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Comparators are devices that output a gate for as long as an incoming signal is above a given threshold. But WINDOW comparators have TWO thresholds...one lower, one higher, and you can set gate/trigs to fire above, IN the "window" formed by the high and low thresholds, and below that. And even better, this contains summing for both input and output, so if you want to fire several gates off of one signal, it's easy with this thing. For those who use a lot of LFO/envelope signals plus a Boolean module, this thing has your name written all over it! Let the crazy logic timing commence!!!
I'm still of the opinion that drums don't belong in these sizes of builds. For one thing, emulating the voicing of a classic machine such as a TR-909 costs an arm and a leg. But if you don't have a full percussion module complement, then the drums just sound sort of random.
OTOH, present-day standalone drum machines are sufficiently sophisticated that they can replicate much of the functionality you'd find in a modular built that costs a few THOUSAND more. And you can get these with extra trigger/gate outs for firing off other events...which IS where you might want some accent percussion in a module or two. Plus, some have individual outs...with which you can separate and process each percussive separately.
But no worries as I can always use this 1u stereo out module on my 14u MDLR case that has 1u tile row as well :-)
-- sacguy71
But is it Intellijel-format on that tile row, or Pulplogic's original standard? If it's the latter, that Intellijel Out won't fit. Best to leave it in the Palette, as it's the "control" over the levels being sent to an output 1/4" pair.
Definitely a good demo of what a matrix mixer...even a simple one...can do. I like 'em on modulation, which makes it possible to have several composite mod signals from a minimum of modules. My AE system even has one!
The endorphin.es tiles DO look interesting. Most of the time when you're filling out a tile row, it's just utility stuff. Not in their case, though...you get real functionality on par with some 3Us. They're also a good bit more economical than much of endorphin.es's stuff...in truth, they're kind of a bargain, all things considered. That pairing I put in is a pile of awesome for $400...stereo comp/limiter, stereo FX...ain't no joke!
Had a quite long reply to this, and MG ate it with their goofy "login" thing. Eh...screw it...
Simply put: get a bigger case for not much more $$$, like a Doepfer LC9 or Tiptop Mantis. Don't build things like this, as "full systems" in these tiny cases tend to never work as expected. And take more than a week to research this; many MG users will pore over their builds for literally MONTHS, because that's the degree of attention and research involved in REALLY nailing a build that, when all of the stuff shows up, works as you'd want from Square One.
Consider a Behringer 2600, also. It's perhaps the best educational system for learning both analog synthesis AND initial modular explorations. It also only costs $650 over here; right now, Thomann UK has them on holiday sale for UKP 469. Add some basic sequencing, such as a Korg SQ-1, and you'll have something that just five years ago would've set you back about $10k (ARP 2600 + 1604 sequencer). Yes, people do bitch about Uli and his antics, myself included...but this isn't some Shenzhen backalley knockoff. It works and sounds like a new or recently out of the box ARP 2600, and yes, I did get to use one of the v.4 "orange" ones new way back in 1980, pretty much right out of the box. It plays very nicely with Eurorack or any other system that uses 1V/8va scaling and positive trig/gates. Plus, this thing's built like a tank, and it's rackmountable in an 8U roadcase...as opposed to Korg's 2600M, which is missing the 3620 keyboards "extras" (which are on the B.2600, which is smaller...?), looks rather cheap for something that runs around $2k, and doesn't share in the portability of either the 2600FS (had the wood/tolex case, like the original) or an original ARP.
Another learning tool: VCV Rack. It's called a "Eurorack simulator" for very good reasons. It's also free, and you can get hundreds of modules for the system for free as well...with some others being VERY cheap. And there's emulations of modules you'll find on here, often designed and programmed with the cooperation of those Eurorack manufacturers.
Lastly, don't believe everything you see and hear on YouTube. While some of us CAN do tiny builds like this, more often than not these are "mission-specific" things, such as a rework I did for sacguy71 to add a few things to a sequencing/control Palette 104. This is actually intended as a companion to an endorphin.es Shuttle System and, undoubtedly, a few other toys as well. When you see someone on YT shilling for a do-it-all minibuild that presumably contains a full-on modular with everything needed, and their studio looks like a Hollywood set (ergo, pretty much unused), DO NOT TRUST THEM. Real working studios tend to be more messy...cables all over, big stacks of gear, lots of notes stuck here and there, and the like. And YT still has an under-the-table problem with presenters getting "considerations" from firms whose equipment they're using. This is something that's gone on for years...I experienced a "push" toward that a few times when writing for "Recording", a gig I'd had enough of when it became clear that it required me to compromise some of my ethics.
How's this?
I dropped the second 1U mixer in deference to adding a stereo FX device from endorphin.es. Once this was changed, this left new room in the tiles for a Mutable Ripples clone (with quad CV in expander), a Duatt for either extra mixing or attenuverters, a MIDI interface in case you want to run this via an external clock or another sequencer, and the proper Intellijel Stereo Out so that the Palette's 1/4" jacks can be used here. Yes, I know it's mainly a sequencing rig...but one last curveball here just for that: a Ladik dual gate/trig delay so that you can slip a little "slop" into a couple of the drum trigger paths...controllable manually or via the Apex. This'll make things humanize a little, or you can "slip" one or two drums for a hint of syncopation.
With the Shuttle System, this thing'll seriously walk that walk!
First up, if you've got something in there (and you do) that already has its own case and its own power, put it back in those. Right now, you've got 190 hp covered in these...and that's not only an expensive way to case these, it's killing the room you need for the actual modules. Once you take these out, you'll first of all want to toss all of the 2 hp and 3 hp stuff...those controls are way too fussy, plus when you put several of them together, you wind up with a situation where you need fingers like chopsticks to fit in between the knobs. Get 'em out of there and go with larger versions of the same circuit but with far better ergonomics.
