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Having an ongoing issue with racks randomly rearranging modules when I try to modify it. I'll have an existing rack, add a new module, move a module to a different location, or delete a module. The rack will look okay at first, but if I refresh the page, or leave and come back, a random number of modules will randomly change location. I usually notice this first because the rack layout looks wrong when I go back to the Command Center.
Usually this will result in modules stacked on top of each other in the rack, and I'll have to move a whole lot of modules to find the "missing" ones. The more I move the modules (trying to correct this problem and put everything back) the worse it gets. Sometimes this happens when I add a new module, instead of going to the first open space where it will fit, it ends up on top of or underneath an existing module.
I also notice that when I move modules, the "space indicator" will sometimes ignore one or more existing modules. If I move a module 8hp away from the one next to it, it will not always show that 8hp gap, but the indicator will instead show a larger gap pointing to a module farther over.
Using the latest Chrome on Windows 7 and Windows 10; this has recurred through multiple versions of Chrome.
I've built a number of their modules, and like them. Good board layout, good power budgeting, and of course interesting sonic qualities. And their route master power supply is beefy enough for a complex rig.
Thank you friends. You comments are, as always, super helpful. Much food for thought! Is amazing the amount of knowledge there is here in the community.
On/Off by PH Modular. Christian's email is on the Modular Grid page. I have one of these modules and love it. It's good for modules with displays, but without screen savers, to save them from burn-in.
-- milkmilklemonade
Tried to buy a 2hp hat from @didierpriem , the module was lost in the mail and didier stopped replying to messages about a week ago. Starting to lose faith :(
Well, let's see...
Went with sacguy's case suggestion. This uses a 7U x 104 hp Intellijel cab. And because of that, your MIDI, inputs, and outputs can go to the cab's built-in jacks, making things a bit less chaotic.
ROW: Audio in on the right. Then there's the MIDI interface, followed by Intellijel's Noise Tools tile for master clocking, sample-and-hold, noise, and the like. The QuadrATT next to that gives you an extra set of attenuverters, DC-coupled mixing for CV/mod signals, or as a mixer for audio. The little black tile after it is a Takaab dual LPG so that you can have that to add percussives, and that's followed by an Intellijel Stereo VCA for CV control over output levels. And then the output tile is right after that.
TOP: Plaits. Then the VCO next to it is a NANO Ona, which gives you a voicing akin to the SH-101 and its suboscillator. Then the Schlappi Angle Grinder is a VCO/processor that's got a nasty, distorted sound that really lends itself to hard acid tracks. And if that's not enough crazy timbral fun, I put in a Joranalogue FLD6 which is a six-stage wavefolder that can take two VCOs on its own (or one Plaits if you use the AUX out). Veils follows to allow VCA control over four audio sources, then the matching VCF for the Ona by G-Storm. The other VCF is also G-Storm's doing, a module based on the SSM filters in Korg's Delta and their Poly 61. The Doepfer stereo mixer then lets you control levels out of the filters as well as setting up a stereo signal for the Beads, which is Mutable's follow-up to their Clouds module. Then the Stasis Leak and the Purrtronics Purrvrrb both have the mono-in/stereo-out architecture for pairing with the Tex-Mix's AUX send/returns.
BOTTOM: The little sliver to the left is one of Konstant Labs' PWRchekrs so that you can easily keep an eye on your DC rail health. Then there's the Pam's, and that's followed by Doepfer's little quad LFO so that you have some free-running LFOs to add in with the rest of the mod sources. The CVable LFOs are in the 4ms Quad Pingable LFO, meaning that they can be "tap clocked" by hand or by another trig/gate, and they have ridiculously LONG wave cycle times, the sort of thing that you could use one cycle that's the length of one track to do some "global modulation". Then there's a Maths, and my fave little modulation manipulation core, a Frap 321 mixer/attenuverter/DC offset source and a Happy Nerding 3xVCA. Those allow you to take existing modulation signals and combine them in some rather elaborate ways that can go beyond typical setups that have no such manipulation core. I put in a Quadrax/Qx for more generally-unusual modulation sources beyond the typical envelope generator. A Doepfer Dual ASDR after that gives two "normal" ADSR envelopes. And lastly, the Tex-Mix...this has four mono input channels along with the Tex-Mix master. The Tex-Mix is something I picked up on thanks to Jim...and if you're happy about having just VCA control over the input levels, this will be perfect. And as mentioned earlier, the Tex-Mix has the mono send/stereo returns that both the Stasis Leak and Purrvrrb like to see. It also has your headphone preamp for quiet practicing.
