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Hmmm...interesting module, that. It doesn't simply do trigger sequencing, but also has two channels of CV/gate under the sequencer. Doesn't look like the MIDI ports do anything beyond loading the sequencer, but I'll bet there's some sort of sneak function that might let you use them as a proper MIDI interface. It 100% syncs to the MIDI clock, though, according to their site. And while 16 hp might be a real chonk in smaller builds, it's probably the best "sequencer crammed into small module" I've seen a bit.
and yea i see miso has jumped in there. good module.
-- trigmusicnz
One of my picks, actually. I don't really see it as a "performable" module...rather, I look at it as a "modulation ganger" in addition to its other functions. For example, if you've got a single LFO being messed with via a MISO (or my other fave for tighter spaces, the Frap 321), you can change the LFO's rate and ALL derived signals will change in lockstep with that modulation source.
OK, so it's a little 44 (45 in its case) hp box, but it's not exactly what it appears to be. For one thing, it doesn't arrive assembled; you have to slap it together like the Werkstatt. But unlike the Werkstatt, it's got 3.5mms on it. And a keyboard(ish), plus a wavefolder, costs $349.
Right away, the size factor is actually similar (off by 1 hp, even) to Make Noise's 45 hp trio of 0-Ctrl, 0-Coast, and Strega. The presence of the much-touted wavefolder also hints at them trying to get a bit more West Coast. But I don't buy it. Rather, I'm of the opinion that Moog's trying to make inroads versus their Asheville neighbors by tossing out a dog's dinner that fits the 0-Coast format (mostly).
F'rinstance, if you want to use it with one of Moog's 60 hp devices in a multi-tier, you're going to have an IMMEDIATE problem with a rat's nest of patch cords that's now established a home across the front of one of them. Yeah...the usual Moog 60s have the patchpoints on the right, but the Mavis has all of them on the LEFT. Not the smartest hardware move, nope...
OK...so, I'll put it in a 60 hp Moog skiff! Hrmmmm...that won't work. 60 - 44 = nope. Put two in? Also...nope. So if you want to rack THIS one up, you'd better have the right space or a big blank panel handy. You could put modules in the space, too...but after using 4 hp for power (remember, the BLANK Moog skiffs have no power circuitry), you've only got space for 10 hp of Eurorack. But then, this gets us back into the point of "why buy one with the case/power if it's going in something else with a case/power" thing. But here, your extra case is all but useless, as it's VERY shallow and doesn't seem like it's got a proper P/S or distro in it.
Even Moog's website is sort of pants here...for example, they show a Mavis in a 60 hp Moog skiff with a couple of modules (a Make Noise (them again!) STO and what appears to be an inverted (?!?) Intellijel uJack), but unless all of the power is coming through the Mavis, it'll be a cold day in hell when those two other modules are usable in that configuration.
If this were JUST a follow-up to their Werkstatt, I wouldn't be so irked. Y'know...something like a "mkii" that's got the 3.5mm points instead of pinwires, without the need for the dongle-ish patchboard. Yeah, it probably sounds great and all that...I just question what's going on with the Mavis minus the sonic factors. It seems like something that was scribbled out on a bar napkin with ZERO thought as to what might be wrong with the idea in the first place! Maybe they're trying to take a few marketing ideas from Uli's bag of tricks...? I mean, there's that 0-Coast form factor there...but jamming a wavefolder into a typical subtractive synth doesn't make that synth "West Coast".
And one other point...the Mavis is supposed to have two VCOs. I only see one...which means that either the ad copy is wrong, or the batshit insane idea of having BOTH of them under the same control is in effect here. C'mon, Moog...Bob wouldn't EVER have done that. One function = one control...that was the whole damn point of Moog's synths all along!
At this point, I'm sure there'll be a bunch of Moog fanboys jumping in to go off on how this is all wrong, etc etc blahblahblah. My take on that is this: go ahead and drop your money on a Mavis, but I 100% guarantee you that you'll be VERY annoyed by it before much time passes. It might have that Moog ladder VCF...but who cares, as you can buy the exact same VCF from a source as cheap as Uli, or others at numerous price-points beyond that which aren't anywhere near $349. Wavefolders are cheap, too...and you can get 'em with the right "provenance", such as Dannysound's Buchla 259 waveshaper, Timbre, which sells at $110 and change. Plus...LPGs? Anywhere? Buehler?
TL;DR here is this: Mavis is a joke. A bad one. Copying Tony's form factor is bad enough, but laying the patch panel out so that it's BACKWARD from Moog's similar lineup is dumb as hell, unless you like patchcord snarls when using this with those. You DON'T put two modules under one knob without a way to differentiate the controls somehow. And some of what I see on Moog's site leaves...questions. But at least you can rack it this time out, since the cab it comes in looks like a piece of crap with a slit for directly connecting a power cord to the Mavis. Better hope there's a Eurorack connection there!
So, I liked the setup with multiple dual VCAs and two VCOs, but I don't like having the same module multiple time. For me a fundamental thing with modular is the mixing and matching of brands and unique takes to create one system.
-- Alltvin
Bad idea. So, let's say you have two oscillators, one being a Plaits, the other is a basic VCO. You'd LIKE to get the Plaits to sound really huge and fat, so you...oh, wait! Your VCOs don't have anything resembling the same waveform, so you can't exactly do that, because that detune trick requires (when done right!) two identical VCOs with identical waveforms, and if one's a Plaits, the other should also be a Plaits.
The same applies to the VCAs. Since those are Veils-topology VCAs, they'll all have the same sort of operating method, the same(ish) sweet spot on the variable response, same sort of gain factor, etc. That way, when you set one in the voice chain, the same sort of settings are applicable to each pair. This makes it much easier to get a patch set up, but if you go with all sorts of different VCAs, you won't get that. For example, in your new example, there's one of the After Later duals...but then, the next VCAs are those Doepfers, which DON'T have variable response. So if there's a certain curve you like on the After Later...well, that won't be happening with the Doepfer.
Couple of other things...for one, you really won't find much need for the Pam's MIDI expander. If you want to lock up drums to the modular, you can just use one of Pam's trigger outputs as exactly that. And if you need the drum machine to be the master clock, just send its timing sync from the machine to the Pam's clock input. Solution simple. And as for the question about the A-118-2, yes, the intention was to provide a noise/random source AND the sample and hold. You now have neither, save for the 2hp dual...but without any random sources, you can't use those to S&H noise/random signals to get a random CV output. But worse still, if you want to add a percussive "hit", you're now missing the audio source that you'd probably use for that.
