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The Hydrasynth has a CV Clock output according to the manual. If the Hydrasynth can sync to your DAW via MIDI, I would assume that it can simultaneously generate the CV clocks you're looking for.
Page 89 of the manual discusses the setting possibilities. There might be lag between the MIDI sync being sent from the DAW until the time the Hydrasynth outputs the clock. Since I don't own the synth... I can't tell you if this is a problem, but the Hydrasynth has offset parameters for just this problem.
I like Behringer's recreation of old synths that are out of production or only available as a modernized reissue. To me that's fine. The parts to those original synths typically don't exist anymore... so they have to be recreated, moved to a surface mount environment, build them to Eurorack conventions, as well as at least come close to sounding like the original (let's not debate how close for the sake of brevity).
But I find duplicating modern, in-production designs to be too much of an affront. This is a 1:1 rip-off of Intellijel's quad VCA.
If Behringer innovated the design, added more features, changed the ergonomics of it... then I could give it a pass. That's what good cottage industry modular makers do. But this is a bridge too far even for me.
It's 24HP versus 40 and is $500US cheaper. However it lacks a headphone jack and some features like prefader listen (cue). It's definitely not BETTER than the WMD... but $500 and 16HP is a nice stack of cash if you don't need as many channels... not a recommendation but an option.
A few questions...
There are a few things you seem to have more and more of... like wavefolders.. I see two of them. Do you foresee needing two of them? Is there something about each that the other can't duplicate? The same question for the Intellijel "Outs" and "Audio I/O".
If you're concentrating on mangling, some sort of sample playback/mangling module might be nice... like a Morphegine.
You might want to consider something like a Trigger Riot. You'll hear a lot about clock... surely... but having odd rhythmic triggers controlling sequencer steps, etc. are great for strange results.
The Black Modulator is nice. But it doubles up as S&H as well as an LFO. You can keep it. But I would also get a dedicated LFO module that is fully featured with sync, reset, CV etc. You may want to use both S&H and an LFO at once without compromising.
Try the FH2 for clock... certainly. But you may get a little frustrated with the module having to menu dive.
To take a step back... what is it that you're hoping to achieve by expanding into Eurorack. You mentioned your Minibrute 2S. Are you looking to build on that semi-modular synth? From the modules I'm looking at, you've added a few that are popular in discussions. But I'm not noticing anything that feels like you're trying to build something with a purpose.
I don't want to tell you to do this or do that without a little more information. Talk it out. Do some soul searching. Are you at the point now where you want to explore? Is the MiniBrute meant to be the foundation or your system or just a convenient stepping off point? Don't feel intimidated or afraid to say "I don't know". "I don't know" really means "I don't know yet." Don't be afraid of that.
What do you want to get out of physically patching synth modules that you're not going to get out of a DAW or traditional self-contained synth?
For a starting set-up... you have a bit of redundant modules. You also have some that I would wait on purchasing.
Let's get started:
The Quadrax is a quad LFO generator. You also have the Zone BF which is a dual oscillator. I'd pick between one of the two. The Quadrax looks to have more features and more LFOs. The Zone BF is smaller. But for a starter set-up... I'd just pick one.
You can make the same argument with Veils vs. the Doepfer A-130. Having more LFOs or VCAs isn't a bad thing. But for the moment, you probably have too many.
I'd get rid of the X-Pan, the PICO sequencer, Ladiq sequencer, Quad Clock Distributor, and Sequential Switch. They aren't bad things to have. They just don't make sense for a case of this size or your level. Don't put money into them at the moment.
A couple of dedicated envelope generators would be nice. The Intellijel dual EG I would recommend. There are others. But I have wiggle time on the Intellijel.
A Pam's New Workout or a Temps Utile would cover clock and trigger sequencing. I would start with that. I believe the DFAM can take clock from PNW. The Analog Rythm has CV inputs. If they can take clock triggers from PNW then you are good to go with your two hardware instruments.
For your main sequencer, I'd do some soul searching. If you're worried about live sequencing, I would research the Make Noise Rene series and see if that works for you. A Nerd Sequencer or a custom built Weistlich Performer are also options if those types are more suited to your style. Again... it's personal style.
