Synth voice startup setup - what would you chose?

Hey guys,

I'm becoming more and more interested in modular synthesizers and spending a lot of my time trying setups on this site at the moment. I want to build a system focused on sound design so I mainly look at complex oscillators and function generators that you don't find in the traditionnal desktop synth world. The problem is that I will not be able to buy every module at once, and morover, I read everywhere that the best way to do things is to go step by step, so I'm wondering what would be the best way to proceed. Here are three options I'm condisering and I would love to have your input!

Quick precision, I'm interested in this since I've read that Blawan had designed most of the sounds on his last album/EPs with a few modules. My intention is to have a nice sound design station with randomnes, unusual modulations, happy accidents and techno in mind.

First, buying small modules over time:

With this setup, I would start with a very basic synth voice (something like STO, Pip Slope, Ripples, Shades and 2hp VCA) and add small modules with time. This would be super simple at the beginning and become more complex with each module I hope.

Second, starting with a 0-coast

With this setup, I start with a 0-coast, which would be the initial budget, and then add modules depending on what I need. This seems cool because the 0-coast looks like and already complex synth with a lot of exotic possibilities. And it would also be the cheapest option :)

Third, big modules:

This seems like the most interesting setup from a sound design point of view, but it seems like a "buy everything at once" system as everything seems important for it to work properly (except the sequencer)

What do you think? What would be the most intelligent choice? In what order would you buy modules? Are there missing ones? Or useless ones?

(I have not decided on the specific modules yet, like which oscillators/function generators/filters, the question is more focused on the best method to build a system and what kind of modules I want to place in it, but if you have recommendations on modules I should change or consider instead, please say! :) )

Thanks a lot!

EDITED Aug 8th 2019, 09:47

The problem that you're encountering is that there's no cheap way to cover all of your bases. Choosing one or two oscillators means leaving other possibilities on the shelf. Not good or bad... just different possibilities.

There is no one answer. But there is some advice to be refrained over and over.

1. Buy a case that's bigger than what you think you will need. Most Eurorack set-ups grow over time. Not having the space for that super-awesome 24HP module you're really itching to get means having to buy additional case hardware for the privilege. Future proof your set-up for at least 1 year.

2. Filters, LFOs, attenuverters, output modules, and other utilities are often overlooked in most fantasy builds. You want at least one multimode filter, at least one LFO, two envelope generators, four VCAs, and an output module to go with a one or two oscillator set-up.

3. Don't overlook synth-voices and stand-alone synths that are Eurorack compatible. At the bottom of the pile you'll find Behringer's Neutron. But many other synth manufacturers offer their stand-alone synths and synth voices. If you're just getting into modular synth they may be a much more affordable solution that come with the basics. Besides the Neutron, check out Moog's Mother-32, Grandmother, Pittsburgh Modular's synths, as well as many, many other manufacturers.

4. Play in the virtual world for free. VCV Rack is a FREE modular synth environment. If you're literally learning the ins and outs of the modular synth world, it's a great way to learn more about different module types. It's not a substitute for modular. But a lot of what you will learn will carry over.

I'm sorry but it feels a bit cheap to get the default answer to this, my question was specific about which strategy you would chose to build your first system over time and all I got was "beginners - read this" answers that I know and are almost all taken into account in the setups in my post:

1. I'm only interested in one row because I don't have the room nor the budget for more but any of those I suggested will already be a real a significant step up from what I currently have
2. All of the modules you talk about are in all the systems I included, and there is still room...
3. That's precisely why I built a system around the 0-coast...
4. I did, and bought Reaktor too, but the interface is just not for me

I looked around a lot for answers to my question and found no answer, otherwise I wouldn't have posted it.
And I know there is not one right answer to this, but I wanted to have opinions from people who've been through that already.

So I'll rewrite the question more concisely:
What's the best strategy when you start out?
*Start small with a few small modules and build a more complex system from there?
*Start big to get more complex and interesting modules from the beginning?
*Start with a pre-build synth voice and add modules to it?

