Raw modular output requires EQ, limiting, and compression to be mix-ready, just as any digital production chain would

A common misconception about modular synthesis is that the analog signal is inherently ‘better’ or ‘warmer’ and requires less processing. Blawan explicitly corrects this: ‘it’s raw, it’s very [wide spectrum]… you need to control that really a lot by good processing, good eqing, good limiting.’ The analogy he draws: a DAW production chain has ‘VST chains this long’ on each track; the analog equivalent must also apply the same processing discipline. Raw modular audio has a very wide spectral range, unpredictable dynamics, and often needs surgical EQ, limiting, and compression before it sits well in a mix or a PA system. The discipline of processing applies equally to hardware and software sources.

Examples

Blawan: ‘you think about if you build a track on Ableton I’m also my stuff but people they have like VST chains this long you know — you’ve got to think well I’ve got to do that also in the analog to a certain extent.’ Good processing = EQ + limiting + compression.

Assessment

List three processing problems that raw modular output commonly has that require correction. Why might a live modular performer need limiting at the output stage? How does the processing need for modular audio compare to that for a software synthesizer?