If you want to combine modules with the mother 32 it should be possible to power other modules with the mothers psu (because it provides a lot more power than the mother actually uses).
Anything else?
Ps: looks like the image of the rack does not update
Well, I'll kick in here. It's really hard to say where to go with this because there are so many different directions to go. I guess: what are you thinking you would like to do with this setup? And if you already own the Mother-32, Wasp filter and such, then you already have quite a bit there. I can tell you about the Erica Synths modules. They are top notch (but their Fusion line is expensive). I have their Fusion Mixer and I love it. Without knowing how you might want to use this setup, it's hard for me to say. If you're just looking for drones and sound scapes, then the Mother-32 is a place to start and then adding another noise source or oscillator. Go slow. It's an expensive domain here. In fact, now that I think of it, the Wasp filter and Wiard Oscillator fed into the Mother-32 might be interesting. You already have these. You mention other analogue synths. What other synths do you have? Because you already have a modular system going here.
cheers / alex
Hey Friends,
First I just want to say what an awesome community this is. I honestly do not know where I would be with out all of this.
I am creating a modular synth and I need some help on what to add to make this specific system I am building work properly. I am fairly new in the world of modular synthesis so anyone's help would be awesome and bare with me. It will be used for live techno. I already have a Vermona DRM MkIII with triggers which I will be using for drums and I wanted to sequence with my custom rack. Does this system have the right modules in what I am trying to do?
I was going to sequence the Vermona using a Circadian Rhythm and everything else with the Metropolis and Mother 32. Will this work? How do I get each voice from the rack into its own channel on a mixer and into Ableton Live.
Should I use the WMD performance mixer or get a seperate analog mixer outboard and hook it up with my other analog synths and have more rack space for other modules. I also would like to put this into Ableton which I use a Focusrite Clarett 8Pre. The system is pictured below.
Thanks I really appreciate it,
KP
Does anyone have any experience with the Pittsburgh Modular Structure EP-420 Case? I have two Elite Modular 6U powered cases I'm looking to get rid of and I like the size of the EP-420 except that I would like to use M3 knurlies with it.
There is pretty much zero channel bleed and you have to have multiple signals turned up all the way befor the way before there is distortion. The distortion is pretty clean sounding and when observed on a scope looks like a straight clip. The 2hp mix also works really well with control voltages and the scaling on the knobs is quite smooth, without any big jumps in volume.
-- CryptoGreen
Oh, I interpreted "The 2hp Mix has superior channel bleed" as if it had major/significant channel bleed. Thanks for sorting that out :)
i'm not an expert either, BUT looking at your system, you have a duophonic with 2 analogue VCOs... if that's all you have, it looks like you have too much mixer for your little system and could get by with a smaller & cheaper one like doepfer's
A-138b https://www.modulargrid.net/e/doepfer-a-138b as you'd only have TWO audio chains. that would free your rack up for other modules. the quad VCA seems like overkill for your system too as you only need 2 VCAs max, and your mother 32 already has its own VCA, so you're wasting 3 channels, money, and rackspace that you don't need to (unless you were mixing & matching different types like tubes & vactrols for different tones). you'd also be better served with getting a single dual channel VCA (optomix, with its 2 vactrol channels is popular & would add to the sound of your moog VCA if you patched into that, intellijel's "regular dual VCA" is popular too) and an envelope generator, particularly an ADSR as you need that to control the envelopes for your second voice.
i have no opinion on the hadron collider VCF, but the minimod ladder filter seems redundant as its another moog filter. why not get something DIFFERENT so you could add to the types of sounds you can make? doepfer's WASP filter is popular, cheap AND is available in black. it would give you some very different distorted tones while saving you money & rackspace to expand your sounds and/or abilities, eg. ring modulation. a good multimode filter like intellijel's polaris will not only take less space up, but also give you all kinds of tones your "2x moogs" won't like JUICY. you could also go with a different synth clone filter eg. SEM, ARP, or korg MS-20 etc. as each of those will give you different tones, or you get get REALLY radical & get a bright yellow rack hogging metasonix tube VCF for radical distortion effects.
