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I've had two bad experiences with this person. @accountboy

Communication is very difficult and childish even, just making private conversations public, is really not a good thing. I admit to have been stupid to send the wrong email address, but I've corrected this directly after and PayPal has all the options to provide a refund. So there is actually nothing wrong. Please read this tread, I have enough good experiences with other people.

I had two weird experiences with @kansha who the other two here seem to like.

EDITED May 3rd 2018, 10:24

Hey Folks,

tried coming up with a 2 separated voice complex VCO rack, what do you think is it lacking? i thought about swapping the motomouth with a smaller filter (i.e. polivoks) to get some space

i have another small rack with yarns so i will combine this rack with a digitakt and an octatrack for my drum sounds
glitchy IDM trancey techno electro stuff

Ok i have replaced the 48hp skiff on the bottom with another 104hp. I decided on the Make Noise Morphogene and the 4MS DLD to fill the last 40hp hp with. They are on the way. I will remove the 2hp comb and delay that I had in the rack giving me enough hp as i'm not impressed with these two modules. This rack will then be complete for a while.

EDITED May 8th 2018, 15:27

So watching videos on learning modular systems the idea is start with a VCA, VCO, filter, clock, envelope and power/case.

What are your thoughts on this versus buying a fully assembled system like the Doepfer A100, Make Noise Shared System, Harvestman Polivoks package ?

My goal is to learn modular synthesis well. I already have an Elektron Analog 4 and Make Noise 0-coast and for sampler/sequencer have my Elektron Octatrack. So would not need to spend cash right away on sampler/sequencers or controllers since the Elektron can manage modular over CV connections.

The package systems I am looking at in future:

For under 2k the Polivoks looks cool for industrial!
http://store.industrialmusicelectronics.com/product/iron-curtain-electronics-full-system

Make Noise Cartesian (about 2k)
http://www.makenoisemusic.com/synthesizers/system-cartesian

Verbos System (about 3.5k)
http://www.analoguehaven.com/verboselectronics/compositionsystem/

Endorphin.es Shuttle system (2.5k)
http://www.noisebug.net/site/endorphindotes/index.cfm?ID=2

While I would love a Buchla the cheapest one the Easel is 5k!
The expensive drum Buchla machine is on my list however. And if I score a big bonus I would love a Buchla Skylab.

I looked at Phenol, Ants, and Modulor but they look like they cannot be expanded or fit into a Eurorack or modular system and look to be more stand alone portable units.

I had two weird experiences with @kansha who the other two traders (edit: a lot more suddenly since I wrote this) have great experiences with.

I bought an ER-301 which came with a component loose and rattling in the box, possibly broken off during transport but as likely to have been torn off when put into the snug bubble plastic bag. This was a year ago and after lots of back and forth, insisting everyone from the bag to the original seller, to the post office might have been to blame he settled on requesting insurance coverage from the post office. This was a year ago but no updates, no partial refunds ever materialised. I had to get the 301 soldered myself. I just assumed he was tired after the rather extensive dialogue related to that trade. Up unto the point the module turned out to be broke he was stellar but then he lost it.

Fast forward to today I jumped on a Three Sisters he was selling. He provided me with the wrong Paypal address (wrong domain, .de rather than .net which I sent for). I paid for that address while he pretty much at the same time sent a message correcting the Paypal which, well, I didn't register well enough (you'd think he'd be aware of his own email domain to begin with but apparently he needed me to more aware of the finer details of his correction for his incorrectly provided Paypal email). I did manage to cancel the payment but money locked down for 2-5 days, no big deal I guess but frustrating. I sent him an email saying something along the lines of "Wtf I sent it to the wrong address dude." which was enough for him to get combative while generously offering to hold the module for me (rather than the "ooooh sorry I messed up dude I'm sorry let's try again, forget about that Paypal fee I wanted to charge you and we'll work it out", or something)

If something goes really wrong expect to possibly end up in a worst of the internet styled argument, blame shifting, not pulling through on promises and no refunds or discounts.

Discussion thread about the trade:
https://www.muffwiggler.com/forum/viewtopic.php?t=200785

EDITED May 4th 2018, 23:53

Yea I really like the idea of mixing synced with unsynced, or polymetric or even poly-tempi, especially with a vocal or melodic part, so it can “groove with its own groove,” so to speak.