The Maths has two attenuverters built into it. Plus two more with slew limiters. You may want to get a couple of dedicated attenuverters as your system grows. Having a ton of open space in your case will let you move naturally to modules that are more to your future liking.
Adding in a multifunction module like an Expert Sleepers Disting EX will let you experiment with different functionality and act as a Swiss Army knife if you're missing something like a quantizer, reverb, delay, precision adder, etc.
If your mixer can handle the voltage levels from Eurorack, you should be okay. If not, you can buy a synth level to line level conversion module to help out.
I'd definitely recommend checking out the EX over the MK4. MK4 does a ton of things but I rarely use it because I have to RTFM every single time I want to try to use it. I'm planning to trade mine in for an EX eventually as I think it will be more user friendly.
-loops
-- looprication
Yes. I have all the Mk4 cheat sheets printed out in color. I find myself HATING the interface and never can remember which knob to push, twist, or turn in what order to change some parameter. That EX is just the right price. Also it will respond to MIDI CC inputs if you want more real-time controls. There are quite a few useful videos on Expert Sleepers website/Youtube that show off the EX's functionality and it's superiority to the MK4.
I don't like to remember key presses, numbers, etc... so I end up hating the Mutable stuff... trying to remember what exactly each symbol and LED corresponds to. It takes me right out of my modular mojo to have to look something up. But that's me. Everyone is different in terms of ergonomics and ease-of-use.
You probably won't need Scales with the quantizing abilities of the Disting and Bloom. I may be wrong but I think a recent update to Pam's New Workout also has some quantizing capabilities. Maybe someone else could chime in on that.
-- farkas
The Disting can run as a quantizer. The Disting EX can run as virtually two Disting Mk4s... so it can juggle quantizing and still be capable of offering another function.
I own a micro Ornaments and Crime. I like it for quantizing. I think with a Disting EX,an O_C, and the Pam's, you'd be very covered in possibilities.
Hey Ronin, thanks for your input. I've switched back and forth between Disting mk4 vs EX just due to the size difference. I'll reconsider the EX.
Whats your argument for analog oscillators? I'm not sure thats the direction I necessarily want to go in & I'm not particularly interested in subtractive synthesis at this time. In terms of having more options for a given voice, I've wondered if picking an MI Rings instead of Plaits might be more fruitful but at the moment Plaits is appealing just due to the number of options you have for a digital voice. I'm open to hearing more of your thoughts though.
I agree with you regarding the modulation sources. I think its why I want to get a MN Maths at some point (maybe even now) because its so useful. But it's a big module and I wanted to keep myself limited as much as possible to 3U if I could.
Also, do either of you know good places to pick up used / 2nd hand modules?
-- andrew0
Complex analog oscillators... the modulation possibilities. An analog oscillator isn't subtractive. They can be used in subtractive set-ups and usually are. But subtractive synthesis means you're removing frequencies to shape your sound... not the source of the sound. Check out some Youtube videos using the Rubicon 2... or the Make Noise DPO. They are analog but can produce a lot more than your simple waveforms. Take note of the modulation possibilities both in and out of an oscillator. Some oscillators can be run at LFO rates... there's also something to be said about audio rate modulation (using the oscillator as a modulation source rather than sound).
A preference for digital oscillators is perfectly fine. But something with more modulation inputs than Plaits. You don't have to ditch Plaits. It's perfectly useful and will continue to serve in larger set-ups. Noise Engineering makes some very nice digital modules. But I'd go with the bigger NE units rather than the 12HP smaller ones... much more modulation inputs...
There isn't a good source for second hand modules. You pay your money and take your chances. Dealers will want more money. But the reputable ones won't sell broken gear or steal your money. Doing business with an individual means taking more risks and paying less. This website has a buy/sell section. You will also find modular synth buy/sell groups on Facebook.
I would pick a multifunction module: Disting EX, Ornaments & Crime, etc.
A small sequencer would also be nice, like a Noise Engineering Mimitec Digitalis. Search Youtube for Ricky Tinez. He uses one a lot in his small set-up. I'd recommend watching his videos relating to skiff sized set-ups...
