Doepfer A-100

It's a modular...
Modular synthesis is simple and enjoyable with a reasonably mild learning curve.
The smaller format can make patching cables and turning knobs a bit pinchy but thats the way it is. This is not a bother to me and I like the small format better.
Sometimes I think certain knobs and patch points might hav been better placed

you name it you its got it. If it doesn't have it ask Dieter Doepfer and he'll put a poll on the doepfer forum group. If people want to see it built he'll built it. Can't ask for more.

The Eurorack now includes Doepfer/Analogue Systems/Analogue Solutions/Plan B/Cyndustries/Cwejman/

Killer... again it modular so it sounds like a modular and on these grounds it sounds beautiful and rich.

Good but I do expect problems... Dieter Doepfer seems very releiable so I'll give it an 8

no problems ever

killllller

Modular synthesis is simultaneously very simple and very difficult. It is simple insofar as it is a what-you-see-is-what-you-get way of working. Hardware virtual analog synths with patch memories can be confusing because knob settings don?t really reflect the actual patch settings--turning a knob slightly can result in nasty surprises. With real modular synths, a knob set to 5 is a knob set to 5. There are no menus or submenus buried in an operating system, so everything is literally right in front of your eyes, from knob settings to signal flow. Interaction with a modular is also reassuringly hands on--turning knobs and plugging in patch cords is more immediate and gratifying than pointing and clicking with a mouse on virtual versions of an analog. You?ll also never have to worry about downloading bug fixes or resolving software compatibility issues.

Modular synthesis is, however, difficult because of the absence of patch memories. You might create a great sound but find yourself unable to replicate it ever again. Learning how to make useful connections isn?t really difficult at all, but keeping track of what?s plugged into what can become quite a challenge (always use colored patch cords!).

The A-100 system includes a huge array of modules, so you can pick and choose the features you want. While it is possible to build a polyphonic modular, it's difficult and expensive. Most people intend for their A-100s to be monophonic and don't regard this as a limitation.

Expansion and configuration possibilities are pretty much endless. If you grow tired of Doepfer modules, you can use modules from other manufacturers (Analogue Systems, Modcan, Wiard, etc.).

The sound quality is uniformly excellent, which is of course what matters most. It excels at basses, leads, and weird special effects noises.

The build quality of the Doepfers seems quite good (no loose jacks or knobs), although I?m aware that many modular aficionados find the larger MOTM and Synthesizers.com modules to be of superior quality. Because the Doepfer modules are smaller, the jacks and knobs are closely spaced and require at times some dexterous finger maneuvering. In my studio, space is at a premium, so I actually strongly prefer the smaller size.

There are lots of reasons not to own a modular. There?s nothing a real modular can do that a software modular can?t do, and there?s a whole lot that software can do that a real modular can?t. For comparable (but not quite identical) sound quality, software is undoubtedly much kinder to the pocketbook. But inspiration doesn?t necessarily follow from utility or brute power. Interacting with a real modular makes you feel like you are actually doing something instead of simulating something on a computer. That sense of authenticity--of reality--can be very important to the creative process. Because the Doepfer A-100 has no patch memories, I find that I spend more time paying attention to the nuances of sound design instead of just scrolling through patches until I find one that is ?close enough.? Laziness just isn?t an option.

Well, it's a modular system without any memory capability, so it's not easy for beginners. However... if you're willing to learn and have some understanding of how a synthesizer works, I don't think it's really difficult. But one shouldn't compare it to any preset soundmodule or whatever - it's a whole different world we're talking about here.

Basically, it's monophonic. And it's pure analogue, so no soundcards, memory or whatever. But you can control it by MIDI ! And depending on the nature and amount of modules you have, it can be as versatile as you'd like it to be. And yes, there's also an analogue sequencer module and you can add as many of these eight-steppers as you like!

Very good for experimental music, obviously. But you can squeeze any analogue bass, lead or whatever sound out of it. Don't expect a stringorchestra or a piano. You'll need something else for that.
You could take any old organ (or any sample or other thing that makes sound) and apply the A-100's filters on it. very interesting!
The overall quality is very good, and considering the price it's more than excellent!

Not recommended to take on the road for obvious reasons. However, Kraftwerk did! In a studio environment it's quite reliable, I never experienced any problem with it. The only thing is that sometimes the jackplugs crack somewhat due to contact problems.

They've got their very comprehensive and elaborate website and through the user's forum on the www you can discuss any problems and ask questions. Mr Doepfer himself also participates in this so there's a (more or less) direct contact with the manufacturer! They also pick up wishes and ideas from their users and sometimes incorporate those in their (new) modules. Where else do you find that??

I would absolutely buy it again (perhaps in a somewhat different configuration though). It's very good value for money.
I use it for five years now and have been expanding my system ever since. Other gear I own: Synton Syrinx, Roland Juno-60, Roland JV-2080, EMU2000 sampler, Yamaha DX-7, Roland D-50, Moog Prodigy, Clavia Nord Rack2, Moog MF-101 filter, and some FX and recording stuff.

