You're not going to be bored, there are tons of modules here to get to know and explore. I would suggest (as many others before me have) taking your sweet time, as your goals are going to change over time—modular does this to you, and before you know it you'll be aching for utilities, mixers, quantizers (you might want to keep Braids for this), and all kinds of things that keep the voltage flowing in interesting ways.

Alright Devices Zzzorb in Black and Gold would be lovely

Best stereo mixer in eurorack. No noise, clean design, nice knobs. Make knob.farm rich!

...it's an exceptionally rare case where some filthy-rich fruitcake hoards Trent Reznor/Richard D. James quantities of truly exquisite gear and can't/won't do anything with it. In the majority of cases, people are spending their own money on readily-available equipment. Equipment they sell at a discounted price to YOU if/when they realize they're not making it as Prurient 2.0 or whatever. This is truly a non-issue.
-- jingram

Dunno about that "non-issue" part. Sure, others' mistakes might fuel the used module market. But at the same time, I would be a bit nervous about buying a used module from someone who got it because "it looks cool" and NOT because of what it does, what it can do with other modules in a build, and so on. What if "I never could get the sound I wanted out of it" actually turns out to be "I plugged the ribbon into an unkeyed header backwards and hopefully you won't notice that when you buy it"? Definitely seems like a latent issue to me.

I'm not trying to put a stop to wackjobs like the Swiss Guy With Too Much Damn Money above, though...although, from experience, they're A LOT MORE common than one might think. There's still a lot of synths hiding in stashes in Japan, for example, because you had buyers over there scooping up gear from all over when their economy was still on a roll, and then squirreling it away in climate-controlled vaults and the like back in the 1990s. Much of that hasn't seen the light of day since. If the majority of it still works and isn't dead due to component degradation, I'd be surprised. "Synth-flippers" are another flavor of synth-hoarders, also...they go around scooping up anything that they think they might be able to curbstone, but in the process these types wind up stashing away a lot of gear that might've been usable for a musician...but which they see as "parts hosts", scrapyarding literally tons of devices. Now, yes, there NEEDS to be SOME of that going on...but the scale to which I've seen in several cases (a couple of them quite recent, I note), there's no real love for the instruments there, as they just get dumped all over the place and often never see any use or, sometimes, never even get broken down for parts. But again, you can't "fix" that...it's shitty habitual business practices at work, and I've seen that particular set of practices more times than I'd care to count since Mark Vail's effin' book wrecked the used market in the mid-1990s.

What I am trying to rein in, though, is people jumping into this and then finding out that they'd mistakenly leapt into the "1,000 feet" end of the pool, with a lot of general frustration following shortly afterward. That's not good for music, period. Plus, the systems bought in that way tend to NOT go up on the market, because the original purchaser is...well, sort of embarrassed, as a rule. So that doesn't supply much of a backflow into the used market, either.

How would one drop levels down or raise them up with the 4I/O? I'm not seeing any knobs to adjust levels like on some of the eurorack pedal interfaces.
-- Thatdummy

It doesn't use them. Instead, the 4I/O is a bit more "automatic"; all voltages are constrained to the AE's "operating window" of 0 - +5V. For additional gain inside the AE environment, you'd then use the 2SIGNALAMP to get more level, and on the "outside" you'd just need to turn down your effects' gain, since the voltage difference between the AE standard and typical line level isn't as potentially extreme as in other modular formats. See here for more: http://wiki.aemodular.com/pmwiki.php/AeManual/4IO

But where does "using gear 'incorrectly'" end and "using gear in a way I don't like, or under conditions I don't like, or to create sounds/styles I don't like" begin? How big a problem is someone with their Altoids tin shaker-thru-DigiTech Death Metal harsh noise project, really, even when they branch out to buying boutique equipment?

It makes no sense to labor that particular point as it's an exceptionally rare case where some filthy-rich fruitcake hoards Trent Reznor/Richard D. James quantities of truly exquisite gear and can't/won't do anything with it. In the majority of cases, people are spending their own money on readily-available equipment. Equipment they sell at a discounted price to YOU if/when they realize they're not making it as Prurient 2.0 or whatever. This is truly a non-issue.

The one exception, perhaps, being common, "overnight cult successes", most of which are purely hype-based gimmicks to begin with (Sitar Swami, anyone?). And we have only the Internet Buzz (Bull) Machine to thank for that.

