Sad news. ‘Planning for the future’ is ‘impossible’... A situation that many companies are experiencing. A page is being turned in the world of modular.
'On ne devrait jamais quitter Montauban' (Fernand Naudin).
https://soundcloud.com/petrus-major/tracks
Thoughts on this?
I already have the two Sylph modules.. then there is a sequencer, multi-effect and a mixer..
What are your thoughts on this?
Modulargrid says it's $375. It's $299 at Perfect Circuit (not in stock). And it's $420 at Detroit Modular (in stock). The dealers seem to be getting worse than the profit taking Reverb sellers.
-- mntbighkerI just add that kind of dealer to my never buy from again list.
sell your module direct please . its to good be out of stock
-- jachinboazAgreed, just don't take a page from Noise Engineering and not ship to dealers just so you can charge a $50 restocking fee.
Hello [deleted],
there is some confusion at the moment because we are about to release the new MK3 version. The 299$ was for the MK2 version wish was produced before Silicon component crisis. We hade to re design the dimension because some parts were impossible to find anymore or the price did increase like crazy. This is why we came with the MK3 version. Also we took the re-design oportunity to improove little things.
A new batch is building as i write you and we will ship to retailers end of September (MK3 Versions, not yet on ModularGrid...)
I hope it answer your questions. If anything else, just ask :)
Best.
modedit: deleted mentioning of a username on users request
sell your module direct please . its to good be out of stock
Damn...sad to hear that. But it makes sense; the entire supply chain for electronic components has been shot all to hell, shipping can still be dicey, and so on.
Do what you've got to do for yourselves...and may the sun shine on you and the wind be at your backs. Godspeed, y'all...
Well, to fix the oversized MIX BX issue AND to add some final VCAs to the audio path, I would recommend having a look at Tesseract's TEXMIX system. With the Master module and a mono input module (4 ins, VCAs over level), you get your final VCA level controls. You even get to stick with the dual AUX send/return architecture for your effects. But the result fits in just 20 hp. Need more inputs? Just add another fader section!
Well, I didn't get this to fit in 64 hp...but you might want to have a look anyway...
Bigger makes this work. Here's what's there...
First up, I went with an Intellijel Palette 104 so as to keep this build gig-bag-able. This also gives you a set of buffered mults and some adders, along with the four 1/4" I/O jacks, and it contains your power supply. The buffered mults in this case can be used to mult-out a stereo pair to three outputs (using two mults, natch), leaving a third for modulation routing.
The tile row here is pretty significant as well. Your stereo inputs are on the left (fed by a pair of the 1/4" jacks), then a QuadrATT lets you mix modulation, or you can use it as a mono mixer...or both, since you can "break" the output bus into a pair of two-channel outs. This also gives you the ability to attenuvert various modulation sends, it functions as a DC offset source...very useful thing. Next, you'll note the VCO right next to a ring mod tile; the VCO is the ring mod's "carrier", offering four waveforms. Plus, that VCO can be dropped into low frequency rates...so, send a slow square wave in one side, the guitar in the other, and voila! Instant "Crimson and Clover" audio chopping! After those are two more utility LFOs...both of which have wave restarts, which is also important here (you'll see why in a bit). Then the output mixer lets you separate two different mixes and then combine them when going into the outputs (the other two 1/4" jacks). This should function as a very capable wet/dry control...run your dry signal (or maybe the wavefolder output?) into pair #1, your FX mix into pair #2, adjust as desired.
The MODULE row, though...that's where things get interesting!
