope phase.
Some digital envelope modules break the convention of ADSR and allow a variety of wave
shapes to control the envelope. In some cases the envelope shapes can be user defined
and created from scratch. These can be considered much more than an envelope and the
feature set would describe them as modulation modules or function generators.

Shape
WHAT IS A FILTER?
Filters are a frequently used device in modular setups. Filters ‘carve out’ the frequencies in
the sound spectrum which in turn shapes the tone and timbre. As such filters are applied to
in the audio signal chain to shape the sound and when modulated to create more interest
and movement. The style of filter has a major influence on the sound while the type is
selected for specific applications.
Anatomy of a Filter.
High Pass Filter Cut Off Frequency
Resonance
High pass filter allows higher
frequencies to pass through
Attenuation
and be audible while cutting
Slope dB / Octave off lower frequencies
Also called Low Cut Filter

20Hz Frequency 20KHz
Low Pass Filter

Cut Off Frequency
Low pass filter allows lower

frequencies to pass through
Attenuation
and be audible while cutting
off higher frequencies
Also called High Cut Filter

20Hz Frequency 20KHz
Bandpass Filter Notch Filter

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FILTER
Filter modules can come in many forms and often with multiple filter types integrated either
on the outputs or switchable. The slope is not usually a selectable option but may be
available on some filters. Also it is common to see the filter style emulate the classic synth
filters for example from Moog, Jupiter or Steiner-Parker models.
Frequency cut off point. Manual

control is common
Resonance manual adjustment.
Frequency CV modulation input

Resonance CV input control with the
with manual attenuverter (+/-)
attenuverter (+/-).
control of the frequency cutoff.
CV input for tracking the pitch and Audio output, often with options
ensure the filter operates a for each filter type. Sometimes
consistent cutoff with note changes this is a single output with
switched outputs.
Audio input

Shape
FILTER FEATURES
Voltage Controller Filter (VCF) as its called in modular synthesis is a common and important
function, especially in a subtractive synthesis setup. There are many filter features but not all
are included with every filter module. Each module may be defined to a specific filter function
i.e. low pass.Also the filter itself may impart tone, distortion and other characteristics into the
audio signal.
Cutoff Frequency.
This is the specifically frequency at which the filter starts to operate, usually between 20Hz
and 20KHz. The filter does not immediately cut all frequencies but will gradually ‘fade’ the
cutoff over a filter slope. The design of the module may determine the slop style. May be a
manual control and / or CV frequency modulation (FM) input control.
Resonance.
Resonance is sometimes called emphasis or feedback and may also be labelled as ‘Q’
instead of res or resonance. Resonance control increases or decreases the amount of
frequency emphasis at the point of cutoff. This gives a gnarly nature to the sound. May be a
manual control and / or CV input control.
Low Pass Filter
A low pass filter attenuates the frequencies above the cutoff frequency polarising the sound
to the lower mid and bass frequencies. The attenuation follows the slope determined by the
filter type. Also called a high cut filter.
High Pass Filter
A high pass filter attenuates the frequencies below the cutoff frequency polarising the sound
to the upper and mid treble frequencies. The attenuation follows the slope determined by the
filter type. Also called a high cut filter.
Band Pass Filter
A band pass filter attenuates the frequencies either side of cutoff frequency polarising the
sound to a specific frequency range. A narrower filter may be called a peak filter. The
attenuation follows the slope determined by the filter type. A band reject filter operates the
opposite way, attenuating at the cutoff.
Notch Filter
A notch, band stop or band reject filter attenuates the frequencies at the cutoff frequency
polarising the sound to either side of specific frequency. The attenuation follows the slope
determined by the filter type.

Shape
Slope
The attenuation slope ‘angle’ is measured in dB/Octave. There are two common filters in
Eurorack modular. First is the 24dB/Octave, also called 4 pole, filter which is a steeper slope
and a more aggressive sounding characteristic. The second is 12dB/Octave, also called a 2-
Pole filter. This has a shallower smoother characteristic. Filters are normally built into the
design but in some cases are selectable on the module.
Frequency Modulation
A common modulation target is the frequency which can be adjusted or modulated through a
CV input. Often this can be adjusted by an attenuverter which controls + and - values.
Similar can be applied to resonance. Modulating the cut-off frequency can create some
interesting and even vocal-like formant effects.
Key Tracking
The cutoff frequency is normally a fixed position. Pitch is an effect of frequency so musical
notes will apply different fundamental frequencies to generate the musical note. Key
tracking, controlled by a 1V/Octave input, is aligned to the note played and therefore will
adjust the frequency cutoff accordingly and avoid filter variations across the octave range.
Input
The input to a filter is the audio signal
Output
Filtered audio out. A filter output can be independently assigned from each filter or a single
output may be switchable by filter type. Also it is common to have the filter design focus on
one dedicated filter type for example a low pass filter with no options for other filter types.
Self Oscillation
While this is not a dedicated function in a filter it is is a characteristic of some filters where,
with the correct process and technique on cutoff and resonance, can generate an audible
sound output from the filter self oscillating.
Some creative filter designs can be found and the range of modular devices start at the
basic single filter types up to stereo filters with additional in-built features. Stereo controls,
effects such as distortion, and emulations of traditional devices.