Also, there's a lot of on-panel power supplies. Not only am I wondering why/how these are set up this way, I would suggest that you go with something a LOT heftier if there's a question about current supply. One suggestion, which will certainly result in more than ample amperage, is this: https://www.modulargrid.net/e/trogotronic-m-15 . With 5000 mA on both 12s and 1000 mA on the +5, there'll be literally NO normal way to overdraw it if this rig is split into two cabs. Just get two of these, stick 'em in each cab, and rest easy. If you can't find these in retail, check with Trogotronic directly. Also, a majorly overspecced supply like this will run very cool at a lower current draw, and given that heat is definitely an enemy of synthesizers, you want that.
The workflow on this, also, has some odd things about it. The build really has this "stuff thrown in a box" feel, and there's no clear logic to the layout. This setup might look cool, but to me it just looks like it'd be a total bitch to patch up anything useful in here. And that's important; if you want a modular that plays well, you want it set up so that anyone with a passing knowledge of synths can make sense of what functions are where. This makes it far more intuitive for you.
I would work on this...but I can't tell what reaction you'll have if I do, as there'll be a lot of stuff that I'd yank in deference to factors such as ergonomics and functionality, and I'm not sure I'd want to dive into a situation like that. It's a big build, and it's got problems, but it's a level of work that I wouldn't want to do if I'm going to get a lot of snark and static about the changes. That seems to happen more as of late, and I'm tired of doing several hours of work only to have someone rip me some new orifices because [INSERT RATIONALE HERE].
Make Noise has a helluva great control setup with the pairing of the Rene and the Tempi modules. There's a backplane connection that those two modules can use to consolidate their operation. Plus, the Rene's also a great touchplate controller in its own right.
Definitely NOT the way the original 1036 works! It should act like the same circuit in the ARP 2600; if I remember right, this is one of the 2500 bits-n-pieces that made it into the 2600.
BSPs wouldn't be a bad idea. Or perhaps one of those and a Keystep Pro? That would give you much the same functionality AND also add a proper keyboard controller.
How do you make it portable? Easy-peasy. Go to a sporting goods place that carries more guns and gun supplies than the entirety of Delta Force, and find a suitable gun case. This might sound odd at first, but when you notice that at least one manufacturer of these ALSO makes music cases (ie: SKB), it all gets clearer. Find one that can fit the BSPs...or the BSP + KSP...and then modify the internal foam so that everything fits nice and snugly. In fact, quite a few gun cases have "cubed foam" so that you can modify the interior to your exact liking. Just take your gear measurements with you, do some rooting around, and you should find just the thing you need.
As for FX...you've got a big gap in the tile row. If this is 24 hp or wider, there's your FX module space; Intellijel has a tile that offers stereo reverb, chorus, and delay (https://www.modulargrid.net/e/intellijel-multi-fx-1u)...in short, the basics that are often part of sound design, albeit nothing overly complicated, either to use or in terms of sound. As for anything beyond that, you should do a deep dive on either eBay or Reverb and look at 1980s thru mid-90s rack processors. Back in the day, a Yamaha REV-7 would've set you back a hefty chunk of change...but the two right next to me in the rack only ran me about $350 (yes, together!)because they're "obsolete". They don't SOUND obsolete...they're just not the newer/shiner/faster model of reverb unit, which to me isn't even close to "obsolete".
The ES-8 is basically a multichannel digital audio interface crammed into a small Eurorack module. As such, it should function just like any other interface, save for the fact that it outputs CV and so forth as it's a DC-coupled device. In fact, some of us (myself included) use standalone DC-coupled interfaces from a number of years back. These would normally be considered "obsolete" for audio (except that they still sound fine), but given that some of them can also pass DC, they work great for this purpose. As for your DAW, it has the CV Tools device for using Ableton with something like an ES-8, MOTU 828 mkii (which I use) and such.
FYI, the smarter way to sync the DAW would be to use CV Tools to SEND clock information, since this will have much more stability than most modules offer. Taking your headphone from the mixer is also fine...it should have the same exact result as whatever's going into the ES-8, etc. But always rely on the most stable source for clocking, in this case the computer.
And more interestingly what are the kick ass must have cool beep boop phantasmagorifiers that I should chuck in this rack?
-- padmasan
OK, hold up a second. Technically, there is NO SUCH THING as some sort of special uber global "phantasmagorifiers" in modular. OK, there's Maths, but...anyway, starting from this supposition is a microwave-quick recipe for an expensive disaster. We see lots of that, we point it out on here, then of course someone will, for I suppose contrarian reasons, deliberately avoid the Forum's suggestions...and then you hear from them several months later when they sell off the modu-mess they'd created.
Instead of proceeding this way, I would suggest looking for modules to create a build that's useful for the styles of music you create. For example: you mentioned Industrial...so I would naturally suggest a look at Schlappi's modules. But as excellent as Schlappi Engineering's sound-shredding circuits are, if you were doing some Newage sort of gig, that would be a waste of space in all likelihood. Without that MUSICAL aspect focused, the likelihood is that you'll end up with a box that does lots of things...but none of them really well.
The other danger there is that proceeding recklessly and chucking modules into the cab indiscriminately WITHOUT considering what attendant modules those would require to be at their best...well, this will do pretty much the same thing as far as your build is concerned.
What I would suggest is to stop considering this until you've gotten a much clearer idea of how modular works. And fortunately, there's a simple way to do that: VCV Rack. At https://vcvrack.com/ , you'll be able to snag a massive and FREE modular emulator that contains everything you need for the basics...and a LOT more for stepping beyond that. But also, this will give you a better idea of what's necessary in a proper build, as you can test the capabilities of your MG builds by replicating them as close as possible in VCV. If something isn't going to work in hardware, it won't work in software (as a rule), either.
