Software-controlled Modular Synth
Reviews : Keyboard
The Nord Modular offered a classic blend
of flexible software and well-designed hardware in 1998. But can the
improved G2 keep up with the soft synths of 2004?
Like its predecessor, the G2 is controlled by very
DSP-light front-end software, all the synthesis calculations taking
place in the hardware keyboard.
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When I first encountered the Nord Modular, it seemed
to herald an exciting new era in synthesizer design. In 1998, it was a
brave and innovative step to offer an affordable synth system which used
drag-and-drop-based software to construct its patches while leaving the
synthesis to the DSP in the accompanying controller keyboard. However,
rather than take up the challenge, the majority of hardware synth
manufacturers steered clear of this concept, until computers became
powerful enough to start running synthesis software unaided by external
DSP. Since then, most of the innovation in synth design has been in
software-only instruments, with one or two notable recent exceptions,
like Hartmann's Neuron or Roland's V-Synth.
Undaunted by this, Clavia have decided to
demonstrate their faith in their part-hardware, part-software approach
to synthesis, and have forged ahead with a 'second-generation' Nord
Modular, the G2. This is just as well, as the 1998 Modular is now
looking rather long in the tooth compared to some of 2004's
software-only synths. The G2 therefore represents an opportunity for
Clavia to bring their Modular concept up to date for sound designers,
but of course with its hardware keyboard, it also has advantages to
offer over software for live performers. It could be a dream instrument
for both programmers and performers — so how does it fare?
Although there is much that is familiar from the
original Nord Modular, Clavia have opted for a drastic overhaul with the
G2 — most strikingly in the areas of control and performance — and have
responded to practically every criticism levelled at the earlier model.
There are one or two omissions, but we'll come to those in due course.
Before starting, it's important to understand that
this is a complex, powerful instrument with over 150 modules currently
available. Fortunately, many of these are comparable to those of its
predecessor, so it would be helpful to re-read the earlier SOS
reviews, starting with the initial two-parter in April and May 1998, and
also the later version from July 2000 that brought the Apple Mac into
the fold.
There are already three types of Nord Modular G2
(see the 'Model Behaviour' box at the end of this article), but this
review will concentrate on the G2 — by happy coincidence the version I
would have personally requested. This model has a three-octave keyboard
with aftertouch and velocity sensitivity (including release velocity),
plus Clavia's expressive pitch stick and modulation wheel, as seen on
the Nord Lead series. Octave Shift buttons extend the keyboard's range
by ±2 octaves when driving the internal sound engine, and in conjunction
with the Shift key, this transposition can be applied to externally
controlled instruments too.
The original Nord Modular communicated with its
software editor via a dedicated set of MIDI ports. Not only did this
confuse some users (and some MIDI interfaces), but it felt like a
workaround awaiting a better solution. Fortunately, that's just what the
G2 offers — its USB connection provides all the necessary connectivity
with the editor, leaving the MIDI ports to do their traditional thing.
There's even a MIDI Thru socket this time! I'm pleased to report that
during the review period, I never once lost contact with the modular —
and I certainly couldn't say that with the last version (3.03) of the
original Modular's editor. The G2 editor only supports one attached
Modular — unlike the older editor, which could address up to four.
The G2 has a generous four audio inputs, plus a
tight-fitting XLR mic Input, complete with built-in preamp and dedicated
level control. If used, this XLR connection disables Input 1. Adjacent
to these, on the busy rear panel, are four audio outputs. No digital I/O
is present, but the 24-bit, 96 kHz A/D and D/A converters do at least
give excellent audio quality.
The Nord G2's user interface is a vast improvement
over that of the original Modular, with its endless encoders and LED
collars, and displays above each of the encoders so that the control
legending can be changed at any time.
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Gone from the front panel are the 18 unlabelled
knobs and lone two-line LCD of the former Modular. The G2 boasts
multiple displays and a panel endowed with rotary encoders and buttons
galore. Replacing 18 knobs with eight knobs and some buttons might seem,
at first glance, like a poor exchange. However, the G2 borrows a
concept seen on such classic instruments as the Oberheim Xpander — a
series of small displays above the encoders that change according to the
assignment of each encoder. You choose which controls are important and
make them available for tweaking on a patch-by-patch basis; the result
is that five separate 2x16 displays manage to convey more useful
information at a glance than many instruments with a fixed set of
controls. In conjunction with a row of Nord-Lead-3-style endless rotary
encoders surrounded by a ring of LEDs, you can see up to eight values at
any time. Buttons underneath the encoders can quickly toggle values and
are ideal for on/off-type functions.