personally, i'm biased AGAINST the "moog sound". it reminds me of bad sci-fi movies whereas ARP & SEM filters have a "classier" (to me) sound that's juicier & has more character, but you really have to audition filters in youtube videos to hear which ones YOU like. plenty of people love moog sound. i'm just not one of them. i's take am R2D2 sqeaking ARP 2600 over a moog any day, if nothing else, because tit offers modules that aren't common on moogs.
the tiptop VCO is popular, for sure, and not bad, BUT you already have an anologue moog oscillator. why not expand your tone potential with a wavetable oscillator like erica synth's popular black one? if you wanted another analogue oscillator, intellijel's dixie II+ is very popular & doesn't take a lot of rack space up. there's SUPPOSED to be something "special" about triangle core VCOs, but i don't know what it is. still, a dixie takes up half the space of the tiptop & a wavetable one would give you TONS of different tones you can't get out of an analogue. while it would REALLY reat your rackspace up, intellijel's cylonix shapeshifter is an INSANE oscillator (has its own SEPARATE wave folder BTW) that includes all kinds of vocoder effects and just really deep and crazy stuff that virtually makes it a standalone synthesizer. if you watch this demo, you'll see SOME of the crazy things it can do that were driving the EXPERIENCED reviewer out of his mind
i'd gladly trade "boring" utilities for that kind of tonal mayhem, but that's me. even if you didn't want to go that route, virtually ANY wavetable VCO will give you all kinds of tones that anologue filters with just sine, sawtooth, triangle, square & pulse width can't do.
also, adding a noise generator will add to your tone even if you stay totally analogue. i'm not sure if the mother 32 does noise. it's kind of limited.
the two power adapters seems overkill, especially when you can internally power a rack, probably cheaper, but you have to do the math & choose the right box. according to this site, you only need 968 milliamps positive and 333 negative worth of power. you could probably buy a rack that can handle that easily. i think people only use power modules on big power hungry systems.
i'm not familiar with your sequencer choice, but if it doesn't offer LFO & clock modulation, then pamela's new workout is a pretty powerful 8 channel clocking utility that's also programmable, though the more analogue batumi is probably more popular. one of those might help if you free some rack space up.
another total rack hog i'd replace pretty much ALL of your utilities, INCLUDING your sequencer with is rossum's control forge. it's like a wavetable LFO/sequencer for voltages. you can program 8 step voltage sequences (& link them, apparently) to create really long sequences, but best of all, you can control the CURVES and TIMES between steps to do all kinds of timing changing effects you can't get out of regular (i HATE 'EM!!! LOL) sequencers, not be stuck with "same old same old" linear transitions as you can choose each step's "curve" and then EDIT IT further and do some crazy granular, crossfade & wobble stuff i don't think anything else does. best of all, like with the pamela's new workout, you can SAVE presets!!!
modulars are very personal. MOST modular fans, it seems, like lots of utilities they can noodle with & create automations. not me. i prefer adjustment knobs over patch jacks every time. that's probably another reason i like control forge... you can do everything within the one module and get visual feedback from the display. for ME, it would be the BASE for much of my sound... creating lopsided ahhh-whoops, bass wobbles, scratches & boings & maybe even doing sequences along with an envelope follower module that i could use to human beatbox CVs with, but my approach is almost totally PLAY the rack instead of letting it play itself while you just twist knobs.
the best thing to do is let you take a look at control forge and decide for yourself if it's either interesting or a pointless complicated toy. it totally blew my mind though as it's VERY CLOSE to a module i imagined that i didn't know existed. analogue modules have sooooo many limitations that have been around half a century with no progress, but you can do so many more complicated things with digital. you can HAND DRAW modulations in a DAW sequencer, EDIT sequences with far more resolution, create an unlimited variety of waves (oscillators), create complex modulations, and even create crazy filters that do what analogue can't (rossum's sick morpheus z-plane rack hogging digital filter)
back to control forge... here's food for thought for you...
hopefully SOMETHING i've said helps you find YOUR SOUND
again, your triple wave folder is overkill as you only have 2 oscillators. it's better suited for a big system AND, back to wavetable VCOs, they'll give you way more variety than an analogue/wavefolder combo. if anything, get a small & cheap wavefolder like a doepfer and their small & cheap ring modulator for additional tone mangling potential.
