Patching With
YourPalRob
A VCV Rack & Modular
Synthesis Guide
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Keyboard Shortcuts
Backspace/Delete while cursor is on module = Delete the module
CTRL + A = Select all modules
CTRL + C = Copy module
CTRL + Click a cable = Duplicate cable
CTRL + D over module = Duplicate module
CTRL + D over multiple selected modules = Duplicate all selected modules
CTRL + Drag module = Push adjacent modules
CTRL + E over module = Bypass module
CTRL + I = Initialize the module (reset)
CTRL + N = Create new patch
CTRL + O = Save as
CTRL + Q = Close VCV Rack
CTRL + R over module = Randomize module
CTRL + S = Save patch
CTRL + Scroll = Zoom in/out
CTRL + U over module = Disconnect all cables from module
CTRL + V = Paste module
CTRL + Z = Undo
Double left click = Reset parameter to default value
Enter = Launch the module browser
F1 = Open VCV Rack manual
F3 = CPU Meter
F11 = Full Screen
Left click = Select modules, drag to move modules, pull cables, box select
Middle click = Drag screen
Right click a port = Select cable color
Right click empty space = Launch the module browser
Right click knob = Set a specific value by inputting numbers
Right click module = Opens options menus on nearly all modules
SHFT + Click a cable = Unplug cable
SHFT + Click = Select multiple modules
SHFT + CTRL + D over module = Duplicate module with cables
Common Terms and Acronyms
ADSR: A type of envelope generator that is used to shape the amplitude of a
sound over time. ADSR stands for attack, decay, sustain, and release, which
are the individual stages of the envelope.
Amplitude: The level or strength of an audio or control voltage signal. For
audio, the amplitude is used to control the overall loudness of a sound. For
control voltage, the amplitude is used to control the intensity of modulation
applied to a signal.
Bipolar: A control voltage that can be positive or negative. As an example:
an LFO that is centered at zero and ranges from -5 volts to +5 volts is bipolar.
Chorus: A doubling and detuning of the original sound. Creates a rich,
swirling sound.
Clock: A module that generates a steady stream of pulses/triggers, which are
used to synchronize other modules. The synchronizing is essential to producing
precise and complex rhythms and patterns that align with tempo.
Delay: A repeating echo of the original sound.
Distortion: An amplification and clipping of the signal that adds grit and
saturation to a sound.
Effect: A module that processes and modifies an audio signal in some way.
These typically add texture, depth, or ambience to a sound. Some of the most
common are delay, reverb, chorus, flanger, distortion, and filter.
Envelope Generator: A module that is used to shape the amplitude or
timbre of a sound over time. The most common type is an ADSR. Other types
Include AR, ADR, and AD which have fewer stages of the envelope.
Filter: An emphasis or reduction of certain frequencies in a sound.
Flanger: A combination of a delayed copy of the original signal with the
original. This creates phase cancellations and reinforcements.
Frequency: The rate that a signal oscillates. It is typically measured in Hertz
(Hz). Frequency is mainly used to control the pitch of a tone however it can
control many aspects of a module. As an example it can be used to control the
cutoff frequency of a filter.
Common Terms and Acronyms
Gate: A voltage signal that is used to control the duration of an event. Unlike
triggers, which are short bursts of voltage, gates are longer, sustained signals
that remain high for the duration of the event (which could also be a note being
played).
LFO: Low Frequency Oscillator; a module that generates a low frequency
waveform that is typically used to modulate other modules. All typical
waveforms can be utilized by an LFO including, but not limited to, sine, triangle,
sawtooth, and square. The output of an LFO is typically a CV.
Mixer: A module that combines and adjusts the levels of multiple audio or CV
signals.
Modulation: Using one signal (the modulator) to affect or change another
signal (the carrier). This allows for a wide range of dynamic and evolving
sounds that give an organic vibe to a patch. There are many different types,
including but not limited to, amplitude modulation, frequency modulation, phase
modulation, ring modulation, and pulse width modulation.
Reverb: A simulation of the effects of a physical space on a sound which
adds depth and ambience to a sound.
Trigger: A short burst of voltage that is used to initiate a specific event or
process. Triggers can come from a variety of modules, including but not limited
to, clocks, drum machines, midi controllers, and sequencers.
Unipolar: Unipolar signals are control voltages that are only positive. These
typically represent values between 0 volts and a maximum (usually 10 volts).
V/Oct: Volt per Octave; a convention in control voltage that sets the difference
between two notes that are an octave apart at 1.0 volts. That means a
semitone, which is 1/12th of an octave, is approximately 0.083 volts higher or
lower than any given note.