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WHAT IS A LOW PASS GATE AND VOLTAGE CONTROLLED AMP?
A low pass gate (LPG) is a device which operates in the similar way to a low pass filter
which can open or close to let a signal through. Think of this when triggered as an on/off
action, although more accurately the audio frequencies will be filtered out or in gradually. An
envelope can be applied to a LPG to shape this on - off profile over time. A VCA is a Voltage
Controlled Amplifier. This is a little misleading as it doesn't truly amplify the signal. It does
however shape the signal level in line with the control input for example with an envelope to
open / close the signal. Its therefore clear that the practical application of LPG and VCA’s
are very similar and in fact can be applied in the same way.
Can I use both in a modular setup?
Yes, both can operate in a modular setup. They can be interchangeable in some applications
depending on what inputs and outputs are available and the character needed. There is an
old adage that you can never have enough VCA’s in modular setups.
Which should I use in my modular setup?
This is a question with no answer as this is down to personal taste. It is clear that the
practical application of LPG and VCA’s are very similar and in fact can be applied in the
same way. But the differences are down to personal taste.
So what are the main differences?
Most gates are based on vactrol technology which uses optical devices for control. This
bring a unique and often variable / non-linear character from an LPG. They are used mainly
for fast triggering of the signals although there is no definitive convention to say this is a
must. VCA’s are normally used with an envelope to shape the level on-off and used
therefore for level changes. Both can be similarly applied and usually its down to availability
of channels and envelopes and also sound character that determines choice.
What applications are they used for?
In a basic setup a VCA or LPG would be the final step before audio output. This can control
the final sound shape. LPG’s are often used for shorter sharp signal shaping for example
with claps and other percussive sounds. VCA’s are often used in mixer applications to mix
and combine multiple audio signals.

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VCA & LPG
The VCA Modules are available in its simplest form with a singles channel. In addition multi
channel, typically quad channel VCA’s and also may even be used as a mixer. LPG modules
are also available in the simplest form but also can be integrated into a gate sequencer to
trigger audio signals.
Audio level of the VCA audio

signal. Some VCA’s may not
have a level control.
Gate / Trigger to activate the

LP Gate
CV Control amount often

controlled from an envelope.
CV Control input.
Audio Input
Gated Audio Output VCA Audio Output

6
Move
Move Sound
Control, Modulation and Patching.
Modules and the basics of building a setup have been covered in the earlier
sections. Here we cover some of the core principles behind patching and the
functions that would normally be sources or destinations for patching. The
beauty of modular format is the almost endless and evolving creativity and
limitless patching options. Connecting devices together is at the heart of
modular sound design. Modulating the controls and audio brings the sounds
to life, either with time based, amplitude, frequency manipulation. It seems
like the modulation options, even on a small set up are endless. This drives
creativity and experimentation and is a key step in creating unique sounds
and effects. So now its clear there are control signals and audio signals.
Generally speaking these are clearly defined for each function although
there are some cases when audio can be used as a control with the right
conditioning. As such it is impossible to cover everything here, especially as
a beginner. Learning some of the basic functions for patching, control and
modulation will give a great platform to get started quickly.

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CONTROL VOLTAGE
The terms Control Voltage (CV) have been referred several times in this guide. There are
the functions that apply control over a modules function from another device or parameter.
Here we cover the basic principles of CV, provide some definitions and explain how control
works in a modular system. First thing to point out is that there are several variations of how
CV is applied. There is no governing official standard although some conventions are
generally accepted as typical and normal for modular.
CV Pitch Control
Control over pitch / frequency, say of an oscillator is a common application in using control
voltage for example driven by notes from a sequence.
V/Oct - 1 Volt per Octave

Linear CV representation. Frequency to pitch is interpreted as logarithmic.
5 The most common approach for pitch

/ frequency control is to us a control
4 voltage per octave. The common
Volts
range is 1 Volt per Octave with 0-5V

3 being a common voltage range. CV
level would then drive the note pitch.
2
Originally developed by Moog but
1 also used by Roland and Doepfer.
A1 A2 A3 A4 A5
55Hz 110Hz 220Hz 440Hz 880Hz
Pitch
Hz/Volt - Frequency pitch per Volt

CV representation. Frequency to pitch is interpreted as logarithmic.
16 Less common is Hz / Volt control. CV

level would then drive the note pitch.
8 This format is not a common
Volts
occurrence in modular but is noted

4 here for completeness and when
considering other devices.
2
Originally used by Yamaha and Korg.
1
A1 A2 A3 A4 A5
55Hz 110Hz 220Hz 440Hz 880Hz
Pitch

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CV Pitch Control Application Example
Control over pitch / frequency, say of an oscillator is a common application in using control
voltage for example driven by notes from a sequence.
CV OUT 1V/OCT
0 - 5v
Sequencer, Arp or keyboard Oscillator CV Input to control
control voltage calibrated to the frequency pitch of the
CV out for pitch oscillator.
0 - 5V is the typical range, however some VCO’s may

operate a wider octave range for example -2V to +6V.
Some devices may offer a quantization function. For

pitch control this means the variable CV signal is
‘rounded’ to the nearest note in a defined scale.

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CV Control
While CV is a common approach to pitch control, this is more of a calibrated control for
synthesis. Many other CV control applications exist in the modular format. This can use
variable voltage ranges and also have amount / level controls applied.
Device 1 - CV Source. Device 2 - CV Destination.

One or multiple voltage sources. Examples include filter cutoff, pulse
Examples could range from a manual width, amplitude etc
control, envelope, LFO etc
CV OUT CV IN
Parameter
0 - 5v
Modulation
Modulation is the application of a source to change or

vary a destination parameter. This is performed in
modular by use of a voltage where the range is
determined by the application devices.
Attenuator.
Attenuation is the reduction of a value where fully

attenuated is zero. At maximum the full signal is
applied. Attenuators are controls to adjust this.
Zero V / Minimum Mid Full V / Maximum
Attenuvertor.
Some applications may operate bi-polar where a true +

and - voltage is applied, for example spread or pan
controls. This can be controlled by an attenuverter and
Negative V / Inverted Zero Positive V / Normal works on the +/- levels (not an offset)
Offset controls can also be found on some devices where the CV is offset by the addition of voltage.

