This is hardly my first venture into modular... my 1st synthesizer
was a PAiA modular which had PAiA series 4700 modules that I built
from kits. I won first place in a piano competition in 1981
and used the prize money to buy the kits and components. It
was a fun toy and I exploited my evolving college student EE studies
to make modifications on it. I gigged this thing in a band
until 1984. It was loads of fun changing patchcords and
setting sounds up manually on a stage between songs!!! By 1985
I had acquired my first Moog synthesizer and the PAiA was forgotten,
then finally cannibalized about 2002. The last time I had
applied power to the modules, half of them were broken so I shelved
them. Then my rental place got hit with a flood and the
floodwater destroyed the modules so I disposed of them. Gotta
start somewhere and the PAiA wasn't bad, but the synths I was adding
just outclassed it.
The PAiA was my first adventure into analog synthesis. Since
then, I have done a lot of sound design with the vintage ARPs,
Moogs, and Oberheims in my studio I had collected over the years.
The modular renaissance was fascinating and I've been watching the
offerings. But I wasn't anxious about a modular - "been there
done that" and it would be hard to find something that wasn't
redundant. I recently got the interest again, but my space is
limited so I have no room for a large cabinet and I wanted to avoid
the potential money pit of expansion. And so many flavors... east
coast, west coast, clones of Moogs ARPs etc, some really exotic
stuff out there. And with my collection of vintage synths I didn't
want anything redundant.
I never owned an ARP 2600 but the idea of a normaled semi-modular
appealed to me. I played some Buchla systems including a vintage
Easel - the esoteric west coast synthesis is intriguing, but Buchla
systems are a little too sterile sounding for my taste (largely due
to the lack of a good resonant VCF). And Buchlas are $$$$$
expensive. Most module makers are "me-too" cloners - functions
I already have and I wanted to avoid redundancy. Intellijel is one
of the few who are introducing new designs that are musically
useful, they have some maverick designers there.
When I saw the Cascadia, it fit right into my desires. I hadn't
learned of it until several months after its release. A small
format desktop synth with elements of east coast and west coast
synthesis plus some exotic features, using 2600-influenced normaled
patching and MIDI/USB/external I/O. Intriguing concept, it can be
standalone or can be interfaced to a separate modular system
(signal/control levels are eurorack standard). A lot of thought went
into this product. I sat on the fence about buying one; when I heard
some demos and Intellijel announced the limited edition "white fog"
panel version (pictured in the images in this webpage) I was sold.
This is the first modular I have owned since the PAiA, and after
some playing I have no regrets about the purchase. This is not a
"me-too" product, Intellijel built an interesting combination of
legacy synths with a unique sound. Don't let the small format
deceive you, there's enough features crammed into this box to keep
you exploring for a long time. This is going to be a fun rabbit
hole.
Conventions
Intellijel developed an intuitive convention for the normaled jacks,
the slidepot controls, and lines connecting controls/jacks.
Jacks with a solid block outline are outputs; jacks with no block
outline are inputs. Inputs that have a normalled source are
indicated with a "balloon" above the jack, with the name of the
source labeled in the balloon.
Most of the Cascadia synth blocks have one or more slidepot controls
that function as modulation depth controls. These modulation
controls have a cap that is identified by a grey color. Some
controls are unipolar (only positive polarity), others are bi-polar
which can invert the modulation source providing both positive and
negative polarity (indicated by a center detect on the control with
a line at the mid travel of the slidepot). All of the
modulation depth controls have input jacks, and most of the jacks
are normaled to another source.
Other slidepot controls alter audio levels, PW, FM index, envelope
generator (EG) transients, VCF cutoff and Q. These controls
have a cap that is identified by a color (white for the standard
grey face model, black for the white fog model).
Solid lines usually show that a jack is directly connected to a
modulation depth control, to an output source, or to/from a circuit
block (IE VCA B). An arrow indicates a normal connection
between two adjacent output/input jacks. A dotted line
indicates a switch or input jack that alters the operation of a
control or source or circuit block.
