...btw I also have a bandcamp, just in case you're interested :)
https://suryakrispeters.bandcamp.com/album/modular-synth-jams-ep
And thanks for your kind words, here's a video I made a few weeks ago ...
HAHA -- well tbh I could do a new track almost every day, but sometimes I feel like I better slow down and let people digest first. I also recorded like nine albums in the last four years ... let's just say I really love synthesizers and music, this helps a lot ;)
Yes I built that case myself, but actually I am downsizing a bit and decided to sell it.
Actually I think simplicity is very important as you can get lost easily, or be over-excited with all the possibilities (modules you could buy).
Hi all,
I would love feedback on this Intellijel Palette case build. I am new to modular, but not to synthesis in general. I have loved the things I've seen about the Mutable Instruments line, so I tried making a build with a handful of those to cover sound sources, shaping, modulation, and some VCAs. I am still unsure of what my goal for my modular system would be and I am hoping that the feedback I get will help me figure that out! I am interested in having sequencing ability, lots of modulation, and interesting sound sources. I would love to hear thoughts on alternative modules to the ones I've selected as well as ways to max out this small case to get the most out of the space. Let me know what you think!
Stole a few minutes in the studio before dinner. Here's another example of STO and Dixie II+ playing well together.
This entire patch is driven by Rene and a clock shifter. There's a sprinkling of Trident and a Moog Mother 32 for accents, but STO and Dixie are the main voices. Both are run through QPAS for cutoff and resonance, then on to Mimeophon to add space and repeats. Really simple patch.
Hi Mowse,
Nice one again :-) At the end of the track I realised you made this track too short, I wanted more!
Thanks for the explanation how you build up/create your sounds, interesting reading material.
Thank you very much for sharing and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Sunchylde,
Oh yes! Nice one again, how do you do that? You can produce faster a new track + video (and a good one by the way) than I can eat a full plate of pasta! ;-)
Compliments on the video too! I now clearly can see what you are doing, very nice! I love to watch you being busy with your modular system. Nice casing by the way, did you made that yourself? Simple but yet nice to look at and to use, top!
I guess I had some disturbance on my Internet connection but other than that a nice and fantastic video! ;-)
Keep up to good work and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Modsquadbaba2020,
Did you check if the power-flat-cable -12V was connected on the correct side of the module plug/connector and the same for the power supply side? If you are sure about that, then that's strange indeed. Any more details on what exactly happened and what you did?
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Just a simple patch today. Settling into Rene v2 as my main sequencer.
What's going on here?
Odessa as the main sequence, FM and Warp modulation from Marbles.
Marbles expands precisely the octave range of Odessa through frequency modulation.
Telharmonic as a drone, Centroid and Flux modulated with sine waves from PNW.
Plaits as a pulsing bass line, triggered by a square wave from PNW.
Simple bass kick provided by BIA.
Well, I chose Telharmonic over DPO. I saw Telharmonic as a challenging VCO that required focus and attention to control in a musical way. Honestly, I sometimes struggle with it. If I invest time and focus then I am rewarded. If I hurry to include it in a patch then I am likely punished. I wanted confrontation and frustration as drivers to improve.
I have not owned DPO, so I know only what I've gathered via demonstrations and videos. Since I own two other large, complex oscillators, I can't justify adding it to my current layout. It presents as a very capable and versatile tool clearly designed as a complex sound for the Make Noise system. Down the line, if DPO v2 is released then I'll likely give it a serious look. I'm a big fan of Make Noise and most everything they do, but HP is prime real estate.
-mowse
Geez, Lugia!
You should make money with this stuff ;)
Thanks a lot!
Let's go on:
What if we got rid of the Bitbox and focus on drums and soundscaping? I'd be amazed if we couldn't put anything decent together on 208HP in total. What would you do with at least 18HP of real estate?
Hi Mowse,
Thanks a lot for your additional information and explanation. The way you described how you use your STO, that's exactly the way I use it as well, I love the STO. Yes, it is indeed a more simplified VCO but somehow I love the thing.