In modular, all of the things that you take for granted in a typical synthesizer must be thought out.
Mixers are a must as far as utilities. Simple mixers are great for summing together multiple oscillators or multiple CV signals together. The more complex, audio mixers are great for routing. Both are part of a well balanced set-up.
Generative set-ups aren't beginner friendly (truly generative set-ups). It's something to strive towards... but only after some hands-on experience. Right now, you're shooting in the dark and I don't think generative means what you think it means.
Define "need" as far as a sequencer. :)
Your rack is tiny and you're populating it with large modules like the Vermona and Maths. I would buy a bigger case and leave 1/3rd of it unpopulated. I'd ditch the Vermona and find something smaller and simpler. I'd also ditch the Pico DSP and go for an Expert Sleeper Disting EX... more space... but you'll get more mileage out of it in a small set-up.
Any gifted module should be worn proudly like a badge... especially from someone outside of modular synthesis. :)
I'm looking at your set-up and thinking you'll be able to do some useful things. As far as oscillators... this is okay for a start. I'm not criticizing your choices. But recognizing that every initial set-up has limits of budget/space. Kudos for leaving lots of room for expansion.
A multi-mode filter and dedicated LFO wouldn't be a bad idea for this set-up WHEN there's budget for it. The filter should be the type able to self-oscillate (they can be used as simple oscillators in addition to filtering). The LFO should have CV controls allow it to reset, sync, and even modulate frequency. Multiple LFOs on one module would be nice.
The Braids/Plaits line is pretty vanilla in terms of what you can do with them. When expanding your rack, I would add a couple of full analog oscillators to the mix. Be sure they have plenty of points for modulation. I bought an Intellijel Rubicon II. I'm not telling you to get that... but that's the level of complexity I'd go for.
The BIG thing I can tell you to do is to swap out the Expert Sleepers Disting Mk4 for the Disting EX. It's a little bit bigger. But you get a much easier to read display, more features, and it can basically do the job of two D Mk4s. As you're exploring the Disting's features, you'll get some hands on experience in what types of functionality suits your own personal style. From there, you may consider buying dedicated modules for those functions if you use them often enough.
Intellijel's 1U Quadratt is great for manual CV control. You can control up to four CV signals. You need only patch the outputs to whatever you wish to control. But if you don't have an Intellijel case, you are out of luck.
Befaco makes a Dual Attenuverter in 3U that can control up to two. Yes, its man function in life is to attenuvert. But just like the Quadratt, when nothing is patched into the input, the CV offset will generate its own CV.
As far as CV, always read up on the devices CV out or input ranges when mating two things together. It might effect the range of control that you have.
The Westlicht has MIDI ins and MIDI outs on 3.5mm TRS cables. You're going to be better off connecting the Performer directly to your DAW via MIDI and relying on the MIDI standards to start/stop/reset your sequencer.
use one channel of batumi as a clock I guess - which will work fine
I suspect that by the time the second case appears, you will have a better idea of what you need - ie what you feel is missing from this case - but that's also part of the fun - discovery
enjoy your journey!
-- JimHowell1970
The pulse output on the Noise Tools makes for a nice clock. I would use one channel of the Batumi as you'll only be able to use it in one mode if you're needing a clock.
You could also draw a clock pulse from Function's EOC or EOR... but you'd have to switch it to cycle and won't be able to adjust it without affecting your clock.
A clock is a bit moot in this set-up. The only thing that can use a clock signal as a clock signal is the QUBIT. But I don't think it'll need it in this set-up. You'd only need to feed it clock if it was slaving to another sequencer.
The Atlantis is a good starting point if you're building a small system first and then adding to it little by little.
But if you're going to dive in fully, then it starts to lose its luster. The plus side is that the patch points are pretty much all there to break the unit out into its individual components (oscillator, filter, etc). The downside is that it's all or nothing in terms of what you get. You may do better getting individual components that will offer you more flexibility and features.
Mixers. You have a Quadratt. It's functional as a small mixer, attenuverters, etc. But you really are going to need at least two small mixers of the Quadratt nature (not necessarily the Quadratt) and a main mixer if you plan on having more than one voice or sound coming from your rack.
