ModularGrid uses so-called cookies to ensure it's so-called functionality. We also use dubious tracking scripts. Find out more in the Privacy Policy. We use cookies and wanna let you know.
I can't imagine how you could get a Synthacon VCF to sound even MORE aggressive than that circuit already was! There were VCF settings on mine (had from 1981 - 1994, traded it for my first ARP 2600) that were so downright vicious, just the slightest HINT of Nyle's nasty VCF's antics would suffice...sort of like how you might only need 1/2 (or LESS!) of a ghost pepper for an entire pot of chili that can serve 20+ people. Scaaaaaaary!
Just tried setting up a pedalboard build for my tandem string rig (1952 National Dual-8 lap steel, Suzuki Ran Alto taishogoto) and...uhhhhhhh...
Honestly, it's like the rest of Modulargrid threw up and all that barf wound up in Pedals. There are things in there that really, REALLY don't belong...such as iPads, DJ mixers, entire synths, pedalboards (no, not the ones in the build setup page, but entire empty pedalboards which, of course, you CAN'T put pedals on since MG thinks they are pedals), and so on. As an example, something such as a Vermona DRM-1 isn't a pedal, isn't supposed to be on a pedalboard but OBVIOUSLY should be in a 19" rack. The rack ears are a bit of a giveaway, natch.
And on and on and on. Hell, who knew that a pic of the lion from "Madagascar" was a "really good" wah? For a dollar?
And then there's users who put any ol' image of a pedal on there, not thinking/realizing that the pedalboard builds are supposed to be viewed from the top-down, so angled images of pedals are nice as a reference, but lousy if you're actually trying to determine pedal spacing on a board. Plus...plenty of missing stats, especially prices.
Really, this ought to be cleaned up and corrected. It has the potential to be as important a resource as the modular synth sections, but it's seriously compromised to the point that going through the different manufacturer pages becomes a hideous chore. Stompboxes are 100% useful, and definitely fit into the same scheme of things as modular components, but if the database is as fouled as it is right now, no amount of usefulness of pedals can counterbalance the info-slog that haunts the section. And yeah...some of these things aren't exactly pedals, but they fit, such as the DF Mini Bay. But I double-dawg-dare someone to put a Launchpad on their floor and work it with feet. Not. A. Pedal...nor does it really work with them.
And yes it can be a little noisy but a noise gate like the one from Ladik or the one in the FX Aid takes care of that easily. You may also be able to handle that by simply putting it in front of a VCA, depending on how you're using it. But anyway it sounds fantastic.
-- adaris
Actually, this is a major symptom of using either the wrong VCA or wrong envelope behavior. When you use linear VCAs and/or linear envelopes, this can happen because our ears aren't linear with respect to "apparent loudness". We hear exponentially as far as volume is concerned, and the Decibel scale reflects that.
The actual fix here isn't a noise gate (sorta-kinda), it would be one of the following:
Change the VCA after those filters. This needs to be an exponential VCA, or a "multi-topology" one like the Veils VCAs that's been set to exponential response. Or...
Keep the linear VCA...but send it an exponential envelope.
Now, the reason I said "sorta-kinda" above is because, when you do this correctly, it actually has some dynamics elements in common with a noise gate. The response of these VCAs when properly set is actually VERY close to the sort of thing going on with a noise gate, inasmuch as the noise will fall nearly to or all the way to inaudibility when there's no generated audio thruput.
Rule of thumb: LINEAR is for DC, low rate modulation signals, and basic audio use upstream from the final output stages. EXPONENTIAL is for any audio rate signal, and NOT DC or low rate modulation. Many exponential VCAs aren't DC-coupled, so if you try and pass DC or a low rate mod signal through one, you'll get either nothing or a very attenuated output signal as far as those signals go. Very useful to keep in mind when trying to keep DC out of your monitoring setup!
A few things immediately come to mind...first up, you should add the "master" module to the Praga. It'll be useful for quite a few things. And yes, add a matrix mixer; in a build of this size and complexity, you've got plenty of sources to screw around with via one of those. Plus, add the expanders for the Batumi and Zadar. You'll want the extra functions.
But the big thing I would change is the organization here. Everything seems to be laid out in a hodgepodge manner, which is definitely going to add to that "overwhelming" sensation. But by putting things together in functional groups, you can cut that problem down to size. Sources...modifiers...modulators...effects...etc, that sort of thing. It also leads to different methods of exploration...for example, if you had the Black Sequencer AND the Moskwa in proximity, you might notice that there's a possibility there that hadn't presented itself before. Same goes for having the logic modules and clock modifiers in proximity, and so on. Yeah, it sounds like a total PITA to do that, but trust me...in the end, the effort's got rewards.
Hmm...OK, for starters, you won't need two P/Ss. One of several hefty power supplies on the market can supply the juice for the whole cab. You just have to make sure that you've still got about 25% MORE capacity than the modules themselves draw so that you can avoid problems with current inrush when switching the modular on. Choosing proven Eurorack supplies is something I recommend as well, since that one component has the highest potential for causing trouble for the entire rig.
[short pause to wail on rack above]
OK...well, this came out fairly well, but you'll notice some things immediately missing, with the most notable example there being the Plasma Overdrive. I just don't think it's a really good idea to put some sort of gas discharge tube inside a closed-up cab where there's plenty of opportunities for any electrical noise from that module to get into all sorts of other things.