Tell ya what...instead of progressing further with the hardware build, get hold of a copy of VCV Rack, and explore the why behind things like the identical VCOs, VCA behavior, and so on. For the most part, you should be able to put together various bits (I know there's Mutable module clones in the set) that explain the issues. VCV's free as well... https://vcvrack.com/
Does make me wonder, though...how will HN's new version of the FX Aid fit into that lineup? There's definitely something rather different going on there, and I'm not just talking about the added display. Ostensibly, it could be another FV-1 module...or...?
Rackbrute alone is sort of...eh. The better idea, if you're going with one of those, is to pair it up with something like the Minibrute2 or the Minibrute 2S (my recommendation) to use the 6U of Eurorack as an "enhancer" to get the 2S to do things it can't do on its own. But if the intent here is to go with purely Eurorack, then I still suggest the Mantis. It's the very best bang-for-buck in cabs...and that's including the whole HISTORY of Eurorack cabs. And like I mentioned: expandable, great P/S, lightweight...hell, Tiptop even makes an accessory gig bag for the Mantis, so it can go anywhere with ease.
Good gracious, 'The Craft of Musical Composition: Book 2' by Hindemith has achingly specific instructions on what exactly to do within melody-crafting. Frankly @nickgreenberg, I'm impressed that you can recommend a book like this. I'm just trying to craft a system that won't get me booed off the dance floor. Thank you, I've ordered a copy and I'll see what I can make of it.
-- CardiacTasty
Another oldie but a goodie: Helmholtz's "On the Sensation of Tone". One of the first scientific works to deal with things such as timbre, reverberation decay, and on and on, approached from a not-quite-so-theory-packed perspective. And I can't recommend Nicolas Slonimsky's "Thesaurus" enough...just randomly flipping through it and choosing a scale at random can be a great way to approach the initial compositional steps.
A suggestion (much the same as 33PO above): get something bigger to do this in so that you can build out a FULL setup. At present, you're aiming at a Palette 62. Palette 62 = $299, gives you 62 hp in both a tile row and a 3U row.
I would strongly suggest looking at Tiptop's Mantis instead. It streets for $335 (ie: $36 more) and gives you TWO rows of 104 hp, plus a beefy P/S based on a kicked-up version of the uZeus. While you might be able to cook up an approximation of a full system in that Palette cab, you'll wind up having to compromise quite a bit to do that. Either you can put together a very small system with limited capabilities, or you can go with the Mantis and put together a full-on build...plus, the Mantis can be expanded to two joined cabs via Tiptop's extension hardware.
And I can't praise VCV enough. It's an exemplary way of learning the trickery of modular synthesis in the 21st century. Plus, it's free...and how can you argue against "free"?
Instead of a "normal" VCF, use one that has an insert path...and then drop something like a delay or reverb into that. Doepfer's A-106-1 fits into 14 hp, leaving 4 hp for an effect to screw with the resonance path...HN's FX Aid could work, and there's several others that fit in that remaining space.
The 106-1, fyi, is actually a version of the MS-20's Sallen-Key filter pair...which is definitely is capable of some weird filter interactions. Plus, this idea is pretty cost-effective and fills the 18 hp hole.
I would do this a little differently. Instead of the big Intellijel Quad VCA, I would suggest three After Later dual VCAs. They use the same topology as the Intellijel (and, natch, Veils), can sum to mono, all that. Put one after the Plaits, one after the VCF, and one after the Beads and then you'll get a voice path that's got 100% VCA control over amplitude. Maybe put the Quad VCA down in the modulation row then, so that you can have amplitude control (when needed) over your modulation signals. Gonna beat on this for a bit...
LATER: OK, this wasn't all that difficult to bang out, in truth. The voice row was already pretty well-implemented, so the big focus here was to load up the modulation row while still optimizing the voice row above. So...
OK...top row has the P/S, then next to that is Ladik's dual slew limiter for portamento, which you can have on either upward CV movement, downward, or both. I then doubled the Plaits, because 1 VCO = good, but 2 VCO = BETTER. This lets you do detuning, VCO sync and so on. After those is the first VCA pair, then we get into the VCFs. I put in a G-Storm Korg Delta VCF here, since this gives you smooth, pad-like responses...which complements the Steiner-Parker clone and its aggro sound. Then the next VCA pair, followed by this multiple-looking thing from Takaab which is actually a unity-gain fixed-pan mixer. The white-ringed jacks are your "left" and "right" outputs, and you use the seven inputs to place signals between them. This sets things up for a stereo feed to the Beads. After the Beads, one more VCA pair, then you've got an Alyseum QMix for your stereo mix. Output and headphone preamp duties are handled by the new version of Happy Nerding's Isolator.
Down below, things start with the Pam's, then a Doepfer Noise/Random/S&H is next. LFO duties get handled by a Xaoc Batumi (with the Poti expander) for four potential "raw" LFO signals. Maths follows, then one of Happy Nerding's 3xVCAs for linear, DC-coupled level manipulation of modulation signals (the Quad VCA was too big), and a Tiptop MISO for altering, mangling, inverting, and pretty much any other -ing you want with the modulation. And then, a Xaoc Zadar (also expanded with the Nin) offers four EG channels. One final addition with HN's new FX Aid Pro for extra processing, and that's it.
Should be easy enough to work with...but at the same time, there's a lot of raw power under the hood now.
Nah...those Tiptop Buchla 258s are only $200. Add a few "extras", like VCA control for the FM "modulator" VCO, a bit of waveshaping, et al...and you STILL come out well-equipped for cheap!
Thanks also curious what Lugia, Garfield, and Jim think for complex analog oscillator goodness. There are soo many choices.
-- sacguy71
Too true! However, the best bargain in complex VCOs right now is also one of the true greats: Tiptop's Buchla 258t. Two VCOs with some interesting interconnection voodoo, but another fun thing is that you can take one of the VCOs, waveshape it, then mix it back against the first VCO to get that dual-timbre sound. But that's just scratching the surface, really...the 258 might look simple, but with the right "helpers", it's a powerhouse!
Okay but what would I be missing? I guess you mean the 3 Envelopes the Dfam can put out? Im interested.
-- rckitup
Sure...in fact, you could probably reconstruct the DFAM as modules. It'd be way more expensive, but it'd also probably fit into the space the DFAM takes up now...with some left over.
For instance, the DFAM's EGs...it would make far more sense to get FOUR...and proper ADSR EGs at that. So, check THIS out: https://www.modulargrid.net/e/xaoc-devices-zadar. This can do FOUR...with assignable CVs per EG, plus it can be had with a 3 hp expander that lets you directly address the EGs' behavior. That gives you your three...plus one more, plus a number of different envelope types, plus CV control. In 13 hp.