There are better units out there, but for the PRICE and SIZE, I'm very happy with the Blue Lantern Stereo Sir Mix-A-Lot. Gain, panning, mutes, plus two aux sends on every channel... plus a pair of stereo returns. You can do better on features... but I don't think so on price.
Also, you should have empty space in your rack. No one learns modular without getting their hands dirty. The more you learn, the more your experiences CHANGE your end goals and desires from your system. If you buy everything all at once and you have no space left over, you're committed unless you start selling stuff off... while you're still trying to learn to use what you've got. Always plan for a "whoops, I should add a..." and have the space for a couple of reasonably sized modules at least.
I own both the Intellijel Morgasmatron and the Joranalogue Filter 8.
If I had to pick one and give up the other, I'd keep the Morgasmatron. The Morg is actually TWO multi-mode filters that can be used independently, in series, or in parallel. The Filter 8 has just one set of controls/inputs that feeds 8 types of simultaneously available filters. The Filter 8 offers more precision, better modulation options, etc. But it's definitely not as flexible.
I don't regret either of them. But being able to call up a low-pass AND high-pass filter is much more common for me than need a 6,12,18, and 24 dB per octave filter all in the same module.
Also to note:
Until recently (in terms of world history), there has never been an affordable way to internationally market and advertise a musical instrument or studio electronics. In the 80's and 90's, you'd have to take out an advert in a magazine, or supply enough mom & pop stores with at least one of your production units so they could demo it.
Website, youtube demos, maybe some internet marketing. But that's relatively cheap compared to the hard costs of designing brochures etc.
On the physical side, surface mount electronics (the types we see in our smart phones, computers, etc.), have lowered the cost of production, taking away a lot of the hand soldering necessary for vintage keyboards. The cost of development has come down as well, with design tools now available on everyone's desktop and rapid prototyping with affordable one-off circuit board manufacturing being very affordable.
With all of that, synthesizer sales are higher TODAY than they ever were in the 70's, 80's, 90's, etc. Smaller and smaller companies can now slice off a livable profit from their endeavors.
Thanks again. For various reasons, I'm simply not able to have a 'proper' monitor set-up (space, cost, and most importantly time - I cannot mix 'out loud'). So, I simply have to work around the limitations the best I can.
-- baltergeist
As far as plug-ins, FabFilter makes some of the best plug-ins in VST format. So if you can afford to get the bigger bundles, you should be good as far as EQ, saturation, compression, limiting, reverb, etc. I'm assuming that you also have a decent audio interface?
If you have to mix on headphones... then reference other professional work that is similar to your own for balance. Also playing things back in the car will also help if you spend a lot of time listening there. You'll spend a lot of time going back and fixing your mixes at first until you develop an ear for what a good mix sounds like in your headphones.
Mixing in headphones is far from ideal. But it can be done if you have to. Just keep making music and doing what you do.
As far as being "new" or "noob", I'd go for multi-function modules that can give you lots of possibilities. Think Pam's New Workout, Temps Utile (like PNW), Ornaments & Crime, Expert Sleepers Disting (the dual one), etc.
Multi-function modules allow you to explore a bit, especially the Disting series. You can get hands-on with different utilities and see which settings you are using the most. If you're using that program the most, then consider buying a dedicated module with more features and that is easier to use.
That's not the only strategy you can use. But it's a good one as far as finding out what works for you.
You're going to burn up $1000 in a heartbeat and not get anywhere. Unless you have a budget of around $3000+, you're going to have more of a novelty than a system that you can use to get the results you want.
Buy a Behringer Deepmind 12D. Tons of modulation possibilities and way under your budget.
Did you buy anything during this time and then resell it later? Is there anything that you bought that you found yourself not using or regretting the purchase (regret might be too strong of a term... but you get the idea).
Here's an easy rule-of-thumb for modulation... if there's an attenuator or attenuverter (a knob that controls the amount of anything) in the patch, you can insert a VCA into the chain and modulate THAT.