Jumping between 'pages' of assigned controls is as
quick as hitting buttons; a series of five buttons at the right of the
top panel are labelled Osc, LFO, Env, Filter and Effect, and each of
these has a further three sets of pages where knob assignments can be
stored. When you select a different 'page' of controls, the knobs' LED
collars and the LCDs update to reflect their new values. In total, 120
parameters are accessible directly in this way, and this transforms the
G2 into a performance instrument par excellence compared with
the old Modular. Your knob assignments needn't be confined to those of
the button labels either — you are free to assign any control to any
page, although it makes sense to use them as far as possible.
On the G2, far more actions can be performed without
ever needing to switch on your computer. Knob and Morph assignments can
be performed directly from the G2 hardware (for more on Morphs, see the
box over the page). As before, the complete patch can be edited from
the hardware alone; if you press the Patch button (adjacent to the red
Store button), the navigation keys will take you around every module,
where you can make tweaks, knob assignments, morph assignments and so
on. The additional displays give far greater parameter visibility than
the old single-LCD version, and editing a patch this way is surprisingly
painless. However, what you cannot do is change the modules or cabling —
for that you need the software editor, which I'll come to shortly.
Normally, the multiple displays show module names
and their assigned parameters, with parameter values represented by the
position of the lit LED in the encoder ring. By pushing the Display Mode
button, you can read the numeric value of the parameter instead, with
the parameter name replacing the module name.
The G2 architecture includes a built-in arpeggiator
and vibrato oscillator plus glide and bend settings. You don't have to
use up any modules to enjoy these — they are always present and
accessible from the Patch Settings button. The arpeggiator is basic, as
we've come to expect from Clavia, but it's great that it's there.
Similarly, using the built-in vibrato LFO might be a valuable resource
saver. Other Patch Settings include level, the global clock tempo, and
the number of voices you've requested for your patch, although as on the
previous Modular, whether you get the polyphony you want depends to
some extent on the DSP load you place on the G2 when you program it (see
the box below).
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Sounds
Factory sounds on an instrument such as this are
always going to be a varied bunch; with the tools on offer it's hard to
imagine any two programmers taking the same approach. Thus, a quick spin
through the factory sounds reveals familiar Nord tones, acoustic guitar
simulations, complete sequenced performances, many analogue emulations,
electric pianos and so on. Many of these patches also include useful
Variations. Here are a few choice examples, which you can also hear at www.soundonsound.com/soundbank.
 'Haunted': Various vowel filters are employed in this eerie pad.'Koto' and 'Acc Guit': These two make good use of the string oscillator.'BackTo72': A very analogue-sounding solo patch.'StringVariations': A highly playable collection of solo and ensemble strings.'G2Padding': A rich, warm pad.'Trance2_DZLW': Five sequences including synth voices and percussion.'Alien': A simple but atmospheric patch using stereo delays and reverb.'Transporter': Beam me up, Scotty...'Feng Shui': An impressive series of sound effect variations.'YetAnotherOrgan': Like the name says...'Bells': Deep, realistic bells created by no less than 11 oscillators.'Arpeggiaperc': An example of the arpeggiator in use (with delay).'Fat Bass NL2': Just in case you've forgotten how good the Nord filter sounds...'Fat Lead 1': Some lead variations that should cut through pretty much anything.'Laika': Strummed string oscillators make up this subtle, evocative Performance.'Beatbox': Another Performance ably demonstrating use of the sequencers and percussion.'Jinglebellscape': A marvellous evolving Performance. I won't say any more, just listen... |
Sounds are organised into 32 banks of 128 patches.
If all these were filled, there would be a total of 4096 patches.
However, there is insufficient memory for this number, and the manual
suggests that 1200 is a more feasible maximum to expect. Nevertheless,
it still makes a lot of sense for the G2 to organise its memory this
way, as related patches can be grouped in the same bank for ease of
access.
