This piece is a success from A to Z. This is truly a production that only modular is capable of.
Wonderful painting... Well done Adrian!
'On ne devrait jamais quitter Montauban' (Fernand Naudin).
https://soundcloud.com/petrus-major/tracks
And in action with VCV on my mac doing end of chain processing!
Has anyone else had issues with the sensitivity of the touch pads on the Swarm? It only registers about 1 in 3 touches for me in use, unless I lick my fingers.
KFW was by far the largest inspiration for me getting into modular and I always find myself returning to his work to pilfer ideas. I figured I'd revive this thread to collect some more info in one place for later reference.
A 2016 version of "Generators" as a patch from scratch:
A photo of his live rig from a 2018 tour:
Thank you clwilla. That makes sense to me. I'm also trying to keep to a left to right movement with vco and Data on the left and moving towards the output modules on the right as my interface will be on the right side of my desk. Cheers!
Working on an exp radio station, we are interested to build a patch which would be controlled by some auto-generative music units, like modules which would interfere in the score of the patch, bringing uncontrolled & unexpected behaviors or on the opposite long term variations....
Any ideas to do so would be welcomed.
There is no good order for the most part, especially once you start introducing modulation. I'd say as long as your output module is in a decent spot you'll be okay.
That said, I tend to have sound sources to the left side of cases, with modulation or filters following. But overall, its just as much an excercise in "how can I make this fit?" than anything else.
For keeping the groovebox feel, I would also look at a Launchpad Pro. The Nerdseq is designed to do lots of cool stuff in tandem with the Launchpad for performing and general usage.
I still can't help but feel like traditional modulation would be helpful here. Maybe an Ochd or a Batumi? A Vostok Fuji? Obviously space is limited (as is always the case in a case). No hate against the Hypster, and I'm glad to see it still in here, but playing your modulation is a big part of what will make this different from, say, a Elektron box or a Polyend Tracker.
I agree with the person above that the Bitbox is cool for this, but there is always the option of pairing this with another sampler/drum machine for those duties. Something simple like a Circuit Rhythm or Model:Samples, or even a Blackbox to get most of the Bitbox function minus the CV stuff (but plus sequencing lanes separate from the Nerdseq). You can even use the MIDI out of the Nerdseq to sync the sampler and modulate MIDI CCs on the sampler for that "modular modulation" feel. Frankly, the Nerdseq and Morphagene offer plenty here for sampling while you get comfy with all this, so I wouldn't worry about this now. It's something to consider, though.
that would be a fun rack for sure :)
for a groovebox feel, keeping the bitbox ?
(Nerdseq can also play audio samples on 2 tracks)
This rack is going to be used while travelling. A few notes on the choices:
thank you for the advice.
the purpose of the rack is to be a live groovebox. A allrounder for live sets.
I intended the bitbox to trigger drums and also be able to sample own sounds to trigger later.
I thought to limit it to 1 voice for simplicity.
Depending on your advice, I changed a bit.
moving most utility to 1u row, like attenuverters etc
swapped maths with delta
Lainakea as main vco trough the (Ikarie Filter)
Ona as standard vco trough (Steady Fate Gate LPG)
Jolin Agogo as LPG or multiple
drums mainly with ultra perc + BIA
sequencing and modulation more focused on nerdseq
I added morphagene for glitchy fx processing.
how about that?
Greetings
Chris
What is trhe idea of your rack ? Are you planning to live sample and resample in the Bitbox ?
Otherwise, I would actually use Nerdseq for most modulation duties, remove some modulation.
I would also probably remove the tuesday. You have a lot of sequencing power in there, and not many voices.
Also there's no filter.
What about adding a small footprint osc (Noise Engineering ?) and a filter (Joranalogue Filter 8 is very versatile) ?
On the 1U, an interesting choice is a ornament and crime, or some LPG.Maybe a 1U oscillator, that you could use for modulation ?