Also, consider getting a B.2600. The ARP 2600, from experience, has to be the best "teaching synth" of all time, and since Uli's slavishly reproduced it (even with a few improvements), you can have one and use it as a "system core" device...with complete interconnectivity between it and Eurorack modules. I've had and used ARP 2600s an uncountable amount from 1980-2018, including every iteration except for the original (and very awful) "Blue Meanie", the first and rather buggy and hated iteration. Most people know 2600s from the big Tolexed case devices, and think the earliest of those is "v.1". Truth is, it's v.2, and as far as I'm concerned, the B.2600 is the REAL v.5...instead of vaporware and crippleware from a certain other manufacturer. And it doesn't cost $4000 or $1800...just a mere $650.
Also, instead of the Intellijel Quad VCA, I'd recommend the current iteration of Mutable's Veils. That frees up 2 hp, which might sound miniscule, but sometimes an extra 2 hp somewhere means you can fit another module into the cab somewhere else. And given that this is a rather small cab, you're going to need enough space (within reason...you don't want to build a "cactus" of tiny knobs and plugs that's not easily controllable) to get a better complement of utilities in there.
Also, don't underestimate what outboard sequencers can do for your modular build. Case in point: I did a live work a few years ago where I needed several unmatched tempi from a pair of Beatstep Pros. And that was super-easy. Since I was doing this with a digital synth via MIDI (Kawai K5m), I needed the BSPs and a MIDI merger. But the BSP allows you to uncouple its master clock from the different sequencer lanes, so I could easily set all four of the sequencer lines to the different tempi I'd envisioned. Pretty much the same thing will work with them in CV/gate territory, since they have two channels of that for the pitch sequencers.
Also, since they have that third "drum" lane...which is nothing but clock pulses...you can feed that rhythmic sequencer to some Boolean logic, and get even more crazy crossrhythmic action.
OK, now...a simple question: If I were using this system and I wanted to invert, say, an envelope. Not an uncommon thing; you see this quite a bit with EGs for VCFs, like on my Jupe-6. Soooooooo...where are the attenuverters? Yeah, I know...attenuators and the like are dull and boring and they've not got all the blinky lights and crap, but try using the "big stuff" without them and you'll discover the exercise in frustration that's waiting for you here.
Also, the idea of having SIX voices AND percussion in a system this small is...uhm...ambitious, but in a build this size, that's a REALLY BAD idea, since you're either going to have to cut corners (and this is where a lot of new users majorly screw up) and remove important things, or do the sensible thing and realize that you simply shouldn't try to put that much in just 352 hp.
I would suggest losing ALL percussion in here, because it's far cheaper and, in truth, less frustrating to simply use a standalone drum machine that's locked to a central clock. That'll open some space. Then I think you might want to swear off that six-voice architecture; sure, you COULD do that, but your likely results will either result in six badly-implemented voices, or...well, something like this, where there's very few "helper" modules even though the voices are well done. You're simply going to have to scale this back. Also...
"I have purposely built separate voices to keep me disciplined somewhat, so that I stick to certain voice structures and combinations.. at least until I get familiar with everything.."
A better method to learn your system would be to put it together gradually...after, of course, correcting what's here already. By slowly building up from a very basic module set to the intended goal, you'll gain a much better appreciation for the instrument and also, you'll realize that there's not exactly such a thing as a "voice" in modular in the first place. It's not fixed in that way...but it's very open-ended, so if you wanted it to all be ONE "voice", you could do that. Moreso, you can have different "voices" interacting and affecting each other, as you'd find in generative works.
One last thing about VCAs, also...there's TWO types. The ones you usually see as "add-ons" in modules tend to be basic linear VCAs...but we don't perceive apparent loudness as a linear function. The decibel scale is actually logarithmic...works in powers of 10 so that +10dB is a doubling of the apparent loudness, which is how you get to the Threshold of Pain so quickly. Anyway, those linear VCAs don't work like our hearing apparatus, but EXPONENTIAL ones actually do behave in ways that our hearing recognizes as changes in amplitude that one would find with acoustic instruments. Hence the little per-channel "shape" knobs on Intellijel's and Mutable's quad VCA modules, as well as any other derivation of Mutable's Veils. If you're using the VCA for modulation or early in the signal path, you'd turn that to linear. But for audio, you've got the exponential VCAs, so you turn that "shape" knob to the other setting. But the real fun is in the fact that you can change their behavior to cause the VCA to do something that shouldn't happen in acoustic instruments, or you can have one of those VCAs handling modulation (linear) and right next to it, two handling a stereo audio feed (exponential). And sure, you could get some module that has all sorts of extras in them like that...but can you REALLY control all parts of it, or has something been "kludged" so that you can't...but it makes things "simpler" (and ultimately, it doesn't). Keep this in mind when reworking this.
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Looking at this, I see a lot of the typical "sexy" modules and scant few utility modules...attenuators, mixers, VCAs, logic (ESPECIALLY with sequencer-based systems!), modulation sources, and so forth. This really sells the sizable sampler section short, as you have sampler hardware here that could really use modulation. I would suggest tossing out the Poly and the F8R for starters, because these seem to not have the sort of analog modulation that would be useful. Could be wrong, though...but at the same time, the Poly looks a bit like a "Max in a box" device. Knowing how complex Max can get, I do wonder if something like that can handle a REALLY complex bunch of objects.