Bi-color LEDs indicate the rate and polarity of a control source
(green for positive, red for negative), and the brightness intensity
of the LED indicates its CV level.
This feature set is current as of firmware v1r4r1 (2024-03-12).
In normaled condition (no patchcords), the signal path is VCO A/B
-> Mixer -> VCF -> VCA A and is 100% analog. The
signal path routing can be modified using patchcords. The VCOs
can be configured as a Buchla-style "complex oscillator" where VCO B
is the FM modulation source (exponential FM or through zero linear
FM) for VCO A, or as two independent VCO audio sources whose pitch
can be duophonic via MIDI. Both VCOs are powered by SSI2130
VCO ICs (Intellijel is an early adopter of the SSI chipset), and
each has a large LED to indicate its rate, polarity, and CV level
(at audio frequencies, the rapid red/green states appear as
orange). The VCO outputs are distributed as normal sources
around the panel jacks. Synthetic noise is available as an
audio source with not just white/pink noise but twelve different
noise colors (great for freeing up a VCF, and noise has a dedicated
output). A Line In provides external audio processing with
level control and signal/clip LEDs. There's a suboscillator
option for VCO A - down one or two octaves, or the logic OR-ing of
the two octaves which is an interesting timbre.
The VCF is a new design from Intellijel; it's a discrete cascaded
OTA core filter (using 2164 quad VCA ICs) and it must be a new state
variable topology (multimode) because 24dB/oct lowpass and highpass
are simultaneously available at dedicated outputs (the legacy state
variable architecture only had 12dB/oct filter slopes). A
rotary switch changes the VCF master output between lowpass (6, 12,
or 24dB/oct), bandpass (12 or 24dB/oct), highpass, notch, or phaser
with two notches in the filter band. The VCF can self
oscillate (the legacy state variable filter was unstable in self
oscillation mode).
The gain stages can be varied between mixer and VCF and VCA,
allowing overdrive to introduce some punch, crunch, or grunge to a
polite signal. This can add harmonics, subtle or gnarly.
Vintage synths are (in)famous thanks to subtle overdrive
artifacts. Each gain stage has a red LED that indicates
clipping. The mixer and the VCA have optional soft clipping
circuits that gently roll off the overdrive - I find them effective
for adding punch with a patch using spiked EG transients.
Modulation sources: the S&H and LFOs are analog. Bi-color
LEDs indicate the rate, polarity, and CV level. LFO X is the
master and there are two other outputs (LFO Y, LFO Z) which are free
running, and their frequencies can be divided by 3, 4, 5, or 8
(there is one rate control for all the LFO outputs). With no
division selected, LFO Y and LFO Z oscillate at approximately
the same rate as LFO X, but never in sync and their phase offsets
gradually changes (all LFOs have independent SSI2130 VCO ICs).
The LFO outputs are distributed as normal sources around the panel
jacks. The S&H has a trigger input normaled to MIDI Clock
and sample source normaled to white noise; I like the option to use
a different sample source (IE from the twelve noise colors in the
mixer section) and to use a different trigger source (IE MIDI
Trigger or VCO signal).
The two EGs are digital. Years ago synthesists complained that
digital envelopes did not have fast transient times and stepping
could be heard with slow transients. Well now it is 2024 and
with the advances of technology those worries are no more, the
Cascadia envelopes are really snappy and the bit depth is much
larger than older systems so stepping is not a problem.
Digital envelopes offer exotic features not possible in the analog
domain, and Intellijel went to work on these (they are a new design
not yet offered in their modules). ENV A is the usual ADSR EG
with added Hold control which can function as a "sustain" between
attack and start of release stages or as a delay stage before
attack. MIDI Velocity can alter the overall level of the EG,
or as a modulator for the transient times. ENV A is normally
routed to VCA A, and its output is available at a dedicated jack for
routing anywhere. End of Hold and End of Attack generate a
trigger pulse when those stages are complete.
ENV B is normally routed to the VCF; as for its features, I'll place
them under "Exotic Features".