I guess I have to look, to get something nice for the 1u row to complement, but Im a bit clueless with 1u modules
-- MCGM
XO offers excellent 1U modules: https://www.xodes.net
'On ne devrait jamais quitter Montauban' (Fernand Naudin).
https://soundcloud.com/petrus-major/tracks
Thank you very much :D
My plan was to use the hypster as lfo and mix it with the matrix mixer.
I guess I have to look, to get something nice for the 1u row to complement, but Im a bit clueless with 1u modules
Greetings
Chris
OSI-OP, Ratio Switch and XFMR VCA - Analog Oscilloscope Screen - Complex Waveforms (Eurorack)
Youtube Link:
www.vaemi.net
New videoclip.
Eurorack & motion tracking, perfect combination.
After the first video clip that was filmed on a tripod, I filmed this video clip handheld. The challenge was to make the blank panels move with the movement of the camera. I used a motion tracking software for that. The results are great.
Much respect for the software developers and of course the eurorack manufacturers. They make tools for us to increase creativity.
Subscribe if you want to see more videos like this.
Enjoy.
tbh the SBH and midi just don't work together nicely when using (external) pitch and clock. Patching it with the patchbay however is a different story and really opens up the instrument. If I'm using an external pitch sequence (patched into f.i. VCO1 in), I like to use the internal sequencer to modulate that external sequence, add/subtract voltages on certain polymetric steps etc. This also works with midi sequences (using the internal sequencers to modulate your midi sequence).
The transport_on/off sysex files - there's also 16 sysex files to set the midi channel - will tell the SBH to listen to external midi clock (default is ON). If you send midi clock with your midi signal, this will override the internal and external analogue clock (if patched). ou can also filter out any midi clock related messages in your DAW or midi device.
To use the internal sequencers, the PLAY button must be enabled. With the EG button lit and only when the sequencers advance, it will fire a trigger and open the VCA. If you patch the CLOCK output into TRIGGER leaving midi clock running, it will trigger the EG on every 16th note. If you pull out the CLOCK patch cable, the EG returns to being triggered by the sequencers.
Default is OR logic, so it will trigger on any step SEQ1 or SEQ2 advances. There's also an optional XOR setting (midi cc113: 0-63 = OR, 64-127 = XOR).
If you want to use those sysex files: use something like sysex librarian. It's fairly straightforward: select the correct midi output, load the sysexfile and run it. The connected midi divice should automatically receive the incoming data.
Hello Subharmonicon wizards,
I prefer controlling the pitch of my Subharmonicon with external MIDI instead of the internal sequencers. While doing this, I hav , or else the envelopes won't trigger. However, now I feel like I'm wasting a pair of great 4-step sequencers here that I could use to control other parameters. Ideally, I would like to clock the sequencers with the MIDI clock or an external analog clock signal, but without the resulting trigger overriding or otherwise interfering with my MIDI sequence. Currently, when Play is lit, the internal sequencers advance, but my external sequence doesn't get through. When Play is unlit, the external sequence goes through, but the internal sequencers don't advance. Damned/mildly inconvenienced if I do it, damned/mildly inconvenienced if I don't.
Does anyone have a solution for this? There are two SysEx files at the Moog website, labeled subharmonicon_seq_transport_on / off, respectively, but the forum page with instructions or comments on their exact workings does not exist anymore. Does anyone know if these could help? Is there another way to hack it?
Regards
-- theneweuropa
Hello Subharmonicon wizards,
I prefer controlling the pitch of my Subharmonicon with external MIDI instead of the internal sequencers. While doing this, I have to have the Play button unlit, or else the envelopes won't trigger. However, now I feel like I'm wasting a pair of great 4-step sequencers here that I could use to control other parameters. Ideally, I would like to clock the sequencers with the MIDI clock or an external analog clock signal, but without the resulting trigger overriding or otherwise interfering with my MIDI sequence. Currently, when Play is lit, the internal sequencers advance, but my external sequence doesn't get through. When Play is unlit, the external sequence goes through, but the internal sequencers don't advance. Damned/mildly inconvenienced if I do it, damned/mildly inconvenienced if I don't.
