The Modules We Buy vs. The Modules We Love: A Revelation

Discover how a personal revelation changed my approach to buying modular synth modules, and why the Make Noise DPO and Piston Honda MKIII are my favorites.

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Recently, on a modular synth Discord server, someone asked the community to help them decide between two oscillators. I jumped in to help, sharing a Modular Grid rack I had built that showcased every oscillator I’ve ever owned. It wasn’t just to show off my experience with those specific modules, it was a little self-exposure to the excesses I’ve accumulated over time. I wanted to offer insight into the oscillators I knew well and, honestly, to give a little warning about the trap of overbuying.

After I posted my rack, another user followed up with a question: “What’s your favorite digital and analog oscillator?”

This was where it got interesting. The question forced me to look at my evolving relationship with modular synthesis and how much my approach has changed. Answering it wasn’t going to be as simple as listing off a couple of specs.

My Revelation: Why I Buy the Modules I Do

Before I could even answer the question, I had to take stock of the big realization I’ve had recently.

Feeling Uncomfortable About Playing Live

For some time, I’d been feeling a growing discomfort every time I prepared for a live performance. My live rig was designed with such precision that it was maxed out at 0HP, with every module serving a specific role. This setup was the result of seven years of continual optimization for live performance. My system covered it all: bass, lead, melodic harmony, pad chords, four drum voices, and sometimes a granular module or a microphone input for vocals. On top of that, there were inline, parallel, and end-of-chain effects, EQ routing, tons of modulation, switching, mixing, compression, and more.

If you’re patient enough and curious about the details of my previous live case and signal flow, I’ve documented a two-part streaming series where I reconfigure and re-patch the entire setup.

This worked well for me for a long time, but the joy had faded. My live case had become a heavy, expensive groove box—a system that was highly functional but didn’t feel creatively rewarding anymore.

While incomplete, I’ve archived some history of my live rig evolution on MG. View the cases that start with “~ Live” to get an idea.

And here is an example of the sounds I got from it:

If you want to hear more that live show release it’s on all streaming platforms, but consider buying Gift Fogs Erase on Bandcamp

Deciding to Stop Performing Live

My live case was 80% permanently patched, which had its benefits: speed, consistency from song to song, and most importantly, allowing me to focus on composition and arrangement. There’s nothing inherently wrong with this approach, but over time, it started to feel like I was writing the same track repeatedly, even when working on entirely new material. I grew bored and began avoiding my modular synths altogether.

After several reconfigurations (see Live Rig Rundown: or How I Wasted a Year) and months of reflection, I made a decision: no more live performances, at least not the way I had been doing them. That commitment felt like a light bulb turning on, it forced me to rethink my entire approach to modular and opened up new paths for me to explore.

Reconfiguring My Case with Make Noise Modules

I asked myself, “When was the last time I truly had fun patching and felt fulfilled by the experience?” A few moments came to mind: when I first got into modular synths, when I began playing live, and during the COVID lockdown. What these moments had in common was the use of more “building block” type modules, a focus on experimentation, and patch programming.

As I looked at my collection, I put aside any thoughts about size or modules purely for voices and started thinking more holistically. How could I create a patch with multiple sounds, all connected or influenced by each other? And how could I make that setup playable? I began with the DPO (see below for why) and, from there, I naturally gravitated toward picking mostly Make Noise modules. You’ll notice it’s not exclusively Make Noise, because some modules just don’t fit my style.

Using Modular Grid, I decided to rearrange my setup by putting all my Make Noise modules into my “live” case. While the case As I worked on this reconfiguration, something clicked.

The Leftover Modules: The Ones I Didn’t Want Anymore

When I reviewed to the leftover modules I had removed, I had a revelation: I didn’t want most of them anymore. Many of them had been purchased not because they inspired me, but because they filled a practical need in my live rig. They were good enough and small enough to fit, but they didn’t bring me joy.

A great example of this is the Befaco Noise Plethora. Now, don’t get me wrong, it’s an awesome module! It’s packed with complex noise algorithms, analog multi-mode filters, tons of CV control, and plenty more positives. I’d absolutely recommend it to others.

Buuuuut… the main reason I got it? I had been using the Schlappi Engineering Interstellar Radio to create both a “snare” and “hi-hat” sound. Two outputs went into two filters, two VCAs, and four envelopes. I absolutely loved how that sounded, it made me happy and was exactly the sound I was after.