Throughout the middle margin of the panel are utilities such as
S&H, envelope follower, slew limiter (linear or exponential
slew, either rise/fall or both), mixuverter, three LFOs, multiples,
summer, inverter, bi-polar to unipolar converter, expression source
(for external control of a pedal effect), ring modulator, and
Buchla-style low pass gate (LPG) consisting of a vactrol-based VCA
and SSI2144-based low pass 24dB/oct filter (LPF) that can be
separate or in series. While the LPF does not have a dedicated
resonance control, there's a patching trick that enables resonance
control (LPF mult output into mixuverter configured with gainX2 and
inversion, then mix back into LPF input).
There's a generous patching system for each utility block.
Although they look rudimentary, these utilities are quite
flexible. For instance, patching EXT GATE to the slew limiter
creates an AR envelope; EXT TRIGGER creates an AD envelope.
Any cyclic source (VCO B in LFO range, MIDI LFO, etc) can be
waveshaped by the slew limiter.
ENV B is a new design for Intellijel; it is best described as a
complex function generator as it does much more than the usual ADSR
action. It has multiple modes: EG, LFO, burst generator, and
entropic sequence generator (...a WHAT?). For each mode, a
TYPE switch changes its operation (IE in EG mode there are types for
AD, AR, or cycle (looping); in LFO mode there are types for free
running, sync from trigger, or Low Frequency Vacilator). There
are three variable controls whose functions change depending on the
mode selected.
Suffice to say that ENV B is one SICK controller. While the
controls may look rudimentary, there's a LOT of functions under the
hood of this thing. And those three variable controls can be
VOLTAGE CONTROLLED. Here's a neat trick I found: in EG mode/AD
type, the Rise and Fall controls vary attack and decay transient
times (AR mode has a full sustain). The SHAPE control varies
the envelope transient curve continuously between linear to
exponential to log - set the control at mid travel. Next,
patch EXT TRIG to the TRIG input of the S&H, which causes the
S&H to sample once every time a key is pressed. Now patch
the S&H to the modulation for SHAPE and set the control to max
negative polarity. Every time you press a key, the envelope
shape randomly varies between linear to exponential to log.
You have to hear how it modulates the VCF at moderate Q setting.
Another neat trick: configure ENV B as a Burst Generator with cycle,
set Rise and Fall to about 3/4 slidepot travel, route EOF output to
gate input of ENV A. Set ENV A Hold about 3/4 slidepot travel,
Hold type to Gate Extender (which extends the narrow EOF pulse at
the Gate input), Attack and Release to medium long times, route ENV
A output to ENV B Rise Mod input, set the Rise Mod slidepot about
half travel in the positive direction. You've just configured
a cyclic free running burst generator whose frequency of pulses is
modulated by ENV A and are re-triggered using the EOF output.
In the VCF, increase ENV B modulation to hear the effect, vary
ENV B Rise and Fall settings to experiment.
I wasn't kidding when I said this is a sick controller. I
don't think even Buchla offered anything similar (not sure about the
DARF module).
Non-symmetrical waveshapes can be generated in LFO mode - it's a
variable waveshaper with voltage control of waveshape). The
phase of the waveshape can be configured upon a gate/trigger.
Sync mode allows the LFO to reset when a trigger is received.
I only had the Cascadia for a few weeks so I briefly played with the
LFV, have to explore it more in the future (same with the entropic
sequence generator).
The Cascadia adds some timbral modulators that sound pretty
good. I really like the Ring Modulator. Buchla-style
timbral modulators like the Wavefolder and LPG (VCA B / LPF) are a
nice addition.
Firmware v1r4r1 (2024-03-12) adds MIDI MPE control, you'll need an
MPE MIDI controller.
While the Cascadia will fit in a backpack, I ordered the soft
carrying case. The soft case is sturdy and has a compartment
for the patch cables, external power supply, and other user
accessories. The compartment for the Cascadia has ample room
for leaving patch cables intact (twelve patchcords of various
lengths are included with the Cascadia). I ordered the molded
polycarbonite cover for two reasons 1) to prevent dust from damaging
the slidepots 2) for protection from my two mischievous cats.
