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While this technique is nothing new, I would like to share my experiment in creating kick drums. Inspired by several tutorials for creating kick drum sounds (e.g. by Tobi Neumann or by Make Noise) I used during my last jam session the Doepfer A-147 VCLFO at audio rates in conjunction with the Make Noise LxD to create lush deep bass kicks with a sublime transient. Modules like the Turing Machine, Radio Music, Grains and Clouds contributed additional sounds and effects. You can listen to the result here:
My somewhat detailed course of action is in the track's description. I am fairly new to Eurorack and still experimenting and learning a lot, hence I would like to receive constructive criticism, so feel free to leave a comment.
The first track this year from yours truly. Faster and shorter than my usual modus. Banging?
Great love to anyone who takes a listen and even more so to those of you that take the time to comment, irregardless of whether you like it or hate it.
Perfect! So there was an issue, it wasn't just my idea. Great!
Yes, being able to delete just duplicates of modules which already exist is a good idea. Obviously it will take caution but if we limit ourselves to duplicates and then message the uploader that a duplicate exists and people ought to be using that instead, I think we're towards a better/cleaner MG.
I have checked it: that module was assigned to a single private rack.
Still can't delete that one so something is up!
There was an issue, when modules were assigned just to private racks the Related Rack partial was not displayed at all.
I have fixed that.
I have deleted the module assignment so you should be able to delete the module.
I am working on a feature that will allow mods to delete modules no matters if assigned or not ...
Define "as expected". The module boosts from instrument (not mic, instrument) level to modular level and attenuates from modular level down to instrument level. Two channels for each.
-- ParanormalPatroler
I must've been a bit inebriated when I typed out my question, haha. I was probably questioning how 'independent' the channels are? The answer is obvious now, thanks PP.
Yuppers...case in point: I've got my justified and ancient Korg X-911 sitting to my immediate right, and it uses circuitry from Korg's MS-03, designed to step up levels from varying sources. The input stage has three preset gain levels: -20 dB, -35 dB, and -50 dB. In each case, the gain levels are meant for different uses, and give a good rule-of-thumb for what's needed for many of the primary gain levels needed in a studio.
-20 dB is 'line' level, albeit what's used for unbalanced levels. Balanced line levels (also known as 'pro' level) are +4 dB and there's even a +8 dB found in broadcasting applications. If you're feeding a preamp with a synth, drum machine, effects processor, this is your baseline gain level.
-35 dB is instrument level. This is where the baseline gain level should be for guitars, many pickups, and the like. A lot of (but not all!) 'stompboxes' run in this range so that the levels across a guitar FX chain are what a guitar amp wants to see as if just a guitar was plugged into its input. Hotter-level microphones also wind up in this range, such as condensers.
-50 dB is what you would use for an average microphone or some sort of low-output pickup like a piezo. Passive, unamplified devices tend to run in this range, which is why if you plug a dynamic or ribbon microphone into a mic preamp set for a hotter, active device such as a condenser mic you wind up not hearing the same, hot levels without adjusting the preamp's gain trim.
Now, what all this numeric nonsense means is that if you plug a basic microphone like a Shure SM57 into an input that's expecting a line or instrument level signal, you'll get not a whole lot in the way of sound. Remember: decibel levels follow a law of logarithmic change, and increases of 10 dB aren't what you might figure they are if you just look at the numbers. So a 15 dB difference gets you bupkis if the preamp wants a hotter signal, but conversely that same difference will result in some hideous overloading (and potentially circuit damage) if the preamp wants the input at a 15 dB lower level.
So, the basic answer is: no. To use a microphone in a modular synth environment not only requires a boost to synth levels, it requires the correct boost, and that ADDAC module isn't going to do that. You would have to increase the gain, then feed it to the ADDAC 200PI, which is sort of redundant.
Define "as expected". The module boosts from instrument (not mic, instrument) level to modular level and attenuates from modular level down to instrument level. Two channels for each.
Yes! But check https://www.modulargrid.net/e/other-unknown-duplicate-please-delete----
This module is not used on any racks according to its info page and yet I cannot delete it. I've seen this a few times when I first upload a new module and place it on my rack. Checking the info page it doesn't have any Related Racks at all where it should say "Included in 1 racks".
Still can't delete that one so something is up!
Thanks for the quick response, as always.