VCA: Voltage Controlled Amplifier; A module that allows a CV signal to control
the amplitude of an audio signal passing through the module. It is analogous to
a volume control and can be used for dynamic expressive control over the level
of a sound.
Common Terms and Acronyms
VCF: Voltage Controlled Filter; A module that allows a CV signal to control the
frequency response of an audio signal that is passing through the module.
Typically these modules have different filter modes such as low-pass,
high-pass, and band-pass.
VCO: Voltage Controlled Oscillator; A module that generates an
audio-frequency signal that can be shaped and manipulated to create a wide
range of sounds.
Installing VCV Rack
Installing is super simple. Follow these steps and it will be up faster
than you can say, “Moog Modular”
1. Navigate to the VCV Rack 2 Download page
(https://vcvrack.com/Rack#get)
2. Click on your operating system to download the installer
Linux is the best… Jk, they all work great :)
3. Follow the installer’s prompts
4. Create a VCV Rack account at the Registration webpage
(https://vcvrack.com/login)
5. Open the newly installed VCV Rack on your computer and log
in through the library dropdown.
Yours will say “Log in”
Adding Modules to VCV Rack
There are more free modules than you’ll know what to do with in
VCV Rack. To add any or all of them, follow these steps.
1. Log into your account on the VCV Rack login Page
(https://vcvrack.com/login)
2. Navigate to the VCV Rack Library Page
(https://library.vcvrack.com/)
3. Click the +add button by any module
4. You can also download entire collections of modules by
subscribing to creators.
a. Navigate to the Plugins page
(https://library.vcvrack.com/plugins)
b. Click Subscribe or Add all
i. You get automatic module updates if you subscribe!
5. Log into your VCV Rack through the Library dropdown menu.
6. Click Update after VCV Rack checks for updates.
7. DONE!
1. 3.
4. 6.
Connecting a MIDI Device
We can connect MIDI controllers
to VCV Rack using one or both
of the following stock modules:
MIDI CC > CV or MIDI > CV.
Both of these modules convert
MIDI from an external device to
control voltages. Your MIDI
device can then control
modules. We can use this to
play synths or control
parameters like volume and
pan.
Bring either of these modules up
in the module explorer and then
select it to begin. The top and
bottom mini screens
automatically select the correct
sources for your operating
system. Left click on the middle
section that says (No device)
and then select your MIDI
device from the list. If you are
having trouble finding your
device, ensure that the device is
turned on before opening VCV
Rack.
Once you have selected the
appropriate device, you can pull
cables to inputs on any module
and control them.
Connecting a Mic or Audio Source
We can connect microphones
and other audio inputs with
dedicated modules in VCV
Rack. This way you can sing,
play your wind instrument, or
rock on your guitar right into
VCV Rack.
First, bring up the Audio module
by VCV. It can be the single
Audio, the Audio 8, or Audio 16.
Enable your device by clicking
on the section that says No
device and selecting it from the
dropdown.
Use the FROM DEVICE outputs
to bring audio information to
VCV Rack. It is as easy as that!
You can also use the TO
DEVICE inputs to send audio to
your device if it can accept it.
I love some of the reverb
modules in VCV Rack so I
highly recommend playing your
instrument or singing into one of
those! Plateau by Valley is top
tier.
Cable Color Coding
Color coding your cables can Blue Clocks/Triggers/Gates
help quickly identify the types of
voltages and signals being sent Green Modulation
between modules. This is
especially useful when Red Audio information
navigating large patches or
sharing patches with your pals. Yellow Volt Per Octave (Pitch)
A common color coding scheme
is presented on the right,
however you should adopt a
color coding scheme that is
beneficial to your personal
needs. Two modules that are
useful for color coding are the
Color Cable Key by Inklen and
Palette by Count Modula. Each
allows you to select the color of
the cable. Alternatively you can
change the color of a cable by
right clicking on a port and
selecting the color before pulling
the cable.
Control Voltage
Control voltage (CV) is a fundamental
concept in modular synthesis which allows
communication between modules. It can
change the various parameters within a
synthesizer, such as the pitch, a filter cutoff,
the amplitude, and MUCH MORE! It is
usually a continuous voltage signal that can
vary over time and is measured in volts. CV
can be used to smoothly modify parameters
because of its continuous nature and we
usually call these changes modulation.
