Rob Hordijk Design: Difference between revisions

Jump to navigation Jump to search
Content added Content deleted
VisualWikitext
No edit summary
(Undo revision 20160 by Rob Kam (talk))
Tag: Undo
 
(143 intermediate revisions by 7 users not shown)
Line 1: Line 1:
[[File:Hordijk-1.jpg|thumb|Rob posing with one of his modular systems. ]]
Contact Rob directly for details about his modules: rhordijk@xs4all.nl. <br>
'''Rob Hordijk Original Design''' are the [[West Coast|"Dutch West Coast"]]<ref name=":2">[https://www.youtube.com/watch?v=uyEwdrLUa28 Episode 205: Rob Hordijk (2017)] Art + Music + Technology Podcast</ref> style [[5U|5U (Moog Unit)]] modules designed and crafted by Rob Hordijk; based in The Hague, Netherlands. Except for the [[Rob Hordijk Benjolin|Benjolin]], the designs are not available for DIY.


As Rob has never had a product website for his instruments, the source for much of the information about them comes from direct contact via email - cited directly as ''Rob Hordijk'' <ref name="rh" />
== Biography ==
Born in 1958, self described "synthesizer designer and builder,<ref name=":0">Rob Hordijk Presentation & Synth Tutorial // Modular Meets Leeds 2017 https://www.youtube.com/watch?v=GzW6pTzATG4</ref>" Rob Hordijk began learning electronics from around age 12 after developing a fascination with the glowing tubes in stereo amplifiers.<ref name=":2" /><ref>[http://vimeo.com/107453197 The Designer] by Franz Schuier, 2008</ref> When he was 14 his father who had noticed young Rob's interest gave him a subscription to an electronics course, which lead to an examination for a ham radio license.


Trained as a designer and not a musician, Rob came from an arts background, studying as a sculptor and jeweler in the 1970s. He approached electronic music in a similar spirit to abstract painting, inspired by the ambient works of Brian Eno, and Luigi Russolo's Intonarumori instruments; where attempts were made to blur the boundaries between music and art:<ref name=":2" /><blockquote>"In those days I was quite interested in the idea of sound as a material to be sculpted, in the same way you can sculpt wood and metal. [...] You can make mechanical objects that make all sorts of sounds, or you can make electronic objects that make all sorts of sounds. but what I like about the electronic objects is that you don't see what makes the sound. [...] It opens the way to sort of make it a bit mysterious."<ref name=":2" /></blockquote>In the early 1980s as various integrated circuits, micro-controllers, and processors became available to hobbyists, Rob began buying things such as the early Curtis chips and RCA 1802 based [http://www.old-computers.com/museum/computer.asp?st=1&c=908http://www.old-computers.com/museum/computer.asp?st=1&c=908 SuperElf] processor board out of curiosity more than professional ambition.<ref name=":2" /><ref name=":1" /> Later switching to an Apple ][+ and the Mountain Hardware Music System, for which he developed a Forth language version that could do all sorts of stuff with the Mountain cards, like [https://en.wikipedia.org/wiki/Karplus%E2%80%93Strong_string_synthesis KarplusStrong-type] plucked string sounds and pitch shifting.<ref name=":1" /> His first introduction to a [[DSP]] was to the DMX1000 around 1984. In 1986 he switched to Atari ST and an Akai S900.<ref name=":1" /> These days he is a [http://www.soundonsound.com/sos/jul04/articles/nord.htm Clavia Nord Modular G2] aficionado.<ref name=":1">[http://electro-music.com/forum/post-10645.html&highlight=#10645 Hello to you all], electro-music.com forum, 29 March 2004</ref><blockquote>"I am not really a gear freak. But I do believe in mastering synthesis techniques, in making synthesis a second nature, so to be able to fully concentrate on the creative processes."<ref name=":1" /></blockquote>After finishing art school, Rob also completed 11 years of study in Information Technology, learning about design methods and inventory control.<ref name=":2" />
Rob also has a subforum at the Electro-Music forum site:
http://electro-music.com/forum/index.php?f=185


