That info used to be posted on the website, but now that they are selling a power supply with the CV.ocd, it's gone.
There's no max rating. The CV.ocd will only draw as much power as it needs. So just make sure your power supply is rated for at least 150 mA.
This is the one I bought. It has the 150 mA minimum requirement. I've been using it for a couple months with no problems.
I added the L-1 tuner to my rack a couple weeks ago and can't believe I lived this long without it. Really helps that I can keep two different oscillators connected to it while I pass their signal on. I find it really useful to monitor my analog oscillators with the flip of a switch and confirm whether they are still in tune or need a little adjustment.
It's also nice that it offers different types of tuning so you can also tune external signals with it too, which is a big part of my setup.
I was using a tuner app on my phone before this, and the mic on my phone just made it really unreliable.
Buchla was specifically trying to create music without using keyboards.... just sayin. Is that the "ish" part?
Since you're going for sound design, I would skip the Azimuth since panning and stereo width are things that would be more important farther down the signal chain and could be (mostly) duplicated at your mixer. To give you a wider array of sound tweaking (and give you more patching options for your Quadra), I'd replace the Azimuth with an ADE-10 Reactive Wave Shaper. Other than that, looks like a fun set of modules!
I've got a some vintage Korg and Novation rack synths that I route through a rack-mounted stereo line mixer. From there, an 8-channel snake runs over to my mixing desk that controls all my outboard sound gear and connects to my DAW.
My modular is inserted on a stereo pair between the rack mixer and the desk mixer.
To make that work, I needed balanced stereo ins/outs, so I went with a Vermona TAI-4. Shortly after I got it, I discovered that overdriving those transformers adds such creamy distortion to those vintage synths, that I fell in love with that Vermona module. Glad I spent the money.
This is my current modular setup. In the future, I'll be adding several more filters, reverb/chorus, and more modulation options.
Ah, I can understand that. My modular only has FX modules (filters, echo, distortion, and such) because I use it as the FX chain for my hardware synths.
I've read that the drum sounds on the TR-626 are rather disappointing, so I can understand why you'd want the DrumDokta too.
Looks good!
Not sure it matters unless it is just intellectual curiosity. This module is not available without purchasing the Make Noise "Shared System".
However, since it says it is line level and "will drive long cables", I would guess the output is +4 dBu ("Pro level") like the Intellijel unit is.
If you need something "stronger" than line level, you might consider just patching your modular directly into your mixer, as long as you're careful. Modular levels are much hotter than line levels, so you could burn out the preamp on the mixer or interface unless you keep the gain knob turned down.
Hmmm.... a lot of filtering options. I'd be tempted to drop one of them and add a delay module to go with the DrumDokta.
Also, what's supplying the clock signal for the drums/sequencer?
Actually, drum machines of that era (808, 909, Korg Electribe, etc) didn't have velocity. If you think in terms of sound design, velocity is only something you would find if you were trying to impersonate a real drum, because velocity isn't just about volume--it's about how the character of the drum sound changes depending on how hard you hit it.
The TR-909 was never intended to sound like a real drum kit, hence no velocity. However, these types of machines did have "accent" (and so does your module) in order to make the drum sound hit a little harder, usually on the first beat of each bar.
That being said, if you really want velocity, you might get something resembling velocity by patching the V/V output of your MIDI module to an envelope generator patched to a linear VCA (attenuator in this case, I would think).
The quicker and easier way to do it would be to record your drum module as audio into your DAW, just a single beat as a sample, then use your DAW's sequencer to play the sample with the patterns and velocity you're looking for.
What about the MFB Dual LFO? There is a reset trigger for each LFO and it's reasonably priced (I just paid $175 for mine).
Got home tonight and discovered that the patch cable on the input side of my modular was laying across the power supply of the unit below it in the rack--and I had hope. However, no matter how I moved the cables around, the Wasp continued its -20 dB hiss.
I finally removed all the cables, both input and output, and put a probe on the output jack. Sure enough, the hiss is still there, so that tells me that the source of the problem is the uZeus. My other module (A-136 Dis) exhibits the similar behavior at a much lower audio level, so based on the tech sheet you provided, I feel like the Wasp is just more susceptible to these kinds of things.
So for now, I think I will just EQ out the hiss until I'm ready to upgrade to a cleaner power supply. I'll have to listen to it if I'm monitoring from the rack, but at least it will be inaudible when the audio reaches my DAW.
Thanks for all your help!
Interesting...
Power is provided by a Happy Ending Kit uZeus, but now that I think about it, the audio cables running between the Wasp and the mixer are draped over the top of an Emu sound module before plunging into the dark recesses of my equipment rack, where is is probably in close contact with the rear plane of several other components--notably, where the power supplies would be.
I run balanced patch cables exclusively in my rack, but of course the patch cables connected to the modular are 2-conductor, unbalanced. Since these wires run very close to several transformers on their way to the mixer, that could be the problem. I'll try rerouting the wires and see what happens.
Thanks for the tip!!
Greetings all,
Newbie here--just bought my first couple modules, one of which was Doepfer's A-124 Wasp filter. My question is... is this thing supposed to hiss?
I finally put a spectrum analyzer on it, and I'm getting a single 23.7 kHz, -27.2 dB transient from the thing. Even with no sound going through it. In fact, as soon as I turn on my rack, the -20 dB light on my mixer recognizes sound on that track.
Whether the filter is set up as HP or LP, fully open or fully closed, I still get that spike. Oddly enough, when the filter is closed, the spike rises to -19.8 dB.
Is this part of the "character" of this filter? Other than the hiss, it seems like a worthwhile module.
I checked the rest of my modular setup, and a similar transient spike is present then too, but at a more acceptable -59.5 dB.
Any suggestions? Or did I just get a bum Wasp?