Yea, I was just thinking the USB module could be used to power the pedals that would then interface with a different module. How would one drop levels down or raise them up with the 4I/O? I'm not seeing any knobs to adjust levels like on some of the eurorack pedal interfaces.

Hey. Not sure if you're still thinking about doing this or not, but you should know about Kong.
https://bastl-instruments.com/eurorack/modules/kong
"Kong amplifies the drumpad signal and also converts it to trigger and velocity CV signals"
So this would get 2 drums into the modular environment without much hassle! from there you can do whatever your heart desires with those signals.
All in just 5hp.
Imma get one forsure.

The USB module is just a power connection for things like controllers, etc that can be powered over USB. It doesn't pass any signals.

The problem with interfacing AE to anything else is that the AE likes to see a very specific range of incoming voltages, namely 0 - +5V...and this goes for ALL incoming signals, whether they're CV, mod, trigger, gate, or audio. This means that you either have to use a buffering module such as the AE 4I/O or a Soundmachines Nanobridge to constrain and offset signals properly. Plus, you have to establish a groundplane between the AE and other devices, sort of the same thing that's needed with a banana-patcher such as the Kilpatrick Phenol, Serge format gear, et al. Without that last detail, you won't have a signal return and your connections between the AE and whatever it's hooked to won't happen.

Actual Buchla format (as in their split-signal patching method, which separates CV/mod/clocking from audio) would be doable...but again, buffering would be necessary, and in this case you'd be dealing with two different buffering methods: one for the CV banana jacks, the other for the 3.5mm audio lines. Messy but possible.

As for pedals, sure...you'd just use a 4I/O to drop your levels for the pedal's input, then raise them back up to synth levels when they go back to the AE.

A better Panel Selector

Every click on the tiny arrows in the Panel Selector now actually shows a new, different panel version.

In the former approach the system just rotated through every version change of a module data entry, no matter if only a text was changed or in fact a new image was uploaded.

And that's the biggest problem I have with the Disting. .... if you use it to emulate a couple of transformers and four diodes...I dunno, it just feels like a misuse of the module.
-- Lugia

I take your point, but it seems impossible to get even the simplest passive module for less than £25 (if you want a front panel, which maybe you don't) and it doesn't take too many of those before you've paid for a Disting. Of course you can use them all at once, assuming you had enough space in the first place... which I don't. Anyway the Disting earns its keep for me.

I don't really want to say any more since I'm sure there is another thread about Disting somewhere else :)

Thanks for your help! I tell you that it is not a dream because I have all the forms except plonk! My fear is just boring me after all this money!! I’ll get to 3x84...but not immediately, in the meantime I can recover hp changing Braids with Plaits! And if you still want to help me recommend what to insert in space to not bore me...Tanks!

Funnily enough, it looks like some of Buchla's Red Panel euro modules would play rather nicely with AE. I don't know about AE and actual Buchla format though. I wonder how well AE would play with pedals. I saw an AE module with USB power sockets. I think they make USB to 9volt center negative cords. EDIT, they as in somebody somewhere, not AE

EDITED Apr 2nd 2020, 01:54

Buchla isn't merely expensive. It's LAMBO expensive! Which is a tad weird, because the original SFTMC "box" was built for a pittance taken from a Rockefeller Foundation grant in the mid-1960s. So...why am I expected to spend $500 (the amount of the grant!) on a new 158? R&D? Nope. Components? Nope. HYPE??? ....uhhhh...

The same problem exists all over in modular, though. Things that Roger Arrick can make for sensible prices are also (pretty much) made by Moog for insane nosebleed ones. If you could even get them as separate modules from Moog, that is, and not part of a massively-overpriced "vintage reissue" model. Or I could buy Serge stuff from STS up in Wisconsin...but why would I if I can get Serge-based gear from elsewhere, since Rex wants to go nuts on prices while still maintaining their costly fixed-module-panel form factor? And then there's Cwejman...don't EVEN get me started there!

Robert at AE is definitely making money...but it's ETHICAL money. The AE stuff doesn't require mindwrenching price-tags, so it doesn't have them. The "hype factor" about their stuff isn't something based on pure hype...but on the enthusiasm of their user base, which keeps growing. I feel loads better about supporting that sort of thing...and besides, his gear rocks.

Music gear is a finite resource, so no matter how much you can afford, it's still not cool to hoard unused gear in ur basement or misuse it.
-- reidv

Hell yes!