Go and have a look at the empty Moog 60 hp cabs and at stacking those in a triple configuration with the Mother32 at the bottom. This gives you 2 x 60 hp to play with for pretty cheap and by adding some small, interconnectible power modules (Koma's Strom series comes immediately to mind) you still wind up with 112 hp for synth modules. Ample power, more space, pretty cheap, and great ergonomics.
See my configuration in the DAMN YOU, ARTURIA! thread under Racks...this uses a triple-tier 60 hp Moog setup in the middle section in which I've specced a DFAM and a full-on performance mixer setup for the larger rig as a whole, which is actually based around major expansion of two of the new Arturia Minibrute 2 synths. You might get a few ideas out of that, especially given that sequencing (via a Minibrute 2S) is a major feature there. But thus far, you're on the right track in general (save that the Braids would have to be a third-party open-source build since Mutable discontinued their version some time back).
Hmmm...the ideas are there, things just need tuning-up. First of all, great sequencer...but where's the quantizing? Sure, the Chord has some quantizing capabilities, but after checking its docs, they relate to how it deals with harmonizing the incoming root values, not determining the actual incoming pitch CV for the root. So you'll still need something to quantize that root value in its own scalar context, THEN the Chord's quantizing-to-chords will have something to work with.
VCAs. Two really isn't enough. Yeah, I know they're not sexy and all, but several more are needed for both audio and CV processing. Maybe lose the Pico drum modules for those?
Can some of these modules be smaller? For example, the Modor Formant Filter and the Limaflo Motormouth are similar things (formant filters) but the Limaflo is 4 hp smaller and saves you about $150. Since you're doing a lot with Erica's Pico series, I don't think I need to go on much about jamming functionality into small spaces. There's not any way to sub out the biggest thing here (the Rainmaker) but I think a bit more digging around will turn up ways to regain some usable hp by switching in smaller variations on some of the chunkier devices in here. Also, I'm pretty sure that you can cram in a MIDI interface with more channels and/or functionality in the same 6 hp or less. So in all cases of everything, it might be an idea to go back and retune for space; even the Picos might be able to be supplanted in some way by larger modules that offer more of the same function in spaces not too larger than a few Picos take up.
This setup also brings up another point: if you're just starting out in modular configuration, always be prepared to make several initial sketches of the same basic idea, then distill those down into a case that's actually LARGER than what the configuration calls for. Blank panels are cheap, plus as you actually work with the physical device itself, you're going to be running into "I need it to do _______" situations, and at that point, you'll want empty space to jam more modules into. Even after some 40-ish years in electronic music, I'm always re-evaluating what happens in my layouts (which is what makes MG so useful!) and fine-tuning, especially because the Care and Feeding of a modular synth is spendy, and you need to make decisions you feel will work with the result feeling very 'instrumenty' from square one. It's definitely not a cheap commitment, so making mistakes and fine-tuning constantly (even down to trashing whole configurations in favor of something with better 'flow') is a MUST. Thankfully, we've got this resource!
We are trying to put together a Eurorack for sequencing and texture to complement our Moog Mother-32 and Arturia Microbrute which are currently sequenced by a Korg SQ1. We're new to Eurorack, and have done a small amount of research into buying a case and powering everything, but we really don't know if this setup will work or not. We'd be looking to fit it into the Doepfer LC3 low cost case, so we think there would be enough power for all of the modules (correct us if wrong).
Any suggestions for getting the most out of this kind of setup would be greatly appreciated!
What have I missed? There are a few few modules I feel strongly about (like the rainmaker) but there are others I'm not sure about. Which one would you suggest me to drop/replace from a starter kit?
Cheers
Hey, no prob...building up modular systems these days offers so many possibilities that just simple tweaks can really open up some big doors. A panner and a mult are cheap...but look what they could do in this setup. And even with those, you'd still have space in that 104 hp setup. Given that we have I don't know how many thousands of possible additions, with a result of probably trillions of possible end-configurations...well, the best thing is just use your imagination to concoct a sound first, then figure out what you have to slap together to get at it. And, as that comes together, what does the in-progress configuration suggest? After a while, these things start to tell you how they want to be built...granted, in my case that 'a while' comes out to nearly 40 years of twiddling around with electronic and electroacoustic devices, which is a bit of a cheat, but anyone can get the hang of this and start whipping up some real wonders over time.
It all sort of reminds me of a sign you see in one scene in 'Mad Max': "SPEED is just a question of MONEY! How fast do you want to go?"
