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Wow...that's super-annoying! You'd think there'd be some indication of connections/polarity on those.
What you've got with the supply wiring is that the builder used red for BOTH "hot" legs and the black wire should be the common ground. Very dumb...because -12V isn't at all the same as +12V. What I would suggest is this:
Grab your multimeter, first off. If you don't have one, get one...these sorts of issues are precisely why EVERYONE doing electronic music needs one of these on hand. So, what you need to do is to check the pin header continuity, since these are invariably the same on ALL distros. So, start here: http://www.doepfer.de/home_e.htm and go to "Technical Details A-100" where you'll find the pin-out diagrams for the 16-pin standard Eurorack power/bus connection.
Next, check continuity. Put one probe onto the -12V rail pins, then see which of the two red wires it corresponds to. Once you know that, the same pin-out will apply across ALL of the distros. And you'll also know which wires need to be changed out to a different color...I suggest something that you can tell at a glance, such as white. Keep the +12V as red. And yeah...the supply lines from the AC switch shouldn't be changed, as there shouldn't be any DC polarity issues until AFTER the P/S unit.
As for that linear DC honker...that thing has enough current capacity that you'd have to really work at trying to overload it. And like I noted, when the P/S is running way under-spec, it runs cooler, and cooler means better operating conditions for it and most everything else. The stability on it should be rock-solid!
I've got a rather different take on this. You're really lacking on ways to manipulate CV/mod signals here, so for 10 hp, I'd suggest a Tiptop MISO. Then, remove the 2 hp Mult to snag their spaces (build's too small for it anyway...use inline mults instead), and drop in a Noise Reap uLoaf, which is a dual LFO with some interesting interaction potentials between them. This leaves 1 hp, then...and I'd drop a 1 hp blank in between the Shuttle Control and the P/S module to get a little more space between the power and that other module...trying to avoid a little noise and crud getting into the audio path, basically.
Well, whoever the cab builder was, they did you a bit of disservice by not color-coding the +12V and -12V rail feeders. Hopefully there's indications marked on the backside of those distros (which, I should note, aren't too shabby...they've got filtering, for one thing), otherwise you'll have to figure out their manufacturer and then chase down the board info.
Once you figure out the two 12V rail polarities, I'd strongly recommend yanking the RED wiring for one of those rails and changing it out for some other color to avoid this issue in the future. But as for P/Ss that'll work here, I'd suggest going with this: https://www.newark.com/solahd/sld-12-3434-12t/power-supply-linear-12v-40-8w/dp/93K6589 Yes, it's expensive when compared to switching P/S units, but with a LINEAR supply like this, issues with the P/S leaking crud onto your DC rails become a non-issue. It's worth noting that Synthesizers.com's in-case supplies are also linear, as well as some other makers; even my Kevin Lightner-built Digisound has a honkin' big linear supply in it...and if Kevin Lightner signed off on it, it MUST be the right thing to use!
Oh...and you get 3.4A per 12V rail. Now THAT'S a beefy supply!
Yeah, the Paradox is a good bit more twisted than just being a dual VCO. For one thing, it's a Noise Reap module, which means that it comes with all sorts of interesting "defects" in operation that make it crazier than that. Also, the VCOs are set up to cross-modulate, so it also has weird aspirations to be the oscillator core from a Buchla 258.
And yet again, here's reasons why you DON'T take a synth that's already in a powered cab and...move it to yet another powered cab. Not only does it make the synth in question cost a lot more (because you have to take the Eurorack space costs into account), there's always a significant chance that you can fubar it while doing this.
Had a little fun with this...
Added a dual VCO with interesting crossmod quirks, and two Takaab Nearness fixed-pan, fixed-level mixers. The Antumbra Dual VCA is an improvement over the Doepfer as it offers the same variable-response capabilities as the Veils VCAs. Also, I added an LPG for the Sine/Kickall combo so that you get a more drum-like result that should hit a lot harder.
The Nearness outputs should go directly to the Happy Nerding 3x Stereo Mixer, and you still have a third input (mono or stereo...the HN channels are normalized as "L = mono"). Then this now feeds the FX Aid more appropriately, since you're sending that stereo FX module from a stereo-out mixer. Lastly, I reordered it somewhat to make the signal paths and subsections more apparent for ease of use.
Also...this really would work a lot better with larger modules for ergonomics, which would necessitate a larger case. Something along the lines of a Mantis would be cost-effective AND fill that purpose.
One note here: VCAs that are able to affect CV and modulation signals should be LINEAR and also DC-COUPLED. These are sort of workhorse VCAs in a build as you can use them for basic audio amplitude control AND CV/mod control. But these need to be linear because if you change a voltage by a given amount, that amount needs to reflect the CV scalar system. Case in point: let's say you want an LFO to sweep a VCO by a 5th on one sequencing point, but by an octave on others. With that, it's just a matter of calculating the voltage change needed, then sending that from the sequencer to the VCA. Easy-peasy.
Now, what EXPONENTIAL VCAs are about is 100% about audio. Since we perceive "apparent loudness" on an exponential scale (phons), we use exponential VCAs so that an incoming CV or mod signal can affect the thruputted audio on that same scale. Also, VCAs for audio usually are AC-coupled...they cannot pass voltages down in the subsonic and/or DC range. This is useful because DC + amplifier + speaker = And this is ALSO one reason why transformer-balanced output modules are also useful, because they block the same subsonic and DC signals.
Step #1, like Jim said, is to remove the M32 from the cab. It HAS a cab already, and it HAS power already. Eurorack cabs should be for things that DON'T have those already...unless you like making the M32 more expensive than it already is.
Step #2: overspec your power. Jim suggests a 20% overspec on current, while I prefer 1/3rd more than the module complement calls for. The reason is...and yep, this is significant with all of the digital modules...there is a very short interval at power-up when your modules can draw MORE than their rating, and that few milliseconds of overcurrent can cause serious problems for your power supply. And another reason: the more reserve current your power supply has, the cooler it'll run. Heat is very much the enemy of electronic components, and one of the main causes of component failure over time.
Step #3: rethink this. This build is very insufficient in terms of the supporting modules that can make the expensive ones in here already do what they should do. Removing the M32 will give you another 60 hp to play with, and I would suggest that you NOT fill that up with more "sexy" modules. Look instead at the "boring" modules...especially ones that can play with timing, given your sequencer complement. Also, consider carefully whether or not some of the present modules even belong in there, such as the impracticably-huge Fuzz module; could you do that better with a waveshaping module, or by having an outboard fuzzbox and a pedal send/return module?
Try and keep some perspective on what you're doing. These are some expensive modules in there right now, but they're not capable of fulfilling their potential without their support modules. Stop now before you paint yourself into a very costly corner! Avoid being all starry-eyed about these "sexy modules", also...they're really only as worthwhile as the entire build they're part of, and if the build is incapable of using them well, it's going to cost.