I used my past experiences in the 1990s rave scene to cook this one up. The ability to mangle any or all of the VCO sources also pushes that acid direction really heavily, for one thing. Plus, this is set up with "subsystems" like the modulation manipulation core, so no one module has to do everything on its own.
On/Off by PH Modular. Christian's email is on the Modular Grid page. I have one of these modules and love it. It's good for modules with displays, but without screen savers, to save them from burn-in.
yeah the problem with that, though, is there'd be power headers floating around loose in the back of the case...
-- JimHowell1970
True...if you just leave 'em there. It should be easy enough, though, to take the other five pigtails, coil them up tightly with a zip-tie, and put that where it won't be a problem if you need to pull the switches. But my instinct tells me that there's probably more than just one point where a backplane controller like that would be warranted. Would be nice to have some "secret settings", after all...
+1 on Jim's comment. Put that M32 back in its case and on its own power, and use the resulting 60 hp hole to add modules that don't have a case and don't have their own power supply. You could also jettison the mults (use inline ones or stackcables) and you really don't have any need here for...TWO buffered mults? Anyway, you don't have enough CV destinations that require regeneration to keep the tuning stable over several VCOs (that you don't have here).
There's also a lurking problem in this...and that's an attempt to do another "modular drum machine" via the Blk Noir. However, you don't exactly have a proper trig/gate sequencer in here to set up patterns on. With the lack of that, the expense of the Blk Noir really becomes questionable...and becomes even more questionable when you've got a situation where you can get TWO machines (I'm thinking the RD-8 mkii and RD-9) for less than that one Endorphin. Then all you need is a clock pulse off of the modular to drive the machines, and you wind up with a far superior percussion complement controlled by interfaces that are intended for drum machines. And frankly, if you want a CR-68/78 sound, Delptronics makes their LDB-2 module pair, which is also based around that electro-style sound. With their version of the same idea, you wind up with a cost of only $320 and both the "voice" and "control" module together only take up 12 hp.
There seems to be this misapprehension that big and costly = the perfect solution. Nuh-uh. What "big" gets you is a lack of space in smaller builds, and "costly" just sneaks into your wallet and makes you pay twice as much for the "sexy" modules when they're not actually the best solution.
Or you could just as easily snag one of these nondedicated switch modules that Ladik's got. SIX toggle switches, already drilled and equipped with proper pigtails for connection to most anything. https://www.modulargrid.net/e/ladik-p-060-switches-
But it's got six switches! So, yeah...you can easily use the other five for any "hidden functions" that might be on any of your other modules.
-- Lugia
yeah the problem with that, though, is there'd be power headers floating around loose in the back of the case...
"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!!!
Funny...I've been getting a bit more jazzed about Frequency Central's stuff as of late. They make some great Boolean logic modules, some with CV control, and I still think that their Stasis Leak FX module is a real contender versus the FX Aid XL. Lots of abuse potential with their stuff...
Or you could just as easily snag one of these nondedicated switch modules that Ladik's got. SIX toggle switches, already drilled and equipped with proper pigtails for connection to most anything. https://www.modulargrid.net/e/ladik-p-060-switches-
But it's got six switches! So, yeah...you can easily use the other five for any "hidden functions" that might be on any of your other modules.
Very, very odd. Typical Volca users won't get much out of this, so it's confusing as to why the NT-1's followup is an o-scope. Not saying it's not useful, mind you...just odd.
Could it possibly be...a LIMITED EDITION from Korg? Only 100,000 units made! Comes in its own road case made from recycled Pringle's cans! Secret product leaks from Yanni!
Frankly, if Korg wanted to put out something useful that fits in with their other patchable gear (which actually doesn't fit in with anything, anyway...the MS-20(mini) uses linear CV scaling and negative gate/triggers akin to Moog's S-Trigger on their modules), they might consider a little box that contains all of the stuff they left off of the 2600M. You know...the stuff that Uli knew to leave IN the synth that was in the 3620 keyboard that...well...2600M users don't get.