You can select patches either by the order in which
they are stored, in alphabetical order, or by category (there are 15 to
choose from); you use the G2's Shift key in combination with the Down
navigation key to toggle the selection criteria. The Up and Down keys
then select different banks, the letters of the alphabet with which
patch names begin, or categories. Patch selection is made by turning the
patch encoder and hitting the Load button when you reach your choice.
As on the previous Modular, up to four patches can
be running on the G2 at once, each in a memory location that Clavia
refer to as a Slot. This means that the G2 is up to four-part
multitimbral, as each Slot is able to hold a separate patch running on
its own MIDI channel. You can also layer patches by holding down several
'Active Slot' buttons simultaneously.
Performances are new to the G2 — and what a welcome
addition they are! Finally, a single selection can serve up a complete
four-part multitimbral setup. There are 1024 Performances in total,
arranged into eight banks of 128. Performance mode is accessed via the
button of the same name, and you then make your selection in the same
way you do for patches.
Splendidly, the four patches in each Performance are
not merely references to the main pool of patches — they are memories
in their own right. Similarly, knob assignments can be freely made for
the entire Performance — so you might create a set of mixer assignments
gathering all patch volumes onto adjacent knobs, for example. Just as
with patches, memory restrictions may mean you do not have enough space
to fill every one of these Performances.
Having worked with the previous Nord Modular for
some years, I often made collections of patches based on favourite
configurations of modules. So how I longed for something like the G2's
Patch Variations — of which there are eight in every patch. Each
Variation can have unique parameter values, knob assignments, morph
settings, and so on. The only restriction is that modules and
connections are fixed across all Variations. Nevertheless, this really
extracts the maximum mileage out of the patch locations on offer.
Variations are accessed by a row of dedicated
buttons, by the left and right navigation keys, or via MIDI controller
70, and are stored automatically when the patch is saved. Unlike loading
a whole new patch, Variations do not cause the DSP to be recalculated,
so you can switch between them far more quickly and smoothly.
Internally, what has changed? Well, the G2 has RAM
set aside for effects such as reverb and a delay of decent length. It
has an internal buss system so that signals can be routed internally
amongst its four Slot memories and it is also now capable of generating
MIDI information from its internal modules — sequencers, LFOs, envelopes
and so on. Add in all manner of tweaks to the editor software (which
was already a fine working environment) and you can begin to appreciate
that Clavia have not been idle.
Improvements are still being made. Not all the
former modules have been ported over from the first generation of the
Modular, and although Clavia have claimed that most will reappear or
equivalents will be implemented, work is still in progress as I write
this. More seriously, there is no way to import patches from the
original, short of manually recreating all your patches by hand — a
significant disappointment if you want to upgrade and have a large
collection of your own patches.
The G2 also doesn't have any sample RAM, so there is
no possibility of incorporating short audio samples into oscillators.
In my opinion, this would have made the G2 far more 'complete', but
Clavia didn't seem terribly keen on the idea when I put it to them,
perhaps because the G2 has no means to store samples on board, or
perhaps because they have a specific philosophy that precludes the use
of samples. But who knows what the future will hold, and whether the DSP
currently allocated to reverb and delay could be cunningly reprogrammed
to allow a short, volatile sampling capability? After all, we've even
seen sampling turn up on some of the latest hardware modulars, such as
those from Doepfer and Analogue Systems.
Finally, SysEx dumping of Patches and Performances
is now a reality — the function is invoked by holding down the Shift and
System buttons. The data duly spills from the MIDI Out socket, at which
point you can store it in your sequencer and thus ensure the correct
sounds are available for each song. This was a feature much requested by
owners of the previous Nord Modular.
The editor component of the G2 is the front-end
software required to create new patches, assemble collections of modules
and cable them all together. It requires a PC running Windows 98SE,
2000 or XP and should be at least a 450MHz Pentium II with 64MB of RAM
and a USB 1.1 port. This is not terribly demanding by today's standards,
and both my main studio PC and my ageing laptop coped with it
effortlessly.
Installation of both the required USB driver and the
Editor went without incident, the first being handled by the usual
installation wizard and the second by the installer on Clavia's supplied
CD. Incidentally, you can download and install the software yourself if
you're interested in seeing what it looks like, even if you don't have
the synth present.
Once you're up and running, you'll notice that the
currently selected patches are loaded into the editor automatically. The
patch that is, as Clavia put it, 'in focus' — that is, the one that is
ready to edit via the synth's panel — is also 'in focus' in the editor
software (note: it is possible to play one patch and edit another if you alter the focus using the Focus/Copy button on the panel).