OK, enough of the Charlton Heston impersonation...
Still, this configuration IS their fault. For those not aware (and if not, why aren't you?), Arturia just kicked out three additions to the Brute line. They redid the Minibrute not just one way, but TWO...both sort of akin to a Minibrute take on the Moog Voyager XL, with loads of patchpoints to reconfigure and add in various functions. Version one is with the keyboard, sort of like the original...but the other? Ahhhh...lose the keyboard and drop in something rather BeatStep-ish, and that's the Minibrute 2S.
BUT WAIT! There's MORE...they also dropped two different Eurorack enclosures, 3U and 6U, both with 88 hp rows, and these things come with stand frames that mate with the new Microbrutes.
And apparently, Moog's opted to give us all beyond the scope of Moogfest the DFAM. So, all of this got me thinking (especially with Sweetwater bundling the DFAM, M32, and an extra 60 hp cab plus a 4ms RowPower 30 and the rack frame) as to, well, why not cobble up something that uses both Moogs and takes advantage of the new Minibrute versions and Arturia's pretty inexpensive powered cabs. So here's what I cooked up over the past 24 hours-ish. FYI, the Minibrutes fit into the blacked-out areas on the bottom row, keyboard on right, sequencer on left.
I LIKE this. The Arturia segments also can be ordered with a carry-bag that holds the Mini + the EuroBrute cab, and that triple-tier Moog rack is small enough to stick about anywhere for transport. And it's ultimately very cost-effective as a Eurorack solution, with the $699 Minis doing the basic scut-work while the Moogs allow for some sonic variation, then the module compliments go in all sorts of directions that neither things do. I also added a Ladik dual line-in by the mixer so that the Microbrute line-level outs can be brought back into the configuration so they can be screwed with in various ways up in the modules. I have to say: this configuration is a bigtime HELLZ YEAH in terms of cost, ergonomics, portability...all that! I think I've found my final configuration...at least, for the time being.
People in starting phases need to have a look at this new Arturia possibility. I don't know of any other way, at this price point, to get this level of configurability. As Eurorack goes, what they did is a major game-changer!
(One addendum: I think I'm going to put a two-in MIDI merger off behind this mess to merge the MIDI coming off of the Minibrutes to send that merged signal to the Mother32's MIDI in. That way, I can combine both the sequenced and keyboard parts for the Mother32 to do the conversion to CV/gate for the general modular rig in addition to the direct CV/gates coming out of the Minibrutes' patch panels. Cheap addition, easily changeable if/when needed.)
Nice...I see an interesting and easily/cheaply done addition, tho...let's say you added a simple panner, drove it with the A-140's inverse-out, then fed the A-106-1 to that and used the outputs from the panner to feed the dual VCA, also adding a mult to feed the positive envelope to both VCAs. Now you'd have panning in the stereo field synced to the SQ-1's timing. Twisted, yes? The A-170 could also 'smear' the envelopes to the L and R VCAs which gives you some control over the 'hang time' of the audio signal in the center or edges while the inverted envelope tosses things back and forth.
Lots of possibilities...but then, that's why we also call it 'EuroCrack'.
The thing about Intellijel's 1U is that it's not exactly the same dimension as everyone else's. They determined their tile measurement purely in the Eurorack domain, but everyone else went with the rack definition of what 1U was and put the rail spacing as something that fits in that span. As a result, everything can theoretically fit in a 'normal' 1U tile spacing, but you'd have to possibly 'nibble' the Intellijel mounting holes, whereas if you use the Intellijel spacing (smaller) you simply can't mount the 'normal' tiles in that space. Ultimately, the best thing to do is to keep them separate as differing standards until/unless someone comes out with an Intellijel adapter for the 'normal' tile spacing, if that's even possible.
As far as pingable LFO/envelope type things in tile format, PulpLogic's Cyclic Skew sort of fits that bill. You can't determine envelope lengths by pings (like the 4ms PEG), but you can either set the Cyclic Skew to trigger as a one-shot function generator or you can flip a switch and the attack/release becomes your waveshaping and timing when using the tile as an LFO. Potentially, adding some of Synisi's CVable clock modulation tiles with a few of these would allow some pretty complex function generation if you tandemmed the whole mess with a DC-coupled mixer like the Mix-B. Brings up a point, too: don't just look at basic modules as a 'it does this and nothing else' proposition; quite often I look at basic modules such as tiles as also being able to configure a 'meta-module' in a given space to either do something that might take up more space (or $$$) or just simply doesn't exist in that form. Clocking modules are always this sort of proposition for me...they're usually fairly basic in what each one does, but if I treat several of them as a more complex subsystem in tandem with (in this case) something else like logic and/or comparators, then I know I can head for some very weird rhythmic possibilties by treating the entire grouping as a 'thing' and not separate modules.