Case is almost full and am thinking would like one of the last 2 8hp slots in the rack to add a second mixer. Perhaps something that doubles as an attenuverter. Had eyes on the Erogenous Tones Levit8, but can't quite squeeze it in.
1/ get an Intellijel 7u case
2/ Endorphin.es Queen of Pentacles, Black Noire, or VPME Quad Drum for percussion
3/ Quad VCA from Intellijel
4/ Winter Eloquencer sequencer- thank me later
5/ Instruo Divkid 0chd for modulation
6/ Happy Nerding FX Aid for effects
7/ Intellijel Quadrax with expander for creative envelope generator
8/ Intellijel 1u Quadratt for mixer/attenuator/attenuverter
There is also the Sketchy Labs Freak Shift (https://www.modulargrid.net/e/other-unknown-freak-shift-), which doesn't possess an internal oscillator but which allows you to use to use any external signal from 0.1 Hz to 10000 Hz to drive the shifter. I have this and love it.
A fun little module from Frequency Central, their Volts Plats, a Roland 100M 132 based audio and CV Mixer.
Very quick build, and good result. Use it simply as a mixer, or do some overdriving and other interesting things. Volts Platz build
ok makes sense - sorry don't know anything that can do this elegantly - I'd probably go for either the vpme.de pwr & a 1hp gap (not big enough really for other things to fall through) to thread the ribbon through or a separate power supply with a wall wart, or a separate case (a 4ms pod maybe) or try to find a replacement for the 112 would be my suggestions...
another option might be to find a builder who will build you the switch - you'd only need to be able to switch the +/-ve 12v - so doable on a single dptd toggle switch - ignore the 5v and hardwire the ground... parts are under 10GBP/EUR/USD including a panel (the switch and the panel being by far the most expensive parts) - no need for a pcb - a bit of perfboard would do it... probably someone would build you one for 20 or so... maybe try modwiggler music tech subforum (there's a list of builders in the stickies - you might find one locally) or on r/synthdiy here
tbh the hardest part is the drilling of the panel for the hole to mount the switch!
"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!!!
I would like to design a modular system oriented techno hardcore. I already own the make noise 0-coast, Math, Plait, Veils and Links from Mutable Instrument. If you have any advice of additional modules...
Thank you
Awesome! That's exactly the kind of thing I was hoping existed when I started this thread. I'm keeping an eye on that one! The Mordax Data still sounds like a great option but it's a bit of a commitment at 16HP.
The reason is because: I have a Addac 112. And it tends to crash quite often. When this happens I have to restart the entire case. This is… not ideal when I’m performing!
if it's because of inrush overload, I'd look for a softstart dongle - iirc wmd make (or made one)
if it's 'power conservation' most single modules don't use that much power... and it won't make a great difference to the cost of running a modular if at all...
"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!!!
I am looking for a module that would allow switching power on and off individually for a module in a case.
The idea is to be able to turn off one module without needing to power the entire case off.
I'm aware of the VPME p0wr, but I'm wondering if anything else exists (ideally with the two connectors facing the inside of the case and only the switch on the outside).
And that's interesting. Now you've got THREE manufacturers (Behringer, Doepfer and now Xaoc) that are offering new Bode frequency shifters, with prices from $100 to $450-ish. This is good to see, because frequency shifters are another source of useful sounds. One method would be to use a slight detuning with a tiny touch of random modulation to create HUGE doubled phaser or flanger effects. But there's tons of others, and it's great to see these at prices that aren't four-figure sums!
Annnnd...welcome to Eurorack! It's not necessarily the easiest thing to navigate with around 10,000 modules on the market or discontinued. Expect to make a number of adjustments and tinkers on your build...and even when you think it's done, c'est voila, it's not. Really brings home the concept that you NEVER get to retire from music...you can quit, or you can keep going, and that's about it. Just consider the reworkings to be learning experiences...new possible ideas for grouping module functions, the use of some esoteric signal chain bits, and the like. Take your time, and you'll be AMAZED at the end result.
Looked into some of these myself recently -- I'd be all about the Feedback Modules one, I had an FM module a while back and was pleasantly surprised by how high quality the thing was, and the price is not bad at all -- but it was just too big for my system. So I went first with a Blue Lantern Sir-Mix-A-Lot (the full size one) and then more recently the Cosmotronic Cosmix you have pictured.