you chose a harvistam polivoks filter... OK, but, you can get a smaller erica synths one that would match your black row, & back to envelope followers, get their polivoks to match. personally, i like larger roland & intellijel dual ADSRs because they're dual and moreso, use sliders which are more visual than knobs, but you can't go wrong with a cheap doepfer ADSR or two if you're OK with knobs.
i'm not too into the joystick mixer thing, but i wouldn't be using a rack for live noodling. if you kept it in your rack, you really wouldn't need the extra mixer for all the extra audio you don't have. the joystick would cover your entire system well enough as you'd only be mixing 2 voices or maybe 3-4 if you run more than one VCF per voice and want to morph between voices or blend them. the extra mixer is both overkill & redundant in your small system.
as to utilities, i won't comment on those. they're very personal, and necessary for noodling. that, and they generally don't agree with my simpler synthesizer with multiple voice options approach. i prefer to control modulations myself or with a computer sequencer using a midi in module.
using MY BIASES, i would aim for a bit more flexibility in tone &cut back on the redundancy... then, i'd get rid of all the utilities and add MORE VCOs & VCFs, but that's me. i don't do complicated patches. noodling doesn't sound interesting to me at all, but then again, i DESPISE perfect timing quantization.
HA!!!! the forum TRIED to waste my time & delete this reply by logging me out, BUT, now i know to back up & copy long replies BEFORE logging back on when attempting to reply, then paste it after logging back in! i've lost a couple really long replies already which drives me nuts!
well... if you REALLY want to conserve money, then just do EVERYTHING in freeware. i'm pretty sure there used to be a freeware modular synth that was so deep, you could even build your own modules and there's ALL KINDS of freeware synths and all the polyphonics you could ever want, BUT it would sound digital and if you're looking for portability, you'd be limited to how many parameters you can tweak with outboard sliders, but it's sure be a lot cheaper.
i'll probably do EVERYTHING with, likely cubase, and freeware if i ever can afford to do anything.
I am planning to make the Kb37 my first project. There are a lot of other instruments in line for purchase before I build this euro. I decided to take it on because it isn't a whole lot to take control of. Its something I can use as a learning curve, considering you can call me a eurorack infant. Maybe only 4 months ago, a friend recommended it to me because of my various experimentation with basic hardware. I don't exactly have the best in Eurorack advise atm. Honestly, I'm feeling a tad disconcerted, after reading your feelings towards this racking. I was wondering if there was any way I could get your ideas(weather I may or may not being doing something wrong in configuring this device) on my configuration of the fartar t9 kb37?
K
That is a huge bummer, I am so sorry to hear. I hope it all gets resolved. Keep your hope up though. The modular community is amazing even if there is a dick head thing like happening. It's just the company shooting itself in the foot in the long run.
Hi,
I am currently making an attempt at designing some kind of noise-based synth for making cool drone, ambient sounds and soundscaping.
The layout you can see is my fifth draft, and I think it is the moment for me to ask for specialists what they think about this project, and most of all if they see a flaw, something that can be made better, or even some modules that they would have preferred over some others...
Anyway, here is a quick overview.
Disclaimer: before anything, I want to point out that everything below this point is my own and personal opinion. I am not a modular synth expert, nor a sound designer, not even a musician. I am just a regular guy who likes modular synths and cool sounds. Therefore, I may make mistakes, I may be wrong, and I am okay with that.
If you agree with me, that's okay. If you don't, that's okay too (actually it is better if you disagree, as it may generate interesting debates).
The idea started upon seeing SSF's Quantum Rainbow 2 noise generation module and saying to myself, "hey, noise-based sound generation is cool" (if you are not convinced, take look at Majken's Chimera VSTi, definitely one of my favorite virtual sound module so far); and started to pop in my head some modules and I wanted to see...
After filtering the modules I found useful and interesting, I managed to narrow the list to around 50 modules, not including the standard "tool" modules like multis and attenuators. At this time, it seemed I would not get anything without really thinking this thing through.
So I started thinking during the night: what do I want to do? What function do I want? What function do I need? And eventually, I managed to set the guidelines I would (try to) follow to design this synth :
* This synth must be quite autonomous. It should be very usable and fun to play with by itself
* That being said, we will not include post FX (we could have, but it is already difficult to choose simple modules; choosing FX modules is just to hard for me)
* At least 2 filters, at least one BP (to be able to create actual nearly-melodic sounds). Also, generic filters are boring. As we have to choose filters, better to look for modules with at least a bit of personality.