This isn't laid out like I recall the original IIIc. Shouldn't the CP3A-Os and 992s be on the bottom row? Why are there two of each, when the usual complement is just one each? And you're crippling the 904 filter pair in the upper right by not having the 904C coupler for them to work in tandemmed bandpass/notch modes. Plus, why all the attenuators? The CP35 (also should be in the bottom row, so you can use it to reduce the output to something approximating line level) takes care of a lot of this already. The sound should be right...but there's going to be some real differences in how this will "play" over one of the original systems.
It's good to hear that BCR32 and 2600 match so well. I am surprised to hear from you though, knowing that normally you don't like the "Behringer concept" very much, that you already done a full prepayment for the 2600. If there is one thing I have learned, no matter how "juicy" and nice something might look like (like the ASM for example that was once tested to me also quite a bit of a disappointment), I rather prefer to test it first at my local dealer before I really make a decision.
I've gotten some feedback via some European players who got theirs when Thomann got the first drop, plus from my sales engineer at Sweetwater (who knows first-hand what a picky bastard I can be about synths!), and the info was consistent: the SOUND is indistinguishable, but the "sweet spots" are slightly different, probably owing to the different slider pots used. And if it doesn't work, I won't simply return it, but I'll actually return it to Sweetwater in person.
Yeah, I don't like Uli. I've watched his business antics since the company first popped up, and I've seriously disapproved of his behavior since then. At least he's been consistent for the past 30 years on that tip. But in THIS case, I'd have to say that I'm more pissed-off at Korg for the whole "limited edition 2600 reissue" crapfest, which was the cherry on a bullshit cake that had taken a few years to bake as far as I was concerned. Even if they came out with a shrinky-dink 2600 at this point...yeah, don't care. Especially since there seems to be some very real QC issues with that $4k musical erection substitute of theirs.
But as for the BCR32...remember, I've used the ARP 1601 back in the day, and Korg's not made any move aside of the SQ-64 to come up with a substitute. The BCR32 comes a lot closer to the 1601, in that you have the ability to do a lot on the fly since the BCR2000 + ZAQuencer firmware was intended specifically as a LIVE performance tool, not merely a studio thing. And, of course, $150...plus, in THIS case, B. didn't just rip off the ZAQencer's developer, as he's getting credit for the firmware AND, apparently, a royalty on units sold. Hopefully that's a trend...except that they pulled the "Swing" stunt around the same point in time, so...perhaps not. Maybe the CCP will nationalize his factory and give it to Cuvave...which, IMHO, would be CRAZY COOL given what Cuvave was able to do on their own with a minimal budget. Not likely, tho...
Can't wait for the 2600 to arrive in the shops for testing! Usually a demo device arrives faster at my local dealer then the sales itself, since those kind of things, as you also already indicated, are sold out in a matter of minutes or hours.
This is why I did the lock-in the way that I did. I'm not getting burned on getting a new 2600 twice. But this would've been different anyway, since it doesn't come in a "LIMITED" "road" case that seems to have been made of papier-mache but which is part of the whole "LIMITED" rationale.
Really, I think Korg needs to issue an apology to the synth community for yanking them around for, in some cases, several YEARS with this 2600 shitshow. If they want to sell any "shrunk 2600s", that is. Otherwise, the Behringer 2600 is likely to be far more ubiquitous than Korg might like! And along with nonsense like $1400 green and blue MS-20s, drum machines without basic sync ports, attempting to rehash the Kronos as the Nautilus, rehashing the Wavestation as the Wavestate, etc etc etc, Korg needs to watch its step, as there seems to be a gradually-accumulating litany of errors from them in the past couple of years. Not good.
This came up in another thread a few months back. And I can tell you right now, the answer will be "no".
The reason it's "no" has to do with the sheer amount of 19" rack gear that's been part of recording all the way back into the late 1930s. You'd have to find images and specs for things such as the Collins 26C, Federal AM-864, Cinema Engineering 4031-B, RCA BE-1A...the list goes on and on, really, and that's without ever getting past the late 1950s. In fact, you'd wind up with a database that would rival the Eurorack modules for sheer size. And then, what would you do about fractional rack devices...things that take up LESS than 1U of rackspace? I use a number of these (several halfrack Boss units, 1/3rd-rack Alesis Microverb IIs, etc), and they're not necessarily "unusual" pieces of gear. And then, what about classic outboard devices that DON'T fit into a rack normally, such as the Roland Space Echo/Chorus Echo aside of the RE-555, which was the only one intended to be rack mounted. So there's that, as well...where do you stop, exactly?
This is one of those "can of worms" things...if the site developers did this, it would massively expand the data storage requirements for the site, and add a huge additional maintenance headache. I'm not saying that it's not a good idea, mind you...I DO think something like that IS needed, but right now the MG crew has loads on their plates, so it won't be here, more than likely.
I'm 100% down with the idea of CVable performance mixers, actually. Not only does this give you a proper set of amplitude VCAs for the end of your patch's signal chain, you can automate a lot more with many of them...panning, AUX sends, and so forth. Plus, having CUE outputs to headphones is nothing short of a godsend; if your tuning goes spooey mid-set, just route the problem to the cue and fix it while everything else is going on, and the audience is none the wiser.
Case in point: for my B-day, my partner got me the HUGE TD Virgin Years box, with a bunch of unreleased stuff, and much of that is live. During the Royal Albert Hall set, someone's VCOs went bonkers...and while they were able to snap into a mode that allowed that to be corrected and sort of sound like it was part of the set, had they had something that had that CUE function, there would've been no need for that to wind up on the live master.
My B.2600 is paid for at this point. While Sweetwater has a listing for it, it's marked as "Check with your Sales Engineer" since it's going to be a bit before N.Am shipments. But if you DO check with them, you can set up and prepay an order. It's also worth noting that Thomann is saying "6 to 8 weeks" at present for the next B.2600 batch, which probably is the date it'll finally drop worldwide.
As for the BCR32 (that's the name of the new sequencer), it also seems a bit aimed at Korg as well. After all, they also dropped a 4-channel sequencer in the past few weeks...but it's not the Zaquencer, which already has a devoted following and a sizable user base. And while the Korg SQ-64 has some sizable differences, there's a lot of similarities between the two of them. But if you were to just view the situation in terms of sequencers that're appropriate for an ARP 2600, the BCR32 much more resembles a synth's step sequencer than the SQ-64. You've got the knob controls per step, for one thing...plus the Zaquencer firmware was more performance-oriented than most sequencers of that sort.
Not sure just yet, but Behringer may have whomped them twice. And with Korg's vague stumbling-around in the past couple of years (which seems to be getting worse...$1400 green MS-20, anyone? Anyone? Buehler?), maybe it'll take a few head-shots from Shenzhen to get them to snap out of that.