The Sir-Mix-A-Lot was actually pretty great -- six channels, two stereo aux send/returns, applicable per channel with global attenuators as well, mute switches -- it's a great bang for the buck. Couldn't really be overdriven, but I never noticed any channel bleed or anything like that; enjoyed my time with it.
However, it is also an extremely cramped panel/UI and was cutting into precious HP, so when I found a good deal on a Cosmix I traded for that. The good: much cleaner UI/panel layout -- it's nice to be able to just visually see where the sliders are at, vs. a bunch of same-y knobs; clickless mute switches (I didn't notice much clicking on the BL mute switches either, but the Cosmix are definitely true clickless); optional "drive" for a little more saturated gain/color; good sound quality and handles overdrive better than the BL; two stereo inputs. The bad: I really do miss the dual aux stereo send/returns on the Sir-Mix-A-Lot, especially as I have more and more stereo modules. The Cosmix has one mono aux out only. If that doesn't bother you though, it's a solid pick.
Thx for the very detailed tear down and brutally honest opinions with regard to what is needed or not needed. I appreciate the time you took to configure what is deemed a workable and solid solution.
I'll admit I bought a good part of the modules that are included in that build. Some modules were bought as part of building a previous 104HP build.
...others were bought with the intention of having a sort of all-in-one solution that can be used in a live context - the two drum modules, the bat, wolf, and filter of crows. Perhaps, in foolish haste and not knowing what you don't know, I ended up in this direction. At this point, I just have to make the best out of it or just sell off some modules that don't gel well.
This is what I currently have. I'm planning on selling the Tangle Quartet and Bastl Cinnamon first.
Thanks. I think your in one of my FB groups. I remember your signature. Anyway, yeah, I plan to use PAM as my sequencer and it has built in Quantizer. I plan to use Pam’s for my modulation too. It seems like it can do everything since I get 8 outputs that I can modify separately. 💪🏾
I have Rings, Plaits, Pam, and Eudemonia. What am I lacking? 🤔. (Don’t need specific module just type) IE: more VCA’s, Quantizer, LFOs, etc. I have the nifty case. I want to make Modbap/Modtrap. I like Ali the Architect. TIA
Do yourself a favour and thet a Mordax Data instead of fiddling with some external thing, adapters, settings...
-- znort101
That's a good call out. I was vaguely aware of this module's existence, but it wasn't really on my radar. Based on my previous comment, I'm in the target audience of this module. I can see myself getting use out of a quad scope (like looking at I/O from a logic module), and waveform generators and clock dividers are always useful. It's going on my wishlist!
nb on the tex-mix: if you use stereo channels - they lose the vcas, but the A & B sends work as stereo... so you get a stereo send with 2 stereo returns - which means that for mono channels you can have the original signal to one side and the return panned to the other side, or however you want it in the stereo field...
"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!!!
Do yourself a favour and thet a Mordax Data instead of fiddling with some external thing, adapters, settings...
BEst purchase i have ever done, thinking about a second.
This took a bit of time, which was mainly spent on brainstorming module shrinking and function combining. But to do a proper build, those are important.> -- Lugia
Another work of art from @Lugia. You could charge for rack optimizations / critiques
Well, it's got some problems...for one thing, I can't sort out any organizational plan here, and that'll come back on you in hampering your ability to navigate the patchpanel...ESPECIALLY while learning the rig. And some choices are just bad...the "Bat", for example. OK, so it's an LPG...but it's only ONE LPG, and it costs $250? Nah, screw that...you could spend $75 more and get a Malekko redux of a rare Wiard module, the Dual Borg...which offers DUAL state-variable VCFs that can tandem with internal vactrols to allow this to also function as a state-variable gate...which is way better than one LPG that's really only lowpass. Or adding the Voltage Block...but neither of the Varigates, despite those being memory and global control for the Voltage Block. One other point...a rather disingenuous one on Pitt's part...is the hyping of "variable decay" on that LPG. Pretty dubious, really...because the majority of LPGs rely on envelope generators for that "variable decay", as well as the attack, sustain level and release time, all just as variable.