When the Noise Plethora was announced, I got major GAS. It had two filters and two independent noise sources (technically three of each) all in the same space as the Interstellar Radio. Fewer cables to patch, and it freed up space for something else. But the issue? I never really liked the sound of the filters. That’s just my subjective opinion, there’s nothing technically wrong with them, they just didn’t excite me.

Still, I settled because of the benefits. I used the NP for a couple of years, but that dissatisfaction with the filters was always nagging at me. Now, apply that same approach to almost every module in that case. As my case became more and more “optimized,” I liked it less and less, until I eventually hit a wall.

The Revelation

I had been caught in a pattern of buying modules that were “functional” but didn’t excite me. I wasn’t choosing the modules I wanted, I was choosing the ones that fit. This realization shifted how I viewed my modular system and the way I approach buying modules. Now, I’m focused on finding excitement and fun in patching again. I am holding off buying and when I feel ready, I’ll only buy the modules that inspire creativity and exploration.

Check out my quiz Master Your GAS: Find Out If That Synth Is Worth It! It is designed to help you make smart decisions before you pull the trigger.

My Favorite Oscillators: Analog and Digital

Now, with that context in mind, I can finally answer the question of my favorite oscillators.

Analog: Make Noise DPO

The Make Noise DPO is a dual analog oscillator that has been my favorite for a long time. It’s a complex oscillator, meaning it’s capable of generating incredibly rich timbres with deep modulation possibilities. What makes it stand out for me isn’t just the rubbery sound (due to smartly used vactrols), but the interface, it feels intuitive, spacious, and encourages you to experiment and play.

Nothing is hidden, it is all one knob per function. FM is so straight forward and easy with nomalizations for exponential and linear FM access through 4 dedicated pots. One of the coolest features being the Follow circuit, which allows the left OSC to pitch track from the right, but the secret is you can slow it down so it it needs to catch-up giving you a slew like behavior.

What I love most about the DPO is how it pulls me in. I lose track of time when patching with it, constantly discovering new textures and sounds. It’s an oscillator that keeps giving, there’s always something new to explore. That’s why it holds a permanent place in my setup.

Digital: Industrial Music Electronics Piston Honda MKIII

On the digital side, my go-to is the Piston Honda MKIII. This wavetable oscillator excels at creating complex, evolving sounds. First, it is not one but two fully independent wavetable oscillators sharing an identical feature set. You can enable Unison mode on each OSC and stack 2-4 Oscs for a detuned effect, or run a second OSC at different octaves and intervals. Obviously the main ability to morph between wavetables in three dimensions sets it apart from other digital oscillators offering smooth, musical transitions or harsh, gritty textures, depending on how you configure it.

Another lesser known feature is it can be used as a wavetable distortion for external inputs. YEAH, that’s right, it is basically a double WMD Geiger Counter. Remember, I am writing about features available independently to each wavetable OSC.

The interface is intuitive and interactive, with tons of options for modulation. I love how flexible it is too, you have options to change the behavior of some of the CV inputs. It can be clean or noisy, subtle or aggressive. The Piston Honda feels alive in my system, and it’s one of the few digital oscillators that keeps me constantly engaged and inspired. It’s never boring, which is why it’s one of my favorites.

Choose Modules That Inspire You

Ultimately, this journey has taught me that choosing modules is about more than just filling a gap in your rack. It’s about finding tools that inspire you to create, that make you excited to patch. Don’t fall into the trap of buying something just because it fits. Ask yourself if it makes you happy, if it pushes you to experiment and grow as a creator. If the answer is yes, that’s the module worth investing in.

6 Comments in Synth chat
  1. Yes, I miss the sound of my DPO, but damn, it was so easy to knock those freq knobs out of tune. And somehow I always ended up using the wave folded output. Never really gelled w the distributed mod bus stuff. Still sometimes imagine giving it another try.

    Reply
  2. Any chance we could get a peep on that Modular Grid list of all the oscillators you’ve owned?

    Right now for me I have the SSF Zephyr and WMD Legion linked together to start trying to get my head around FM, which I’ve never really messed with before.

    For digital I’m right there with you on the PHmkIII but I also have been playing with the SynthTec E352 to play with some other wavetables, plus the latest firmware has a chord mode to I can give Plaits a well-deserved rest for a moment

    Reply
  3. Would love to see Modular Grid rack you had built that showcased every oscillator you’ve ever owned – particularly to see context as to DPO and Honda coming out on top.

    Reply

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