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I ordered this module for a small POD used to modulate my EMS Synthi and it's a wonderful device!! It not only does division of 2 / 4 / 8 but also can output either tigger or gate. For the EMS I need a short trigger and I'm dividing an external random gate from anotehr module...so it both divides it AND converts it to a trigger, very handly.

Not only can it do the division but at the same time the top section can be used as a separate clock generator with time determined by tap tempo on the switch with a nice tactile click. All this for less than $100, in a 2HP module that is only 22mm deep fitting easily into my tiny 4ms POD.

Great build quality, great functionality, nice company, very highly recommended!
-- drewskee

how does it handle audio?

I ordered this module for a small POD used to modulate my EMS Synthi and it's a wonderful device!! It not only does division of 2 / 4 / 8 but also can output either tigger or gate. For the EMS I need a short trigger and I'm dividing an external random gate from anotehr module...so it both divides it AND converts it to a trigger, very handly.

Not only can it do the division but at the same time the top section can be used as a separate clock generator with time determined by tap tempo on the switch with a nice tactile click. All this for less than $100, in a 2HP module that is only 22mm deep fitting easily into my tiny 4ms POD.

Great build quality, great functionality, nice company, very highly recommended!

EDITED Mar 19th, 20:51

How does the Taiga and the Quadrantid Swarm behave together?
-- GrumoSound

I have not used them together but that opens up many possibillities for sure.

However I remember that the Mother 32 main audio output is quite hot, I used to plug it straight into another filter and with the signal being so strong I was able to drive that filter with some great results. I never checked the output of the Dfam but it's probably the same. So make sure an input on a different module can handle a strong signal. I think the inputs on the Taiga are supposed to be able to handle a lot but I love that synth so I won't take any chances with hot signals anytime soon.

EDITED Mar 20th, 08:46

Thanks all; much appreciated.

Thank you Zacksname. I tried to do that with the Data and the quantizer as I knew I wouldn't want a bunch of cables in front of those screens. I imagine it may take a minute just to see how the cables fall and orient themselves. Cheers!

Kinda weird, start listening about 1 minute in as it was recorded live. The Dual CS20 VCF from Cubusynth works a treat here with plenty of modulation thrown at it, modulation mostly comes from NLC Sloths driving the Divkid/Instruo Ochd, into some effects via Mimeophon & some granular action from Clouds.

EDITED Mar 19th, 07:38

More important than anything is arranging them so the stuff you're going to use while playing and performing is readily accessible and not buried under or behind cables. Don't be afraid to turn a module upside-down if it makes it more accessible for you - everything still works the same either way (unless itnhas a . Also, expect to have to make changes to accomodate the ribbon cables and module parts inside the case.

Also, get right-angled cables. They're a big help.

If its only happening semi-randomly, it seems to me like it might be a bug. However I am not a doctor, so do with this what you will.
Have you tried reflashing the firmware? If that doesn't fix the issue, I'd try writing ALM.

On the utilities front, I would be curious for a few more specifics. I do have Maths, Pamela's Pro, the Zadar, Quadratt, the Belfaco Instrument Interface, the Intellijel MIDI CV and Expander (I have a Zaquencer that I can use to sequence up to four channels), the Happy Nerdings 4X mixer and lots of utility functions built into the other modules so I thought I was pretty well covered. Still, I am new to this and very much appreciate the learnings I've got from spending a lot of time (probably too much!) on this site and ModWiggler. So let me know.