Not that I approve of Uli's behavior, mind you...but in THIS case B. collaborated with the original Zaquencer firmware developer for the BCR2000 to arrive at THIS. There's several things that will make your head explode here...four channels of CV/g/t, MIDI I/O, all of the Zaquencer magic...
...and a price tag of $150-ish.
Pretty cool, pretty neat...and I have to say that it's refreshing as hell to see Uli doing this RIGHT after the Behringer Keystep or Arturia Swing or whatever the hell it is' intro (and its probably subsequent funeral).
As long as you don't exceed the DC rails' current potential, you can stick whatever you like in there. But second busboards are a bit much...
Instead, what I'd suggest is to use a flying bus cable that has the proper 16-pin connectors across the board, such as https://schneidersladen.de/en/eowave-flying-bus Just plug it into an open busboard connector, and there you are.
The only time you'll have too many modules is when you've exceeded the potential load of the P/S itself. If you've got a max capacity on your 12+ rail of, say, 1.2A, but your module complement only draws 750 mA, you're fine. But if you're beyond 3/4ths of the way to the rail's maximum current, then things will start to get a little tricky because you DON'T want to have a 1.2A supply dealing with an 1.2A load, and your inrush current at power-up can momentarily EXCEED the current capacity of the P/S and this can harm the supply. But since that's the only ACTIVE power component, and things like busboards and cables are passive, you only need to worry about the P/S load overall.
Well, that's the idea...but what XODES seems to have figured out here is how to mount a Pulplogic-format tile into an Intellijel tile row without further modifications. Now, if we could just get the Intellijel format guys to have a look at these and sort out how to do universal mounting slots like that (to put Intellijel format tiles in a Pulplogic row), the whole "tile format war" would effectively be OVER. And I'd be 110% down with that!
...for trying to find a bridge between the current Intellijel vs Pulplogic tile mess! EVERYONE making tile modules needs to have a look at what they're doing here!
And I'll also point out: if XODES can come up with a full series of drum tiles, this could go some distance to fixing the "drums don't work with modular" issue. You could easily devote a tile row to this, along with the requisite mixers, etc, and this keeps these types of modules OUT of the 3U rows, meaning that you'd have the space for the intensive sequencing needed AND space for the rest of the build as well.
Oh, yeah...you CAN have too many oscillators! When it gets to a point that trying to keep the rig in tune with itself is becoming a joyless and impossible task, you've got too many oscillators. But also keep in mind that that bar WILL change as you gain experience over years, and as you build up a system that fits your own expanding musical needs.
From my experience, I'd say that seven VCOs is a good stop-point. And this is from my own experiences of using my Digisound 80 (four oscillators) in tandem with my ARP 2600 (three oscillators). A good example of what results from this can be found in one of my works, "Beneath Puget" (https://daccrowell.bandcamp.com/album/beneath-puget); on that work, the only other "voices" consist of an MS-20 doing something very static, plus the "intrusions" from the theremin. It's also worth noting that this recording was "live in studio"...one pass for the whole thing.
Get a paraphonic / polyphonic synth and use Eurorack to create timbral variation of a harmony. Eurorack is not good at creating complex harmonies.
-- Wavescape
No disagreement here. Sure, you COULD build a polyphonic modular, but the resulting instrument would be QUITE huge, physically, and the patching complexity would border on total insanity. The ONLY setup I can think of like that would've been Toto's massive early-mid 1980s Polyfusion rig, which also used a Roland MC-8 clocked by a central timing device (my bet's on Garfield's MasterBeat being the device responsible) for control. And sure, Eurorack IS smaller...but you'll still wind up creating something huge and maddening to patch even in that format. You're far better off trying to set your build up as a multichannel set of potential mono/duophonic patches, then slotting those in and out via your main output mixer. Then if you want chords...there's loads of options with prebuilt polysynths.
As for 30-40 modules being a "large number", consider this: I learned modular (1980/81) on what I still say is the best teaching synth, the ARP 2600. And even though that looks to be just a big prepatched rig, the fact is that it contains 25 or so discrete "modules" within it, and you can break the prepatching just by plugging in patchcords where you see that little circled "interrupt" icon. So 30 - 40 is really kinda typical for module counts in a basic Eurorack system.
I've been adding Noise Engineering's Fractio Solum for this sort of thing in some of the recent builds I've done. Works as desired...but ALSO adds clock multiplication in addition to division so that you could just as easily use it for ratcheting.
Oh, yeah...this is coming along. BTW, as for oscillators...there's actually the dual output from the Cloud Terrarium and the duo of dual crossmod-capable VCOs from Noise Reap. And in this build, the gap between the Noise Reaps is meant to have a Happy Nerding FM Aid, which can then tandem those into one OBSCENELY massive single, complex FM tonescaper. Yep, this is one of my designs, actually.
The point about adding another "relatively normal" VCF makes sense, though...hence the expansion space on the left end. MY vote there would be for something else complex...I was thinking about Doepfer's Xpander VCF, but mated with another of their little 4-in mixers so that it's possible to create "composite" filter responses. Best spot: between the Morgasmatron and Veils. The build's sort of a "every coast" design, so having things like that are an excellent fit...Buchla on the cheap!
So...melodics...here's a suggestion: feed just one VCO from one of the Noise Reaps into the Fold Processor, then instead of using a filter to mess with the timbre, feed the Fold's CV controls with some modulation sources (envelopes especially) so that you get a very in-your-face sound that has a shifting timbral "punctuation" at the attack of each note. Then send that right into one of the VCAs, no filtering, toneshaping purely done West Coast style with the Fold. There's a lot of that sort of thing lurking in there...explore and find MORE! Just don't connect outputs to outputs...but everything else is fair game.
You can also push the resonator filters into near-oscillation with some of these, which lets you emulate resonant spaces...not just the resonances inherent in an instrument. Another fun thing: use a very short delay after the resonator's output...and CAREFULLY feed this back to the input. If the delay is short enough, it'll do "comb filtering", then you can "play" that with the resonator itself.
Hey, if you've got aging boomers who buy old cars and pour THOUSANDS into restoring those...and all they do is what they did in the first place (drive around, waste gas, etc)...I'd think it's a zillion times more virtuous to put that same type of money into something like THIS, get creative, and get some art out to people who can benefit from it. Both hobbies...but one has a lot more cultural potential than the other.
Hm...about 7 this morning, I got hit with an idea about this thread. Kind of a nuts idea, but consider this:
So, you want something that's exploratory, that has an unlimited palette of sonic potential, that you'll live with and use for a LONG time without exhausting the fascination, and that's got a unified aesthetic. So, I got my dead ass out of bed, came up to the studio, and started cooking.
And cooking.