There are 15 different module groups accessed via
tabs running along the top of the window. Clicking on a tab reveals all
the available modules, and holding the mouse over an individual module
icon displays it in actual size. To add any particular module to your
patch, you either double-click on it or drag it to the position you want
on the workspace.
You can set up so-called Initial Patches containing
favourite modules — although only two of them — so that you can get on
quickly with the business of patch construction. This is similar to the
concept of Templates on the old Modular, but having just two of them
seems rather stingy.
In common with v3.0x of the old Modular's editor,
the G2 editor's desktop workspace is divided into two areas, Voice and
FX, between which you can toggle using the 'V' and 'F' keys on your
computer keyboard. The Voice Area comprises the parts of a patch that
are common to each voice — oscillators, filters and so on — and
typically this is where you would build your main synth. The FX Area, on
the lower portion of the screen, features modules that are common to
all voices. As you rarely want a separate reverb on every voice of a
synthesizer, this is the logical place to build your effects
configurations. In practice, the only restriction is that the FX Input
module must be placed in the FX Area — otherwise, you are free to build
your patch how you like, available DSP permitting, of course. So if you do
want a separate effect on every voice of your polyphonic synthesizer,
the software won't stop you placing the modules accordingly — but you
might not have enough spare processing power for the resultant patch to
work! As explained in the 'Polyphony & DSP Usage' box on the
previous page, it pays at all times to keep an eye on the Patch Load and
Memory boxes while constructing a patch — these show the overall DSP
allocation.
Modules can now be coloured in a fixed selection of
rather fetching, pastel hues. This is handier than it may seem,
particularly in speeding up navigation through busy patches. Many
modules have on/off controls that are invaluable for programming, as
they effectively deactivate the module but maintain its connections.
Of the other editor features, the Parameter Overview
window deserves special mention — not least because it is the slickest
method to assign the G2's physical controls. Using drag-and-drop
techniques, this menu offers the speediest way imaginable to assign and
view all 120 parameters.
If you want to record parameter tweaks to an
external device or sequencer, the neatest way is with the Auto Assign
MIDI Controllers function. This is far neater than individually
assigning a MIDI controller to each knob, although this is still
possible by right-clicking on the on-screen controls. In the next
version of the editor software, this feature is apparently due to be
improved still further — the plan is to incorporate it into the
Parameter Overview window.
I won't assault your senses by attempting to
describe each and every module. Instead, I will list each group in turn,
and then cherry-pick, with special emphasis on the most interesting new
arrivals.
These modules (2 Output, 4 Output, 2 Input, 4 Input,
FX In, Keyboard Voice, Keyboard Mono, Device, Status, Note Detect, and
Name) contain the I/O routing for audio and MIDI control signal inputs.
In
the G2, the physical inputs and outputs are no longer the only means of
accessing audio. Clavia have provided a much-requested feature — a
four-channel internal audio buss with which you can route signals from
one slot to another. This is present on each of the Input/Output
modules.The
FX In module is equivalent to the old Poly Area In module. It is used
to route the output of the Voice area to the FX area of a patch.Particularly
worthy of note in this section is the MonoKey module, offering Last,
Low and High note outputs. This is far more flexible for solo patches
than the old Nord Modular, which featured only last-note priority.The Device module presents a series of outputs from the performance controllers, such as the mod wheel, aftertouch, and so on.Despite
having just three outputs, the Status module is enormously useful. Its
first output socket, Patch Active, emits a logic signal when a patch is
loaded into a slot; you could use this to trigger an action such as
starting a sequencer. The Var Active output produces a logic signal when
a Variation is activated, and can be used in a similar way. But the
most interesting is the Voice Output module, which generates a control
signal corresponding to the voice number currently played. There are
several modules that make use of this function specifically, such as the
Multiplexer and the Control Sequencer, and the manual offers examples
where these modules are used together to produce polyphonic patches in
which each note has its own detune setting or waveform. Thus you can
create the kind of subtle effects previously heard on synths such as the
Oberheim Four-Voice, where each voice was a completely separate
synthesizer. The G2 method is far easier and quicker!Finally,
there is the Name Bar — a floating text box used to add documention to
your patch, describe the Variations or to present information in the
display windows.