Thanks.
-- BobOD

read my signature... and think about it!

maths: yes it has some utilities built in, but if you use it for more than just the blatently obvious, ie you download the 'maths illustrated supplement' and work your way through it a few times concentrating on what, why & how maths is doing what it's doing... and keep using it in this way (& this is really what makes maths worthwhile) then those utilities will be used up in self patching... maths is much more than the sum of its parts... it's in a lot of ways a microcosm of modular - a module that can be self-patched in order to program it to do more interesting things than it appears able to do just by looking at it

pams: again, whilst it has some utilities built in, they are mostly for internal use...

zadar: modulation source. not a utility...

befaco instrument interface: I'd class this as a sound source, not a utility... great module - I have 2...

intellijel midi module & expander: again not really utilities... I kind of left out sequencing, although I'd be tempted to consider them modulation sources...

happy nerding mixer: yes a utillity... but you need lots more of these in practice... they're for cv as well as audio

"utility functions in other modules": only convenient for that module, you'll also need them to be in separate modules so they can be patched elsewhere

utility modules really means modules that can route signals about & modify them... by copying (multing them), switching them about, mixing and modifying them... they're one of the big difference from fixed architecture synths... they're what really allow you to patch your modular in different ways...

it really helps us help you if you post the url of your public rack... jpgs really aren't a good substitute...

Hello amazing community,
I'm building my first rig (all of this is ordered and in the mail) and the last step in this process is deciding where to put things. I understand that A LOT of this comes down to personal preference, but coming from the world of guitar/pedals, sometimes there is a right way. I would greatly appreciate some feedback on module placement in regards to ergonomics and ease of use.

Thank you!

EDITED Mar 27th, 03:27

If it works for you, that's the most important part.

One thing I'd say is to get familiar with all the functions in the Disting. That's a great way to learn what else people mean when they talk about utilities. These are also what help you really break the rules of signal flow and create unique sounds and ideas.

In terms of modulation, you do have some good stuff, but the Maths is really the only hands-on modulation here. Look at stuff where you get as many functions as possible with their own knobs and patch points to control LFO rates or envelope shapes. It's nice to have some more chaotic, organic, and free modulation to complement the programmed stuff from the Zadar and the sequencing. And embrace randomness, S+H, and noise - they can do a lot more than just make stuff squiggle and whoosh in this environment, and can help get things going quickly in musical ways.

How does the Taiga and the Quadrantid Swarm behave together?

I have been building a eurorack for a little over a year now. I am pleased with the result I have so far. I make mostly industrial/electronic music. I have been trying to figure out what I should do with my remaining space. I have about 30 hardpoints left and plenty of power I am sure. I just am stuck on whether I need some utility like an ADSR or filter to round it out, or really having an idea what could round it out in general. I also would like something that has a little more gain, but am not sure if I really want to get a distortion module since I can use my laptop to add it.

Also I couldn't find the exact module that is the LFO. I have a A-145-1 and it is larger than the ones they had on modulargrid so I just moved it over until it fit.

EDITED Mar 19th, 00:32

Hi,

I´m thinking about racking my DFAM and Quadrantid Swarm but I know nothing about Eurorack. Please help me with this questions:

• I think I´d need a power module and an output module, will these work?
• Do I have to take anything in mind?
• Which other modules would be a good complement for this setup?
• How can I find an angled case for this? I can´t find any...

Thanks!

https://cdn.modulargrid.net/img/racks/modulargrid_2210452.jpg
-- GrumoSound

ok so i have QS and the Taiga, sold Dfam long time ago. Make sure that a rack is well powered with a quality power module or system. Don't connect the Taiga to a Behringer power module !!!!

The Quadrantid Swarm has a reverb tank and so in order not to sacrifice the reverb, you need to be able to fit the reverb tank behind the module. My rack is big so I can actually make the original skiff rest behind it. Make sure you háve enough juice, those are all fantastic synths and it would be a shame to fry any of them becourse of lack of power.

Or just stick to the original skiffs, the power button on qs really is not a big deal, some would even call is just one more thing that can break 😊 good luck, those are kickass synths.

For how I have done this:

Does anything have sense?

EDITED Mar 18th, 22:17

Hi,

I've recently change the way I work with my system. PAM used to be my master clock but i've now switched to use Ableton as a master clock and sync the rack with PAM using an ES9 and Silentway. The ES9 starts and clocks PAM and everything works as expected in this regards, but there's something weird/wrong on PAM. As i am using different sequencers running at different ppq i have to set some multipliers on PAM (x2 io channel 1, x4 on channel 2 and so on). Now, when sometimes i stop the clock, PAM resets all the multiplier to 1x. I've played around in the menu to see if there's a sort of Reset upon restart but i've not find any. Also, it's very random as sometimes it does not make this reset when i stop Ableton and sometimes it only does it after 3 4 times i run and stop it.