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GATE / TRIGGER
Low pass gates were described earlier but in this context we speak about the actual ‘gate’
signal, somethings called a trigger, although there are slight differences. A gate initiates a
‘start’ and ‘stop’ signal typically using a square wave on and off signal. A trigger is normally a
pule to start a function rather than a longer signal. While there are many applications such
as clocks, sequence start, a common function is to initiate a note start and end which can be
applied to a sound, often accompanied by the CV for pitch for the specific note.
GATE SIGNAL
ON OFF
10
A square wave in this example will be
Volts
high for on and zero volts for off. The

duration of the gate will apply to the
destination, for example the note length.
0
Time
TRIGGER SIGNAL
ON
10
A pulse wave in this example will be high
Volts
for a short period to trigger on and fall to

zero after a predetermined time. Triggers
would be used to ‘switch’ a function.
0
Time
While a control signal can apply a trigger or gate it is the receiving device that determine
how the function will behave. Its recommended to check the application sender, voltage etc
to ensure this is matched up with the receiving modules function. Also the receiving device
may be looking for additional characteristics on the input, for example a rising or falling
edge.

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MODULATION OVERVIEW
Modulation is the process of moving a parameter or sound. The movement can be applied
based on time (envelope), frequency, amplitude, and more. Control signals are the core to
creativity with modulation. CV, Gate and Triggers are the elements that connect functions to
enable modulation We have already been declared controls is the basic foundation for
modulation. There are many modules which apply modulation , some through traditional
modulation functionality such as envelopes (described earlier) and LFO’s, and some are less
so, for example complex function generators, clock and maths modules.
Modulation can be performed automatically as a one shot (envelope) action or can cycle
continuously (LFO). The type of modulation will depend on what you want to do with the
destination parameter or audio signal.
There are many modulation sources and for the purposes of simplicity and to emphasis the
basic principles of modulation the LFO, Slew Limiter and Sample & Hold are covered here.
The complex function generators are usually designed uniquely and would be impossible to
cover in this beginners guide fully.
Envelope
Slew D LFO
S&H

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LOW FREQUENCY OSCILLATORS (LFO)
A low frequency oscillator is a waveform which operates at a slow frequency, less than
20Hz, and hence does not operate in the audible frequency range. The wave form is a
modulation source and is used to control and manipulate other functions. Wave shapes are
often the same types used in the VCO’s. LFO modules can provide a variety of features
while LFO functionality can also be integrated to other modules too. For example some
VCO’s have an LFO option, clocks may be able to send LFO as CV etc.
AMOUNT
CV IN
Parameter
CV OUT
+5 SINE WAVE LFO

Volts
Depending on the configuration the CV output may be

bi-polar typically -5V to +5V e.g. for sin, although 0 -
10V is also a common voltage range. This usually
-5 depends on the wave type and module design.
Time
Sync Rate Reset

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LFO
There are dedicated LFO modules which usually cover one or more wave shapes. Typically
LFO modules would contain multiple outputs or multiple LFO’s. Quite often modulation
function generators offer a more comprehensive modulation source but include LFO’s as
part of its feature set.
Frequency manual adjustment.

This is the speed of the LFO.
Option to operate external CV

control of speed
LFO Shape selection. In this

example Sin, Triangle and
Square.
Some LFO’s have a slew control

to prolong and distort the wave
shapes
Initiates the LFO start
LFO Output used for driving a

Restarts the LFO to the start destination. May be -5v to +5v, 0V to
of its cycle. Also a gate signal 10V or another control voltage level.
can act as a clock sync Multiple outputs is common on LFO’s

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Frequency.
Within the context of an LFO the frequency is the speed at which the oscillator runs. Often
this is adjusted manually but also CV control is possible. It can be interesting to modulate
the frequency of an oscillator which in turn modulates another parameter. The wave shape
and frequency is what creates movement in sound design.
Shape.
The waveform shapes are normally the basic Sine, Triangle, Square and Sawtooth. These
can sometimes be selectable in the module or from the wave outputs. More complex shapes
exist and are predefined in some function generation modules which provide more advanced
modulation by generating complex waveforms.
Slew.
Slew is not part of the basic functionality of an LFO, but is a common feature. Slew adds
additional shape to the waveform shifting the edges and extending parts of the cycle. Slew
technically is a ‘rate of change’ on a parameter.
Reset
Reset restarts the oscillator from its initial start position. Many LFO’s are free running so
triggering the start will ensure the phase and cycle are in sync with other devices. Sometime
a trigger input can also start a wave cycle on a LFO. Triggered normally by a gate or trigger.
Sync
Often the same input as reset and can be used to synchronise the wave cycle with other
modules. A square wave input, perhaps a clock or another LFO, is a normal practice for
controlling an LFO sync.
Outputs
The output from an LFO is the cycle of a control voltage based on the wave shape and
frequency. The output is usually a bi-polar -5V to +5V signal, for example representing the
+/- cycle of a sine wave. Other voltages are possible and some may use 0-10V. As always
when considering patching, it is what the destination parameter expects that is where the
application should be considered.

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SLEW LIMITER
A slew limiter, also called lag processor, integrator or portamento controller and is a device
that controls the rate of change of a signal. This can smooth the shape of evolving signals
for example to glide between two notes or parameter values. Slew limiters don't normally
change or set any range limits, but generally operates on the time that a signal moves
through the range.
AMOUNT
CV IN
Parameter
CV OUT
10 SLEW OUTPUT
The output would be determined by the slew times.