TOP: I got rid of the Intellijel I/O, deferring instead to the more useful (albeit mono) Doepfer A-119, which gives you an envelope follower so your input levels can be extracted to use as a modulation source. The A-119 also provides a gate (with threshold) that can key at your desired level. Next is a pair of Noise Reap's take on dual VCOs, the Paradox. These have a "sorta-sync" and some odd FM capabilities that you don't tend to see in this module size. Very timbrally versatile. Plus, as if that wasn't enough, Antimatter's Crossfold Waveshaper lets you take outputs from TWO oscillators and "smushes" them together, along with the more typical wavefolding duties. That module also replaces the Plasma Overdrive, and does so with a much more capable module. Codex Modulex's clone of Veils gives you four VCAs with the typical Veils features...variable response curve, breakable mixbus, etc. After this, I set Rings in there so that it functions as a "filter" with mono-in/stereo-out. Similarly, the Zagrezb has a stereo out as well. So with a pair of stereo signals incoming, plus the point about FX, I put in a Toppobrillo Stereomix2. This mixer has VCAs on all four inputs, plus CV control over panning and AUX send, and it also has a mono-out/stereo-in FX bus, CUE bus capabilities (which helps with the tweak-on-fly needs), mutes per channel...in short, it's a far better idea as it'll be a good fit for live work, studio or otherwise.
BOTTOM: There's the power supply. I overspecced the HELL out of it so that you can reuse the P/S (a 4ms Row Power 45) in larger builds later on. Plus, by having a P/S with a LOT of current headroom, it will run cooler, which you definitely want as heat is a component-killer, plus it can lead to plenty of instabilities due to thermal effects. MIDI interface next, then the Octasource. The Octasource is interesting...unlike the Ochd which is seeing a lot of use as of late, this LFO only has one rate being outputted...but via a phasing network so that you have offsets every 45 degrees with the same waveform. This fits really well with the various modulation schemes here...the Paradoxes alone can be made to act VERY nuts with this LFO. Next from Toppobrillo is their half-a-Maths, the Sport Modulator2. No room for Maths? This is a damn good substitute, which uses the same sort of Serge Dual Universal Slope Gen core as Maths, etc, but with the few odd tricks of its own. The Frap 321 and Erica PICO VCA are the "manipulation core" for your modulation signals, so that you can add offsets, invert signals, mix 'em, and on and on. Then the envelope duties are handled with a Xaoc Zadar (and Nin expander). Then the next two modules are your effects...the Mimeophon (which would make a good destination for the Rings' stereo output, actually) and a Frequency Central Stasis Leak...tap delay, chorus, reverb with a mono in and stereo out...just like the Stereomix2 wants. Then the final outs are last, via one of the updated Happy Nerding Isolators...which not only gives you a pair of balanced 1/4" outs, it has a 1/4" out for your headphones as well. So you can monitor the mix from that...or if you need the cue, just shift the headphone plug to the Stereomix2's headphone out.
Not too shabby, I think...this hits all of the desired points, plus it's really good with ergonomics and control density as well.
Needham's stuff really is the bomb when it comes to large-scale studio cabs. But the God Of All Eurorack Cabs has to be something from the crazed Canadians at EMC: https://eurorackmodularcase.com/ ADDAC System also has some enormous cabs that sport 197 hp widths as well as beefy AF power to match, plus you can get a dual 19" rack "topper" with 2 to 5U of space per rack.
The real solution, however, is to just turn all of the walls in your studio into a cab...
Rene is really amazing...for one thing, you can use it as a touchplate controller when it's not being clocked. The Rene/Tempi combo has some interesting voodoo of its own; see here: https://www.makenoisemusic.com/modules/rene
As for the Rampage, it's close to the Maths' source as well; both are different takes on the Serge Dual Universal Slope Generator, which is what the "core" of both derive from. And the DUSG is very legendary in of itself for being a "Swiss Army Knife" module, just like its derivations here.
4 to 6 modules, hm? OK...give me a bit...
[a bit later]
Hawt damn...
Six modules = one complete modular. The modulation source is Tiptop's Buchla 281t. Don got that thing right! Also from Tiptop, the MISO has the ability to turn the 281t's signals into a number of other variations. Then I went with Xaoc's Odessa for bigtime complex waveforms and (because I sneaked the Odessa's expander in there...not counting that one) four-voice polyphony. ALL of the VCAs needed are right there in Erogenous Tones' VC8; you can break them out individually, but you can also mix the Odessa's three outputs down to a single output...and STILL have a second quartet of VCAs and a free submixer! Then for filtering, one of the great pieces of sheer MADNESS...Dave Rossum's Morpheus, named for the (Proteus) Morpheus which first had that wild Z-plane filter. It can be nice and smooth...or it can go for total earrape...and most anything in between. And then the current (and last...sigh...) Mutable granularizer, Beads. 115 hp, $2000 and change.
So what's missing? Not much, really. I would think a Happy Nerding Isolator 2022 could be nice at the end of the voice chain, and maybe a MIDI interface or Expert Sleepers interface for external control. But honestly, those would be IT. The rest of this little build is ready to launch!
