ModularGrid uses so-called cookies to ensure it's so-called functionality. We also use dubious tracking scripts. Find out more in the Privacy Policy. We use cookies and wanna let you know.
Quadrax with the Qx is fun...you can cascade envelopes!
Note the EOR and EOF markings. What those do is to output a trigger on either the End Of Rise or End Of Fall for each one of the Quadrax EGs. So if you wanted to create overlapping tesselations, you'd connect the EOR1 to TRIG 2 and so on until you got to the fourth EG, and that's where the use of the Qx would stop here. The result is that every time an EG's attack hits the endpoint, a trigger fires the next EG, and so on down...a ripple of envelopes!
Now, with the EOF, this is how you turn this thing into the LFO from hell! Like above, connect EG1's EOF (the end of the envelope) to the TRIG2 in, and keep on going! Then when you get to EOF4, connect that to TRIG1, and you get the most berserk LFO known to god and man, with CV control over eight different rise/fall segments!
But wait! There's MORE...the EOR/EOFs on the Qx can ALSO be used to fire any other trigger input...such as the two on the Maths, which allows you to do either release or decay modulation depending on whether you've sent the EOR or EOF of a Quadrax EG to a Maths trigger in. And there's definitely more trickery that the Quadrax/Qx is capable of...explore!
In fact, definitely get a Doepfer cab or at least something that can handle a 55 mm deep module with space to spare. I remember running across that while assembling that Boland build, and that seems a tad tight for a Mantis. Another option might be one of Erica's 2 x 104 cabs...they've got beefy power specs and the right sort of depth.
For parallel effects processing, I use a 1-in / 8-out stereo Distribution Amp made by Studio Technologies, then I mix the effects returns via a Rane SM26B. By doing this, I can take a stereo FX feed, divide it without loss across up to eight different rack processors, then I can submix it all back down to another stereo pair for the return via the Rane. Those Rane SM26 units are getting a bit spendy as of late, but they're still a bargain...and there's all sorts of Distro Amps out there, although I would try and find one that's specifically for audio instead of the ubiquitous A/V distros that're out there for cheap (because, as a rule, they ARE cheap consumer-grade junk). But this would let you get away with a pair of send/return modules as being the only thing needed in your build, letting the Distro and the submixer handle the real voodoo!
Let's see if I can post this without erasing it this time...
OK, reworked the Boland entirely, mainly to get this closer to the actual 100M architecture.
I changed the MIDI interface for sizing reasons while keeping much of the necessary functions. The power was switched to a 4ms Row 40, which NOW gives you twice the current capacity than the modules, plus I trust 4ms's power circuits more than Uli's. This lets your P/S loaf along, generating less heat and experiencing less strain overall...which you want. Other than those, the only other non-B. module left is the Clouds clone; I chucked the Distings and the 'scope so that you could have a second pair of VCOs for even better doubling/detuning results. Plus, I added the CV mixer/portamento module to the bottom row, which should let you make better use of your modulation sources. I did toss the multiples, though, as this is just too small a build for having a dedicated mult (especially NOT one that takes up 16 hp!) and it would make more sense to use inline mults, plus this allowed the CV mixer. The only thing I regret here is that I didn't have space for the phase shifter/delay module, but those are functions you can add outboard.
As for the second rack...it really strikes me as more of a hodgepodge, really, and I don't think it'll work out all that well. For one thing, the Prodigy voice takes up loads of space for what it does. And at $3400 and change for the second rack...if you're trying for that Moog sound, consider a Subsequent 37 instead. For one thing, it's less than half the cost of the rack, and you're 100% in the Moog sound "pocket" with it. Also, the Sub37 has plenty of other tricks up its sleeve, such as a step sequencer and an arpeggiator. And the cherry on the cake: since it's duophonic, you can (in theory) use it to control itself AND the Boland rack, depending on how you opt to set it all up. Better still, if you can find a Sub37 CV used on Reverb, eBay, etc, that would up your connectivity between it and the Boland rack while STILL coming in below the original cost!
Actually, I see a problem here...first up, that Erica mixer in the top row seems like it does too much and is too big for a source submixer. Also, it has a compressor onboard...but you ALSO have a compressor module in the bottom row, and that can get dicey when trying to set up levels in a modular. And you're eventually heading for a stereo image by the time you're hitting your output stage.
Do this instead: pull the Erica. Replace it with Doepfer's Mini Stereo mixer, then add a second stereo mixer for the drums in the middle row. Once that's done, the FIRST mixer should feed VCAs #1 and 2 in the Veils, and the SECOND should feed #3 and 4. After that, then patch the individual VCAs from the Veils to the two stereo inputs on the MakeNoise crossfader, optionally using the FX Aid XL for the 1/2 feed and the little FX Aid for the 3/4. This way, you're in stereo once you get past the sources, with VCA level control all the way to your output via the Veils' VCAs.
Normally, I'd not give this a second thought...but, oh, lookit what we have here: an eBay banner that's modular-centric! This is effing brilliant and, depending on ones' credit line, potentially irresponsible...but what the hey! Makes $$ for MG, AND entices us with shiny toys. Sounds like a WIN!
I like giving myself obstructions and believed I could achieve what I want in 3u/104hp as I'm using a set up that involves additional components, eventually I'd like to only use my laptop to record into the DAW. But you're probably right on one or both accounts, replace Maths, fill that space with a proper envelope generator and get a bigger rack.
-- Excommunicate
I definitely understand the concept behind "deliberate limitation", but I think you'll find that the obstructions that will result in this circumstance are NOT helpful. For example, you mention wanting to record directly...and this IS possible with some of Expert Sleepers' modules, but the space limitation eliminates them from potential choices here.
Also, when I was talking about "replacing" Maths, I was referring to replacing it as a source for envelopes. Maths is STILL one of the cornerstone modulation sources in Eurorack, even with its 20 hp size. But what makes it amazing for modulation involves using it for quite a bit more than JUST envelope generation. Plus, you can tandem Maths with a lot of things, including other EGs; one neat combo that comes to mind is using it with an Intellijel Quadrax + the Qx expander. Loads of abuse potential there...
Actually, I'll peg the problem here as being a too-small cab. One rule of thumb to always follow when working out builds on MG is that you always want to start with a cab that seems too large for your purposes. Most of the time, once you start dropping modules in, you'll discover that it WASN'T too large in the first place! Plus, if this is intended as a live performance device, you DON'T want teensy little modules as those will only result in trouble when gigging. Lots of potential to grab the wrong knobs, etc. The Intellijel idea seems right...but consider a 7U 104 from them instead.