As well as his own instruments Rob worked on the Nord Modular G2 including contributing many patches to the Nord Modular online community, and wrote a [https://rhordijk.home.xs4all.nl/ comprehensive unofficial manual] of the instrument. He has produced music for environments, buildings, film, and dance performances, but is yet to produce an official release on a label.<ref name=":1" /> As of 2022 Rob has announced his retirement and will no longer be taking orders.<ref>Mod Wiggler forum: [https://modwiggler.com/forum/viewtopic.php?t=70363&start=2600 Hello Hordijk] </ref>[[File:Evening session modular serge hordijk.jpg|alt=A Rob Hordijk Original Design modular synthesizer (left) with other instruments.|thumb|A Rob Hordijk Original Design modular synthesizer (left) with other instruments. ]]


== Design Philosophy ==
Most of Rob's module designs use SSM quad VCA chips, possibly the Analog Devices SSM2164 (?)
Rob's personal definition of a modular synthesizer is more to do with modulation than modularity; referring to functional modules as 'sections'. Everything is supposed to be able to modulate or effect everything else. All levels within the system are optomised for comparability with one another.<ref name=":2" />


=== Ergonomics ===
Inspired greatly by the ergonomics of his first syntheseizer, an EMS Putney, as much as negatively inspired by an early Doepfer system he owned, Rob's designs always keep the performing musician in mind saying, "the comfort of playing is much, much better in my opinion, with larger systems."<ref name=":2" /> In keeping with this ergonomic priority the input and output jacks in Rob's designs are all at the bottom of the modules keeping them well clear of the knobs.<ref name=":2" /> In response to a question about whether this rigid format becomes limiting Rob responded:<blockquote>"It is often a good idea if you design something to impose a certain limitation upon yourself. Basically the way I design is at first I go wild, and go complex, until I feel that I've hit some good stuff, and then I simplify. And this process of simplification is quite important because maybe I have a design that could have like 14 knobs and 18 connectors, and then by simplifying it back to 8 knobs and 10 connectors with the most important functions that actually tends to add strength to the design."<ref name=":2" /></blockquote>This design philosophy extends behind the face-plates too, where consideration for ease-of-construction is just as important. With few exceptions, all Hordijk modules consist of 8 pots and 10 jacks. These can then be easily built in batches using two underlying PCBs, one for mounting all the interface components, and another for the underlying module functions, connected with flat ribbon cables and all constructed with the same hardware.<ref name=":2" />


=== Chaos ===
<b>HRM VCO</b><br>
Functionality-wise Rob also draws heavy inspiration from chaos theory which he studied in the 80s reminiscing, "in those days it was more about graphic functions and little pictures but I was curious about how to apply them to music." After some disappointing experiments he learned a couple of tricks that produce musical results.<ref name=":2" />
The HRM VCO module can morph from waveform to another because it builds up the harmonic content from a sine and cosine waveform.
You can morph with CV from sine to triangle.


Making a strong distinction between chaotic and 'random' behavior, Rob emphasises the way a disturbed chaotic system tends to seek stability, or a number of balanced states called 'strange attractors'; These balanced states can produce patterns, and when the patterns are short enough to be recognised can produce very musical results. He believes using these methods is the best way to breathe a kind of life or personality into electronic instruments.<ref name=":2" />


== Workshops and Lectures ==
<b>Dual Phaser </b><br>
Rob has given a handful of workshops and lectures both demonstrating the functionality of his instruments, and explaining the design philosophy behind them. These include:
Price: 385 Euro.<br>


* 2012, [http://basicelectricityberlin.blogspot.com/2015/03/april-10-hordijk-modular-special.html European Electro Music Event], Mallorca, Spain. Recorded by Pedro Trotz - https://www.youtube.com/playlist?list=PLAC347DE38ABA9E8D
The internal CV voltage scale is 1V/Oct. Each phaser has a reasonably accurate one volt per octave direct control input that can track the keyboard voltage. Normalization is used, routing the V/Oct input signal of phaser1 into phaser2 when the phaser2 V/Oct input is left unplugged.
* 10 April 2015, at Basic Electricity #15, Berlin. Recorded by Matthias Ochs - https://www.youtube.com/watch?v=JtzQQcacR9A&t=1398s
* 15 November 2015, recorded by [http://www.osc1899.com Chris David] - https://www.youtube.com/watch?v=Os1bysJCjMw&list=PLKw0bc1wG1afu-3VHTOAXvoTQ2ulJ2rSN
* 3-4 June 2017 at NOVARS Research Centre in Manchester, UK - https://vimeo.com/233841864
* 2017 at Modular Meets Leeds, UK. Recorded by [https://www.youtube.com/c/DivKidVideo DivKid] - https://www.youtube.com/watch?v=GzW6pTzATG4
* 2014, at Sines & Squares Festival, Yoga Room, Islington Mill, Salford, UK https://vimeo.com/111131227
* 2019, at Rob's Workshop, The Hague. - https://www.youtube.com/watch?v=T6XpHDU67Mw