I see 11 dual passive multiple modules between the two cases (if I'm counting correctly). That's 22 1-to-3 passive multiples! To me, that seems quite excessive, especially considering that Tiptop Audio stackable cables exist. Personally, I rarely split an output signal to more than two inputs, so I'm essentially replacing one of the 1-to-3 multiples and three normal cables with a single normal cable and one stackable cable. (But I've also never used a rack this big.)
-- Chace
Normally, I would say that mults aren't so useful in smaller builds because they take up functional space. But when you start getting into systems of THIS size, you DO want mults...because at that point, they help to cut down on the cable-snarl across the panel and can make controlling a patch a bit easier because you can easily see where your signal splits come from/go to.
Once you're into these huge Monster Case builds, the "rules" change a bit.
Anyway, this appears to be pretty well-considered in terms of what's needed and what's implemented to deal with that need. About the only change I would make here would be to chuck the theremin controller in row #2, shift the whole row over into that space, then use the new 8 hp space at the left end of the row for the A-119 (to the right of the mult, natch). This would put it in better proximity to the voicing so that it's easier to use external audio for part of the voicing as well.
Why? OK...consider this one: take your quadrature outs and mix the 0 and 90 degree together, then do the same for the 180 and 270 degree EGs. Send the resultant mixed outputs to a pair of, oh...let's say Intellijel Polarises...control inputs.
When you say 'mix the resultant outputs' of Quadrature, do you mean use something like Links to do that 'mixing'?...
-- jb61264
That's one possibility. Better still would be to use a variable-level mixer instead of Links so that you can fine-tune the feel. Or if you're working with a quad VCA (Veils, et al), just send each EG output to a separate VCA control input but only have a single audio input to the four VCAs. Futz around properly, and that'll get you into a whole weird territory that's normally occupied by the ARP 2500's Mixsequencer.
filter - plaits is a voice module - and has a built in filter - as part of the built in low pass gate - I wouldn't worry too much about this for now - if you're going to get a plaits though hurry up - last batch may already be out there - and if you're getting plaits I'd go for veils over the intellijel quad - it's a little smaller and has more features... but again - good luck in getting one...
-- JimHowell1970
Actually, at this point it's probably not a bad idea to look at the 8 hp quad VCA clones, such as Codex Modulex's. Yeah, it's got teensy controls and all, but when you think about it, VCAs are not something you'd "get busy" on, such as a VCF cutoff. I think it's a certainty that I'll be shifting from the Veils 2020 to something 8 hp-ish fairly soon, when the stock of Mutable's stuff runs out.
Well, I worked out a version of this, but I know very well that it would be far more capable if you had a few more hp. If you've not bought a case yet, I'd strongly suggest going with either a Tiptop Mantis, or if you intend to gig with the synth, perhaps something from Case From Lake would be suitable. For example: https://www.casefromlake.com/product-page/9u-eurorack-case-powered-or-not-84-o-104-hp-patched-resealable-modular-synth That comes in at EUR 435 while the Mantis goes for EUR 338 (per Thomann), but what you get is three rows at 104 hp in a portable cab, 4 AMPS on the +12 and 1600 mA on the -12, and the ability to spec additions to the case (such as adding a tile row, more length, etc). By going with something on that scale, you increase the space for the critical modules to put together a serious generative system. Right now, the 2 x 84 hp setup doesn't have enough space to do that, unless you dedicated most of the cab to those functions...which also isn't a desirable result, as it'll cut way into your "voice" capabilities. Have a look at CFL and the Mantis, and I think you'll see how and why either one is superior.
Are any of the AMS modules ever available in the marketplace?
-- nordengine
Try the link. Otherwise, the reason that these are scarce is because you're dealing with an industry that manufactures modules in short production runs, and if one of those is a killer device, it'll be even harder to snag. Best suggestion would be to get on the waitlist, because that'll help AMSynths to figure out how many of those will be viable in a subsequent production run. Too few, and we're back here...but too many can spell trouble for a small module maker's economic viability.
Dunno...but this is: https://www.modulargrid.net/e/ladik-s-143 Up to 16 steps, various jumpered settings that you can bring to the surface with their P-060 switch expander, plus it's internally quantized. Oh...it's got pattern memories, too. But the big point is that it's about $75; the RYO sequencer is $120.
The End-Of-Rise gives you a trigger when the terminal value of an EG's rise is hit. So, let's set the four rise/fall parameters to something that approximates a triangle wave from an LFO. Next, connect the EOR on #1 to the Trig input on EG #2, and so on until the #4 EOR loops back to #1's Trig input. With this, each EG outputs a waveform that's delayed by the previous EG's arrival at the EOR point, which results in a 90-degree "phase" shift between each EG's output. And once you've triggered this system once, it'll keep doing that until hell freezes over!
Why? OK...consider this one: take your quadrature outs and mix the 0 and 90 degree together, then do the same for the 180 and 270 degree EGs. Send the resultant mixed outputs to a pair of, oh...let's say Intellijel Polarises...control inputs. Now you have a pretty bizarre bit of stereo phasing going on, almost acting like an autopan but no autopan could sound THIS nuts! Note that you have to use the 90-degree angles here; combining 0 and 180, etc. will just result in phase cancellation.