* A "good" amount of modulation; remember: drone, ambient, soundscaping...
* No noise without S&H. I love S&H. That is it.
* Stereo output would be nice
* Crucial point: flexibility. I do not want to get stuck because I miss an output or something like that.
In the end, I wanted to have a very basic sound source, followed by an extensive and very complete sculpting tool, providing the musician with a way of really carve the noise. And eventually, after a lot of searching, I finally came up with this.
I was planning on using Doepfer raw wood case A-100LC3, which has the following characteristics:
* Current: +12V/1200mA, -12V/-1200mA
* Width: 84HP (x3U)
* Depth: 110mm
* Bus board: 14 sockets
* Price: 195 € (on Doepfer's website)
The name of the module made me laugh. I was aware of the existence of pink, brown and white noise; put what about blue and purple? IMO, it was something worth looking at.
I could have based my design on some other module (standard noise generator or more advanced one) but the exquisite simplicity of this one was very appealing to me.
No knob. No input. No switch. Not even the sightliest jumper. Just a bunch of output and that's it.
That is what made me think of this as a sculpting tool.
You cannot really influence the way the matter exists from the beginning; so just shape it to your desire.
I remember when I saw a demonstration of Pittsburgh's Lifeforms SV-1; it simply blew my mind. The sound was rich, evolutive, complex... And most of that was due to this fabulous filter.
And Pittsburgh, thank God, released that filter as an independent module. From the day I saw it, I kept telling to myself: "you will use it some day". That day has come it looks like.
As for the WASP filter? Well the WASP synth is a very funny instrument IMO to begin with. I really like the sound of this filter in this instrument, and I saw Doepfer had released a module version of it so... why not?
The fact that both the filters are multimode is not a mere conincidence. I wanted to have access to a BP filter; this was the only way to provide at least a bit of melodic timbre, using a lot of resonance.
These filters are 12dB however, and that is a unfortunate coincidence. I wonder if I should trade the WASP filter for a 3 or 4 pole one, even if it has less personality (also I am not convinced 18/24dB BP filters actually exist...).
Initially, I stayed very standard in my choices. 2 ADSR, 2 VCLFO a dual S&H and a RM. And then I looked at Doepfer's website (yeah, I really love their modules). And I saw that : S&M/T&M/RM all-in-one module. "Okay", I thought, "That definitely goes in".
And then I saw that also: VC ADSR/LFO, and I thought: "Daf... okay, that goes in as well".
And then I saw: VCDLFO, and I thought: "Okay. That makes my modulation base".
I do not know yet how they really are (as they are quite knew), but their behavior seems very straightforward. In these two modules lie a VCA, a Decay, a VCADSR, 2 LFO, everything with so much thing to tweak it is nearly obscene... I mean, wow. Just, wow.
The only thing I added is a little ADSR from 2hp because I was afraid I would need that (just imagine the VC ADSR/LFO is in VCLFO mode. You are left with no ADSR at all, and this is not something I can tolerate).
And that was a good idea. Not only because I think I actually need an extra ADSR, but really because it made me discover 2hp, and 2hp has some very good modules; one of which we will talk about later and the other one being the last modulation source I put in the synth: the BRST (for burst).
The BRST was the peculiar modulation source I was looking for. It is simple yet terribly smart in its design, and I am very eager to use it for damping effects or even to trigger the S&H...
I know I said "only external FX", but sometimes we would like things to be part of the chain, and that is harder to obtain when using external rack.
First thing first, I needed Doepfer's Waveshaper. I have a real passion for waveshapers. I have even dated one once.
...
Okay that last sentence was weird. But my point is: Doepfer's waveshaper is a good-sounding, straightforward waveshaper (here by "straightforward" I mean that you have a full control over the shaping. This is not an easy module to use IMO). So I need it.
Also, remember I said I discovered 2hp and their cool little modules? Well I found my dream: FREEZ.