I want to achieve the sound of drifting pitch on the dfam.. say.. how a cs80 has a sound of vintage and nostalgia as the oscillator seem a little unstable.
-- Dfisound
Huh? That's not the key to the CS-80 sound, unless you want it to sound utterly hammered and miscalibrated. Mine sure doesn't sound like that...unless I'd kicked it down the studio stairs (and risking broken bones from that kick...remember: this mofo weighs 225 pounds!).
You're probably confusing that with what you can do with modulation via the control "tabs". That can get really elaborate, too; Yamaha didn't screw around when they cooked this thing up. But the "CS-80 sound" really has more to do with the architecture of the voice path, the ability to get at piles of functions rapidly with those tabs, and those FILTERS. And I'm not even going in depth on the ring-mod circuit, the ribbon controller, and so on...plus, the "preset" hatch makes a good place to keep a sammich handy for snacking while playing (DON'T ACTUALLY DO THAT! Seriously!).
Another possibility to go along with Jonau's suggestion above would be to check some of Nonlinearcircuits' slow chaos modulators. Since these can do random voltage movement at EXTREMELY slow rates (like, days at max), you can simulate VCO drift with these very easily.
Anyway, aside of the business above...I banged out a filled-out version of the OP's build. Here we go...
Different, hm? OK, here's what's in there and why...
TILES: I stuck with Intellijel here, as they have some really well thought out 1U stuff, such as the Noise Source (it's in here) which functions as a very effective "one-stop" utility. So what we have is a Stereo In (connects to a pair of 1/4" jacks on the cab), MIDI interface (connects to the USB MIDI jack), Noise Tools (clock, noise, s&h, slewing), QuadrATT (utility attenuverters, internal mixing), Dual VCA and the Stereo Output Mixer (connects to the other 1/4" pair). Now, that last pair allows you to parallel the Beads instead of relying on the wet/dry control, plus you can use the VCAs to control the level of either the Beads or the main mix in linked stereo. All you'd need to do is to mult the outputs from the mixer...we'll get to that in a minute...
ROW 1: This is all audio...and instead of one complex VCO, there's TWO. And not only that, each Buchla 258 is paired with a Joranalogue FLD6 waveshaper for even more timbral possibilities. Next is a Veils for straight VCAs, but you also have the option of using the Buchla 292's quad LPGs or a very twisted filter combo; if you were wondering about that 3 hp delay next to the Doepfer VCF, well...have a look at that Doepfer VCF. It's not merely Dieter's take on the MS-20 Sallen-Key pair, but it has an INSERT that lets you drop something else (like, say...a delay) into the resonance feedback path. And yes, delay + filter resonance sounds utterly insane and wild. Anyway, one last Veils on this row to control levels going into the Alyseum Q-Mix, which gives you four pannable inputs, a master level, and stereo outs. This is the point where you'd want to split out the Beads, btw...then you can balance your "dry" (direct mixer out) and "wet" (Beads), and also have some VCA control over one or the other, as needed. And the little white sliver at the left end is a Konstant Labs PWRchekr so that you can keep tabs on your DC rail health. Almost forgot that one...
ROW 2: Modulation and utility (and Beads)...Pam's, Disting EX, and then a Xaoc Batumi (with its expander) gives you four LFOs. Then Maths (of course!), and after that is another Xaoc piece, their Zadar quad envelope gen (again, with expander), and I added a pair of "quick access" Doepfer ADSRs. But in between the Zadar and the Maths, that's your "modulation modifier" zone...a MISO has the initial CV mangle, and then there's another Veils to provide VCAs over amplitudes coming from your mod sources. And then Beads...which is on the bottom row so that it could be closely located with the Q-Mix and Stereo output mixer above it.
Amusingly, that Buchla + Joranalogue combo costs $360...which is why I put TWO of 'em in there, and you STILL beat the Endorphin.es complex oscillator price! FYI, those Joranalogue waveshapers can take inputs from BOTH of the 258's two oscillators to "mash" the signals together as a waveshaped single signal with a bunch of FM or whatever else suits the occasion. Should be a fun rig!
as for falistri over maths - urgh - again personal preference, but I think the frap tools aesthetic is awful, cramped and all over the place!!!
-- JimHowell1970
Not only that, the panel graphics are nearly-useless. Yeah, I can figure out what's going on myself, but for anyone starting in modular, Frap's gear isn't going to be all that helpful. The sole module of theirs that I recommend on any repeating basis is the 321...because it's relatively easy to suss out AND it's about the only thing I can think of in 6 hp that rivals modules such as Tiptop's MISO for modulation alterations. Maybe if they tried to make the panels make sense, instead of like controls out of an UFO...as it is now, the Buchla-esque part they're 100% on is an obtuse UI. And this is coming from someone who's used Buchlas!
TL/DR: Man seeks to mangle audio from DAW and create quirky loops with DFAM. Did he do this right?
-- rckitup
Yes...and no. And the "no" part has to do with having the DFAM in your cab, filling up 60 rather spendy HP. You should take that out, put it back in ITS case and on ITS power, and leave the cab for things that have neither. As for the "yes"...it's sort of conditional on that DFAM's presence as well. Thus far, the module choices are OK, but there's quite a bit missing which also requires putting the DFAM back where it belongs. There's things that could be done better here, but if you don't have room for the modules that would need, you're sort of stuck.
Well, if money's a major issue here, I would suggest that your first move should be to replace all of that Endorphin.es stuff. It's spendy, and you can get the same things (if not better!) for less money. Kinda big, too...for example, the Furthurrr Gen is $779 and 30 hp. OR...Tiptop's Buchla 258, which is $200, and if you miss the waveshaper, you can add the Dannysound Timbre, which is based on the Buchla 259's waveshaping circuitry for another $100 and change. But not only does that save money, it saves space...the 258 is 18 hp, and the waveshaper is only 6, and that leaves a new 6 hp space to add something else.
Since you've been out of the game for a while, these days things are all about trying for maximum functionality with best-case $$$ outlays while NOT wrecking the ergonomics. It's very doable, but this isn't like whipping up some basic gear anymore. There's so many choices that you've sort of got to sort out what you want the build to DO before coming up with a build plan.
One other thing...drum machines in modular are HELLA expensive. You can do them, sure...but remember, you need the voicing AND its sequencer. Now, the Queen of Pentacles is $669 for starters, and you're still looking at outlay for a suitable pattern sequencer on top of that. So...$1k tends to be around the spot most of these come in at, and that's just not tenable when you can get a decent (and very 909-ish) machine like Uli's RD-9 for perhaps a THIRD of that. And yes, it'll lock right up to whatever sync the modular's using. Oh, and you get back another 30 hp for use elsewhere in the build. In short: if an answer exists outside of modular, it's often better to take THAT instead of using hp and cash to make it happen in the cab.