Modcan QuadLFO + Make Noise Tempi + Syntherks SP-4DP quad active fader is my current modulation madness. (Just bc i already own the modules; I’d love to try your suggestion.) Tempi is great for polyrhythmic and mutated stuff with CV control of the switchable states as well as clock rotation. I think Synthwerks stuff is awesome and very overlooked. Stuff that’s made to be touched, that can leak, blast, and shape modulation signals...the controllers also make viable parameters still reachable once there is a rainbow hedge growing from my eurorack. Can’t wait to try w the Fumana

EDITED May 2nd 2018, 22:16

Hi, I'm looking for a delay module which has a long delay time. (Often the max delay time is not even mentioned.) I have an old guitar pedal delay which does 1300ms, but I'm looking for a longer delay time. As long as possible. What would you recommend? Thanks!

Another bonkers suggestion would be abusing a few of the Doepfer A-144 Morph Controllers in conjunction with the output VCA patchpoints, plus a few syncable (or not!) LFOs.

Scariest. Polymod. Filter. Ever.

That Fumana has abuse potential coming out the ying-yang, believe me.

My own JP-6 is sitting to my left, about six feet away. Trust me, you want accuracy here. The VCF arrangement in the actual synth is utterly amazing, not exactly like anything else Roland did before or since. It has its own particular sound, but it's very chameleon-like...it's capable of going in a lot of other directions than the obvious.

As for the Klavis Dual VCOs...note that. They're dual VCOs...each module contains two VCOs, plus quantizing and several other tricks. So what you see there isn't two VCOs, it's two modules that contain four VCOs. The Roland/Malekko stuff can't get you in that ballpark for Klavis's price, believe me. Demos, though...look, modular is very open-ended. If someone does a shit demo video, it doesn't necessarily mean that that's going to be your result when you program it alongside your modules. Anyway, yeah...four VCOs, which means you can do a lot of different potential directions, such as two-voice paraphonic, using all four in a stack, or using some elaborate crossmod or sync schemes.

At the same time, however, modular is, by default, 'deep'. And, annoyingly, trendy. That's a bad combo; you have people thinking that 'wow...these modules will solve everything in my music!', and that's NEVER the case. Consequently, I keep hearing of people diving into this, making a lot of wrong assumptions, getting hosed on money, and still wondering why their music isn't clicking...and the fact is that they could've saved a lot of money by just looking in a mirror to find the problem instead of dropping several large and discovering it the hard way.

Going into modular synth work isn't a casual decision. It requires a sizable amount of background information, research, and outright scutwork to sort out whether or not this really is a viable direction (for starters) and then, if so, what next? My advice: the rack above will work, but if the concepts seem somewhat beyond your comfort area, step back before massive cash gets thrown around and dig a lot deeper into this first. Figure out why things sound the way they do, both on recordings you're familiar with, instruments you're familiar with, and relate that to the modules you're not familiar with. Do get the M32, maybe another patchable or so first before a headlong, thousands-of-dollars dive into the deeper end of the pool. You'll likely be a lot happier and more satisfied in the long run.

Oooh just had another idea....something like the ol' Moog Voyager with the expander would be nuts with this. All those cv outs for the touch pad and other controllers, plus being able to use the envelopes and much more sophisticated modulation busses with the eurorack....would be bonkers.

EDITED May 2nd 2018, 18:34

The labeling on the image CV jacks don't mesh with what's in the description. This should be corrected to prevent confusion.

Awesome Lugia. Thanks much for the tips and your input; you’ve given me some new new spots to dig for treasure. I was considering putting in a stereo I/O module in for the carrier, but there were other modules I wanted to fit and that’s why I ended up with the make noise 7U. Not sure if it’s clear on the grid (was hard to find a Hi-Rez photo when I created it) but the 1U row in the middle has a mono line input with gain pot, and L(mono)/R output patch points to 1/4”.

So one idea is to be able to take something like my OB6 and send a nice bright sound into the 1/4” input, connect a midi cable to yarns and have patch points for pitch, velocity, gate, trig, mod wheel amount, mod wheel LFO, aftertouch, etc., which allows you to build patches that are controllable from the external carrier synth itself....looking forward to new vocal sounds at each show and being able to modulate my eurorack patches when I can’t take my hands off the keyboard.

Cool, thanks!