I cannot tell you how much I love granular synthesis (yeah, I love a lot of things when it comes to music and sounds) and this module is quite close to a kind of granular unit. Used wisely, I really think it can bring your sculpting to a whole new level.
The only downside (but this is not really a downside, is it?) is that I will probably not use this module as often as the others. In a sens, it is a little bit like it is "more useless" than the others. Maybe some other kind of module (another tool module, a LFO or something else) would have been better but... meh, this one is interesting too.
That part is easy: attenuators and multis for the win. I really like having a lot of possibilities when patching; and there is no other good way, right?
Also, I tried to design this synth with my little home studio in mind, the goal being to integrate it in my various projects, projects that I hold on a DAW. That being said, I find it better to have a very distinct and fix audio output (under the form of 1/4" jack for example) from which you can tap and then never move and just patch around.
So basically, I could nearly hard wire the last modules: output of the mixer to attenuators to multi stereo out. This will never move I think, and that is a good thing IMO.
Also, I decided to use a stereo mixer. I really could have used a mono mixer, but I like composing in stereo, and the modules have the exact same number of HP (if you compare it to Doepfer standard exp mixer). In the end, the stereo feature is free (mostly) so why just not go with it, uh?
And there we go; my whole process of thinking. I have not built this synth yet but I am really eager to do it and to finally ear how it sounds. There is always a risk it will sound very bad, but I want to be confident and say it will be quite awesome.
And anyway if it is not, as it is mostly a sculpting tool, nothing denies you from getting rid of the noise generator and putting in audio from another source.
That is it for me. I do not know if you went that far when reading my rambling, but I really would like to have your remarks.
As I said, the synth is still in the thinking/design phase, so it is still possible to change some modules (as long as it respects the constraints and, if possible, the guidelines).
That being said, see ya ;)
Edit: got rid of one multi, one (dual) attenuator and the 2hp mixer, replacing them with the Mix Mult by Pittsburgh (which is good enough). Also, got rid of Doepfer multi with 1/4", S&H/... and 2hp attenuator, replacing them by a Pittsburgh Out and a 2hp S+H.
Losing the RM is kind of a bummer, but having a proper output is good too.
Edit 2: the S&H/RM is back, and I eventually got rid of the stereo mixer (it appeared to me it was not very useful as the whole chain is purely mono).
Hello everyone!
So I've built this one yesterday and I would greatly appreciate your opinion as I have little knowledge about the functionalities and possibilities of eurorack systems. I really want to include a Maths too so please let me know whether some modules can be changed.
Thanks in advance!
CV.OCD is a gadget which changes over MIDI signs to the Control Voltage (CV) and Trigger/Gate signals which are utilized to control customary simple synthesizers.
And doing this helpful piece of "plumbing", CV.OCD is intended to open up some inventive choices that go past what a straightforward MIDI-CV converter can typically do. In the event that you get a bit OCD about your CV, this could be the container for you! You can find here https://www.icrfq.com/products/ good quality PSU for cv.ocd.
CV.OCD has four assignable "persistent" simple CV yields and twelve assignable door/trigger yields.
It has capable usefulness for producing the clock, trigger and non-note doors from MIDI data. For controlling your simple hardware by means of MIDI you are presumably not going to get as much value for your money with whatever else.
Hi I want to expand my mother and add another synth voice to it.
So I'm thinking taking advantage of the Dreadbox modules as they are cheap and I thought it would give me a good go at starting down the euorack route proper.
Is what I've put together above workable?
Should I add a VCA ? I've put in an attenuator and a mult.
for effects I have external effects, and can keep the mother out of the case to get more stuff in if needed.
Other options could be to change the mulmix filter for a mutable instruments ripples, or i could add another oscillator or the dread box random module.
I've been thinking about a few alternatives since I composed the post and I get it truly records things now and again. at this point, I haven't exactly considered the network with Ableton, sequencing and tweak all around ok. likewise, in the event that you add polyphony is anything but difficult to see that I would require a great deal more rack space accessible and that would turn my "make music anyplace" thought down. that is the reason I chose to begin with this approach; I got me a volcano kick and a volca sampler, so this will enable me to begin trying different things with a few drums and furthermore utilize it as a sampler outside Ableton. Additionally, I will attempt to utilize them as a clock for my framework later, since I as of now observed a few people doing it. despite the fact that, I truly don't know whether I could utilize the volca sequencer to trigger the measured. I'll see with additional time and quiet. I figure this initial approach will convey some helpful experiences to continue becoming in light of a strong thought. I likewise will do whatever it takes not to consume the money and that is the reason I'm constraining myself from the begin.