OK...took a shot at this. I didn't put in a few modules (Kickall, Ears, Branches, Shades) because the Palette has some better ways of addressing what those do. Kickall, however, just didn't fit in with where this went, however, the Ears was dropped in deference to the Intellijel Stereo In, Shades gets dealt with by the two DuATTs, and Branches just...didn't really fit either, mainly because that works better if there's some logic to work with as well, and there's not.
So, looking at this as a monosynth, I went with a relatively straightforward approach...
Tiles: Stereo Input (from the Palette's first 1/4" jack pair), and MIDI interface, then a DuATT bookending each end of a Noise Tools (clock, noise source, S&H, slew limiter). A Stereo VCA and a Stereo Mix (which is also the output, feeding the other pair of 1/4" jacks) end things up. One bit about those last two: the VCA + first input pair could be used to fly FX in over the main mix coming off of the Q-Mix.
Row: Konstant Lab PWRchekr...shame that Intellijel doesn't put rail indicators on these, but at least Konstant Lab has that covered. Then the Tides, and a Zadar (with Nin) bracket a pair of VCAs, so that you can have VCA level control over modulation signals. As for mixing those signals, that's what the DuATTs are for. Then the Braids and the Athru have their own VCA pair...and I should note, these little dual VCAs do use the same topology as Mutable's Veils VCAs, but they save loads of space and, in this case, they downright make this thing GO. And going from zero VCAs to eight will definitely make that happen.
After that, your Blades dual VCF, then another VCA pair for post-VCF amplitude control going into either the Q-Mix, Rings, or the Stasis Leak, which gives you stereo reverb, chorus, or a tap-tempo delay with mono-in/stereo-out. Then the mixer: Alyseum's Q-Mix, which gives you four input channels with panning.
There's a lot more going on here now. With the addition of the VERY necessary VCAs, there'll be a lot more level control capability, plus you now have FX, you've got some mix/attenuator modules, proper MIDI, and so on. Definitely not a pile of "leftovers" now!
Toss the mults. You only need buffered mults when you have to maintain tuning on a CV or something similar that would be affected by voltage sag. And once they're out of the picture, the regular mults can also go away, in deference to using some inline mults and/or stackcables. That'll get 8 hp back for use elsewhere, for starters.
As for mixing, I'll echo Jim's sentiment here as well...while also adding that, since this build depends heavily on two stereo modules for its voicing, you have absolutely no way of implementing those stereo paths via panning. There's no stereo mixer at the end where you might find an AUX send/return, or where you could just basically patch something like the Beads after the mixer and balance that via its wet/dry settings. Can't get much anywhere else with just the image, tho...
Theremin Control Voltage Source. It's not a theremin, but the part of the theremin that can either control pitch or amplitude. You'd have to patch up more modules to give this (should be "these", actually...theremins tend to have two aerials) a voice.
Also +1 on marking the Intellijel and Pulplogic tile types. It strikes me that a solution might be to put checkboxes in the new module submission forms, then have a letter or letters in the row that has the module name. Granted, this would also involve going back and correcting the huge pile of earlier submissions, but given that I've seen a couple of dings on MG about not having this, it might be time to implement something.
You might set it up so that if someone is entering a module that they've designated as a 1U tile in the form factor part of the form, then that activates a set of checkboxes for, say, "no format" (for things like utility bars, etc), "Pulplogic", "Intellijel", or "both" (if both faceplate formats are available). And make it so that if this isn't checked, the form won't allow itself to be submitted...so the tile typing MUST be done before submission is possible. Then, when people look at a tile listing, they'll find a "P" or "I"...or both, or when needed. Or neither. If that could get done early on, it'd open up time for going back to correct previous listings as there wouldn't be any non-categorized tiles getting added anymore.
Definitely a better use for the 5V rail! And given how much current that often gets hidden on that rail, it surprises me that pretty much no one else has tried a powering method like that. You sometimes see the 5V rail used to power the filaments on tube-based modules, or when there's a little processing chip onboard that needs it. But outside of that, nothing much, so this is a good trend, IMHO.
No modules in that linked build page...try this: put the modules in the cab first, then shift them OUT of the case. At that point, the rack should drop down a bit and then the SCION OF EVIL, the ModularGrid cat, will pop up to taunt you. But that'll put the modules AND the empty rack behind the link. Just make sure that, before you leave that page, you do a refresh on the "screenshot" option under "Views".
I'd advise bigger still - you have no room for expansion past what's in the 'bigger' case and imo 1u is a false economy - the cases that have it are expensive for what they are and often include superfluous functions that you may not need - midi and output modules are the main culprits here!
-- JimHowell1970
Yeah...you'll note I only put Intellijel tiles in there, treating the tile row as a second utility bus. It DID allow me to shift the modulation mixing/inversion/etc/so forth up to the QuadrATT, so that was a useful space-save for the 3U row. As for the I/O tiles, they're in so that the 1/4" case jacks are useful...so they went in, although I did make sure to go with that new "Stereo Mixer" tile. It allows easy parallel processing, or you can use it as a very basic crossfader, and it connects to the output 1/4" jacks just like the original Stereo Out.
But yes...Eurorack is like the grout mold in your shower: no matter what you do, it keeps growing! MY advice for a first cab would either be a Mantis or a reasonably-cheap portable cab like the ones Case From Lake builds. And in both situations, you're dealing with cases that have bigtime current capabilities so that your system never gets anywhere near its maximum draw.
"Hot from the Ukraine"... Hot from Tenerife more like, according to what Igorr wrote in the announcement post for this module on Modwiggler! so he's safe and sound on Tenerife and setting up shop there...
-- JimHowell1970
Neat! And safer...the Canaries have a lot less problems with the airborne lead content! Also looks like Paratek's also found a way around the Russia embargo by funneling transactions via Kazakhstan.
But then...what would you EXPECT from people who play musical instruments that work like big puzzles?
Well, right off the bat, the cab's a bit small. Even if you're aiming for a basic-type rig, 62 hp + tiles is really tight, which leads to one of two outcomes:
1) You wind up with a bunch of 2-4 hp modules and then learn how to program a modular synth with a pair of tweezers. Or...
2) You use more or less "normal" modules, but then run out of room for the entire thing.
One thing about trying to build a drum machine in Eurorack, also...it's expensive AF and when compared to present-day drum machine offerings, you won't get your money's worth. Typically, when someone tries this, the costs for JUST the drum machine part can typically run $1-2k; contrast that with most any drum machine on the market presently. And it's not like you can't use a typical drum machine with a modular...the synth should be able to "speak" whatever sync signal is incoming, and if your modular has some way to trigger its sounds from an external source (MIDI, typically), you can still use the modular's sequencer to send triggers...either directly, or over MIDI.