The Note Group contains various pitch-related
modules (Note Quantiser, Key Quantiser, Partial Quantiser, Note Scaler,
Glide, Pitch Tracker, Zero Crossing Counter, and Level Scaler). The
first few I'll describe aren't actually new, but when combined with
others — especially the MIDI Out modules — they become more useful than
previously.
The
Note Quantiser module takes a continuous signal and renders it into
semitone steps. So an LFO could be used to generate glissando effects,
for example.The
Key Quantiser goes one step further; send it a range of notes and it
will output notes that are confined to a specific key. A small keyboard
display is used to determine the notes that will be permitted.The
Partial Quantiser requires either a very short or very long
explanation, but it is far more versatile than the manual's brief entry
suggests. It is a control signal processor that can be used to step
through an oscillator's harmonics a partial at a time, and thus create
glissando or arpeggio-type effects. You can even feed the module
negative control signals, thereby stepping through undertones of your oscillator's output, ie. harmonics at fractions of the oscillator's fundamental frequency.Pitch
Track and ZeroCnt are modules that extract the pitch from an input
signal. They function rather like the Korg MS20's Frequency-to-Voltage
converter, and are equally difficult to obtain precise results from, but
they're fun all the same. With clear, monophonic signals the results
can be quite useable — anything else tends to produce warbly bagpipe
impersonations.
This group of oscillators (specifically oscillators
A, B, C, and D, the Phase Modulation oscillator, Shape oscillators A and
B, and the Dual, String, Percussion, Noise and Master oscillators, as
well as a complete drum synth module) contains the G2's main sound
sources.
A typical patch in Nord Modular G2 Editor
(although note that this screengrab was done on a dual-monitor PC
system). The sound-generating modules are cabled together on the left,
while the processing modules are situated under the grey bar. On the
right you can see the virtual on-screen keyboard and the Parameter
Overview module, which is handy for making control assignments on the G2
hardware.
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Some of these conform, more or less, to those of a
traditional well-stocked analogue modular, but there are also several
less conventional inclusions. The module offering a bank of sine waves
featured on the original Modular is missing, and Clavia reveal that two
of the modules documented in the manual are not yet present either —
which is a shame, as these will place the voice structure of a DX7
inside the G2, complete with 32 FM algorithms and Operator controls. I
had a brief preview of beta versions of these modules and they look
impressive, but weren't sufficiently finished at the time of this review
to form any definitive conclusions.
The oscillators can receive pitch from the keyboard
without requiring any patch connections but, if you wish, deactivating
the Kbt (Keyboard Tracking) button removes this internal connection.
All
expected 'analogue' waveforms are present, plus several variants.
Oscillator B features a double sawtooth wave. The shape of this can be
altered using either a knob or the modulation input; the two sawtooth
waves then shift their phase relative to each other, producing a warm,
swimmy effect.The
Phase Modulation oscillator produces FM-like tones, whereas the Shape
Oscillators also feature a host of waveforms whose shape can be
modulated. Sometimes this produces effects similar to filtering, while
at other times, harder, harmonically rich timbres emerge. These modules
replace the first-generation Modular's Spectral Oscillator, and have
more waveforms.The
Dual Oscillator produces two simultaneous waveforms plus a
sub-oscillator. You can modulate the pulse width of the square wave and
the phase of the sawtooth — so this is a pretty fat-sounding module even
before you mix in the sub-oscillator! The latter's 'soft'
setting reduces the harmonic content as if a low-pass filter had been
applied.Surely
the most interesting member of this group is the String Oscillator.
This module is actually a pitch-controlled delay line with feedback. It
needs to be 'excited' by an input signal, and will then produce tones
that vary depending on the signal chosen. I found bursts of pink noise
or short, percussive sources were good starting points for creating
realistic plucked-string tones. The decay parameter sets the time of the
internal feedback signal and the damp parameter governs high-frequency
damping. Some of the factory patches, such as the kotos and acoustic and
bass guitars, ably demonstrate the quality of this module.
The LFO modules (LFO A, B, and C, Shape LFO A, Clock
Generator) are fairly self-explanatory and this time around, MIDI Clock
synchronisation is available to three of them — LFOA, LFOB and ShpA.
The LFO section also contains the Clock Generator, but lacks the random
modules and the Pattern Generator of the earlier Modular.