Dead easy. It was my first synth! The manual is great and has some examples of patches and how to go about making the most of your modules in some cases.

Great on features. If you get an MCV 24 you can make it polyphonic as well, provided you have more than one oscillators, but think that most of the people that bought it, had monophonic sounds in mind anyway. As effects are concerned, you've got spring reverb, frequency shifter and the mind blowing voltage controlled phaser. No velocity or aftertouch with my system, but who cares anyway.
You can be expanding this synth forever. Dieter Doepfer comes up with new modules almost every month!

No velocity or aftertouch with my system, but who cares anyway. The amount of expresiveness is just unprecedented. It does not get more expressive than this. Get more ADSRs and LFOs, grow more hands and body parts, and you still won't get bored!
The sounds are amazing. I use mine for bass, leads, percussion, FM, filter sweeps, special FX sounds, and 8-bit video game effect sounds with attitude. It's just too bad this synth, does not take prisoners.

You will not find many analog modular synths around that have modules that only date back to 1995 onwards!
I've had mine for a year and a half, and have not had any problems with it what so ever so...

E-mail them a question, and Dieter Doepfer himself will answer back next working day. I haven't had any problems, just questions abbout the CEM 3340 chips that are used in the high end VCOs (A-111).

If it were stolen, I'd buy it again. I've played with EMU modulars, ARP 2600, SH-101, JUNO 60 and 106, Moog Minimoog. The A-100 sounds the best. It's got it's own sound and can get close to the sound of all the synths mentioned, but does not have the bottom end of the MiniMoog (which is just too much). But it's got a bitting mid range that helps it cut through in a mix.
Very cheap compared to other modulars.

No presets. This is a modular synth so all patching has to be done literally, ie with patch cords (lots of fun in itself). Great manual with clear diagrams and "suggested usage" tips. Easy to use if you know a bit or two about subtractive synthesis, otherwise stay clear

no keyboard, polyphony depends on the numer of oscillators you buy.
Expansion is endless, just add more empty rackcases and away you go.
The Midi>CV interface (A-190) is pretty comprehensive and very reliable. Primitive sequencing is very much possible with the basic systems I and II.

No realism here, this is strictly synthesis. Works best in experimental electronic genres but could be set up for any kind of sound and music

Very reliable, extremely well built and neatly laid out prints.
Solid sturdy front plates and smooth pots. excellent value for money
Modulars are a bit hard to use live

excellent service by email, often from the company director himself!
These people don't just build synths, they are on a mission

i would certainly buy one agian, just like i've bought many more modules after my first basic system. Now i've got three cases full :)
Been playing for years and have too much gear to list all but a few: Jupiter-8, Korg MS-20, Solina String etc etc

This is a modular synthesizer, so all connections are done manually with patch cords.
There are no presets, and no way of saving patches other than drawing a diagram or writing down all the settings.
If you know what all the modules do, then it's pretty easy to come up with sounds.
The only difficulty is that if you have a complicated sound with a lot of patch cord connections, it can be
hard to figure out what cord is going where. It's also hard to squeeze your fingers in to turn the knobs if there
are a lot of patch cords being used.

Polyphony depends on the number of oscillators you have. There is no keyboard,
although you could hook one up if you have a MIDI to CV interface or an old synth with CV outputs.
It is infinitely expandable depending on your budget, and you can get any combination of modules you want.
The one I have has 2 VCOs, 2 VCFs, 2 VCAs, 2 EGs, 2 LFOs, a Noise source, audio divider, clock divider,
frequency shifter, VC overdrive, and VC distortion, but you can configure your own system any way you want.

This is not something you get to emulate the sounds of acoustic instruments. This is ideal for purely electronic and experimental music.
The difference between using a VC distortion and a regular stomp box distortion is that you can specify exactly how much
clipping you want on both halves of the waveform, and modulate it, and you can also distort control voltages (f.e. LFO waveforms)
which you can't do with a stompbox. The frequency shifter is very intersting, similar to ring modulation. Doepfer produces several different
VCFs with different characteristics. I have the WASP filter and a 24db Lowpass, and they both sound very different and interesting. They also make
another 24 db lowpass, a 12db multimode, and a 24 db Highpass. The digital noise source is also very interesting.

I've only had mine for a short while, and so far it's been working fine.
Some people have had trouble with loose jack connections, so I'm trying to be
careful when I plug things in. I'm intending to use mine strictly in a studio situation.

I had a question so I sent an e-mail to their support address. Mr. Doepfer himself responded the next day.

It is great that people are starting to make analog modular synths again. For one thing, you don't have to scroung around and pay exorbitant prices for a used Roland or Moog which is going to need expensive repairs.
Also, the new modular synths can incorporate a lot of things that weren't around in the 60s and 70s, MIDI for one. Doepfer makes a lot of interesting modules besides
the usual VCOs and VCFs that I'm looking forward to trying.
After using a modular system and having total flexibility regarding connections, I can now say I'm totally uninterested in any synth that
does not have the same amount of flexibility.

The only thing I wish it had was some kind of non-keyboard controller.