That's not the only way to modulate something. But it's one of the easiest ways to bring some "movement" into your sound. Not all modulations have to be these huge sweeping affairs. Even some subtle amounts of modulation can go a long, long way... especially when you are modulating multiple things.
Something to consider is also what other things are plugged into the same service that is driving your modular. Is your modular plugged into the same service that you're using to record or listen back?
There is the lengthy process of unplugging all of your modules and then listening to them plugged in one at a time and adding them to the modules marked "safe." If you power on with one module in each rack and there's no whine, then it's probably a module or multiple modules that are causing the noise.
Digital modules, especially those with LED or LCD screens can give off some nice amounts of noise. So work with the purely analog modules first to rule them out.
I’ve had a similar experience with the Loquelic Iteritas Percido... Difficult to dial in sounds that really gel with the rest of a patch. It’s pretty wild in what it does though, and it is keeping me creative.
I’m going to take a look into Temps Utile. I’m not familiar with it. Thanks for the heads up.
-- farkas
You may also like Pam's New Workout as an alternative to Temps Utile. I would research both. I don not have PNW so I can't comment on which is better. But I do like my Temps Utile for Euclidean patterns, clock multiplying/dividing, and trigger/gate sequencing.
Multi-function modules are nice to have in the beginning because they allow you to get a "taste" of everything and alternative set-ups.
For me... I really love having the micro versions of Temps Utile and Ornaments & Crime. The Disting Mk4 isn't a module you want to try and adjust in real-time. But if you're patient, it's a great Swiss Army Knife module that will let you explore different functionality that you might want to bring into your rack as dedicated modules.
I have the BIA and Manis Iteritas. They are okay... but not the be-all end-all modules. You will find it impossible to get back to "that awesome sound" you had a moment ago unless you're very attentive to EXACTLY where the knobs were. The sweet spot between sonic goo and sonic glory is often a fraction of a millimeter. It's also hard to get them to a particular pitch with a tuner due to all of the crazy harmonics. You won't be layering them with much.
Well, with the set-up I saw yesterday. There's not a way to adjust pitch in a controlled manner. I know you're not looking for something "musical". But if you can't modulate a sustained pitch, you're still going to be limited from a sonic standpoint. You could modulate pitch with envelopes... but then your pitch will change in accordance with the envelope.
The varigate 4+ offers pitch from what I understand. So that might be a good option if you're interested.
I see sources for triggers. Where will you be getting pitch information? How will you generate meaningful, musical patterns? If you can explain that to me, you'll be fine. If you can't, you might be in trouble.
The first two Eurorack VCOs were the Intellijel Rubicon 2 and the Tip Top Z3000 mk2.
If I had to do it over again the Tip Top would have been an Intellijel Dixie II+. Nothing wrong with the Z3000. I would just prefer the interface on the Dixie after some wiggle time.
I would recommend a minimum of 2 VCOs so you can do sync as well as fattening your sound with two oscillators rather than one.
Intellijel Rubicon 2 VCO. Lots of possibilities there and you can get some pretty gnarly sounds out of it via self-patching.
Joranalogue Filter 8. 6, 12, 18, and 24 db/octave low pass, plus high-pass and other filter flavorings. Wonderful modulation capabilities.
Make Noise Maths. Yep. It's analog. Say no more.
MIDI to CV and CV to MIDI. This allows note data to flow between your DAW and your Eurorack. This may also include MIDI CC messages being translated to CV in Eurorack and back again. The more CV inputs and outputs... the higher the cost.
DAW audio to CV. This can be done via a USB module acting as an audio interface (like the Expert Sleepers ES8 or ES9) or an audio interface that is DC coupled. The ES series can be used for audio AND CV flowing between the DAW and Eurorack rig. So you can record, playback, and modulate the DAW and Eurorack modules... true integration. But be aware of latency. It's a fact of life with audio interfaces.
Many audio interfaces remove DC voltage because it's typically not audio and is usually an unwanted artifact. So it's best to check around.
As far as DAW software: Ableton Live with CV Tools, Bitwig Audio, and for a free virtual Eurorack environment VCV Rack.
I went with the 7U Intellijel case. More expensive but is all aluminum in the chassis and comes with a locking lid and a carrying handle.