The various envelope types (ADSR, Hold, Decay, AD/R,
AHD, ADDSR, Multi Stage, AHD-Mod, and ADSR-Mod) behave as you'd expect
from their names, so there's no need for lengthy explanations here.
Their output signal polarity and shape are set by clicking on the small
Type and Shape buttons, giving bi-polar envelopes, inverted envelopes
and exponential or linear curves for different envelope stages. In
common with the oscillators and LFOs, the envelopes have a pre-wired
connection for ease of use; they are triggered when you play a key or
when MIDI notes are received (assuming the 'Kb' button on the module is
active).
The Shaper group of modules (Clip, Overdrive,
Saturation, Exp Shaper, Wavewrapper, Static Shaper, Rectifier, and
Shaper) includes various sound-shapers that are familiar from the
first-generation Modular. For example, there's Clip, which produces
digital distortion, Overdrive for a warmer distortion, and Wavewrapper,
for those FM-like distortions full of overtones.
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What Next?
Clavia have announced a Voice Expansion board for
the G2 which doubles its polyphony, although it was not available at the
time of this review. The Expansion board features four extra DSPs and
RAM circuits and is user-installable. It is also compatible with the new
rackmount Nord Modular G2 Engine.
What's more, by the time you read this, the Mac OS X
version of the editor should be well on the way. It will work in the
same way as the Windows version, using USB for connectivity, and should
be available for free at www.clavia.se.
I was lucky enough to see details of some
forthcoming modules during this review; these include pitch-shifters,
random LFOs, a MIDI automation module, a new noise source and DX7-style
FM modules. If the long development life of the previous Nord Modular is
anything to go by, there will be plenty more to come.
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The familiar Nord sound comes from the combination
of its bright, clear oscillators and its distinctive filters. There are
many types in the Filter group of modules: Low-pass, High-pass (each
with adjustable slopes ranging from six to 36dB per octave), the Nord
and Classic filter modules, a multi-mode filter, and a static
12dB-per-octave type, as well as a wah-wah, voice filter, vocoder,
simple two and three-band EQs, and a comb filter, amongst others. Many
of these are the same as they were on the original Modular, or have only
received small tweaks, and the old fixed filter bank has been dropped
altogether. The wah-wah and comb filters are new, the latter offering
adjustable distance between its peaks and notches, and adjustable
feedback. As filters are so integral to a synth's character, I must say
that I'd have hoped for more advances in this group.
The Mixer group offers a total of 12 mixers of
various types, ranging from one to eight channels. There are mixers with
sliders or attenuator knobs, plus pan and crossfade modules. The G2
doesn't differentiate between control and audio mixers — it adapts
intelligently according to the signals present. The inputs and outputs
even change colour to reflect the signal carried — red for audio, blue
for control signals. As on the previous Nord Modular, internal audio
signals have the highest priority, and are sampled at 96Hz. Control
signals are sampled at 24kHz, so the DSP patch load is lower for mixers
that do not carry audio.
The primary function of switches is to make or break
connections in a controllable way. The G2's Switch group contains
various Switch modules, including momentary, toggling and value
switches, all of which operate depending on the level of input control
signals. There are also Sample & Hold and Track & Hold modules.
If
a switch has a label box, right-clicking on the box offers a 'name'
option, which can be used to add text that will be meaningful in the
G2's display. So if you set up a switch with four inputs as a selector
for modulation sources, you could name the sources 'LFO1', 'LFO2',
'Env', 'Vel', and so on. This is yet another small but valuable
interface improvement.The
Window switch is highly versatile; it makes a connection and
simultaneously sends a logic signal whenever an incoming control value
falls between the From/To settings specified. The
Multiplexer is another fun module, routing a selection of inputs to
outputs (or, indeed, a selection of outputs to inputs). Its connections
are determined on receipt of specific control signals at its 'Ctrl'
input.
Like Switches, the Level group of modules isn't
particularly glamorous, yet its constituents are vital components in any
modular system, performing various transform functions on signal level.
Amongst the included modules are types for adding, amplfying,
multiplying and modulating the level of input signals, as well as a
noise gate and envelope follower.
