Perfect for Musique Concrete aficionados without the use of synthesizer. All recorded media for manipulation old school. If only the Make Noise module was white. :D
Uhmmm...no. For one thing, you've added a case to two standalone devices, thereby increasing their cost. And why in god's name is there a pair of bog-standard VU meters taking up 24 hp here? As someone who's worked in concrete media as well as tape AND sampling systems for that sort of work, I can safely say that you do not need those.
OK, so if you're going to do a sample-based system, first up, it needs more in the way of modulation. You also have to figure out how to get both mono AND stereo samples to play nice in there. Plus, you can add more than just a single stereo voice. So, I cobbled up something that I, as someone who was chopping tape back in the late 1970s, would feel would be suitable as a concrete system. Ergo:
This build, in a Make Noise 7U cab, goes a long way toward that. You have an input and output (to TRS) on the mult bar, and with the top row's first module, you can extract dynamics information from an incoming source...which need not be mixed in with the rest of the audio if you just want the envelope follower as a modulator alone.
So, there's that, then a stereo sample module, the 1010 Bitbox, which has a dual VCA for level control after it and before it feeds into a Rossum Linnaeus stereo VCF. This filter also has the ability to do TZFM, so you can impose some VERY extreme filtering onto the Bitbox's output. From here, this would feed down to the mixer section so that it can either be manipulated further by the Beads or it can go directly to two mixer channels.
The second sampler chain uses a Squarp Rample, which has four mono outs. The little module next to it allows for ring modulation and some other mangling options (suboscillator is one of them), then you have a Veils for the four voices followed by a Qu-bit Quad VCF, and this feeds to a stereo submixer for spatialization and mixing. The mixer then goes to the mixer and/or Beads, as desired.
Now, for modulation, we start with a complex clock gen, then a hex clock divider. After this, a Quadrax/Qx setup provides four envelopes or, if desired, four looping envelopes. The Qx also allows the Quadrax to "cascade" these. Then, a matrix mixer; since this is a bit limited in mod sources, this allows the user to crossmix several mod sources so that up to four more "composite" modulation signals can be derived. The Zlob Vnicvrsal VCA then gives you six linear VCAs for even more modulation manipulation capability. As for LFOs, I put in a Batumi with the Poti expander for four LFO sources.
Then the mix/FX section. The Beads is Mutable's "mkii" version of the venerable Clouds module, with many granular methods of messing with audio, and this could conceivably be fed by either the first or second sampler chains, then sending the output to a pair of mixer channels. And as for that mixer, I specced out Cosmotronix's Cosmix, giving you four mono ins, two pair of stereo ins, an mono AUX bus and stereo FX return. And since the Cosmix has a mono out/stereo in for FX, I dropped in a Frequency Central Stasis Leak which has that same topology. This provides reverb, chorus, and a tap delay. Then the last module gives you a headphone amp with stereo passthru to the Make Noise's stereo out. On, and the little white sliver is a Konstant Labs PWRchekr; yeah, the Ladik headphone passthru has DC bus indicators, too...but the Konstant Labs one is mission-specific, whereas the Ladik's indicators are something of a "sideshow element" and not the module's main focus.
Now, THIS is a decent sample-based setup. It not only has several voices, but it adds all of the modulation devices you'd need to really make those voices go really bonkers. As someone who's spent years...literally...futzing around with splicing blocks and grease pencils, this build is how I'd rather approach sample manipulation: if you have to do it all in one "box", make sure the box has everything it needs already self-contained.
This is just a "cute" minimal system to carry around, of course it doesn't have every module on the planet. Think outside the box. If Hainbach can make great music using just two Koma Electroacoustic Workstations so can you and so can anybody else. Those meters are just for eye candy and to give it a retro look and to show you your levels, nothing too taxing. It is meant to be ultra minimal and able to create soundscapes, the heart of the unit are the Electroacoustic Workstations which are very powerful and can make some nice stuff, yes they many not be ultimately stereo but they do a good job at sounding 50s, 60s lo fi. Make Noise Morphagene is very powerful in its own right. and can do splicing and audio manipulations enough to satisfy. Adding that to the effects on the Electroacoustic Workstation and utilizing modulation tools and other tricks on the upper Electroacoustic Workstation will be enough to satisfy anyone at a park. The goal here is to sound 50's and 60's and not modern. I am fully aware of the difference between a large system such as yours.
@Lugia, you don't need the Timewizard if you have the Godfried there. Godfried can do any division possible on its own. Also, you can assign external pulses to change the preset and get some kind of sequenced divisions. It is The shit!
Can you please expand on your use of a VCA after the Bitbox? I added an octa-VCA after my Micro to be able to change the levels but I'd love to hear your thought behind the combination. Technically, you can assign a CV input on the Bitbox to control the level.
Only problem is that the Hinton Signal Level module seems to be a one-off/custom unit (at least it's not mentioned anywhere on the internet aside from modulargrid at all) and that, knowing other hinton modules, it is probably 10+cm deep so it may not be optimal for a small system to carry around :D
But I realize that this is more for imagination / aesthetics than a proposal for a real system.
I'm going to second that ummm... no.
If you decide to go that route, Addac sells a smaller dual VU meter. https://www.addacsystem.com/en/products/modules/addac800-series/addac812vu
Paratek also has a variety of single VU meters if you want larger.
Can you please expand on your use of a VCA after the Bitbox? I added an octa-VCA after my Micro to be able to change the levels but I'd love to hear your thought behind the combination. Technically, you can assign a CV input on the Bitbox to control the level.
-- ParanormalPatroler
Sure, but having the VCA pair allows for some interesting stereo modulation. All you need is an LFO + inverter, and you've got some very trippy L-R panning happening. It also allows for easy AM (in stereo) of the signal.
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
-- Lugia
See, this is why I like to ask these questions. I'm fully aware of what is out there and how to go about Eurorack, but getting some insights like this, an approach to something that is meaningful yet different to your own, that I find enlightening. I guess I need to find an octa-filter as well! :)
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
-- Lugia
See, this is why I like to ask these questions. I'm fully aware of what is out there and how to go about Eurorack, but getting some insights like this, an approach to something that is meaningful yet different to your own, that I find enlightening. I guess I need to find an octa-filter as well! :)
-- ParanormalPatroler
The Bitbox Mk2's inputs and outputs are DC coupled and you have four discrete outputs. Why wouldn't you get a VCA involved?
Variation on a portable electroacoustic palette
-- Jihel
I like that you kept the whole white colored scheme. :)
