Why are mainly DOEPFER modules used for the Ensemble instruments?
Prehistory:
In the mid-60s there was the first modular synthesizer by Robert Moog and a little later a model by Don Buchla. At that time, this innovative instrument was mainly reserved for individual musicians, composers and recording studios. In the 1970s, the Modular Synthesizer was largely supplanted by the portable and much less expensive Minimoog.
Since the mid-90s, Dieter Döpfer has been considered a pioneer. He presented the DOEPFER A-100 Modular System and thus established the so-called Eurorack format. Since the noughties, the modular synthesizer has experienced a steady increase in popularity. Today, there are well over a thousand different Eurorack modules, and the number of manufacturers is also almost unmanageable. So it is no exaggeration to speak of a real hype around this electronic musical instrument.
Current situation:
Nowadays, many manufacturers follow different philosophies and sometimes also put a lot of emphasis on the appearance of their modules. The implementation of digital components also expands the technical and sonic possibilities and increases the complexity of individual modules. For the operability in the space-saving Eurorack format this is a challenge and unfortunately not always in the service of clarity or easy comprehensibility.
These current developments are nevertheless very attractive and I would also like to do without them only reluctantly, but …
Dieter Döpfer, on the other hand, has remained true to his principle from the very beginning. ONE DOEPFER module fulfills (essentially) ONE task, all changeable parameters are accessible via knobs and sockets. The modules are clearly arranged and follow a clear logic.
The Modular Synthesizer Ensemble has made it its business to give EVERYONE, whether with or without experience or prior knowledge, the most immediate and intuitive access to the Modular Synthesizer possible. The theory or the technique is not in the foreground, but making music together in an ensemble is the primary goal. All the qualities of DOEPFER’s A-100 modules facilitate and support the philosophy and goals of the Modular Synthesizer Ensemble.
There are also other reasons worth mentioning:
In 1996 DOEPFER presented their first A-100 modules which I ordered immediately afterwards. It didn’t stop there, many more orders followed.
Soon after that the Trio Thilges 3 was founded (1997-2007). Concerts, performances, theater and film works throughout Europe and numerous publications ( Staalplaat, Staubgold, …) followed. During this time we also got to know Dieter Döpfer, who visited us again and again at our concerts in Munich. Later also Andreas Schneider in Berlin.
A few years later, when Schneider’s and my paths crossed again and we exchanged our current ideas and projects, it fell into place.
I started working and developed a special project format out of it – the Modular Synthesizer Ensemble was born.
Dieter Döpfer was also convinced of the ensemble idea and supported the project from the beginning. So my collection of modules was quickly expanded and 12 different modular synthesizers were created as instruments for the Modular Synthesizer Ensemble.
Dear Dieter, dear Andreas, MANY THANKS for your support!
PS:
Subtext of the last paragraph:
There are dozens of DOEPFER modules from the 90s built into the Modular Synthesizers of the Ensemble. They all work like on the first day.
Translated with DeepL