I sold my modular gear a while back. It was cool but I didn’t need a $2,000 mini setup to sample crazy loops from. I can do it all in software and it sounds just as good, so whats the point?
Been selling a lot of hardware off lately and decided to just keep key items (some samplers, effects, sequencers) that I think really add value to the sound of my music. Besides that, I’m not seeing much in hardware that really grabs my interest anymore besides that new OTO mixer coming this summer. Maybe that will change, but hardware is expensive and takes time to learn and build a workflow with.
The big influx I can recall was around 2014 when the documentary “I Dream of Wires” was released, which covered the resurgence in modular up to that point, but also introduced the concept to a lot of new people.
Companies and users are always getting in and out of modular, for example bigger companies like Dave Smith Instruments and Roland released a few eurorack modules then discontinued them a few years later.
I think eurorack will always be a fertile ground for new ideas or DIY projects, because the barrier to entry is so low (don’t need to design a power supply or enclosure, etc.) But there are also a lot of things that are just done better with other gear or software.
I’ve really only ever had a mild acquaintance with modular. I’m actually looking forward to having more of a deep dive with it someday. I don’t have nearly enough free time to justify putting a system together. Young kids and busy life prevents me from diluting the limited music time I have with it.
But as the free time begins to return I think the exploratory nature of modular would suit me well. I am mostly drawn to it for experimental purposes. Builidng my own ‘traditional’ polysynth or groovebox doesn’t appeal to me so much.
I think everyone just got into modular because Ricky Times kept showing off these little palette cases but now that he is back ITB they all need to finance new MacBooks
Got into modular because i want that hands on control I can’t have with an A4 or DT. Wanted to get the A4 but more than 2 Elektron sequencers live is too much for the human brain to Programm
I got into modular as a DIY hobby. Now some parts are hard or impossible to get. Local synth shop stopped selling modular stuff, basically everything got too expensive/rare. Also got Digitakt and that changed my whole workflow, also I plan on doing some live shows, so preset recall is important now, so I sold MI modules and now I’m left with Frankenstein that is half DIY and half cheap modules lol.
dang u really dislike fixed gear huh… well good sir, actually pedaling downhill off-road being fixed is my absolute favorite rush on a bike
you’re absolutely right though, this is exactly what happened with lot’s of people, they did it cause it was kewl not cause they really liked it for being hard and what fixed gear is…
I actually went in the other direction, I started as All-Mountain/Downhill with hardtail with speeds and front suspension, tried full suspension but it was not for me, downgraded to single speed and full rigid and started doing bikepacking, downgraded to road fixed gear, realized that road is not my cup of tea so ~5 years ago I built the last bike I’m still using for fixed gear off road fun… so cheers to my Monkey Butt Red (official color by Surly) Steamroller…
you can have some mutable instruments in vcv rack but you can’t re create the hybrid nature of digital/analog fusion which specifically has to be touched.
cluttered Modular’s are no good, it’s crammed and gives a headache.
the “System” approach is a musical journey because you’ll identify with things you know as an example people identifying with a “cheap” approach by thinking a Clouds is a Clouds because the core has been adopted but in reality it’s a masterpiece
I got out many years ago when there was basically Doepfer and Analogue Systems. Got sucked back in by all the cool new digital modules and soon had a roaring addiction. Now back firmly under control, barely touch the modules I have left except when they’re in a small case, ordered by function and primed to reduce distraction. Give me too many options and I never get anything done, just endlessly faff and reorganise, struggling to know where I am or where I’m going. I’m old though so maybe that’s relevant.
I think the one thing most people are missing, when they first get into modular, is a reason.
As I see it, modular is a blessing if you want to build something simple and concise that the market doesn’t support, or just need absolute control over the finer points of an otherwise basic concept. Things like filterbanks, or devices like the Oto Biscuit come to mind; or a monosynth, for instance, with the advantage being that you could swap out the filter as desired.
Beyond that, without direction, it’s a money pit; and sure to prove a kludge, if making music is the end goal.
A quick check shows the Roland 500 series are still listed on their website and for sale on the likes of Thomann or Control Voltage for example, so they seem to be around still; which might or might not be indicative of continuing modular sales for them. Their Aira series of digital modules (eg the Demora, which I regret not getting at the time) are shown as discontinued though.
Roland’s a far bigger manufacturer than, say, Mutable Instruments were or Make Noise are, so perhaps can better afford to keep modules in production; but they would probably also discontinue Eurorack if they weren’t selling too.
I was at a modular meetup last night at the local public library. The presenter (Yoni Newman from Rabid Elephant) talked about the difficulties of using modular in live performance. Later, an audience member asked what the best way to get into modular was. “Don’t,” I said, and several others echoed me.
I don’t regret what I’ve spent, I’m mostly happy with what I got, and I learned a lot. But I’m not trying to be productive in any way. I spend an hour or two mesmerized by what I am doing, knowing that I don’t have to repeat the experience identically or please anyone else with it.