Maybe...but let's say you used one of the VCAs to gate the VCO going into the Rings to...well, 'ring' it, then used another to control the amplitude envelope coming back out of the Rings and going on downstream. This still leaves one VCA free for CV modulation control or, alternately, to control amplitudes coming out of the ONE, and with what's there at present, that's just about right. A better idea would be something to 'stereoize' the signal, which is mono up to the Clouds...something that gives you a mono in, but stereo outs. Think about something like a chorus or stereo phaser that can either generate a stereo image in the time or timbral domain, or a reverb that can do a bit of both.
Now, if you could get the raccoon to chase the cat around... + =
Anyway, yeah...using an outboard mixer is an option IF said mixer can deal with the higher levels coming directly off the synth. I know my (1st version) Mackie 1202 can do that on channels 1-4 with the adjustable trims, but I'd be hesitant to use the two stereo strips at anything other than line-level because the gain structure might get sort of janky and hard to control. However, I've heard from many users that Allen & Heath's ZED series mixers are more than capable of handling synth-level signals...and then some. Their theoretical top-level very much exceeds what would come off of a 'raw' synth module, and then you also get EQ, FX sends and potentially channel inserts provided the levels get stepped down before the insert send. And yeah, using the ER-301 for just noise-type sounds is sort of like using a proverbial sledgehammer to swat a proverbial mosquito; you might be able to build up something space-saving with some 2hp modules + one or two dedicated drum modules like what's in place already.
Thanks for your response! I was picturing that I would build my own clock manipulation modules and hold them in the lower part of the case. But that is a good point about LFOs, and effects processing. I'm a bit worried about lack of delay/reverb on my independent voices, as well.
What is different about the Intellijel tile units? Are they still 1U?
Are there 1U pingable LFOs you can recommend?
I'm building my case by hand, and can accommodate whatever layout.
Thanks for the feedback. A lot of this is hypothetical at the moment, since I'm slowly piecing it together (currently just have Rings, Clouds, and the I/O). I only added that second 3xVCA because I frequently read about the importance of VCAs, but perhaps a filter would be a better choice.
Nooo - I had a heart symbol put there, did it break the submit? greater than symbol + 3. :(
Ok - I have to meditate on top of this, I'll write the stuff again when I have a bit more time. But thank you again for the feedback!
-- Lukree
Indeed that heart breaks the code :(
Sorry, I look into it. In the mean time try one of the Emoticons, accessible besides the Submit button, like this interesting raccoon.
[...] Again, more coding headaches, sure...but it's sorta what comes with having become 'authoritative', so it's definitely not a negative. Just what happens when you turn into the 'definitive reference'.
-- Lugia
Thanks @Lugia. You know that you can "browse" through different faceplates in the browser view, when you activate the Panel Selector button? It is a bit "halfbaked" but let's you choose different panel gfx which was uploaded for that specific module.
Here's a question/request which ought to be easily feasible:
can we make sure that the alignment between using a module on a rack and what appears in the info section of the module in regards to usage is 1:1 ? I mean, I'd like to be able to see exactly on how many racks a module is being used on, no exceptions.
I guess you mean the section "Related Rack" ?
Right now I have a module hidden, which I uploaded and had to remove, which is in no racks (supposedly) but when I try to delete it, it doesn't allow me as "it's being used in some racks". There's probably someone who still has it on a rack but I can't know who or how many there are, since the information is non-existent.
Same goes for when I upload a module the first time, I put it on my rack and there's no info about it being used anywhere. It's a bit weird. Is it possible that it's a bug?
ModularGrid uses a system where a html page is constructed from several "partials". Single partials can be cached for performance reason. That is the case with the Related Rack partial. It is cached on the server for 2 hours, because I did not thought that it is timing critical info and if in doubt I always prefer speed over precision.
I now have updated the code that Unicorn users get real time data for Related Racks. Maybe that solves your issue?