As for EOF, it's super-useful for chaining EGs to create a complex composite modulation signal. One ends, starts the next, etc. Then just send the result through a DC-coupled mixer and you get super-varied LFO behavior. Or you can use the EOF in some generative functions to fire off the "next" set of parameters, and as long as there's a feedback loop (not acoustical feedback, mind you) that can keep right on going, and other modules can then modify the individual EG parameters depending on which EOF has sent a trigger. You could actually wring two signal paths of this sort out of a single Quadrax/Qx!
Right now, I'd say that the Quadrax/Qx combo is one of the best module sets in this regard, but the newer Tiptop/Buchla 281t also can do this...as it's got built-in quadrature outputs for the A+B and C+D outs.
You of course DO realize that, if you made the lower row a set of modulators and voltage sources, what you'd have there is a pretty substantial analog computer.
It would be a real beast if at least one of the adders were not fixed to octaves but variable within an octave, even better, if both channels had a tiny extra knob for fine tuning 1V/oct
-- luchotron
Sort of like this? https://www.modulargrid.net/e/noise-engineering-quantus-pax-silver You'd have to have some DC offsets to use as your transposition voltages, but this not only handles those individual inputs and mults your primary CV input, there's a circuit that can transpose the entire module's CV complement.
...and of course, there's Erica's MScale module. The problem is that the Moogs can and do use negative CVs for pitch. There's ways to get around that that don't involve an extra module, but they can also be a PITA.
Even with the Matriarch being used for modulation signals, you're going to come up short in terms of capabilities. Fact is, a far better way to judge if a build is going to work would be simple math: your "voicing" modules (VCO, VCF, etc) should only be about 1/3rd of the build, while the other 2/3rds-ish are your "supporting" modules. As for the...uh...whatever is going on with those 4ms Listens, allow me to hip you to THIS: https://www.modulargrid.net/e/emw-8-channel-stereo-mixer Yep...eight stereo-ins, takes up far less space. And there's a hint there...
If you rework things here so that you have more functional density in your modules...without compromising the ergonomics, natch...you'll find more space opening up, just as with this one module. And the price will come WAY down as well.
Isn’t the Bytom simply a switched OR combiner?
-- stripou
Sort of. Most times that you see a typical "diode OR", it's sort of limited in capability as far as inputs are concerned. The Bytom, however, contains three of these sorts of circuit, and you can combine them to create a 12 input OR. Which is a tad silly, but which I can guarantee can actually happen. But the nice thing about the combination switches is that you can switch in and out of incoming pulses with a little creative patching and the use of the link switches, so if you put an output for, say, a shift register on the top output and more typical clocking on the middle, you can cut the clocking for the shift register and have it "hang" while the other clocked modules keep on going.
About the closest thing along these lines that I can think of are several different multi-ORs which can switch between one of two busses. The Bytom's routings, however, offer some interesting potential routings that those can't, such as combining entire busses.
MPE capable keyboards? Yeah...I have and use a CME XKey25, which has the "typewriter key-like" keys. I found that it took a bit of getting used-to regarding the action (or lack thereof), but after a month or two, I got very used to it. The nice thing about the CMEs as opposed to the McMillan controllers is that the CMEs retain a typical black and white keyboard with spacing, etc that we tend to deal with when using most any other MIDI keyboard. The only flaw I've seen is that every once in a while, there'll be a VSTi that needs some prodding to recognize the XKey...but that's minor, fixable in seconds.
The nicest thing, though, is that it fits very nicely in front of my Ableton-labelled computer keyboard. Score one for ergonomics!
As for the Continuum...y'know, I've been tempted once or twice to ask Lippold why it's so spendy, but I haven't. And if I really wanted one of those, though, I could probably dip over to his place (a whopping 20 minute walk from here) and pick it up firsthand...but you'll note that I haven't done either. It's still too academic-composition-oriented for me to risk dropping several thou on an experiment in controllers.
Thrashed out a variation on the initial build...
Mantis cab, as before. But there have been changes.
Top row now starts with a Doepfer A-119 so that you can inject external audio sources into this thing. Then there's a pair of Klavis's wavetable-based dual VCOs, which now gives you FOUR VCOs. Oh, and they've got internal quantizing. So, four VCOs means four VCAs, and that's what the Codex Modulex Veils clone is for here, but it's followed by a six-input panning module that then sets up your stereo chain, plus it allows you to pan/mix two other signals pre-VCF. As for the VCF...I sorta went all-out here and went with a Rossum Linnaeus, which has some crazy-cool features, including thru-zero modulation. After that, two more Veils-type VCAs from After Later, then Beads for some DSP FSU. The Timizoara is after that, next to the TexMix...which now has the PROPER input group so that you can use the Timizoara AND the Rings as 1-in/2-out FX processors via the Master section. The Stereo input group has no level VCAs, no FX sends, etc...but the Mono input module DOES have those, and you really don't need four stereo mix inputs (the build isn't big/complex enough) anyway.
