The main riff is Plaits played by René driven by a euclidean pulse from Pamela´s New Workout. It's kept interesting by loads of slow modulation, of course. Drums from the Elektron Rytm. The bassline is Make Noise DPO through Joranalogue Filter 8, sequenced from Ornament & Crime Sequins. The melody is played by hand on my brand new Arturia MicroFreak.

Hey There,

is there any module like the Doepfer A-158-1 Bus Access that brings external CV & Gate signal to the internal bus? And if is there on in black too. I know it's all about functionality and sound but my whole rack is armed with black modules now and the last missing link will be grey? Anyway Doepfer has discontinuous this module so anyone must offer an alternative module!

man thanks in advance for your help

Nice and efficient deal with @ccvv!

Chowning FM really needs envelopes galore to be used properly. A pair of Xaoc Zadars with their Nin expanders would team up very well with that and not occupy loads of space. That would give you eight envelopes with full CV and memory storage in 26 hp. However, having a Maths for more modulation possibilities (such as with the SMR) is a very good idea. As for the SMR, yep, it's a very good stereo filter for pads, sort of like an amped-up version of the Korg PS-series triple resonator with loads more control.

As for granular modules, Tall Dog does an 8 hp version of the Mutable Clouds. Also, they do an 8 hp version of the Rings module as well, which would give you back 6 hp to use for something else.

Veils is a decent VCA mixer, but you save a bit by getting Intellijel's Quad VCA...essentially the same thing, $10 less. However, this would not make a decent output module, as you need to step your levels down to line level and, optimally, provide some isolation at the output to reduce noise and crud. In fact, given that both the Clouds clone and the SMR (and the Akemie's, for that matter) are full stereo, what you actually need is a stereo mixer...something with CV over levels, FX sends, and panning. Toppobrillo's Stereomix seems like a good choice, having all of those functions plus a few useful additions such as mutes. Now, with that, you would want to use the SMR then the Clouds clone after the Stereomix so that you can tamper with the sound of the summed pad. Plus, consider adding something for the Stereomix's AUX send/return that can add some stereo as well. One module that comes to mind here is SSF's DPLR, a mono-in stereo-out delay/chorus module, which you can use to fatten up pad sounds selectively and under CV control via the Stereomix's AUX level CVs. As for an output, have a look at Happy Nerding's Isolator, which gives you a ganged stereo level control, headphone amp, 1/4" TRS outs, and transformer isolation (which, I note, you can overdrive a bit to get some nice saturation) in only 4 hp. One argument for having a Quad VCA, though, would be that you don't have any other VCAs in this and those might come in easy for controlling both audio and CV levels as needed. Since you can break out VCAs from that as needed, that would take care of all of your individual VCA needs in this small a build.

As for other additions, I'd suggest some LFOs...Xaoc's Batumi is a pretty useful and space-saving quad LFO; adding its Poti expander would add a few more functions that you'd find handy. You can also swap the LFOs from this with the envelopes from the Zadar for a different control method over the Akemie's, although the Zadar can loop its envelopes. Adding a second poly-VCO might be useful as well...something analog such as Recovery's Jupiter Spirits paired with a couple of simple 4-1 mixers (such as 2hp's Mix) so that you can create a stereo mix out of the triangle and saw waveforms the poly VCO outputs. Perhaps pairing this with a MakeNoise Optomix would be a good idea, as that would allow you to have lowpass gates over this stereo voice for a different note attack sound against the Akemie's, or against the Jupiter Spirits if that makes sense for the patch you're working on. Note also that the Optomix will also need some very basic envelopes; the Doepfer A-140-2 gives you a pair of ADSRs in only 8 hp with CV over overall time.

As for one thing to avoid...try and make do without multiples here, as this build is going to be pretty tight. Instead, use stackcables or inline mults. Passive is fine; since the oscillators are all being fed direct from the ES-3, buffered mults aren't necessary.

Lastly, is this going into a powered case or do you need to add on a power inlet?

Hi, I think the Black Sequencer should be 38 HP in size... not 40!
-- murff

I had to make a new module page.

It simply wouldn't take the altered 38hp down from 40hp without messing up the vertical placement. So I made a new module page (w/ the correct hp)

I'm looking into building a small system for ambient pads, FM sounds, and just generally "interesting" sounds (I guess everyone wants interesting sounds :)).

I have started with this:

Some questions:

Which modulator(s) would work well with (Mutable Instruments) Rings and Akemie's Castle? Would Maths make sense, for instance?

Does 4ms Spectral Multiband Resonator work well with these two modules, and what other modules would make sense in combination with this module?

Are there any granular modules that you can recommend? Clouds, perhaps, or Morphagene?

I'm planning on sequencing (and to some extent controlling) the modules through Ableton Live (and Expert Sleepers ES-3), so I'm mainly looking for modules that don't overlap too much with what can be (conveniently) done from within Ableton Live.