First of all, the best starting strategy immediately proceeds from the understanding that MODULAR IS EXPENSIVE. That's not even rule #1...it's more like a basic law of physics. A primary setup is going to cost a significant amount of money...period. Even going with the less expensive makers is going to cost a chunk, since they don't make everything you'll need and since you'll want a sturdy and properly-powered case to stuff everything in.

Also, instead of feeling butthurt about Ronin's advice above, I'd suggest going back and reading it again. It might BE a "default answer"...but that's because you're already falling into default traps. Points #1 and #2 are actually extremely important and not merely flip replies. That advice is 100% spot-on and you ignore/deprecate it at your own peril. Or peril to your credit rating, because you'll wind up spending a lot to get very little in return.

Lastly, if the focus here is sound design, you might consider two other options:

1) Get a vintage modular/patchable. Something like an ARP 2600 is expensive, true, but you'll wind up learning a lot more out of something that had researched design principles behind it, plus an undeniable sound quality. And if not that, a more recent patchable based on older paradigms (such as a Buchla Sound Easel, or Kilpatrick's Phenol, which is based on Serge concepts) would make just as much sense and probably be easier to maintain.

2) Consider whether you actually need a modular synth in the first place. Frankly...and this might sound heretical on MG...you may find more use in a large, modern polysynth like a Moog One or Waldorf Quantum as far as sound design is concerned than you'd get out of a modular system that's built without proper research, funding, and system discipline. Or stay in software; have you explored the possibilities of something such as Iris2, PPG Ultimate, etc in tandem with a good library of other processing plugins?

In either of the above cases, you'll potentially wind up spending pretty much the same amount of money as a properly-scaled modular system. But they're more likely to yield an immediate result. Modular isn't about immediate results; it's more of a long-term process between the user and the instrument, and if you want those immediate results, you'd probably be better off not frustrating yourself with modular.

I'm sorry but it feels a bit cheap to get the default answer to this, my question was specific about which strategy you would chose to build your first system over time and all I got was "beginners - read this" answers that I know and are almost all taken into account in the setups in my post:

Don't be sorry. You're the one that will be shelling out thousands of dollars... good or bad.

1. I'm only interested in one row because I don't have the room nor the budget for more but any of those I suggested will already be a real a significant step up from what I currently have

If the racks above are all that you can afford now then I'd wait and save a bit more money.

2. All of the modules you talk about are in all the systems I included, and there is still room...

Show me the LFOs, traditional ADSR envelopes, attenuverters,etc... especially across all three examples. You have a sliver of HP left in each example... nowhere near enough to expand your systems once you realize the deficits in each.

I looked around a lot for answers to my question and found no answer, otherwise I wouldn't have posted it.

Ever think that your question can't be reasonably answered in a definitive way?

And I know there is not one right answer to this, but I wanted to have opinions from people who've been through that already.

I have been through it and advised several others. I'm not at the Lugia level. But I've spent 30 years around synthesizers, recording studios and DAWs... for a living.

So I'll rewrite the question more concisely:
What's the best strategy when you start out?
*Start small with a few small modules and build a more complex system from there?
*Start big to get more complex and interesting modules from the beginning?
*Start with a pre-build synth voice and add modules to it?

There is no best. There's only best for you. First and foremost what's your budget range? $3000US is a good start. $2000US is okay. And $1000US will get you in the door... but isn't really worth it for what you'll get out of it.

We're all friendly here and the advice is free and valuable. People will go to great lengths to design and redesign set-ups for you. No one is being flippant or dismissive of you. But I wouldn't call anyone's advice "cheap" and expect them or others to want to help you. However, if I felt insulted I just wouldn't reply. Let's make something.

Sorry guys, especially Ronin1973, I took some stuff in the wrong way and I should not have, my answer was dumb so I apologize. And thanks for your reply.

I built the systems in the original post by trying to follow a general template I found in most semi modular synths and pre made systems by various manufacturers I could found online. Stuff like 0-coast, mother 32, templates by reverb.com, perfect circuit 54hp and east/west coast series. That's why I had the feeling I had most of the modules I needed for them to work, or covered those that weren't there somehow, but obviously I missed some.