Volts
The rise time rt would determine the rate of change

from the initial gate or cv input and fall time ft would be
rt ft applied on ‘downward’ signal changes
0
Time
10 SLEW LIMITER INPUT
The input signal, in this example a square pulse, will

Volts
determine the output for the start and end levels. The
on / off gate in this case also at a defined time.
0
Time
CV IN

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Slew Functions
There are some standard functions found on a slew module. Some slew functionality may
be built into some other modules, for example LFO’s. Rise time and fall time (may be named
differently, for example rate) are usually adjustment independently and can operate based
on the time to reach the input level. This is typically 0-10 seconds but is dependant on the
module design. In some designs the option to shift the linear shape to logarithmic may be
available. Some modules also provide a trigger for on/off control.
Rise time or rate in seconds.

Applies a ‘lag’ from the input to
the output. Controls rate of
upward change of the signal
External CV control of rate
Fall time or rate in seconds.

Applies a ‘lag’ from the input to
the output. Controls rate of
downward change of the signal
External CV control of rate
Some slew limiters allow a change

in the envelop shape of the output.
Normally linear but can shift to
logarithmic for example.
Original CV input which will be

slewed to the module output.
The slewed or delayed output

signal. Can be used to drive other
CV controls for example note glide.

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SAMPLE & HOLD
Sample and hold can often be recognised as a sound source and technically this is a
technique or process rather than a waveform. The basic principle is that an audio or CV
signal is ‘captured’ from its input, triggered at specific points in time and held at the output,
then released on the next trigger and then repeated. This can create a glitchy random like
effect and can be inspiring as a modulation source.
AMOUNT
CV IN
Parameter
CV OUT
10 S&H OUTPUT
The output would be determined by the sampled
Volts
inputs and held at the output until the next triggered

sample is initiated.
0
Time
TRIGGER
A gate or trigger initiates the sample capture.
10
CV INPUT
Volts
The input is sampled at selected intervals. Example

shows a sine LFO input. Noise is often a source used
as an input for sampling due to its high frequency of
0 variation.
Time
CV IN

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SEQUENCERS & CLOCKS
The notes (CV Pitch and Gate) can be controlled using a compatible external keyboard.
However the most common methods for creating a melody in a modular system is to use a
sequencer or clock (or function generators) to generate or play the patterns to trigger the
melodic rhythm of a synth or a drum pattern for percussive elements.
Sequencer
A sequencer provides the ability to program or setup a series of steps, also called stages to
trigger one or a series of controls. Each step can be set to activate a control function at that
specific point in time. An example includes the sequencing of a melody by setting steps as a
series of note pitches and triggers. Also steps can trigger drum hits or percussive patterns.
Sequences can be synchronised in the modular set up with other modules and can be
looped to repeat playback over a period of time. Sequencers can be very advanced
especially with the application of digital technology and in many cases multiple tracks can be
controlled simultaneously. Their comprehensive feature set often leads to a high HP count
and takes up a large amount of rack real estate.
Clock
Fundamentally a clock can control the master timing and synchronisation between modules.
This is an important foundation when integrating multiple, different modules, especially those
with time based functionality (sequencers, delay effect, oscillators etc). Clocks can also
provide sequencing functionality where modules can be driven to the ‘beat of the clock’.
Creating multiple control paths and using clock divisions and multipliers of the main clock
tempo then provides the ability for creating synchronisation and syncopation between
devices and sounds. Some clock modules offer advanced sequencing functionality with
multiple output controls.
Menu driven Ability to quickly set CV,

configuration and gate, length, swing and
setup probability per track / step
Manual and Gate

control of sequencer
Individual track CV
and Gate outputs
Sequencer trigger to
reset to first step
External clock for

synchronisation
#7 Rule of Thumb
While most sequencer aim for a rigid grid syncopation, some genres
require loose, unquantized, off-grid or wonky patterns. Consider a gate
delay module or a sequencer with the ability to go off grid

Move
FUNCTIONAL UTILITIES
The creative sound design and modulation modules are what provides the inspiration and
drives sound design. What cannot be overlooked are the lower profile modules. Ones that
don't seem high on the agenda and are less talked about, yet perform important tasks and
are enablers to effective patch creation. Some common modules are covered here.
Multiple
A multiple or mult is a module or device that takes an input and shares it to multiple outputs.
Used to assist with patching signals that need to be distributed to multiple destinations.
Sometimes called splitters, especially for passive mults which have no powered electronics
between the connections and no buffering. Active or buffered mults are connected with
electronic circuitry to maintain the signal level, quality and integrity. Mults can be presented
in the modular 3U / HP format or as an external connection device.
Mixer
Mixers are found in audio production to combine a series of audio signals with controlled
levels to mix to a common output. This is no different in modular format with some specific
functionality added. A utility mixer is designed for control voltage mixing has a wider feature
set, providing the ability to amplify, attenuate, offset and invert the CV signals.
Attenuator / Attenuvertor Modules
An attenuator module offers the ability to increase or reduce a control signal. Additional
features may also be provided. An attenuverter module provides +/- control to sum but also
often provides invert, offset and scale of the incoming signal to the output.
Logic Modules
A variety of multi function or single function logic modules exist. These apply logical
functions to controls and includes adders, subtractors, and / or gates plus programable
functions.