Does anyone have a solution for this? There are two SysEx files at the Moog website, labeled subharmonicon_seq_transport_on / off, respectively, but the forum page with instructions or comments on their exact workings does not exist anymore. Does anyone know if these could help? Is there another way to hack it?
Regards
Thanks, i'll have it mounted in my case tomorrow.
I got a Maths, Doepfer dual LFO & Eventide Misha waiting.
I haven't that inspired since a long time. The Taiga has a wonderfull inate tone!
Thanks for the reply! :)
That Vermona module is huge. I'm not saying it's a bad choice, but unless it's the main thing you want, it's taking up a lot of space in this smaller rack. Maybe take a look at the Muxslicer for something with a similar vibe that takes up less space.
I'll look into that one. I'm still a bit overwhelmed by the sheer amount of sequencers, and not 100% certain what I'm looking for in that category. The larger footprint isn’t a problem for me - this is a fun hobby, so I'm not against buying a larger case eventually (once I have a better understanding of my wants & needs)
You'll probably also want a bit more modulation - LFOs, envelopes, and the like. This is what makes modular really tick. The complex ways you can move sound around are much more emblematic of what makes modular special than any sound source.
Yeahh that's why I left the empty rack space as is for now :) Just curious, what would you add to this setup? There's so many options, which is great! But I don't really know where to look because of it :P
-- JellyBeard97
a sequencer that can also do modulation- Erica Synths Black Sequencer and Winter Modular Eloquencer come to mind.
your setup needs a good complex modular sequencer! Perhaps get a Winter Modular Eloquencer or an Erica Synths Black Sequencer? That will really make use of your modular!
you need this : Vhikk X by Forge TME
-- cores
Thank you so much! That module sounds wicked :D
More envelopes and more LFOs. Otherwise, I like it. Welcome to the Nerdseq club. Yes, the Nerdseq does LFOs and envelopes and other modulation, but having them be hands-on with dedicated controls will make this setup more playable. Maybe another VCA/attenuator.
Hi!
I'm new to modular and I would like to build a system to create sounds for producing music in the style of Cinematic Cyberpunk. Examples of this genre could be Deus Ex: Human Revolution, Deus Ex: Mankind Divided and Blade Runner 2049. I would like to refer as well, to the futuristic sound design that can be heard on the Doom 2016 soundtrack. This is how the project currently looks like. I would appreciate it if you could give me some feedback :)
Would like to see better support for 1U to 3U adapters, like the XODES, or at least a way to stack three 1U modules in a 3U rack properly.
I've had one on my bench two weeks ago for maintenance. It's easy to take it out of the case. Just unscrew the top screws, lift it out and remove the power cable. Be easy but firm so you don't strip out the screws. Make sure to use the correct size Philips head.
What do you mean with "FM doesn't go beyond audio rate"?
There's 3 oscillators, but those coarse tuning knobs have a different range.
Not easy to get it perfectly calibrated, but when it's set up correctly it's a very nice synth. There's trimmers to set the osc base frequency without altering the pitch tracking, so you can have all 3 at (nearly) the same frequency with all coarse tuning pots at noon.
I've had a play with it to fully test it and if definitely comes more alive when patched.
If I'd buy one myself, I'd add a couple of Acid Rain Junction and/or Navigator (or any other attenuverter/mixer), maybe some extra lfo's and maybe a dual function generator (Maths or whatever). Definitely needs a nice reverb.
I recently bought a Taiga (B-stock) at a great price and have been enjoying it immensely. The sound quality is fantastic! However, after spending some time with it, I've realized that it could benefit from being integrated into a eurorack setup where I have access to a variety of modulation sources.
I've noticed that it lacks an attenuator on the main LFO, and the FM doesn't go beyond audio rate. I think these issues could be addressed by incorporating it into my eurorack system.
I'm considering mounting the Taiga into my eurorack, but I'm a bit hesitant about unscrewing the panels and unsure about what I might be getting into. Has anyone here had experience with integrating the Taiga into a eurorack system? Any advice would be greatly appreciated!
