Clockwork Origins: Richard Devine on 4ms Company, Modular Journeys and the Art of Clock Division

Richard Devine recounts his long-standing connection with 4ms Company, stretching back to the early 2000s when Eurorack was still a niche pursuit. He recalls the era when 4ms was transitioning from pedals to their first modular offerings, highlighting the underground nature of the scene and the scarcity of manufacturers. Doepfer, Livewire and Plan B were among the few, and Devine was there from the outset, piecing together systems from empty cases and paper catalogs—a hands-on, patch-by-patch approach that set the tone for his entire workflow.

Devine’s early fascination with modulars was partly practical: vintage synths took up too much space and constantly needed repair. Eurorack offered a compact, flexible alternative. The ability to design one’s system from scratch, picking and choosing modules like a sonic Lego set, was a revelation. For Devine, the appeal lay as much in the freedom to reroute signals and experiment as in the sound itself. He credits his first encounters with 4ms—especially their early clock dividers—as pivotal moments, cementing a relationship that would see their gear woven into almost every patch he’s made since.

Devine singles out 4ms’s approach to clocking and timing as their unique contribution to the modular world. While others were busy cloning classic oscillators and filters, 4ms zeroed in on rhythms, divisions and timing utilities—areas often overlooked yet absolutely crucial for complex patches. Modules like the Rotating Clock Divider and Quad Clock Distributor didn’t just offer traditional divisions; they enabled wild, morphing rhythmic structures and opened up new creative possibilities for triggering sequencers and modulations.

He describes how these modules became staples in his own system, finding their way into nearly every patch—both for their functionality and for their reliability in live settings. The compact nature of 4ms designs, combined with their focus on clock manipulation, offers a toolkit that’s as robust as it is inventive. In Devine’s hands, clock dividers aren’t just utilitarian; they’re generative engines for musical chaos and order alike.

For anyone starting out in modular, Devine’s advice is unambiguous: begin with VCV Rack. The virtual environment offers a risk-free sandbox for learning patching, signal flow and modular theory, without the upfront investment. He points out the educational value of studying other users’ patches, dissecting how signal paths are built, and iterating on ideas before committing to hardware.

Devine also highlights the synergy between VCV Rack and the 4ms Meta Module, which lets users port virtual patches directly into hardware. This bridge between software and hardware, he argues, is a game-changer—enabling immediate, hands-on control once confidence is built up in the virtual realm. With tools like VCV Rack, newcomers can sidestep the intimidation factor and develop a solid understanding before diving into the tactile world of patch cables and blinking LEDs.

As the conversation wraps up, Devine makes it clear that his admiration for 4ms is as strong as ever. Citing their continued innovation and the role their modules play in his creative output, he reiterates his support for the brand’s direction and philosophy. For Devine, 4ms isn’t just another manufacturer—they’re foundational to his work, and he encourages both veterans and newcomers to explore what their modules can do.