Move
PATCHING
Patching is the process of connecting modules and functions together to move the audio,
control CV or Trig / Gate signals from point to point through the Eurorack system. For audio
this is to generate and then move audio to the system outputs with effects and modulation
applied through the process. CV, trigger and gate signals are also patched between modules
to control and modulate functions. This is patching. A patch is a snapshot of a current
configuration of the modules, settings and patch connections. Unlike desktop hardware
synths, patch recording cannot be electronically stored and recording the setup is a manual
process due to the nature of the modular format.
At first glance patching can seem quite daunting. Visually it may look like a large number of
coloured cables strewn across the rack surface and running in multiple directions. Of course
there is a logic and purpose in the connections made. Single outputs can be connected to
multiple destinations and in some cases multiple sources made to a single destination
connection Its important to recognise the sending voltage and receiving voltage and ensure
these are matched up to meet an expected outcome.
Patch cables are typically 3.5mm Mono TS jack plugs. These are available in multi colours
and various lengths. Stereo is normally handled through dual outputs / inputs so the mono
cable still applies.
TRIGGER OUPUT LFO OUT
INPUT CV IN CLOCK

Move
PATCH APPLICATIONS
The best way to demonstrate patching examples is by showing some real applications.
Basic Mono Synth - Single Synth Voice Audio

Control
AUDIO OUT
VCO VCF VCA
1 3
Note
Generation
2 ENV
Keyboard or
Sequencer
Sound is generated by the VCO and then shaped and filtered using the VCF. This is subtractive / east coast
synthesis. The audio output is then finally triggered and controlled by the VCA before appearing at the output.
A note would be generated by controlling the pitch. This would be a CV signal to the 1V/Oct VCO input.
1 The filter may also require a 1V/Oct input to ensure the filter cutoff tracks the frequency pitch.
2 An envelope would be triggered by the initiation of the note. This would be a gate signal - note on.
The envelope cycle will shape the audio by means of an envelope i.e. ADSR to the VCA and allow the
3
audio to be passed to the output.
The mono synth will play a single note when the envelope and hence VCA triggers at the
pitch based on the CV input to the VCO. So this synth voice would operate from a
sequencer or keyboard such as a MIDI controller (will need to interface to the VCO CV). The
patch can be expanded, for example with modulation such as an LFO or envelope to the
filter cutoff to give a different dimension to the sound or by using multiple VCO detuned to
create a unison effect.

Move
Basic Mono Synth - Single Synth Voice
GATE CV AUDIO OUT
KEYBOARD
NOTE CONTROLLER

Move
Drum and Percussion Patching - Drum Synth
Audio
Control
Kick
Drum
Synth
AUDIO OUT
Snare
Drum Mixer
Synth
Hat
Drum
1 Synth
2
3
Controller
Trigger or
4 CLOCK
Sequencer
Drum synths are typically self contained modules. Also individual modules can also be used which focusses on
one particular sound (Kick, Snare, Hat). The example shows multiple modules controlled by a sequencer. This
is for illustration purposes and as usual with modular many alternative, creative options are possible.
Kick drum is sequenced in the sequencer. Each track of

1 the sequencer would drive each individual drum module
The snare module would typically be sequenced on its

2 own track, programmed in sync with other tracks.
Hats also can be programmed on a separate track. It is

3 also common to trigger multiple modules and adjust the
module programming for a human natural feel.
Drum synths can be mono or stereo. The most common option being mono. On board
mixing on integrated modules or by using any output level controls is possible. At some
stage the drums should be mixed before reaching the common audio output of the rack.
Effects can also be applied at various stages or at the final stage of the mix. Reverb and
delay are the more common options along with distortion and saturation but anything goes.

Move
Basic Sequenced Toms Patch
4
A clock can be used to ensure synchronisation with other gear, but also a clock can be used to trigger the drums.
Multiple clock timing settings can create the pattern to trigger the drum modules directly.
Kick Clock at set BPM x1
Clock at set BPM x1

Snare
Phase shifted 50%
Hats Clock at set BPM x4

Move
Patching in External Devices - CV Keyboard
Some keyboards and controllers have direct CV & Gate outputs. This is ideal for working
with modular systems and can connect directly. Ensure the voltage settings match the needs
of the receiving rack device.
Audio
Control
AUDIO OUT
VCO VCF VCA
CV
GATE ENV

Move
Patching in External Devices - MIDI Sequencer / Synth
The most common interface for external audio keyboards , sequencers and synths is MIDI.
A converter would be needed to interface to the CV / Gate format. Audio also can be fed into
the system and if synchronises can form an integral part of the patch. Audio can be routed
through the effects and modular set up or through a mixer to the output.
Audio
Control
AUDIO OUT
VCO VCF VCA MIXER
CV
GATE ENV
MIDI TO
CV
AUDIO IN

7
Effects
Effects
Audio Effects
Audio effects can transform a sound entirely or simply add some shine and
sparkle to a sound. Different genres and style rely in effects in different ways.
Ambient music is a genre strongly associated with the modular format where
reverb and delay is used intensively. While the range of modular effects
options is wide there are some common and often used functions I modular
setups. Covering all is impossible so these common effects will be covered
here along with the fundamental principles and concepts behind the effect
itself. It is also worth highlighting that multi-effect units are common place in
modular format but are not covered in this guide.

Effects
REVERB
Reverb is an effect which simulates the audio wave characteristics from a room and location.
For example a large cathedral like space will have a different ‘reverberant’ sound to that of a
small enclosed bedroom. The way the sound is reflected and absorbed creates
reverberations which linger beyond the original sound source. Traditionally reverb simulation
modules use devices such as physical springs and metal plates. Modern software and digital
reverbs can integrate filtering, feedback, dry / wet control and more built in algorithms.
Convolution reverb even uses real recordings of space characteristics to be applied in
software to simulate a real room and environment.
Room Emulation
Room Walls / Shape
Sound Emitter Sound Receiver
Original Signal
Early Reflections
Late Reflections
Reverb Tail
Time
Reverb is all about how the reflected and absorbed sounds are heard. Different reflections
will take variable time intervals from being emitted to being heard. Reverb is a time based
effect which emulates room ambience and character.