-- damasio
Both a guitar and a pedal input / output would be ideal for you. Not familiar with the Befaco mentioned previously,
but check out what Boredbrain has --
For external guitar pedals:
https://www.modulargrid.net/e/boredbrain-music-unifx
And from another company, Noise Engineering, the Nive grad guitar input is good (you'll need a 1/4 > 1/8 cable adapter
which are cheap):
https://www.modulargrid.net/e/noise-engineering-nive-grad
Both are smallish and work well!
for a guitar input I really like the befaco instrument interface - clean (unlike the doepfer) and has envelope follower and gate extactor built in... and can take mics (including phantom power) as well, so really interesting addition - to quote Ed O'Brien "guitars are oscillators"
maths is almost a no brainer to me - download the 'maths illustrated supplement' and work through it a few times concentrating on what, why and how - it will massively improve your patching game!
modulation is always a good addition - as are utilities - things that can route signals about in different ways and alter them - they also have the advantge of tending towards the less expensive side... if you ask me these are probably the most important modules in a modular to have lots of... see my signature and have a good long think about it & how it would apply to your
if you're a professional guitarist - I expect you have at least a few effects pedals about - get a pedal interface or 2 or 3 and try patching them in - experiment with delays and reverb before filtering etc
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
more modulation would be good - either lfos or envelope generators - even an ADSR if you want to use a keyboard or sequencer...
utilities would also be good , very good - clock dividers, sequential switches, attenuverters, a matrix mixer...
if it was me I'd want a whole extra row to fit these things in!!! and I'd use the 30hp free to add a couple of effects modules... especially for experimenting with delay/reverb before filtering & distortion...
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
Since you've named this rack "merzbow 101", there isn't really anything specific this rack is missing - this would be a pretty sweet noise box.
However, I would definitely find some way to fit a bunch of envelopes in here if possible. Preferably loopable and flexible ones with a decent range, for example. Go to the module finder and look up the top popular modules under both the "envelope generator" and "quad" categories. Or get a classic Dual Univeral Slope Generator (DUSG) style module like Maths or the Befaco Rampage (or the original designs by Serge still available from Random Source, although that'll get pricey). One of those would allow you to get more percussion and general articulation into this setup without making it too needlessly different (the Wogglebug audio section, for example, makes great percussion material). You could even use it to make your rack work more as a synth as well and experiment with noisy, raw takes on more melodic or rhythmic stuff. Not that you can't get here with creative patching using your current setup, but envelopes will make that a lot more satisfying. Plus it will make it easier to play this with a Keystep or something like that if you wanted to do so (which I recommend whether you want to make pure noise or play melodies or anything in-between).
I don't always like to make specific recommendations, but I'll make suggestions here. Anything I recommend here will be easily sold to acquire something else if you decide to try it and don't like it. Just remember to learn about something as much as possible before buying so you know what you're getting into. Also, please don't buy too many things at once - with a Mother 32 and what you already have, it should be no trouble to go one or two at a time and get comfortable with each module.
If I were you, I would get that Maths. Personally, I'd also be looking at something like the Buchla Tiptop 281t or the Doepfer 143-1 or 143-2. I love the Tiptop one because it's cheap, super functional, and can run a lot of stuff. It can do everything from envelopes to LFOs and even some freeform sequencing if you use it creatively. It just makes my setup come alive. It also gives you lots of individual control of attack and decay, as well as some fun gates and the chance for ratchets. But just look on this site and filter your search by Envelope Generators and Quad, then check out the most popular ones. If you don't mind a bit of fiddling and a screen, the Xaoc Zadar is a really interesting one that is pretty limitless in what you can make.
The Divkid OCHD and its expander are also useful. 8 LFOs in the original unit controlled by a single knob, so you get 8 different modulations but they all connect to each other. You can always use VCAs or attenuverters on individual outputs. The expander gives you more outputs based on the LFOs (the manual can explain them way better than I can here). It's great for creating patches that are unified, but not necessarily by typical musical means.
The Disting Mk4 or Disting EX are great modules for 2 reasons. They have tons of algorithms they can switch between to fill in holes in your system. In addition, you can teach yourself a lot about modular by learning all the functions available and how they can be used, helping you to figure out what you need more or less of (or more or less control over). They can be both great fun and good homework. Ornament and Crime, in various forms, is another great example of this - maybe even moreso because of its focus on modulation, sequencing, and CV tools.