The Jupiter filter is a little spendy, even compared to the SE 8106 which seems to get some rave reviews. I've never played with hardware Jupiters to care about total accuracy. Will have to try and find some demos online to see if it sounds good enough to sway me.
I had not really thought about syncing VCOs since I often didn't bother with it in hardware synths I've had. Guess I assumed I would just stack a dissimilar saw wave VCO with the Mother's saw wave and patch thru a different filter for Roland-ish tones. The Klavis VCOs seem pretty deep, likely deeper than I was aiming for. What about Roland's System 500 dual VCO? That would be more affordable than two Klavis and they have sync capability. Most of the demos I have found sounded like farting sound noise, not very musical, so it was hard to gauge it's potential.
I like that triple LFO, seems a lot of versatility in small space.
You're talking over my head a bit about the triple band pass filter and modulating it with LFO. Am I correct to think of that sutble (or sometimes not subtle) whooshing or sweeping sound I sometimes hear in a lot of OBX and Jupiter poly sounds? If so that is intriguing. I was thinking this would stay a monosynth only modular setup but I could likely use that sound even in some lead and fx patches for sure.
Is the multi module necessary to send CV pitch to multiple devices from the Mother?

EDITED May 2nd 2018, 16:07

Done...and I think I hit all three targets:

Moog: obvious.

Roland-ish synth part: OK...in this case, I went with two Klavis Dual VCOs, because to get that sound right, you need some oscillator detuning and, potentially, sources for sync and/or suboctaves. Filter is a G-Storm JP-6 clone...doesn't get much better than that for the Roland analog polysynth sound in modular format, I think. Then it gets interesting; the mixer allows you to do some inversion of VCO waveforms, which can also cause some nice phasing results, done right. The Klavises, also, have the plus of being internally-quantized, so running them right off of the M32's sequencer is easy. Two EG + VCAs, two VCS...not a bad modulation section. But the last triple LFO, that's specifically for the triple bandpass filter...and this gives you that counter-swept-ish resonating behavior common to some really great divide-downs such as the Polymoog, Korg PS-series, et al. Closed that up with a delay, because...well, a delay. Just puts the cherry on that late 70s-type string synth process w/o wasting an external box.

Rings is still there, natch. Then there's a 3x VCA for CV-controlled mixing to mono, and a metered Ladik mono out.

Note that I swapped the P/S...like I often say, overspec that part. It puts less load on the P/S, reduces heat and component strain, and makes for a more reliable build. Added a mult, too...necessary if you're going to do your MIDI-CV conversion in the M32, then send that upwards to the upper row's module compliment.

Not too shabby...yes, a bit spendy in some areas, but I managed to avoid some areas you were heading toward that might've spelled some sizable expenditures while still coming up with major capability.

Nicely done...and a good move, getting compression on the input for your modulator signal. You'll find that'll make the Fumana (like most any other vocoder) more responsive to vocal transients once you get it dialed in properly for your voice and mic. You might even consider another input (non-compressed) module to input an external carrier signal.

One tip: the Fumana is brilliantly set up, and can do some EMS Vocoder 5000-like reroutings between the modulator's envelope followers and the output analysis bandpass filter/VCAs. I advise major exploration of those patchpoints; having them is one of the huge plusses of that particular vocoder module!

I am looking to put together a modular trying to chase 3 things:
1) Some basic Moog type sounds (I know not exciting, but I don't have a fixed architecture Moog-ish mono synth)
2) Some juicy Roland filter type action for Juno / Jupiter leaning lead sounds as well.
3) Some ambient / textural string type sounds.

I am thinking the following to start:
- Mother 32 as a base. It has great saw wave and VCF (to my ears). I have tried but can't figure out a VCO, VCA, VCF combo for as cheap as I can pick up a Mother 32 so I keep coming back to that. The sequencer and basic LFO are just a bonus, plus I get the MIDI to CV without spending money on a separate converter.
- Studio Electronics 8106. Adds some variety and juicy Roland type filter as an alternative to the ladder filter of the Mother 32.
- A basic ADSR since the Mother 32 lacks it, and I really like a good bit of release in string type and lead sounds. The Noise Reap Dopes unit is cheap and comes in a visually cool black, with the ability to be dual AD envelope generators which = versatility.
- Mutable Rings. Self-explanatory, but mainly to be a processor / sound mangler for drawing out string like resonance from otherwise normal synth patches. I'm definitely sold on this as an important part of the rack.
- Mutable Tides. I'm on the fence about this one. Thinking maybe it could help to get longer evolving textural sounds by using the looping, and it seems to cover multiple things. The wave folder seems to hold interesting potential.
- I think I will need another basic VCO, something with at least triangle and saw, since stacked saw waves for detuned sounds are cool, and also since the Mother 32 lacks triangle altogether. The Studio Electronics Slim-O looks like a possibility but at $200, I know there have to be other options that sound as good or bring something interesting.
- I will probably want to add a more elaborate LFO later.
What else am I missing? Is there any module I should consider that maybe covers multiple bases for ultimately versatility??