Optional aluminum endcheeks and a rackmount kit are available from
Intellijel.
My external controller for the Cascadia is my Arturia KeyStep 37 which has
flexible built-in arpeggiator and sequencer. It's an ideal
compact controller that is not much wider.
On the ModWiggler discussion site, someone shared a laptop stand
they use with their Cascadia and controller. This is the
Boyata laptop stand (pictured at the top of this webpage) which can
be purchased through Amazon. This is an excellent accessory
for the Cascadia as the angle of the elevated shelf can be set for a
comfortable position to play with the synth - I put the controller
on the base of the stand, and the Cascadia on the suspended
shelf. This is a real space saver accessory, check the images
at the top of this webpage.
Some of the buttons in the MIDI section serve a 2nd function IE
selection of noise type. On the Intellijel website is a
software app that can configure more options that aren't accessible
from the front panel.
External
Effects, External control from MIDI USB or CV/Trigger
to be added
How does it
sound?
As I stated, my goal was to acquire a synth that wasn't redundant
compared to my vintage Moogs, Oberheims, and ARPs - mission
accomplished. I was aiming for a box that I could build
patches that couldn't be done on a hard-wired synth. This is a
"synthesist's synthesizer". You can emulate a standard
hard-wired synth for playing bass lines but this can do so much
more. The Cascadia doesn't have everything, but it packs a lot of
function in a small compact desktop format. Other desktop
synths are traditional hard wired standard synth boxes, some add
utility features, but none come close to the Cascadia for a system
that blends the elements of various legacy modulars plus some exotic
features with patching. The Cascadia is great at
non-conventional sounds - you can get sounds ranging from polite to
wonky to gnarly to "what's-wrong-with-this-thing" all in an
itty-bitty teenie-weenie small compact desktop footprint.
Want to hear some examples? Try my "Mallards On Acid"
patch. This is a crazy free running aleatoric patch loaded
with multiple random signals and cross feedback, with no cyclic or
symmetrical modulation anywhere. Set the VCF to a "quack"
sound and you get the sound of a herd of ducks stoned on
hallucination narcotics. It sounds like multiple synth voices,
but it is one single voice. On occasion I repeatedly press a
key on my controller to get a daffy (sorry!) "ratcheting"
effect. I used every patch cable that came with the Cascadia
to build this. If you desire to use your Cascadia as a duck
call while hunting winged fowls, the patch sheet is here.
I'll add more examples later.
It's a very cost effective package - if you built a system with
separate modules to duplicate each block in the Cascadia, you will
spend 2-3 times the money. And at present, there isn't a
module that offers the ENV B or the VCF or the mixuverter or the
AHDSR. The Cascadia was inspired by the Buchla Easel, ARP
2600, Cwejman S1 mkii, and Roland System 100m.
Many products miss the boat due to inadequate user interface.
While the Cascadia looks intimidating at first, with some practice
the user interface becomes intuitive. Not an easy design task
with the flexibility built into this box, and Intellijel admitted
that the interface went through multiple design iterations.
Read the user manual, it is very well written and an excellent tool
for learning your way around the box. Don't try to absorb the
entire book in one passing, your head will spin. I learned a
block at a time at each patching session.
The VCF has an organic rubbery resonant sound that is unique and
effective. It does not sound like a Moog, Oberheim, ARP, or
other legacy filter design. And I like it that way.
It even looks stylish in a living room or office, either
contemporary or traditional. The flashing red, green, and
orange LEDs make a nice substitute for a holiday tree.
When the Cascadia was introduced in April 2023 the initial demand
was so strong that Intellijel had trouble keeping up with
orders. I purchased mine through Intellijel in May 2024 a year
later; the order was completed and shipped the next workday, and it
arrived at my house the following day. From Vancouver CN to
Florida, opposite corners of CN and US. That's service!!!