Bottom row begins with the Tempi/Rene pair. Yeah, pair...because the revised Rene and the Tempi have a lot of "behind the panel" hidden functions that let them do a lot more than either module alone. With that there, there's no need for the Pam's and much of the O&_c's functions are also dealt with (like no need for quantizers with the Twin Waves). The Noise Reap uLoaf is a pair of "misbehaved" LFOs that have a "semi-sync" between them...much more complex than your everyday LFOs. And then, the OTHER "DUSG-alike" besides Maths: the Befaco Rampage. Both owe their lineage to the Serge Dual Universal Slope Gen, but the Befaco has some minor differences as well as 2 hp less space requires. After that, a Frap 321 and another After Later dual VCA give you a "manipulation core" for the modulation signals, and then a VOID Dual ADSR gives you two "proper" envelopes. Rings then closes out the row, placed near the TexMix so that you can use it as something of a "tuned space" for short reverbs...with the warpy capability of modulation over a number of parameters that you tend to NOT associate with short room reverbs.
Yeah, this draws out a lot of downright odd and idiosyncratic things...which really will make this build sound and behave more like an integrated instrument. Now, as for the mults...just use inline widgets, stackcables, etc, as there's not really enough space in the build for mults. You need your space in this purely for functionality. Likewise, some other large modules were booted because...large. For example, the Frap 321 actually has a smallscale matrix mixing capability, but it occupies SIX hp as opposed to the 20 hp of the A-138m. And the Morphagene didn't fit at all, but with the Beads onboard, you won't miss it all that much. But yeah, some stuff got cut altogether, others got smaller, and the overall capability went up. Funny how that works in modular...
or maybe they hate shitty ergonomics...
-- JimHowell1970
Like any sensible synthesist should! Although, I'm betting that there's a lot of PC board real estate behind that panel. Formant filters aren't your everyday ol' ladder filter LPF.
And a power supply has what sort of power supply requirements?
Seriously, that's what the top bar in the Palettes are. The current draw figures on MG are based on the amount of bus amperage each modules DRAWS...and if a module is the power supply, it has ZERO draw as that's what everything else is drawing current FROM.
Mmmm...I don't know about that. There was a lot of buzz around the Ochd when it came out and for several months after, but I never bought into that because, when you examine it, it's just a single LFO with octave stepped frequency multipliers.
Now, if you want an LFO that has multiple outs AND which can be a real treat, look into quadrature LFOs and such. In those, you have a single frequency control just like the Ochd, but what you have for outputs are offset by specific phase angles.
Let's say you want a modulation signal that falls at the exact same rate as another one that rises. Doing this with most any other LFO will be a real PITA...but with something that has a quadrature output, you just take the "fall" from your 0-degree out, and the "rise" from the 180-degree one. And of course, these have other phase angle outputs; usually the simplest quadrature devices output 0-degree and 90-degree phase angles, but you can easily wrangle the 180 and 270-degree outs via a couple of CV inverters. That Batumi, for instance, can have all four LFOs in a quadrature configuration. Doepfer also has a very useful quadrature LFO, their A-143-9, which outputs all of the right-angle signals simultaneously.
@Lugia Sounds like utilities/modulations sources are the way to go with the limited space I have. When I first saw you recommended After Later DVCA I was a bit surprised as I already have the Quad VCA. But just last night I noticed I was using all 4 VCAs and now see how the additional 2 on the DVCA would be useful.
...thereby demonstrating the modular synth truism that "You can never have too many VCAs".
re: the 4ms Listen I/O, this looks useful but I probably will not use the input as the only thing I really use my rack with is the sq-1 or a Neutron. But I like the output as I use headphones so I'm considering the PICO output as it is only 3hp and has the output which I could use if I ever decide to record anything. Right now I'm just using a cheap headphone attenuator plugged into my VCA with my headphones.
-- sndbyte
Another consideration would be Happy Nerding's new version of their Isolator. 4 hp, balanced 1/4" outs plus a headphone preamp, a stereo ganged master pot, and transformers. I mentioned this elsewhere today, but the upshot there is that transformers do plenty of stuff...they block DC from getting into your monitoring chain (which you REALLY don't want!), they keep induced crud and ground loops under control, and just like other transformers, you can hit them harder and you get this nice, euphonious saturation that can punch up sounds (especially in the lower octaves). Wins all around.
So for the MMG by Make Noise, could it cause this type of issue if you passed an AC signal to the DC input?
-- jb61264
no it's potentially the other way round - using the DC input to add DC to the AC signal...
-- JimHowell1970
Right. The usual culprit there is DC offset voltages finding their way onto the audio signals. In some cases, you might want that, but you DON'T want DC getting out of the modular, which can easily result in the above video atrocity. Even Uli didn't go with that on B's 2600, despite the ARP 2600 having that. Uli left it on the 3.5 mms, but the TRS 1/4" jacks are AC-coupled. This is one of the main reasons why I toss in one of Happy Nerding's Isolators on builds that I do, since that module also acts as a DC block (transformers no habla DC), allowing NO DC to get past it. Plus, transformers always beef your sound up when you push 'em a little.
Input modules - if you are always using inputs and want to free up other amplification channels...