And then, it all pretty much clicked in place. Now, this blows your budget totally. By orders of magnitude, even. But it IS everything you're seeking. And it will take some time to assemble this, given the expense, unless you've got deeper pockets than most MGers. However...it's not Doepfer. It's not even Eurorack. This...
...is what I came up with. Now, bear with me for a bit...
This Serge system might seem pretty large. But it's not. Each "boat" (there's eight here) is only 17" long, maybe a couple of inches deep. And yes, you can get brackets for the Serge boats that allow pairs to fold up, so it's actually got a certain degree of portability to it. But it REALLY is at its very best when it's placed prominently in a nice space...the 21st Century postmodern equivalent to having a Steinway in the drawing room, I suppose. So this isn't simply an instrument for playing...it can be set up for generative music for gatherings, and it'll REALLY raise eyebrows with just its presence alone. So, aesthetic AF.
But as I noted before, that's not really the point. FUNCTION is the point. And frankly, you simply cannot get denser functionality than is found in Serge systems. Not even with much of Eurorack, either...because many Serge modules are capable of doing several different things depending on how you've got them patched. For example, while there's only five things labelled as "oscillators", the system here has many more things that can function as that, since even the LFO-type oscillators can track well into the audio range, and modules such as the Universal Slope Generator (yep, the core of the Maths...so the 2nd panel, 2nd row might just look a tad familiar) can also track into audio...so that one panel with two DUSGs is also "hiding" four more VCOs. Similarly, you might wonder where are all the VCAs? You only see four, right? Well...no. There's those, then the four more in the Stereo Mixer, then ALL of the modules marked as "Active Processor" are also VCA-able, plus the X-Faders work that way, too. And there's probably something else that'll do that as well...working with one of these is sort of like sculpting sound, not simply arranging signal chains.
Oh...yeah. No mults. Anywhere. Serges use single banana patchcords...which are stackable. So this thing might seem to have limitations until you realize that sources of audio or modulation can be spread across the entire system, more like building a spiderweb of signals. And really, it's more like audio and modulation sort of...break down with these systems, you don't have a clear division between the two. And that makes the potential for complex sonic exploration go right off the scale! But at the same time, you only have ONE cardinal rule: don't connect RED to RED. That's IT. Otherwise, anything connects to anything here, and functions of circuits can change just based on what you're feeding them with...and can they even change just by changing a signal's basic value: lower, something thinks its an LFO...but jack up the CV, and it's outputting audio. Or modulators turn into sound sources. And on and on...yeah, when I said "exploratory", I really meant it!
Now, yes, this isn't where this started. Not even CLOSE. And one stumbling block here is definitely the price tag. But even though this is a $28.5k budget imploder, the most expensive panel is the last one on the third row, and it's $3k because it has both the Frequency Shifter AND the coveted Wilson Analog Delay on there. Most of the rest (even the TKB Sequencer) float between around $1500-2000, which...if you think about it...if the Doepfer system I slapped together was around $7k, that amount would get 3-4 of the 8 space panels. If you can budget properly and spread the cost out over time, it really won't be that much of a hassle...it'll just take a while, with a hellacious payoff once it's all assembled.
But at this point, it probably looks utterly absurd. That's why, before rejecting this offhand, I think you should take some time, see what this can do...plus what it might do with some hands-on discovery time...and consider if this might not be what you were aiming at the whole time. Copy it to your account (and yes, it'll be fine with a non-Unicorn account), dive into the build, check out the different submodules, and start puzzling what you might be able to pull off with a system on THIS scale. It's not what you'd expected, sure...but surprises can be truly fun, and this'll have an infinite supply of surprises!
OK...now that we know where this is supposed to go, here's this:
Oh, yeah...now THIS is serious business!
Taking the cue from your explanation that this needs to be more of an "open-ended" exploration synth that can ALSO bang hard, this is my end-result. Several things got removed due to non-functionality (video LFOs, 921B VCOs [they need the 921A driver], non-Intellijel tiles [I'm presuming the cab is an Intellijel 7U x 104], uZeus), and others because of the need to correctly add "assistive" modules for others, and a few things (like the effects) because of that as well as the fact that you might get better results from outboard devices. Here's what this is about:
TILES: All Intellijel format now. Stereo audio IN, dual 1 to 3 buffered mults, Duatt, 1 channel of MIDI interfacing, Noise Tools (contains noise and random sources, sample and hold, slew limiter, and clock), another Duatt, Stereo VCA and Stereo OUT. The Duatts can be used as 2-in mono mixers OR as a pair of attenuverters...and yes, you CAN mix inverted and normal signals with these, which you might find very useful for messing with modulation to the VCOs and VCFs. And the Stereo VCA is placed so that you can impose CV level control over your stereo mix prior to the output. FYI, the Intellijel 7U has connectors for MIDI and audio I/O, and those tiles connect to those case connections. Also, this case has 3 Amps on the 12V rails, and since the build tops out at 1600+ mA on the +12 and just under an Amp on the -12, this should run pretty cool as you're nowhere near the max current load.
ROW 1: Envelope follower (for use with the external input to extract envelope/gate from incoming audio amplitude), dual slew limiters (with selectable direction response), then a Doepfer A-111-4 which is a Quad analog VCO. Following this is a MakeNoise Modemix, a dual ring-mod/mixer with which you can seriously mess with the A-111-4's outputs. You can also screw with those with the Bifold, a multi-input wavefolder and crossfader. Then we have some digital VCOs, clones of Mutable's Braids and Plaits, with a Happy Nerding FM Aid to allow FM crossmod between these (or these and a VCO from the A-111-4). After this is a 4-in mixer for summing, then there's a pair of VCFs...a Steiner-Parker Synthacon clone, very prone to wild, messed-up and very COOL filtering, plus a Doepfer A-121-2 multimode VCF which is more "sensible". Veils clone next, then a Happy Nerding PanMix, which is a six-input stereo mixer with CV panning capability. It's also got a headphone preamp for handy monitoring and tuning.
ROW 2: I chose a Temps Utile clone for your master clocking/initial sequencing. The Fractio Solum is a CVable clock divider/multiplier and the first of a few modules for screwing with the clocking. The Ladik Composer is a psuedo-random pattern generator, and their Comparator allows you to extract gate/trigs from LFOs, EGs, and the like. So then, I put a Tesseract VC Logics after those so that you can use the dual Boolean gates there to really mess with rhythm patterns and the like; with the incoming gate/trig/clocking from these first modules, you can go as wild as you want with clocking and pattern generation. Then sequencers...a 4-step Ladik is first, then a Qu-bit Octone for your 8-stepper with quantizing. The idea here is that you can use the 4-stepper for transpositions of the Octone, or even as a wholly separate 4-step CV sequencer.