== Performances ==
Total control range is about 18 octaves. The Frq knob goes over the top 9 octaves of this range. Through the V/Oct and Modulation inputs you can go deeper, but you get into the LFO range and audible phasing effects would disappear.
While self confessing, "I'm not a performing artist, I'm a synthesizer builder."<ref name=":0" /> Rob has performed a number of times demonstrating his instruments in a more creative context as opposed to purely technical demonstration. These include:


* 22 December 2016 at Noodlebar https://www.youtube.com/watch?v=lBGjkpNS0F8
It is however possible to use the phasing effect on LFO control signals in the 1Hz to 10Hz range by supplying the V/Oct with e.g. a fixed -5V control signal, which can create quite interesting LFO effects on e.g. drones. All inputs and outputs are DC coupled, so CV signals can pass the module equally well as audio signals. Only the internal resonance is AC coupled, so resonance drops off below roughly 10Hz.
* 2017 at Modular Meets Leeds 2017 https://www.youtube.com/watch?v=nnlqV4kzzvg


== Modular Systems ==
Additionally each phaser has a modulation input, also at 1V/Oct when the mode is set to sweep. When the mode is set to spread it behaves like the modulation sensitivity is halved, also when it is in half mode where only half of the poles in each phaser are modulated by this input. These inputs are not normalized, in fact if no plug is connected the modulation level knobs receive a fixed voltage so a manual spread value can be set.
All circuitry is original and follows Rob's own concepts based on over thirty years experience in [[sound synthesis]] and [[electronic design]].<ref name="rh">Rob Hordijk</ref> He has complete control over the whole module building process; Research &Development, [[prototyping]], panel design, cutting, drilling, [[PCB etching]] and populating, final hardware assembly, calibration and testing. All components and every piece of hardware is carefully selected for reliability and comfort in use.<ref>Mod Wiggler forum:[https://www.modwiggler.com/forum/viewtopic.php?t=53265&postdays=0&postorder=asc&start=0 The Hordijk project]</ref> Panels with the signature ''Original Rob Hordijk Design'' are both designed and built by Rob Hordijk in his workshop in The Hague, The Netherlands.<ref name="rh" />


Rob's philosophy and concept of a modular system is that each 'function' has its own inputs and outputs and should be patched up with cables, and not specifically that each function should be a separate physical entity. So, a triple panel is more like a 'section', offering specific musical functionality by grouping together a sensible collection of functions.<ref name="rh" /> Within a triple-module there are several internal normalizations on the input and output jacks, but there are very little 'module to module' normalizations in triple panels and no 'triple to triple' normalizations.<ref name="rh" /> Systems were built in a number of different configurations and cases depending on the customers request. A full four triple-module system in a plywood flight case weights about 23 kilograms, the lightweight flightcase reduces this to 16 kilograms.<ref name="rh" />
Audio input is maximum 12V peak/peak before clipping occurs and there is 6dB attenuation from input to output to enable resonance peaks without clipping.


As everything is hand built there can be minor cosmetic issues like dustmarks anodized into a frontpanel or some lettering slightly out of focus, basically the usual things that are simply unavoidable with handwork. All electronics however are thoroughly tested and burnt in for several days before a system leaves the workshop. Only high quality precision components are used for the electronics and all pots are of the 'conductive plastic' type that will never develop crackles in the sound and easily last ten times as long as the more common carbon pots. Everything is designed to last a musicians lifetime and first time owners have unlimited warranty on parts and repairs.<ref name="rh" />
Audio routing is as follows:
If a jack is connected to input1, and if input2 is unconnected, then the audio will route into both phasers. In this mode you can use the two phaser outputs as a stereo signal. Connecting a jack to input2 will override this internal input1->input2 connection and separate both phasers.