Also, I really want to focus on exploring a limited number of modules instead of allowing myself future expansions, if that makes sense. That's why I feel like only going for 3u of carefully picked modules would work better for me than buying a big case right away. I really like the idea of working within creative restrictions instead of allowing myself to buy more if I want to. It would also allow me to focus on the music while still having a very powerful tool to make cool sounds and experiment.

Moreover, 3u would fit on my desk, 6u would not, so in a way, I would use it much more if I keep it on the smaller side. I really believe that a few oscillators/modulators can already bring many exotic functionnalities compared to what I can do at the moment with what i have.

Anyway, sorry and thanks again. I think I'm gonna go for a 0-coast or a mother 32 (and maybe an SQ-1) for the moment and see if I need to build from there.

No hard feelings.

The Mother 32 and the 0-Coast are popular. A synth voice sounds right for you. Basically, a complete synth that's stand-alone (own power supply) or a Eurorack synth voice that only needs to be dropped in a case and powered to get a full sound from.

The Intellijel Atlantis, Dreadbox series, etc. are good examples. You can search in modules by type and select "synth voice." Be sure to research... especially using Youtube. There might be something that's more your style than M32 or 0-C. Most synth voices have normalized patching so you don't have to patch to make a sound. Of course things get interesting when you have access to a multitude of patch points.

If you're going one 3U, then yes... still go big. If you can accommodate 4U, the Intellijel 4U series gives you up to 104HP in full sized modules and the 1U of 104HP for any specialty modules that you would like. The cost is approximately $350 for that case.

Use your synth voice for a while and then you can carefully curate additional modules to go with it. The VCV Rack allows you to experiment with many, many different types of modules... so you can figure out what really stimulates your creativity and decide how you'd like to expand your limited space/budget.

I find a lot of DivKid videos very useful in module exploration... even self-patching. In my experience, you can plan your heart out but eventually you have to just buy something and hope for the best. But it's a journey. Don't be afraid to make mistakes.

Hello,
On my side I would buy the 0-Coast and let it as a desktop unit, then buy a tiptop audio Happy-ending kit and start adding other modules...

It would even be possible to combine VCV Rack with an Expert Sleepers FH-2 midi to CV converter to extend your little setup without spending to much money...

Best regards,
Pascal.

EDITED Aug 24th 2019, 11:17

+1 for starting with Tip Top HEK. I built many variations on ModularGrid, watched videos, and honed in exactly on what I wanted.
I specifically also chose a Disting MK4 (bang for buck) and Expert Sleepers ES-8 based on a really cool video by Loopop. ES-8 allows VCV rack to bridge the gap from my computer to the hardware setup and back due to the DC coupled i/o. I will be able to use this module for the foreseeable future.

Thanks for your answers! That's the road I was strongly considering yeah, 0-coast as a starting voice and a case on the side I slowly add things I miss to.
Already thinking about a cool sequencer and a filter but that's already going too fast, first the 0-coast :)

Don't let Lugia hear this, but the Behringer stuff isn't bad for simply for the oscillator sections.

The Boog aka Model D has a stack of three oscillators + noise, 1v octave CV, with a Eurorack level oscillator mix output (pre-filter) and doesn't require racking... for $300. Plus, it's a full MiniMoog clone all on its own. I don't think you're going to find that kind of functionality for $300 if you source everything individually. Granted the oscillators aren't capable of hard-sync nor have individual outputs. But if you go with the 0-Coast and you want some analog to go with it, it's an option.

The Neutron can be thought as a utility box that includes sample & hold, slew generator, a couple of extra ADSRs, attenuators, two VCAs, filter, etc. Plus two oscillators that can hard-sync.

I wouldn't call either ideal for replacing dedicated, individual modules. But they are worthy of consideration if you're trying to get more out of your set-up with limited funds. I've used both as stand-alone synths connected to my DAW for a few tracks... because sometimes you just want something quick without a ton of patching.