Gonna mess with this for a bit...
[SEVERAL WEEKS LATER]
OK...check THIS out...
So, I tossed the 62 hp cab and shifted up to Intellijel's Palette 104...for obvious reasons! Those smaller cabs are really more for "mission-specific" builds, in the end...say, if I wanted to add a "deeper" modulation core to my gear, that size would be fine. But an entire synth doesn't fit nicely in something like that, as noted above. So...what we got here?
TILES: Stereo input on the left...allows you to input a stereo signal for processing via the modular. Noise Tools is next, providing a master clock (you can use that to drive the Pam's, btw), noise source, sample & hold, and portamento. QuadrATT after that to handle various mixing duties. This would mainly be for jumbling up modulation sources as each pot is an attenuverter, meaning that you can invert the polarity of a signal...so if you want something to go DOWN at the same rate something else goes UP, QuadrATT's your boy. MIDI next...then Intellijel's stereo VCA, which gets followed by their Stereo Mixer. By having a stereo VCA like this, you can have sounds "fly in" against others...for instance, the Clouds clone can be via the VCA, dry out direct. Then patch FX VCA into one pair, dry mix in the other, then let a modulation source "turn up" the VCA so that the Clouds effect gets slightly delayed and fades up, instead of the usual T60 profile of peak-to-zero of a reverb, etc. Lots of twisty things.
ROW: Pam's is back. But THIS time, it's got something to gnaw on: a Xaoc Moskva II sequencer. I really like the circular programming ring for the on/off/skips and CV values, plus this thing is really capable as far as 8-step sequencers go. Full of tricks, in short! Then you've got a quad LFO, Xaoc's Batumi (and it's got its expander), then an After Later dual VCA (topology based on Mutable's Veils VCAs). That and the QuadrATT are your "mod core" for altering and mixing modulation signals to get more...what else?...modulation signals. This is how you can get LOADS of useful signals out of a handful of modulators. After that, Zadar for four channels of envelopes (and it also has its expander).
Then I melt your brain...this has FOUR VCOs. And they've got internal quantization, they do wavetable synthesis, can be internally modulated, and on and on...those Klavis Twin Waves IIs are serious! In this case, I've got things semi-set up so that the VCO 2 in each works best as an FM modulator for VCO 1, with VCO 1 being the "voice" oscillator. Two more VCAs, then a dual SVF from Happy Nerding...or is it one really complicated VCF? Well...it's potentially BOTH. And after that, yep, VCAs...remember, you can NEVER have too many of these. They make these things GO, pretty much. After the VCAs, then the Alyseum Q-mix gives you four pannable input channels and your audio chain master. The last thing there is the aforementioned Clouds clone; yeah, it's a clone, but the knob layout here isn't as bad as others'. And having a granular module to mess with your audio is a real "must" these days, so this can either...
1) be used as a "passthru" from the Q-mix to the Stereo Mixer tile, controlling the wet/dry balance on the Clouds clone, or
2) be used as a separate effect by using the mults in the "toolbar" to split out "dry" audio (and send the output to one stereo input pair) and "processing" audio (which gets sent to the other stereo input, either straight or via the Stereo VCA).
Both work really well. Note also that I put the "toolbar" on this so you can keep in mind that you've got the various buffered mults, adders, jacks and all that in the build. Useful thing, that.
So, yeah...this has a lot more going on in terms of both modules AND sonic capabilities. This should keep you busy for a hot minute or three. Plus, it's a good illustration of the difference that you can get with a basic case resize.
Looks like Igor's doing OK and he's cooked up something with big abuse potential! I know that lots of users here dig the FX Aid XL and its non-XL sibling...so HN's gone and done this. I approve!
Except for having the ability to move a micro SD card from it to a PC for loading.
And to the OP: that's a function that any sampler you get should have these days. You can do much more in the assembly and processing of signals for looping in the computer, then moving those results via the card to the sampler. Also, another very effective way of dealing with sample length limitations is to set up a bunch of related or even near-identical on the card for simultaneous playback. If these sample loops are of inequal length, you'll get a backdrop that's constantly in flux and, if you do the math right, COMPLETELY non-repeating. This is how I can use a fairly limited device like the Zoom ST-224 as a "background generator"; if I have several similar stereo loops running at the same level but with no means of synchronization, this sounds indistiguishable from a single stereo background track.
An example: let's say you've got four loops: 0:30, 0:27, 0:11, and 0:18. Start them at the same time, and then the next time those will line up in that way will be nearly 45 hours later (30 x 27 x 11 x 18 / 60 / 60 = one period of all loops). Pretty effective, really.
I'm supremely interested in why you would want to do this?
-- irq506
There's probably quite a few reasons, all directly related to being able to have ALL module specs onhand, or to work out cost-effective changes. But the former is really important, as that'll certainly include current draws, and having all current draws on the same page is excellent and can help someone plan out their build. They used to have a function here (which is still here, just hidden) known as the "shopping list" that had all of that info on a single, printable spreadsheet-ish output, but I can see why some people might want a spreadsheet to help make final decisions.
Fun? No, it's beyond that...the B1 is the first 303 clone (or in this case, 303 "reimagining") that I've heard across the 25+ years of 303 clone attempts that really behaves like the TB-303. And there has been a metric fuckton of those attempts over that timespan...with none of them nailing the REAL issues, those being the ones with the glide function and with how it deals with accents and ties. So, having watched all of that flailing from everyone from tiny boutique firms to big, huge multinationals, it's been both a shocker AND laff-riot to see Donner, with their very first synth offering, NAIL IT! No, it doesn't look like a TB-303 (actually, it makes more sense when in use!) but it sure as hell sounds like one.
Reminds me: I need to bug them about the possibility of adding a "kill" function to the VCO. At present, audio inputs get mixed along with the VCO, and if you wanted to use the B1 as a sequenced filter, that would be a problem. But since a lot of what's going on inside can be altered via firmware dumps (and Donner really wants to know what users would like to add to the firmware, when possible), it might be possible to have that function added.
I’m also curious about what a Turing machine can do in combination with a quantizer. Maybe a setup that would suit you as well.
-- stephankochen
Actually, Grayscale's Permutation (in its full version) would make a good sequencer along the same lines. It's a derivation of the original Turing Machine, but I think it's better laid-out, and has a few extras.
OK...it arrived this morning. I got it unpacked around 10:30 AM.
Then when I checked my watch again after fiddling with the B1 and putting it through its paces...it was 12:30 PM.