Also, and this has come up way too much as of late (someone must be doing yet another ill-advised YouTube video on this), trying to build a drum machine into a "one size fits all" modular is a terrible idea. For one thing, it's not possible to match the prices of drum machines to adding a section like that to a Eurorack build. The latter is VERY expensive. Second, anything you can send out as a trigger can, in the majority of situations, function as a drum machine's clock. And worst of all, the space that drum modules steal could probably be better used for actual SYNTH things, such as expanded modulation, an extra VCO or VCAs, etc etc.
Also...those oddly-drab-looking Pitt modules are...just...why is their multimode VCF $250? Just an overdrive...which you can do several other ways anyway? Hell, if you want a state-variable that's got tons of character, get a Tiptop Forbidden Planet, which is a clone of the Steiner-Parker Synthacon VCF...which I know first-hand as a nicely-gritty filter that RULES on lead lines. Oh...and it's less than half of that Pitt SVVCF's cost. There's a pile of that in here, actually; you could probably drop the cost of the build by 1/3rd by choosing more economical modules which can do the same job...or more!
Hmmm...let's have a go at this...[LONG PAUSE]
There we go. There's a lot of alterations here, partly to consolidate several larger modules down to one that's smaller and easier to use (especially live).
TOP (voice row): The Sonicsmith input/p-2-v is up first, then a pair of the Pitt VCOs. After that is a Joranalogue FOLD6, which handles waveshaping, etc duties. Then the little thing next to that is Recovery's Motormatic...a bit-crushing ring mod! Want metallic clangers that've got GRIT? That's why it's there. Veils is next to sum the oscillators, etc, and since Veils has a "breakable" mixbus, you can use it as a pair of 2 -> 1 mixers, or mix down VCAs 2, 3, and 4 while keeping VCA 1 isolated. Then, so that you can have a proper (well, two, actually) filter AND LPG, I dropped in the Malekko reissue of the Dual Borg. Basically, it's two independent state-variable filters which also have their own VCAs, meaning you can either use the filters in series or parallel in the three usual modes, OR you can get them to be state-variable GATES...which gets pretty fun for percussives. Then I put in the Steiner-Parker yowl and shriek leadline VCF, in this case in the guise of a Tiptop Forbidden Planet. The Synthacon VCF, as I recall it in my actual Synthacon from some years ago, was capable of virtually ripping a hole in the mix to get RIGHT...OUT...FRONT. Best lead voice filter EVR! Anyway, after the Forbidden Planet, there's your performance mixer, a Tex-Mix set of four mono ins and the master section. The Tex-Mix channels all have VCAs to control levels, plus dual AUX sends and panning, and a few more surprises...and the master section gives you TWO FX send/return busses, mono out and stereo in. Effects come next...a Frequency Central Stasis Leak and an Erica Pico DSP to handle your mono-to-stereo bus architecture, then the Befaco OUT follows these.
BOTTOM: You'll notice that I ripped out the Pam's...because the Hermod handles what it does, plus eight sequencer channels, MIDI interfacing via DIN or USB, four CV inputs, and on and on. This, basically, is a "performance sequencer"...it has a lot of capabilities that you'll really have to work at to go through them all. And this does mean that, yes, it has a learning curve...but so does a lot of this, so nothing unusual there. Anyway, after that is the noise/s&h, then the Batumi with its Poti expander, giving you four LFOs with some extra tricks via the Poti. Maths is next because...Maths. Then an After Later dual VCA, based on the Veils topology, and a Tenderfoot triple attenuverter/mixer provide some basic modulation manipulation. Xaoc's Zadar and Nin then provide four channels of envelopes, and at the end is the Morphagene in a better, more performable location.
This took a bit of time, which was mainly spent on brainstorming module shrinking and function combining. But to do a proper build, those are important. You can even use "big modules" well if you know your little support module stuff, and also if you know how to both consolidate functions into one module, or how to group modules to work together in a more ergonomic fashion. As it is, this actually has MORE functionality than the previous iteration while, at the same time, has much more of an intuitive layout (voicing top, left to right, and control on bottom to allow "patching upwards" for employing modulation) and strikes me as something that 99% of synthesists could sit down and blow their minds with after 5-10 minutes of patching and twiddling.
I'm not really sure why you would buy a scope to do what is essential mixing/MASTERING.
-- Vow3ll
Well, you do see an awful lot of them in mastering transfer desks back home..."back home" being Nashville.