But yeah, these huge modules are really cramping what the system could do. If the idea is to create a multichannel sampling environment, it may make more sense (and be a lot cheaper) to hunt down a complex sampler from the 1990s/2000s and implement that instead. This is why I've got an Akai S6000 here...when all I need is straight samples, it's perfect, and if I want to modulate that, I can potentially send analog modulation to the sampler, although telling it what to do via MIDI can be just about the same level of flexibility.
Something like this: https://reverb.com/item/45970853-akai-s6000-midi-sampler That's pretty much identical to the one I have...18 outs, dual MIDI implementation, XLRs on the inputs, detachable control panel. Then once you have something of this sort in hand, get a floppy replacement from Gotoh or Nalbantov, and you can jam a MUCH bigger "drive" into the unit via USB drives or SD cards. Once the sampler's all set up, then use a module that can digitize analog signals for MIDI transmission to send all of the voice trigger/gates and modulation to the sampler. With that, you can chuck out ALL of the samplers in the build and focus on modules to drive the sampler, the CV-MIDI conversion, timing, some extra VCFs, modulation, etc. You could even use something like the FH-2 to send/return analog signals to your DAW, and then rechannel them to MIDI in there. Lots of possibilities...
Actually, the cab problem might just be dealt with by now. Have a look at https://www.etsy.com/shop/CaseFromLake Case From Lake is probably the best thing going in portable cases right now. They do custom mods (including odd-length rows, tile rows in either format, and so on) and they're BONKERS on power systems, with beefy Meanwells or the Doepfer A-100 supplies...whichever you'd like. Many of their systems fold up to the right size to qualify as carry-on baggage. Now THAT would be reasonable enough so that you COULD go to a larger cab, but still be able to tote it around.
Tried to work on this, but much of the on-hand modules are simply too big to be practical. Plus, I'm definitely NOT an advocate of building drum machines in Eurorack...and here's why:
An Erica Techno System = $4829
Actual used Roland TR-909 = $7000-ish.
Now, the problem here is that, for one thing, actual TR-909 prices should not be that close to a modular system. Worse still:
An Erica Techno System = $4829
Behringer 909 clone (RD-9) = $349
Now, that's the current clone of the TR-909. $4480 cheaper. With that, you could buy four WMD Performance Mixers...or 12.836 RD-9s. Behringer notwithstanding, that's a massive drop in cost.
Yes, I get it...modular presumably gives you more flexibility in sound design. But so will a drum machine with independent outputs per drum and a small rack of outboard processors...and you'd STILL come out ahead.
My suggestion is this: stop. Take a close look at the Erica rig, and start figuring out if you really DO need all of that, especially if it takes up so much room in the cab that everything else has to be a compromise of some sort or another. If so, leave it in its own case, then build up a second and smaller cab for a complimentary system that contains both synth voices AND processing for the Erica rack.
And think SMALLER. Huge modules are nice in a huge system...but in something like a Mantis, they SUUUUUUUUUUCK. This is a compromise you should get used to. If you want the big module functions, keep the following in mind:
1) It's going to kill space in the cab for a lot of things, potentially including the utility modules these big ones need.
2) There ARE smaller modules that do the same (or sometimes more) as the huge things. For example, that HUGE Vermona meloDicer...there's a few other modules that do the same thing (Stochastic Instruments' Stochastic Inspiration Generator, Catalyst's Time's Arrow, etc) but which AREN'T 34 hp. Nor are they $480.
There's definitely ways to make something like this work, both financially AND practically. But right now...hmm, not so much. Consider a separate system instead. Otherwise, this will just turn into a frustrating exercise in trying to fit modules into a rapidly-diminishing space for a pile of money.
Not ALL drums should be mono. The reason for that old axiom traces back to vinyl and a VERY serious problem with high-amplitude, low-frequency sounds when they're being cut to a lacquer.
Lower frequency sounds, on vinyl, are problematic since they require quite a bit of physical movement transferred to your stylus for amplification. But when they're being cut, not only do you have that consideration, but it's essential to check to make sure that NOTHING below around 120 Hz (or thereabouts...different lathe engineers have different "secrets" for this) is out of phase. If they're not, at worst you'll just have a bunch of defective pressings. But the worst-case scenario is when some VERY low-end signal (or a sneaky DC offset) gets to the cutter head, causing it to jump out of the groove it's cutting...or worse still, if the signal actually fries the cutter head because it's been sent a signal it's not physically capable of transferring. But this ONLY applies to vinyl; analog tape and digital sources don't involve a need to mono-ize the low end, unless it helps out musically.
Oh, yeah...scrolling, too. This refers to the width of the "field" between adjacent instances of signal. Some lathes do have a way to deal with this, by adding a "check head" to the tape machine that listens to the audio a fraction of a second before the playback head gets it, and that way, the lathe's scroll width can vary with amplitude. But not all lathes can do this, with the potential result being a record that sounds like this...like this...like this...like this...like this...
Good call on the -1db Lugia. I actually find myself 'normalizing' to way less than that to achieve balance between samples. db values and perceived loudness are very different at times.
-- wiggler55550
Yep...but the nice thing about only dropping the normalization level to -1 dB across ALL samples is that everything's more or less uniform, putting the control of the overall mix back into YOUR hands. Plus, there's literally no way for dithering and such to bump things over 0 dB because, while -1 dB might seem to be close to that, the fact is that on a PCM word level, it's a long way from it. And the ultimate spin comes all the way back from undergrad: 99% of all people cannot tell the difference between -1 dB and 0 dB. As a general rule, any amplitude changes between -3 dB and 0 dB are mostly imperceptible, and -3 dB is considered to be something of a perceptual threshold for an average group of listeners where one CAN detect a level change. Note that I'm NOT referring to electronic composers and/or performers here; WE tend to have a better ear for these sorts of things, probably from the simple fact that we spend a lot of time tinkering and twiddling with these minute control changes all the time.