There is pretty much zero channel bleed and you have to have multiple signals turned up all the way befor the way before there is distortion. The distortion is pretty clean sounding and when observed on a scope looks like a straight clip. The 2hp mix also works really well with control voltages and the scaling on the knobs is quite smooth, without any big jumps in volume.
I do understand what pamela does... I just didn't dig deeper into finding out all about it..... I figured you had it or used it since you were suggesting it.
Anyway, BUT, YEAH....... Pamela would be a good choice..... I think I'll have to go out to my local store and play around with some modules....
I also think it's time to build my own stage case......
oh... i thought you were using a metasonix VCF... no idea if it'll emulate the organ, but you'll probably get some funky tones out of your oscillator. you're the first person here i've seen that'd put one of their modules in their rack. i can't abide by the mismatching yellow, so i'd stick to their VCA. i think you'd get more tube sound with a tube filter than oscillator, but then again, you won't get the same "misbehaving sound" as metasonix's S-1000 wretch likes to make some random howls.
-- bubblefunk
Thanks bubblefunk. I'm not that concerned with the look, but more with the sound. If you take a listen to some of the demos like this one the filters in those days were line multiple notch and/or bandpass filters to try and emulate real instruments. After listening to some demos I don't know that a the Metasonix tube filter would achieve these tones. I am thinking a formant filter or ADDAC 601 might be better although I don't need all of the VC features of the 601 and at a higher cost.
How about a stereo output? I know it's not as exciting as other modules, but having a massive stereo image can be heavenly, especially with your new Morphagene! (I got one and it is amazing)
-- Thoevans
And here is the stereo output module Rosie :)
19 hp to fill before case upgrade ! Any suggestions ?
I have bought a module (Anti Patroon) from Error Instruments a year ago. About six months ago, I had a breakdown of the module. I wrote a mail to Error Instruments to ask how I could fix. The answer was to send it back in order to get it repaired by them and then returned back to me. So I sent it back. The result is that I never got back my module after something like a dozen mails to figure out what was happening with it.
Since then, no answer, no module back. I never thought this could happen in the modular community.
This is a shrunk down version for being the mad scientist I am. Enough to sample and re-engineer from the inside out. I feel like I am missing a key component or two.
Any feedback would be super awesome.
Kindly yours,
Ponmon
Beginning my new eurorack. I am an experimentalist by nature, and I work with other hardware outside including (casio xw-pd1, korg volca series, electric guitar, and a few misc pieces).
I want to be able to truly plug and play then mutate, breed and release the full nature of the harmonic amalgams.
This is an incomplete idea and any feedback is greatly appreciated.
Can you mute individual channels some how, like the Tempi does?
i honestly don't know, but maybe you can at the preset level. i'm a noob to modular, so my understanding of clocks & dividers sucks, but the impression i got reading pam's description was that it can do everything a batumi AND quad clock can & more with its shuffle feature and presets, though maybe batumi & quad clock work better live where you can tweak their sliders.
i'd actually expect you to understand pamela better than me. i just wanted to give you a heads up on it as a powerful clocking possibility that won't hog rack space. try contacting the manufacturer. they'll have a much better answer to your question.
well... not just that, it'd give you more octaves, and be a heck of a lot easier to play, BUT it's your rack and you know what works for you best. at the very least, i'd think you'd have to lay the rack on its back to handle the keys better, or do a bottom row kick-out. i look at that keyboard, and only one thing comes to mind...
carpo-tunnel syndrome
OK... 2 things...
a lot of missed notes... in part because of carpo-tunnel syndrome. LOL
Hi,
My name is Arynot, I'm new on this forum, just want to say Hi!
Have a nice day.
Thanks.
This little module just arrived and before installing it I noticed a USB port on the back. I guess Im a NOOB because I have no idea what its for, and cant find anything in the documentation I downloaded. Anyone know what its for other than the Arduino board?