EDITED Aug 29th 2019, 17:27

Hee...actually, there are two B. products that will probably wind up in here before much longer, tbh. One of those is their 808 clone, and the other is the Pro-1. Someone whose ear I trust has put the RD-8 through its paces, comparing it to their experiences with the Real Deal, and they state that the only obvious difference is that the timing on the RD-8 is tighter than the original. Now, this might be a problem, as I think that one of the things that made the TR-808's feel right was that certain amount of "slop" that added a tad of humanization to things, but there might also be a (M4L-generated clock quantizing jitter, perhaps?) way around this.

As for the Pro-1, Dan Bell up in Tha D has had a preproduction unit for a while, and the original Pro-One is something he knows inside and out since that's one of his mainstay axes. His verdict was that it's indistinguishable from the Sequential version...and this, interestingly, makes sense since B. now manufactures the redone CEM chips, meaning that the original and the Pro-1 have essentially the same chipset for the signal path. Again, this is someone whose judgement I trust implicitly, not someone random shill on Gearslutz that's sucking up to Uli. So, given that I'd like to have a Pro-One(ish) again (this would be...ah...#3? I think?), and given that the sound is pretty much spot-on and there's little else that B. can fuck up there, this seems like a logical buy. Whenever Uli bothers to get 'em out the door in Shenzhen, that is.

Do you have commentary on the Odyssey?

I really like the Neutron and Model D. They surpass my "good enough" expectations and for $300... well... you can't beat the price.

The RD-8 is being sold for $350! To me that's insanely good for an entire 808.

As for the Odyssey, I'd rather give Korg the money. They were there first, plus David Friend of ARP assisted them with bringing it back. That's a Uli move I don't endorse. True, it has a few additional functions, but since you can get the "real deal" for all intents and purposes, I think that would be more appropriate.

But as for the RD-8? Yeah...the Roland Boutique really didn't match up to the original, so Uli wins there. As long as he sticks to the currently-unobtainables, I don't have much of a problem with B.'s reduxes.

Hi Ronin1973 and Lugia,

I had a chance to test the ARP Odyssey Rev. 3 (Black version but also the white version Rev. 1) at my local dealer, if that's the one you are talking about here. To be honest, after I all heard the positive news of the original ARP from last time, I wasn't overly exicited by it when I tested it. It's certainly not bad and perhaps it's just me, but it's just not my cup of tea I guess.

Sorry Lugia, I have to agree with Ronin that the Neutron is a good deal. I got that one too, here in Europe it's around Euro 300 and I am very happy with it. I thought after getting a Eurorack system I wouldn't be much interested in it any more but I am still looking at it, no better, I am still using it together with my Eurorack system and I am still very happy to use it together with my modules.

The Model D I feel it's a slightly bit too expensive, it goes here in Europe for about Euro 300 too. I am waiting for a better deal and might then get the Model D too.

Similar as you guys, I can't wait for the Pro One, hopefully it's going to be as good as the Neutron or better!

Lugia, if Behringer can make their Odyssey better than the current ARP Odyssey on the market today, then I would be happy to get that one too ;-) But let's see, hopefully Behringer doesn't follow the "touch and feel quality" of the current ARP Odyssey, then I might be not very interested.

I totally agree with you Lugia that this all takes far too long, Behringer introduces a lot of new stuff but we are waiting here and sitting ducks... that's the part I also don't like!

Let's just hope that at least for all our waiting we get surprised with one or two good products then I would be happy already :-)

Kind regards,

Garfield.

Yeah...the thing that Uli loves to do, with creating CGI mockups, dropping them on forums such as Gearslutz, and then basing his marketing decisions on what degree of hype he can observe...that's the thing I really detest. Basically, that's market research via trolling, IMHO...it's lazy, it annoys quite a few people, it tells us little about the final product other than that it might exist eventually, and so on. Then when he starts showing off his "field prototype" and "production run" pics in the same way, it still tells us NOTHING in the way of when the product will be available, NO exact MSRP figures, NO general availability, ad nauseaum. In the meantime, there's a certain...ah...arrogance? to this, how it seems that "influencers" can get his protos but I've never, ever heard of anyone with an actual background in instrument design or "in the trenches" musicians (except on rare occasions) obtaining a B. "field prototype" to really dive into.