If you look at the Salmple, it has four discrete voice outputs in addition to the mix out. By using the 4-in stereo mixer with it, you can have more control over the Salmple's sound...sources can be mixed the way you want, and panned in ways that give the Salmple an actual STEREO output instead of the single mono "mix".
I forgot to tell you that I managed to get one of the last Doepfer - A-176 manual CV source modules that were left for sales. It's a great module, I use it for example to test multiples and indeed to create a steady offset or a steady input signal. It's good to know that EMW has something like this as well since Doepfer doesn't sell it any longer
-- GarfieldModular
Amazingly enough, EMW actually has TWO offset generators. There's the one I pointed out already...but there's also this: https://www.modulargrid.net/e/emw-dual-offset-processor which not only is an offset generator, it also appears to have a modulated offset input, probably via an adder. Not exactly a typical module, but the idea of putting an offset voltage under CV control is pretty wild. All kindsa abuse potential!
Well, I think I can see what the problem is here...overall, this is a pretty good example of Sexy Module Syndrome, and the signal flow in there is going to be really convoluted if this all remains the same. Plus, there's A LOT of utilities that ought to be in there (VCAs!!!!!!).
I can see the point of the Metron. But at the same time, I think you're going to need to scale a lot of this build...Metron included...way back in terms of these huge modules. For example, it might look like a downgrade to go from the Metron to, say, this: https://www.modulargrid.net/e/tubbutec-6equencer-3u However, that Tubbutech module is pretty much the sequencer from the Roland TR-606, very workable on the fly and live, and it's got enough outputs to justify using it with the Bitbox as a dedicated trigger sequencer. If you want to go down this lane, those are the sort of choices you need to tackle...either some big module that's pretty spendy, or one that fits but isn't as glamorous.
I'm going to get back to this later tonight. I can see what the main idea is, but this will need a LOT of smackin' around to get it to make more sense...
[A few hours later...]
OK! Now, that's what I came up with. Much of it remained from your build above, but as I noted earlier, I did wind up having to pull some modules outright. Even so, this was a sizable PITA to work out because not all of those big modules could be dropped. However, most of those were retooled with smaller yet about as functional modules.
TOP: I put the main sequencers plus the Bitbox up top. The Bitbox needed to be located by the Tubbutech 606 sequencer for ease of use. Then we get into the oscillators; you'll notice a second Plaits, for starters. This is because while 1 VCO might be fat, 2 VCOs becomes downright obese! And that's all thanks to detuning one of a pair of VCOs slightly...ergo, two Plaits. Then the supersaw oscillator, and a Veils so that you can have amplitude control over those oscillators. Since the Veils has a "breakable" mixbus, you can mix the Plaits on VCAs 1 and 2 and sum that down to mono at output 2, while the Chainsaw would use VCAs 3 and 4, outputted directly so that you can maintain the Chainsaw's stereo field.
SECOND: Modulation and other things. You have the O&c first, then an ADDAC Intuitive Quantizer, which is a four-voice quantizer with user-definable scales and some rather comprehensive capabilities. This, of course, replaces the Sinfonion which frankly had a number of features that weren't needed here, such as a chordal engine, etc. It's also WAY smaller and WAY cheaper. After that, there's a Xaoc Batumi + Poti for 4 LFOs, then the soon-to-come Buchla (by Tiptop) 281t quad function generator. Think "Quadrax" but with a number of extra tricks, such as the quadrature functions and some useful internal signal mixing. Cheaper than a Quadrax, too. I went with a Lowgain CVP1 for the modulation mixing/processing and a Happy Nerding 3xVCA for modulation amplitude control. Last in the modulation is a Xaoc Zadar + Nin with four EGs, then Mutable's Blades dual VCF, which is actually part of the voicing...but the Metropolix forced that onto this row.
THIRD: First up is a little Doepfer multimodule, which in this case contains your noise source (with fixed filtering), random source, and sample or track-and-hold. This also gives Marbles some noise to chew on. Wogglebug's after that, and then a full-on Permutation completes the random-source section. After that, you'll notice a little 4-step CV sequencer...this is to deal with the loss of transposition capability that the Sinfonion had. By setting up your changes on this little sequencer, you can globally alter the key of the Metropolix or most anything else. Next is Maths, then your Mimeophon and Beads, located above the mixer for convenience.
BOTTOM: Added a PWRchekr at left, then the Mutant Brain and Pam's. And then the pile of little modules is a full-on timing and event extraction setup, which is going to be pretty necessary for making all of the sequencers jump around nicely...it works like this: First module is a dual trig/gate delay. A second pulse divider (the main ones are in the Pam's) then allows for some strange numerical series in division. The compliment to this, the Multiplier/Ratchet Gen, is next, then a small module from Adventure Audio lets you pick off per-count trig/gates. And the key to this entire section is next, a Frequency Central Deep Thought, which is a Boolean logic module. Boolean logic is essential to getting some rather complex time alterations, since they take in two pulse signals and, depending on the gate type, can output a gate based on the coincidence of pulses...or not. It all depends on which gate you use and what you feed it with. After the logic, there's a Xaoc pulse summer, then a module to calculate the minimum and maximum across up to four inputted voltages, followed by a Derivator that outputs several gates, all dependent on voltage motion. The ANA then carries out some math operations on incoming voltages, and lastly there's a Joranalogue Dual Window Comparator...these output a gate when certain voltage thresholds are crossed, and since this is a window comparator, you get more than just the one threshold crossing. After all of the timing modules, the Bastl ABC works as an extra dual submixer to sum signals before passing them on to the mixer, a Toppobrillo Stereomix2. This mixer has your final VCAs for level, but also can pan and set AUX send levels via CV as well. This also has a CUE function for the headphone preamp, which is a godsend if you have to retune on the fly. Mono AUX send, stereo return...but only one of the latter, which is why I put the Bastl Ciao! in, as it has a second stereo in that can be mixed with the Stereomix2's output, letting you use both the Mimeophon AND Beads in parallel routing...which gives you a lot more control over the mix between your dry and wet signals. This also gives you a second headphone preamp, a few more metering LEDs, and your 1/4" stereo output pair.