Pittsburgh Modular also made a stomp-centric cab quite some time back, incorporating footswitches that could be added into your patch, etc. However, it's been quite some time since they were available new...but some poking around in the usual used device places could turn one up with a bit of diligence.
As for why it was discontinued...well, lots of itsy-bitsy knobs and jacks and wires + FEET. The problems for the avg. guitarist would be huge, especially onstage. Very much something for studio use only!
If you have a Unicorn account (WORTH IT!), you can do something along the lines of creating a large-scale "composite" build that encompasses all of your cabs. The Unicorn account breaks you out of the 4 row lock that the free account has, and by setting up various tile rows filled with blanks, and blanks to demarcate the different rack sizes, you can set up a pretty good approximation of what you're describing. And you can also save the modules you have to your "favorites" list so that they'll be on hand when needed.
I tried to keep up a monthly look at some of the more interesting modules coming out...until about a year-ish ago, when the DELUGE of new Eurorack modules just got to the point where it became untenable. Fact is, there's quite a bit of really intriguing modules and such hitting the sales floors now...I don't really know WHAT to compare it to, either. Some have referred to this as the "modular renaissance", but that seems more characteristic of 20-ish years ago, when Dieter had started putting out the A-100 system, and you started to see third-party firms building for the format. What we have NOW...well, damn...it's as if the entire rulebook on Things You Create Music With has been tossed in the shredder to make confetti! ANYONE can have one of these machines, and unlike the first huge period of modular (1968-80), they don't take up the same amount of room as the car you'd have to purchase in order to spend an equivalent amount of money.
Couple that with the continuing explosion of computer power available to Joe Average, the development of software suites such as Ableton Live or Reason and software instruments such as the ones from Arturia (and LOADS of others), and this situation actually starts to resemble 1977 and the punk scene's democratization of music making...albeit in a sustained manner, with little indication of this flaming out anytime soon. Plus, lines of demarcation that used to be there around what/how to make music are dissolving; it's not unusual now to see the likes of, say, Daniel Lopatin doing film scores, working as Oneotrix Point Never to do pop, or transforming into Chuck Person to become one of the founding vaporwave luminaries. Strange and interesting times, indeed!
This seems to me to be yet another too-small case problem, in tandem with the absence of suitable utility-ish modules that can unleash the ones that are already here. the-erc's observations are pretty much spot on, therefore...but where would you put those in this? Plus, I'm of the opinion that you'd do better with a proper envelope generator for envelopes than simply using the Maths...to me, that's sort of like having a vintage Ferrari Dino that you only drive to the grocery store. Maths is capable of MUCH more as a complex modulation source than what it's apparently being tasked with here.
Fact is, since the x0x-box methods are all well-established, they've got a very real "performance practice" around them, to the point that you've got a huge user base that's VERY accustomed to how they work/sound/etc. So, should you run dry on ideas, it'd be quite likely that you could run across another x0x user who'd hit the same creative wall...and they'll have ideas that are specific to those devices that YOU can use.
by the way – would you know of any colorful/lofi/characterful VCA:s?
-- diego_armadona
As a matter of fact, a few come to mind right off...
First up would have to be Bastl's TIMBER...VCA + wavefolder, which also has a crossfader function and an overdrive. Then you've got this thing from Erica, their Fusion VCA/Wavefolder/Ring mod which uses a pair of miniature pentode tubes, has dual VCAs and also functions as a 2-in mixer. And speaking of tubes, Purrtronics (they of the really nifty spring emulator) has a pentode VCA. And lastly, there's Blind Monk, and their Quad, which is a four-channel mixer/VCA/waveshaper which also does some stereo field tampering.
OK...I tore into this, figuring it was a simple enough rebuild...and then I started banging into the case's limitations. The aim was, of course, to try and keep as many of the original modules as possible, but some of those were just the wrong choices. So I tossed those, expanded the case (the build now fits into a Tiptop Mantis [or any other 2 x 104] and an Intellijel Palette 104), and restarted. With the larger cabs, this started all snapping into place and in a much more orderly manner. Provided MG's screenshot function is working (it wasn't when I posted this, so if you don't see the rack, just wait a while and come back to the post), here it is:
I'll go over the updates and reordering...
First up, the Intellijel cab offers a utility row at the top, with more than enough mults, your audio outs, power, and your MIDI in. In fact, since both of these cabs are powered, the uZeuses are gone.
Tile row: Added a single-channel MIDI interface, a Noise Tools, and a separate stereo out to a pair of the cab's 1/4" jacks. This leaves two of the 1/4" jacks unused, unless you want to branch the stereo out tile to both pairs of 1/4" jacks to allow a second stereo pair for separate processing, etc.
Row 1: It's the same modules until you hit the Zlob Triple Cap Chaos, which functions as a waveshaper and/or ring modulator. I co-located this with the Chainsaw VCO. PLL, then the dual 3-in mixer for summing oscillators, and after that there's one of two Codex Modulex's Veils clones. After that is the LPG (technically a VCA, so it's just past the Veils clone), then your two voice modules. The entire top row is your "voicing".
Row 2: All your picks, until we get to the middle. This is where I added a Batumi (more LFOs), a MISO (for altering/mixing/wrecking CV and modulation signals), and a Quadrax which now puts your EG count at 4. After that, your effects...I added a Tiptop ECHOZ along with the Data Bender and Monsoon. These all work in league with the main stereo mixer below.
Row 3: the little sliver is a Konstant Labs PWRchekr, which makes up for the lack of DC bus indications on the Mantis. ES-3 and 4 are co-located. Then all of the timing...Pam's, Little Nerd, RND Step (sample and hold, yes, but it needs the timing pulses) and your logic. Then a second Veils clone handles VCA duties for modulation and CVs. After the Squid Salmpler, there's a new stereo submixer to help get that down to a stereo feed. Then you now have a PROPER stereo mixer in there with the Praga/Hrad, which provides your final audio VCAs, plus CV over panning, CV over AUX send levels, your AUX returns, headphone pre (with cue), and main level control.