It's the real deal, sound-wise...even with a 4-pole LPF, as it sounds curiously 3-pole-ish...like the real thing. The glide function has Roland's odd little "error" of not being a fully linear portamento. Run up the overdrive circuit and oh...my....
Suffice to say, the sound is far closer to what I'm used to out of a TB-303 than anything I've encountered in the 30 or so years that companies have been trying to clone the original. It can be nice and pure...or hostile and gritty AF! And yes...everything in between (for a change!).
As for the sequencer...it's also like the Roland's (ie: obtuse as hell), but some of this comes from the way the sequencer gets accessed, which is technically better than the TB-303...but it's definitely got a learning curve. But it can do things such as syncing to a number of different clocks...including, yes, the 24 ppqn DINsync...and even Korg's 48 ppqn! Oh...and MIDI out.
Also, there's a way around the sequencer's normal edit and enter modes: Donner came up with some basic software editing that can handle that, plus a few other surprises. Just connect the B1 via its USB-C port to your PC, done. But if you insist on using only the B1's UI, you'll find that the gimmicky-looking keypads are also a much better set of control indicators than the teensy LEDs of Roland's box. They're bright and super-obvious.
So...how does this fit in with modular? Well, the sequencer is easily connected to most anything via MIDI, so you can use the B1 as a 1-channel MIDI sequencer. And also, it's got that audio input, which lets you impose the VCF's sequenced filter behavior on an external signal. I 100% cannot stress the importance of that MIDI I/O; it's THE reason why you might want one to couple up with a monophonic Eurorack build as both a controller AND monophonic sequencer.
Better than Uli's? Yes. The internal feature set is better (thanks to the sequencer's capabilities), the form factor makes more sense these days, and the fact that it can be used as a PROPER synthesizer instead of being purely a sequencer box. And there's that SOUND again...seriously, the VCF can do that hollow "snarly" sound and the VCF controls (key to performing with a TB-303) are super-responsive and also react very well to the gate length, glide, etc. So you can use the MIDI out to sequence, then fire the output off to the B1's audio input and use your whole damn modular system as the "voice"! Woo-hoo!!!!!
But the biggest deal of all is this:
Cheapest original TB-303 on Reverb: $3395
Donner B1 that sounds and acts pretty much identical to the TB-303: $160.
Oh, and one other point...if you've been over to The Website Formerly Known As Gearslutz and checked the threads on this, you'll notice that there's one of Donner's reps there as well, and they want input on how to make this thing even better through another non-TB-303 function: firmware updates. They're actually interacting and as opposed to a certain other China-based MI firm, they're not making lofty vaporware proclamations and showing off speculative renders but actually communicating so that they can make this box do things WE like via other actual users' input. What's not to like?
Lastly, the box lists some useful info for those of you in the EU and UK...distributor contact info. So for those wanting to know when this is available over there, here's the contacts:
UK: tanmetbiz@outlook.com
EU (Germany): utaundico@hotmail.com
I might sound a bit overhyped here about this, TBH...but this really is a big gamechanger, both in terms of being the best 303-alike ever, and in terms of moving the TB-303's design forward, rather than slavishly copying the original version. It's really that good!
So which is your favorite shifter, and why? do u think digital vs analog makes sense for a shifter comparison, or own both kind of approach do u think ?
-- fzzz
My fave? Easily the Bode, which was an "aftermarket" item from Moog back in the day, then it became an actual module some time later. It has a certain "smoothness" to the sound that some digital ones lack. I've also got the Field Kit FX's shifter, which is sort of a "garage"-style shifter...it's not "clean", but it IS effective.
It'll be interesting to see if Uli can really pull off his bargain-basement Bode. As I recall, the tradeoff for the great audio quality was extremely touchy behavior by the module/outboard, especially when balancing out the "carrier" so that it doesn't break thru.
1/ Download and try VCV Rack software
2/ Buy a copy of the book Patch & Tweak
DO NOT and I repeat DO NOT buy anything before doing the above items.
Thank me later :-)
-- sacguy71
"Patch and Tweak" is decent...but the "try VCV Rack" part? Yeah, +1 billion.
VCV does a great job of emulating Eurorack, but also in taking Eurorack to a zone or two where it doesn't normally go. Just make sure to have a potent piece of computing hardware to run it on; see the FAQs there.
There's always the Pittsburgh case mode in there...plus, it works for a lot of other cases; Erica had some a few years back that also did the wood side-bolsters with rails thing, and I know there's others.
Or you could mic up your coffee machine. No, seriously! If you check out Tangerine Dream's BRILLIANT early dronefest "Zeit", you can hear the result on (I think?) "Birth of Liquid Pleiades", where the "liquid" part is Edgar miking up Dieter Dierks' Mr. Coffee machine.
As for the Palette, though...that doesn't really click, particularly if you're shooting for drones, noises, and generative things. Around here, the common wisdom is that the best solution for a new modular build and new user is the Tiptop Mantis. 104 hp x 2, $335, with a seriously stonkin' power supply (3A on the +12!). Can't beat it with an ugly stick!
Couple of other points: first, you should probably aim for a more all-encompassing modular with the eye to making it capable of working with the 0-stuff. But at the same time, a fully-built-out modular can function as a "nexus" of processing, control, and sound generation for the "Cheapsel" as well as most anything that winds up in the studio. So it's not JUST an instrument. In fact, one of my installation works from c. 2000 uses my modular (Digisound 80) purely as a processing device.
Second, a build in a Mantis can be easily expanded. Tiptop has a set of connecting brackets that lets you put two of them together in an "over/under" configuration (see here: https://tiptopaudio.com/mantis/) and that'll double your hp immediately. And 416 hp can hold a scary-powerful synth! Plus $335 beats $399, especially when you consider the additional space, the excellent power supply, and also...it's just as portable as the Palette. Hell, Tiptop even offers a gig bag sized for the Mantis.
One last suggestion: you might also budget for a suitable controller. With a modular system, your best bet has got to be Arturia's Keystep Pro. I absolutely love mine; in tandem with some of the other sequencing hardware here, the KSP also fits that "nexus" definition.
One's already on its way here. As the video progresses and we get to the real 303 meat...and, oh my god...they DID IT!
See, the problem with replicating the TB-303 is two fold:
1) The filter doesn't have enough "grit". And...
2) The "glide" isn't easy to do...because Roland probably did that function "wrong" in the first place. But I was amazed when this did that "not really linear" portamento that's key to the 303 sound...and that's something that NO ONE has gotten right throughout the history of 303 clones!
...until now. And they even added a little bit of craziness by putting a headphone-out jack right next to the aux input. Minimoog feedback trick, anyone?