Over the years, there's been a number of gear hoarders who pile up rare stuff and then never do anything with it. And this is NOT GOOD...because disused electronic components gradually decay from that disuse. Capacitors are perhaps the worst about this, but resistors can also degrade over time, plus control devices can break or freeze up, etc. Plus, some of these hoarders do a lousy job of conserving their "collections"; I recall a story many years ago about a certain "Synth Museum" which had some rare and often prototype gear, but the space they were housed in was so decrepit and dilapidated that water was actually getting into some of the synths...and most disturbingly, the "curator" wasn't the least bit apologetic about any of this.

Then there's this:

On first glance, both we AND the presenter are super-jazzed at seeing something this amazing. But when you start getting a closer look at the gear, it slowly becomes apparent that whoever this rich person is who owns these doesn't actually give a rat's ass about them. It's important only that he HAVE them. And sure enough, we find that exact bit of info out as the video progresses...the owner is some Swiss nutcase who buys equipment and DOESN'T USE IT. He just WANTS it. And since he clearly has more money than you or I, he'll GET it...and none of the rest of us will.

Not that I would EVER advocate criminal activity...but I'd just like to say that if anyone reading this knows where this warehouse is in Switzerland, well, you'll know what to do.

I acknowledge the AE is cheaper, I will likely start with it and Eurorack. I was just having a bit of fun imagining a frankenrack with Buchla, Euro, and AE all working together with adapters. Hell, throw in an Expert Sleepers ES-8 and incorporate VCV rack. Isn't Buchla supposed to be really expensive?

And that's the biggest problem I have with the Disting. When it's doing some high-end function, you feel like it's justifying its expense. But if you use it to emulate a couple of transformers and four diodes...I dunno, it just feels like a misuse of the module. MY ring modulators, for example, are all Tenderfoots...typical dual balanced passive ringmods, since you don't need power or really anything else to make 'em do their thing.

I should also note that NONE of those Tenderfoots are in a cab, btw. Both modules live inside patchbays, wrapped in electrical tape (sounds vaguely kinky, actually!) to protect the circuits, and with no external power. Gives me a stereo pair in my FX patchbay and also in the lab-gear one, and they work like a charm.

If you don't have an original Braids, you're going to have more than 8 hp. Mutable discontinued that module quite some time ago; if you don't have one on hand, you'll have to use a third-party build instead.

Otherwise, this is kind of a mishmash. Some things in here don't seem to have a clear purpose to them, there's a number of important basic modules missing, and it feels like you're trying to cram too much into too small a cab. For example, there's only two VCAs in this entire thing, and both of them are dedicated to the audio path because they're not even separate modules in of themselves. Also, there's multiple audio sources here...but no mixer. How's that supposed to work?

Also, this build is way too small for multifunctional use. It either needs to be drums, or a synth...I think you're opening yourself up for a lot of annoyance with this small cab if you're trying to get this to be an "all-in-1" box. It's DOABLE...but you'll have to go bigger to get all of the necessary modules in the same cab, or just scrap this idea and build a proper synth in the 2 x 84 and leave the percussives for some other machine or software.

They DID...but you'll pay through the nose for one. As I recall, the total number of Analog Outfitters' MIDI controllers probably numbers in the "couple of dozen", and all of them were pretty much one of a kind builds. Finding an iteration of Doepfer's controller would likely be an easier task.

Exactly...the AE stuff definitely has its own sound to it. Like I noted before, there's definitely some of that old EML "grit" there. But there's no need to house any of it in a Mantis...AE has six different cases already, Euro adapter modules notwithstanding.

It's also worth noting that you can't necessarily patch a Eurorack module directly to an AE one. The AE system is rather different...it doesn't want to see negative CV values, and all CVs must be between 0 - +5V. Most Eurorack modules, however, can deal with up to 10V bidirectional. In order to interconnect these, you'd have to either...

1) attenuate the voltage levels AND establish a common groundplane for both systems, or...

2) use an adapter device. AE has the 4I/O, Soundmachines makes the Nanobridge (I use both, depending on what I'm trying to do). These correct voltage levels AND polarizations, with the Nanobridge making use of the AE's bus +5V and ground as references.

Well, the whole point of AE Modular is that you don't need much money and still sound as good as Euro, Buchla or Moog. It's up to you, but for me I don't have much money, and I'm getting exactly the sounds I want fro ma Starter 2. Will probably double that over the course of time, but no money, wan ta great sound AE Modular is it.