Also, what would be a good output module? Would (Mutable Instruments) Veils work, for instance?

I've also been looking at Planar 2.

Any feedback would be greatly appreciated! :)

I tried editing the hp down to 38, then re-uploading the image (it was cropped as well as the IRL image allows) with the 38hp spacing. Both times, the resulting module was too short in height. So I've left it at 40hp for now.

If it is indeed 38 then hopefully Erica Synths puts up their usual rendered module in its place soon. :)

Pedal Power Specs

Added current, voltage, acdc and plug polarity fields to the pedal data model so we can collect power specs for pedals.
This is the prerequisite for the possiblity to calculate power draw of pedalboards in the future.
Like we can do this on module racks already ...

New track! This one is really the essence of my efforts in eurorack. Simple melodic riff driven by some euclidean pulse, basic trip hop beat, straightforward bassline and a clean melodic line added after recording the patch.

This is what I do.

Hi, I think the Black Sequencer should be 38 HP in size... not 40!

How I multitrack is pretty much how I've always done it, even back in the 2" tape days. I'll have separate instruments on each track that comprise the basic parts of a piece, recorded in one pass via an Orion32 (if external to the DAW) or direct in Live (if I use internal sources), or both as needs be. Once all of that's down, then I'll start doing overdubs while at the same time starting to work out what processing to layer onto the initial tracks. At this point is where we diverge from tape technique, though. In beginning the mixdown process, I try and combine related tracks as submixed stereo stems...say, all percussives on one group, bass and pads on another, "ear candy" bits on a third, and so on. By submixing and then subprocessing these stems in this way, you actually have quite a bit of control over the main mix with a minimum of faders in play and a minimum of CPU load because, once the stems are tracked, you can turn off all of the processors you used on the individual channels in the stem, plus your submix is now under the control of a single stereo fader pair and, when needed, you only need to add processing across the two tracks of the stem.

Stems are sort of a given these days with a lot of producers and engineers, but it wasn't that long ago that they were a rare thing, doable only when you have the massive budget needed for extra multitrack machines, tape, etc. With all of that tech out of the way, though, you can generate stems whenever you like and however complex you can deal with inside your DAW of choice. Then, once your stems and solo tracks are ready to go, the mix gets easier...you're not juggling a couple dozen faders all at once. Also, DO automate things such as levels, etc within your stems so that that 2-channel result is exactly the way you need it.

Mind you, this tends to take buttloads of practice to get used to envisioning how your mix should work prior to even mixing it. Ability comes with time and diligence.

Now, as for normalization...that process raises your overall track levels relative to the highest level. So, if it takes +8.5 dB of change so that the loudest peak comes up to your normalization threshold (and never, EVER normalize to 0 dB...always leave "excursion room" of 0.5 to 1 dB below 0 dB in case something gets raised by dithering, codec artifacting, etc), everything in the track gets raised by that amount. This doesn't equal apparent loudness, though. It just means that your peak level is where it goes and everything else went with it.

To increase apparent loudness, you need to use some form of compression. So, let's say you're cutting a track and your peak levels are hitting -1 dB, but your overall level outside of those peaks is about -12 dB. That's a pretty wide dynamic swing between peak and average, so what you'll want to do is to compress that 11 dB swing down to, say, 4.5 dB. Once properly compressed, your peaks should be back at that -1 dB level, but your average will now be raised by 6.5 dB, ergo the apparent loudness of the track is higher. Ultimately, you could even "brickwall limit" a mix so that everything is squashed into 1-2 dB of swing (or less, if you're some kind of sadist), but when you lose your dynamic swing, the track will just sound like a loud band of sound with no variance.

Mind you, all of this is for nothing if you don't have adequate monitoring while tracking and mixing. Especially the latter. Trying to get a good result with a pair of computer crackerboxes is akin to trying to read an important document without the aid of reading glasses if you're blind as a bat at close distances. You literally will not have any idea of what you're doing outside of certain inferences about what the end-result will be on everyone else's listening platforms.

And one other point along these lines: once you have your rough mix set up, you'll want to put your last set of processors on the DAW's mixbus, with the program compression last. That way, any changes to the signal levels caused by equalization, enhancers, stereo imagers, etc will still get dealt with properly just prior to being tracked or rendered.

Optimally, I prefer to break out of digital for initial mixing of stems and then for controlling stem levels; I simply like having the faders in hand for tiny adjustments. And doing this sort of mixing in analog on a quiet system with 24-bit audio (even at slower sample rates) still puts any noise and garbage signals way down in the mix where they'll disappear into the Least Significant Bit ranges when the track is reencoded at 16 bits for CD and other distribution methods. That is, if I want that; sometimes certain noises and noise amounts can actually add a bit of a presence.

Make sure to leave 3hp for the Batumi's expander, Poti. This adds some useful waveform selection and sync functions. As for slewing, you'll have part of the Maths to use for that, when necessary, but a useful addition for that might be Ladik's C-012, which is a dual slew lim with switchable up/down/both CV detection.