But for your FIRST case and a choice between the Mantis and Rack Brute, I'd go with the Mantis... especially if it's not meant to leave the house. The Mantis also comes with adjustable legs. I find that to be important as you'll be spending hours looking down at your rack. I don't like giving up a rackspace for power supplies.
The only downside to the Mantis is that it isn't stackable like the Rackbrute. But my own personal taste is that I don't like my rig vertical or in a "wall" configuration. I like table-top views. Those may be considerations for you as well.
It's hard to tell you where to go since it's your own personal journey. But I can throw a possibility your way.
A 1010 Music BitBox might make for a tasty addition. You could use it for sampled percussion, sampling loops of your own Eurorack patches (it syncs to clock and records using clock). It can also use the two alternative firmwares (that are free) for a wavetable synth or a multi-function effects box.
Is that the BEST use for the space? I don't know. But maybe that would be nice for you.
Looking it over, briefly... you're loaded up on filters. I can't make a judgment call there as they seem to be focused around different ideals/sonic possibilities.
Some areas to research
Noise
Sample and Hold
Envelope follower
Quantizer
Logic
Mixers (get two simple mixers that handle DC and audio)
Audio mixer (stereo output with sends)
You might find a combination module with noise and sample & hold... and possibly an envelope follower all-in-one.
Noise: at least white... plus pink if you can find it.
Logic: AND, OR, NOR, XOR, etc.
Quantizer: you have one in Ornaments & Crime. But if you use it, then you burn the O_C for other functions
If you can handle the clunky interface, a Disting Mk4 is always a great module to have if you want to try out a particular function before buying a dedicated module. At under $200 and 4HP, it's a great way to figure out where you want to go without traveling there first (aka buying a dedicated module).
I'm torn between the Modcan and the Batumi + Poti. I have the Batumi... but the grass seems a little greener on the Modcan side if you have the rackspace.
You have the Quadra, the Quad LFO, and the Batumi. That's three units each with four LFO-ish functions. Are you planning on needing that many or are they redundant?
You mentioned sequencing but I don't see anything that does any serious sequencing onboard. Maybe that's not where you want to go. But check out the Eloquencer or if you can find a decent builder the Westlicht Performer. I just bought a Performer but I have to reflow some of the work and replace a couple of damaged CV jacks. But it's a great sequencer. I also have a 1010 Music Toolbox. I like it but the most current firmware kind of blows chunks (why I got the Performer).
Some of the strengths of Eurorack for sound mangling would be complex, audio rate modulation. A simple example would be plugging an oscillator into the frequency modulation of a filter cutoff. You can get a lot deeper down the rabit hole than that of course... especially with digital modules that weren't intended to be modulated at audio rates... but you do anyways :)
Another idea would be an interface like the Expert Sleeper's ES9. That opens a lot of options for getting sounds from your DAW into your Eurorack and back out (to record them). It will also allow for some hybridization between your systems as well as allowing you to modulate virtual instruments and effects with your Eurorack.
Oh, and check out using some filter banks and stereo filters like Make Noise's QPAS, envelope followers, and sample and hold units.
Quick and easy would be something based in Ableton Live triggered by scenes and simple settings.
You're looking to play sax over what you generate. That's an instrument that you really can't play with one hand and tweak settings with another. Everything in Eurorack must be patched and tweaked and might need lots of meddling with. How many bars and beats can you hold off playing your axe while you twiddle with Eurorack?
If you were already experienced with Eurorack, you might be able to pull it off. But if you're new to the platform, you're asking a lot of yourself.
Okay with that said, I'd look at the Tip Top Trigger Riot, a Euclidean capable module, as well as a Turing Machine module. I think Pam's New Workout can do Euclidean, but don't quote me.
The Monsoon is nice. But it's one of those modules that takes a lot of time to hit the "sweet spot" with and there's a lot of unlabeled modes and features. I wouldn't bother with it if getting to a sound quickly is where you're at. I'd replace it with a reverb module and multi-fx module that can do flanging, comb filtering (if possible), and possibly a phaser.