-- JimHowell1970
Also, it's generally a good idea to get an external audio input module that has an envelope follower. With that, you not only can preamp your instrument levels, but you can have a threshold-dependent gate output (comparator, basically) and the all-important EF itself, which extracts level information from your external signal and turns that into a CV signal for modulating all sorts of things. However, I think the Intellijel version is sort of lacking inasmuch as you've got both the input AND output on the same module, and that'll have a higher potential for cable snarling right around your build's I/O. Instead, use separate input and output modules, and I strongly suggest putting the input (I recommend the Doepfer A-119, actually) at the end of your oscillators, and treating it just like any old audio signal source (albeit with the added EF and comparator).
And then there's that Sonicsmith module that contains a pitch to voltage converter. P-V converters can be very fussy and troublesome (and WILL NOT put up with chords...monophonic lines ONLY), but if you were using something that's not a guitar (winds, f'rinstance). This was a huge part of the failure of Korg's X-911 "guitar synthesizer"...people couldn't wrap their heads around not being able to play chords, and when you do that with the X-911, the glitching becomes EPIC. But c. 1980...mmmm, not so much.
"Coupling" refers to which signals can or cannot be passed through a given patchpoint. "AC coupling" means that the point can be used for anything in the audio range, which can vary from manufacturer to manufacturer, but in general it implies a cutoff that blocks DC signals (or anything in the range below subsonics, such as modulation). "DC coupling", however, means that the patchpoint can accept any signal, all the way down to DC (offset voltages, y'know).
And this can get interesting when you've got a bunch of DC-coupled devices in your voicing, but NO AC-coupled ones after that to strip DC, then you send it on out to your amp. And this can result in............
Yeah. Always try to eliminate any and all DC in your audio path, because once it hits your amp, things WILL get ugly.
1/4" jacks are nice...but the reason I prefer them whenever possible has nothing to do with audio and, instead, has to do with what happens when the output cables get yanked really hard. Enough force can bend or snap a 3.5mm plug, but 1/4" plugs are far more substantial. And accidents like that DO happen!
FYI, don't go smaller than a Mantis if you've not bought a case yet. I've seen dozens of Rackbrutes, Palettes, et al get jammed out with "sexy" modules, resulting in...well, nothing in quite a few instances because the "utility modules" were totally ignored. The smaller cases (below 2 x 84) are far better suited for what I call "mission specific" builds instead of generalized builds resulting in a full-on modular. Small cases (without some good discipline on the part of the user) also result in potential fails such as teensy controls that have to be adjusted with tweezers because your fingers DO NOT fit. They also tend to be builds in which essential modules get left out; this is particularly awful when someone opts to jump into modular without advice, buys everything, and then wonders why their "modular synthesizer" doesn't work and/or sounds like refried garbage. Basically, it's pretty simple to put together a good basic build just by skimming the forums here, or hanging out on The Site Formerly Known As Gearslutz or The Site Formerly Known As Muff Wiggler and observing the "traffic". But it's EQUALLY easy to spend thousands on a compromised pile of crap, especially when not paying attention to all of that advice. In fact, some of the best base-level info to remember can be found in Jim's sigfile above.
i fell backwards into modular a few months back...
Oh, hell! Did it take the paramedics long to dig all of the patchcables out of your back, or...
i have no idea what i'm doing.
but i made this a couple nights ago. this is a single track recording of a live jam... i popped a microphone into my amp box and the record button on audacity, then recorded that output into my iiphone.
again, no idea what the hell i'm supposed to do here.
-- beeb
DON'T question the process. That would be Rule #1 here.
If you've arrived at a musical point where you're flowing on the twin engines of "beginner's mind" and "intuition", then you actually DO know what you're doing, you just haven't figured out how to communicate that to yourself. Continue working along those same lines; eventually, you'll figure out an entire set of your OWN rules and methods for composition with modular.
As for those terms..."beginner's mind" is right outta Buddhism. It's the principle that states that "beginners" can actually have a better idea of what to do when they know very little of what they're doing that with. As such, you're not constrained by a headful of rules and "accepted" methods, so you're more apt to create excellent work when you DON'T know those aspects. Also Public Image Ltd....where John Lydon, Keith Levene and Jah Wobble agreed that it was better for Levine to play guitar as if he had no idea how to play the guitar. Results there? Some VERY substantial additions to how to approach that instrument!
"Intuition", though...that's the "magic" at the core of improvisation, and something Karlheinz Stockhausen explored extensively in various works, starting in the mid-1960s ("Mikrophonie I") through the early 1970s and his ensemble works. Plus, there's two collections of his text pieces ("Aus den Sieben Tagen" and "Fur Kommende Zeiten") where musicians are supplied with a text, and their task is to allow a group-sense of intuitive action to arrive at a possible result. However, the interesting thing about those works is that they're surprisingly consistent. Back in the mid-1990s, I performed the first set's "Set Sail for the Sun" along with an ensemble...we totaled 6 people. And after some warm-up passes, we started arriving at fairly consistent results, and everyone was a bit nervous about that; were WE in control of the process, or vice-versa?
In 2002, I got a chance to discuss that with Johannes Fritsch, the violist on many of the ensemble projects from that period. I explained what was going on with those "cohesive" passes, and he smiled and simply noted "Ah...then you did that right!". Very, very interesting, indeed!