There's also a group of Logic modules, including a
Logic Gate, Inverter, Binary counter, and eight-bit A-D and D-A
converters. These all have simple high or low states (corresponding to
+64 or 0 values in their input signals). For more on how such
binary-driven logic systems work, see April's instalment of Synth
Secrets, or look up: www.soundonsound.com/sos/apr04/articles/synthsecrets.htm.
Five different sequencers (Event, Value, Level,
Note, and Control types), each with a maximum of 16 steps, are used to
provide loop and pattern-based material of all kinds. If you need more
than 16 steps, sequencers can be chained together. In such cases, the
gate and control signal inputs are used to merge their outputs, and thus
avoid the need for a mixer. The Park input is new; when a high logic
signal is received at this input, the sequencer will stop. And if a high
logic signal is received at the Reset inputs, the sequencer will
restart at step one on receipt of the next clock pulse.
The rear panel of the G2 is also improved over that
of the original Nord Modular — there are two extra audio inputs, a
dedicated XLR mic input, and a MIDI Thru. Best of all, the interaction
with the G2 editing software is now handled via the USB socket, rather
than by the former Modular's confusing second pair of five-pin MIDI
connections.
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The sequencers are very similar to those of the
previous Nord Modular, and I'd have welcomed more features, such as a
direction switch, the option of Morphing the length of a sequence, or
the inclusion of a Step Skip option (as seen on old Moog or ARP
sequencers). Yet with innovative application of what's on offer, you can
still create marvellous, complex patterns.
When
you assign Note Sequencer modules for control via the G2 encoders, you
can see each step's actual note value on screen. The buttons underneath
are used to toggle the on/off status of steps whilst LEDs adjacent to
the knobs follow the sequence progression.The
Control Sequencer is particularly interesting, in that its next step is
determined by the values of incoming control signals, rather than by a
conventional clock pulse. To step this module forwards, you send a
rising sawtooth waveform to the control input, while a falling waveform
steps it backwards. Additionally, the module's Xfade button slews the
output between steps, smoothing the transitions.
This group comprises a straightforward selection of
effects modules (Stereo Chorus, Phaser, Flanger, Digitiser, Frequency
Shifter, Reverb, and Compressor).
The
Digitiser module can reduce the sample rate right down to 32Hz, and can
be modulated via a control source. Quantisation can be adjusted between
one and 12 bits or 'off', which means full resolution (24 bits). If you
want dirt and grunge with minimum effort, this is for you.The
Frequency Shifter performs additive frequency shifts (unlike
conventional pitch-shifters, which perform multiplicative frequency
shifts) like the Bode units seen in Moog and Analogue Systems modular
systems (see www.soundonsound.com/sos/jan02/articles/synthsecrets0102.asp).
It produces audible effects not unlike those of a ring modulator; used
sparingly, these can add considerable richness or exciter-type effects
to a signal.The
Stereo Reverb module is a pleasant surprise. I was starting to think
Clavia would never put reverb into a synth, but thank heavens they have —
even if the quality is unlikely to give Lexicon any sleepless nights,
this is a secondary consideration in the context of the G2. Reverb in a
modular system offers far more than just a glossy finish, because you
can place it anywhere in your synth's architecture — an option you don't
have with an external unit. Small, Medium, Large and Hall types are on
offer, with a maximum time of over 17 seconds. A Dry/Wet level and a
Brightness control are the remaining options.
Marvellous — a whole group of modules devoted to
delay, with many types (Static Delay, Single Delay, 2 Tap, 4 Tap, 8 Tap,
Shift Register, Clocked Delay, Delay A, Delay B, and Stereo Delay).
Clavia have sensibly provided a range selector to help conserve the
available RAM, and the maximum delay time is 2.7 seconds.
The delay modules range from single delays to
eight-tap and stereo delays. MIDI sync is available, but if you're
clocking the G2 from an external source, you need to ensure you have a
very stable MIDI Clock source. The delays do not respond well if you
tweak their time parameters during playback, either from a front-panel
control or (if sync'ed externally) from the glitches of an unstable MIDI
Clock. In fact, some of these 'adjustment' noises are quite unpleasant,
so I hope Clavia will add some kind of intelligent smoothing in the
future.
Several
unusual delay modules are present, such as the Delay Shift Register.
This has eight outputs and shifts the incoming delayed material through
successive outputs on every clock pulse. The Clocked Delay Register
works in a similar fashion, except it has only a single output and you
specify the number of clock pulses after which the value signal will be
output.