And this can have predictably shitty results. F'rinstance, let's look at the NEW (ie: vaporware) Behringer "Solina". Now, Eminent made a few different versions of this for ARP, and users who have experience with them know that the SE-IV was THE version to have. But Uli opted to base his redux on the SE-II. This is the one that the "world's most famous pop, rock, jazz and disco musicians" didn't like. It wasn't stereo, it sounded thinner, it had no control over mixing the "ranks", and so on. The "lounge band" version, more or less. And to this, he's added a very basic phase shifter circuit which is...well, OK, but the other key to the Solina sound was flanging, and I see no flanger circuit here even though B. does, in fact, make them. In the end, it looks more like the Behringer "I Can Haz Streichfett Too" synth and not the Solina that everyone who knows better has been wanting.

So, when Uli gets it RIGHT...sure, I'm down. Neutron: OK. Pro-1: Sure. RD-8: fine. But when he screws up (this "Solina"), or when he just decides to go for intellectual property theft (Mackie, dbx, et al) and whip out something currently being made (MS-20, Odyssey)...yeah, screw that, and him too. He needs to learn to play nice with others.

EDITED Sep 1st 2019, 21:37

Hi Lugia,

With most of your points I agree. It really looks like Behringer comes with products where either licences are no problem any longer or they are very cheap, hence perhaps the Solina SE-II (instead of SE-IV)?

As long as it comes down to "normal business" (yeah I know that's a big term saying anything or nothing) with acceptable products like the Neutron and hopefully the Pro-1, then that's fine with me. If due to the sake of taking/using technology that either has no longer patents issues or licence matters... I feel it's difficult to decide if I don't like it or if it's a matter of just the x-th version of such (older) product. So beside the matter if it's doing correctly business or not, to me if it's "just the x-th version" of something it becomes rather boring or at it's best yet another copy of something.

So my advice to Behringer is to come more with their real own stuff and not yet another copy of yet another retro product.

So how's your opinion about Behringer's Eurorack plans? I guess not too good either? ;-)

Anyway, I guess time will teach us if Behringer's approach (from a commercial point of view) is a good one, somehow I am afraid it is...

Kind regards,

Garfield.

The B. Eurorack? Well, when it was this idea of replicating the 100M stuff, I was rather mixed on the idea. True, the 100M is VERY out of production...but there's the 500 series that Malekko's made for Roland that is a redux of the 100M, with improvements in some cases. And that, I would have a problem with...not that it hurts Roland any, but it would impact Malekko, and those guys don't deserve that. They've done some important work, such as Euro-sizing classic Wiard modules. But at this point, I'm not sure what B.'s plans for modular are; I keep hearing that they're working on things outside of the Roland 100M range, perhaps about 40 different modules. If, of course, any of that's true. But at the same time, their idea of how the 100M form factor worked was utter crap...there are NO multiples of 16 hp that can make up a full row in any of the typical Eurorack cases, not even the 104 hp-er that B. is releasing, so if these new modules go beyond that one panel size, it'd be helpful (maybe). Ultimately, I think there's enough modular circuits out there for use (especially if you have a chip fab line for the CEM chips, which they do) that Uli's designers should be able to come up with a unique line, and not merely a clone. Unless, of course, it's a clone of something unobtainable...which we might see a bit of, since I'd heard of some linkages between B. and AMSynths and their efforts to clone ARP 2500 modules, or the repeated claims that there's "going to be an ARP 2600" from B., something Korg apparently blew off.