+1 on the Mantis, as usual. And in fact, this build shows why:
The current build here is 1/2 of a Mantis. You'll notice that all of your modulators takes up about half a row, the voicing takes the other half. That's not TOO bad...but it means there's no room for FX, submixers, etc etc etc. BTW, that layout is cribbed from the Steiner-Parker Synthacon: modulation left, voicing right, but it avoids the "mix at center" issue that the Synthacon had. Plus, one other immediate point: the UliPlaits can be swapped out for pretty much ANYTHING that's smaller; you don't have room for a single 16 hp oscillator (with extra bits). There's barely enough room for the Maths, but it's far harder to "shrink".
Additions are: Doepfer A-154-4 quad LFO. There is the one on the 100M clone module, but I'm not all that jazzed by that module anyway. It takes up too much space for what it is; you could easily drop in a Xaoc Batumi and Zadar if the B. 100M and the quad LFO weren't in there, and that would give you four LFOs and four EGs. That's a little outside of the scope of this exercise, though.
Tenderfoot Ease and After Later DVCA. These are a (bare minimum) modulation manipulation core. These allow you to vary and/or invert modulation signals, place modulation under VCA control (VERY useful!), and in essence make your modulation sources...uh, more modulation sources.
4ms Listen I/O. This not only handles the drop from synth-level to line-level, it can also do the opposite in its input section, meaning that you can use the synth to process incoming audio.
So...it's workable, you can make it behave like a very basic monosynth with some extra trickery inside. It's still missing stuff that you would have space for in a Mantis, though.
Mixing lanes: Jim's been big on the Tesseract TexMix series, and I've come to appreciate the simplicity and size aspects they've got. Plus, you can build onto a TexMix if/when necessary...with quad mono or stereo strip modules, and you also get a really nice AUX send/return implementation.
The only other thing that jumps out at me as far as changes to the present build is that you might want to move the buffered mult and precision adder in row #2 to the left end of the row. That way, they're a little more convenient (you don't have to dive into a patchcord jungle) and the cables to the oscillators can be dressed over the top of the unit if needed.
E370: Don't take it out! If it fits as well as it does here, then that's a sign you're doing something right.
Switching/logic: BassBow II might be able to do that, but it might be even more interesting to use a bunch of branched 3 or 4-step sequential switches (like Doepfer's A-151), and then drive them with various clocks. With that, you can whip up some really complicated sequencer line behavior. Screams for Boolean logic!
I only have a VCA and the multi from XAOC, but I can feel you're totally right. The design is one of my faborutes on the Euro sphere, and yeah, I almost clicked "add to cart" a few times bout the Batumi. Odessa seems to be a wonderful generator...
-- -ADR-
And actually, one of their least snazzy modules is perhaps one of their very best: Bytom. I honestly don't know of any other pulse integrator in Eurorack that offers the capabilities this does for that price, with their excellent ergonomics in effect as usual. IMHO, if you've got a lot of clock manipulation and logic happening, the Bytom is a killer module.
I agree, but I also think it's good to remind people that the extra 10% is going to cost them an extra 90% - just like it will do with modular in general...
-- JimHowell1970
My sentiment exactly. As an example, I've been scribbling down some diagrams for a multichannel sound projection system, and for shits 'n' giggles, I also did a version of this solely in Eurorack.
Original version, using Chinese copies of dbx speaker management hardware for the multichannel splitting and initial delays + inexpensive used processors for the effect delays and reverbs = about $750.
Eurorack version = about $2500.
So, yeah...it would be easier to implement the Eurorack version, since it would probably take up most of a Mantis and you would just have to jack into your amplified speakers. But when you're doing art on the sort of budgets we've had for art in the USA for a few decades, you're gonna be reaching for that AliExpress malt liquor instead of that Eurorack champagne. Just simple economics.
And if you can get someone to intone that slogan with the proper accent, it would be the PERFECT opening card bit for one of their promos. Yep...I like!
It's Xaoc. Which I think might be Russian for "kickass!" There are so many sneaky and hidden functions in those (particularly when you add a module's expander) that you can just go on and on with them and it'll take you a while to exhaust the possibilities with ANY of their stuff. Batumi and Zadar are more or less "go-tos" for adding big bangs in small spaces, for instance. And when they go ALL OUT (think their Odessa module here), it really IS all out! Feckin' amazing design going on there...on both sound AND ergonomics.
I wouldn't recommend building an entire system to simply do audio effects, given that you can find a buttload of physical rackmounted effects processors for damn near dirt. Seriously...if you can pay something like $180 for a used Lexicon LXP-15 ii (it was about 10X that when new!), why in the hell wouldn't you go for THAT rather than trying to cram functionality on that level into a module that goes in a Eurorack cab? And if patchability is the key here, just route all of the outboard gear's I/Os through some patchbays. I've been working like that for decades...and the idea DOES come with a "pedigree" of sorts, since I cribbed that from Syracuse's analog studio...
...which Uncle Bob designed. Not much better in the way of authorities than that!
It's useful...but it also has its own case and power, ergo it's probably not a good idea to toss those aside to spend even more to house it in the more expensive Eurorack cab spaces. Plus, if you really want that Moog sound, it might be a better idea in this case to just get a proper lowpass ladder-filter clone of the 904 and a clone of the CP3 mixer. Those modules are where the "mojo" resides, and the rest of what's in the Mavis can be replicated in a more flexible manner by basic Eurorack modules.