Anyone have a clue about what it might be?

Thanks

Top quality transaction with @Tanabarbier

Great communication and module :)

Thanks all, appreciate the feedback. I do recognize the Mavis takes up a lot of space, but it was the device that got me to take the jump to modular so just made sense to include it in my first rack. And to that end, this is just my first go and I actually ended up getting a lot more than I initially though I would. Based on my reading here, this won't be the end, so I'm sure at some point I will take it out and put other stuff in there.

On the utilities front, I would be curious for a few more specifics. I do have Maths, Pamela's Pro, the Zadar, Quadratt, the Belfaco Instrument Interface, the Intellijel MIDI CV and Expander (I have a Zaquencer that I can use to sequence up to four channels), the Happy Nerdings 4X mixer and lots of utility functions built into the other modules so I thought I was pretty well covered. Still, I am new to this and very much appreciate the learnings I've got from spending a lot of time (probably too much!) on this site and ModWiggler. So let me know.

Thanks.

Hi

Could you give me a advice on my system?
I think its not rounded and doesnt feels consistend.
Maybe its not that bad for the start?

My intention was to build a live rack thats capable of doing a mix of ambient and techno.
I in general, enjoy spherical tunes and percussion

Right now its Laniakea as main voice, ultra perc for drums and sgr 20 as variable voice for bassline, noise/drones or additional drums.

Right now I have Mimeophon but I consider to replace it with sealegs. I wonder if this change would give a benefit?

The 1 u is empty at the moment.

I like the ultra perc + sgr 20 but I think right now, that both are maybe to much at the same time.
Especially the sgr-20 is hard to tame.

Maybe I tried to cover to much ground?

Looking forward for your thoughts

Chris

EDITED Mar 18th, 16:41

First of all, this is my personal view on your case.
Having a Cs-L requires a bit different westcoast approach to let's say a Mavis. Honestly, I'd replace the Mavis with something else, you have plenty of sounds on board that will 'trash' it (like Cs-L). Disting is a module with 100's of options you will never use, but that's my personal experience. It was one of my first purchases, but I rarely (almost never) used it. It's the swiss army knife that's always in the other trousers, while Maths takes time to learn, it can take care of tons of things. If you love the Mavis, you could go for the Instruo Transistor Ladder which basically defines the Moog sound. Mavis is advertised as 'westcoast crossover' thanks to the wavefolder, but it's not. When you build your first case, it's easy to forget that space costs a lot of money too, and in this case it's just too big and too expensive for what it has to offer (still considering there's a Cs-L and a Plaits clone in there too).

I'd definitely try to find a spot for a LPG like the new MakeNoise DXG which has tons of inputs. It's also a better option compared to VinCA imho, since only the top input works like a VCA. The bottom input feels like a bipolar ringmod and I can never get it to sound right. Mavis will also sound amazing if you 'borrow' its envelopes and patch it to the DXG. Same for the Pixie with a bit of help from Maths. Not using the Arbhar expander will narrow down a lot of creative options. What's really missing here is a random source, like the revived Ultra Random from SSF or even a WoggleBug (if you have the guts). In a case like this, I'd go for Intellijel Sealegs instead of the Starlab which covers amazing sonic territory.

Nice build up. I like the part where the drums kicks in.

Thanks, I'll check them out later.