First up is a pair of ADDAC 301 pedal interfaces. These have an expression pedal input as well as a "latch" switch for sustain...or for firing something else, such as the huge thing at the end of the row. After that, a Bastl Dynamo does double duty by providing two channels of envelope following/gates, plus an A-B switch, all under the control of the input signal's dynamics. After that, there's a trio of AR envelopes from Nonlinearcircuits and a rather twisted LFO from Erica. The Black Octasource is a single LFO...but with eight outputs, all set 45 degrees of phase from each other. With that, you can have things like autopanning, weird modulation "lumps", odd modulation "cancellations", etc. Sure, you could have four LFOs...but this thing gives you eight ways to use one LFO, all in perfect sync. The Black Noise Voltage Processor is your waveshaper...stereo waveshaper, in fact. Get used to that word, btw...from here on, the entire audio path is STEREO.
So, once you get past the waveshaper, you're into the effects. The first two are from Xaoc...their 4-pole multimode stereo VCF, followed by their CV controlled frequency shifter (also stereo). You might notice the lack of phase shifters or flangers here, and that frequency shifter is the reason. It can do those things, but it can do them to extremes; crank the shift control, and everything turns into clangers and howlers with gnarly anharmonic timbres. But turn it back down to just barely off zero, and suddenly you've got this phasing...SOUND. Nothing like 'em, really!
Then we've got an Alright Chronoblob2. This stereo delay hides a surprise: an insert in its regen path. Want to listen to things warp out of shape with each repeat? Insert the frequency shifter into the Chronoblob's regen, set the shift for a half-step, and hear the echoes whirl upward into weird aliasing. Or drop the VCF in, and degenerate the repeats, or or or... Anyway, after that is Mutable's Beads...which, if you're going to get one, you'd better hurry as Emilie is shutting down pretty much now. But if not, no prob...there's 14 hp variations on the very similar Clouds that'll drop right in if you don't get lucky.
And then, the Qu-bit Synapse. This is billed as a "crossfading switch", and it's a bit complex as to what it's capable of. But one thing that immediately comes to mind here is the fact that the Synapse can store and recall eight different settings, and you can access that via its "advance" jack. That's why the ADDACs with their footswitch capability is there, as one of those footswitches can be dedicated to that "advance" control. Otherwise, it's sort of like a variation on Mutable's Frames mix-scene module...set up your signal path, CV levels, etc etc, and store it.
So, no...I totally blew it on the form factor. But that was very deliberate on my part, because that 64 hp build was very restrictive due solely to the available space. By shifting to a Palette 104, though, I was able to toss a LOT of potential into the build...and in the end, 104 hp isn't that difficult to shlep around, especially if you pick up one of these from Intellijel: https://intellijel.com/shop/cases/gig-bag-for-4u-palette-cases/ Not too shabby, those...about the size of a violin case, actually.
Two cables? Use the 10-to-16 pin cable. 10 pin connection to back of module, 16 pin connection to upper or lower power in 6U Rackbrute. You shouldn't have to worry about the red stripe (-12v). Both Behringer and the Rackbrutes use keyed headers so things will align naturally.
edit: I haven't seen the back of that Mix Seq so I'm assuming there is only one 10 pin connection.
A bit of a newbie here, please excuse what may be a obvious solution to some 😉
I am installing the Behringer Mix-Sequencer Module 1050 into the Arturia Brute 6U. There are two cables, one of which has a 10 pin connector. Do I need to purchase a adapter, or is there another solution? Thank you in advance for any assistance.
Oh. I guess that explains why I can't find PM Mutes anywhere... :(
Glad I went ahead and bought myself a second Arpitecht the other day too!
Sorry to hear that, I have 4 of their modules. Hopefully they'll be able to make a comeback at some point in the future.
A dark(ish) ambient(ish) piece with Just Friends running all RUN modes (Plume - cleanish sound / Spill - kinda distorted / Floom - noise). More info in the video description. Thanks for watching.
I am inspired by birth, death and the events inbetween.
Thanks. The QX does look cool. Do you have one? How do you use it?
Yeah having the moogs in-rack is wasteful but also very ergonomic and keeps patching more organized. One day with a bigger studio I will probably do what you suggest.