TBH, Moog should've followed their usual pattern of releasing their Moogfest workshop synths, and given us the Spectravox to use alongside their other 60 hp devices. But they didn't.
First off, I think you'll be better-served by going with a Tiptop Mantis cab instead of the Arturia. They also expand easily; Tiptop carries an extension bracket for those that lets you add a second cab above the first one. And power-wise, the Mantis uses a beefed-up variation on Tiptop's uZeus which is built into the cab; the Rackbrute requires 5 hp right off for its P/S. But the best point: 104 hp x2 for $335, as opposed to the Rackbrute's 88 (or 89, depending on who you ask) x2 - 5 hp for the power for $359.
The other point here is that trying to build a "drum machine" into a modular rig is a losing proposition. It requires that quite a bit of the space go to voicing and sequencing modules, which then diminishes the space available for synth modules...so, in the end, you wind up either with a huge and spendy system, or a more sensibly-sized result in which both the synth and drums wind up being somewhat compromised. And then...the cost!
OK...we'll take the obvious drum machine function modules, namely the Euclidean Circles and the QD, and check those prices...which come out to $772-ish, depending on the exchange rate. Doesn't sound too spendy? Well, to my immediate left as I type this, I've got one of Uli's 808 clones, which nails that sound, adds a few useful functions that the original didn't have, and puts all that in your hands for $329. And if you think that's not sufficient, add another machine and lock it up with the first one. In the end, using these purpose-built machines is the RIGHT move; you cannot replicate the RD-8 mkii's functionality in Eurorack until you're on up in the $1k+ zone. It might seem more convenient to put it in the modular, but in the end, you lose too much and pay too much for that to be tenable.
With this new 4 hp-er from HN, you not only get a PROPER 1/4" TRS headphone jack and preamp, you also have balanced TRS outs for left and right. And the cherry on the cake here, you CAN'T see...because it's the transformers inside the module, which not only isolate your modular from the interface to control noise and ground loop issues, but you can "punch" them a bit harder and, like any good audio transformer, you wind up with that "big iron" warmth due to a touch (or more!) of saturation.
Some don't dig having an output module of this sort. But having seen ground loop and signal crud issues in both dive bars and high-end Nashville studios, I think it's a pretty useful addition, as you never know when you're going to come up against those sorts of issues.
true that, I do that very often (vca before the mixer ins).
-- -ADR-
Definitely the way to go...Jim's got his peeve about ute modules, while with me, it's functionality. And I like it when one module can take all sorts of control input to twiddle with its parameters, such as what you find with the heftier performance mixers. Something like Toppobrillo's Stereomix2, where you can CV level, panning, and AUX send per channel, in addition to the other functions. The TexMix still gives you the channel input VCAs, but it's more "hands on" minus the CV over panning and such. All a matter of taste and technique, and which of those works for you. But even something supersimple such as Doepfer's A-138s (a bigtime "sleeper" module if there ever was one...super functional, quite small, totally straighforward) can be made to whip out backflips depending on your "before" and "after" mixer strategies.
Yeah, the pedal I'm sort of envisioning there is something akin to the "sustain" that I've got on the JP-6 and/or CS-80 here. Sort of a "latch" to hold a note so that you can have both hands free for going bonkers on the controls. This REALLY is a godsend with the CS, I should note...as there's a lot of sonic fun to be had while you're tweaking the sounds on the "tabs" while going totally off with the ribbon. It also lets me lock in arpeggiator pitches on the JP during live performance...very Berlin School-ish results there. But even with a monophonic synth, that one function has loads of wonderful "abuse potential"!
Tricky Dicky and Reagan/Thatcher were particular low lights!!!
-- JimHowell1970
Don't remind me. Ronnie got elected during the very first semester of my undergrad, and when that happened, I started making plans to change my degree path. I had been looking at a more academia-based model, getting the degrees and getting onto some tenure track somewhere, but I switched to the "plan B" of going back to TN, transferring to MTSU's Music Industry program, and getting some practical experience back in Nashville. Was probably the right move, as they went after the National Endowments first.
Interestingly, for all of the puffery about "smaller government", Reagan and his cronies only managed to eliminate ONE program in its entirety: CETA (ie: Community Education and Training in the Arts, a program intended to bring arts programs to the inner city, deep rural areas, etc). Says a lot, I think.
+1 on the Mantis...as usual. 208 hp, easy to tote around, and expandable with another Mantis later on. Even with seasoned modular users, putting together a full build in a little skiff like this isn't an easy task. You wind up losing out since there's either two options there:
1) You CAN do a full build with tiny modules that pose serious ergonomic challenges, or
2) You avoid the tiny modules, but don't have space for a full-on build.
OTOH, building into 208 spaces is FAR easier. You have far fewer situations that require the use of tiny modules, for one thing. And the other: $335, baybee! Yeah...powered with an improved uZeus-derived P/S with ample amps, and it's so reasonably priced.
Mind you, tiny builds DO have their place; I put together a modular parallel guitar processor last night in a Palette 62, for example. But note this one point: that was a "mission-specific" build and NOT a full synth. So small cabs do have a place...just not a place for building full modulars in that small of a space.