This is a session I did after the most recent re-org
Thanks for the input Bubblefunk. I'm trying to keep everything self contained and not go to an outside the rack source. I liked the idea of having a small controller and sequencer. I do have a small USB keyboard. I guess I could get a USB/MIDI/CV module and use that. I suppose that would free up some rich space for other things.
Bought an MI Clouds off @Euxine, all went well. Recommended seller.
Hey, bubblefunk! I've seen you around these parts
The tube mixer is a dream. I love it. Very glad to have it. And the Erica Synths Monster case (6U) is great. I am replacing my Elite Modular portable cases. I have two in great condition. While the ES Monster case isn't really portable. It is nice to have the extra width. The depth is nice, too. I didn't think I would like a tall case but I do.
The Control Forge is another matter. I haven't had time to delve into it much. I've done basic stuff. And I read most of the manual(!). It's a complicated piece of equipment and it is going to take a while to wrap my brain around it. I find I have to sit with a module for a while so my brain can ponder it. The more complicated the module, the longer the pondering. But I'm excited to get playing with it. I watched a lot of videos on YT of people using it as a sequencer. While it can be used as such it seems a waste to me. It's so much more than that.
I see in one of your cases the MI Rings. What do you think of it? Have any tips for me? I've played around with mine, but I haven't dug very deep with it yet. I found a guy on YT called genshi. He has some inspiring songs he's put together featuring Rings. I've learned a few ideas to try from listening to him.
Hmmmm....
Pamela huh?...... I like how it has eight outputs...... Lots of extra things besides triggers to use too....
Can you mute individual channels some how, like the Tempi does?
Obviously I can't stop after I fill the missing 10 HP. Building a case and/ or buying one will take a while..
So, to fill out the last 10 hp......... With what I have already......... maybe a quantizer and a VCO?
i like the control forge & tube
if you select your handle in the upper right hand corner of the screen & bring your racks list up, you can go back & change the name of the rack to 2.0, or whatever other name you want using edit instead of (copy)(copy)
i'm sure it is, but i'd wonder why you'd want to waste so much of your rack space on a limited keyboard controller instead of using an external. 1/5 of a rack for a 1 octave keyboard doesn't make sense to me, but then again. neither does maths. it's easier for me to wrap my head around control forge (it's complicated, true, but at least you can SEE what it's doing) and smaller single function modules.
well coming from a "tone first" perspective, the three "essential" modules i'd go for would be an intellijel cylonix shapeshifter & rossum's morpheus z-plane filter & control forge "wavetable LFO/sequencer/modulator". you could make a lot of noise with just those, but my play rack is almost the exact opposite of yours... it'd have 19 filters, half a dozen or so oscillators, and very little by way of modulation besides a pamela's new workout, a couple of triatts, a control forge, some expanders & midi with no maths or rampage EVER lol. i'd also throw a metasonix tube VCA in to warm the wavetables up a bit too. your mids sound a little thin & spitty, unless that's the "acid" kind of sound you're after.
it's interesting actually HEARING someone's rack in action.
oh... i thought you were using a metasonix VCF... no idea if it'll emulate the organ, but you'll probably get some funky tones out of your oscillator. you're the first person here i've seen that'd put one of their modules in their rack. i can't abide by the mismatching yellow, so i'd stick to their VCA. i think you'd get more tube sound with a tube filter than oscillator, but then again, you won't get the same "misbehaving sound" as metasonix's S-1000 wretch likes to make some random howls.
pamela's new workout?
https://www.modulargrid.net/e/alm-busy-circuits-pamela-s-new-workout
it's hard for me to answer. my priority is "as many tones as possible", so i'd be inclined to say wavetable oscillator, which is anti-moog, or maybe an intellijel polaris multimode filter.
cool. thanks for the info.
as to "radical patching", IF i had a modular, most of my patching would just be swapping oscillators & filters in "standard synths" with "power patches" being based on intellijel's cylonix shapeshifter & rossum's morpheus (the absolute sickest filter IMO) & control forge, so using filters as oscillators wouldn't be an issue for me, and you'd NEVER see a maths or rampage in my rack.