Then, we've got LFOs...a little Quad LFO from Doepfer, then the Noise Reap uLoaf, which is a dual LFO with some very fun crossmodulation capabilites. Right after those, there's a Tenderfoot attenuverting mixer for cooking up complex LFO results, followed by half of a Veils clone from Antumbra. Following those, then there's the Maths and a Quadrax (quad envelope) with its Qx expander placed with the intention of letting it cross-connect with the Maths to turn BOTH modules into something completely over the top as modulation sources go. And you can even break out Quadrax EGs to use "normally" while you've got one or two handy to mess with the Maths' behavior. After this, I had to cheat a bit on the layout, but managed to include Bastl's well-regarded GrandPa and its expander for sampling.
Yes, it's denser. Yes, it's more complex. And yes, it overshoots costs...but this is a serious, comprehensive experimentation modular that ALSO operates in a straightforward manner for live gigs. The idea was to take things beyond the "beeps and boops" to some really wild, tripped-out territory while still being basic enough to work just fine for that original intent. Now, the effects, I already mentioned. Seriously, get on eBay or Reverb and pick up some cheap AF outboard processing while it's still going for dimes on the dollar. Then regarding the drum sounds...just get a proper drum machine, and you'll have a syncable device which has a UI that's intended for drums and controlling them properly. And it's cheaper than trying to assemble one in the build, too.
One other thing as well...ALWAYS consider what a build like this connects to outside of its box. If you don't have a decent small stereo mixer at this point...well, now's the time to get one. Then you can properly use outboard effects, mix this thing with some drum machines, and so on. If you keep those things in mind WHILE designing a build, you'll find you can eliminate a lot of superfluous modules...which then lets you make the functionality of the build denser and more capable. As for what to get...well, this might be surprising, but I'm going to suggest hunting down an ORIGINAL Mackie 1202...the square, boxy-looking one. Yeah, it's over 25 years since these were made, but I still use mine and it works 100% even with lots of live gigs and general abuse since I got it in 1993. You can't kill them. Look for some rack multieffects such as a Yamaha SPX90 (great, gritty 14-bit effects) or a Lexicon LXP-15 ($1400+ new, now about $125), and you'll be on the right track. And NEVER neglect the power of stompboxes...I have a "library" of about 40+ of those, with many being very oddly-behaving Chinese models, all of which have something interesting and unique that they can contribute to the results. So, LITERALLY think outside this particular box, and on outward to start considering what to build up AROUND this, with the modular as a centerpiece.
The only thing that I can see that's got an exponential response is the A-138 in the lower cab. However, since most everything IS linear, what you might consider would be to yank the A-130-8 and replace it with the A-132-4. This is a similar module with four exponential VCAs, and losing the other four linear VCAs really wouldn't be an issue if you dropped the A-138u for an A-132-1 to replace two that you'd lose. This would then give you six linear VCAs and four exponential.
Another idea would be to drop the A-138u, move the A-183-2 to where it was, then swap the A-133 for an A-133-2, thereby opening another 8 hp. At that point, you could then move the A-130-8 to that newly-opened slot and then put an A-180-2 mult next to it. This then takes you to 12 linear and four exponential VCAs...MUCH better.
I'm gonna bang on this a bit and see if I can up the functionality in some other ways as well...even while staying 100% Dieter here.
That was interesting...I still felt constrained by Dieter's module sizing + a few missing "go to" modules that weren't Doepfer, but I think these beefed up pretty nicely. Considerable changes...here we go...
ngin, Row 1: Added an external input/envelope follower for processing external sources. Then I put the buffered mult next to that, and added a dual slew limiter for portamento (#2 has direction selection). Eliminated some of the VCOs so that I could add a Quad VCO with a Quad VCA, which allows you to CV the mix of the four VCOs. A-110-6 remains, but then there's a uPVCO which is there as a "driver" for the PLL module. These last three generators are more or less intended as individual voice oscillators, but there is a small 4-in mixer there to allow mixing, if desired. After that is the Wave Mult I.
Row 2: Quad LFO with a 4-in mixer, which allows you to blend up complex modulation in a minimal space. Then the VC Delayed LFO went in, more or less an upgrade because of the delay circuit...very useful. I kept some of the quadrature functionality in with a VC Quadrature LFO; you don't necessarily hear quadrature relationships in audio, but for modulation, well...that gets interesting, with the ability to mess with phase. There's a point to it in a bit, same row. Then the A-143-1, and after it is a dual VC Polarizer, which allows you to tamper with modulation results even further. I made some significant changes to the VCF lineup, also...starting with the VC Xpander VCF (replaces the SEM VCF, as the topology for its 12 dB LPF will essentially be the same) which gets tandemmed with the VC Dual Crossfader (hence the Quadrature LFO) which allows you to "morph" between a few different VCF topologies, resulting in some potentially-complex VCF behavior that wasn't there before. Multimode VCF next, then your LPG.
Row 3: Noise/random/S&H starts this off, using that as a replacement for the original noise source to save some space. Then the VCS clones and the VCADSR. After that, I added two more non-CV ADSRs, which now brings the EG complement up to seven EGs totalled. Then the Bit Mod and Spring...although I admit to being a bit torn as to whether the Pedal Interface might've been a better fit for BOTH of these, allowing you to employ external processing for both slots. The BIG fix is next, though...you'll notice the Quad Exponential VCA right next to the 4-in Performance Mixer (and its output module). This NOW lets you have a stereo output from the synth, plus you also have an AUX send/return on the Output module so that you can parallel-process an effect (spring would work well with that). And you also get CV over your mix by patching each of the Exp VCAs to a corresponding Performance Mixer input. Again, you might consider using the Pedal Interface in both of these 8 hp effects slots, as this would then let you slot in any sort of pedal for both...and you can STILL use one of those as an AUX insert with the Performance Mixer.
ctrl Row 1: There's the A-149-1/2, then a Diode OR for combining gates...which is useful for various trickery with the Boolean logic module. A-152...then the Octal Linear VCAs, as these are better suited for CV and modulation, hence the relocation to the "ctrl" cab AND their relocation next to the Matrix Mixer, which then lets you have a similar CV capability as the audio mixing setup in "ngin"...but with VCA control over both the outs AND the ins of the Matrix Mixer itself, if you desire. A switched mult is next, which I added to help with performance-type CV bus switching on the fly. After that is the Dual Quantizer...so the Switched Mult can behave as a manual "router" for your quantized CVs between two different VCO groups.
Row 2: The clock mods are now paired with the Sequencer control for ease of patching. And the 2/3/4-position VC Switch is down at the end of the sequencer, where it needs to be to shift from dual 8 to single 16 CV row behavior.