EDITED Apr 1st 2020, 21:38

Looking around at that AE stuff, I'm wondering if I ought to make my first rack an AE/Eurorack hybrid. Maybe a Tiptop Mantis with an AE adapter or two? Also, I feel like it'd be ridiculously awesome to throw a Buchla into the mix, just for shits and giggles. Three formats working together. Wish I had money.

What module do I put in those 8hp??

Hadn't realized Analog Outfitters did a midi controller. That thing looks gorgeous. I reckon I'll have to keep that and the doepfer in mind.

Or maybe that:
Instrument interface (befaco) through a little bandpass filter, through disting for pitch and cv tracking)...

... and of course Disting can be a ring mod too. It's a shame Disting can't be all the many things it can be at the same time....

Totally agree. Especially since I have a v low income, I couldn't dream of dropping >1000$ on an instrument that I didn't know how to use (my modular is DIY'ed over a span of years). So it does frustrate me when I see people playing music on expensive gear while CLEARLY not knowing the half of what they're doing. The number of times I've seen beginners on expensive synth setups who don't even know about concepts like headroom, noise levels etc is way too high. Music gear is a finite resource, so no matter how much you can afford, it's still not cool to hoard unused gear in ur basement or misuse it.

Yes...but it ain't cheap! Analog Outfitters here in Champaign offered a MIDI controller which ALSO had live drawbars that could be given CC assignments. But given that the company is now out of the MIDI controller business, the few of those that were produced are extremely rare these days.

Doepfer also offered a drawbar controller in a few forms for some time, but these are all discontinued now.

Two more things worth mentioning: the Peavey PC1600 MIDI Faderbox, and the Kawai MM16. In both cases, these are fader bank controllers that can be prodded into functioning like MIDI drawbars. The Peavey is better at this (I seem to remember that this is even a preset on the PC1600) than the Kawai, but both can be subjected to some creative MIDI routing to achieve the desired result.

...and there's others, but these are the ones I'm personally familiar with.

Seriously though, my only gripe is using ROMplers as a bad type of synthesizer. I completely disagree - granted the UI for most were far from perfect - they're still very powerful synthesizers that went underused. I know some types of synthesis fairly well, and I own several modular systems, but I'm still taken aback by the vast options in a mere XV2020 that would be deemed obsolete by most people.

Maybe the'll make a resurgence when people figure out how powerful they are?

They need to...as long as they're the sort of ROMplers that do have that programming depth you'd find in the Roland XVs, late-period E-Mu, etc. But when they first hit...ohmyghodwhatuglycrap!!! I actually still have my Proteus1, bought new in early 1990. And I remember it being more annoying to program than a DX-7, not because the interface was so obtuse (which the DX-7 was/is) but because you couldn't get at all of the architecture so that, when a sound popped into your head, you only had a certain percentage of possibility of being able to make the changes to your existing patch to get you there. Frustrating!

But a decade-ish passes, and we get things like the Proteus 2500...same basic idea as the original, but NOW it would be possible to get your hands on nearly all of the sonic capabilities. And that thing is a killer ROMpler...but it (and others) were victimized by those initial "not ready for primetime" ROMplers and the rep those brought. So, no...it's not all ROMplers that are bad, but you have to know which are the GOOD ones. Definitely not an easy category of synth to navigate, although the hardware is quite plentiful.

Has anybody done anything with Hammond organ style drawbars? I'm not actually looking for an organ sound, I was just thinking drawbars in a module or integrated into a case would make for an interesting cv/gate source. Hell, maybe a volume fader or a filter controlled by drawbars for something Hammond organ like? Slightly off topic, does anybody know of any cases with effects built in?