BTW, i forgot the doepfer 106-1. i read about it, but when i looked it up here, a different 106 filter clone, must be their code for filter, showed up, so i didn't include it.
as to punk rock, i think that would be the arp odyssey, but nowadays, NOTHING's as punk as the all tube metasonix S-1000 wretch machine.
I have some outboard rackmount effects on my 12 channel mixer rack. It's a heavy unit and I don't want to move it around for live performance......It's funny because I haven't felt the need to use effects yet. I will someday, however I don't think I'll take my mixer rack to a live show. Maybe I'll run it all though my Korg KP3....that is probably what I'll do.
Maybe I'll have to buy a small four channel mixer for a live setup.....Just so I can get the levels right with the KP3 inputs.
My mind is still pushing me toward a clock divider......
Thanks for the input......I did forget about effects.....
I'm still not sure why I want a clock divider...... I guess I have mylarmelodies to thank for that!
Some effects maybe? ... Reverbs/Delay ? ... Those Pico from Erica are pretty cool. or RT-60 from Qu-Bit.
Hey Everyone!
So, I have 10 hp left in my current system........ What am I missing?
At first I was thinking about a Make noise Tempi..... Then I got the Performance buffered mults from Malekko....I really like being able to switch mults with the button on the fly.....
Then I was thinking about a 4ms rotating clock divider and some more mults or a malekko performance unity mixer...
Maybe it's time for a Disting? However, a Disting would give me too many ways to go....
Kind of want to keep it simple-ish..... The Tempi would be a complex module to sort out but I like how it has states to save and recall......
What would you add in 10 HP?
FYI, I do have a make noise 0-coast, Korg SQ-1, Moog Werkstatt, and an Arturia Keystep.
Thanks,
Grey
I have the older Korgasmatron, that is a great filter, very gritty but also very versatile because it tracks 1 V/octave and can be used as dual sine oscillator.
I had the dual Borg, which also sounds nice, but I did not like, that you always had to put in a cable if you wanted to use just one of the filters.
I did not use the Befaco filter, but I have several other modules from Befaco and they all have the punkrock approach, so I guess that Sallen-key filter will be cool too.
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Befaco midithing is a good choice
the forum's search engine doesn't do the best job of searching for filters by clone type, but using this modular grid & this article about filter clones, i came up with these 5 possible clones, not counting the studio electronics MS-20 boomstar which sounded really interesting and very different from their yamaha CS-80 which got me into it's sort of "nintendo/atari" sound
Intellijel - Korgasmatron II - seems to be the most popular as far as i can tell
https://www.modulargrid.net/e/intellijel-korgasmatron-ii
Befaco - Sallen Key Filter BF-22 - according to an online blurb i read, it is a "true clone", down to cloned ICs and can be used as a direct replacement
https://www.modulargrid.net/e/befaco-sallen-key-filter-bf-22
Analogue Solutions - SY02
https://www.modulargrid.net/e/analogue-solutions-sy02
Manhattan Analog - MA35 VCF/A - is actually an MS-10 clone... what's the difference between an MS-10 & MS-20?
https://www.modulargrid.net/e/manhattan-analog-ma35-vcf-a
Malekko Heavy Industry - Dual Borg - is technically supposed to be a bucchla clone, but is also compared to the MS-20
https://www.modulargrid.net/e/malekko-heavy-industry-dual-borg
anyone have any experience with any of these compared to any of the others? considering that at least as far as filter clones go, doepfer isn't the best choice (specifically their SEM clone), i'd expect there to be some sound quality differences between each brand, and something else i read implied that the MS-20 can do some huge bass sounds too which would be nice as i'm just not a fan of moog sound, but if 2 filters more or less sound the same, the one that offers extra tones, like a sweet overdrive, or multi-modes would be preferable. until hearing the MS-20 boomstar, i'd dismissed the synth as irrelevant.
I bought an ornament & crime module from Virgil (who also built it). Overall a very nice and easygoing person. The build quality was terrific as well. Highly recommended!
A easy to use and overall good converter is the Pittsburgh Modular MIDI 2. You can get it for almost nothing from 2. hand now.
Is everything here compatible? I don't want to go big, I just want to try to emulate a Clavioline which was a monophonic tube organ from the 60's. http://www.soundonsound.com/reviews/story-clavioline I want to play it from a midi keyboard.