From a point of view of using a module (love to use it or not), which one would you prefer the DPO or the Telharmonic? I know, that are two different things but if you had to made a choice? Which one gives you the most "fun to play with" value?
Thank you and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Cool! I've got everything contributing to a patch now. Using the Delaydelus as a delay and triggering samples from it with OctoCon and the Bastl. All quite ergonomic right now, so I'll persevere with this setup for a bit.
In this track, it's probably difficult to distinguish STO from Dixie since they are playing together, tuned about 1/5th apart, and run through Mimeophon for repeats and 'reverb.' The Dixie is sending out a saw wave and STO a variable wave shape (triangle/sin) with modulation to 'SHAPE' cv by way of a slow LFO. Dixie isn't showing off here. It's part of the weave.
These two VCO's run contrary to my main body of oscillators: Odessa (FPGA, additive, complex), Trident (3xVCO, complex timbral), and Telharmonic (additive harmonic, noise, phase modulation), and Plaits (4x(8x8) wavetable). They were my first two VCO's for good reason: They are simple but powerful oscillators. Small packages with gentle learning curves, capable of big things.
Since I'm currently doing deep, weaving ambient stuff, my 'complex' oscillators are useful in creating sounds with a lot of depth, width, fringe, and texture. When I want to back off of that and keep things simple or clean, I reach for STO and Dixie. Not to say that they can't do it all, but you get the idea. Oh, Dixie also goes into LFO range at the flick of a switch. Often super useful.
So, why does all of this matter? If you're going to purchase a Dixie II+, just know that you're getting into a very small, simple, capable VCO that can tie really nicely into a system with purpose. Personally, I wouldn't be without 2 VCO's like STO/Dixie/Plaits/etc, but: What basic waveforms does it generate? What CV does it eat? What can be modulated? What's the base character and personality of the VCO? How does it sound when filtered/fm'd? How does it track (lin/exp/thru-0)? How does it settle into my design plan?
Here's an example of someone scoping and test-driving Dixie II+ in their rack.
-mowse
Bit by bit here...
How does MI's Links compare to the 2hp mixer?
It doesn't. The unity-gain on the Links can mix...but you have zero control over the input levels unless they're attenuated from outside, which means yet another module would be needed. Part of the key to using a mixer is to make those little tweaks to the levels...either adding a little bit of a fast LFO to your pitch CV for a touch of vibrato, or backing down an audio level that's coming in too hot versus the other sources.
What are your experience with XAOC's Zadar as a quad EG - that would even double the number of available envelopes, wouldn't it?
Yes...BUT. The Zadar really works best with its expander, unlike the Batumi which can work well enough without its expander. If you can cram both in, though, that would make for a better solution. But the A-140-2 wound up in there because it physically fit; to get a Zadar and its expander in, you'd have to either expand the cab or lose something else.
Wavefolding: Is this a function that would be non-negotiable for my setup?
No, but it's worth noting that wavefolding and what the Zvex module does are similar processes. ANY sort of distortion affects the behavior of the incoming waveform. But this is key here: Zvex Lo-fi Junky= $299, Tiptop Fold = $135. The Zvex also doesn't allow mixing/crossfolding.
One other point: while the Zvex can do compression, there's not that much use for that in a modular unless you're either using it to...yep...waveshape via clipping OR you're using it like a typical compressor to control levels on an external signal. Unless you're talking about something brainshatteringly-expensive such as the Cwejman modular compressors, you're far better off using an EXTERNAL comp/limiter to control your modular's dynamics. You'll have more/better control that way...and, if you get a unit that has sidechain keying, you can send a modular trigger to that to "pump" the comp/limiter in rhythm with ease. You could even run that off of a trigger sequencer, making the entire modular work like a percussion instrument that way.
Also, did you come across Malekko's Quad VCA? If I'd get the Varigate-Voltage Block-Combo, it supposes to pair well with both
Sure. They're just large. You'd have to do some major reworking to fit those. However, I like the "variable curve" VCAs that Intellijel and Mutable both have, since you can alter the VCA's response on the fly to mess with dynamic range, CV/mod influence, etc.