EDITED Jun 28th 2020, 20:50

While there is wisdom in a lot of this, it's wisdom that is not unique to modular synthesis. There are more acoustic guitars collecting dust in closets than synths. Years ago, I worked in the MI business for a decade, and people constantly bought the wrong tool for what they were trying to achieve, so I get the point of this message. Here's the thing though, if you want to sound like Sonic Youth, Darkthrone, or My Bloody Valentine, you probably don't want to buy an acoustic guitar to learn on. Bang around on an electric, waste a lot of money on pedals and amps, and figure it out. You're not going to achieve that sound and workflow with a Martin D28. Similarly, if you want to make music like the YouTube generative coffee-mug-and-window-overlooking-a-peaceful-garden crowd, an MS20 isn't going to do that. Is that really the right instrument to start with, then? Man, I don't know.
People make amazing music by using instruments in the "wrong" way all the time. Just because you don't know what Boolean logic, half wave rectification, Euclidean rhythms, or even a VCA are right now, doesn't mean you shouldn't start the modular journey (you're going to have to learn about VCAs reeeeeeeaaaaaaaallllll quick, though). There is really no "right" way to use an instrument unless you are some purist gatekeeper. I worked around purists for years and they always sucked the joy right out of making music. They would scoff if you didn't pledge allegiance to some bulls**t Tubescreamer circuit from 1982 or didn't take the same musical journey they did. Ugh...
What is a way of life for some is just a hobby for others, and that's ok. I say the more, the merrier. There are enough good YouTube tutorials out there nowadays for people to make an informed decision about the kind of instrument they want to try out and learn (and maybe fail). I'd rather empower people to give synthesis a try than suggest they are only attracted to the pretty lights and graphics. Sure, aesthetics make a difference for some (there are glittery finish guitars and drums for a reason), but aspiring musicians deserve more credit than just being bandwagon-hopping squirrels. Most people are savvy enough to understand that you don't become Eddie Van Halen, Aphex Twin, Neil Peart, or Brian Eno overnight just because you bought an instrument.
Yes, in the modular world mistakes are very expensive. Also, mistakes lead to new avenues of thought and creativity. Synthesis can be frustrating, but so can learning and becoming proficient in violin, drums, melodica, djembe, or 8-string guitar. There are growing pains with every instrument and technology.
Maybe you don't NEED a modular synth. Maybe you just WANT a modular synth. That's fine. I hope you dedicate some time to it, have fun, and make some cool music with it.

I finally have something to play with; this is my current setup (+ an Arturia Keystep).

Still no LFO and no VCF, I'll get them in a couple of weeks (no rush; meanwhile I'll familiarize with available modules).

Thank you for the feedback :)

Anyone who namedrops the Shaggs is automatically correct and wins all arguments.
Seriously though, my only gripe is using ROMplers as a bad type of synthesizer. I completely disagree - granted the UI for most were far from perfect - they're still very powerful synthesizers that went underused. I know some types of synthesis fairly well, and I own several modular systems, but I'm still taken aback by the vast options in a mere XV2020 that would be deemed obsolete by most people.

Maybe the'll make a resurgence when people figure out how powerful they are?

I digress. Fair points all in all, and more true nowadays. Lots of shiny modules to go around in the second hand market ... and more photos of cases with the same 'ol modules again and again.

Yeah, but ring mods are easy. If you can squeeze another 2 hp in, Circuit Abbey's Twiggy gives you two of 'em. You don't really need any controls on it, so that's something that makes sense as a teensy module.
-- Lugia

To make 2hp of space I'd have to lose my attenuverters, and despite my love of weird clangy noises, I think they are more useful than a ring mod!

Definitely leaning towards the 3xMIA. I guess I'll just hang out on eBay and see what turns up!

Hey there,
I've finally started my first eurorack case. To be honest I made the most common mistake and spend all my money for everything that sounded good for me without thinking enough about it. Which is somehow ok for me because I will make more and more cases in the far future so in the end I will hopefully be happy about everything I have now.

I now have just a little bit of space left and actually I also have to keep an eye on my power consumption but I'm already thinking about the next 3U Row so I'm open for every recommendation that brings out the most of the modules I've got so far.

I'm mostly interested in that atmospheric generative type of music and also like glitchy stuff.

And I'm missing some controlled randomness, would you think the Doepfer A-149-1 would be a good option?

I'm using an external mixer and also some effects.

Sorry for the long text but thank you very much in advance already!
Stay safe :)

My Rack:

EDITED Mar 30th 2020, 14:08

Metronomic form? A metronome is just a loudly-ticking clock with a variable speed. The problem isn't that at all...the problem here arises from using one timing device that has ONE internal standard (the metronome) vs. one which has a totally DIFFERENT one (Tempi, Pam's et al). Each device will think it's "right". Until/unless you opt for a single source as THE clock, and everything else has to use IT as a timing standard, this problem will reoccur.