Will get some more VCA:s - typically I haven't had any need for too many as my patches tend to be quite small and not covering the whole rack at the same time. But yes, it would be more easier to make more advanced patches and more complicated setup.
Vermona is here to stay, really like the modules. Actually the size is great - I don't like too cramped modules. Especially the LFO is lovely!
Noise based sources would be great for drum sounds, have to dig deeper with that. One option is to use ER-301 for that, but it might be a bit of a waste.
Forgot to mention that I have an old 16 channel line mixer only for eurorack mixing duties and sends to my fx pedals - so that takes a lot of mixing duties. I cannot easily route audio back to eurorack from that, so it's kinda end of signal chain anyway. I'll check some mixers to do the stuff on rack as well before the mixer.
So, for VCA's I have been checking Intellijel Quad VCA or Mutable Veils. Intellijel Linix could be for some mixing duties and I have been interested of Intellijel Planar actually for a long time. It's pretty expensive, though.
That's looking way better...you might consider a little reshuffling to stick in something for weird processing, like a Mutable Warps. Useful, small, gives you lots of 'how the hell did you do that?' sonic possibilities.
As for how to get manual control signals into it, one cheap solution would be an Arturia Keystep (mine is hooked into my Digisound 80 as I type this)...$120 for mono CV/gate out and poly MIDI, plus an internal step sequencer. But another idea might start with this: http://syinsi.com/shop/tiles/1u-tile-skiff-case/ .
Lots of possibilities in tiles for controllers...Synthrotek and PulpLogic have ribbons, Synisi does a micro keyboard, and there'd still be room for CV offset sends, LFOs and other toys. Put together with a Keystep and some other outboard sequencer (or other mischief) as sort of an 'expression mega-controller', and that could get really interesting really quick!
I'll give the plans to pare things down a double thumbs-up! I've been working on a...well, something secret...that involves putting all modules of a single maker in a rack, and I'm always running into situations where I see the same module posted with slight changes yet it's still the same thing. Sometimes there's a valid difference in appearance (different panel color...I know some builders get picky about their system's aesthetic, and I've no quarrel with that as looking snazzy is a thing, especially when performing), but there's also plenty of times where the same, exact module gets reposted, and that's definitely going to waste database space plus muddle up some of the stats on module usage, etc.
But as for wholesale purging...it strikes me as a little troublesome, as the potential for breaking racks would be significant. Merging of some sort would be better, but in the process would it be possible for the duplicates (which people may have used in builds) to be hidden and kept as 'placeholders' in the event they've been used, while still programming these database objects to point back at the actual, retained database entry? Yeah, that's a lot more programming and seems rather involved, but to my reckoning it could be done in such a way as to seem seamless for the vast majority of users. As far as simple appearance differences are concerned, though, I would very much advocate for some sort of statistical merge, since there shouldn't be any difference in the 'guts' behind a panel, ergo users with different color panels on the same module should have their use counted as being just that module for the purpose of usage stats. F'rinstance, there's several appearance-different versions of MakeNoise's MATHS, including one panel by Greyscale...I think that, irrespective of which panel is used by builders, it should all still count as usage of a single instance of MATHS for the purpose of the stats.
Again, more coding headaches, sure...but it's sorta what comes with having become 'authoritative', so it's definitely not a negative. Just what happens when you turn into the 'definitive reference'.
Actually, the results look more like you know what you're doing.
The Mother32 can do a lot of the basic nuts-n-bolts work, and all of the additions to it seem relatively well-chosen. For what you intend, I'm not seeing anything really problematic here. However, you might want to think twice about removing your 1U row. Tiles are a great, cost-effective and space-saving way to increase basic functionalities, and I'm pleased that some case builders are making room for them now; whenever I can put something of the sort into any of my build sketches, I definitely do when the case design allows for it. For example, one thing I note that's a bit absent here is some effect processing (assuming you don't use the Disting for it). With tiles, though, you can add a spring reverb easily enough via PulpLogic's tile for the interface + an internal tank. Extra LFOs, clock tinkering, basic logic, etc...all cheap and easy with tiles. Just keep in mind that Intellijel's tile format ISN'T the same as everyone else's and mixing theirs in with PulpLogic, Synisi, et al is something of a no-no.
Braids has a built in VCA so you wouldn't necessarily need something like that right away. You should probably have something to control pitch, whether that's a sequencer, keyboard with cv, function generator, whatever. I'm looking into using a LPF with my braids, because some tones can be very bright and an LPF can always be used to great effect. Modulation and trigger sources are a good idea, as well. Some wavetables require a trig input, I believe, though they can be set to auto-trigger on pitch change.