Not only does this layout make far more sense (and it also makes the build more intuitive to use), by going to the larger cabs, I was able to kick this all the way up in terms of having everything in there to make the majority of your original modules do what they SHOULD do. Now, some things were tossed out because the changes made them irrelevant (such as the Pip Slope), and I got rid of the drums in here because, tbh, drums added to a modular build are just...well, there's ways to do that, but they don't exactly fit in here at this point. You're actually better off using a proper drum machine with this, or outputting drums via VCV as direct audio into your DAW. But the results here do bear out the changes, I think, as this appears to be a much more capable build than the original. Its still a tad short on modulation sources for my tastes, but as it stands here, this should up your game considerably.
VCAs come to mind immediately. Seriously...there aren't any. And without VCAs, you have no way to modulate signals, PERIOD. You can have all the LFOs and EGs you can cram into a build, but without VCAs, you don't have any way to control the amplitude of audio or modulation signals with those LFOs or EGs. A rough equivalent would be buying a new car that has brakes as an option...and opting to save money by not having them installed.
Otherwise, this build is really a hodgepodge of "sexy" modules, with very few of the necessary "boring" modules necessary to make the sexy stuff do what it's known for. If I were you, I'd consider taking up every last bit of space remaining to correct this shortcoming. Otherwise, all this is is an expensive noisemaker.
Using logic and related modules to alter timing is a bit of a "black art", but once you sort out what's going on, it's easy.
Boolean logic consists of a set of four very basic gate operations:
AND gates will send a gate out only when the A and B inputs have a gate present.
OR gates will send a gate out when either the A or B inputs have a gate present.
NAND gates send out a gate when neither the A and B inputs have a gate present.
NOR gates send out a gate when neither the A or B inputs have a gate present.
...and those four logic states allow you to combine timing pulses in those ways in order to arrive at a completely different pulsetrain. For example, let's say you have a single timing signal, and you split this. One split stays unchanged, but the other goes through a gate delay so that there's a bit of overlap between the original and delayed gates. To extract a wholly new timing signal from these with an AND gate, you'd just send both to the AND's inputs, and the resulting output will only occur during that little overlap window.
Pulse delays are useful with these, obviously. But also, there are supporting modules for logical operations, and one of these is the very boring-looking comparator. Comparators are gate generators that output a gate when an incoming signal's level exceeds a threshold level set on the comparator (or from an inputted DC offset used as a threshold level). This allows you to take modulation signals, such as LFOs, and use them to fire a gate when the incoming modulation signal exceeds the threshold. This allows you to extract a very different timing signal, which you can then combine with clocking via the Boolean gates. This can get REALLY INTERESTING from a generative standpoint, because getting some freerunning LFOs tends to be cheap (Doepfer's A-145-4 has four of 'em for about $85) and basic comparators are also fairly inexpensive (Blue Lantern's dual one is only $45), so with minimal money and space, you can brew up timing MAYHEM.
Another type of module is a derivator. Ladik makes one of these (the J-110), and what this does is to read the "direction" of CV signals. How this works is that, if you have the derivator patched for "rise", a gate will appear at that patchpoint when the module detects that the incoming CV is rising in voltage, and when it changes direction, the gate cuts off (but now, the "fall" gate will have a gate present). These can get really bonkers when used with random CV sources, such as a sample and hold that's sampling a noise source.
The last sort of important logic module is the "Diode OR". These aren't logic as such, but they behave like an OR gate in that whenever a gate arrives at a Diode OR input, it can then be combined with OTHER incoming gates to create a composite timing signal. They're basically a mult for trigger/gate signals, with diodes to prevent reverse voltages from affecting other modules, and sometimes are also called "Integrators" for...well, integrating pulses.
So, yeah...logic can get pretty confusional, but at the heart of it, it's simpler than most think. And by adding lots of peripheral modules such as comparators, derivators, etc etc, you can create a whole world of complex timing in not a whole lot of space!
Just remember: the P/S is upstream from literally EVERYTHING here, so if it has some sort of catastrophic failure that results in passing a voltage surge across your DC busses, your entire rig will be toast. This is one part of any build that I always insist that builders overspec; there's simply too much riding on having stable, clean and reliable DC to go with something questionable for your power supply.
Otherwise, Jim has a point: this is NOT a large build, and trying to cram large modules into it will inevitably result in taking up space that needs to be there for other modules. Also, you can chuck the mults...the build's too small for these, plus you don't have enough CV destinations to require a buffered mult, as those are for correcting voltage sag issues that can crop up when trying to control several modules on the same CV line.
+1 on the WMD Tool Box...that one 6 hp thing is action-packed! I wouldn't do a Links, though, as this is too small to necessitate mults (use inline ones)...but Kinks? Yep. This also needs better random-source behavior, too...I recommend Doepfer's A-118 + their Buchla 265 version, the A-149-1.
Actually, this isn't bad...the only real issues I see here are...
You need a PROPER stereo mixer, ie: one that actually has panning over your mono signals. Instead of the Intellijel that's there, have a look at some of Ladik's manual stereo mixers. Their M-172 gives you four pannable mono channels plus one stereo, and also features 1/4" isolated outs. And...
The tile row, as it stands now, isn't what it could be. I'd recommend this lineup:
(If this isn't showing up, check back later. MG's server seems to be throwing another tantrum over the Screenshot mode)
This keeps the I/O (why in the name of all that's holy did Intellijel discontinue the all-in-one module for this, though?) and the QuadrATT and FX I/O, but adds the very useful Noise Tools and a DuATT, plus a USB power module in case you need to power something like a controller, etc. Much more potent, and it eliminates the mults which really aren't all that necessary in a small build (just use inline mults instead, and save space for things like this).
Well, it does and it DOESN'T have VCAs. Half of an LPG is a VCA, but since it and the filter are controlled via a vactrol, it has something approximating "hysteresis", resulting in a ring-off "tail" after the CV drops to zero. But if you're talking West Coast, they're 100% essential to that sound...it's where that woody "ploonk" sound comes from because of how the vactrol decay works.
Definitely...the reason that those caught my attention is that while we have a wealth of MONO submixers, the amount of STEREO submixers is pretty skimpy at present. Not only do these do that on a massive scale, they're inexpensive and super-simple. Now that's value! Plus, if you want to hard-pan signals to the left or right, you can do that for four stereo signals with the same module, and even have some panning "leeway" by careful adjustments of the input levels.