Here's what's going on here, in a more traditional view...you have an orchestra with two conductors. They both know the score they're conducting in exactly the same way, but one of them is deriving the tempo from a clicktrack via headphones, and the other is relying on his internal timing senses, and the poor bastards in the orchestra aren't given any indication of which one is right. Different method, same mess.

you’re 100% correct regarding the clock.

just gonna use Pamela’s New workout whose clock seems truer to metronomic form. I’ve also been clocking from an Elektron drum machine to a mutant brain module via midi cable- that’s a pain in the ass!

Thanks for the replies!

OK...so the metronome itself ISN'T part of the patch, correct? If so, have you considered that one (or both) of these devices might be a bit out of calibration? That sort of drift would tend to indicate that the clock for the Tempi AND the metronome are all behaving properly, they just don't have the same exact timing reference, so that when each says "120 BPM", the metronome might well BE exactly on 120, but the Tempi could have a TEENSY miscalibration so that when it shows 120, it's really outputting something like 119.89923 BPM. Electronic metronomes tend to use a quartz reference oscillator, while the Tempi uses a software-based clocking algorithm, and just like its been since the dawn of timing signals in synths, if you have two clocks that AREN'T locked to the same timing reference, this tends to be what happens.

Description: Two square waves are sent from Peaks into 2 WMD/SSF MMF Filters (with 2 other LFO's/OSC's from a second Peaks going into the Filter FM Inputs), whose cutoff points are modulated by channels 3 and 4 of Quadrax. The volume of these two audio signals (panned left and right) is modulated at Quad VCA's Channel 1 and 2 CV Inputs by channels 1 and 2 of Quadrax. All 4 of these envelopes are related via CV/Link Modes, where just one trigger from Quadra ENV1 creates a world of interplay, with techno elements, especially past half way through.

Colour Scheme:
Black - Quadra (ENV1)
Red - Quadrax Channel Outs
Green - WMD/SSF MMF Lowpass Outputs
Blue - 1st Peaks Outputs
Orange - 2nd Peaks Outputs
Yellow - (Stackcables) FX Send/Return w/ Euro DDL

Quadrax Settings:
OUT1 - Receives trigger from Quadra ENV1. CV Assignment: None, Mode: AHD
OUT2 - CV Assignment: EOF (End-of-Fall), Mode: AD
OUT3 - CV Assignment: EOR (End-of-Rise), Mode: CYCLE
OUT4 - CV Assignment: EOF (End-of-Fall), Mode: AD

Quadrax Channel Destinations (after Mordax):
OUT1 - Quad VCA Channel 1 CV Input (Amp. Envelope for 1st Square Wave)
OUT2 - Quad VCA Channel 2 CV Input (Amp. Envelope for 2nd Square Wave)
OUT3 - 1st WMD/SSF MMF Cutoff (1v/oct CV Input) (Filter Envelope for 1st Square Wave)
OUT4 - 2nd WMD/SSF MMF Cutoff (1v/oct CV Input) (Filter Envelope for 2nd Square Wave)

Mordax DATA Settings:
Oscilloscope, All Channels 5.0V, Time: 500ms, Trig: Auto
CH. 1 - Pos: 8.80V
CH. 2 - Pos: 0.00V
CH. 3 - Pos: -10.40V
CH. 4 - Pos: -24.20V

Mordax shows:
CH. 1 - Quadrax OUT1, controls Quad VCA CH. 1 level (1st Square Wave) via CV w/ attenuator
CH. 2 - Quadrax OUT2, controls Quad VCA CH. 2 level (2nd Square Wave) via CV w/ attenuator
CH. 3 - Quadrax OUT3, controls 1st WMD/SSF MMF Cutoff (1v/oct CV Input)
CH. 4 - Quadrax OUT4, controls 2nd WMD/SSF MMF Cutoff (1v/oct CV Input)