Another thing I like that would fit your "unpredictable patching" logic is the WORNG Vector space. It's hard to describe, but you basically plug in 3 modulations and it gives you 17 different versions and variations on them. To me, this is a nice cheap (albeit big) way to get into the sort of Serge style of patches where you're not really thinking of the traditional musical components and instead just getting the function from the circuit and letting the musical results flow from that. Some of the best modules are the ones that defy simple description in musical terms, and you sort of just have to sniff these out by reading about them.
If you don't already have a way to get your guitar to Eurorack levels, that might be a good idea. Not only for processing the audio, but also using the guitar sound plugged into an envelope follower (like Maths) to control stuff on the synth. You have an amazing modulation and sound source that many of us can't have even if we throw thousands of dollars at the issue. You should use it. Plus Moog synths make great pedals. Imagine having a Moogerfooger 101 with a built-in 32 step sequencer. Turns out you do.
Lastly, I'd look into a matrix mixer that can take CV - there are lots of good options. I have one from BearModules. Honestly, Etsy is a good place to look for these. Low Gain Electronics makes some nice ones, too.
Filters are personal. Just look at a bunch and learn the different types. Don't cop out in terms of size for your filter, either. You want a decent, usable cutoff knob that you can access.
Thanks for the reply! :)
That Vermona module is huge. I'm not saying it's a bad choice, but unless it's the main thing you want, it's taking up a lot of space in this smaller rack. Maybe take a look at the Muxslicer for something with a similar vibe that takes up less space.
I'll look into that one. I'm still a bit overwhelmed by the sheer amount of sequencers, and not 100% certain what I'm looking for in that category. The larger footprint isn’t a problem for me - this is a fun hobby, so I'm not against buying a larger case eventually (once I have a better understanding of my wants & needs)
You'll probably also want a bit more modulation - LFOs, envelopes, and the like. This is what makes modular really tick. The complex ways you can move sound around are much more emblematic of what makes modular special than any sound source.
Yeahh that's why I left the empty rack space as is for now :) Just curious, what would you add to this setup? There's so many options, which is great! But I don't really know where to look because of it :P
I recently bought a Taiga (B-stock) at a great price and have been enjoying it immensely. The sound quality is fantastic! However, after spending some time with it, I've realized that it could benefit from being integrated into a eurorack setup where I have access to a variety of modulation sources.
I've noticed that it lacks an attenuator on the main LFO, and the FM doesn't go beyond audio rate. I think these issues could be addressed by incorporating it into my eurorack system.
I'm considering mounting the Taiga into my eurorack, but I'm a bit hesitant about unscrewing the panels and unsure about what I might be getting into. Has anyone here had experience with integrating the Taiga into a eurorack system? Any advice would be greatly appreciated!
Version 0.2.2 is out:
https://github.com/mebitek/performer/releases/tag/0.2.2
Logic Track
fix shift steps feature -> Guillaume Libersat
step recorder "move step forward" shortcuts
step recorder "current step" cv routable, respond to gate (5ms)
curve track cv contrallable min and max
Overview page improvements
add trigger curve shape
add filter note parameter
thanks to the greatest tester team ever: Blueman Jil Arts Pompeius Magnus Lenneskog Andreas Hieninger
full documentation: https://mebitek.github.io/performer/manual/
feel free to open an issue on github to report bugs or open a discussion to share new ideas
remember to rate the project on github and if you want just make a donation to support my work
Electronic music/video producer and composer.
Dark Ambient Cinematic atmospheres from Sardinia.
That Vermona module is huge. I'm not saying it's a bad choice, but unless it's the main thing you want, it's taking up a lot of space in this smaller rack. Maybe take a look at the Muxslicer for something with a similar vibe that takes up less space.
You'll probably also want a bit more modulation - LFOs, envelopes, and the like. This is what makes modular really tick. The complex ways you can move sound around are much more emblematic of what makes modular special than any sound source.