As an owner of the Mavis and a big fan, I would still highly suggest keeping that in its little standalone case it came with and filling out that area with more practical stuff like what was mentioned above. You should definitely try using it as an effect as well - not only for the filter, wavefolder, and built in modulation, but also for the sample and hold, which makes a great sample rate reduction effect if you put audio in and sample it at audio rate, kind of like a bitcrushed sound. It's a great synth, but especially when it comes with its own decksaver and all that, you might as well just sit it on the side like I do with my Mavis and Pico System III. Save the rack for things that can't go anywhere else - almost no one makes, say, standalone VCAs or attenuverters that are fun and easy to use (there are some "0hp" Eurorack tools you can find, but they're generally small and awkward). The exception is matrix mixers, which are an amazing modular utility and can absolutely be purchased standalone. Even then, though, you'd probably benefit more with that and some utilities in the rack and Mavis on the side than the other way around.

Hi, I'm insane so I decided a number of years ago that I really wanted to have a polyphonic modular setup. Basically the inspiration was the Oberheim 4/8 Voice. I love the idea of setting each voice individually and getting those small variations that add depth and dimension to the sound. Probably a product of having PTSD from growing up in the overly digitalized 80s and having only all digital or very contained hybrid synths for a long long time.

Anyway, a little over a year ago, I finally started to put it all together after I discovered the NiftyKeyz case and figured it would be about as perfect as I could get for what I want.

The only real downside is it's only 4 voice (6 or 8 would be cool), and only 112 HP, so I really had to whittle down what I wanted to squeeze everything in. I ended up going with some System 100 VCOs, a Doepfer Quad VCO, 2 banks of Doepfer Quad Poly VCFs, 2 banks of Doepfer Quad Poly ADSRs, 2 Rides the Storm QAMs (4x3 active mults so my voices stay in tune), 2 Doepfer 2x3 passive mults, Doepfer Stereo 4 channel mixer, and a 2HP Verb (stereo reverb) for good measure.

For the most part, it sounds pretty dang cool and works as intended (I still need to get around to calibrating the Doepfer Quad VCO though, but it's reasonably close, I already did the Behringer VCOs) . But if I try to use fast attack times, I get this sort of low end "thud" sound. I'm still going through fully troubleshooting it, but I wanted to see if anyone had any ideas.

My initial thoughts on likely sources are filters being overdriven too much (but I still get it even with the input at about half mast), some kind of envelope issue with the Doepfer Quad Poly ADSRs, VCAs being overdriven (oh yeah, I have a Plum Audio ARBA for that purpose), or possibly a power supply issue? But the NK is good for 1500/1000/1000 and on here my rack is showing at under 800. I am also using stacking cables to get the 2 banks of VCOs into the 1 bank of VCAs.

It seems like if I run the VCOs straight to the output of the NK, that's fine. Or even the VCOs through the filters. Again, I haven't gone through every possible permutation, but I figured I'd come here for advice. I could also theoretically be overdriving the output stage of the NK.

I will say the whole thing is sounding a lot better at this point than with the original Doepfer Quad VCA. I couldn't get that thing to cooperate but I missed the return window so now it sits in a box unused.

So really I'm just looking for things to try to identify the source of the problem and/or mitigate/eliminate the problem. Basically it sounds almost like when you're palm muting on a guitar with the lows turned up too much (think And Justice for All by Metallica for an approximation, but it's not exactly the same). I'm hoping I don't have to replace the whole back end of the synth with different components. I've ony just barely squeezed everything in as it is, so I would likely have to lose either the 2nd bank of VCOs or filters (the Doepfer has individual wave outs though, so I could still have a bank of saws and a bank of squares filtered differently, for instance) if I had to add anything else, or replace with a wider unit.

Anyway, the rack should be visible on my profile, please chime in with any thoughts and thanks in advance.

Must be your module, mine is rock solid.

Is it just me or the knob for filter type is really wobbly/flimsy ?
-- wazou

It is kinda. Which is weird because most of Xaoc's knobs are really solid feeling.

-- murmurant

Finally some makes the module I’ve been looking for! Thank you!!!

& the actual link - because...

I'd take a look at my signature and have a good, long think about how it applies to your rack - it's a rough guide to getting the most versatility in patching for the least expense

imo too many sound sources, not enough modulation or utilities... & too many very big modules...

try to cut down to 2 sound sources... so that you can properly support them... I'd lose either the mavis or the cs-l - this will free up space for more modules...

starlab also takes up a lot of space in a case this size...