Playing Instructions:
1. Introduce sound by turning up CV pots on Quad VCA one channel at a time
2. Introduce more sound by turning Level pots on Quad VCA one channel at a time
3. Add Resonance at MMF, one at a time
4. Slow 2nd Peaks CH. 1 to LFO-rate, then turn up FM Level on 1st MMF a bit
5. Slow 2nd Peaks CH. 2 to LFO-rate, then turn up FM Level on 2nd MMF a bit
6. From here adjust the following parameters to taste:
- Filter Resonances
- Filter FM Levels
- 2nd Peaks LFO Rates and Waveforms
- Quadrax parameters (the lower the Channel number being changed, the more overall effect on the patch, as they are chained
1->2->3->4)
- Speed of Quadra envelope (maintain low Rise time so it stays a trigger, but adjust Fall time)
7. Eventually, introduce Eventide Euro DDL, turn Send Level pot to noon, then turn up CH. 1 Send 1 and then CH. 2 Send 2 on Hexpander
8. Euro DDL parameters to adjust to taste:
- Filter cutoff point
- Dry/Wet
- Tap Tempo
- Drive (careful of level spikes)
@ peak tension, use these:
- Multiply (ease off on the D/W just as you press the button, then reintroduce Wet signal)
- Loop (especially when reaching peak activity)

just oscillator->monsoon (clones)->with the tempi triggering the monsoon. Independently had a metronome going that didn’t line up with the clock the tempi was generating.

what is the deal?

Can you explain the patch itself? I'm suspecting you're sending the wrong sort of signal as a clock here, since you're saying "metronome".

Yeah, but ring mods are easy. If you can squeeze another 2 hp in, Circuit Abbey's Twiggy gives you two of 'em. You don't really need any controls on it, so that's something that makes sense as a teensy module.

hello,

every time I try to play my tempi in time to a metronome the tempi loses time relative to the metronome. can someone tell me what I can do to correct this?

thank you

Frap Tools 321 is a treat for mixing, shifting and attenuverting.

https://www.modulargrid.net/e/frap-tools-321-
-- bhenry1790

My take on it would be to look at a Happy Nerding 3x VCA, actually. This would give you the CV mixing, attenuverting, AND three linear, DC-coupled VCAs to have CV over your modulation, etc levels. Drops right into that 6 hp hole, too. And if needed, you can split out one or all of the VCAs. The Frap 321 is also a good drop-in choice...it all depends on how you want to do your CV/mod mixing and control and how much control you want vs. what you want the synth to have control over.
-- Lugia

Thanks for the pointers guys -- these are nice alternatives I hadn't considered. With this setup I don't really feel that lack of VCAs -- all the voices have their own amplitude envelope -- so the main use would for modulating some other CV signal. This is intended to be a very hands on, playable system, and in particular I want to be able to switch from the DFAM being the main drums to the BIA being the main drums and back without stopping the music and ideally without repatching anything. For this a lot of manual control is needed.

So the Frap 321 is closer to what I am looking for. However when looking at the Happy Nerding 3xVCA I also discovered their 3xMIA which is even better! It seems to do everything the 321 does, with more inputs, more usable output options, and (major plus) all the jacks are at bottom of the module.

Versus the Befaco, the main advantage of 3xMIA seems to be more channels (also : cheaper); the disadvantage is that it can't be a ring modulator.

Any other thoughts?

I wouldn't put anything in the whole - I'd get the next case first - so there are no constraints on hp

Haha well, quite. But for various reason that next case won't be coming along any time soon. (Although I already am thinking about putting the Tetrapad into one of those little 4ms skiffs, along with its expander and a "proper" trigger sequencer.)

But, if I wanted CV mixing in a case this size I'd be tempted to replace the doepfer LPG with a MengQi DPLG and a DC coupled quad cascading vca (so you have a voltage controlled CV Mixer)

I wouldn't trade the Doepfer LPG for the MengQi one, although that is a cool little module. The Doepfer is also a very fun and controllable filter which I use often. However I think if/when I expand the setup this quad VCA idea sounds quite promising.

That's actually something Robert and I discussed quite some time ago. He was planning to explore whether a typical single-crossing comparator would be the way to go, or if it would be doable to implement a window comparator which gives two crossing points. I'm advocating for the latter, natch, not merely because...well, more = better...but because having two crossing points ALSO allows something to track rise/fall times, which then gives slope data that can be screwed with creatively. Note that I'm thinking WAAAY ahead of the present with this, also.

@Lugia, do you know if AE is going to make a comparator module?

My take on it would be to look at a Happy Nerding 3x VCA, actually. This would give you the CV mixing, attenuverting, AND three linear, DC-coupled VCAs to have CV over your modulation, etc levels. Drops right into that 6 hp hole, too. And if needed, you can split out one or all of the VCAs. The Frap 321 is also a good drop-in choice...it all depends on how you want to do your CV/mod mixing and control and how much control you want vs. what you want the synth to have control over.