ALM / Busy Circuits

Jake Internet — Sat, 14 Jan 2023 14:16:00 +0000

Contributed by Jake Internet

With roots in late 1950s synthesizer designs, modern modular synthesis (and in this case, the Eurorack format) has exploded in recent years as a music and sound-design platform. Combining a small footprint with original analog and digital circuit designs, the possibilities for module connections and interaction, and the resulting sound output – a process called patching – are spellbinding.

While software such as Ableton, Audiomulch and Sunvox allow for a more immediate and approachable environment to achieve similar audio results and experiences, one of the benefits here is a sense of tactility and responsiveness. There are certainly ways to incorporate physical modules into a computer-based paradigm as well (the excellent VCV Rack offers a more 1:1 Eurorack experience for free and allows for external module control with the proper setup).

Given the direct, hands-on nature of the format, there's lots of room for branding and user interface considerations – particularly if you're spending hours staring at the same panels and working out a patch. From the technical clarity of Doepfer and Xaoc to the punkier & funkier Make Noise and (currently) illustration-driven Pittsburgh Electronics, there's something for most everyone to dig into.

The two-part logo uses sans-serif caps – probably from Raisonné – with a perspective effect for “ALM”, and Value Serif for “Busy Circuits”

ALM / Busy Circuits’s playful handling of type in their module designs stands out in this now fairly crowded market:

ALM / Busy Circuits is a UK-based audio electronics company that produces innovative, useful devices for working with sound.

Our aim is to build products that foster creativity through engaging, playful experiences. We combine past influences with modern concepts and possibilities, to allow space for new ways of working and ideas to flourish.

Hinging on Colophon’s sturdy and 70s-flavored Raisonné, the brand’s interface clarity and restricted palette leaves a window open for some tongue-in-cheek type. I personally resonate with the application of more so-called pedestrian typefaces like Balloon and Frankfurter Highlight among a couple of Colophon's finest work.

The System Coupe (ALMSYS001) with labels in Raisonné and module names in Optima (mmMidi), Pacifico (Pamela’s Workout), Frankfurter Highlight (Quaid Megaslope), Acumin (Squid Salmple), Balloon (MCO / MCF) and Quicksilver (Tangle Quartet)

Tyso Daiko (ALM031), a dual 12-bit digital wavetable drum voice, featuring Gikit

Mega-Tang (ALM033), a 4-channel linear VCA and stereo mixer, featuring Frankfurter

Akemie’s Taiko (ALM015), an FM synthesis based drum voice, featuring Phosphate Solid

Dinky’s Taiko (ALM005), a 12 bit digital drum voice, featuring Phosphate

Jumble Henge (ALM029), a 16 input stereo spectral mixer, featuring Paddington

Beast’s Chalkboard (ALM002), a dual channel stepped voltage source, featuring LL Akkurat

MUM M8 (ALM018), an 8hp Eurorack low pass filter, featuring UK Number Plate

Boss Bow Two (ALM027), an 8 way bidirectional voltage controlled switch, featuring squooshed Jaakko

The ALM Busy Circuits website uses Raisonné for headlines and the menu with Basis Grotesque for text.

This post was originally published at Fonts In Use