As for the SE-II...that's just dumb on Uli's part. It and the SE-IV would technically be under Eminent's patents, which should be quite expired at this point, ergo no licensing issues although credit-where-credit's-due should come into play here. And although the SE-IV is DEFINITELY the version of the Solina that everyone wants, I think the idea here is to kick something cheap out the door to compete with/annoy Waldorf and the Streichfett. Even though I have a Crumar Performer, I've also had an SE-IV, and they're very different creatures, ergo I might've jumped at getting a cheap SE-IV. But not this, and others who know the difference won't jump at it, either.

Then there's the "theft" reissues...the Model D, the MS-20, the Odyssey. All of these are, in some way, active products. And the Model D is something of an iconic device for Moog, even if all of the patents have expired. It's nice to have the ability to get a cheap Minimoog, I suppose...but I have some issues with the ethics of that as far as how Uli's opted to deal with it.

EDITED Sep 2nd 2019, 01:36

Fair enough and thanks a lot for the insight information!

Regarding that B. Eurorack stuff, let's see if any of that is going to come and then let's have it tested at our dealers ;-)

y advice to Behringer is to come more with their real own stuff and not yet another copy of yet another retro product.

So how's your opinion about Behringer's Eurorack plans? I guess not too good either? ;-)

Anyway, I guess time will teach us if Behringer's approach (from a commercial point of view) is a good one, somehow I am afraid it is...

Kind regards,

Garfield.
-- GarfieldModular

They are definitely swinging in that direction. They just hired at least one of Korg's Japanese engineers with the thought of working on new products (synths and samplers) at Music Tribe Japan. One of the original developers of the MS-20 according to the article. Funny enough they just came out with the K-2 aka the Borg MS-20.
http://www.synthtopia.com/content/2019/08/31/behringer-hires-korg-synth-guru-to-lead-move-into-original-flagship-designs/

Hey Ronin1973,

Thanks a lot for sharing that link, interesting news. Let's hope with that move that Behringer indeed will move to more of "their own stuff" (i.e. Hiroaki Nishijima's stuff), to me that looks like a positive step forwards.

I can't wait for the K-2 to be at my dealer to have it tested there; will check tomorrow if they have already a demo unit. I am still waiting for the Pro-1 too :-)

Kind regards, Garfield.

Pro-1's going to be a while, according to my contact at Sweetwater. They know it's in "pre-production", but aside of that Uli's not supplied a release date or even a final MSRP. It could drop next month...or next year. Who knows?

Meanwhile....ahhhh...HYDRASYNTH. Why wait for Uli to reissue the past when the future is on pre-order and set for November delivery? ;-) Future apparently seems to built like a brick s**thouse, too...same sort of steel + heavy aluminum endcheek construction that my JP-6 has. And yes, you gotcher CV/gate jacks right there on the front panel, so it likes modular just fine. You can even input modulation signals via two dedicated mod-ins (which now makes me wonder what happens if you unleash a Maths on this thing).

EDITED Sep 7th 2019, 01:07

Hi Lugia,

Interesting that Hydrasynth, especially those CV/gate jacks on top, though a bit big one for the space I have left (close to zero I am afraid). Let's see once it gets released if it can convince me :-)

Kind regards, Garfield.

I dunno...there's also the pad-controller desktop version, definitely smaller. But the full keyboard is only a 4 octave, which puts it in the same general form factor area as the DeepMind, DSI OB-6 or the Prologue-8...and with that, you also get the 4-octave ribbon (which can be used as a separate controller altogether) and the full poly-aftertouch. The pads on the desktop also have poly-aftertouch, but you lose that (quantized!) ribbon.

Yeah... same observation here... I just had a look at their website for details and had a look at the (pre-) review of Sonic State about the Hydrasynth. Very interesting indeed. Regarding space, if the synth is indeed as nice as it seems to be, I think I go for the desktop one (saves me space and after knowing the thing I could put it in my 19" rack, just about enough space left), indeed missing then that ribbon and the poly-aftertouch however the desktop has 24 pads that compensates it a little bit I guess ;-)

Oh wow, I was not aware of all these replies, there has been quite a discussion here!

Anyway, I'm happy to say I have finally made the plunge, started my system and this is what I have so far!