Effects
Reverb Basic Functions
Reverb modules would typically emulate a reverb style, the most traditional and common
being a spring reverb. The room characteristics and reflections at a basic level are controlled
in the device by a feedback function. More complex and advanced reverb devices may give
more precise control over the time based elements that make up the reverb and provide
more tone shaping options.
Manual control of how much

reverb effect is applied to the
dry input audio signal
Some frequency shaping is

normally applied to cut bottom
end or ‘tilt’ the frequency
profile. This improves the tone.
Feedback is the adjustments that

change the character of the
reverb. This is where the room
reflections are emulated.
CV control over the wet and Often a dedicated reverb only

dry mix. audio output is provided.
The audio output with reverb

Original fully dry audio input applied to the original signal, as
adjusted in the effect.

Effects
DELAY
A delay is a common production effect used to delay an incoming signal to the output. While
this is a simple principle there are many effects that use delay as a foundation. Some
examples are echo (creating defined repeats) and chorus (short delay taps to give a thicker
rather than echo style feel) as well as delay types such as ping-pong delay spreading the
delay points across the stereo field left to right and slap-back delay emulating old tape
delays which are used successfully to thicken vocals.
Basic Delay Principles
Delay Time
Time delay between input and output.
Input Delay Line Output
Connecting the output to the input creates feedback

and increases the delays
A common modular system delay type is called a BBD - Bucket Brigade Delay which is
based on the 70’s analogue electronics delaying the signal in steps through the circuit. The
nature of the circuitry gave a filtered characteristic to the sound.

Effects
Basic Delay Functions
Delay modules can be very complex with additional features and controls and multiple delay
stages and styles. Synchronisation and clock options can be provided internally or from
external devices. While the feature set can be comprehensive, there are some basic
features that are common in almost all modular delays.
Time setting for the delay. This

typically between 20ms to
1sec.
CV control over the time.
Mix between the original dry

signal and the amount of delay
applied
Feedback, also called regen or

repeats. Dials in the amount of
output signal is fed back into
the delay loop.
Input audio level can often be

controlled to drive the delay
Original fully dry audio input
The audio output with delay

applied to the original signal, as
adjusted in the effect.

Effects
OTHER EFFECTS
There are many other effects available in modular format. Modulation can also be
considered an effect. The types and specific functions are generally based on the design,
event effects in the same category i.e. distortion, may carry a variety of different functions
and features.
Distortion
Distortion can be found in a wide range of formats which offer different characteristics and
apply. Distortion is more of a headline term for this specific family of effects that distort the
audio. Overdrive pushes the input harder than normal, causing clipping and bringing a sizzle
and roughness to the sound. Saturation is a distortion to the audio and also imparts a
reduction in the dynamic range, traditionally found when driving hard audio into recording to
tape. Fuzz adds a specific edge of noise to an audio signal. Tube drive is a form of distortion
but applies classic tube technology that saturates the audio signal. This gives an analogue
warmth characteristic.Distortion can be particularly useful on drums and percussion adding a
gritty edge and when used subtly a warmth to the sound.
Compressor
A compressor reduces the dynamic range of an audio signal. This makes the loud peaks
quieter and allows the overall level to be turned up without distorting. Think of this as an
automated level control. Compressors can be used for practical applications to make sounds
louder and balanced but also creatively, especially with sidechain which enables ‘ducking’ of
one signals level i.e. bass line to make space for another i.e. kick drum. An expander works
in the opposite way expanding the dynamic range.
Pitch Shifter
A pitch shifter controls the evolution or pitch change patterns in a creative way. Also can be
used for practical utility functions to align pitch / frequency to other functions.
Ring Modulation
Ring modulation is the interaction with multiple frequencies similar to amplitude modulation.
Two frequencies multiplied together creates additional frequencies, sum and difference. Ring
modulation generates a metallic, synthetic bell like and robotic style sounds.
Chorus
A chorus is where a number of sounds with similar time and pitch characteristics are
combined to form an individual sound. In a module the original signal is normally duplicated
and delayed slightly to build up the multiple layers. The effect gives a thicker, wider sound.

Effects
PATCHING AN EFFECTS RACK
An advantage of modular synths over desktop integrated synths is the ability to patch and
re-patch effect chains, trying various configurations quickly, experimenting and building
multiple effect patches. There are a few considerations that can help get started in
configuring an effects rack. While this example is a good starting point, options to
experiment and veer from convention is encouraged.
Basic Effect Chain - Starting Point Examples. Audio

Control
AUDIO OUT
MULTI
SYNTH
EFFECT
VOICE
MODULE
An obvious choice is to integrate a single multi effects module into the set up. This can be a viable and useful
option making things simple. However his may limit flexibility and options such as creating unique and signature
sound achieved by using different modules. If finances permit, a mix of mult-effects and discrete effects is also
an option.
AUDIO OUT
SYNTH
SATURATION CHORUS REVERB
VOICE
A basic effect chain would start with distortion (gain based) effects followed by chorus (modulation based)
followed by Reverb (time based). A mixer is an option as last module.
AUDIO OUT
SYNTH
OVERDRIVE DELAY REVERB
VOICE
CV
Moving along the effects rack can be adjusted with with distortion (gain based) effects
LFO followed by delay and followed by reverb (time based). To add more movement and
interest modulation of parameters in the synth voice (i.e. filter cut-off) and to the effects
(i.e. delay time) can be applied.

8
Glossary
Glossary
Glossary of Terms and Definitions
There are many many terms used in the world of modular, sometimes
multiple terms are used for the same thing. Some of these terms are unique
to modular and while some are common in electronic music hardware.
Familiarisation with these is useful. There are many resources and forums
online where deeper explanations can be found on these topics. Some
details may seem quite daunting but don’t worry the real objective is to make
some sounds and music so always keep this in mind.