This wasn't exactly fun, however...with much of the blame going to the case itself. It could be possible to get all of those big modules back in there along with much of the changes you see here, and then some. But sticking with this 4 x 104 cab is a definite drawback; I'd rather see a bit LESS density here, tbh, as I think this might have some ergonomics issues. But the main thrust here was to provide an alternate example, with errors corrected and some new concepts tossed in. However, if you took this to 120 or 126 x 4, it would be possible to reduce the number of tiny modules, which would make this a bit easier to program. Still, it's not THAT far off the mark.
Just remember to avoid the very top end of the dynamics when normalizing. Normalization to 0 dB will STILL result in occasional digital clips. I use -1 dB as my normalization standard, as it's sufficiently loud while, at the same time, it's far enough away from fullcode to avoid generated clipping from dithering, etc.
Erica, also. They've long had a thing for overspecced power supplies...a habit I definitely endorse! And Trogotronic has a 10 AMP supply, especially given that they also make vacuum tube modules. Case From Lake is 100% up there as well...big Doepfer or Meanwells, sort of like how the Monorocket stuff was overspecced.
The ultimate, though...that's got to be ADDAC System's 197 hp monsters. You can get these with up to 20 AMPS on the +12 rail!
Not a bad choice, really...but make sure beforehand that the TASCAM can deal with some major messing around with its signal flow. If not, you're probably better off using one of those older analog mixers and then using that brand-new MOTU desktop interface. Just use your 1 and 2 channels for sends to the DAW, then you've got channels 3 and 4 for a stereo monitor return from it.
ARP was using 1v/8va scaling from square one, so I don't see pitch CVs being a problem here. The gate/triggers did like a heavier hit at somewhere around +10V, but again, I don't see that as being problematic. Plus, if Uli really followed the original docs, you're likely to have a trimpot that can lower that threshold, or you can add something like https://www.modulargrid.net/e/emw-voltage-source in there to impose a suitable offset voltage that'll work.
Eurorack: there's ALWAYS a fix in there, somewhere!
Well, lessee...do you need something more along the lines of a multitrack, or would a basic stereo pair off of the mixer via USB work? Or something sort of down the middle?
If I were facing this same problem, I would go with this as the mixer: https://www.sweetwater.com/store/detail/EPM12--soundcraft-epm12-mixer No, it doesn't have onboard FX...and you really don't want those, anyway, as they tend to be sort of "meh" when compared to outboard FX processors, and given how cheap THOSE are at present, you'd come out better populating several rack spaces with something like a Yamaha SPX90, etc. Those older FX from the 1980s have a certain "grit" to them that sounds pretty warm and satisfying.
Then for audio conversion, this: https://www.sweetwater.com/store/detail/M4--motu-m4-4x4-usb-c-audio-interface 4-in, 4-out interface, has a monitor loopback function for easier tracking against other DAW tracks, and so on. And yes, four DC-coupled outs in case you get a wild hair to do some DAW-to-CV/gate/trig fun.
MIDI was always the one thing that Dieter never quite got right. The other Doepfer gear...spot-effin'-ON. But not the A-100 MIDI interfaces. They always felt like something of an afterthought when compared to the rest of the line.
The engineering behind the differences in the 4012 and 4072 is pretty interesting...
The 4012 is, of course, the "lawsuit filter". This was the amusing stand-off between Moog and ARP, when Moog accused ARP of stealing their transistor ladder concept (they did), only to have ARP whip back around and accuse Moog of lifting ARP's exponential CV converters (and they did, too). More or less ended in a "agree to disagree" state, but ARP did redesign that filter...and screwed it up.
The 4072 is the "post-lawsuit" filter, and its mellower, less edgy sound comes from a circuit design mistake that rolls the response off between 12 - 16 kHz. It was released anyway, as the voicing IS actually pretty neat if you're shooting for a mellower result. But until the recent releases and DIY clones, you never really had the two VCFs side by side unless you happened to have two different 2600s. To my ear, the 4012 is the go-to for bass and really cutting leads, while the 4072 works great on pads and countermelodies.
Still kinda wish they'd put in the HPF from the Odyssey, tho...
Yep, the Tempi + Rene combo has a backplane connection that locks these up as sort of a "hybrid" single module with pretty elaborate clocking tricks. Also notice the dual logic module next to the Tempi, which allows you to majorly screw with how clock pulses get generated and from what. In theory, you could lock the Rene to the Tempi, then use two other clock modifiers to mess with how those interact in the logic gates.
If you don't know about Boolean logic, you'd better! Using Boolean gates to create complex gate patterns is a killer way to get even more out of a system than JUST having a clock. What Boolean logic is are basic operators and how they react to incoming gate signals...
AND only fires a gate when both inputs to a gate are active
OR only fires when there's a gate on one or the other input. These can also be used to combine pulses, which is why you see so many pulse adder-type modules
NOR only fires a gate when there are NO gates at EITHER input
and NAND only fires when both inputs are NOT active, but is on in all other states.