Sequencing is done with Ableton and my Octatrack. Having LOTS of fun with Stages which unveils new tricks every day, this is awesome!

The future as I see it:
*I hope to use this at home as a one or two voice sound design synth, and live as two seperate voices with my Octatrack sequencing and managing effects. All drums, ambiance, sub bass will be played on the octatrack too
*I plan on changing the A-190-4 with a Mutant Brain to be able to sequence two voices and get extra CV and gates for modulation
*A Mutable Kinks is on the way to add some randomness and interesting logic/maths operation to my system
*As a second oscillator I am looking at the STO, Dixie 2+, Ts-L or Godspeed+. Trying to figure which one will fit best.
*After that I wonder if an Optomix would be a better choice than the A-106-5 for the second oscillator, it would allow me to mix several outputs and free the quad VCA for other uses
*I am pondering the possibility of buying modular sequencers, I love the many exotic concepts I could have access too, the Marbles seems like an awesome option, but I'm wondering if it will suit my music, and if a combination of smaller more specific modules (2hp's TM, arp, euclid and tune, Tirana II, Noise Eng's Repetitors, etc) would be a better idea

Lots of questions I am hoping to find answers to in the following months, in the meantime, I have lots of music to make.

Cheers everybody and thanks for your help!

EDITED Sep 19th 2019, 11:27

Also, just to keep things Under control and sustainable, I've set myself a few rules:
*Fixed budget every month
*At least make a few tracks with your current module before buying more
*RTFM and read posts on forum to learn all about your modules
*Only buy second hand
*3U only, if the new module doesn't fit, don't buy or sell others
*Never a module more than once (just for diversity's sake)

Hi Martebar,

Ha, ha, sorry, it looks like we used your rack post for other synthesizer stuff discussions ;-)

How is your combination of the just new obtained modules and your 0-coast? Must be good, isn't it? I had now almost two weeks ago the opportunity to test the 0-coast from a good friend in combination with my Eurorack system, oh my, that 0-coast thing is a beauty! I love the sound that comes out of the 0-coast hence I am a bit jealous ;-)

Oh no! Now I also read you got an Octatrack?! I am definitely jealous :-) That same friend I was talking about brought his Octatrack too, also a great device. I feel it's not so self-explanatory and needs quite a bit time to get use to it, but if you are used to it, it’s a serious good device!

Ha, ha, the rules you set for yourself are very heavy ones, I would never be able to comply with any of those ;-)

Regarding “Never a module more than once (just for diversity’s sake)” yes, I fully understand that, I almost made that rule for myself too, still do that actually... just for me there are a few exceptions. I got the Xaoc Devices – Tirana II sequencer, got two of them so I am able to make an 8-step sequencer of it (instead of a 4-step) and I am even considering to get two more to make it a 16-step sequencer, but not sure yet.

For envelopes and oscillators I am willing to let go that rule too. In another post I was mentioning how happy I was with the Erica Synths Black VC EG ADSR, so I am thinking of getting another one. Same goes for the more simple ADSR of Doepfer, i.e. A-140-1.

Regarding oscillators, I can imagine it might come in handy at certain situations to have let’s say two or four the same oscillators, but I haven’t reach that stage yet. I read your comment about oscillators, I also consider the STO, perhaps Godspeed+ (Furthhhhh Generator is nicer I think but huge budget issue there...) and Dixie 2+ might be an idea...

I opened a post for exactly that matter: looking for a good oscillator in the Forum --> Modular Discussions --> Some good VCOs required, however I haven’t got any reply so far. Perhaps I put a little reminder in that post, hoping for some experts to help me there. You might want to follow that post, in case I get a reply there, to look for an additional good oscillator. If you are going to buy the STO, then please let me know how your experience is with that one, I strongly consider that one; but not 100% sure yet.

Enjoy your system, I hope you bought a bit bigger case than you displayed here? Otherwise you might need more space soon ;-)

Thank you and kind regards, Garfield.