Now...while making these changes, I tossed a lot of the less-densely-functional modules while trying to make sure that those functions were being replicated elsewhere, so that the functional density (and potential) of the build could be upped while losing as little as I could manage. A few functions didn't exactly make the cut...but not many, because once you start diving into how a lot of the added modules work and what they're capable of, you'll find that most everything from the original builds are still present...and by mashing the crap out of the space, it allowed me to drop in things that really up the capabilities of the build. Also, you'll notice that everything is function-grouped now, running left-to-right and up-to-down on signal flow. This also keeps the end of the audio at the bottom right of the "ngin" cab, making the entire "ctrl" cab purely control-dedicated. Plus, by swapping the sequencing modules to the "flat" row, you now have the system's primary controller where it belongs.
My concerns here are that there's too much attention being devoted to aesthetics and not enough to functionality. Doepfer modules are really excellent...but they're often pointlessly big, an issue which Dieter has been working on fixing with the new, smaller modules.
Take the A-141-2, for example. ONE single CVable ADSR in 14 hp, costs $190. But then, look at the Livestock Leap...also one loopable and CVable ADSR, but which ALSO offers offset and inversion. So, right there, you'd wind up eliminating the A-141-2...AND the A-183-2, AND half of the A-133. And it costs $5 less.
The real power in Eurorack and the plethora of modules that exist for it is in being able to mix and match things. Sure, it looks cobbled-together that way. But you can effectively jam MORE functionality into the same space, and in quite a few examples, you can save money while doing that. I wouldn't suggest making the various modules smaller in this size of build...but I do suggest that you can wind up with a far more potent system by NOT locking yourself into a certain "look", and building more along the lines of maximum capability. In the end, nobody cares what your system looks like, but they sure as hell will know that building for more function will equal far more musical flexibility...and THAT is what an audience looks for.
Oh, yeah...explaining linear and exponential...with LINEAR VCAs, envelopes, etc, you're imposing a change on a signal that follows voltage scaling. If you need to change the voltage scaling so that everything still tracks properly as far as CV values, you use those. It's also why linear VCAs are almost always DC-coupled, because they fit better at modifying CVs, modulation, etc. EXPONENTIAL VCAs, envelopes, etc, though are AC-coupled, as exponential relationships are what governs how we perceive "apparent loudness". Remember: the decibel scale is a LOGARITHMIC curve of values, and NOT linear. Note, though, that you can get away with only linear VCAs in a build as long as you have exponential EGs to make them conform to the exponential loudness curve. See here for a more in-depth explanation of this: https://en.wikipedia.org/wiki/Loudness
More like "I can't wait to blow money on something that won't work, no matter what".
OK, let's see...first up, you've got Intellijel AND "standard" format tiles in the same row. Big no-no. And given the Intellijel format tiles + the case's form factor, I'll venture a guess that this is a 4U Intellijel skiff...and it will be very interesting when that Tiptop uZeus gets dropped into a case that already has power. And what's with all of the buffered mults with only two VCOs? You DON'T need those.
The 3U row is...OK? I guess? Save that it clearly suffers from this "tiny build" problem, and there's a lot of misimplementations in there. Some of it is commendable...the Ladik Harmonic LFO, for example, is a really undersung device. But just ONE envelope gen between the VCF and two VCAs just doesn't cut it.
First up, kick the idea of building something this small right to the curb where it belongs. Just looking at this, I can see a number of places in here that WILL "fight back" as you try to patch through them, and quite a bit of this appears to result from the compromises being made to construct something in this form factor. So, dump this case idea, for starters...and go with something that makes more sense as a starter cab, such as a Mantis. You'll then have a very affordable 208 hp in which to reattempt this. This will also allow room for larger, more easily-tweaked modules where, at present, you've got this mix of those beside others that are just too tight. Also, you can then implement the PROPER amounts necessary of specific modules, such as EGs. And you can use the extra module space to put in "composite" modules that do way more than the basic small ones in here at present. For example, you currently have a single sample and hold that takes up 4 hp. But if you have just two hp more, you could (and SHOULD) yank that and replace it with a SSF Tool-Box...which then gives you sample and hold, rectification, a comparator, a diode OR, an inverter, and an electronic switch. THAT is how you deal with space constraints; leave the one-function modules for those builds that have WAY more space than this.
Save your money and delete this. Instead, spend your time and effort on trying to come up with something much more comprehensive and in a larger case. The latter will actually help with the former there, btw. And DO NOT just cobble together modules...take the time and study needed to examine ALL possible grouped functions, the form factor, ergonomics and so on ALONG WITH the basics that you want/need in there. These things are pretty costly, even when small...so take the time to do this RIGHT before you pull out the Magic Plastic. Takes longer, more effort...but results in far less buyer's remorse in the end.
the only sensible advice to take in modular, is to buy a bigger case than you think you need, buy fewer modules than you want and grow slowly = there is no need whatsoever to fill the case immediately
-- JimHowell1970
Precisely. For one thing, users invariably want more modules...especially if they've put together one of these mini-builds and come to realize how limiting the damned things are.
I also think that there's an inappropriate "game" mentality going on with a lot of new builds...they all seem to have this unfortunate idea built into them that the builder HAD TO get this right on the first try, otherwise...well, I dunno. If you can build a Minimoog in a 24 hp Pod, perhaps you win all the Interwebz? Whatever the mindset, it's erroneous and dumb, since those of us who live with these devices on a day to day basis KNOW that you'll NEVER nail a build (any size!) on Try #1. Even WE can't do that!
Consider: when Walter Carlos (at the time, now Wendy of course) was working on "SOB", even HIS custom Moog modular wasn't truly "complete". He was still working directly with Bob Moog to get things to be more "instrument-like" with the instrument. And there were a lot of things we now take for granted (like CV latching, for example) that had to be developed over a span of YEARS. So in a sense, there's no such thing as a "completed" modular...even today.
+1 for the Sinfonion here...yeah, it's spendy as hell, but you've got to consider what it IS. Multichannel sequencing quantizer + "theory engine" ain't gonna be cheap. F'rinstance, I've got a NDLR here, which definitely covers that "theory engine" aspect, and even though it's just a little desktop box, it was an EXPENSIVE little desktop box. You get your money's worth with the Sinfonion, tbh.
Yep, the HN Isolator is one I'm constantly pointing people toward...especially if they intend to do any live work with their modular. In your own studio, you've got all the time in the world to chase down ground loops, noise, etc etc...but when you're on a gig, you don't have those luxuries. By relying on the transformer isolation in that, a HUGE percentage of the typical electronic crud issues get cancelled, and you don't waste time futzing around with trying to figure out where that annoying hum, etc is coming from. $100-ish for sonic peace of mind is well worth it!