I'd probably want a free running lfo and/or perhaps a random/chaos module...

and on to utilities... this is almost always the case in newbie racks... not enough vcas (they are for cv as well as audio - modulate the modulation!!!), not enough mixers (again they are for cv as well as modulation & that cs-l can benefit from quite a few mixer channels before being sent to a filter)... and that's just the tip of the iceberg... utilities are really where modular excels over fixed architecture synths

the arbhar comes with 2 expander modules which may bbe quite handy

EDITED Mar 18th, 04:47

Anyone got a sound example or vid of this module?
-- wishbonebrewery
Hi！
We just uploaded our first video of trot on youtube.
Here's the link:

Hey all, curious for your thoughts on my first modular system. I've got a lot of experience with and own multiple traditional synths (Moog Sub37, Kurzweil K2700, Hydrasynth Desktop, Akai, MPC One, etc.), but am new to the modular world.

Planning on using it for traditional music creation, sound exploration and for effects with my guitar and trombone.

FYI, I also have a Korg NTS-2 to serve as an oscilloscope.

I've lusted after the DFAM and Subharmonicon for a long time, but figured I'd try to defer my desire by approximating the functionality with equipment I already have. I patched this up last week, did a little live stream jam this past Wednesday, but figured I'd share it with y'all! Patch notes are in the video description, but largely features Pamela's New Workout, Ornament and Crime, and the Korg SQ-1 controlling a BARP 2600 with some extra LFOs/envelopes/VCAs and a filter, and then I decided to add some rhythmic stuff and a Telharmonic drone. Let me know what you think!

I am interested in headphones recomendations
-- JohnBlues

In my opinion, headphones are a working tool that should enable us to be close and intimate with our music and our sound. That's why I personally prefer semi-open headphones, because you forget about them pretty quickly, they're less tiring. I can use my AKG K-240 MKII headphones for hours without ever getting tired.

Sometimes I think I should get AirPods as well, because most people listen on wireless in-ear headphones. In any case, it's good to be able to compare the final mix, the master, with several means: speakers and headphones.

Anyone got a sound example or vid of this module?

yes they are very nice for the size and price and compare favorably to the Focal's. i am in a small office/studio/man cave and i often don't need the Focals. One big advantage it switching between the pairs of speakers.
I am interested in headphones recomendations

Thanks for sharing this, it’s good work!

Focal Alpha 65 and IkMultimedia iLoud
-- JohnBlues

Are you satisfied with IkMultimedia iLoud speakers?

Why this?
Oh wait --- April is coming up.
-- wiggler55550

it's never a bad time to improve one's vision!

Why this?
Oh wait --- April is coming up.

Focal Alpha 65 and IkMultimedia iLoud

Hi 🙃

New version of the Plaits Cheatsheet (v2) :
(see the first post)
https://drive.google.com/file/d/1MoVTx4lnHU1ooN_W3id6O5T2tNeHgdDG/view?usp=share_link

After some feedback, I've made a few improvements and corrections to the first version :
- New drawings
- Some names changed
- Some mistakes corrected

I hope you enjoy it as much as the last one

I can say the same that after 40 years of studio work my days of using Genelec's are over. I need speakers to be pleasant on my ears. However mixing and mastering is one thing, working on a modular I want to hear the whole spectrum that my ears are able to detect. When mastering a production unfortunately there is a window one must adhere to. Humans are in general cabable of hearing down to 20 hz, although a trained ear will go lower.

If a sound becomes unpleasant the same goes for a very low frequency as any other, then we need to fix it. An important thing to keep in mind is that just like an lfo which is inaudible to us mere humans but will still affect the audible register dramatically. A problem in the bottom end will have damaging results in our audible frequency spectrum. With a speaker system that does not hide those things from us, we can make use of the amazing possibilities that truly are there, if only we can detect them, hear them.