=== Format and Power ===
If audio is routed into input1 and if input2 is left unconnected, and if a jack is connected into ónly output2, then the two phasers are automatically set to "inverse parallel" mode. Meaning that if both phasers are set to exactly the same knob settings the phaser outputs would be in exact reverse phase and thus result in almost silence.
Rob's modules conform to the [[5U]] [[MU parts|(Moog Unit)]] (222mm / 8.75") standard. Single modules were produced 2U wide, which Rob later refined into a triple-module 6U (325mm / 12.79") wide standard.<ref name="rh" /> A frame holds the modules in a way that it becomes one solid block. A frame can easily be mounted in a DIY cabinet made of just four shelves, it is fixed in a cabinet with a set of woodscrews from within the frame into the side shelves. Frames can be made up to three triples in width (976 mm wide) and basically any number of rows in height (225 mm per row). The most popular frame is two rows of two triples and measures 651 mm in width and 451 mm in height.<ref name="rh" />


The plywood flightcases have their power entry either on the left side or on the right side of the case. This should be specified when ordering. The lightweight flightcase has its power entry on the front and for this it needs the TriLFO-Matrix6x4-Nodeproc-MIDI-IECinlet triple or the Rungler-Matrix6x4-Nodeproc-MIDI-IECinlet triple. It lacks the +/-15V MiniXLR power outlet that is available on the other MIDI triples. The MiniXLR might be used for future expansions, to power e.g. a Blippoobox or for powering DIY projects. It should be considered just a convenience if ever needed and not a necessity.<ref name="rh" />
If audio is routed into input1, and if output1 is connected with a short cable to input2, and if output2 is taken as the overall output, the two phasers are in series and thus result in one 16-pole phaser.


While the panels conform to a 5U MU standard the power distribution board uses MOTM-style connectors and modules with the +/-15V MOTM header can be readily connected and used. However MOTM modules use another 44 mm based grid than the 107 mm MU grid used in the triples, so they would leave a small gap. However and more important: the standard MOTM mounting holes are not compatible with the metric frame profiles, so they can not easily be fixed in our frame. In practise this means that in a user built cabinet with a section for a frame and a section for MOTM modules the MOTM modules can be powered from the Meanwell PSU + power distro board, but it is physically not feasible to mount a MOTM module in a frame without drilling extra mounting holes in the MOTM module front panel.<ref name="rh" />
To summarize: you can use the phasers fully separated, parallel with two (stereo) outputs on one input signal, parallel with mono output but with one phaser in reversed phase before the mixing of the outputs of the phasers take place on output2, or in series. All this is accomplished by the internal switches in the connectors and only depends on which inputs and outputs have a plug."


The power supply used is a Meanwell RD-3513 set to +/-15V. It accepts an input voltage between 100VAC to 240VAC, meaning it can be plugged into a wall anywhere in the world. One PSU can safely supply current to four triples, for a bigger system a second PSU is recommended.<ref name="rh" />[[File:Hordijk Modular.jpeg|alt=A Rob Hordijk Original Design Modular System|thumb|A Rob Hordijk Original Design modular system, showing four triple-panels in a complete case.]]


=== Modules ===
Modules came with various combinations of the following single functions, though some smaller functions were combined; for example the PHASER and FREQ SHIFTER have appeared in both dual and combination formats.
* [[Rob Hordijk Triple LF-VCO|TRIPLE LF-VCO]]
⚫
* [[Rob Hordijk Dual Envelope Generator|DUAL ENV]]
* [[Rob Hordijk OSC HRM|OSC HRM]]
* OSC SYNC
* [[Rob Hordijk Rungler|RUNGLER]]
* [[Rob Hordijk Triple-Input 24dB Filter|24dB FILTER]]
* [[Rob Hordijk Twinpeak|TWINPEAK]]
* [[Rob Hordijk Active Matrix|Active Matrix / Mini Bay / MINI MATRIX]]
* [[Rob Hordijk Dual Fader|FADER]]
* [[Rob Hordijk Dual Phaser|PHASER]]
* [[Rob Hordijk ShaperPhaser|SHAPER]]
* [[Rob Hordijk Node Processor|NODE PROC / MINI MATRIX]]
* MINI MATRIX


== Other Instruments ==


*[[Rob Hordijk Blippoo Box|Blippoo Box]] "A patch in a box" - Rob<ref name=":2" />
<b>Active Matrix</b><br>
* [[Rob Hordijk Benjolin|Benjolin]], "Bent by design" / "My gift to the DIY community" - Rob<ref name=":2" />
Price: a little under 500 Euro.<br>
The Active Matrix module is buffered and works similar to the EMS Synthi.
It comes with mono plugs and some have built-in resistors for -6db or -12db signal reduction.
Every point is an insert, and with an insert cable, you can patch whatever you like into that point.