CV can be unipolar or bipolar. In unipolar An LFO’s sine wave CV
systems the CV signal typically ranges from
0 to 10 volts. In bipolar systems, the CV
typically ranges from -5 to +5 volts. Both
systems can be used in VCV Rack and you
can use either for different useful
applications.
Virtually all modules use CV and there are
many ways to implement changes to CV.
Low frequency oscillators for example can
be used to modulate the cutoff of a filter or
slightly change the pitch for a vibrato effect.
Sequencers also use CV to control the
pitch and timing of notes creating complex
patterns.
Ultimately, CV is the aspect of modular
synthesis that allows musicians to create A sequencer using CV (typical for pitch control)
dynamic and unique sounds and allows us
to harness the vast potential of modular.
Volt per Octave
Volt per octave (V/oct) is a standardized
way of controlling pitch information. For
every one volt increase the pitch of the
oscillator will increase by one octave. In
12 equal temperament tuning, that means
each half step (or semitone for you
non-americans) is about 0.0833 volts.
This is great because if we feed the same
voltage to the v/oct input of a couple
different oscillators, we know we can
expect the same pitch to be produced.
This standard was created by Bob Moog
and is especially clever because it takes
the exponential frequency relationship
and makes it linear and easy to work with.
Quantizers and Scales
Voltages can be all over the place and if we want to play specific
notes based on the v/oct standard then we need to restrict them to
particular values. Quantizers force incoming voltages to specific note
values usually based on musical scales. Without a quantizer, random
voltages or LFO sweeps would produce notes between standard
pitches. That can be cool too, don’t get me wrong, but lots of times
it’ll sound out of tune.
When a CV enters the quantizer it rounds the voltage to the nearest
corresponding scale tone. So 1.045V might be rounded to 1.000V
and would produce C instead of a note between C and C#.
Many quantizers allow you to either choose the scale you want or to
select specific notes. We can see below an example of an LFO being
quantized to the C# pentatonic scale.
C# pentatonic scale from LFO
The Four Fundamental Waves
There are four fundamental waveforms
commonly used in modular. They are sine,
triangle, sawtooth, and square. Each one
has particular harmonic content and a
distinct sound.
The sine wave is smooth with a mellow and
clean tone. It contains only its fundamental Sine Wave
frequency meaning it has no harmonics. It
can be used to make HUGE sub-bass
tones but also soft and soothing melodies.
The triangle wave moves linearly on both
rise and fall making its triangular shape. It
contains its fundamental frequency and odd
harmonics that diminish quickly. Triangle Triangle Wave
waves are commonly described as being
bright.
Square waves alternate between high and
low values creating a sharp rectangular
shape. They contain their fundamental and
all odd harmonics. They produce a reedy
sound and are good for aggressive voices.
Square Wave
Sawtooth waves rise linearly and then
sharply fall. They contain both even and
odd harmonics which produces an
extremely bright and buzzy sound.
Sawtooth waves are great for producing
brass and string sounds because of their
rich harmonic content.
Sawtooth Wave
Manipulating Waves
Oscillators typically have built in
parameters that allow their waves to
be manipulated. Most if not all VCOs
will have a knob that alters the
frequency and many will have a knob
that alters the pulse width of square
waves.
The pulse width refers to the length of
the on off cycle of a square wave.
Altering the pulse width changes how
long the signal is high causes a square
wave to sound either brighter (short) or
nasally (long).
Filtering is extremely popular and can
be used to remove high frequencies
(low pass filtering). This would round
out sharp edges of a waveform and
alter the resulting sound.
We can also incorporate a
wave folder into the patch.
These modules add harmonic
richness to a waveform by
folding it into itself.
Triggers vs Gates
Triggers and gates are types of control
signals used to manage the timing of
events in modular synthesis. These
could be the initiation of an envelope,
synchronizing many modules, or turning
modules from active to inactive states.
Triggers and gates are often described
as being high or low which mean on or
off respectively. High is when a trigger
or gate is at an elevated voltage and low
is back to the base voltage. Although
triggers and gates are similar, they have
distinct purposes.
Triggers are short, instantaneous
signals that run high and then
immediately low. A trigger’s burst starts
an event but does not sustain it.
Triggers are often produced by clock
modules that sync many other modules.
They are often used to initiate
envelopes as well, particularly
envelopes for percussive sounds that
lack sustain.
Gates are longer signals that stay high
for a period of time before running low.
Gates have duration so they can
Trigger (red) vs gate (purple)
sustain. Envelopes can be initiated by
gates in the same way as triggers
however the envelope will remain in the
sustain phase as long as the gate is
high. Gates are good for on/off control of
modules and voices that require longer
note lengths.