I will be mainly playing via a MIDI keyboard and sequencing in my DAW both. I have effects like stereo delay and reverb covered well with my existing guitar pedal board. I have a homemade 84HP case, with the ability to expand it to dual 84HP by buying more Z rails, so I am limited by money overall more than thinking of myself as limited by case size.

Just planned this rig with the new Make Noise case for live use with vocals. Easy I/O of mic, line, and modular levels, and midi control. Connecting a MIDI synth gives you cv outs for pitch, gate, trig, velocity, mod wheel, LFO, or aftertouch, allowing you control the patch with your carrier synth. With the Fumana capable of spectral transfer, this rig can be a vocoder and vocal processor, making it easy to patch a thick, fat, unique stereo sound right into the PA. Last 2 modules in the mail, and the case coming in May; psyched to build.

Hej I recently made good experience with @mosley101 and @mikmanner.
Both very friendly contacts and fast shipping! thanks again

@PinPinKula is a great seller!
Thank you!

Don't forget to get VCAs! Make sure to get a decent CV keyboard controller device
and sequencer/sampler as well.

I too am working on planning my first modular setup. For now, just using my 0-coast and Elektron gear.

q-kAAOSwQ19axv5P" target="_blank">https://www.ebay.com/itm/Doepfer-DIY-Synth-Edition-2018-Magdeburg/302695524332?hash=item467a0f27ecq-kAAOSwQ19axv5P

gerade gesehen (keine Eigenwerbung) und bin begeistert, dass endlich jemand wieder ein plug and play fuer den DIY synth anbietet!

Ok first to clarify,

Do you have MIDI on these devices? Sounds like you would benefit from both a mixer and sequencer.

Behringer makes cheap Eurorack mixer
For sequencer- you can get a Beatstep Pro and Korg SQ-1 to handle the modular and other gear. These both have CV and MIDI.

That would be the easiest and cheapest route that I am aware of.

BUT if you actually want to sequence and play each track separate you need a more powerful sequencer I think like an Elektron Octatrack, Squarp Pyramid, Social Entropy Engine, or Kilpatrick Carbon!

EDITED Apr 28th 2018, 20:05

Nice! Well if I get a job where I can score deals on modular gear than it will help me piece together my portable setups for space and industrial music. Something that can do industrial, house, techno, deep psy-trance. Bands like Infected Mushroom and Shpongle come to mind. Unfortunately it is hard to find out what actual gear Infected Mushroom and Shpongle actual used!

So here are my thoughts:

Industrial modular rack
House/Trance/Techno/Psy-trance, ambience spacey sounds

My Elektron, Moog, and Make Noise 0-coast do a fairly decent coverage of house/techno/bass ground.

The Oberheim semi modular system looks good as does the Analogue Systems gear.

Kraftwerk also used modular gear starting in the late 1990s, mainly Doepfer stuff. But really, not until then.

If you want to talk about who was the heaviest modular user in the Krautrock scene during its most significant period, that would have to be Klaus Schulze. Klaus's setups during the latter part of the 1970s would find EMS AKS, Korg PS3300, ARP 2600s alongside a huge hybrid Moog/PPG modular plus a bunch of other prebuilds, all in use at the same time, especially live.

Hmm good to know I did see Nord gear as well at one live concert used by Tangerine Dream as well as Moog gear and Roland synthesizers. So probably an Oberheim SEM would be good for the spacey sounds since I already have a Moog Sub 37.

TD: anything Moog-like. Basically, 5U-type stuff, or Eurorack gear that uses typical 1970s subtractive methods. The fact is that a lot of Tangerine Dream's sound was not due to the modulars...these mainly dealt with the sequencing layers. More typical gear would be devices such as Oberheim SEM polysynths, Elka Rhapsody, and later the initial PPG Wave series, starting with the 340/380 and going on from there. And Edgar's guitar work.

Kraftwerk: none. Much of what they did during their classic period between "Autobahn" and "Computer World" was on off-the-rack devices as well as some custom gear, but none of this was modular. The spacier parts of their work often made use of an instrument that I can guarantee you will NEVER, EVER get your hands on called a Vako Orchestron., which was something like a 'pro-grade' Mattel Optigan. I might be one of the very few users on MG to have ever played one, perhaps, since both Vako and I are products of Nashville, and I got to have a bit of time with one c. 1979. After "Computer World", a lot of what you hear up until "TDF Soundtracks" was Synclavier.