Finally, I believe the 4ms Listen4 (Quarters) should work as both a stereo mixer AND Line Out. Am I right?
-- dance_a_little
Yes. However, the Listen Four offers no VCAs over any functions. It's purely manual. By using the Quad VCA as the primary mixer, though, you then can control the mixing via its VCAs, then use the Black Hole DSP as your "stereoizer" to widen the mono output from the Quad VCA. In fact, since you have CV over so many of the BHDSP's functions, you can actually make rather complex and constantly-shifting stereo imaging by sending modulation signals to its control inputs. This also saves space for expansion. Which gets me to...
This is not a large build. You have limited space here. It's not a good idea to do redundant modules in this sort of circumstance, because you'll quickly wind up in a situation where you have to leave something necessary out, or you'll need to go with a larger cab. And I see this problem all the time, where users are trying to cram ALL of their desired functions into a single small case. It doesn't work. Instead, you need to find function-dense modules that can cram lots of capability into a small footprint. But this ALSO has a diminishing return problem, as farkas notes above. Yeah, you could build the whole thing out of 6 hp and smaller modules...but it would totally SUCK to try and play an instrument that's laid out that tightly. Ultimately, there's a balance that has to be struck to make the build ergonomically suitable, otherwise you'll wind up with a boxful of uncontrollable and expensive nonsense.
mowse's "What is that thing behind you?" thread here in the forum gives a better solution. Instead of trying to smash an entire studio's functionality into a little case like this, you might want to think about their plan, which breaks up functions into different "zones" and even different cabs. This makes for a much easier work environment, because you know intuitively which part of the rig to turn to for the functionality you need. Yes, in the end this approach tends to cost more...but what you lose in $$$, you GAIN in usability, and that makes all the difference between a rig you'll work with for many years, and a pile of crap that's destined for eBay.
I love all of the artists and styles you mentioned. In fact, the ability to build an insanely versatile instrument is why I went down the modular rabbit hole. I was just experimenting with some Cocteau Twins-ish sounds the other day.
Have fun and good luck!
Thank you for your reply. That's the question I was dreading! It's quite open. Electro/jungle-ish dream pop, with plenty of soundscape possibilities but that can sound good when really minimal too? Think Kate Bush, Caterina Barbieri, Lee Scratch Perry, Cocteau Twins, Portishead, A Guy Called Gerald, Quasimoto, Jane Siberry, object blue, 90s pirate radio jungle... I also want the modular to be able to surprise me, a capacity I've always liked about the sampler as an instrument. I want to experiment with things like using loads of Erthenvar outputs simultaneously; using my Delaydelus to sample the rack's output then feeding it back in, and whatever else I can think of. I improvise and play around a lot. My previous musical background is making music with samplers/bass-station/effects and singing in an improvising group. I will be wanting to use vocals, both sampled and recorded separately. But I just love playing with musical boxes.
The whole rack outputs into the Delaydelus 2, which as well as being a fun sampler has a really great delay on it, and that goes into my speakers. Waiting for a TASCAM 8-track, then I'll be able to record.
I realised I've probably posted this thread too soon and should spend at least a few weeks with my setup as is so I can identify what works and what doesn't. I ordered another Takaab SMIX, so two of them can take up to 14 outputs from Erthenvar, and also a MI Links which just looks really useful, so that will be the first two rows filled and when Disting EX arrives I'll either have to swap something out or start a third row. This is what it looks like right now (bottom row doesn't physically exist, it's there to hold my DFAM and modules on order).
hi there i just wanted to know how come when attach the module to the power supply it all go hay wire
One thing I have learned about my own workflow is that I mostly prefer larger modules with single knob-per-function. I have a 4hp Peaks clone that packs a ton of functionality into a small space, but man is it a pain to use. I kind of wish I had bought the 8hp version and sacrificed the space. Smaller is rarely better for me. I'm a tall guy with big hands, and getting my fingers into those little spaces when there are 50 patch cables plugged in... ugh.
Everyone works differently though, so you will have to get some modules in your rack and decide what you like best. Some people love menu-diving and button combinations and changing knob functions, but that's mostly something I avoid when I can.