== References ==
{{From Mod Wiggler Wiki|Rob Hordijk Designs}}
⚫
<b>Dual Envelope Generator</b>
{{reflist}}

== External Links ==
* For enquires, [mailto:rhordijk@xs4all.nl e-mail] Rob Hordijk directly
* [https://modwiggler.com/forum/viewtopic.php?t=70363&sid=61d3112e20ba4147879ab59f0b72593e 'Hello Hordijk'] thread on Mod Wiggler forum
* [http://electro-music.com/forum/forum-185.html Rob Hordijk DIY Designs], on Electro-Music forum
* [https://thehordijkmodular.blogspot.com/ The Hordijk Modular Blog] by Benoit Faivre. A fan-made blog about Rob Hordijk instruments
* ''[http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/leonardo_music_journal/v019/19.hordijk.pdf The Blippoo Box: A Chaotic Electronic Music Instrument, Bent by Design]'' by Rob Hordijk, Leonardo Music Journal, Volume 19, 2009, pp.&nbsp;35–43 – requires a login for access
* Rob Hordijk's [http://rhordijk.home.xs4all.nl/ Clavia Nord Modular G2 Workshops and Tutorials]
* [https://www.modwiggler.com/forum/viewtopic.php?t=32700 Rob Hordijk 24dB MultiMode Filter demos], Mod Wiggler forum, Apr. 2011
* [http://vimeo.com/107453197 The Designer] by Franz Schuier, 2008
* [https://electronicmusic.fandom.com/wiki/Rob_Hordijk_Design Rob Hordijk Design] on https://electronicmusic.fandom.com/
=== Pre-built Eurorack Modules ===
* [https://web.archive.org/web/20141019122935/http://www.epochmodular.net/benjolin.html Benjolin], Epoch Modular
* [https://web.archive.org/web/20150724204314/http://www.xn--klangbaukln-zfb.de/Klangbau,K%C3%B6ln,Koeln,Synthesizer,Module,Klangkunst/rob-hordijk/ Benjolin and Twin Peak Filter], KlangbauKöln

[[Category:Original Rob Hordijk Design]]

Latest revision as of 22:04, 29 June 2022

Rob posing with one of his modular systems.

Rob Hordijk Original Design are the "Dutch West Coast"[1] style 5U (Moog Unit) modules designed and crafted by Rob Hordijk; based in The Hague, Netherlands. Except for the Benjolin, the designs are not available for DIY.

As Rob has never had a product website for his instruments, the source for much of the information about them comes from direct contact via email - cited directly as Rob Hordijk [2]

Biography

Born in 1958, self described "synthesizer designer and builder,[3]" Rob Hordijk began learning electronics from around age 12 after developing a fascination with the glowing tubes in stereo amplifiers.[1][4] When he was 14 his father who had noticed young Rob's interest gave him a subscription to an electronics course, which lead to an examination for a ham radio license.

Trained as a designer and not a musician, Rob came from an arts background, studying as a sculptor and jeweler in the 1970s. He approached electronic music in a similar spirit to abstract painting, inspired by the ambient works of Brian Eno, and Luigi Russolo's Intonarumori instruments; where attempts were made to blur the boundaries between music and art:[1]

"In those days I was quite interested in the idea of sound as a material to be sculpted, in the same way you can sculpt wood and metal. [...] You can make mechanical objects that make all sorts of sounds, or you can make electronic objects that make all sorts of sounds. but what I like about the electronic objects is that you don't see what makes the sound. [...] It opens the way to sort of make it a bit mysterious."[1]