What kind of modular setup would be great for ambient, spacey trance and house sounds like that from Tangerine Dream and Kraftwerk? Besides industrial this is a sound that I love.

One person suggested that maybe it could also be implemented "outside the rack", re: on the list of modules.
-- ParanormalPatroler

Yes, that would be cool, I look into that. First I have to fight the bug that it is now impossible to delete slim 1u modules with the mouse because the zoom button pushes the delete button away

[...] I like the purple colour on the button.
-- ParanormalPatroler

Haha, thanks, I am no designer. So I just rotated the primary blue color in Newtons color wheel by 120° and hoped that the miracle of numbers will get a pleasing result :)

The new Zoom function is excellent. One person suggested that maybe it could also be implemented "outside the rack", re: on the list of modules. Hover over a module, and press z to get a bigger shot of the panel. Doesn't seem that bad when browsing through the list of modules available; should cut down on time if you don't to open the Info page for each and every module.

That Spinal Cat module made it in the demo image of the MG marketplace default offer.

Lovely, too bad that not all modules are available in New Zealand. Otherwise I think it would fit ideally to the under-water conditions of cove diving.

Ahhh, but since I insist on automatic convenience, the interior 'wiring' is designed so that you don't even need the extra switch. Just turn it on...and IT EXPLODES! Which, in a sense, is the answer to many synthesists' prayers: auto-programming in a modular. It's a technical innovation that is guaranteed to be groundbreaking...probably for your funeral if you're standing over it when you power it up, actually.

It's also auto-tuning and totally drift-free. I guarantee that whatever extremely momentary noise this emits will be perfectly cent-accurate compliant to some sort of scale in some way or another. Yet another horrible and long-vexing technical issue SOLVED!

Nice!

Looks cool- all that it needs is a detonator switch and wires and wick then you have an explosive synth!

One technical detail not visible in the build is a number of frayed, bare wires inside the skiff, which is also packed with quite a bit of gun-cotton.

I guarantee this will be the most excitement available in Eurorack today!

(insomnia. just say no.)

EDITED Apr 25th 2018, 17:52

Agree in many ways extremely fortunate to have the power of what would cost MILLIONS of dollars years ago and require a large studio to use. The flip side today is that making a living off of music is nigh impossible due to the flood of cheap music gear and everyone is an instant DJ/musician online and music is free on most channels.

Then again, music to me is a hobby and way to explore and eventually create the soundtracks to my short stories, screenplays and novels that I one day hope to complete and spin into small films or animated features. It would cost me a fortune to pay a band like KMFDM or Metallica to use their music. BUT I can create my own takes with the gear widely available to me.

In fact I was producing some tracks the other day with my Elektron and Make Noise 0-coast that sounds very industrial KMFDM and Skinny Puppy/NIN in many ways. That brought smiles to me. Now I just a mike to record harsh lyrics and write some songs the record to Ableton or Cubase and remix/remaster.

That's because it kinda is.

I was just commenting in email to an old collaborator of mine that these days have blown the doors wide open. If you can imagine something, it can probably be realized somehow, and in the course of doing so, six more ideas are likely to appear. I would've never envisioned something like the electronic music environment that exists today; there were certainly indications of it decades ago, but the combination of inexpensive and powerful tech combined with decades of gear from which to pick and choose, and the ability to link it all up like is possible now...we'd never really envisioned that back when I was way back in undergrad studies and so much of this was unobtainable or didn't exist at all.

I can hardly believe what I can do now, sometimes.

You'll notice that I changed a few things (as in most of it):

OK...only the Akemie's and M32 remain from the original. Everything else is different; here's why...

The Akemie's Castle is an algorithmic FM setup. As such, it wants envelopes. Lots. Chowning FM eats envelopes for breakfast, lunch, and dinner. So I fixed the modulation section to accomodate that. There's now ten AD envelopes, plus the two Doepfer VCS modules (each is more or less the same thing as half of the Maths, but this frees up 4 hp) and a triple VCA. All of this is supposed to be used together! This takes care of the complex modulation that will make the Akemie's really open up and go.

Lower tier had me removing the Endorphin Shuttle Control in favor of an Expert Sleepers FH-1. Same idea, but perhaps a bit more flexible and definitely smaller. You'll want to use two MIDI channels here: one feeds the FH-1 via USB, and the other goes to the Moog via the usual DIN.