Hi,
I'm working on a system to complement my Digitakt. I want to make dance music and explore ambient as much as I can. The Digitakt will be my primary sequencer, but I'd like to be able to do some generative melodies in euro as well. Sounds created in the modular system will be sampled and incorporated into my dance music set.
I've built a two-row 84hp case, and have a few of these modules already. I plan on the lower half of the case housing the Digitakt, a Digitech Polara Reverb Pedal, as well as some custom eletronics I'm working on. I plan on the upper half holding the modular gear. The custom electronics include a second MIDI-euro interface with clock output, and a clock divider. I'm also planning on adding some passive attenuators and arcade buttons.
Looking for any feedback on the rack! I'm pretty new to this and I'm worried that I'm missing something on the utility side of things. I'm really shooting in the dark here but I'm excited to get something put together.
Edit: The rack below doesn't reflect the rack I built. I removed the middle row, which I was using as a placeholder for the electronics I'm planning on building.
Here's a question/request which ought to be easily feasible:
can we make sure that the alignment between using a module on a rack and what appears in the info section of the module in regards to usage is 1:1 ? I mean, I'd like to be able to see exactly on how many racks a module is being used on, no exceptions.
Right now I have a module hidden, which I uploaded and had to remove, which is in no racks (supposedly) but when I try to delete it, it doesn't allow me as "it's being used in some racks". There's probably someone who still has it on a rack but I can't know who or how many there are, since the information is non-existent.
Same goes for when I upload a module the first time, I put it on my rack and there's no info about it being used anywhere. It's a bit weird. Is it possible that it's a bug?
hey guys, after some consideration, i've come to this, am i missing something here? some suggestions?
how best to add manual cv's / triggers? any recommendation?
ha, i put the wrong sputnik in there (although i though the optomix just needs to be pinged?) - corrected now..
for mixing i'd thought to abuse veils (and some mixer channels).
Aber...Umschläge? Sie haben keine davon fuer Ihre LPG-Module. Sie können auch mit einem weniger komplexen MIDI-Interface arbeiten, da Sie nicht 4 Kanäle von CV / Gate benötigen, um nur ein DPO zu steuern. AD-Umschläge funktionieren am besten für die LPGs, und wenn Sie irgendeine Art von Funktionsgenerierung wünschen, können Sie sich Doepfers A-143-1 ansehen. Es würde einiges an Mischen erfordern, um es da rein zu bekommen, aber du hast immer noch Platz, denke ich.
(Entschuldigung für die ungeschickte deutsche Übersetzung ... es ist schon eine Weile her, seit ich da drüben war und ich habe einiges vergessen. Irgendwie gezwungen, Google zu benutzen, um die Dinge relativ richtig zu machen.)
Impressive...about the only thing I would want to substitute out would be to toss one of those triple VCA/mixers in favor of some sort of delay line in that 6hp space. Ambient really sort of needs some sort of sound-field depth manipulation in order to get that immersive quality, and delays seem to be better in restrictive spaces than the reverbs that one might fit in the same space. Plus, with the sequencer, you'd then have the ability to do very Berlin-school-ish 'delay canon' repetitions if the delay can sync to the sequencer clock. While it's spendy, still have a look at Audio Damage's ADM16 Dub Jr....does all of this, plus gives you the fun of an insert in its feedback path. But another way to do this and have even more flexibility would be to go with an effect send/return module such as Malekko's SND/RTN, which would allow you to insert a number of chained outboard devices AND give you another 2 hp to drop a VCF in from...who else?...2hp. You kinda might want a VCF in this, come to think of it.
Comunication:
PinPinKula was always very quick to reply, and was very helpful.
Shipping:
After the payment went through, i received the tracking information for the package.
The module came very very well packed, i have never received a module this well packed before (either from marketplace or shop purchases). It came nicely packed with lots of protective bubble wrap, and snug inside the box (not too tight and not loose).
Module Quality:
As for the build quality (this is a DIY built by PinPinKula) the module is professional quality build. Never have i seen such a flawless job (human made). I can do some DIY builds and know how much care is needed to build a module by yourself.
I really recommend buying from PinPinKula if you want quality.
If a compactflash card could talk, it would say "yes".