One thing that's missing is a performance mixer. You need to be able to manage all of your audio sources quickly, including effects. I don't see that here.
The Noise Engineering module can be powered from an alternative power bus. Check the manual. There's a DIP switch on the back to do this. Maybe that will be enough to get everything to play nicely.
Have you already bought this rack and populated it?
If not... wait to fill it. You won't know what direction you're going in until you spend a bit of time with what you have. If you fill that space ahead of time then you're trapped with what you have. That means either selling off modules or taking them out of the rack to make room for stuff you're wanting to use.
Here's my take on the system based around one Manis Iteritas.
An output module might be a good choice... but I'm assuming you'll take care of that outside of the rack.
I thought about sneaking in a logic module or some noise. Maybe an attenuverter.
But you can't have everything in 80HP
Some highlights:
A MIDI interface in case you want to use this with your DAW.
Effects via the Pico DSP and possibly the Disting Mk4
A dual VCA.. because you need them.
A Temps Utile and Ornaments & Crime. That will give you a ton of useful features and internal sequencing.
A master clock
Dedicated distortion... because if it isn't distorting, you're doing something wrong.
A Disting... so you won't get bored trying new things.
A second mixer because you might want to mix some CV or use the mixer as an attenuator.
Find Ricky Tinez on Youtube and follow him. He's great with small skiffs. But a word of caution, small skiffs are much HARDER to plan than larger systems. Space is critical, the size of modules can lead to cramped spaces to get your fingers into once everything is patched up. You might want to use longer patch cables to they lie flat or flatter and get out of your way.
So first, let me reiterate what you're saying in case I don't understand correctly.
You want to be able to use a trigger to select different CV voltages. When moving between those CV voltages you want the value to slowly creep to the next value and then remain there until another trigger is received.
So, let's break the problem into the two functions:
The first sounds a lot like a sequencer. You hit it with a trigger and it then moves to the next step that contains a different CV value. In my set-up, I'd use the Noise Engineering Mimetic Digitalis. It will rotate through 16 steps or you can set it to rotate through just four. You can use other lengths if you also supply a "reset" trigger... which you probably want to do anyways. Note: all three examples have reset inputs.
The great thing with this module is that it can store all of the values and you can recall them later. The down side is that you can't accurately change the values as it's running. But it has FOUR channels in it... so you can get crazy if you throw a switch into the mix.
My other option would be the Befaco Muxlicer. It has 8 faders that can output their own CV or take one incoming CV signal and attenuate it accordingly. The upside is that it's really easy to use and adjust on the fly. The bad news is that there's no storage. What you see is literally what you'll be getting. There's only one channel.
My last option is the Ornaments & Crime. It has a dual sequencer. It's more accurate to program than the Mimetic and can even store its settings. But you have to menu dive with a pair of rotary knobs. Not the worst interface... but some people just hate menus...
So whichever option I take... I can trigger specific CV voltages via a trigger.
NEXT... slewing between values.... SLEW RATE LIMITER.
Make Noise has the Maths module. One channel of this is PERFECT for the task. It offers rising and falling slope times as well as different scales of time (exponential, linear, log). Pros: dialing in exactly what I want. Cons: Expensive and a lot of rack real estate.
I also have an Intellijel Noise Tools unit with a generic slew rate limiter built in. I can substitute that for the Maths. Pros: cheap. Cons: only works in an Intellijel case with a 1U rack.
Anyways... that's how I would solve the problem within my own rack. Though there are probably other solutions that would work.
Let me throw a penny into your dollar's worth of knowledge.
I own a Z3000. Would I buy another one... no. Do I like it yes.
BUT.... one thing I learned after some wiggle-time, is that I like being able to switch octaves on the fly (usually measured in 'feet' from the old pipe organ standard). When blending two oscillators, there's value in being able to try an oscillator at a different octave instantly and then being able to go back. It's also nice when performing to switch an octave for variation.
The Z3000 only offers sweepable control of your pitch. So it's not a possibility to do this. If I had to do it over again, I'd probably go with an Intellijel Dixie II+.
Though, come to find out the original poster already has his two Z3000s. How do you like them, Pauly?