The ADSR VCA Combo
The ADSR (Attack, Decay, Sustain, Release) envelope generator paired with a
VCA (Voltage Controlled Amplifier) is a fundamental technique for controlling
sound volume in synthesizers. This system is necessary because most VCOs
(Voltage Controlled Oscillators) are free-running, meaning they continuously
produce sound.
1. A gate signal triggers the envelope generator
2. The envelope's output voltage controls the VCA
3. The VCA modulates the amplitude of the incoming audio signal
You’ll likely see this combo in every patch.
The raw, free running,
audio is in yellow and
the volume controlled
audio sent through our
ADSR VCA combo is in
red.
Envelope Voltage Controlled
Output
Generator Amplifier
Gate Source (e.g. Voltage Controlled
Clock Generator) Oscillator
Switches
Switches control signal flow in our patches.
They allow us to redirect signals whenever
and wherever we want. It is a simple concept
but switches can create amazing
soundscapes and complex patches.
There are several basic types:
1. Sequential switches: Route one input to
multiple outputs or vice versa in order
2. Binary Switch: Selects either between
two inputs to a single output or between
two outputs from a single input
3. Crossfader: Creates a smooth transition
between multiple signals
There are many other niche types but these
categories cover the majority of them. On the
right, we have a switch by Instruo called tàin.
It has both a two output from one input and a
two input merge to one output. It will switch
between them when a trigger enters circled
CV port.
Bernoulli Gates
A bernoulli gate is a probability-based module that routs incoming
signals to different outputs based on chance. It is similar to a switch in
the sense that you can send voltage to different spots but it is different
in the sense that it relies on probability. The core function is straight
forward: when it receives a trigger, it randomly decides whether to send
the signal to output A or output B based on the probability setting.
In this example we have a hi-hat pattern that switches between open
hat (output A) and closed hat (output B) utilizing a bernoulli gate. We
have the probability knob set to 15% at output A so we will get open hat
15 percent of the time randomly generated.
Using bernoulli gates is a great way to add variety to a patch and to
parts that may otherwise seem static.
Attenuators and Attenuverters
Attenuators and attenuverters are used to manipulate and restrict
CV. Attenuators scale a signal’s amplitude and attenuverters can
scale AND invert signals. They are useful for taming hot signals
or fine-tuning modulation. In some cases, we’ll have a signal that
is only positive and we can make the values negative with the
attenuverter. This is especially useful when you want to modulate
a parameter in a specific direction.
In the following example, we have a filter cutoff being modulated
by an LFO. The LFO is only positive as seen on the scope but we
invert and restrict the signal with our attenuverter. Now it makes a
subtle filter wobble that is way more sonically pleasing than the
huge sweep it would produce without the attenuverter.
Sample and Hold
Sample and hold is a fundamental module
that captures and holds an input voltage level
at a particular moment, then outputs that level
continuously until it receives a new trigger
signal. Essentially, it samples an input voltage
at specific intervals and holds that value until
the next sample is taken. Sample and hold
modules are frequently used to introduce
randomness into a patch, creating evolving,
dynamic timbres and rhythms. The module
can accept many different input voltages.
Some commonly used inputs are noise,
LFOs, and chaos voltage modules. In the
pictured example, we see a sample and hold
that is triggered on the beat at 69 BPM. This
initiates the sampling of white noise to
produce a random voltage at the output and
an inverted value at the inverted output.
Example using S&H by Count Modula
Noise (or other Sample and Hold
Output
voltage source) Module
Trigger/Gate
Source
Slew Limiters and Portamento
Slew limiters alter the rate that a control voltage
changes. Most slew limiters allow you to change
the rise time, which affects only increases in
voltage, and the fall time, which affects only
decreases in voltage. This way instantaneous
voltage changes become gradual. Some slew
limiters also allow you to change the shape of
the transition curve (e.g., linear, exponential).
Portamento is a musical technique that involves
smoothly sliding from one pitch to another rather
than switching directly to the next pitch. Slew
limiters are a great way to incorporate
portamento in melodic lines and with a gate to
turn the slew limiter on/off, we can get dynamic
lines with tasteful glides between pitches.
A slew limiter gradually changing pitches
from a sequencer (see differences from
example on page 12 Control Voltage)
Sample and Hold with
Slew Limiter
This example adds a slew limiter to
our previous sample and hold build
which smooths out abrupt changes.
This will cause the modulation to
transition through every voltage
between the sampled states. This
build adds flow to the modulation
making randomness more palatable.