I'm not very familiar with many of the modules here, so I can't really comment on the capabilities of the setup as a whole. I would recommend grouping your modules by type to make signal flow more intuitive (e.g. sound sources together, filters together, modulation sources together, sequencers together, etc.). I have a Void Modular VCA, and it's not too bad for the extremely low price. I may pick up the Entropy Cannon someday.
What kind of music are you making?
Unless you think you really need the ability to recall a lot of presets that the Malekko VCA provides, the Intellijel offers more control.
-- farkas
It definitely facilitates the workflow and it might also come handy in a performance setting - something I don't think about at the moment. But what's also important: Malekko's VCA is 4HP smaller
I think I would prefer the Intellijel VCA with switchable linear/exponential response and knobs for each channel. Unless you think you really need the ability to recall a lot of presets that the Malekko VCA provides, the Intellijel offers more control.
Hy @Lugia!
Thrilled about your response. Thanks, man! I especially like your focus on the richness of the sound!
Can I follow up on a few things?
(everyone else: feel free to join in, too!)
How does MI's Links compare to the 2hp mixer? As far as I understood, the Links provides also a 3:1 mixer - on top of a buffered mult and an adder.
What are your experience with XAOC's Zadar as a quad EG - that would even double the number of available envelopes, wouldn't it?
Wavefolding: Is this a function that would be non-negotiable for my setup?
Also, did you come across Malekko's Quad VCA? If I'd get the Varigate-Voltage Block-Combo, it supposes to pair well with both (@farkas What are your thoughts?)
Finally, I believe the 4ms Listen4 (Quarters) should work as both a stereo mixer AND Line Out. Am I right?
In any case: Thank you all so far already for your invaluable support.
2 doepfer a110 -- all analog, never a wrong choice ;)
Hi Sunchylde,
That's definitely "Fun stuff" :-D Nicely done, it nicely and especially it slowly changes here and there a bit but never too much. Yes, this can go on and on for me!
Looks like you got yourself a nice setup... is it too much asked for a future video from you to record it a bit clearer so the viewer can see more details of your rack? :-) I know a bit of joking, I know you do this video-style on purpose but for me, being a curious person, I love to see details on people's setup, it's interesting to see how you are busy with your modular system while making music.
Well done and I look forward in hearing/seeing a new one from you :-) Kind regards, Garfield Modular.
-- GarfieldModular
hey thanks, you can always check out my setup here :) or in the next videos. Sometimes I record at night, like in the first video... so it's a bit dark I know. I will upload more for sure :)
Hi Mowse,
That's a great other video and track from you, nicely done! Thank you very much for sharing! Also thank you for sharing the demo track of Make Noise - Mimeophon.
It's nice to hear you use a mixure of STO and Dixie II+, I am considering the Dixie II+ and your track... I think it confirms to me that I need to get that Dixie II+ :-)
Thank you very much and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
@Lugia Thank you for this awesome input. Funny you mention DJ work. Most of my audio gear prior to modular was geared towards live shows, spinning records at clubs in Boston. That was back in 1998-2003. It's time for me to dive deep again and apply some fundamental concepts to modular vs dj booth gear. I'm going to chew on what you've shared, including recommendations for more appropriate monitors, and do some homework. Much appreciated.
Yesterday, I installed Make Noise René v2 into the top row of my 4x104hp tower. René has a quantizer function that I wanted to learn and so I threw together this quick patch. Two oscillators, STO and Dixie II+, are tuned about 1/5th apart. I'm playing Trident over the sequence using an Arturia Keystep while also playing René to affect changes to the sequence.
This video helped me to figure out a few things:
-mowse
Hi Sunchylde,
That's definitely "Fun stuff" :-D Nicely done, it nicely and especially it slowly changes here and there a bit but never too much. Yes, this can go on and on for me!
Looks like you got yourself a nice setup... is it too much asked for a future video from you to record it a bit clearer so the viewer can see more details of your rack? :-) I know a bit of joking, I know you do this video-style on purpose but for me, being a curious person, I love to see details on people's setup, it's interesting to see how you are busy with your modular system while making music.
