‘Studio as modular’ – Part Three: Cause & FX
In the first two parts of this article on my ‘studio as modular’ method of music production I’ve covered a way of deconstructing how to approach sound sources and shared my thoughts on how to re-consider using modulation. This time it’s all about use of FX.
A bit of background first – when I started working with modular kit my main focus wasn’t on building a machine for DAWless jams but instead a more dynamic and experimental alternative to the guitar FX I’d been using for sound design for years. The use of VCOs actually came later once I’d seen the potential compared to regular hardware synths.
Guitar FX are great but even the most out there have limitations due to their core format and focus, whilst using Eurorack FX and filters let’s producers push the envelope much, much further.
This FX focused rack eventually became one half of the setup I use now and, as you can see from the image above allows external input from my audio interface using the Joranalogue RX2 (far right) and a patch bay (above), which outputs from my DAW and then receives the processed signal back in again.
Control Freaks
The huge amount of modulation options available in most modern DAWs and Eurorack setups opens up a whole world of sound design and creative options for producers, and when it comes to applying these to FX can get crazy and interesting.
One piece of advice when it comes to this approach is to seek out DAW FX or modules that offer the most options in terms of MIDI cc/automation or CV control – and also aim for a good mix of sonic flavours inc Filters, delays, chorus, flangers etc even if these is delivered in a single dynamic module or plugin.
The range of sonic possibilities available to a producer is a little like the range of colours available to a painter – they add creative options and flexibility.
Welcome to the order
Any guitarists reading this will be well familiar with the idea of an FX chain and for the most straightforward approach the same principles apply here – at least initially.
A recommended signal path for working with modular or DAW FX is:
1) Filters, overdrives, distortions at the start of the chain, followed by….
2) Modulation FX such as chorus, phaser, flanger (as well as some of the more experimental Eurorack FX such as MI Clouds and Warps) – and then…
3) Delays and Reverbs to finish off those signals with added depth, shimmer or weirdness.
That’s the basics but often the most innovative results come from re-ordering this – for instance distorting and filtering signals which are already delayed can often sound amazing.
So that’s sound sources, modulation and FX covered – in the fourth and final part of this article I’m going to share some audio examples of the ‘studio as modular’ approach and some notes on how this mindset was applied in their creation.