Also, you can push the transformers a little bit and, like all BIG IRON in the audio path, you'll get a bit of a warm-up to fill out your signal. And, as noted, the venue will be very happy that you didn't pump some DC into their expensive-as-hell sound system!
the-erc: You should check out the Isolator's big bro, the OUT. Stereo ganged level over both the incoming main stereo signal AND a parallel stereo-in, which just begs for use as an extra FX return...with panning! Stereo metering, headphone preamp, more IRON and balanced TRS 1/4" outs. Actually, the ganged stereo controls make a lot of sense from a mixing standpoint; they're equivalent to your desk's Master fader, which also (usually) functions as a stereo control.
Tbh, you might find it easier to do this sort of thing in VCV Rack. The fact that quite a few name-brands in Eurorack have VCV "replicants", plus the point that it's got pretty much everything else in some way or another AND that it's local to your machine might help a bit.
Couldn't resist...
I went ahead and completed this thing...there was way too much missing. So now, this has a modulation section with two ADSRs and a dual LFO with cross-indexing between rates. I also dropped in a clock multiplier for ratcheting things like your hats and changing those up with a tweak...and a Ladik "Skipper", which is a probabilistic 2-channel trigger skipper that allows you to "rip up" a couple of the drum triggers to add variation with just a few knob tweaks.
Drums: threw all those others out; Maschine does those digital percussives just fine. INSTEAD...what I did was to drop in a Delptronics LDB-2 drum set and expander, and what that brings to the table are a host of electro-style percussives...stuff like the 606, CR-78, etc hits which work much better in this sort of setup. If you're housin' it up, you WILL want those. And the thing that looks like a mult next to them is NOT a mult, but a fixed-level, fixed-pan stereo submixer from Takaab. The idea is that, since you can control your levels via the Delptronics module, this lets you then send the outs from that into this, and you set up your stereo panning by plugging the Delptronics' outs across that. The white-ringed jacks are your left and right out, and connect to two channels on the Doepfer A-138s panned appropriately.
Modulation is next, followed by the TWO voices that are there now. A Klavis Twin Waves serves as a VCO for a "lead" and for a "bass", and since the Klavis' VCO1 can do suboctaves, that should bang REAL HARD. Especially since I paired it with a Viol Ruina for making the bass hurt even more. The other VCF for the "lead" is a Doepfer A-121-3 multimode. After that is the dual VCA for amplitude control of the two voice parts, and each feeds to a single Doepfer A-138s channel for panning.
Disting EX? Expensive. Instead, there's a Happy Nerding FX Aid in there for your stereo effects. Of course, if you want the drums to have no processing and have the lead and bass "raw", just patch the drum submix to the FX Aid and then send IT to a stereo pair, then send the stereo mixer's outs to the Befaco OUT, which gives you your isolated outs on 1/4" jacks (beefier, more endurance in live situations) as well as your headphone and...yep, there's more...you can also use the CUE patchpoint and switch on the OUT to check tunings, etc in mid-set. Lastly, I added blank panels to spread out your access to the VCF controls for live tweaking.
The same P/S is in there (and it's not even close to the current draw on the +12V rail...the build wants 610 mA, and the Row Power 35 can output 1.4A on there...you'll likely NEVER overdraw that!), as well as the Pam's (went with a cheaper one) and the o&C (also went cheaper here). The sole failing here is that it looks like I overshot by UKP300 or thereabouts, but you might be able to scrape by if you can snag some of the modules on the used market. But as for the build itself, yeah, this is pretty solid AND you get some important features that were missing...even for a "minimum viable" rig. Tricky build, as all 1 row skiffs designed to "do it all" ARE...but I think this manages nicely.
Believe me, if you intend to mainly use this as a live gigging modular, you'll find that you'll probably want the expansion fader module for the WMD. The VC mixer on my Digisound has seen WAY more use than you'd suspect, because I use it to slot different signal paths in and out when live. With each path being a separate "instrument", this means I have at least four different, discrete "voices" present on the mixer, and I can slot those in and out as the set goes on. Sure, it looks like "too much" mixer right now, but wait until you implement it in an actual set. It'll get real busy, real quick.
Also, keep the Plaits. Farkas is spot-on there. It gives you everything from analog TO digital as far as sound palettes go. And while I can see the point about Marbles (it really is more of a "studio module"), you might consider keeping it as it's one of the more comprehensive random-source manipulators around. Now, my take on the Maths vs Quadrax thing is this: try having BOTH, especially with the Qx expander. By crosspatching the Quadrax/Qx with the Maths, the resulting modulation behavior should be VERY elaborate...something you could even use to "glue" a set together by having the strange mod activity affect all of your patches in a live set in some way. Sort of like some of what you hear on Orbital's "Brown Album", in the long set that runs from "Lush 3-1" through "Walk Now".
This actually sounds a bit familiar. In the early iterations of Live 10.x, I was constantly having problems with my Push2 and Live deciding to not talk to each other over USB. This was something that appears to have been addressed in a later 10.x update, though...but I can't help but think that these are related somehow.
This is an interesting point, before deciding to start building a modular synth I wanted to integrate the Neutron into the setup but I thought that starting from the basics it could help me learn a lot more (also if costs much more).
I might also consider integrating the neutron directly into the eurorack...
DON'T do this. The Neutron already has power and housing, and the modules that should go in here do NOT. Besides, unless you're down for losing very close to an entire 84 hp row, it simply takes too much out of the (expensive!) rack to be justifiable.
Can I use the A-138o also as an attenuator before the befaco output?
No. The A-138o must be tandemmed with the A-138p, for one thing, and this negates standalone operation. Also, this is intended as a stereo summer from the 138p which also contains the AUX send/return routings; as such, what you suggest doing amounts to turning down the level to send it to another thing that...turns down the level. The Department of Redundancy Department might approve, but it's very technically unsound otherwise.
Why I need also an attenuator for input? In this system I have only midi as input signal, I'm probably wrong but I want to understand.
You don't need an attenuator for an audio input. What's needed there is a preamp to bring the levels UP to synth levels. And, preferably, an envelope follower as well so that you can extract dynamic CV from the sound's envelope.
On the Digitone or Octatrack you can sequence multiple tracks so what can I use to split my midis into cv?
There's quite a few MIDI-CV interfaces out there that offer lots of assignability to their patch points...the A-190-4 isn't one of them, though. As for what'll work here, well...do you really want to send MIDI to the modular, or would you prefer being able to send CV/gate/trig/clock directly out of the DAW as those signals? Two different approaches, requiring two rather different equipment and software considerations.