Had a peek at Paratek's new MKC8-CTEPEO mixers...for those of you using performance mixers with a BUNCH of effects modules that output in stereo, this is a killer way to sum down those effects outputs and then send the whole composite mess back to your performance mixer's stereo AUX return. Or if you're running stereo voicings, this is what you'll need to sum a huge pile of stereo oscillators, VCFs, whatever. Very smart module...
The problem with using "top review" modules is that nobody but NObody reviews things like attenuverters, VCAs, etc...the "boring" stuff that actually makes the "sexy" modules with the top scores do what they do.
For example, the "Mesh" does work as a mixer and a set of attenuators. But they're not attenuVERTERS, which means you can't use them to invert modulation signals, such as inverting envelopes for VCF modulation. And this has NO VCAs at all, which means you have no way to use modulation signals to affect amplitude over either modulation signals or audio. Plus, no STEREO mixer, which really cripples what the Monsoon and Delta-V are capable of spatially.
I suggest that you stop worrying about the individual modules themselves, especially following reviews of them for the reason I mention above. Instead, look at GROUPS of modules as a unitized subset...for example, envelope generators need some way of controlling AND inverting them. Inverting a single LFO signal results in TWO modulation signals that work in a 180-degree quadrature arrangement, meaning that one LFO rate can determine TWO phase-opposed modulation results. And so on.
What I'd suggest is that you spend some time looking at MG builds by experienced synthesists. If you see a certain module that you find engaging, then pay close attention to what it works WITH, in addition to what it does. These so-called "utility"-type modules are what makes a build like the one above work...but it's ESSENTIAL to know what you need for the "sexy" stuff, otherwise you're building a system that's hobbled by the dread "Sexy Module Syndrome". Don't fall into that trap...thankfully, you've got a whole row for expansion, so you might still be able to dodge that bullet.
Sure...what the hey, right? So...
Some of this is based on encounters with Buchla and Serge stuff in the past, with some updating because Eurorack.
Top: Quad free-running LFOs are paired with a three-in attenuverter/mixer for creating composite modulation, leaving one LFO free at all times. Kept the Quantum Rainbow 2, but added a Make Noise FXDf so that one noise signal can be divided into even tighter noise bands, similar to the Buchla comb filters and how you can use them for the same sort of thing. Dual quantized VCO next, and for screwing around with that, there's an Antimatter Crossfold, which allows simultaneous waveshaping via combination of the VCOs (or a VCO and noise source). The 6x Mix is to provide three two-in mixers for composite spectra of noise/VCOs/Crossfold. Then the MEAT...SIX lowpass gates, plus a dual multimode VCF (mainly for bandpass/highpass use, but your mileage may vary). After that are two pairs of Omsonic six-in stereo panning mixers with FX Aids; these are intended to sum down sources, process them as two separate 2-channel sources, then the Antimatter V3kt handles your quad sound projection.
Bottom: Temps Utile, Fractio Solum for CV over clock division/multiplication, then a Knights Gallop algorithmic pattern generator. After this is a pulse counter, then a probabilistic pulse skipper, leading to a Boolean logic module plus a Bytom for pulse summing/distro. Eight EGs are after this for control of the LPGs, etc. The Tonic is a sequencer that derives CV outputs from incoming pulsetrain info, and to help make that even more nuts, there's a Pithoprakta probabilistic sequencer. This ENTIRE ROW is intended to function as a single device for generating and manipulating timing signals, taking them from being simple clock/pattern outputs from the Temps Utile (which also has four CV ins for direct modulation of various parameters) through various stochastic and logical processes to arrive at the ENTIRE sequencing and control system for the upper row's parameters, from CV to gate/trigger signals.
But wait! Where are all the VCAs!? Don't need 'em in here, since the vast majority of what's going on involves timing pulses; there's very little in the way of CV going on, much of which has been optimized for MANUAL control. Instead, we have the Boolean gates, which are kindasorta a substitute for VCAs for tampering with pulse behavior instead of modulation amplitude. And up top, you have the array of LPGs (half of which is a VCA, remember?), plus a filter that can either be fed audio OR it can be "pinged" with a high resonance setting, which can give you two different ringing filters from the same general FM control. Mixing with the panning submixers is manual (which is a little different, given that you have to determine levels BEFORE the submixer, not ON it) but we get back to CV control when we get to the quad spatializer at the end of the audio chain.
Pretty nuts, actually...I wouldn't mind messing around with this sort of a "drum machine", although it doesn't have the "Teen Beat" setting found on my Seeburg Select-a-rhythm.
What would be your suggestion for a basic roadmap? Start with the ability to bring in voices from outside the rig, in order to focus on building out (and learning how to use) the brain/control within the rack?
-- Manbearpignick
Right...Jim's got the right idea, actually. Start with one of the basic oscillator "voice" sections (the Noise Reap one, actually...get used to all of the crossmod and sync possibilities there), plus the stereo submixer and probably the Linnaeus, as it'll have the steeper learning curve. But the problem with the timing "brain" section is that ALL of those modules are intended to work as a unified subsystem, so it's difficult to take it apart. In fact, there's a lot of that going on...for example, the Blip and the Branches can function together to switch between pairs of different envelope contours. And then there's all of the comparators, discriminators, etc that read modulation curves and then output timing pulses based on the Befacos, the free-run LFOs, etc etc. which get combined via the Logic 202 and Bytom modules to create more complex composite gate signals. But then, that's the difference between a pile of random modules in a box and something crafted as an intentional instrument. With random modules, you can just toss 'em in the cab as you like...but taking something like that build apart is sort of like ordering a Steinway, but insisting that you can add the bottom two octaves worth of keys, action, and strings later. Doable...but inadvisable.
Actually, though...using something multifunctional such as the Monome Crow and many others to cram more functionality into a given space is a good way to get past that 2 x 104 stricture. But then, you risk winding up with a modular that requires loads of menu-diving to get something generative up and running. The key is in finding a balance between that and the simplicity of not having to menu-dive.
Yep...in many cases, you WANT "redundant" modules, particularly VCOs. That's why the VCOs in the subsystem with the dual Paradoxes + quad VCA are both the same. If you detune those to get that warm, rubbery detuned result (even better with the Paradox, as they have some weird internal crossmod and sync abilities), that's what you'll get. As opposed to if you paired a Plaits with a Doepfer Basic VCO, which would result in both different spectral qualities AND behavior.
