Hardware Physical Modelling


Here’s another great example using the Mungo Enterprises d0:

Also by the same artist


I’ve been working with a Doepfer A-138m matrix mixer in my rack for about a month now and I’ve gotta say it’s near-essential for physical modeling patches. Any matrix mixer/VCA, that is, not this one in particular. They make routing things so intuitive and simple, and everything in the signal path can have a little bit of an influence on everything else. It really makes sense when you think about how in any non-electronic setting sound waves are going to be bouncing around off all the different parts of an instrument and the space it’s in, changing how things respond.


Modelonia is kind of a neat physical modeling plugin that doesn’t get talked about as much. Good for uncanny valley sort of sounds.


I had a free copy of steampipe that either came with my audio interface or was baked in to the free version of Realtor 5, and loved it. Been meaning to dig it back off an old hard drive.


I wound up creating a pretty nice horn patch today! It’s a bit odd, kind of has characteristics of a string and drum as well.

It’s actually based on a typical Karplus-Strong string patch using a d0 with a few additions. Mainly, running the sound through a convolution reverb in my DAW, an IR taken from a guitar body, and back out into the modular. The convolved signal runs through Three Sisters with the High channel self modulated through an FM Aid and mixed back in with the Low and Center and all fed back into the d0. I had originally set this extra path up to help add some more sustain to the string notes, but cranking that particular signal up past a certain point takes the overall patch from a string sound to this brass horn.

The first part of the example, I’m not sending any pitch CV to Sisters which creates some nice harmonic resonances and helps create some weird string and drum-like moments, so it almost sounds like multiple instruments playing together. The second half, I’m multing the pitch CV that’s controlling d0 to Sisters so it produces more stable notes across the keyboard. Using an envelope with logarithmic fall works great for getting the notes to taper off the way a wind instrument does. The echoing delay is just the second channel of d0.


This is awesome! Nice work.


I picked up the mungo d0 and here’s my first shot at a woodwind type of sound


Wow, this sounds great.
Could you share how you patched this up?


The d0 gets an impulse for Karplus-Strong from the PEG envelope. Its clock is generated from the Mangrove square wave being fed v/oct from a Teletype sequence. The d0 feedback path is then sent through the audio 1 input of the MMF-1 in dual band pass mode. Audio input 2 comes from a white noise source. The filter is also receiving the same cv from the sequence into the cv 1 input, and the sequence gate into the cv2 input. That’s how I got the initial hit you hear during each note’s attack. It’s a careful balance on the feedback gain through the various stages, and also the relationship of the delay time/clock osc/filter frequency. I got some good tips from @smbols :+1:


the flute multiphonics sound so lifelike, great patch!


Nice patch! Sounds like a Japanese flute. I’ll have to try introducing noise at the filter stage of the loop–I like that texture.

And yeah, the careful balance of feedback is the most important thing with all of these patches. You can have the correct signal flow set up but if everything isn’t tweaked just right then you end up with silence or chaos.


I’ve always been interested in physical modeling sounds, even before I got into Eurorack. My latest setup is mostly build around this premise: it consists of a small sampler (2hp Play) for exciter, a Braids (exciter), a Serge Resonant EQ (ideal as a resonant body for reed instruments), two filters (2hp LP and a Comb filter), a Clouds (to pitch shift the feedback I get from the Serge), and some control modules.

I’d be interested to hear how people have been utilizing their filters in feedback paths, which positions are ideal, or how @smbols used the matrix mixer.

I also own a VL70m and beta tested for the editor which is currently available and I’ve been working with other hardware synths that emulate physical sounds. Anything from the Roland series to GEM rpx-p for pianos are really nice.


The matrix mixer is pretty straight forward. It just makes routing feedback really easy, and lets you have each different part of your modeled “instrument” effecting the other parts, like they would in a physical object. So using the example of a string instrument, I’ll have the outputs routed to two different delays and a bandpass filter array like your Serge EQ, then use one output for monitoring. Send the delays and BP filter array to their own inputs, with another input for the exciter signal, and then just adjust how much each signal influences the others, so you can have the strings resonating in the body filter and the sound of the body filter resonating in the strings in turn.


Makes sense. I never thought of using a matrix mixer in such a patch, thanks for suggesting this.


here’s an old take where i used the d0 delay combined with two bp filters, one to shape the sound and the other for the body. it sounds quite reed-like due to the mmf-6 saturation and symmetry control:

@ParanormalPatroler the serge eq certainly is well suited as a fixed instrument body filter since you can’t track it. you can create quite a bit of physical modelling just with exciter and filter, however a fast digital delay is very useful!

regarding hardware…the physical modelling possibilities of the haken continuum (eg eagan matrix) are spectacular!


it really just keeps blowing my mind how realistic the multiphonic bits are! a sign that the modeling is pretty accurate!


i don’t know if it is accurate, i think one would need many more delay lines and filters in row to come to a convincing wind instrument. however i too was and still am surprised what you can do with just two modules, delay and filter and some control. i wish i would understand more about how to mimic certain instrument parts, especially the embouchure. here’s another d0 plus filter patch:


and yes @alanza, the multiphonic bits are magic, but also the hardest to control precisely…


How did you get the pitch to track so well !?
Are you tracking via cv offset input? Or via osc to the clock in?


via cv offset input, saved 1v/oct setting on the storage strip, but osc to clock in would work too.