Just to make sure of this, though, I'll be putting this on a scope when it gets here so that I can look at the glide activity and a few other things. But when the demo switched for a bit to that wonderfully-hollow squarewave sound...wow. Just...wow.
Looks like Uli's got some competition over in China!
The immediate issue with using the Behringer System 100M modules is that they're HUUUUGE. I did put a Behringer copy of the ARP 2500 Filtamp in, though...it's an excellent LPF, and it comes with a VCA at the output. But as for the rest...well, here it is:
Assuming that this is for a Tiptop Mantis cab, which has its own, beefier power, I removed the 4ms P/S. And as for percussion, most of us will tell you that using a standalone drum machine, instead of building one in a modular build, is the way to go. You can use it as a master clock for other things, plus you can get some of Uli's recent offerings. For example, I've got two RD-6s (they're not just drums...they also give you two channels of trigger sequencing per unit) and an RD-8mkii. Both are really pretty damn good as far as emulating the originals' sound. Anyway...
TOP: Doepfer A-119 gives you your audio in...plus an envelope follower and a comparator-derived gate out so that you can also impose dynamic contours from incoming signals on all sorts of other modules. Doepfer's little ring mod/S&H/noise is after that. Then I added a dual slew gen from Ladik that offers switchable discriminators so that you can have portamento on upward or downward CV movement...or you can set them so that they work like "normal" portamentos. Ensemble osc is after that, then an Instruo tona provides a second oscillator with a built-in waveshaper. Not only can you use the tona as a doubling VCO to make the 4ms oscillator obscenely fat, it's very capable as its own VCO voice due to that CVable waveshaper. Next, Veils...probably one of the best solutions for combining VCAs with a basic mixer that's got a "breakable" mixbus. Then there's the Filtamp (actually, it would be a kick and a half to use this with that Instruo waveshaping VCO!), and after that, a G-Storm fave. Their Delta VCF is a clone of the SSM filter that was used in Korg's Delta ensemble keyboard as well as in their Poly-61. It also gives you a bandpass filter setting. Typhoon follows, then I added a Freq Central Stasis Leak, which gives you stereo chorus, reverb, and a tap-tempo delay. And lastly, a Happy Nerding (damn, I hope he's OK!) FX Aid for even more effects fun (and you'll see why in a bit).
BOTTOM: First up, since you've not got front panel DC bus indicators on a Mantis, the Konstant Labs PWRchekr handles that duty. This lets you keep an eye on DC rail health over the system. Then the QPLFO after that is just nuts...it can work like your usual quad LFO, but it can also output waveforms with a duty cycle that can range from the low end of audio out to an utterly crazed 71 MINUTES! And for things such as generative work, something like that is super-helpful. Frap's 321 and the After Later Dual VCA (VCAs based on the Mutable topology, but in an x2 package) are your modulation modifier "core", allowing you to tamper with your modulation and get results that the modulator modules by themselves can't really do. Maths is next...y'know, Make Noise really made a killer-app-type module with that thing...and offers lots of modulation potential. Hell, you'll be finding new things that it can do for years! For envelopes (as well as some really complex chaining and other madness), I put in Intellijel's Quadrax with its Qx expander, the latter allowing you to chain envelopes and create ridiculously complex mod signals...or four envelope generators with CV over both rise and fall. Following that is the Disting...around mid-cab so that it's easy to drop into either the modulation OR audio paths. O-scope's after that...although I'll (and certainly others as well) tell you that unless this has some other features, you should drop it and use an external scope. Otherwise, it's a one-trick module that's occupying 15 hp that could be used for functional use instead. Anyway, following that is your mixer: a Tesseract Tex-Mix with four mono inputs. Also, these inputs have their own exponential VCAs, so that deals with the output level control. The Tex-Mix system also offers two FX busses (2 mono send, 2 stereo returns) for effects. So you could use the Typhoon as a "global" effect, or the FX Aid, and still have the 1-in/2-out Stasis Leak, which is perfect for the Tex-Mix effects busses. Note also that you can input mono to the FX Aid via the left input only. And last, a Happy Nerding Isolator, in their new mkii version (2 hp slimmer, plus an additional headphone preamp...giving you TWO headphone monitors, one of which can take the Tex-Mix's "cue" function so that you can have a dry pre-mix sound; this is the sort of thing that, if your tuning or something else goes wacky, you can put that channel on "cue", monitor that via the Tex-Mix phones to fix the issue, and go right on...with pretty much no one knowing that there was a problem.
Now, this is a pretty comprehensive system. It's definitely got more going on than the previous version, mainly due to the fact that you don't have a whole bunch of oversized modules stealing functional space. More expensive...but this is partly due to finishing the build out and also to not putting all of those B-100M modules in there. It's built tighter, which means more functionality and more sonic possibilities. See what you think...
Cre8 case. Nuh-uh. Jim mentions the Mantis, and these days it pretty much is the goofproof workingman's synth cab. Lightweight, SOLID power, and expandable to a second Mantis via Tiptop's link brackets. And it's nowhere near this small, which is good because while you CAN make tiny modulars with 2-4 hp modules, these will be downright hellish to work with due to the dense panel space. For instance, you see that here with the Erica DSP and the 2 hp module to its right; unless you LIKE tweaking knobs with tweezers, don't do this.
Buffered mults are superfluous without multiple destinations that REQUIRE properly-scaled control voltages. You only have one module here that demands that, ergo no point in the buffered mult. Also, with builds this small, many of us recommend that you DON'T use mults of any sort in small-scale builds as you want as much functionality in the patchpanel, and mults eat this up.
+1 on the "why four channels of quantizing?" from Jim. Seriously, if there's only ONE oscillator, you only need ONE quantizer. And that even applies when you've got two oscillators, as you'll want one to detune a touch to get things HUGE.
Behringer Brains. No. When Uli makes something that hasn't existed in years/decades, that's...OK? I mean, he's still a total asshat, but he's being quasi-ethical with those (aside of handing Korg its own ass on a plate in the "2600 wars", which I thought was not only ethical given Korg's antics, but the only way for "normal people" to get the 3620 circuits) and the gear IS really useful. But when Uli goes at a small company, steals their circuits, steals their interface design, and tries to front that they cooked that up...oh, HELL no. And that, in a nutshell, is what he's done here. Actions like these are why you could make a mint by kidnapping him and setting him in a state fair-type dunking-booth at the next Superbooth..."C'mon folks and get a shot at an inhuman and totally unhousebroken corporate jackass! Only 3 balls for a dollar! Win yerself an actual Mutable Instruments Plaits! C'mon down, folks!" Pft.
OK...here's a shot at reworking the build...