As for the Temps Utile, I like the fact that it can be modulated by more (4 CV ins as opposed to 2) basic mod signals, plus it's actually a bit less menu-dive-dependent than the Pam's. Otherwise, it does much the same things...but the Temps costs around $100 less. And if you can duplicate functions AND save money...that's the right route!
There was a lot of stuff in the original build that just didn't seem as if it worked together. Plus, you had some misunderstandings about a few modules, such as the difference between Maths and the QuadrATT (the former is a modulation source, the latter is just a quad attenuverter/mixer). In the end, I decided to rebuild the whole thing as a three-voice setup, keeping the Octatrack use in mind. I came up with this:
It's SORT OF the same...but things have either been reinforced or shifted to more capable/better sized modules.
Top row: Shapeshifter and QPAS...then I started having some fun. The QPAS is tandemmed with a CV stereo crossfader; this allows you to select two stereo output pairs from the QPAS and crossfade between them for more timbral complexity. Then I added two pairs of Noise Reap Paradoxes, which are dual crossmodulating VCOs, then these go to a Veils clone so that you can CV around through the VCOs to do some complex timbral stuff there, or "mixsequencing" between the four VCOs before this goes to a G-Storm clone of the Roland JP-6 multimode VCF. Notice that the VCF also has a dual input, which allows you to "break out" a VCO or two and feed them directly to the VCF, bypassing the CV mixing from the Veils clone. Lastly, I added the mo'fo of all nasty, dirty VCOs, the Schlappi Engineering Angle Grinder, for in-your-face leads. This goes to a Font, which is a Ripples clone. We'll get back to the audio in a bit...
Tiles got changed a lot. The MIDI interface is now at the left end, to feed the VCOs. Then there's a Noise Tools, which gives you noise, clocking, a slew limiter, plus a sample and hold. The QuadrATT got shrunk down to a DuATT to provide some modulation attenuation/polarization control for the VCOs' CV/mod inputs. Next is a sneakily-added passive LPG, which in tandem with your noise gen can serve as an extra percussive. Since the Rainmaker was simply too large for this sort of build, I added a stereo delay (or chorus or reverb) back in with an Intellijel Multi-FX, then the line I/O is next to this.
Bottom row: I swapped the Pam's for a Temps Utile, which I think will work out better in this build. Your Disting EX is next to this, followed by a dual sample and hold, then the Shifty analog shift register. After this, there's a buffered mult, which you'll want if you decide to put ALL of the VCOs under a single pitch CV. I switched out the Maths for a Befaco Rampage, which is the same general sort of thing minus 2 hp. This then allowed me to drop in a Batumi for CV controlled LFOs, and a Roti Pola which is there to allow you to invert/mix complex modulation signals from the Batumi. Another Veils clone provides VCAs for the CV/modulation signals, then the Zadar. I upped the FX Aid to the full version, and then put in a Toppobrillo Stereomix mkii; this provides final level VCAs for four audio inputs, CV over panning, and CV over FX sends. It also has FX send/return (stereo return) jacks, a headphone preamp (which can be switched to CUE for isolating mixer strips for tuning, etc), and mutes on all inputs. A mixer like this is pretty essential for audio control, especially if you ever intend to use the system live.
This is pretty beefy now. Technically, you can source as many as FOUR different sources from this build, including the noise-to-LPG routing I mentioned. I'd actually consider taking this out for live gigs myself, which is saying something. This should be more than suitable for your purposes, plus it's open-ended enough that it'll play nicely with the Octatrack.
Not bad...but the signal flow is all over the place, and with generative work, that's BAD. You need a much more coherent arrangement so that, once it's all up and flying, you can easily deal with any subsystems that aren't functioning as expected. Also, the 4 x 84 arrangement makes things pretty dense; shifting to something considerably larger will make the build much easier to sort out and program. farkas also makes a good point, in that VCAs + free-running modulation sources are one of the keys to making the generative process work.
Instead of 4 x 84, a better choice might be 4 x 140 via two of those Behringer powered cabs (provided we get some verification of the P/S stability and reliability of those power supplies). Another idea might be 3 x 168, using a three row Doepfer Monster case, where we know the power situation is already tried and tested. In fact...
OK...now THIS is a serious generative build!
You'll notice what seems to be a disproportionately-large section of clock-based modules. These are there to extract timing info from a large amount of different internal (and external, hence the ES-8 in the bottom left) modulation sources, and then to process these via a Boolean logic module + a Xaoc Warna trigger/gate combiner/distributor to create composite clocking signals. Plus, these also work in tandem with the two sequencers; one of these is a Time's Arrow, which is a purely generative CV/gate sequencer, and the other more "determinate" one being a Tiptop Z8000. A quad quantizer deals with the CVs from this array, plus a sequential switch steps through the four CV outputs from the Z8000. The Derivator next to the Time's Arrow outputs gates based on CV movement, and the VC Trigger Source is a "pick-off" for trigger pulses when CV thresholds are passed. Next to the Logic 202 is a dual-channel probabilistic skipper for gate pulses, and the Fractio Solum is a CVable clock divider/multiplier for further manipulation of the Pam's signals. Above that group is another set of timing and randomization modules, plus more CV manipulation.
In that section, you have a buffered mult, then the Triple Sloths. After that is a Verbos Random Sampling source, which contains your noise sources as well as Buchla 265-esque random weighting for random signals (VERY necessary!), plus a 4-out analog shift register which replaces the Intellijel module. Then the Wogglebug, and after that a Min/Max derivator for CV manipulation based on arithmetical values. The Compare 2 contains two window comparators, which are special comparators that can output a pulse based on crossing two different thresholds, also containing some logic. These can also be CV controlled so that the generative processes can change the various thresholds while running. The Tool-Box has some more utilities, plus another "normal" comparator. The SISM is next; this is a fully-CVable mixer for CV and modulation sources that can also perform inversion plus 4ms's "shifting" methodology for gradual changes. After that, Branches serves as a pair of probabilistic switches, and then you have a Zlob hex VCA for amplitude control of modulation signals.