You can also get the "N" via using an inverter on the gate output so that the gate's resulting "high" state converts to zero, and vice versa. But these slightly-confusing Boolean gates kick the door off the hinges when it comes to creating complicated patterns...and all you need are a couple of gates to input. Now, as for the rest of the Pam's trickery, did you look at this?: https://www.expert-sleepers.co.uk/fh2.html You'll note that the FH-2 isn't JUST a MIDI interface, but it ALSO has some sneak functions that kinda overlap with a Pam's. Have a look at that link.
Now, where to start for building...my suggestion would be to start with the top row and then you can work on how to optimally use the synth's voicing. Then the second row, which should be fillable at that point since Tiptop should have some of their Buchla "t" series modules ready. Get used to how the modulation works, and how it works together with the top row's voicing. THEN do the control row on the bottom. By getting used to the primary functions of each row one at a time, when you finally get to the point of implementing MIDI and a controller, you'll be very much up to speed.
I would be interested in how others from the forum build their rack if they want to play it completely live. Do you have a central module with which you control your system or do you have ready-made SEQUENCES? For example, melody, bass and drums?
-- FWGW
I don't think you're going to find too many people using "canned" sequence tracks or prepacked libraries around here...
As for how to play a modular "completely live", there's literally no guidebook to that process. A "live" system is just as likely to have some type of MIDI interface as a "studio" system. Plus, that's not the only way to control a modular via some sort of computer interface...you can use a DC-coupled digital audio interface or a purpose-built DAW to Modular module such as the ones Expert Sleepers makes.
As for my "modular sandbox"...there's no real "central module", either. That part of the studio is set up so that pretty much anything goes, given that modulars ALSO tend to fall into the "anything goes" zone as well. Sometimes I'll use some ad hoc clock distribution, but that's about the only "typical" thing I do.
Build = $7110 on modules alone, add another $1200 for the cab, so $8310 or thereabouts. Maybe. Could be worse, actually.
Two Moog Matriarchs + Two Korg SQ-1s = $4658 street.
Result makes no fiscal sense at all to implement. Technically, the entire build itself is redundant.
What would be FAR more sensible would be to get the Matriarchs and SQ-1s (or wait for Uli to start kicking out the BCR32s), then use a smaller cab such as a Mantis to add modules to arrive at that "more functionality". Otherwise, this is a very expensive exercise in why one doesn't build polyphonic modulars unless you have a laundry hamper or two full of Benjamins lying around. The smaller build can also contain a number of modules that can let the Matriarchs link in various ways for a full-on eight voices with a lot of extra "trickery", plus extra FX processors to beef up their sound.
Also, keep in mind that while it IS bigger than the Quadrax/Qx pairing, we're getting the Buchla 281...same sort of idea, but with an additional quadrature function. My applications of the Quadrax/Qx are actually derived from using a 281 YEARS ago, and recognizing that that module was straight-up KILLER. Sure, it takes another 8 hp, but this is one of those times that the extra space is VERY justified.
Several things, but I've tried to get some of those back into the build.
OK...Row #1: I put in a Doepfer A-119 so that your input can also have an envelope follower, allowing you to fire gates and output the dynamic info as CV in addition to getting the sound into the box. Kept the buffered mult since there's a lot of potential pitch CV needs in this. Then Wogglebug, Trident, Veils, VCF-74...and then a different filter altogether. Since you had the 2hp vowel in there, which is sort of a restrictive module, I blew that open by adding Limaflo's Motomouth vocal formant VCF, allowing ANY sound to have vocal characteristics. The Minsk then takes the mono signal we've had through the voicing and allows that to be formed into stereo...with a few extra tricks such as being able to use a Mid/Side matrix to broaden the sound to OUTSIDE of the stereo field. Lastly, FX Aid and then the Clouds clone.
Row #2: Went nuts here. You needed random, so you got THE random source. Does about a bazillion things, which you'd expect from a Buchla module. Maths comes next, then there's this mixer/scrambler module from Modulaire Maritime that can process modulation, paired with a triple linear VCA for controlling mod levels. Then Buchla's fine 281t is there for a pile of functions. Envelopes, obviously...but way more than that, plus you can have quadrature pairs of mod signals. Kept the Magneto, also.
Row #3: Took out the other EXPENSIVE AF MIDI interface and went with a more capable and cheaper one from Expert Sleepers. Then I added a bit of logic via Tesseract's dual VC logic gates. And then...I think I've fixed your Rene problem; the Tempi module is designed to work as Rene's clock source as well as a complex time source, plus it opens up a few "hidden" Rene functions. This should make it a lot smoother to work with, and also eliminates the need for a Pam's. Annnnd...once that's fixed, the Triad/Arpitecht pair should be somewhat more straightforward to use. MUXslicer is next so that it can either work as an adjunct sequencer or an audio MUX, then your Disting EX is after that, right by the last Veils...which serves as a VCA "front end" for the Doepfer A-138s.
But yeah...some of the issues definitely came down to not having the paired modules in a couple of cases. Once they're in, it opens those modules up and that then frees the other modules up from you needing to worry about whether or not you've got the right modules. And that Tempi can also kick up the MUXslicer's game by providing a complex clock for it as well. This should be able to really tear up now.
just got a email from the EMW guys,they will send a bunch of sub-osc generator modules in their next shipment to Sonic-sales in germany
-- Broken-Form
Hellzyeah! These should be quite useful, as they're JUST the suboscillator and the two-position waveshaper. A lot of times, you'll find the suboctaves tacked onto other devices, sort of like an afterthought, but this is tailor-made for subbass.
Definitely check their other stuff...EMW's been a real unsung hero in cheaper modules. They seemed to go through a bad patch a few years back, but they're back on mission again, apparently.