Well done and I look forward in hearing/seeing a new one from you :-) Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
I think this might be a better option:
I made a major set of changes to this, starting with the workflow. Audio up, modulation down (for the most part). Kept the Noise Engineering stuff, although I should note that I'm not a fan of their obtuse/eye-wrecking panel marking scheme and cod-Latin nonsense. Now, following the BitBox, I added a 2 hp mixer to better integrate this with the Basimoid Sigismoid Colon whatever percussive thing. This sets up that end of the top row as your sequenced percussives/samples. Note that I dumped the other sample player; trust me, once you start digging into the Bit Box, you'll see that that was superfluous.
Kept the wavetable NE, added a Plaits clone. Reason here is that if you double your oscillator, you get a fatter, richer sound...and with digital oscillators, you might just want that. Now, next to this, I put in a Tiptop wavefolder, which also allows you to mix/crossfold both oscillators, with a much more controllable result. Mind you, I didn't get rid of the ability to use effects such as the Lo-Fi Junky...I just put in an effects loop module instead, which now gives you CV over your wet-dry balance.
After the wavefolder, there's a different VCF. Tiptop's Forbidden Planet is also a really aggro filter, like the Polivoks...but UNlike the Polivoks, this thing can screech and howl, making for really vicious leads. This VCF is based on the Steiner Synthacon VCF, actually...an INFAMOUSLY nasty filter, which in this case also gives you HPF capabilities that the Polivoks doesn't offer.
Modulation row: added a Happy Nerding 3xMIA, because you've got a lot of modulation sources, but you didn't have a good way to crossmix/manipulate these. Also, I added a dual ADSR because the original build was very envelope-starved, even with the Maths. Plus, you'll find the four-stage envelopes useful for your VCFs and final audio VCAs. Then, the cherry on the cake is a true stereo output after the Black DSP, with a ganged attenuator for stereo volume control.
There's still a few things here that bug me, most notably the absence of a couple more VCAs as well as a dedicated stereo audio mixer. But in this small a build, I think this might be a decent start.
Hi farkas
Hi Shakespeare
Thank you both! That's exactly what I came here for.
@farkas: Thanks for your suggestions and updating the modulation sources! Especially the Links and 3xMIA as utilities would have gone by completely. I was always - maybe somehow stupidly - under the impression I also could attenuate the signal with the quad VCA and didn't think of it as a mixer. Finally, I like your way of thinking to 'implement' my guitar into Eurorack. So far I don't have something to convert my instrument signals to line. Any suggestions on your part?
@Shakespeare: A great thought to use effect pedals after the Eurorack! Thank you. But I have my concerns and reservations. First, I would want to be 'independent' from my other gear. That's not to say that I wouldn't joke/jam around with an external drum machine or my guitar. But I might also use my Eurorack outside my house and wouldn't want to take my pedal board with me. Second, it 'just' feels better (I guess) to be able to manipulate everything (effects, in that case) within arm's reach.
But I am truly grateful for your creative approach thinking outside the box ;)
Your rack showed up in my Google News feed haha congrats your famous!
AAAACK!!! Your first step needs to be to take those Yamahas out in the backyard and douse 'em with gas, then toss a match on them! Yamaha monitors are NOTORIOUS for being ear-fatigue monsters, plus they're not all that accurate. Studios DO use them...but they use them as "checks", not for the critical-listening functions. They're not at all neutral. Plus, since you only have a 5" woofer here, you're not hearing all of your low end, as it can't be accurately reproduced. Personally, I'm very much part of the "He-Man NS-10M Haters" club, and the HS5s are just an outgrowth of those.
I'm going to suggest spending some money here, but it's 100% worthwhile. First up, don't look at ANYTHING with a woofer smaller than 8". Electronic music can do massive bass...but if you can't hear what you're doing in that range, it's pointless. Second, you want biamplification and POWER; it might seem silly to have 100 watts of amplification sitting 4 feet in front of you, but you won't use all of those 100 watts. Instead, you want headroom...ample wattage so that, if there's a BIG transient, it can be reproduced accurately in the few milliseconds that the amps have to hit hard. Lastly, find a pro audio dealer, and take some time to audition monitors. If this requires travel, screw it and do it anyway. The monitors are your window on what you're doing, and if THEY suck, your own work will suck!