In some artistic cases, abrupt
changes are wanted. Use your best
judgment for your patch and
remember balance in all things!
Example using SLEW by Bogaudio
Noise (or other Sample and Hold
Slew Limiter
voltage source) Module
Trigger/Gate
Output
Source
Frequency Modulation Synthesis
Frequency modulation (FM) synthesis
is a technique where one oscillator (the
modulator) changes the pitch of
another oscillator (the carrier). FM
synthesis generates complex and
evolving sounds by rapidly altering the
carrier’s frequency. It creates voices
that are rich in overtones.
The carrier’s pitch is altered by the
modulator at the rate of the modulator’s
frequency. When the modulator’s
frequency is low (less than 20 hertz) it
produces a vibrato effect. As the
modulator’s frequency increases, the
carrier’s pitch begins to produce new
frequencies called sidebands.
There are two main parameters that
can be adjusted. The first is the
Modulation Index sometimes called the
depth. This parameter determines the
intensity of the modulation and is
analogous to an attenuator. The
second is the modulator frequency.
This is the Modulators main frequency
where higher frequencies create richer
timbres.
In the example on the right we have an
oscillator modulating the frequency of
Pony VCO as modulator and BogAudio
another. The modulation index is VCO as carrier
labeled “FM” and the large frequency
knob on The Pony VCO affects the
timbre.
Kick Drum Build
Making a kick drum requires a VCO,
two envelope generators, and a
VCA (see example on right for
cabling). The frequency knob on the
VCO controls the pitch of the kick.
Low frequencies typically perform
better than high frequencies. The
envelope generator that controls the
VCA should have a short attack and
a medium hold/decay. The envelope
generator that controls the
frequency of the VCO should have
no decay or sustain and short attack
and release. This produces an 808
style kick drum sound. Adjusting the
settings on the envelope generators
will alter the style of kick. Many
possible kick sounds can be made
with this setup and I’d like to
Example Kick drum patch
encourage you to experiment with
the settings.
To V/Oct
ADSR 1 VCO
Gate
To CV
ADSR 2 VCA Output
Snare Drum Build
Making a snare drum requires a
VCO, two envelope generators,
two VCAs, a noise source, filter
and mixer (see example on right
for cabling). The noise and sine
wave are mixed to create a snare
hit. The noise is filtered through
high-pass which removes the
highest frequencies. The first VCA
controls the cutoff of the filter as
well as the frequency of the sine
wave. The second VCA controls
the amplitude of the sine wave.
The two VCAs are connected to
your mixer and the snare is mixed
to taste. You can get a popping
snare or a sizzler by adjusting the Example snare drum patch
envelopes.
Noise Filter
To cutoff CV
VCA 1
ADSR 1
To FM CV Mixer
Gate VCO
VCA 2
ADSR 2
Closed Hi-hat Build
Making a closed hi-hat requires a
noise source, an envelope
generator, a voltage controlled
amplifier, and a filter. White noise
is commonly used; however, I
would like to encourage you to
experiment with other noise
types. We send the noise to a
high-pass filter and then shape its
amplitude with an ADSR/VCA
combo. We also have our ADSR
modulate the frequency cutoff on
our filter to slightly adjust the
frequencies. This gives the hi-hat
more high frequencies as it is hit
and the highs are taken away as
the hit finishes just like a real hat.
Example closed hi-hat patch
Trigger/Gate
Noise
source
High-Pass
ADSR VCA
Filter
To cutoff CV
Open Hi-hat Build
Making a open hi-hat is the same
a making a closed hi-hat except
we alter the release time to be
longer. Connect the modules in
the same manner as before but
now increase the ADSR’s release
time to approximately double the
closed hi-hat’s release (alter to
taste). We can now modulate
between the release states to
play both closed and open hats or
set up two differing hats and
trigger each independently.
Example open hi-hat patch
Trigger/Gate
Noise
source
High-Pass
ADSR VCA
Filter
To cutoff CV
Reese Bass
Example Reese Bass
The Reese Bass an Iconic bass sound heard throughout electronic music. It is made by
mixing two sawtooth waves and a sine wave sub. One of the sawtooth waves is slightly
detuned (~5-15 cents) which causes the waves to beat. The mixed waves are then sent
through a low-pass filter with a cutoff between 200Hz and 800Hz which calms the high
harmonics. This creates a deep and full evolving bass that fills a track and brings energy
to the low register.
< Detune 5-15 ADSR
VCO cents
Saw
VCO Low-Pass
Saw Mixer VCA
Filter
200-800HZ
VCO
Sine
