Electronic Music Modular Synthesis for Studio and Stage
Apr 22, 2026
James Richmond, composer/producer and developer of bespoke audio tools, talks modular synthesis from studio patching to live rigs. He explores creating sounds from scratch, semi‑modular vs fully modular workflows, generative and stochastic systems, practical recall strategies, gigging setups, and starter module recommendations for newcomers.
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Modular Means You Build The Instrument
- Modular synths remove predefined signal paths so the musician designs the instrument rather than picking presets.
- James Richmond contrasts classic fixed-architecture synths (oscillator → filter → amp) with modular where relationships only exist once you patch them.
From Music Shop To Max To Eurorack
- James Richmond traces his synth journey from working in a music shop and buying Juno 660/106 to using Reaktor and Max before Eurorack in 2016–17.
- He used Reactor/Max as block-patching environments and leveraged scripting/coding skills from an IT background to bridge software and hardware.
Modular Is Freedom From Designer Assumptions
- Modular's appeal is freedom from designer-imposed signal flow, enabling cross-modulation and unconventional routings.
- Richmond values building systems and behaviors over browsing presets, calling modular an ecosystem rather than a nostalgia machine.