Now, holding a line at $600 apiece, here's some suggestions. I'm familiar with these to varying extents, and they should be more than adequate for your uses.
Focal Alpha 80
Presonus Eris E8XT or Scepter S8 (single-point source, like the older Tannoys!)
Adam T8V
KRK Rokit G8 or Rokit 10-3 G4 (this is a 3-way system, 10" woofer!)
Tannoy Gold 8
Use the Pioneers as your "checks", since they're weighted more for DJ work, which I'll bet is where you're aiming your music. But get those Yammys outta there. Yamaha makes some nice stuff...but their monitors ARE NOT part of that!
Very cool. You are probably going to want Lugia's take on this rack. I'm guessing he will likely tell you to leave the Moog semi-modulars in their factory cases and buy one of the three tier Moog stands for those.
-- farkas
You know me well. ;-) And yes, unless you like spending a pile of extra money on rehousing and repowering your Moogs, don't do this. Here's why...
OK...the rest of the build has some issues. You're lacking VCAs (two is NOT enough!), you're missing mixers, attenuverters, and other things that allow you to mix/manipulate the CV/mod signals. BUT...you don't have room to expand now. So, let's look at what those Moog spaces cost you.
Each 1 hp space in a Pittsburgh EP-420 costs roughly $2. Your Moogs eat up 180 hp. That's $360-ish JUST on housing the Moog components that already have cabs and power, so you'd need to add $120 to EACH Moog to see what they're really costing in this configuration.
Instead, if you remove each Moog, you now have 80 hp of Eurorack modules per row. So you can effectively cut this BACK to an EP-270 plus, yep, the three tier kit. EP-270 = $649, and that cuts $200 right there, while also giving you 10 more hp per row. And even tossing the $79 for the three tier kit back into the amount, you STILL save money. And that money can then be channeled back into the build to provide the modules I note above (in addition to some needed swaps in that part of the build). Also...with the Moogs, you really need something like Erica's MScale to get them to play 100% nicely with the other Eurorack devices, so space is needed for one or two of those, also.
Yeah, I do tend to bitch about this quite a bit. But that's because if you make sure and try and maximize your "bang for the buck" factors in Eurorack builds, you recognize that the only real reason for co-locating cased and powered patchables is portable convenience...and the EP-420 isn't a portable rack.
Another example of this: your VCAs. So, you have two VCAs, which take up 16 hp, and total out at $185. Averaging here, that's $92.50 per VCA. Now, if you just move to a pair of A-132-3s, you fill the same space with four VCAs for $280. Looks more expensive, right? But then, if you do the math, those VCAs now come in at $70 each. Twice the VCAs, but you save $12.50 on each one. And you can do even better than that by looking at other options outside of Doepfer's. Take Ladik's VCA selection, for example. Now, if you were to use the same 16 hp space for a pair each of A-011s and A-012s...OK, this costs $304. But now you have EIGHT VCAs in that space (four linear, four expo), each one of which costs $38. And you've not required any new space for this...it all fits into the space your two occupy right now.
This is how you have to think in Eurorack. Yeah, I get it...I started out on an ARP 2600 at around that same period of time. But times and tech have changed. You can go WAY denser on functionality and still come in with something cost-effective because you can double, triple, or more on what can occupy a typical module space. But RACKS are a different story. They've always been the spendy stumbling block to Eurorack, even if some more recent offerings do manage to pull the price down somewhat. The objective is really to maximize your minimum space, so that even if you spend more on denser modules, you're STILL coming out ahead.
Very cool. You are probably going to want Lugia's take on this rack. I'm guessing he will likely tell you to leave the Moog semi-modulars in their factory cases and buy one of the three tier Moog stands for those.
Overall this looks like a fun rack. Are you planning to do all of your sequencing with the Moogs?
