The Eurorack Revolution: From Garage to World Format (Part 2)

In part one, we met the pioneers – from Delia Derbyshire to Suzanne Ciani – and understood the battle between East and West Coast synthesis. Now we jump forward to the 1990s, where a German engineer reinvented modular synthesis for a new generation.

The Dark Years of Modular Synthesis

In the 1970s and 1980s, it looked like modular synthesis was dying. Compact polyphonic synthesizers like the Yamaha DX7, Roland Juno-106, and Korg M1 dominated the market. They were cheaper, easier to use, and produced the sounds that contemporary music demanded.

Moog, Buchla, and ARP struggled financially. Modular systems were considered relics of a bygone era – too expensive, too impractical, too experimental for the synthesizer-driven pop music of the time.

But in underground studios and universities, the modular spirit lived on. And in Germany, an engineer named Dieter Doepfer was about to change everything.

Dieter Doepfer and the A-100 System

In 1995, Doepfer Musikelektronik in Germany launched what would become known as the Eurorack format: the A-100 modular synthesizer system.

Doepfer's stroke of genius was creating an open, standardized format:

• 3U height (3 rack units / 128.5mm)
• Width measured in HP (Horizontal Pitch, 5.08mm per HP)
• ±12V power supply via standard ribbon cables
• 3.5mm patch cables (cheap and accessible)
• 1V/octave CV standard for pitch control

The crucial point was that Doepfer shared the specifications freely. Other manufacturers could build compatible modules without licensing agreements. This opened the door to what would become an explosion of creativity.

Doepfer Musikelektronik →

From Niche to Mainstream (2010s)

Initially, Eurorack grew slowly. But around 2010, interest exploded. Several factors came together:

• The internet made it possible to share knowledge, patches, and inspiration globally
• YouTube allowed demonstrations that inspired new users
• DIY culture from the maker movement crossed over to modular
• DAW fatigue – many producers sought to escape the screen and return to physical instruments

Suddenly it wasn't just Doepfer. Hundreds of new manufacturers appeared with modules ranging from faithful reproductions of vintage designs to entirely new concepts.

The Big Names in Eurorack

Make Noise (USA)

Tony Rolando founded Make Noise in 2008 and quickly became synonymous with innovative West Coast-inspired design. Modules like Maths (a multi-function modulator/envelope), DPO (Dual Prismatic Oscillator), and Morphagene (granular sampler) defined a new aesthetic.

The Make Noise philosophy is about complexity through simplicity – modules that do few things but do them exceptionally well and in unexpected ways.

Make Noise Music →

Intellijel (Canada)

Danjel van Tijn started Intellijel in Vancouver and focused on precision and functionality. Their modules like Planar (joystick controller), Metropolix (sequencer), and Quadrax (quad function generator) are known for their thoughtful interfaces and reliability.

Intellijel →

Émilie Gillet and Mutable Instruments

And then there's Émilie Gillet – a French engineer who perhaps has had greater influence on modern Eurorack than any other individual since Doepfer.

In 2013, she launched Mutable Instruments with a radical philosophy: all her designs would be open source. Source code, schematics, PCB layouts – everything was shared freely on GitHub.

Groundbreaking Modules

• Braids – a digital macro-oscillator with 47 different synthesis modes
• Clouds – a granular processor that became so popular it defined an entire sonic aesthetic
• Rings – physical modeling that simulates resonating bodies
• Plaits – the successor to Braids with even more possibilities
• Marbles – a random sampler/quantizer with musical intelligence

Gillet's modules are known for their musicality. Where many digital modules can sound sterile, Mutable Instruments designs have an organic quality that makes them favorites among musicians, not just gear enthusiasts.

The Open Source Legacy

In 2022, Gillet announced she would stop producing Mutable Instruments modules to focus on other projects. But because everything was open source, the designs live on. Other manufacturers make "clones" with her blessing, and the community continues to develop the firmware.

This is the ultimate validation of the open source model: even when the company stops, the product never dies.

Mutable Instruments (archived) →

Émilie Gillet on GitHub →

Eurorack Culture

Eurorack isn't just a format – it's a culture. Some characteristic features:

GAS (Gear Acquisition Syndrome)

There's a joke in the modular community: "Eurorack is the only instrument that's never finished." Because you can always add one more module, one new function, one new sonic possibility. This can be both inspiring and... expensive.

Patch Culture

Unlike traditional synthesizers where you typically save presets, Eurorack is ephemeral by nature. Each patch is unique, and when you remove the cables, it's gone. This forces you to be in the moment – and to record everything.

Community and Sharing

Platforms like ModularGrid make it possible to plan and share systems. YouTube is filled with patch demonstrations. And local "modular meetups" gather enthusiasts for jam sessions.

Criticism and Considerations

Eurorack isn't for everyone. Some valid criticisms:

• The price: A functional system can easily cost $2,000-$5,000 or more
• The learning curve: It takes time to understand CV, gates, envelopes, and patching
• Paralysis by choice: With 15,000+ available modules, choosing can be overwhelming
• Limitations: Without sequencing and quantizing, you don't necessarily get "music" – you get sound

But for many, these "drawbacks" are precisely the point. Eurorack forces you to learn synthesis at a deeper level, to be conscious about your choices, and to develop your own unique sound.

Try Modular Thinking in Ableton Live

You don't need to invest thousands for the modular experience. Ableton Live contains tools that simulate many of the concepts:

Max for Live: Your Virtual Eurorack

Max for Live is Ableton's integration of Max/MSP – a visual programming environment for audio. With Max for Live you can:

• Build your own "modules" as devices
• Connect parameters across instruments (modular-style routing)
• Download community-created devices that replicate Eurorack modules

To Be Continued...

In the next part of this series, we dive into VCV Rack – the free, open source Eurorack simulator that has made modular synthesis accessible to anyone with a computer. We'll look at how software modular integrates with hardware and Ableton Live.

Sources and Further Reading

• Wikipedia: Eurorack
• ModularGrid – Plan your system
• Learning Modular – Chris Meyer's tutorials
• Perfect Circuit: What is Eurorack?

Om forfatteren

Ras 'Kata' Kjærbo

Ras Kjærbo is an Ableton Certified Trainer and one of the driving forces behind Rumkraft. He teaches Ableton Live and music production, and is passionate about sharing his knowledge on everything from sound design to live performance techniques.

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