Plaits doesn't necessarily need a filter, but you'd probably enjoy having another one in here for Plaits or even the noise from your Noise Tools. Noise can be a great voice in its own right for drums or cool sounds (or even melodies with a resonant filter).
Hi!
I've been having a lot of fun exploring the sonic possibilities of my limited modular setup. I'm now looking to expand on it, and I wanted some opinions on where to go next :)
Modules I currently own:
- Mixup
- Stereo out
- Noise Tools 1u
- Milky Way 1u (although I probably want to sell that one)
- Plaits
- Mother-32
all housed in an Intellijel 4u 104hp case, and sometimes I use my keystep for sequencing.
I honestly don’t really need to make something musical (although I do like it when that happens). I'm just looking for new sounds, and exploration. I have attached a rack idea I put together based on the modules I found online that seemed like a lot of fun. What's your take on it?
For context: I've been a professional guitar player for about 9/10-ish years, and although I love the instrument, I have the feeling that because I know how it works, I don’t really try and get out of my comfort zone, musically speaking. I like the modular because of the feeling of not knowing what It’s gonna sound like after I twist a knob or patch a cable.
Following up on the two Random Source/Serge filters I did a while ago here’s their resonant equalizer.
Straightforward build, but you MUST look at the build guide, there are some components listed on the circuit board that ARE NOT actually installed.
Sounds good, equalizes as you would expect, and has some crunchy resonance. Only potential drawback is that it is a wide module, if you’re tight for space you might want a narrower eq.
What a wonderful module ! It sounds totally amazing, even with random values here and there, it's crazy! The interface is very well thought, the features are great, very useful and directly accessible -the only information I needed was the voltage range for the cv ins, found in the manual. Once again a great input in the market from the inpeccable Busy creator...
Tho' I'd have appreciated some FM/cross mod/Sync to this already superb module.
Hi! Low pass gates can make your synths sound so beautiful organic and warm! I recently acquired the Make Noise DXG, a stereo no vactrol low pass gate and I made this jam with it. Do you like Low pass gates? Do let me know! Please enjoy this jam :)
Raaf
I ordered this module for a small POD used to modulate my EMS Synthi and it's a wonderful device!! It not only does division of 2 / 4 / 8 but also can output either tigger or gate. For the EMS I need a short trigger and I'm dividing an external random gate from anotehr module...so it both divides it AND converts it to a trigger, very handly.
Not only can it do the division but at the same time the top section can be used as a separate clock generator with time determined by tap tempo on the switch with a nice tactile click. All this for less than $100, in a 2HP module that is only 22mm deep fitting easily into my tiny 4ms POD.
Great build quality, great functionality, nice company, very highly recommended!
-- drewskee
how does it handle audio?
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
I ordered this module for a small POD used to modulate my EMS Synthi and it's a wonderful device!! It not only does division of 2 / 4 / 8 but also can output either tigger or gate. For the EMS I need a short trigger and I'm dividing an external random gate from anotehr module...so it both divides it AND converts it to a trigger, very handly.
Not only can it do the division but at the same time the top section can be used as a separate clock generator with time determined by tap tempo on the switch with a nice tactile click. All this for less than $100, in a 2HP module that is only 22mm deep fitting easily into my tiny 4ms POD.
Great build quality, great functionality, nice company, very highly recommended!
How does the Taiga and the Quadrantid Swarm behave together?
-- GrumoSound
I have not used them together but that opens up many possibillities for sure.
However I remember that the Mother 32 main audio output is quite hot, I used to plug it straight into another filter and with the signal being so strong I was able to drive that filter with some great results. I never checked the output of the Dfam but it's probably the same. So make sure an input on a different module can handle a strong signal. I think the inputs on the Taiga are supposed to be able to handle a lot but I love that synth so I won't take any chances with hot signals anytime soon.
Thank you Zacksname. I tried to do that with the Data and the quantizer as I knew I wouldn't want a bunch of cables in front of those screens. I imagine it may take a minute just to see how the cables fall and orient themselves. Cheers!