Plaits and BIA through C4RBN is so good though I’ll never give it up! :) Right now I use the Ikarie to process the DFAM's oscillators... but maybe i could use it for Plaits and ditch a C4RBN for a QX.
I have everything in the first three bottom rows already, except Arbhar. There’s also a 1u row not in here (we’ll 2, eventually) with utilities.
I use this in conjunction with a 16 channel Mackie mixer, a boss rc-505, and ableton for effects/drums.
Get rid of one of the C4RBN's and add QX Expander for Quadrax. Move the DFAM and SubH out of the rack and buy one of those fabricated stands made for them, they take up/waste a lot of HP space in your rack. I have DFAM/SubH/Mother32 and bought a three tier stand for them...I can use them with or without the rest of my modular in this way.
JB
The MIX BX is a large module for a smaller build like this. Take a look at something like Cosmix which is half the size and still a very powerful mixer. Also maybe Bitbox Micro instead of Salmple which saves 3 more HP...now you have 22HP extra. Maybe add an effects module like FX Aid Pro (14HP) and you have 8HP to add Pamela's New Workout as a clock source for everything.
JB
Hello,
I have a same question about the very same topic.
I'm new to modular and started to get interested into this since few weeks, but have years of experience with guitars, pedals, synth, noise machines, etc.
My possible approach to a modular system would be to have something that I can both use stand alone (like in a drone/noise/ambient manner) or together with my guitar and synths and made so that I can implement/interface it also with instruments levels so that I can rout it thru my guitar pedalboard for example.
I did some experiments with VCV Rack, and found very powerful a combination of Plaits and a second VCO/oscillator combined with a quad LFO to generate sounds and drones.
After talking with a friend and try out few his modules, I also got very interested about Schlappi and Noise Engineering modules. For example I like a lot the Desmodus series, since the same module can be loaded with all firmwares available. Boundary looks like I swiss army knife that I can use as VCO, envelope, etc...
But I also find Doepfer modules to be super cool, simple and utile to what you need them for.
I would like to keep it as small and compact as possible, like 64HP. After few mindstorms, I came up with this first idea, pictured below.
My only concern at the moment is the Strymon AA.1: are there any other alternatives out there for such "guitar interfaces", so that, as said, I can insert my guitar (or another synth) into this system and then go out back into my pedalboard?
What modules to you use? Otherwise any other advices?
What elevates Eurorack effects modules from guitar pedals is the ability have voltage control over many of the parameters, either through hands-on manipulation or by utilizing control voltage generators like LFOs, Sample&Hold, Sequencers etc.
You have Pams New Workout in thhis setup, which can provide up to 8 CV sources, but lacks immediate control due to only having one encoder. But even if you use all of Pams outputs, you still have vastly more CV inputs on your three effects modules that you aren't using. I would drop at least one, if not two of the effects modules and add more CV sources, mixers, maybe a filter and, most importantly, VCAs into this system. One knob per function-type modules will make your effects rack very playable. Also think about mixing several modulation sources together before sending them to the CV input of one of the effects. This is almost mandatory if you want to go beyond what you can do with guitar pedals anyway.
Hi, I have a 3U, space left in my table and thought I would use it for a small audio-processing euro-rack, based on the 84HP Behringer Euro-rack Rack.
This would be my first euro-rack build and I would appreciate any comments.
The rack would primary be used for processing electric guitar/bass and harmonica. I have lots of pedals, so I like this to have a "far out/weird" sound of its own.
Hey folks,
does anybody know if Blue Lantern's Mr.Blue delivers a trigger just from the rising part of an incoming gate signal? If there was also a trigger output from the gate-off (like one doepfer) it was useless for me.
Cheers
David
You of course DO realize that, if you made the lower row a set of modulators and voltage sources, what you'd have there is a pretty substantial analog computer.
-- Lugia
I was about to reply to you with this link https://github.com/katef/eurorack-cpu
And then I saw who posted the rack 😛
Hi all!
