i wanted to try to make some conceptual contributions to the community, more that exactly plan out my next purchases. if you dont like the concept thats is fine, but i really wish yall would recommend specific swaps that keep the same footprint, because the size of the cases is also part of this concept. i wonder, though, if its just too abstract for yall, rather than being as flawed as yall claim.
If you found our initial advice restrictive, it's because most people seeking feedback here are actually planning on putting money into the hobby, which is why we were quick to try and steer you away from your designs (and they need work if you want to accomplish your goals). But first, I wanted to address this:
novel module combinations, sequencing options that enhance improvisation, racks with specific size constraints, layering multiple diverse sound sources, signature effects patch paths, specific rack modules that together create unduplicated sound, the idea of creating new previously non-existing instruments with modules as opposed to just assembling patches to match pre existing standard synth signal paths, etcetera. ... ...
-- singular_sound
To be honest, what you're describing is what modular synthesis is all about anyways. You've just listed reasons one gets into this hobby in the first place. To be able to go underneath the hood of a synthesizer and recraft it into the instrument of your choosing. A well designed rack can allow you to create a unique and new instrument every time you patch, and creates soundscapes unlike any other. You're clearly enthusiastic about the sonic and improvisational possibilities that modular opens up, which is great. What @Zacksname and others are suggesting is that until you've had the opportunity to play around with a modular system (real or virtual), it's hard to figure out what the actual possibilities and limitations really are. We welcome contributions and interesting patching techniques or module combinations, but without trying it for yourself, you miss out on the (what I consider necessary) headscratching over how modules (and therefore logic circuits, voltages, etc.) might work together and the discovery of what their sonic territory really can be.
Of course, modular synthesis has an unfortunately high barrier to entry (namely, cost), so we recommend attempting VCV Rack or Voltage Modular, which are free to moderately priced. That and watching lots of online videos showing how different modules work and how to build racks (not just videos about what to buy). I personnally have found mylarmelodies and divkid to be particularly helpful but there are plenty of others. Also, asking questions on this and other forums. My first rack posts got knocked down, as well. I think most of us assumed you were about to jump headfirst into buying modules, which would a) eat up a huge amount of money and b) leave you dissatisfied with this hobby once you realize the pieces just don't work the way you think they will. No one wants that.
also, @hgsynth part of the concept is that they all just get summed up on the 5th case, and there is no clock or cv going between them, so they really are like 4 separate instruments, and the rhythm on the scrooge organically always slightly contrasts with the rhythm on the tukra, controlled by two completely separate clock circuits, hypothetically with two performers synergistically tweaking thier knobs.
What you're actually describing is just a big, multivoiced rack separated into five cases. I'm not seeing five instruments in your set-up, just a very large, somewhat unbalanced rack. Noise and "pure tones" aplenty, but not much in the way of sculpting or doing any of the interesting conceptual stuff you're talking about.
Since you want to get conceptual, a few things to clarify:
* a) when I hear the phrase "pure tones," I'm thinking of an unfiltered and un-eq'd sound wave coming out of an oscillator. Sure, it's a sound, but is that actually the sound you're talking about here?
* b) you need to decide what constitutes an 'instrument', and how many complete ones you want in this set-up. Is an instrument a case? Is it a sub-collection of modules within the rack? Can a single module be an instrument (like the Taiga)?
* c) do you want each case to work on it's own, or must it be plugged into the others to work?
* d) what sound shaping abilities do you want to have?
* e) do you want the music to be generative or change over time on its own?
* f) don't forget logistics - tiny knobs and tighlty packed modules get pretty hard to tweak once all the cords are patched in.
The list goes on...
These are all things to think about as you continue to design your instrument/s and work on your ideas. Modular is an exciting hobby but unfortunately hard to get started with due to the prohibitive costs. Those of us who comment here typically want to make sure anyone starting this hobby does so fully informed, since we don't want someone burning money and getting burnt out. Keep building and planning racks, but don't rely on Claude to judge them... there's a lot of considerations to making a rack succesful, and it typically is not about having lots of sound sources.
Anyways, good luck with your music making and rack planning!