In the early 1980s as various integrated circuits, micro-controllers, and processors became available to hobbyists, Rob began buying things such as the early Curtis chips and RCA 1802 based SuperElf processor board out of curiosity more than professional ambition.[1][5] Later switching to an Apple ][+ and the Mountain Hardware Music System, for which he developed a Forth language version that could do all sorts of stuff with the Mountain cards, like KarplusStrong-type plucked string sounds and pitch shifting.[5] His first introduction to a DSP was to the DMX1000 around 1984. In 1986 he switched to Atari ST and an Akai S900.[5] These days he is a Clavia Nord Modular G2 aficionado.[5]

"I am not really a gear freak. But I do believe in mastering synthesis techniques, in making synthesis a second nature, so to be able to fully concentrate on the creative processes."[5]

After finishing art school, Rob also completed 11 years of study in Information Technology, learning about design methods and inventory control.[1] As well as his own instruments Rob worked on the Nord Modular G2 including contributing many patches to the Nord Modular online community, and wrote a comprehensive unofficial manual of the instrument. He has produced music for environments, buildings, film, and dance performances, but is yet to produce an official release on a label.[5] As of 2022 Rob has announced his retirement and will no longer be taking orders.[6]

A Rob Hordijk Original Design modular synthesizer (left) with other instruments.
A Rob Hordijk Original Design modular synthesizer (left) with other instruments.

Design Philosophy

Rob's personal definition of a modular synthesizer is more to do with modulation than modularity; referring to functional modules as 'sections'. Everything is supposed to be able to modulate or effect everything else. All levels within the system are optomised for comparability with one another.[1]

Ergonomics

Inspired greatly by the ergonomics of his first syntheseizer, an EMS Putney, as much as negatively inspired by an early Doepfer system he owned, Rob's designs always keep the performing musician in mind saying, "the comfort of playing is much, much better in my opinion, with larger systems."[1] In keeping with this ergonomic priority the input and output jacks in Rob's designs are all at the bottom of the modules keeping them well clear of the knobs.[1] In response to a question about whether this rigid format becomes limiting Rob responded:

"It is often a good idea if you design something to impose a certain limitation upon yourself. Basically the way I design is at first I go wild, and go complex, until I feel that I've hit some good stuff, and then I simplify. And this process of simplification is quite important because maybe I have a design that could have like 14 knobs and 18 connectors, and then by simplifying it back to 8 knobs and 10 connectors with the most important functions that actually tends to add strength to the design."[1]

This design philosophy extends behind the face-plates too, where consideration for ease-of-construction is just as important. With few exceptions, all Hordijk modules consist of 8 pots and 10 jacks. These can then be easily built in batches using two underlying PCBs, one for mounting all the interface components, and another for the underlying module functions, connected with flat ribbon cables and all constructed with the same hardware.[1]

Chaos

Functionality-wise Rob also draws heavy inspiration from chaos theory which he studied in the 80s reminiscing, "in those days it was more about graphic functions and little pictures but I was curious about how to apply them to music." After some disappointing experiments he learned a couple of tricks that produce musical results.[1]

Making a strong distinction between chaotic and 'random' behavior, Rob emphasises the way a disturbed chaotic system tends to seek stability, or a number of balanced states called 'strange attractors'; These balanced states can produce patterns, and when the patterns are short enough to be recognised can produce very musical results. He believes using these methods is the best way to breathe a kind of life or personality into electronic instruments.[1]

Workshops and Lectures

Rob has given a handful of workshops and lectures both demonstrating the functionality of his instruments, and explaining the design philosophy behind them. These include:

Performances

While self confessing, "I'm not a performing artist, I'm a synthesizer builder."[3] Rob has performed a number of times demonstrating his instruments in a more creative context as opposed to purely technical demonstration. These include:

Modular Systems

All circuitry is original and follows Rob's own concepts based on over thirty years experience in sound synthesis and electronic design.[2] He has complete control over the whole module building process; Research &Development, prototyping, panel design, cutting, drilling, PCB etching and populating, final hardware assembly, calibration and testing. All components and every piece of hardware is carefully selected for reliability and comfort in use.[7] Panels with the signature Original Rob Hordijk Design are both designed and built by Rob Hordijk in his workshop in The Hague, The Netherlands.[2]