This is my first time setting up a modular synthesizer and I would like to ask you for help and advice to see if I am on the right track. The type of music I'm going to make is cinematic music. For that, I'm planning to use the nerdseq to sequence the pizza and the ensemble oscillator as well as some squid salmple samples and then the marbles clone to sequence the remaining squid salmple samples (mostly percussion sounds). The effects are the mimeophon and some guitar pedals that I'm going to use via ALM SBG and that I'm going to pass as sends in the Mix BX.
The rack:
https://cdn.modulargrid.net/img/racks/modulargrid_1999858.jpg
My main questions are:
-Do I have enough VCA and modulation sources?
-Do I need more utilities?
-Would you change anything to improve the workflow?
-Does it make sense at all?
Thank you very much in advance!
traded it for my first ARP 2600
I sold my 2600 to buy a Korg 770 because I needed a lead synth to do bad covers of ELP songs. Should have kept the 2600....
use the small 1u mixers to mix signals from CS-l going into QPAS, and again out of QPAS into mixer
Hi there,
For those, like me, who grew up with such bands, it's always a pleasure to patch the system in that direction. In this video, I explain with details (thank Modulargrid!) a full patch (drums, bass, leads).
I'm selling this Mixer on eBay Kleinanzeigen:
https://www.ebay-kleinanzeigen.de/s-anzeige/eurorack-matrix-mixer/2176962340-74-2149
That Joranalogue Receive is incredible sounding, crystal clear and no noise. Same can't be said for the A-119, while not being terrible does have more self-noise and high end roll off.
-- liquidcolor
The original ARP 2600 preamp/envelope follower was also a noisy critter. A lot of this seems to be due to impedance mismatching between the input and the device feeding it, which is also a source of noise with some guitar pedals when they have to deal with a mismatch. You might try some experiments with matching transformers before the A-119 input to see if you can find a "magic number" that brings the noise under control.
It's also worth noting that Roman's Input module (now discontinued) in the Sputnik modules had a switch for helping with impedance matching.
“an aggressive sounding multimode Steiner-Parker filter with a twist”.
Build
-- Ravenware
I can't imagine how you could get a Synthacon VCF to sound even MORE aggressive than that circuit already was! There were VCF settings on mine (had from 1981 - 1994, traded it for my first ARP 2600) that were so downright vicious, just the slightest HINT of Nyle's nasty VCF's antics would suffice...sort of like how you might only need 1/2 (or LESS!) of a ghost pepper for an entire pot of chili that can serve 20+ people. Scaaaaaaary!
Hi Gumbo23,
Wow, that's beautiful, long time ago that I have seen such patterns :-) The music finishes it very well!
Thanks a lot for sharing this with us, kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
About the only change I would make here would be to chuck the theremin controller in row #2, shift the whole row over into that space, then use the new 8 hp space at the left end of the row for the A-119 (to the right of the mult, natch). This would put it in better proximity to the voicing so that it's easier to use external audio for part of the voicing as well.
-- Lugia
This is a good idea, however the A-178 can induce noise into susceptible modules so it's up and out of the way. The A-119 is generally being used as an envelope follower while the Joranalogue Recieve is my primary input module. Directly to the right of this modular is the 40 space server rack with my mixer/interface and rack polys. I've found these very slick right angle D-Sub adapters that let me avoid having two D-Sub snakes sticking straight up out of the WMD Performance outputs.
That Joranalogue Receive is incredible sounding, crystal clear and no noise. Same can't be said for the A-119, while not being terrible does have more self-noise and high end roll off.
A new effects unit from Neutral Labs, the Scrat They describe it as “an aggressive sounding multimode Steiner-Parker filter with a twist”m the twist being that you are able to plug in random electronic components to ports on the front to change resonant capabilities. They include some cards and random components to try.
A generally good build, though the trimming you need to do to get the headers for the plug-ins through the front panel could be challenging.
Sounds great, and lots of modification potential, another good Neutral Lab kit.