Looking at the thread thus far, I think you might benefit greatly from NOT trying to jump to modular hardware just yet. Instead, you need to really comprehend what these instruments are about before proceeding further. While I realize you want to "...detach myself from the PC as much as possible...", what I'm going to suggest results in the exact opposite...and that's VCV Rack. However, since VCV looks and ACTS much like a Eurorack system (it even has 1:1 module replications from makers such as Instruo), and since you seem to need a better grasp on what's going on with modular synthesis in general, I'd suggest starting THERE and getting some experience under your belt before heading back into hardware. Otherwise, this is the sort of situation that gets expensive and frustrating very quickly. But with VCV...well, it's free, and it allows you to make TONS of mistakes without destructive or expensive consequences. And yes, you can lock it up to the DAW very easily...it comes with VST bridge plugs. https://vcvrack.com/
That's odd...I'd suggest checking with both KMM and Ableton on this, since it seems to me that this device is perfect for Ableton work. Did you check to see if it'll play nice with the native ASIO driver?
Sure is...I actually use a TASCAM field recorder for just that purpose (plus...well, field recording), specifically a DR-680 mkii. It's capable of eight tracks (6 individual + a stereo pair), which is useful live because I can put backgrounds for a show on the stereo pair, then use the other six tracks for live recording and any other prerecorded bits that need to be on their own.
One other to consider: Folktek's Quiet. This should also be a VCA-based mute judging from the operation. Plus, the Quiet functions on ANY signal from audio to clocking and everything in between.
If you've got enough channels in the converter to support your audio AND CV/gate/trig needs, then yeah...just go with that. But if you're starting to run out, then the ES-9 is a possible choice...as would be a cheap ADAT Lightpipe-capable DC-coupled interface added to the existing one. It really depends on how much $$$ you've got to spend.
There's quite a few USB power modules out now from the likes of Doepfer, VOID, Endorphin.es, Pulplogic (for "standard" tile rows), Intellijel (for Intellijel tile rows), Konstant Lab, Frap, and Synthrotek. The Doepfer one would actually be fairly interesting in the middle of the top row on a larger build, as it can support four inexpensive USB gooseneck lights. Put two short and two long ones on this, arrange suitably...very cool results.
Also true here...but then, if people would stop watching these YouTube videos where some guy who doesn't look like he's done ANYTHING in his studio (ie: it looks like your great-aunt's "Living Room" you weren't allowed to go into as a kid, with the plastic covers over the furniture that was intended "for company") believes he's managed to cram all the functionality of an ARP 2600 into a 40 hp Pod. Or at least, he's trying to convince you that he has.
Meanwhile, over here in REALITY, we've got a pile of builds designed (and even built) by experienced synthesists that people can study to their heart's content. Sure, we ain't got none of that newfangled "video" and all that, but just like you might wind up getting more out of READING Shakespeare's "Romeo & Juliet" over watching whatever the hell it was that Baz Luhrman did to it, people still want the video because "it's easier". Then, when this results in some unplayable little box of yuck, they figure that this is what modular is all about...when it's not.
But then...you run into the issue where you've got builders making very function-specific builds. Now THESE often work as small "sidecar" devices, and it's REALLY what those small cabs are meant for, IMHO. But as a way to make an "affordable, small" modular? Nah. Even those of us who know how this might be done don't even do that, because we know it'll be very restrictive and no fun at all to work with. At least, not without something larger to interface it with.
And this brings up another point: modular is the most amazing, liberating non-essential in electronic music. Yep, you read that right...they AREN'T essential. They're a working modality that allows you to get at that extra 10% of capabilities that you can't get to from a prepatched or patchable synth. But for a lot of the people out there, well...it's sort of like giving someone from the 17th century a smartphone. I would have to say that about HALF of the people who get on here with this idea that a modular will make them "hot", musically, are barking up the wrong tree. THERE IS NO DEVICE THAT CAN MAKE YOU A STAR. None. Your musical capabilities are what does this. Not a specific boxful of circuitry, no matter how it works, no matter what it does, and no matter what it might cost.
Case in point: techno. All of the guys in Detroit and Chicago who were the ones who kicked all of that off in the first half of the 1980s (yep! NOT later!) were working with...well, no modulars that I know of. There WAS a lot of "we pay you"-type junk from pawn shops and music store back closets, most notably Roland's biggest flop, the TB-303. And accordingly, it was with the TB-303 that Chi's Larry Heard (as Mr. Fingers) did "Washing Machine"...which is where Acid came from, back c. 1987. And in fact, the point that all of these guys worked with analog synths (also pretty untrue) was mainly due to the advent of DIGITAL synthesizers such as the DX7, D-50, M-1 and so on. Everyone rushed to those newer/shinier synths and dumped their "crummy old" analogs. So at the time of the "Belleville 3" getting going over in Tha D, those were cheap and plentiful, and saw use alongside some "toy" synths such as the DX100 and CZ-101 (neither of which I would consider to be a "toy"!) and old step-sequenced drum machines such as the TR-606, 808, and 909. And no modulars. None. Zip. Zero. All of that came LATER...especially in the wake of Aphex Twin's hype about his "custom-built modular synthesizer"...which was actually a trio of off-the-shelf MS-20s that had been recased together with a few extra bits added.
So do you REALLY need a modular? Depends. The question is probably better framed as "Have you reached the endpoint of the capabilities of existing, prebuilt synthesizers?" If yes, then sure, you'll benefit from this. But if NOT...either you want one to really dig in on your synthesis chops (GOOD use) or because blinkenlichts und tvistenknobs = KEWL (BAD use). But if what you need is a visual prop...hell, just go visit a junkyard and find a bunch of scrapped industrial process control panels and hook 'em up with new lights and a bunch of 555 timers for the "lightshow". You'll get as much out of that prop as you will if you intend to use a several-grand modular rig as...well, a prop.
Nope, no ES-3. Just do a little scrounging. and you can beat the cost on that thing. FYI, this IS how you'd hook the ES-3 up as well...but we're going "cheap-n-dirty" here, getting much the same result for about 1/3rd the price.
-- Lugia
Ok thanks Lugia, maybe another silly question but, does that mean I would need a load of 1/4 to 1/8 cables? Also if I didn’t want to go down the “cheap-n-dirty” route, would an ES8 or ES3+6 do the job? Just trying to understand ALL the options :)
-- clivevass
Probably does mean that, yes. But then, I'd have to ask: if you're working with modular synths, why don't you have a pile of these cables already?
Now, as for the Expert Sleepers modules vs. a DC-coupled interface, well...they're the same thing, actually. In fact, with the ES-3, 8 and so on, the same lightpipe hookup method would apply. Where the difference is in in PRICE...
Just now, I did a swing through Reverb, looking at the MOTU 828s...first version and the mkii (like my own). The earliest 828 can do this, too...it's also DC-coupled. But where the several used MOTUs I saw were in a $100-150 range, the ES-3 mkiv streets at $239. And if you consider an ES-8, that's $475. And actually, the ES-8 is closer to what the MOTU interfaces offer, since the ES-3 is output-only, and both the ES-8 and MOTU method allow signals from the modular to be sent back into the DAW, and these could range from using your modular clock as the DAW's master to full-on stereo (or more) audio recording directly from the modular's outputs.
