Controlling a Modular System with a Guitar: Where Technique Meets Zen Philosophy

Integrating a guitar into a modular system is a fascinating journey that blurs the lines between traditional instruments and modern technology. In this post, I’ll share my exploration using several key modules: the Tanh by Instruō (used as a « preamp » for acoustic guitar), the Zlob Modular Mini-Equalizer, and Qu-Bit’s Cascade in Envelope Follower mode. This process is not just about technicalities; it parallels Zen practice, where learning happens through experimentation and intuition.

By using the guitar to generate envelopes, gates, and modulate parameters across other modules, I’ve uncovered a wealth of interactions—sometimes unpredictable, but always inspiring.

1. From Guitar to Modular: The Path of Simplification

The Tanh, while not originally designed as a preamp, does a great job in this role. It adjusts the incoming signal, making the guitar compatible with the rest of the modular system. This step is crucial: it channels the raw energy of the instrument and prepares it for further processing. Tanh’s role in this chain is akin to Zen practice: it centers, simplifies, and prepares the mind (or in this case, the signal).

Next, the signal flows into the Mini-Equalizer by Zlob Modular, where it is refined. Its three bands—lows, mids, and highs—offer precise control to balance the tonal dynamics. I often use this equalizer to trim unwanted frequencies and ensure the guitar integrates harmoniously with downstream modules.

2. Cascade: A Gateway to Dynamic Interaction

The Cascade module by Qu-Bit is the centerpiece of this setup. It converts the dynamics of the audio (or CV) signal into envelopes, gates, and modulated signals. Here’s how I use its main outputs and their potential interactions:

Gate Output from Cascade

With Prism (Qu-Bit filter/delay): The gate can modulate the filter’s resonance or trigger delay effects rhythmically. For instance, striking the guitar sharply triggers the gate, which can open or close the resonance, adding a percussive or spectral quality to the sound.
With Clep Diaz (Noise Engineering « modulator »): The gate can resync Clep Diaz’s modulation generator, creating periodic or random variations based on the guitar’s performance.
With Pointeuse (Ritual Electronics « switch »): The gate allows routing or cutting audio or CV signals between multiple destinations, adding complexity by dynamically splitting signals for different processing paths.
With Réseaux (Ritual Electronics « gate mixer »): Gates generated by Cascade can be combined in Réseaux to create evolving rhythmic sequences, with the guitar as the source of variation.

Envelope Output from Cascade

With Prism: The envelope can modulate the filter cutoff, creating organic sweeps that directly respond to the dynamics of the guitar.
With FX Aid (multi-effects): The envelope can modulate effect parameters like delay depth or chorus speed, resulting in lively, expressive outcomes.
With Sinc Iter (Noise Engineering VCO): The envelope can modulate pitch or waveform shape, transforming each guitar attack into a rich tonal variation.
With Time Apprentice (Shakmat): The envelope can influence rhythmic divisions or multiplications, adding organic fluctuations to sequences driven by the guitar.

VCA-Like Dynamics Without Prism

While Prism does not include a VCA, the dynamic nature of Cascade’s envelopes can still influence Prism’s behavior by modulating its filter or delay parameters. Combining this with FX Aid or Sinc Iter can yield layered and evolving sonic results, with the guitar acting as the primary controller.

3. Toward a Sonic Dialectic: A Conversation Between Modules

This entire system can be seen as a sonic dialectic. Each module acts as a participant in a conversation: the guitar asks a question by generating a signal, and the modules respond through gates, envelopes, and CV.

Much like Zen masters use koans (riddles) to challenge their students, this setup invites me to play without expectation. A simple variation in guitar attack can trigger a cascade of unexpected events, like a filter sweep, rhythmic delay, or shift in a sequence.

4. Zen Teachings: Letting Go in Creation

This approach has taught me an essential lesson: it’s not about controlling everything but about creating a space where the unexpected can thrive. In Zen, it’s often said that practice is like playing an instrument—you must find the balance between control and surrender.

Similarly, in this modular system, the guitar acts as a guide, but the final result depends on how the modules interact. It’s not about dominating the system but collaborating with it in a spirit of curiosity and openness.

Conclusion: An Ongoing Exploration

By connecting the guitar to a modular system through Tanh, Cascade, and other modules, I’ve discovered a unique way to blend technique and spontaneity. This approach, while technical on the surface, reflects an inner practice where every sound becomes an opportunity to learn.