Top row above this contains a few more modulation sources. The Pachinko is a 12 hp clone of Marbles, then there's a pair of Befaco Rampages to serve as complex CV-controlled modulation sources/modifiers. After that, we get into the voicing...first up is a pair of quantized dual VCOs from Klavis, then a quartet of Noise Reap VCOs in dual modules, which have the ability to cross-modulate and use VCO sync on each other. Last up is a pair of Plaits clones. Each of these oscillator sets has four VCAs for summing, so that you can use the generative processes to sort of "strum" through each set of oscillator outputs. The VCA groups (all Veils clones by Codex Modulex) sum at a manual stereo mixer, then we get to the filters, both of which have stereo I/O, and there's a Happy Nerding CV crossfader to sweep between the two stereo VCFs. The last thing there is a Xaoc Katowice, which is a stereo frequency-dependent signal divider (sort of like a crossover, but with CV control), with the idea being that you can "Y" between it and a direct feed to the Performance Mixer so that the generative processes can be made to exclude bandwidths from the summed voice signal at times, and at others you can have the full feed via its mixer strip pair.
Below the voicing section are envelopes and LFOs...there are eight free-running LFOs, the Batumi + Poti for CV controlled LFOs, then what really should be termed an "envelope sequencer" via the incredible Erogenous Tones Radar/Blip pair, which gives you eight basic envelopes...but given the way this works, it's possible to also generate sequentially-chained envelopes for composite modulation signals. Next is effects...the dual frequency shifter, then a 12-tap stereo delay, and finally a Stasis Leak, which gives you CVable stereo chorusing, tap delay, and reverb. The little white thing at the end is a Konstant Lab PWRchekr, which is useful for keeping an eye on your power bus performance.
Last up, mixing. I went with WMD's Performance Mixer here to allow some very complex automated mixing which also included dual FX sends for the delay and Stasis Leak. The Happy Nerding OUT gives you transformer-isolated 1/4" outs, plus a second stereo input that can be used for parallel mixing of another stereo source in with the mix from the Performance Mixer. It also has a headphone preamp for convenience, as does the Performance Mixer where you can also send signals to the CUE bus for tuning and adjustment without affecting the overall mix.
This thing ain't no joke! There might seem to some to be way too much going on with timing and modulation, but you have to keep in mind that all of that is the build's CONTROLLER...while you can certainly patch this up "normally" and use a MIDI source from your DAW or, as long as it's class-compliant, a MIDI controller, the main intent here is to set up complex patches that are basically self-regulating and self-adjusting so that the build can "free-run" and...well, generate audio from a large amount of interlinked parameters. And THAT is what generative is all about.
And yeah, it's spendy as hell...but then, when you do generative RIGHT, it tends to cost quite a chunk of change due to the necessary amount of specialized control modules needed to act as the generative system's "brain".
Did a little screwing around with the last version, came up with this:
The big thing you'll notice is that everything's been reordered. I immediately moved to get audio sources away from the P/S module. So the MScale is next to that on the top row, followed by the MIDI interface. The top row was then swapped out so that all control voltage and modulation sources and manipulators are up there now.
After the MIDI interface, I swapped the divider for a more capable CVable divider/multiplier. The 2hp TM was switched out for a real Turing-style sequencer (Permutations) which also now has its own quantizer. Then Maths, and after that I swapped the expensive U-He CV manipulator with its memory and menu diving for a much cheaper and more playable MISO. A Doepfer Dual ADSR now provides proper envelope generation for VCAs and VCFs, then I switched the Zlob VCA module for a Codex Modulex clone of Veils, which loses two VCAs but gains the variable response curves on all VCAs.
Then the effects modules were switched out for various reasons (we'll get to an important one in a bit), giving you a stereo chorus/tap delay/reverb and a stereo delay in a tighter space...but not so tight that there'd be ergonomics issues.
Lower row: I put the o&C below the P/S for the same reasons as above. Then the Percussion Interface, which keeps it away from the P/S as well. Kinks is next, then we get into the actual audio path, starting with the Disting. Next is the Ensemble Oscillator, followed by a much better VCF pick, the G-Storm ARP 4012 module which replicates the Rev.1 ARP 2600 VCF, plus it provides a 2-in mixer to sum the Ensemble Oscillator's outputs down to mono. Then the Chimera and Font were paired up next.
Now, the mixer section. Another Veils clone for individual VCA level control to your mono mixer inputs. The mixer is now a Cosmotronic Cosmix, which gives you four PANNABLE mono ins, plus a mono AUX send and two stereo inputs with no AUX. Now, remember the bit with the effects? Both the Frequency Central AND Tiptop modules take a mono input and output stereo...which is perfect for feeding them BOTH with a split AUX cable, then you can parallel-mix them back in via the dual stereo ins. This is a MUCH better and more controllable method for treating effects, plus you now have a proper stereo output with the effects where they belong in the signal chain. And the HPO's at the end, and you can Y-split its inputs off of the Cosmix's stereo out.
Chucked out: the Bernoulli gate (didn't see the need for it), the Links (this build is too small for a dedicated mult; use inline passives instead when needed), and one or two other minor things, all of which got pulled to increase available panel space for superior functionality. Also, I made sure to keep suitable room throughout the build so that there weren't any space issues of consequence around the major "performance" controls. And for the cherry on the cake, I got it in for $400 less!
I also had a look at this, and right off the bat, several problems were apparent. One that really typifies the issues here is the placement of those Erica PICO VCOs. OK...so, two 3 hp modules, itsy-bitsy knobs, very closely spaced and on the same "plane". So...let's say you're playing live, and the first VCO gets a bit out of tune. So you quickly grab that and try and adjust the tuning on the first one...but you snag the SECOND one with the topside of one of your fingers and knock THAT out of tune as well. Now BOTH VCOs are knocked out of whack, and things start to get...not good. But because of the tightness of the control surface here, frenetic attempts to correct matters results in even more ugliness, then someone in the crowd gets riled up and chucks a bottle at your head. You wake up in the ER a couple of hours later with a concussion, then a nurse brings in the remnants of your modular in a trashbag after the incensed crowd has exacted its revenge on the hapless machine.
OK, so that's a BIT of an extreme example...but it does point out that you not only need to be considering WHAT goes into a modular, but HOW it goes in as well. If you have controls that require careful adjustment, it's ALSO important that you include the right amount of hand clearance between everything. And this has a number of points where a slip of a finger can lead to pointless difficulties...all avoidable by just being careful about layout and ergonomics. This doesn't merely apply to synthesizers, but ALL musical instruments...and mistakes about the "playability factors" invariably leads to abandoned instruments.