Glossary
Term Description
Sometimes called West Coast synthesis. Combines and adds waveforms and
Additive synthesis
frequencies to generate synth sounds.
An envelope shape which has 4 stages, attack time, decay, time sustain level
ADSR
and release time.
Amplification To increase an audio sound input and increase its level to make it bigger
Represents the volume level and visually represented by the height of a

Amplitude
waveform.
Continuously evolving signals technically generated by electronic (non-digital)
Analog
circuitry.
Attenuation To reduce a level, turning it down in volume or strength.
The voltage signal which is used as part of the control and modulation of
Control Voltage (CV) variable functions of modular equipment. Examples include CV modulation of
pitch and cutoff frequency parameters.
A term applied to filters to the frequency point where the reduction in amplitude
Cutoff is applied. So a low pass filter will have a cutoff frequency at the point of
attenuating the frequencies above the cutoff point.
An input that accepts static and low frequency ‘DC’ signals without these being
filtering out (as they would in AC coupled inputs). Relevant when patched in to
DC Coupled
mixers and controls. This is an important factor in modular setups where DC
control voltages and AC Audio are used together.
Digital Signal The digital technology that enables on board software processing and therefore
Processing (DSP) provides digital audio processing.
To distort, clip or adjustment a waveform shape to change the audio signal tone.
Distortion
Used as a creative effect.
Envelope A modulator which is applied to audio or a control to shape a sound or function
Modular format that the system complies with a standard for assembling various
Eurorack
modules to be mounted and connected together
Voltage Controlled Filter (VCF) or filter is a function that reduces and removes
Filter
harmonics from within an audio frequency range.
Energy emphasised in the frequency range which applies to vocal and human
Formant
voice like sounds.
A control signal that generates and on / off or open / close action, normally
Gate
controlled by a square wave.
Horizontal Pitch, also called hole point. Indicates the horizontal width of a rack
Horizontal Pitch (HP)
row or individual module. Module size is typically measured in HP units.
Low Frequency A waveform that cycles at a frequency below normal hearing levels i.e. below
Oscillator (LFO) 20Hz. Used to modulate other functions rather than generate sound.
A device which enables or disables the passing of an audio signal. Similar to a

Low Pass Gate (LPG)
VCA but with more character and less accurate in linearity.
The control and manipulation of one parameter or function from the control of
Modulation another parameter or function. Used to shape sound and create movement in
sound design.
A device which can perform a task and forms a component in a modular rack
Module system. Any audio device i.e. VCO, effect, utility that can be assembled into the
rack is a module.

Glossary
Term Description
Musical Instrument Digital Interface is a technology that enables the
MIDI
communication between electronic and software audio gear.
The configuration of a synth engine where only one voice can be applied at one
Monophonic time. This means one note can be applied at one time. This is usually more
relevant to bass and simple one note melodies.
Also called multiple. A device which takes a single input and shares it to multiple
Mult
outputs.
Oscillator A function which generates a waveform.
A functional configuration created by connecting (patching) between devices.

Patch
Patch cables usually are connected between devices.
To send a short trigger to a function. Normally refers to pinging a filter where the
Ping
short trigger activates a short resonant burst suitable for percussive sounds
The configuration of a synth with multiple voices enabling multiple notes to be

Polyphonic
played at the same time.
Pulse Width The width between pulses in a waveform
The control of the width of a square wave pulse. Continuously varying

Pulse Width Modulation
(modulating) the width leads to a chorus like phasing effect on the audio
(PWM)
produced.
While quantization refers to aligning notes to a defined grid timing interval in
Quantization general DAW music production, in modular this term refers to the alignment of
notes musically to semitones of a scale.
Term referred to the ability of an audio filter to resonate and therefore generate
Self Oscillation
its own audio signal.
A device which can be setup to replay a sequence and pattern of events,

Sequencer
typically this is a pattern of notes to play a melody.
A filter which enables the high pass, low pass and bandpass to be used at the
State Variable Filter
same time. Usually signified by individual outputs in modular set ups.
Sometimes called East Coast Synthesis. Refers to synths that operate on the
Subtractive synthesis removal of frequencies, normally using a filter, from the original audio to shape
a sound.
Tip and Sleeve are the two connector elements of a mono jack plug commonly
Tip & Sleeve (TS) used as the connector on patch cables. TRS is also used in audio where the
ring carries the second channel of a stereo connection.
Trigger A short pulse which activates and on / off type of signal. Shorter than a gate.
U for Units. The vertical height measure of a module or rack row. Eurorack is
Units (U)
measured in Units with 3U being the standard module height.
Voltage Controlled A module which generates one or more waveform types and hence generates a
Oscillator (VCO) basic audio sound.
Optical technology often found in gates that switches the electronic signals. The
Vactrol
characteristics in its optical nature offer a smooth but less linear response.

9
About Us
About Us
MODBAP MODULAR BY BEATPPL
Modbap Modular is a line of eurorack modular synthesizers and electronics
music instruments by Beatppl. Founded by Corry Banks (Bboytech),
Modbap Modular was born of the Modbap Movement with a simple mission
to dev tools for beat driven hiphop leaning modular artists. It is our goal to
develop eurorack modules from the beatmaker’s perspective while adding
value for music makers of all genres. It’s almost impossible to explain
Modbap Modular without answering the questions; “So, what is ModBap?”
MODBAP is the fusion of modular synthesis and boom-bap (or any form of
hiphop) music production. The term was created by BBoyTech as a
denotation of his experiments with modular synthesis and boombap music
production. From that point forward, a movement was born where like
minded creatives built a community around idea of
Modbap. Modbap Modular is in effect, the result of
that movement in a space where we’d previously not
existed.
www.modbap.com
SYNTHDAWG
Making RTFM Cool! Designer and developer of the audio producer guides,
notebooks and manuals. Taking the audio gear manual to a new level with
deeper dives and insights. Written from a users
perspective and taking a producers view in real
world scenarios to get the very best from the gear
at hand.
www,synthdawg.com

10
Index
Index
Where’s it at.
Not much to describe here. Modular is an almost endless journey. This guide
only scratches the surface of the world of Eurorack modular and what the
devices, configurations and setups are. The limitation is only imagination.
Hopefully the guide has been useful in giving you a start and is something
that helps along your modular journey. Have fun!