@aarontw I think next up is just a long, deep dive into this thing I've built. As much as I'm looking to get certain things out of it, I'm also looking for it to lead me in interesting directions. Sometimes, I just stare at it and marvel at the sheer number of possibilities and permutations. It'll rain here over the weekend and all work and chores are done...
I first learned about synthesizers about 45 years ago in high school, as we had an ARP 2600 the music teacher would let me take home home on weekends. I have not done much sound creation with synths since though I use many synth presets in playing commercial music on weekends. (I currently own about 12 synths, several moogerfoogers, and about 20 rack modules in my little home studio). I like to create soundtracks, combining various sounds, some electronic, some acoustic, often in multiple time signatures. I am primarily a keyboard player. Most of my experience in playing with changing synth sounds in real time on gigs has been with a minimoog, and now a voyager, and in the past with Arp odysseys. So, I'm interested in getting into modular synths to explore unique sounds for home recording.
@Lugia I agree with your thoughts on monitoring and mastering. Right now, I'm working with a fairly limited setup and haven't invested the time to ramp up my skills and understanding in that area. Currently, I do mastering in Logic Pro X. That includes limiting, compression, EQ, stereo spread management, and normalization. For monitoring, I use Yamaha HS5's and Pioneer HDJ-X7's. The chain looks like: modular -> Scarlett audio device (input) -> laptop -> Logic Pro X. Output is through the Scarlett to monitors/headphones. I hear you about ear fatigue and also struggle with mastering for the typical case end listener. I've tried to master using 'neutral' monitors and headphones, but I'm lacking a good end result for the normal listener. It's an area where I'm looking to improve, for sure.
@GarfieldModular Thanks, glad you liked it. I hope to do more of these in hopes that others can get something out of them as I continue to learn.
Good point about utilizing existing effects. Bastl makes that 5hp guitar pedal interface that might be a good option to eliminate some of the effects here. I’m sure there are plenty of other modules that do that too.
Just realized also that the Disting EX would add more sample playback options and an integrated recorder.
At this price point this filter is a must own for a mono set up. Sounds great, two channels in and attenuators for $120. Hard to beat that.
I like both versions of this rack, and I think farkas's suggestions are good. One thing to consider, with the idea of getting a Disting and potentially some other stuff in here: Black Hole DSP 2 is awesome, but big. You say you're a guitar player... do you have pedals on hand? If so, you may find that something like a pedal interface module would be a better choice than a large module. No sense eating up rack space for effects you already have access to. The space and $$$ you save would leave you room for other things. (The Lo-Fi Junky might also fall into this category... if you have pedals that serve this purpose, no need to get the module.)
First, thank you very much for this excellent and informative website and the extremely helpful utility that's enabled me to plot this out.
I initially thought of getting a few modules to support and interact with my DFAM and Delaydelus 2 funboxes. Then I started looking on eBay and seeing wondrous-looking things like the Octocontroller and before I knew it I'd assembled a rack with modules left over, so then I had to start a second especially when I found the Erthenvar Patch Chord...
There are two racks. The bottom row isn't a rack but is there to show my DFAM, as well as two modules I have on order, the Entropy Cannon and Disting EX. There's space for the EX at the end of the top rack, but not for the Cannon, so I'll probably have to start a third rack anyway. I anticipate it mostly consisting of mults and other mixing utilities, due to the presence of the amazing Patch Chord and its 25 outputs (yes, I do want to use lots of them).
The top rack is a Doepfer A-100, and the middle rack one of those Cre8Audio ones. In addition to the DFAM I have a Delaydelus 2 sampler/delay, which is currently being fed by the mixer.
I'm currently trying to arrive on a good configuration for what I have. Patch Chord has to be on the lower rack due to 5V requirement. Takaab 3LFO has to stay where it is due to stuck screw but this is okay as I really like it, bargain module. Otherwise I'm trying to centre sound sources around Patch Chord. I really don't know what I'll use GND CTRL for, it just looked interesting and a good deal.
A few questions: What is your end goal with this? What kind of music are you interested in creating? Do you already have any other gear, or are you new to synthesizers?
