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Learning Modular Synthesis: Arturia Modular V

Learning Modular Synthesis: Arturia Modular V

3h 8mBeginner2017-01-13

Authors

Chris Meyer

Chris Meyer

Principle at Crish Design

Course details

One of the most exciting areas of music creation is modular synthesis, where you get to interconnect the fundamental building blocks of a synthesizer to create your own instrument. In this course, music industry veteran and synth designer Chris Meyer uses the Arturia Modular V software—a realistic emulation of the original Moog modular synths of the 1960s and 1970s—to teach you how to "patch" a modular synth to create your own sounds. Chris starts with the fundamentals of how harmonics and sound work, as well as how to connect the modules together. He then goes through the main modules individually, explaining the differences between oscillator waveshapes, filter types, and more, while demonstrating how to use them in a musical context. The third chapter teaches advanced techniques such as frequency and amplitude modulation, as well as using the effects and advanced filters in Arturia Modular V.

Learning objectives
How harmonics combine to create unique "timbres" or tone colors
How to configure and navigate Arturia Modular V
How to combine oscillators in series and in parallel to create thick sounds
The aural differences between oscillator waveforms as well as filter types and slopes
Different ways to apply and control LFOs to create tremolo, vibrato, and wah-wah effects
How to use noise as a sound source as well as a way to introduce randomness into a patch
What the individual controls in the delay, chorus, and phaser effects do

Skills covered

Modular VArturiaSound DesignAudio and MusicVideoLearning

Concepts

0. Introduction

  • 01 - Welcome
  • 02 - Fundamental concept - Harmonics and sound

1. Running Modular V

  • 03 - Installation and initialization
  • 04 - The user interface
  • 05 - Creating your first patch

2. Basic Synthesis Techniques

  • 06 - Using multiple oscillators (VCOs)
  • 07 - The basic analog waveforms
  • 08 - The classic low-pass filter (LP VCF)
  • 09 - Attack decay sustain release (ADSR) envelopes
  • 10 - The high-pass filter (HP VCF)
  • 11 - Using the Filter Coupler (band pass and reject modes)
  • 12 - The 2-pole multimode filter
  • 13 - Low-frequency oscillator (LFO) wave shapes
  • 14 - Pulse-width modulation (PWM)
  • 15 - Tremolo with LFO delay and fade-in
  • 16 - Controlling the LFO with the mod wheel
  • 17 - Adding vibrato

3. Getting More Complex

  • 18 - Oscillator sync
  • 19 - Frequency modulation (FM)
  • 20 - FM drum sounds
  • 21 - Modulating the filter
  • 22 - Amplitude and ring modulation (AM)
  • 23 - The Fixed Filter Bank
  • 24 - The formant filter
  • 25 - Adding noise
  • 26 - Sample and hold (S-H)
  • 27 - Trigger delay
  • 28 - Dual audio delay
  • 29 - The chorus effect
  • 30 - 12-stage phaser

Conclusion

  • 31 - Exploring further

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