The main check for it is to see if there's anything that's so out of phase in the low end that the engineer needs to go back and perform some bass summing to correct that...before it either 1) wrecks the cutter head, or 2) cuts a lacquer that's unplayable. Now, for digital, it might seem that an o-scope isn't useful, but I also use mine when doing various stereo manipulation methods (like expanding the stereo field beyond the L-R between the monitors) and to check if there's something that's creating a spatial "lump" that needs correction so that the stereo field can feel properly centered. Mastering really is something of a "black art", though...the sessions where I did some of that while learning were a revelation in RElearning how mastering sessions work and what's essential for them, coz classroom teaching and/or textbooks will only get you so far.
But if I've got my ears, why do I need the scope? Well...your ears are only going to sort out the basic stuff if you're juggling 15-20 channels, so the scope provides a second visual check. If you see a problem, go back to that timestamp and fix it. Simple.
UKP 200? Then the answer here is definitely the Tex-Mix. For one thing, you can add on extra strips in banks of four...meaning that if you don't have the $$$ for setting up your rig's mixer right then, you can easily budget to expand it as time progresses. Also, the Tex-Mix's AUX setup is superior to the rest that's shown here. It has two mono sends and two stereo returns, for one thing. It has VCAs for level, while nothing else here does.
Now, there ARE some alternatives to these. One of those is Toppobrillo's Stereomix2, which gives you CV over level AND panning, but you're stuck at four mono ins as there's no expander. A similar mixer is Qu-bit's Mixology...on which you get CV over level, panning, AND the AUX sends per channel. But there's that "stuck at 4" issue there, plus both of these only have a single mono FX send and stereo return. But if you can live with four inputs, the Mixology has a bit of an edge over the Stereomix2.
on the other hand - with the fx aid (xl)s you do get a hundred plus algorithms to choose from - including 808/909 emulations etc etc... so a lot more flexibility ++++ at least some algorithms on the fx aid are clockable, which is not at all common with fv-1 based effects modules
-- JimHowell1970
Yep...is why I don't exactly count the XL as simply another FV-1 device. That might be the core...but HN really outdid themselves with the clocking, piles of presets, et al. It's...ah, different.
All of that sounds right...save for the buffered mults. While it's true that you need those to prevent voltage sag on the pitch CV, I seem to recall that the Klavis oscillators have buffering on the inputs, leaving only the Plaits...which I also think uses buffered CV ins. They're getting more common...thankfully. But as far as mults go, just get some stackcables or inline mults, and that'll be all you need. Again, keeping space open for function is key in a build of this size.
I actually had a certain "synthesizer" in mind when building this, namely: https://www.vintagesynth.com/eml/eml400.php The EML 400/401 was a revelation when I started using the one we had at MTSU in the early 1980s. I'd used sequencers before...the ARP 1604, Oberheim's DS-2 (I think that's it?), and Sequential's 700 were ones I had prior experience with, but the EML really went way beyond those. For one thing, it has the synth built-in (the "400" part), but the 32-step sequencer was just mindboggling. And three CV parameters...plus some gating as well. But the quantizer was totally bonkers...you could go from just a few steps per octave to SIXTY divisions per octave, and with some judicious tweaking of that, you could get the 400/401 to respond properly to 1V/8va CV...pretty cool, given that EML used a totally unique (and effin' annoying) CV at what's basically 1/10th volts per step, meaning that an EML octave was 1.2V/8va.
But yeah...I got this wild hair during the rework to...well, Avesta's into all these sequencer modules, and I can jam a 6U Arturia full of 'em...hmmmm...so why not make it have the general form-factor of the 400/401? After all, that device's form factor was just about perfect for a sequencer/synth combo. Plus, this gives a very clear upgrade path...add two more 6U cabs over time, make the lower left all about clocking, logic, comparators, and various stochastic bits (all super-important in doing truly complex generative work), and the lower right can be all modulation by turning the upper right into all voice. Pretty cool when it works like that! Plus, since you'd have an initial Tex-Mix setup in there, all you'd need to add more inputs to the mixer would be another faderbank of four channels...either mono or stereo. Although, with the master section being all but MADE for that DualFX setup, expanding the Tex-Mix would be far less costly and irritating than having to get Yet Another Device.