This is a pretty good start. I reworked it some to give you a few new ideas. No worries if you aren't interested in my choices, but you might want to give these ideas some thought.
I mentioned in another recent post that BIA (and CI for that matter) need a lot of dedicated modulation to get the most out of them. With that in mind, I replaced Mimetic Digitalis, Maths, and Stages with the Varigate 4+ (4xCV, or 4xgate, or 2xCV/2xgate sequencer), Voltage Block (8xCV), Zadar for envelope generation, and 3xMIA and Links for utilities, mixing, attenuverting, etc. Your Quad VCA also serves as a mixer. To me, this gives you more options in the same amount of space. If you can figure out a way to fit a Disting in there too, you have an even broader palette. (You could probably fit a Disting MK4 if you went with one of the smaller Marbles or Rings clones instead of the full-size factory versions)
I got rid of the compressor because the LoFi Junky already provides compression (top left knob, Counterclockwise). The 4ms Listen IO gives you a line/headphone output and a line-to-modular level input. You mentioned that you are a guitarist, so it would probably be pretty fun to bring in some external sound directly. I'm guessing you already have some gear to convert your instrument signals to line level?
Overall, this looks like it would be a pretty versatile rack. Hope this gave you some things to consider.
Have fun and good luck!
Hi there!
I'm Phil, new to the endless world of modular synths, and about to take a plunge into the rabbit hole they call Eurorack.
A couple of months ago I purchased a cheap semi modular for the sole purpose of getting 'into patching' and learning the most I could about triggers, gates, CV and the signal flow from VCO to OUT - before I would start collecting, assembling and enjoying modules.
Here I am, getting comfortable in the forum and building my first Eurorack synth. That said, would you mind telling me your opinion about my plan and setup?
First, a little bit of background and what I'm trying to achieve here: Actually I am a guitarist and want to explore and create music in a completely new way. I don't want to copy anyone or any genre. But if I were forced to talk about the sound I want to create, it would certainly have elements from Industrial, Drum'n'Bass and Hip Hop. An artist I admire is Snakes of Russia, and although I love his beats and how he synthesized drums, my aim is to go for something more melodically rich (due to my background). I could also imagine myself creating soundscapes with character to which I could play the ol' six string.
Let's take a look at this thing!
The BIA is here to create positively weird percussion and to occasionally provide the punchy bass. The CI should give me that dark harmonically rich sound and would be the center of my sound creation. Rings would provide an array of more natural (instrumental) sounds to add another layer or timbre to my compositions. Bitbox Micro... well, it's a sampla player (I probably wouldn't use it as a sampler; I have the WAV recorder for that purpose) so I can bring in externally sampled sounds I can trigger and manipulate.
Let's continue with the lower row: Pam will provide the clock, MD is my esteemed CV sequencer and Marbles should do the rest of rhythm and melodies - especially when I'm too lazy to meticulously program the MD.
Back to the upper row, where you'll find two filters. I initially added the M8 to manipulate the samples. But by now I am certain it will do more than just that. Erica's Polivoks is here because I simply love the sound of it and it will further enhance the sound of the CI and even the BIA.
Off we go to the modulation and manipulation section. Here I'll expect to learn the most from just patching and playing with the modules - and maybe from your input.Batumi should take care of the main LFO-duties and Stages will provide the Envelopes. And frankly, I am a bit intimidated and in awe of what Stages and Maths promise to do to this setup.
Coming to an end, there's a quadruple VCA (intellijel), a simple compressor (2HP), the Lo-Fi-Junky (because I already know and love it as a guitar pedal) and Erica's Black Hole DSP2 for the finish. I can mix everything in 4ms' 4Q, get the audio out and send it to the WAV recorder and its SD card.
Now it's your turn, fellows. What did I miss? Where am I wrong? What do you like about it?
Do I have enough to trigger and sequence my rhythms and melodies? What's with the modulation part? Am I right to be intimidated but is it the right (whatever that means) equipment in this section? Am I forgetting other utilities?
I am a beginner so be honest and let me learn from you.
Thanks!
Looking forward to this discussion.
Cheers,
p.