Rob's philosophy and concept of a modular system is that each 'function' has its own inputs and outputs and should be patched up with cables, and not specifically that each function should be a separate physical entity. So, a triple panel is more like a 'section', offering specific musical functionality by grouping together a sensible collection of functions.[2] Within a triple-module there are several internal normalizations on the input and output jacks, but there are very little 'module to module' normalizations in triple panels and no 'triple to triple' normalizations.[2] Systems were built in a number of different configurations and cases depending on the customers request. A full four triple-module system in a plywood flight case weights about 23 kilograms, the lightweight flightcase reduces this to 16 kilograms.[2]

As everything is hand built there can be minor cosmetic issues like dustmarks anodized into a frontpanel or some lettering slightly out of focus, basically the usual things that are simply unavoidable with handwork. All electronics however are thoroughly tested and burnt in for several days before a system leaves the workshop. Only high quality precision components are used for the electronics and all pots are of the 'conductive plastic' type that will never develop crackles in the sound and easily last ten times as long as the more common carbon pots. Everything is designed to last a musicians lifetime and first time owners have unlimited warranty on parts and repairs.[2]

Format and Power

Rob's modules conform to the 5U (Moog Unit) (222mm / 8.75") standard. Single modules were produced 2U wide, which Rob later refined into a triple-module 6U (325mm / 12.79") wide standard.[2] A frame holds the modules in a way that it becomes one solid block. A frame can easily be mounted in a DIY cabinet made of just four shelves, it is fixed in a cabinet with a set of woodscrews from within the frame into the side shelves. Frames can be made up to three triples in width (976 mm wide) and basically any number of rows in height (225 mm per row). The most popular frame is two rows of two triples and measures 651 mm in width and 451 mm in height.[2]

The plywood flightcases have their power entry either on the left side or on the right side of the case. This should be specified when ordering. The lightweight flightcase has its power entry on the front and for this it needs the TriLFO-Matrix6x4-Nodeproc-MIDI-IECinlet triple or the Rungler-Matrix6x4-Nodeproc-MIDI-IECinlet triple. It lacks the +/-15V MiniXLR power outlet that is available on the other MIDI triples. The MiniXLR might be used for future expansions, to power e.g. a Blippoobox or for powering DIY projects. It should be considered just a convenience if ever needed and not a necessity.[2]

While the panels conform to a 5U MU standard the power distribution board uses MOTM-style connectors and modules with the +/-15V MOTM header can be readily connected and used. However MOTM modules use another 44 mm based grid than the 107 mm MU grid used in the triples, so they would leave a small gap. However and more important: the standard MOTM mounting holes are not compatible with the metric frame profiles, so they can not easily be fixed in our frame. In practise this means that in a user built cabinet with a section for a frame and a section for MOTM modules the MOTM modules can be powered from the Meanwell PSU + power distro board, but it is physically not feasible to mount a MOTM module in a frame without drilling extra mounting holes in the MOTM module front panel.[2]

The power supply used is a Meanwell RD-3513 set to +/-15V. It accepts an input voltage between 100VAC to 240VAC, meaning it can be plugged into a wall anywhere in the world. One PSU can safely supply current to four triples, for a bigger system a second PSU is recommended.[2]

A Rob Hordijk Original Design Modular System
A Rob Hordijk Original Design modular system, showing four triple-panels in a complete case.

Modules

Modules came with various combinations of the following single functions, though some smaller functions were combined; for example the PHASER and FREQ SHIFTER have appeared in both dual and combination formats.

Other Instruments

References

This page uses Creative Commons Licensed content from Mod Wiggler Wiki:Rob Hordijk Designs (View authors).

  1. ^ a b c d e f g h i j k l m n o Episode 205: Rob Hordijk (2017) Art + Music + Technology Podcast
  2. ^ a b c d e f g h i j k l Rob Hordijk
  3. ^ a b Rob Hordijk Presentation & Synth Tutorial // Modular Meets Leeds 2017 https://www.youtube.com/watch?v=GzW6pTzATG4
  4. ^ The Designer by Franz Schuier, 2008
  5. ^ a b c d e f Hello to you all, electro-music.com forum, 29 March 2004
  6. ^ Mod Wiggler forum: Hello Hordijk
  7. ^ Mod Wiggler forum:The Hordijk project

External Links

Pre-built Eurorack Modules

Retrieved from "https://sdiy.info/wiki/Rob_Hordijk_Design?oldid=20161"