At last, the module group we've all been waiting for — or I have, anyway. This group contains modules that control the receipt and transmission
of MIDI data (MIDI Ctrl/Prg/Note Send & Receive, and MIDI Note
Zone). In an analogue modular system, you can easily connect the output
of an LFO to a variety of other instruments — all it takes is a voltage
input and a cable. But how can you connect the LFO inside a MIDI
synthesizer to an external instrument? With the G2, you can!
The
Control Send module can transmit MIDI controller information on a
specific MIDI channel. So why is this such a good thing? Well, not only
can you transmit MIDI information from the MIDI Out socket of the G2,
you can also route the information to any of the four G2's slots (A-D) —
or to the 'This' setting, which routes the data back into the current
slot. If your curiosity is still not piqued, imagine you've programmed a
morph to sweep the cutoff frequency, alter an envelope attack time,
fade in some noise, brighten the reverb, or modify a wave shape. All of
these changes can be controlled by a single source, such as the
modulation wheel. But now imagine you directed the output of an LFO into
a Control Send module, simulating mod wheel events and routing
them back into the current Slot — you see where I'm going? Suddenly,
the LFO is capable of controlling the morph automatically. If nothing
else, it generates a lovely display of moving, flashing lights on the
already impressive panel, but it also opens up an exciting world of
evolving patches. And because you can control morphs with the LFO in
this way, you can affect parameters for which there may not even be
control signal inputs. Another idea that occurred to me was to route the
output of an LFO to generate MIDI Controller 70, which, you may recall,
is used to select Variations. It could then switch Variations
automatically whilst you play.The
Note Send module works in the same way, transmitting note and velocity
information. Connect several sequencers to Note Send modules, assign the
G2's knobs to set the note values, and in no time at all, you have
assembled a sequencer of awesome flexibility. Mix in some notes
generated from an LFO or Sample & Hold module (routed through that
old favourite, the Note Quantiser, to make sure everything remains in
key) and you can create patterns of amazing subtlety and complexity.
I hope that these simple examples demonstrate the
usefulness of the MIDI output modules. As is probably evident, this is
the kind of stuff I just love to explore.
Clavia's first modular is a hard act to follow. The
G2 falls into the category of 'logical progression' rather than
'revolutionary creation', but there are encouraging signs of what is
still to come. Certainly, the inclusion of acoustic modelling is a move
in the right direction; the string oscillator sounds great, and I look
forward to further, more unusual, sound sources. Perhaps, if sampling
really is a no-no, resynthesis or granular synthesis modules may one day
appear.
With its DSP effects, MIDI Output modules and the
enhancements to performance controls and its user interface, the G2 must
surely fulfil most of the wishes of original Nord Modular owners. Yes,
we'd love more polyphony and yes, we'd love some radically twisted new
modules; yes again, we'd like it for less money, but hey, how many
kidneys do you actually need? And if budgets are tight, there is always the much cheaper Engine version as an option.
The main difference between the G2 and a hardware
modular is that the former is essentially a closed system; if you want
to add a module that does something Clavia don't provide, you can't
simply cable up a module from another manufacturer. Likewise, when
Clavia finally move on to developing for a replacement hardware product,
users will have to accept that further improvements to this system are
likely to cease (as they have for the original Nord Modular). In the
light of this, it is unfortunate there is no way to import patches from
the older modular. If you have invested a lot of effort programming for
that platform, it may not be quite as tempting to upgrade and start
again from scratch.
This time around, Clavia have concentrated on making
the player's modular — the underlying concepts are broadly unchanged.
Sure, new modules and functions have been added, but mostly it is the
ease of use that has increased dramatically. Perhaps this will banish
some of the fear that the more inscrutable first generation inspired. I
found that, once it's configured to taste, you can do a hell of a lot
using the G2 as a stand-alone instrument — and when you do need to delve
deeper, the editor is excellent.
I'd hate to think of a future where the most
thrilling instruments arrive on a CD and require a computer to give them
a voice. I believe Clavia have done a great job with the G2, and maybe
one day it will be remembered as an important stage in a hardware
renaissance. I already know several musicians who are quietly
advertising their grandmothers on eBay in order to afford a G2. If you
want to get deep into complex synthesis, but prefer to perform
laptop-free, the G2 could be the answer to your prayers — if not to
Granny's.