I also don't know why this posted twice, or why part of it is highlighted in red...
I did not even know there was a pedal board builder 🤔
That's what I get for not checking drop-down menus.
I did not even know there was a pedal board builder 🤔
That's what I get for not checking drop-down menus.
Weird stuff is... going on 'round here. Like when I zoom in on the Afterneath module, it turns into the silver version! Now that is spooky! I suspect whichever panel was uploaded last becomes the "main" panel.
Why was the head panel for this changed to a modded version? The proper panel is still there but only as an alternate panel, rather than the main one
i love it, but WHY ARE THE JACKS ON THE BOTTOM if this is a performer?
can't access the buttons b/c the cables go right on top of it.
-- samabr
Angled cables help a bunch
Just tried setting up a pedalboard build for my tandem string rig (1952 National Dual-8 lap steel, Suzuki Ran Alto taishogoto) and...uhhhhhhh...
Honestly, it's like the rest of Modulargrid threw up and all that barf wound up in Pedals. There are things in there that really, REALLY don't belong...such as iPads, DJ mixers, entire synths, pedalboards (no, not the ones in the build setup page, but entire empty pedalboards which, of course, you CAN'T put pedals on since MG thinks they are pedals), and so on. As an example, something such as a Vermona DRM-1 isn't a pedal, isn't supposed to be on a pedalboard but OBVIOUSLY should be in a 19" rack. The rack ears are a bit of a giveaway, natch.
And on and on and on. Hell, who knew that a pic of the lion from "Madagascar" was a "really good" wah? For a dollar?
And then there's users who put any ol' image of a pedal on there, not thinking/realizing that the pedalboard builds are supposed to be viewed from the top-down, so angled images of pedals are nice as a reference, but lousy if you're actually trying to determine pedal spacing on a board. Plus...plenty of missing stats, especially prices.
Really, this ought to be cleaned up and corrected. It has the potential to be as important a resource as the modular synth sections, but it's seriously compromised to the point that going through the different manufacturer pages becomes a hideous chore. Stompboxes are 100% useful, and definitely fit into the same scheme of things as modular components, but if the database is as fouled as it is right now, no amount of usefulness of pedals can counterbalance the info-slog that haunts the section. And yeah...some of these things aren't exactly pedals, but they fit, such as the DF Mini Bay. But I double-dawg-dare someone to put a Launchpad on their floor and work it with feet. Not. A. Pedal...nor does it really work with them.
i love it, but WHY ARE THE JACKS ON THE BOTTOM if this is a performer?
can't access the buttons b/c the cables go right on top of it.
-- samabr
Just turn it upside-down, then. On the module controls, the "circular arrow" rotates the image in the build.
i love it, but WHY ARE THE JACKS ON THE BOTTOM if this is a performer?
can't access the buttons b/c the cables go right on top of it.
"building better baselines", mylarmelodies
Euclidean pattern generator creates changing baselines through modulation. Euclid 2hp is gate: sends length, steps, offset variables.
Turing machine provides random but loopable modulation source. Connect output/scale to Steps on Euclid 2hp. Modulate offset for half-steps. Bassline is just the scaled output of the Turing machine going into the steps amount, with the steps set to zero so Turing has complete control of steps.
Metropolis is pitch sequence.
Tiptop one sampler being triggered by pulse of Turing, to get a rhythm and bassline.
"building better baselines", mylarmelodies
Euclidean pattern generator creates changing baselines through modulation. Euclid 2hp is gate: sends length, steps, offset variables.
Turing machine provides random but loopable modulation source. Connect output/scale to Steps on Euclid 2hp. Modulate offset for half-steps. Bassline is just the scaled output of the Turing machine going into the steps amount, with the steps set to zero so Turing has complete control of steps.
Metropolis is pitch sequence.
Tiptop one sampler being triggered by pulse of Turing, to get a rhythm and bassline.