And this is ALSO a picture of a trumpet: https://benneill.com/wp-content/uploads/2019/07/IMG_6691-1024x669.jpg However, unless you happen to be Ben Neill, you're going to have a lot of trouble with the second trumpet if you're used to the FIRST one. The vast majority of trumpet players would find Neill's Mutantrumpet massively confusing...which is why you don't see very many trumpet players sporting horns with three bells, Rubik's-cube-style switches and knobs, and two-plus sets of valves.
Well, if the original choice was one of Intellijel's portables, the Erica seems like the closest match...you still get that "you-can-beat-the-hell-out-of-it" metal case, which if the objective is to safeguard the electronics inside, is definitely the right move.
Curiously enough, this might be another "Uli to the rescue" situation, since B.'s 2 x 140 cab seems like the RIGHT fit here. I didn't recommend it, though, because I've not heard any feedback about the power supply setup...durability, stability, noise issues, etc.
Check this Erica...208 hp capacity, MONSTER power capacity, all-metal construction. I dig how Erica goes all out on their power, also...very beefy 2.5A on each 12V rail, split as 1.25A for upper and lower since they use these integrated P/S + busboards, which is another plus as you don't have to worry about DC wiring inside the cab coming loose in transit. https://www.ericasynths.lv/shop/enclosures/travel/travel-case/
Interesting build...in a very real sense, you've managed to come up with the modular synth equivalent of a Roach Motel: patches go in, and sounds can't get out.
Jim is spot-on with the point that you need to go with a bigger case. For one thing, if you're playing the guitar and realize that you need a tweak, the LAST thing you want is a super-tight interface, with little modules, knobs, and tight real estate. Remember, that thing is going to be festooned with patch cables when you're using it, so you want BIG modules, with BIG primary knobs (like your VCF cutoff) so that you can make tweaks while still maintaining optimal control of your axe. Case in point: http://www.effectsdatabase.com/model/ems/synthi/hifli That is the very coveted EMS Synthi Hi-Fli, made by the same people who gave us the VCS3 and Synthi A, and most famously used on Pink Floyd's "Dark Side of the Moon". Now, while this is something used as a guitar effect, you'll notice that the EMS designers made sure that there was ample room to grab the right control by a guitarist that would be far busier on the strings. Your build needs to be closer to THESE ergonomics, and not like the initial build above.
And as for "generative"...I'm still boggled by users who feel that they can do a tiny 3U build and still think it's capable of doing the amount of self-regulation that, well...https://modularsynthesis.com/moog/cems/cems.htm Now that there is a REAL generative system in MU format, assembled by Joel Chadabe and Dr. Bob back in the 1970s at SUNY Albany. It's a bit...um...LARGER. And even if you shrink this down to Eurorack size and make ample use of multifunctional modules, it's STILL going to be larger. You're missing loads of things needed for this: comparators, logic, CVable function gens, discriminators, etc etc...in short, all of the self-regulatory functions that make generative generative. I'm even inclined to think that Jim's suggestion of 2 x 104 is too small to really get this right, especially if you get the ergonomics nailed.
I'd suggest spending some time studying MG builds done by experienced synthesists/builders that use generative/stochastic principles, for starters. Second, if you don't have a copy of VCV Rack, get one, as it'll give you a lot of insight into what's necessary to get that sort of build to work. Toss this build, then come back to attempting one AFTER you've sorted out what this will actually entail.
Or better still, you find an MXR Drum Computer with a blown-up sequencer but 100% intact ROM voices, and you make a pigtail for the triggers off of the Molex on the back, then feed it with pretty much anything that can kick out the right signal! Definitely optimal, just not all that likely.
Right...the Nearness gets one stereo in, the Doepfer mixer a second, and the Fracture has its own input pair on the 3x Mix. Plus, now that you DO have everything in stereo, it should make much better use of the Monsoon for processing the overall mix. That's the funny thing about the nearness, also...it LOOKS like some sort of nothing module. But for setting up things like drum submixes, it's perfect for that. And if one or two levels into the Nearness seems a little too hot, you can send them up to an attenuator on the Quadratt and back 'em down a bit. Super-easy!
Oh, and don't forget that passive LPG in the tile row...send that some pink noise and hit it with a fast envelope, and you get yet another percussive! Lots of neat functions in that build...
Worked fine when I put the address in the browser directly.
Actually, what you've got already is fine as a source for odd clangers and bonkers. I would suggest adding some NORMAL percussion sounds at this point so that your listeners will have a "point of reference" that they can grab onto to get into the ABnormal ones. And right now, one of the best and cheapest routes I've seen for that would have to be a couple of modules from SoundForce, their Samples (808 sample playback) or S-909 (909 samples, natch). So, in order to wrangle things around in here, I did a few changes...
The "screenshot" function on MG seems to have Covid or something, so this probably won't show up until the admins beat some sense into it...
The most obvious switch was changing the Mutable Marbles for a Warped Circuits Pachinko...same module, but in 12 hp. I also tossed the dual LPG, but also tossed the USB Power tile so that I could drop an LPG into the tile row. But the total function LOST here was exactly that: one single lowpass gate. Everything else got beefed up...you have the Samples and a little thing that LOOKS like a multiple but which ISN'T. That's actually a fixed level stereo mixer with pan positions determined by where you plug sources in. The white-ringed jacks are a Left and Right output. Mixing now has a panning stereo mixer for your other sources. And at the end of that chain is a Happy Nerding 3x Stereo Mixer...so how this works is that you connect the Doepfer mixer's L-R outs to the HN's first input, the Takaab Nearness mixer to the second, and the WMD Fracture to the third, giving you level control over each stereo source. Everything got reordered, too...clocking/sequencing/CV on the left, audio on the right, and the HN mixer can feed directly to the Monsoon. Oh, and did I mention that the HN mixer also has a headphone out that you can use to check your pre-processed mix before it hits the Monsoon? That helps with tuning, balance, etc.
Last little sliver, since I had one more hp, was filled with a Konstant Labs PWRcheckr on the left end so that you can keep an eye on your DC rail behavior, something that the Intellijel Palette 104 doesn't have. This seems LOADS better...for one thing, you now have stereo field control over ALL mono sources, and your main mix is reduced to just three controls for balancing between stereo sources. The signal flow is a lot clearer, which should make this better at rapid-fire changes, especially live.
That's easy enough: 2hp's EG. Most basic synth functions exist as 2hp modules, plus a couple of other manufacturers that also make modules in that 2 hp size.