Hi All,

Picking up the discussion on Pro-1 again, here (Germany) the Pro-1 has been announced in the shops. Looks like it either comes this month or early December, well... knowing the delays of releases... I would be happy if it's in by mid or end of December ;-)

I look forward in testing it soon and kind regards, Garfield.

Hi Lugia, Ronin, All,

Coming back to this post regarding above mentioned Behringer & Arp Odyssey, the Behringer K-2 and a little on ASM Hydrysynth (desktop model).

Beginning of this week I had the opportunity to get to my local dealer and voila! There it was the Behringer Odyssey and the K-2, ready to test. I didn't had too much time but I had some quick looks and a short test on each of them. Here are my impressions:

Behringer Odyssey, well let's start again with the Arp Odyssey, personally I wasn't too impressed by it (scroll above to my post of the 1st of September). This time I tested the just new Behringer Odyssey. What a difference with the (new) Arp Odyssey! In a good way this time!

Let me start with the touch and feel of it, which is good, the switches are good to use and the (LED) sliders are quite nice to use too. The housing is made like a tank, there is pretty thick sheet- or plate-metal used and that's rock solid. I tried to lift up the Odyssey. The good news is that is possible but you can feel the heavy weight. For people who want to take it under their arm with them, it might be not so ideal but I actually like that kind of "build like a tank" feeling :-)

Then the sound, wow yes, that's some serious old, "fat" synthesizer sound, personally I like that. When I compare this one with the lately Arp Odyssey, I would definitely go for the Behringer edition and not Arp; sorry Arp. Here in Europe at Euro 449 it isn't too cheap (however compared to Arp it is) but for the fact that you get a "solid tank" with a good sound and switches and sliders that are nice to use, it might be worth it. Personally, the Odyssey is too deep for the space I have available left, so I have to let it go for the moment but will keep an eye on it. If there is ever a good special offer for it, I still might decide to get one.

Then the K-2... I got already the Neutron from Behringer and I am actually very positive about the Neutron. So when I tested the K-2 I just couldn't believe it... in my opinion the K-2 is beating the Neutron, it's beating it with ease! My goodness, what a lovely little synthesizer that is. Now I don't know the original Korg MS-20 (because that's what the K-2 is, a kind of replica of it) sound but this K-2 has a sound that's beyond believing (for that price) and that puts the Neutron easily in its shadow.

If the Behringer Odyssey sound was kind of old fashion, nice, fat, sound, the K-2 doesn't sound "as fat" as the Odyssey but it has its own characteristic of sound that's, at least for me, close to unbeatable, what a lovely sound.

Then the touch & feel, for the housing that's very similar to the Neutron (and the Model D), however the knobs of the K-2, somehow I feel they are even better than the Neutron, or at least very similar/good as the Neutron.

So I definitely will consider the K-2, most likely I am going for that one. The only issue is... what would be a good and available(!) Eurorack convertor module to be used with the K-2 to make it Eurorack compatible? I think we started that discussion about the convertor module already earlier in this thread (somewhere up here) but if I remember well we didn't found an available module yet that would be suitable. Or is there an available convertor module that does?

Then I spoke with my contact at my local dealer about the ASM Hydrasynth, not sure when that becomes available, let's hope in December but that seems not to be sure; at least not here in Europe. This guy I spoke with had tested for just a very short while the ASM Hydrasynth desktop variant and he was very impressed about it. It seemed to be build good, the synthesizer seems to offer a good deal. The only con he could find in the limited time he had was the limited number of available preset sounds. So I can't wait for the Hydrasynth to arrive in Europe and to have it tested.

Wish you all a good weekend and kind regards, Garfield.

The K2 is on my short-list. I watched the Perfect Circuit demo of it. There are some modern applications and sounds you can get out of it... as well as some of those fat early 1980's funk and R&B sounds. But the Perfect Circuit demo seemed pretty tasty to me.

Hi Ronin,

Yeah! That demo "says" it all, doesn't it? :-) So when are we going to the shop and buy it? ;-) Still my question stands regarding a convertor module for it... or how are you going to use it with modular?

Kind regards and thanks for sharing the above link, Garfield.