The two VCFs after the Moog are for the Akemie's outputs. Optimally, you'd want to feed these to the L and R inputs on the Mixup (ie: 1 and 2), then you can feed the Moog to the L #3 input for mono. Result at the output: your Akemie's is in stereo with the Moog bringing up the background in mono.

Power was added, also, just in case this was an unpowered cab.

This should work a lot better. It gives you a true two-voice rig in stereo, with the ability to put the FM CVs and a lot of the triggering under the FH-1's control, with some clocking tie-in from the Moog (which can send its clock back down the FH-1 to lock up your main sync, allowing you master tempo control from the Moog's internal sequencer). The modulation is very capable, also; not only do you have the twelve mod generators, you also have three VCAs (summable) which can be used to obtain modulation amplitude control, which will make the FM programming really nuanced and complex-sounding. Definitely an improved version!

Yeah old SP was fun- hard to listen too as they were quite experimental for the time but very insightful use of synthesizers. I also like the old New Order stuff back when they were Joy Division. KMFDM had the best lyrics and overall package and made use of samples quite a bit on their old stuff. BUT my favorite is Wumpscut that one man show Rudy had some harsh industrial grade cuts. Sad that he gave it up after admit he could not make a living out of music.

That would be fun to have all the different tools for exploring all fields of synthesis: subtractive, west coast, FM, wave table, and granular. Hope I land gig and can score discounts to fund these ventures as it is not cheap! But will see if contenders like Behringer over time can lower entry costs as the Neutron looks promising for a 3 oscillator modular desktop with patching options. That and the Plankton Ants are quite affordable steps. I am blown away at how much I can get by on just with my tiny Make Noise 0-coast device. It sounds like a mini Buchla in many ways.

Note that I didn't mention 'voltage' as a control method. It's probably something more insidious.

Those first two were actually sort of in a transitional period in synths. KMFDM used both analog but also quite a bit of digital. SP, however, seemed to use anything you could plug into a wall socket as long as it spat noise out the other end. I still have fond memories of grad study back at the University of TN, cruising up to Gatlinburg on my downtime and blasting Puppy's early racket (ie: 'Bites', 'Remission', 'Mind') out of the car to the apparent dismay of tourists. "Why...that doesn't sound like mountain music..." Heh...no sh*t, Sherlock.

Not only possible, but there's competing devices:
https://www.percussa.com/
https://www.tastychips.nl/?page_id=2182

The Percussa SSP can also be found on here, while the GR-1 is more of a stand-alone instrument. Also, the Percussa SSP appears to be part of a larger system that Percussa has further parts of, such as the SoundCubes, etc.

I doubt it, because everyone knows that nothing can leave Omsk, even the voltage.

What do do you think about this configuration?

True and back then before modular became popular, bands like KMFDM, Skinny Puppy, Funker Voght and Front Line Assembly were using hardware synths like Roland SH-01, Korg MS-20, Nord and Access Virus.

Thank you Lugia for the great explanation! I think getting an Akamie's Castle module for FM
and Waldorf Wave table oscillator with VCA and VCF works for wave table synthesis.

Regarding granular synthesis, is this even possible on modular gear or is it too complex and expensive?
Normally computers do this but I'd be curious if modular can do granular synthesis and how to do that as well.

The basic PPG signal chain is a digital wavetable oscillator into an analog VCF (lowpass) to an analog VCA, with analog control over the whole thing. Very simple. That right there would be more or less a PPG Wave Carrier, save that the bit depth/sample rate of a present-day wavetable oscillator would be a lot higher than the original, which was rather gritty and aliased like crazy at high frequencies (which, in truth, was an asset as you could work that aliasing into patches in interesting ways).

As for FM...that can be as complicated or as simple as you want. An Akemie's would work, or a couple of Doepfer's TZFM VCOs, or just combining basic sine VCOs with arrays of EGs and VCAs to build the operator chains yourself to get the classic Chowning methodology in analog. That can be a bitch to program, however. Plus, as Yamaha found, having some sort of filter after that generation section helps that sound out a lot.

The other 'got done a lot in digital' method is, of course, additive. But that's sort of nightmarish in analog: you'd need a sine VCO for each partial with the proper offsetting on each so that all of the VCOs track properly, then a VCA for each with its own DADSR (yes, you want a delayed envelope in all cases) to control the VCA amplitudes, with all VCAs summing into a mixer with individual level controls. On the other hand, doing additive this way allows a lot of inharmonic partial settings, possible phase-shifting of various partials...but also, a potential brain hemorrhage from trying to keep the whole mess programmed!