I had a different take on this. Since much of the architecture of the original build depended on normal-sized Mutable modules (or around that same general size), I opted to yank them and replace them with smaller clone versions. This freed up quite a bit of space, as you could imagine...
So, when you examine this, you'll notice that nothing was really removed as such...but the additional space in the top row allowed me to add a noise/random source, a second oscillator (the Knit, clone of Plaits), a waveshaper that can also crossmodulate signals from both oscillators AND which also gives you an suboctave source. Nanorings, your multimode, then a Monsoon, which is an expanded version of Clouds, ONE, stereo mixer, then Verb. This also puts all of the audio (save for the output module, which I kept here) in the top, modulation and control in the bottom.
And in that bottom row, I went off...first tiny thing there is one of Konstant Labs' PWRcheckr modules, lets you keep an eye on your DC rail behavior. Then I tossed the old Doepfer divider and dropped in a six-way clock divider/logic/multiplier to really punch up your timing control. Sequential switch next, then a dual CVable Boolean logic module for further messing around with timing behavior (plus, Boolean gates can also make for nifty waveshapers in their own right). Then we're back on track all the way down to the Batumi, which now has its Poti expander. ADSR after that, then I shrunk the Veils down to a Codex Modulex clone in 8 hp. Disting's next, then the output module which now has more to deal with, so yeah...it makes more sense now.
Sure, this is a massive reworking, and it does require a number of module swaps. But it also massively expands the timbral and timing capabilities. And in this case, I kept the original cab size...but it strikes me that you might actually do better by first expanding the cab itself to a dual 104 hp, which would allow you to keep much of the original Mutables AND also allow for the expansion. You might even consider one of Intellijel's cabs with the extra 1U (Intellijel format) tile row for additional functionality.
Those're expensive synths, yep. Too bad they weren't expensive before you opted to uncase them and stick them in a 6U Rackbrute.
Nope, not kidding. Let's do some math...
An Arturia 6U Rackbrute = $359. It has 171 usable spaces in it (176 minus the P/S), so 359 / 171 = 2.10 per hp.
Moog Subharmonicon = $699. It occupies 60 hp. 2.10 x 60 = $126.60. This makes the Subby's actual cost $825.
B. Neutron = $299. It occupies 80 hp. 2.10 x 80 = $168. The final cost of the Neutron then becomes $467.
This idea might seem convenient, but as in the rest of reality, convenience has a price. If you keep these two synths in their own cabs, with their own power, you wind up saving just short of $300. And there's another factor to consider: what will it cost if you screw something up in the uncasing and recasing of those synths? You might be able to get Moog to fix the Subby if it gets damaged, but the Neutron? Nah...Uli built those to go in the trash if you blow 'em up.
Frankly, Jim's plan above makes a lot of sense: populate the cab with modules that expand on not just the 2S, but all of these synths together. By not cramming 140 hp of a 171 hp cab with just two patchables, you then have space in which to build a pretty beefy expander system for modulation, timing, extra VCFs and VCAs, etc. But as the build stands at present, you've got a whole 31 hp for actual modules. That should raise red flags immediately...because while the Neutron and Subby already have power and cases, the Eurorack modules you'll want to add do not.
As often as we recommend that beginners start with a bigger rack, that same advice applies to those of us with larger setups.
-- farkas
Absolutely! Why, when I moved into this house in 2012, I had an upstairs room that was 17 x 24. And now it's full of gear. Should've started with a larger studio...
Robert Leiner, aka The Source Experience, not only made ample use of a Digisound 80 system on his releases, he's sort of an authority on Digisound in general. He had a few releases on R&S back in the early/mid 1990s which still have a devoted following among those from the old-skool rave scene.
Actually, I did a build just the other day that's a good example of how I proceed with groupings and flow:
OK...so, in this setup, the TOP row is audio sources and modifiers. And in that row, things flow from left (the A-119) to right (Veils).
Then the next row is random sources and modulation manipulation until you get to the QPLFO, then you're in modulation source territory. Dead-center in that are the key manipulation modules for CV and modulation, in this case they're a SISM and another Veils. The idea here is that you can spread the outputs from this to patchpoints above and below the row, which would make it easier to differentiate between your audio path and the various mod sources/destinations.
Bottom row has a Hermod which is also intended to drive an M32...so in the lower-left corner, you have the Hermod, the MScale, and a dual lag generator for direction-dependent portamento with two of the Hermod outputs. Then we get back into audio, as the system's effect processing sits between the lag gen and the mixer. This particular build ALSO had an emphasis on looping, so I co-located the two looping modules (Morphagene, DLD) near the mixer since they should be pulling audio from it and then sending it back there. Then at the row's end, you see a 3xMIA for summing when needed, a Mixology performance mixer, and an Isolator for output isolation, plus it adds some transformers which you can 'hit' a little hard for a touch of warmth from transformer saturation.
So, when you study this, the Hermod is where the various CVs originate...and flow upwards to the top row, with the ability to make use of the Verbos Random Sampling's analog shift register for arpeggiation/tesselation purposes. Then the signal flow goes across that top audio row, and back down to the mixer, with the modulation row able to "hit" anything in either the top or bottom rows.
Now, if you've ever had the pleasure of working with an ARP 2600, this flow pattern should seem familiar. Technically, the 2600 has two "rows" to it, with the EGs actually being in the top row before the VCA, and the output/reverb mixer is also up there. But otherwise, the builds I do tend to replicate something of that same pattern...because it's worked for 50 years, so why change? Alan Pearlman and his team nailed the flow on that synth, and LOADS of synths since then follow their own variations on it. The only time I deviate from this is when the top row is stuffed with sources, and the audio modifiers have to go downward along the right side. In that case, I defer to Nyle Steiner's Synthacon design, placing the CV/mod modules to the left end, and filters, waveshapers, LPGs, etc on the right so that you can easily break out mod sources to go to the other end of the row(s) for use there. Again, this lets the modulation, etc "fan out" from its section to wherever those signals are needed in the audio path.
Right, toodee...there's not exactly "patch examples" for something like the MISO, because it's such a CV/mod control workhorse, there's not really any "basic" way to use it. It's more of a "Swiss Army Knife" for those signals...and the best way to approach it is probably to look at it as a cross between a CV processor and a controller for the CV/mod levels/routings. In short, it's got a bazillion uses, and how the OP uses it probably will differ from how anyone else uses it.