This is in the same cab...1 x 84 hp. Again, I still think that you'd be better served by building this in a Mantis.
Left end has a Konstant Labs PWRchekr so you can have some visual feedback on your DC rails' performance. Then the sequencer is next, and I went with a Tenderfoot Lattice, which is sort of like a scaled-down Tiptop Z8000. I put an Erica PICO quantizer by that, and since you're not going to be frantically tweaking a quantizer, that placement should be fine. Then to substitute for Maths (saving panel space, y'know), there's a Befaco Rampage, which is their take on a complex Dual Slope Generator (see the Serge modules to check out the original). Then we're into the audio end with the Plaits, paired up with a Joranalogue FLD6 wavefolder. A pair of After Later VCAs, built on the same topology as the Mutable Veils VCAs, follows, and then a Happy Nerding MMM. The MMM is a dual state-variable, with LP/BP/HP outputs on both -12 dB filters...so if you feel the need to crack plaster with BASS, you can series the lowpass sections for -24 dB slopes. More VCAs follow, to control either a single or dual output from the MMM. To get things into stereo, I put in a Doepfer A-138s 4-in stereo mixer, and then the final bit is a Happy Nerding FX Aid XL for your stereo processing.
But like I and others have said/will say, don't build this in an 84 hp skiff. You WILL want to add onto it, and having to include a second skiff in that expansion's price will just make things (more) expensive, when you can drop $335 on a Mantis and be done with it.
Buzzing, hm? That would localize the issue to the AC-DC conversion, and it sounds like a component failed in that 12V wallwart...which isn't too surprising, since the requirement for 15V is based on a step-down that translates that to the various DC busses and since wallwarts are often horrid little pieces of cheapo crap. But if you power it with 12V, you're pushing the DC-DC converters in the synth's power supply really hard, as that's not the voltage the P/S is expecting. The result is that even if you specced the build for the power capacity of that Palette 62 and had everything added up correctly, the 12V wart is lowering the current available, which also appears to be playing a part here. Betcha if you put that 12V wart on a scope now, you'll see quite a bit of AC getting past the rectification.
Things like this are why bunches of us make a point of saying to NOT overrun the DC specs...which includes the external wallwart needed for the DC busses. Always spec your available current at at least 3/4ths of what the manufacturer says is the maximum current draw to avoid the ugly surprise of inrush currents popping the fuse (and ONLY the fuse...if you're lucky!) or causing other trouble. And that also goes for the Intellijel's onboard DC-DC conversion; if the specs for the Palette 62 says it wants to see a 40 watt wart, put a 60 watt one on it instead. Since the Palette 62 doesn't need the extra 20 watts, what that'll do is to let the bigger wallwart loaf along at 2/3rd's of the maximum draw at the DC end. And loafing P/Ss is what you want, as that reduces the component heat, which makes the wallwart happy and far less susceptible to kicking off due to a current overdraw.
but if you've got a kid or grandkid that's fascinated with sound and electronic tinkering, these are >fantastic. Take it from someone who grew up with all sorts of electronic toys.
-- Lugia
Yeah, and as I mention, the manual that goes with it (which you can download for free) is probably the best practical set of guides to music generation electronics (and basic electronics in general) that I've ever seen in my 64 years.
In my opinion, perfect for a 10-12 year old.
--rw
-- Ravenware
I started with a set of these: https://lectron.info/ Got them for my 8th birthday, immediately went for the oscillator build. The set I had, also, was marketed by the ultra-evil defense contractor Raytheon, the same people who brought you the Patriot missile.
Went off on this...first of all, starting with a Mantis as the cab rather than the Rackbrute:
Rather different architecture from a synthesizer. There's "sources", but you don't deal with them in quite the same way. And the same goes for modules.
TOP: this row is all about the main audio chain. The Monde preamp also contains an envelope follower with both positive AND negative envelope voltages, and the usual trig/gate setup. But this also can handle most anything at the input, given that you have a "combo XLR" there. After this is something just for the guitar: a Frequency Central Thermo Nuclear overdrive/distortion with an actual micro-tube in there. Then Beads for granular tampering, the DLD, and THE filter for something like this, 4ms's Spectral Multiband Resonator. Very stereo, very complex, very wild-sounding in this context. Also note: each of the past three modules also has a dual VCA (Veils architecture) available for outputs for better control over the signal levels going to the mixer. And the mixer is Toppobrillo's Minimix, six channels in (two are stereo) with panning on four, and AUTOpanning on two. And then at the end I put a Happy Nerding Isolator; since we're dealing with a guitar at the input and probably an amp output on the other end, I thought it was VERY important to have some DC and crud elimination at the output so that any groundloops and other crap are shunted by the Isolator's isolation transformers. It's also got your "main" stereo out pot AND the headphone preamp...and there's another on the mixer, also.
BOTTOM: Mostly "helpers" here. The first things are all pedal-related: a pair of ADDAC 301 Floor Controllers gives you a pair of expression pedal inputs, then a pair of the Strymon AA-1s allows stompboxes to be integrated into the signal; note also that there's a VCA pair for one of the two AA-1 outputs. Next, I put in a Temps Utile instead of the Pam's because I think it fits better in this context...where you want some basic sequencing, off-module control, and the like. And after that is the mayhem of the Freq Central Bartos Flur II, which uses all sorts of gates, triggers, CVs to generate trigger/gate patterns of its own. Then you've got a Klavis Mixwitch...a CV-controlled switcher x2 which can shift either CVs or audio between destinations, plus a number of other tricks. Next, four free-run LFOs, then Maths, another VCA pair, and a Klavis Quadigy for four channels of envelopes, and that there is the modulation core...loads of potential, including generative-type control capabilities. And last is the final effect...Uli's knockoff of the Bode Frequency Shifter, which not only makes clangers...but is also the secret to MASSIVE phasing sounds.
So...a little different, but definitely fun AND very usable for live gigs as well as the studio.
Erica Synths has a series of educational modules for learning about electronic music generation. I’ll be doing all of them, and we started with their EDU oscillator, then did the envelope. Next is this one, their simple VCA . Even if you don’t buy the kit, I recommend you download the user manual, it’s a great practical guide to electronics in music.
Very serviceable dual VCA, if you need more this is a good choice, easy to build and inexpensive. EDU VCA build
-- Ravenware
Good for Erica! Years ago, ARP had a series of separate boxed modules for the same general reason: teaching synthesis. You sort of see this with the Littlebits stuff as well. I applaud this, though...it might not be right for us old farts, but if you've got a kid or grandkid that's fascinated with sound and electronic tinkering, these are fantastic. Take it from someone who grew up with all sorts of electronic toys.
