Korg

ManualsBrandsKorg ManualsSynthesizersVolca Modular

FM VERDICT

9.4

It may be slightly ﬁ ddly and

a little complicated, but if

you’re willing to give in to

its experimental ethos, the

Volca Modular is endless fun

PATCH LEADS: Given its diminutive

frame, it’s unsurprising that the Volca

Modular uses micro leads instead of

standard 3.5mm jacks

CV: A stereo CV input allows for both

pitch and control signals, replacing

the standard Volca MIDI in

UTILITY: This handy module offers

multiple ways in which both audio

and control signals can be combined

and attenuated

SPACE OUT: The digital reverb isn’t

particularly natural sounding, but

it’s a characterful effect and a

great addition

gate inputs and end trigger outputs.

In both cases, the latter two elements

can be patched into one another –

end trigger out into gate in – so that

the Functions can act as looping

envelopes or, in the case of the

rise-fall generator, a shapable LFO.

The Modular also has a sample

and hold circuit, labelled Woggle. By

default this uses a pink noise

generator as its sample source, but it

has both sample and trigger inputs,

plus stepped and smoothed outputs.

At the end of the pre-routed signal

path is a digital reverb effect, labelled

Space Out. This is a smart edition;

without it, the Volca Modular can

sound dry and lifeless, but just a little

of the effect can really bring the

sound to life, adding depth as well as

a touch of stereo width. The Space

Out module has a single Amount

control that adjusts the dry/wet and

decay of the sound simultaneously.

It’s not the most natural sounding

reverb but it is hugely characterful

– lots of short, digital-sounding

reﬂ ections pushing into short-delay/

chorus-like territory at higher levels.

Separate from the pre-patched

signal chain are a pair of utility

modules. The ﬁ rst is a dual lane

signal splitter, with two inputs each

feeding into a pair of outputs,

allowing two individual audio or

control signals to be split in two. The

second is a utility for combining and

attenuating signals, featuring three

inputs, labelled A, B and C, along

with two outputs. Here, any signal fed

into B can be attenuated by C (either

using the patch input, or a front panel

rotary). B is then combined with any

signal fed into A – depending on

which output is used, the attenuated

signal of B is either added to or

subtracted from A. When nothing is

connected to B, that input defaults to

a ﬁ xed 3.3V signal. Given all the

options, it’s a powerful little utility.

Control-wise, the Volca Modular

has patchable outputs from the

sequencer, as well as a separate CV

input. The sequencer has a total of

ﬁ ve outputs, for pitch, gate and three

gate division outputs, which send a

signal for every second, third and

fourth gate respectively. These latter

outputs are great for adding

polyrhythmic movement.

The Modular’s CV input replaces

the Volca range’s standard MIDI

input. The input port itself is a stereo

3.5mm jack port, allowing separate

signals to be sent via the left and

right channels. Each of these has its

own patchable output on the

Modular’s front panel. The left is

formatted for CV control signals, while

the right is set up for a 1V/octave

pitch input. Next to this are the

standard Volca pulse sync in and out

ports, used for clock synchronisation

with other bits of analogue gear.

There is a lot going on within the

Volca Modular’s diminutive frame. To

make it work Korg have opted to use

micro patch points, which make use

of basic wire-tipped cables, rather

than standard Eurorack 3.5mm

connections. It’s an understandable

design choice, but it does make the

Volca Modular, at times, very ﬁ ddly to

patch and manipulate. Once more

than one or two wires gets involved,

things become very busy. The wires

themselves are quite ﬂ imsy too, and I

wonder how durable they’ll prove.

Fortunately Korg supply a generous

amount of them in the box.

It’s interesting to compare the

Volca Modular to the original Volca

trio – the Beats, Bass and Keys – to

see just how far the range has come.

Those instruments were designed

with immediacy and accessibility in

mind and, as great as the Volca

Modular is, undoubtedly some of that

original ethos has been lost as a

result of its complexity.

As someone with a fairly solid

understanding of both the history

and basic principles of synthesis,

it’s easy to get excited by the

possibilities offered by the Modular,

but I do wonder how well that will

translate to the mass market.

Korg have done a stellar job of

transferring unusual synthesis tools to

a product at a price point where

they’ve never been available

previously, but the fact remains that

this is a complicated instrument that

specialises in experimental and

rather niche sounds.

On its own terms though, the

Volca Modular is an absolute triumph.

By bringing affordable left-of-centre

sounds and synthesis tools, hopefully

it will open up a world of sound

design experimentation for cash-

strapped producers who previously

could only dream of getting hands-on

with West Coast hardware.

PATCH LEADS:

Given its diminutive