Index
3U 9 E
A Effects 3, 67
Accessories 15 Envelope 34
ADSR 34 Eurorack 2
Attack Time 36 F
Attenuator 48, 58 Filters 31, 38
Attenuvertor 48, 58 Formats 2
Audio Frequency Spectrum 24 Frequency 26
Audio generators 23 Frequency Modulation 41
B G
Blanking Plate 17 Gate 37, 49, 64
Bus Board 11 H
C Harmonics 24
Case 7, 8 High Pass Filter 38
Chorus 72 HP 9
Clock 57, 63 K
Compressor 72 Key Tracking 41
Control 3 Keyboards 64
Control Voltage 25, 46 L
Cutoff 40 LFO 51
CV 46, 64 Low Frequency Oscillator 51
D Low Pass Filter 38
Decay Time 36 Low Pass Gate 42
Delay 70, 71 M
Distortion 72 Modular 3
Drum 29, 62 Modulation 3, 50

Index
Mono Synth 61 Screws 16
Mult 58 Self Oscillation 41
Multiple 58 Sequencer 57, 63, 65
N Sine Wave 24
Noise 31 Slew 53, 54
P Sound Shaping 3, 24
Patch cables 18, 19 Sound Sources 3
Patching 59, 73 Square Wave 27
Pitch Control 46 Sustain Level 36
Pitch Shifter 72 Sync 26, 53
Power supply 7, 11, 13 Synth Voices 30, 60
Pulse Wave 27 T
Pulse Width Modulation 26 Tools 21
PWM 27 Triangle Wave 27
R Trigger 37, 49
Release Time 36 U
Resonance 40 Utility 3
Reverb 68, 69 V
Ribbon 11 Volt per Octave 46
Ring Modulation 72 Voltage Controlled Amplifier

33, 42
S
Voltage Controlled Oscillator 25
Safety 5
Sample & Hold 27, 56
Sampler 28
Saw Wave 27

Beatppl is a registered trademark.
All rights reserved. This book or any portion thereof may not be reproduced or
used in any manner whatsoever without the express written permission of the
publisher except for the use of brief quotations in a book review. This book is an
independent production and any official endorsement or sponsorship by any
manufacturers named within has not been granted nor been sought.
Version 1.0 July 2020


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First Edition

Contents Modbap Modular by Beatppl : Per4mer I

Contents Modbap Modular by Beatppl : Per4mer III

Contents Modbap Modular by Beatppl : Per4mer 1

2 Beatppl’s Beginners Guide to Modular Contents

Typical and Common Module Types.

MAKE Sound Sources

SHAPE Sound Shaping

Contents Modbap Modular by Beatppl : Per4mer 3

STARTING THE MODULAR JOURNEY

Idea & Objective

Preparation Rack / Case Power

Budget Size Current ratings

Accessories Core Modules Build & Test

Fixing screws Type Tools

The Journey Goes On

4 Beatppl’s Beginners Guide to Modular Contents

Safety and Setup Checklist

• Check and double check. Especially before powering on.

• Pins properly aligned and connected - no misalignment.

• Correct power connection.

Contents Modbap Modular by Beatppl : Per4mer 5

Case & Power

Contents Modbap Modular by Beatppl : Per4mer 7

8 Beatppl’s Beginners Guide to Modular Contents

The rack width is determined in ‘Horizontal Pitch’ - HP for

3U - 3 Units height is the

Modules range from PSU supplies +12V, -12V, +5V

3U is the normal module height.

Contents Modbap Modular by Beatppl : Per4mer 9

CASE / RACK SELECTION

Rack Selection Checklist

• What module HP will be installed?

10 Beatppl’s Beginners Guide to Modular Contents

PSU Module with Flying Bus Board

Case Mounted PSU

Ribbon Per Module

Contents Modbap Modular by Beatppl : Per4mer 11

11, 12 + 5v - Not used on 10 Pin headers.

Cable connected to the 10 pin module

12 Beatppl’s Beginners Guide to Modular Contents

PSU Selection Checklist

When planning the power supply current, as a general guide consider

Contents Modbap Modular by Beatppl : Per4mer 13

Contents Modbap Modular by Beatppl : Per4mer 15

Screw Selection Checklist

Standard M3 Screws. Standard M3 Screws. Knurled M3 Screws. Knurled grip,

16 Beatppl’s Beginners Guide to Modular Contents

Blanking Plate Selection Checklist

• Blanking plates do add weight so during transportation and mobility this is a

Example 4HP Beatppl

Contents Modbap Modular by Beatppl : Per4mer 17

Standard inline TS Mono 3.5mm Jack.

Standard angled TS Mono 3.5mm Jack.

Stackable inline TS Mono 3.5mm Jack. Patch

Additional patch cables can piggy back into the

18 Beatppl’s Beginners Guide to Modular Contents

Tip. Audio / Control Signal

Lengths will vary and it is

Cables are often color coded.

Contents Modbap Modular by Beatppl : Per4mer 19

Patch Cable Selection Checklist

Invest in a cable organizer of some sort to to keep the cable clutter