This way of using the module is interesting because it deviates from the norm of building a single entity, a single mass of sound with the system. Instead, the modular becomes an orchestra with different performers each of them made of a single module or a small group of modules, and complexity is achieved not by interconnecting modules, but through layering, or rhythms. This influenced the design of the following modules in which I tried to provide ways of making the
module usable as a standalone source (for example by adding a built-in VCA in Tides, or a built-in drum sound source in Peaks).
Q) Was the openness and power of soft synths inspiration for the device? And
bringing that to a modular format that still offers hands on control.
A) I used csound in the late 90s and it always served me as a "map" of what's possible in terms of synthesis. But I haven't used softsynths throughout the 00s and 10s.
Rather than just add a load of links at the end I thought a better approach would be to tell you what you'll get at each link. YouTube is probably how you've come about the whole DivKid things through the video demos. Vine has odd bits of 6 second loops with modular and studio footage. Twitter is great for generally catching our attention with odd bits of content. Soundcloud has a lot of our old music on (it's in need on an updated). Instagram has content posted pretty much daily (often more) with video and images of music we're working on and modular content. Facebook is probably best to actually chat to us properly. And finally Patreon is our crowd support site for those that want to support the work that goes into the videos.
Final word from me . . . hit subscribe for the magazine!