To work on a daily basis I use AKG K-240 MKII headphones: they are very precise, very pleasant headphones, they do not cause any fatigue because they are semi-open, (announced bandwidth: 15-25000Hz). I kept and still use from time to time the excellent version (made in Austria) 600 Ohms K-240 Monitor.

For mixing: Focal Alpha 65, but I check with small PreSonus Eris E3.5 BT speakers, and Zadig 301 hifi speakers from Cabasse. There is no universal and perfect listening solution, the only rule is to know the qualities and defects of your own system. And check the result on different supports.

Concerning the extreme frequencies, I usually cut (with an Eq in Logic) below 30Kz with a curve of 24db, and above 17000Kz also with a curve of 24db. There is no point in going beyond this, the vast majority of listeners and in most situations cannot perceive extreme frequencies. It’s good to manage space, and don't disturb what will be most useful to the hearing. As often said, the art of mixing is to make room and avoid everyone stepping on each other’s toes :)

I have multiple ways out but it eventually goes through an Audient Nero monitor controller to a Kali Audio WS-12 sub and two Kali IN-8 v2. Adjustable crossover. The sub is foot-switchable on/off. Sounds great and good bang for the buck.
-- bopodoq

That is a sweet setup, I had the IN - 8 V2 and they are really good. I have been meaning to get the WS-12, it goes down to 23 hz if i remember correctly

I have multiple ways out but it eventually goes through an Audient Nero monitor controller to a Kali Audio WS-12 sub and two Kali IN-8 v2. Adjustable crossover. The sub is foot-switchable on/off. Sounds great and good bang for the buck.

If you want better low frequency response, add a subwoofer.
-- bopodoq

Lets just say I knew that already. I'm interested to hear about your speaker setup for your modular.

If you want better low frequency response, add a subwoofer.

I would like to hear from members what type of speakers they are using. With Modular Synthesis we are dealing with such a wide frequency spectrum and although the bottom end tends to get cut during mastering, the fact remains that we are dealing with a lot of infra-sound. LFO's go way down into territory not detectable to the human ear, but me I would want to hear all that my ears can handle which should be around 20 htz, even lower.

I am using the KRK 10's, they go down to 26 htz but I am looking into solutions to go down to 20 or even lower.

Some may think this is a mad discussion, but with the gear we are using, it makes sence to me to want to hear it all or atleast as much as possible.

Honestly, that's about as balanced a system as anyone's going to get for that size. Looks good to me.

Do you not like Maths so far? If not, there are other options, of course, but that kind of patching platform is nicely consistent for this kind of classic-style modular case, especially in tandem with a different style function generator like the 281t that handles more typical, obvious stuff. This way, you can save your Maths for crazy stuff like slew limiting, creative envelope following/sidechaining, mixing, or even an extra oscillator or filter (I love the 281t but Maths is way better with audio signal stuff). They complement each other very well and cover each other's weaknesses.

Mostly I agree with you about effects, but there is one hardware effect that I think complements this system well and is worth trying: spring reverb. It just has a special glow, and you can get some great classic experimental music tones from cranking it up or playing the springs manually. It's a big part of classic Buchla sound, and they even include one in their most famous instrument, the Easel Command. It doesn't necessarily have to be in-rack (and in fact, even if you get a module for it the spring tank probably won't fit in there), but it's probably worth looking into once you feel comfy with all this. Sometimes you can find a good digital one - mostly when it emulates a specific circuit. VCV Rack has a software emulation of Befaco's Spring Thing reverb and it is surprisingly convincing. VCV Rack is also a great recommendation here for trying out kinds of modules and adding in modular effects and other DAW amenities so they can be patched togethet uniquely without buying another system - all for free, or for a decent price if you want it as a VST in your DAW rather than a standalone program.

Is it just me or the knob for filter type is really wobbly/flimsy ?
-- wazou

It is kinda. Which is weird because most of Xaoc's knobs are really solid feeling.

bigger case is not the solution imo... effects i do in daw (save space) and buchla my system is not about tonal music, that i can do in daw as well.. im more of the experimental part hence the buhcla modules