And don't forget: tons of VERY capable computers are out there, too...thanks to corporations that constantly turn over their equipment, often due to tax purposes. The ability to snag a major-scale Xeon workstation for $1000 that can outstrip most any typical consumer-grade computer...there's nothing like it, really. True, they're not new, but they're often available in full refurbs via joints like Newegg or on Amazon as well.
Just like a real Porsche, there is no substitute for the real thing.
-- sacguy71
Too true! Frankly, I'm STILL boggled over both Tiptop taking this on AND how much they cost! And yeah, we can now cross-merge a BUNCH of classic modules (well...some are clones, but yeah) into builds that, back when these modules were NEW, would simply not be possible because none of this stuff talked the same "protocol". Buchla 258 + ARP 2600 oscillators -> Steiner Synthacon VCF -> Roland 100M VCAs & Buchla 281 and Maths for mod sources is a patch that simply could not be done, period. At least, not back then...
Aha! I was working on adding new stuff and making corrections on EMW's listings, and the very thing needed here just happens to be one of their modules: https://www.modulargrid.net/e/emw-sub-osc-generator
The very thing, with 1 and 2 octave suboscillator, "tone" control (waveshaping, basically), fits in 6 hp and only costs $69 + shipping from Brazil. I would suggest going direct with EMW, also...their distribution can be spotty in some locations.
And oh, yeah...it's got its own 4-point passive mult to boot!
In a very small build as this, it's important that EVERYTHING have an actual function. As such, I would suggest deleting the o-scope tile and replacing it with a 2 hp blank and an Intellijel VCO 1U so that you can have at least one dedicated LFO to use alongside the Maths. I also pulled the headphone preamp and the mono reverb so that you can have a stereo FX processor that does more than just reverb. Other than that, congrats! You managed to create a build that CORRECTLY utilizes the space in a small cab. And this looks like...
One immediate thing I'd suggest: reverse the positions of the VC8 and RADAR, and then add the RADAR's BLIP expander to the left of the RADAR. The BLIP module can make the RADAR do a lot of interesting things, such as sequenced envelopes, etc. Very worthwhile!
Heh...managed to beat the original price by $500 with this:
Voicing's on the top, modulation/control on the bottom.
Top row: The AXON1 expands the Salmple with four more assignable CV ins. I also put a Doepfer stereo mixer for summing the individual outs into a single stereo out. Changed the oscillator to the real deal: a Buchla/TipTop 258t...which saved a TON of room! After that is a bitcrushing ring mod from Recovery, then a Veils provides four VCAs for controlling source amplitudes. Blades is after that, followed by a dual VCA for controlling amplitudes off of the Blades or Beads. The output mixer is a stereo-only affair from Happy Nerding, allowing you to sum up to four stereo signals, which seemed like a good choice here. No output stage, though; I wanted to put that Befaco back in, but space limitations put a stop to that, so just make sure to attenuate the HN's output so that you don't hit your mixer with synth-level signals.
Bottom row: Pam's, Nanorand, Cold Mac, then a quad LFO. After that, you've got Maths, then a Frap 321 for modulation summing and manipulation. This is paired with another Doepfer dual VCA. Then I put in a Quadrax + its Qx expander for complex signals...since you can use the EOR and EOF triggers to cascade the EGs, or you can use the Qx's outs to fire other processes in the build. Then there's a basic dual ADSR for your VCF (or VCA...depends on what you're up to). After that is the chiptune source and I've directly paired that to the Data Bender for maximum glitchy, weird results. Again, this also feeds to the HN Stereo Mixer.
This actually turned out better than I thought it might. Some of the modules just didn't fit, but thus far only one of those was significant, and that was the Optomix. The rest of them are either your specs or they do what your specs did, albeit in a smaller space...and this left space open for more functionality. Then things were added so that what's there can really cut loose. However, you should definitely think about Ronin's ideas for the sampler...either going slightly bigger (might be difficult) or smaller (MUCH better) could be useful here.
Nono is super-expensive, you bet! When I looked at the listings there, they have some cases like the CFL ones...albeit for twice the price! Plus, with Nono, you don't have the ability to spec out custom builds like Case From Lake does, even though they use the same sort of Meanwell P/Ss that CFL can put in.
I don't see the point of the extra expense, frankly. And you can go to over 104 hp (up to 168), spec power output, add tile rows, and so on with CFL.
Hmm...you're missing a couple of other Berlin schoolers...
First up has got to be Manuel Gottsching, who began with the VERY trippy band Ash Ra Tempel and then went on to create a major part of the early template for techno (ie: "E2-E4"). Hands down, 100% recommended.
Then there's the SPIKY Berliner, Conrad Schnitzler. He was more aligned with the grittier, proto-industrial side of things, which shouldn't be a surprise as he was on the first TD album, and the first few Kluster albums ("K Cluster", basically...they changed the first letter to the more anglicized "C" after Schnitzler left). But for a serious dive into his work, grab the several "Funktion" albums, all of which are titled by different colors ("Funktion Gelb", "Funktion Blau", etc).
And the last I would recommend in that style has got to be Popol Vuh's first two albums, "Affenstunde" and "In den Garten Pharos". After those landmark electronic-based albums, Florian Fricke gradually shifted to acoustic instruments but continued to make brilliant music along the same lines as previously...just minus the electronics. Fricke technically isn't Berlin school, as Popol Vuh was based out of Munich (along with the Amon Duul groups, which Fricke drew on for later Popol Vuh lineups).
There's more...a dive into Bureau B's catalog is a great way to tackle the various different Krautrock flavors: http://www.bureau-b.com/
TouellSkouran's stuff is also well-known for its generally nasty sound, too. Some super-useful manglers in their line, especially some of the tube modules.
