OUT NOW: MODOR'S COMB FILTER AND FORMANT FILTER IN EURORACK MODULES!
MODOR MUSIC MAKES A SIDESTEP TO THE SPECTACULAR WORLD OF MODULAR SYNTHESIZERS...

 

MODOR EURORACK MODULES

We received the question quite a few times: 'When will you break up the Modor NF-1 in Eurorack pieces?' Well, we 're not going to build Eurorack modules for everything there is in the NF-1, there are plenty of good oscillators, LFO's, ENV's, etc out there. But we tought some of the NF-1's building stones are that special and unique we can't leave the modular world deprived of it ... :-)

So, here we are: Modor's Eurorack Modules. Our Formant Filter and a Comb Filter modules are already out and in the shops, and a Noisy Oscillator module is in development!

COMB FILTER

What is a Comb Filter? It is a digital filter where the input signal is mixed with a slightly delayed version of the input signal. You won't hear it as some kind of an echo, as this delay is very short (40ms at max). But the mixing process creates a number of equally spaced peaks and holes in the frequency spectrum, that make it look like the teeth of a comb. That's where the name 'Comb Filter' comes from.

Comb filters are typically used to make chorus and flanger style effects. These effects are created by modulating the delay time. With longer and relatively fast modulated delays you receive a chorus effect. With short to very short slowly modulated delays, combined with some feedback you'll get the typical sound of a flanger unit.

So, the most interesting parameter in this is the delay time. That determines the frequency spacing of the comb teeth. So that's why there's a CV control for it. The typical chorus and flanger effects are made by modulating the delay time with a triangle LFO. So there's a triangle LFO onboard the module, with speed control. If you don't enter any CV in the CV1 connector, it is normalled to this internal LFO to make typical effects. CV2 is normalled to the reverse signal of CV1, to make Modor's typical wide stereo effects, just as on the NF-1 synthesizer. But of course, you can enter your own CV signals in there: LFO's, Envelopes or some rhytmically undulating spacy voltage signals... Check it out!

EURORACK
  • Width: 14 HP
  • Depth: 12mm
  • 130mA +12V
  • 20mA -12V
POLYPHONY
  • Or: 2-voice polyphonic
  • Or: stereo
FRONT PANEL CONTROLS
  • 5 rotary knobs
CONNECTORS
  • 2 audio inputs
  • 2 CV inputs
  • 2 audio outputs

The center big DELAY control sets the delay time, the DEPTH control sets the amount of CV modulation of the delay time. DEPTH can go positive and negative.

The MIX control sets the dry/wet mix. The FEEDBACK controls the amount of feedback. It can be set both positive and negative. The SPEED control sets the pace of the internal triangle LFO.

 

FORMANT FILTER

Modor's Formant Filter is a special filter that does a kind of 'vowel morphing' between three vowels. The big central FORMANT control is responsible for that, and on the Eurorack module there's of course a CV control (with attenuation) on this parameter.

You can imagine a formant filter as a set of parallel bandpass filters, picking up and amplifying a set of small frequency bands. For example, with these frequency bands around 750Hz, 1200Hz and 2800Hz, you get the sound of an 'A'. So far, nothing special. There are more formant filters around composed of a set of parallel bandpass filters.

It gets more interesting when you're able to 'morph' between different sets of those formant frequencies. Behind the central FORMANT control, there are 3 of those sets of frequencies. One at full left, one in the middle, and one fully right. So you can for example morph between A-E-O. Or U-I-E. Or AO-UI-EU. Or ...

That's what it does: morphing between different sets of formant frequencies, and that's why it sounds a lot more genuine vowelish than many other static bandpass combinators.

There are 10 preset vowels, that can be selected with the VOWEL button: A-E-O-I-OE-U-EI-EU-AO-U-UI. The vowels of the Dutch language... :-)

The 1-2-3-4 controls on top give you the possibility of composing your own vowels by manually adjusting the frequency bands.

EURORACK
  • Width: 16 HP
  • Depth: 12mm
  • 140mA +12V
  • 10mA -12V
POLYPHONY
  • Or: 2-voice polyphonic
  • Or: stereo
FRONT PANEL CONTROLS
  • 6 rotary knobs
  • 3 pushbuttons
  • 9 indicator leds
CONNECTORS
  • 2 audio inputs
  • 2 CV inputs
  • 2 audio outputs

The center big FORMANT control does the morphing between the three vowels, the AMOUNT control sets the amount of CV modulation for this control.

The three leds above the buttons show which of the three vowels is selected for editing. That depends on the position of the FORMANT control.

The VOWEL button chooses which of the 10 factory presets go into the active vowel. SHIFT+VOWEL saves all the actual settings to be reloaded when the modular system is powered off and on.

The 1-2-3-4 controls select the 4 frequency bands of the active vowel. SHIFT+1-2-3 sets the presence of the first three frequencies, SHIFT+4 sets the volume of the active vowel.

 

NOISY OSCILLATOR

In development, launch expected february 2019

Our Noisy Oscillator module is and oscillator that mixes two signals: a 'regular' wave (sawtooth/square/triangle) and a 'tonal noisy' wave. This adds a special noisy layer over the sound, that adds 'air', grit or dirt, depending on the combinations you make. The MOD parameter acts on the noisy waveforms:

  • Sonar Noise: a white noise filtered by a resonant bandpass filter, with 1V/oct tracking of the filter frequency. The MOD parameter controls the resonance.
  • Wind Noise: white noise filtered by a comb filter, with 1V/oct tracking of the base frequency (delay). The MOD parameter controls a 6dB/oct hipass filter.
  • Arcade Noise: LFSR noise source as can be found on the SID soundchips (Commodore) or Sega Arcade games. The MOD parameter controls again a 6dB/oct hipass filter.

The noisy wave can be set equal, or 1 or 2 octaves above the regular wave.

The module has two voices, with their own set of CV and output connectors. This can be used to play in a full 2-voice polyphony, or in a 2-voice unison. The outputs can be separate, using both output connectors, or mixed, using only the connector of the second voice.

Next to the 1V/oct pitch CV, the module offers CV control over pitch (FM), the MOD parameter and the sound level:

  • FM CV: pitch control normalled to 0V, attenuated with the FM knob (+ and -). This allows for Frequency Modulation up to the lower audio range. It's of course a digital module, so higher frequencies can start inducing aliasing and digital artefacts.
  • MOD CV: CV control for the MOD parameter, normalled to 0V and attenuated with the CV AMT knob (+ and -).
  • LEVEL CV: CV control for the sound volume, normalled to 7.5V. With this CV control you can omit an external VCA stage if you want.

The CV signals of the second voice (upper row of connectors) are always normalled to the signal of the first voice (lower row), so you can use a single LFO for some FM vibrato or tremolo on both voices, for example. Only the V/oct connector of the second voice is normalled to the first voice with an extra addition of a fixed voltage that can be set using a trimmer at the backside of the module. This way you can use the 2 voices to play in unison with a fixed pitch separation you can set on the backside.

EURORACK
  • Width: 22 HP
  • Depth: 12mm
  • 130mA +12V
  • 30mA -12V
POLYPHONY
  • Or: 2-voice polyphonic
  • Or: 2-voice unison, pitch separation with a trimmer at the backside of the module.
FRONT PANEL CONTROLS
  • 6 rotary knobs
  • 2 pushbuttons
  • 3 indicator leds
CONNECTORS
  • 2 V/oct pitch CV inputs
  • 6 modulation CV inputs
  • 2 audio outputs
           
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