Pity, I realised it too late, so I missed it this year. I really hope I can make it for next year! Any other interesting modular events in Europe worth of knowing? It's still so long time to wait till next year...

Thanks a lot Lugia! I will check out those modules and a few others. I need time (currently a bit busy) to figure out about the output modules. For Happy Nerding I was planning perhaps one or two modules so I certainly will consider their output modules. I haven't planned Bastl modules into my system yet, if you have any good experience with any other output module, you are welcome to let me know (regarding getting rid of the DC signals) :-)

Thanks Ronin1973, all that information has been super useful!

So far I've been able to sync my synth with Reaper. In fact it was easier than I expecte, both the Minibrute 2s and the Drumbrute Impact have USB port and all I had to do is select the device in the Reaper settings and send clock signal out from the DAW.

I've also been experimenting with recording my songs in multiple tracks, one track at a time as I don't have any audio interface yet, but it has allowed me to test things out and make sure I understand why I need the audio interface and what I need it to do.

I also have more doubts and questions though, how do you guys do the multi-track recording? do you group multiple instruments in one track or do you strictly use one track per instrument? I find myself easily mixing more than 5 tracks at a time, would I need to get an audio interface with that many inputs? or should I be doing overdubbing with the DAW?

In my mind I would be doing everything with the modular synth and once ready, I would use the DAW for recording all at once in multiple tracks, so I can do the final equalisation in the computer. But I'm not sure that's doable with an audio interface that only has a couple of inputs.

I'm also facing an issue I forgot to mention in the original post. It is about the volume of my recordings, when I listen any of them, all sound way lower than any other audio so on my phone I would need to go full volume to listen it properly. I'm already 'normalizing' the audio in Audacity, I'd expect it to bring the sound to the max volume, but it doesn't seem to work that way, what am I missing?

Excellent experience with @uebl here. Very friendly and forthcoming guy and a breeze to deal with!

Haha! I was JUST reading about the Quadra + Expander over on Muffs because I agree a little variety here is good. I like the idea of going that direction. I lose extra attenuverters (and slew?) but I can get the 2hp or doepfer versions or Function to replace. The Verbos Multi-Envelope will be coming soon as the first expansion to the Verbos System too, so 3 interesting flavors will be available with each system standing on its own.

Still I’m quite interested in a Batumi even with the ES-8 which has quad LFO’s available. Mainly because I love sliders and the visual feedback.

Thanks for your input, it really helps!

Some mixers are AC coupled. Some aren't. The best way to make sure you're not passing DC to your amp, though, is to make sure of this in the source itself. In this case, you're looking for output modules that have transformer isolation or offer balanced outputs (which generally implies transformer isolation). Happy Nerding offers two that are worth consideration: the Isolator is a basic, two-channel transformer-isolated output level attenuator, and their OUT not only offers this, but adds a headphone amp plus a second parallel stereo input which can be used as an effects return, plus you get stereo LED level metering. Also, Bastl's Ciao! does this w/o metering, but has input clip indicators for both stereo in pairs and a potential second stereo (3.5mm TRS) line out and a few headphone monitoring tricks that can allow you to have one stereo pair going to the outputs while the other can be monitored on headphones, allowing you to work on an entire second patch at the same time that the other is playing. Any of these would be very useful.

Not a bad set of choices for an expander cab. One thing I'd suggest for your open space would be another complex function/envelope generator such as the Intellijel Quadra + Quadra Expander mkii, Sputnik Quad Function and Trigger Generator, or the Doepfer A-143-1 (if you can fit a 50mm depth in your case). Since the Shared System will have a Maths, having a different strategy to create complex envelope/modulation curves might be an asset. Also, if we're talking about the original Shared System, you might consider updating to the Rene mkii, as it works together with the Tempi module to unlock a bunch of cross-communicated features. Keep the original, though, as having extra sequencers should never be a problem.

Hi Wiggler55550 and Lugia,

Thanks a lot for the information. Okay fair enough to take a "decent" or "good" output module to bring modular audio output to a line input on a mixer or to speakers, all fair enough :-) It's good to know for certain. I am still worried but at least I got an idea of how to handle this a bit better --> getting good output modules.

Now when I would consider to buy an output module, do I understand you correctly to watch following matters.

Output modules:
- should be AC-coupled based
- just a simple attenuator should be avoided (for using as an output module)
- any other matters to be aware off or to be checked?

If the manual of such output doesn't mention that's AC coupled or not, is there any way of seeing or recognising if it does or doesn't?

About mixers, Lugia, are you saying most mixers are already AC coupled? So I guess that should be mentioned somewhere in the (technical) manual of the mixer? Since I am planning to lead all outputs of the modular system to the mixer first before it's going to my audio installation, I should be fine or is there something I still should be aware of and/or take care off?

Thank you very much in advance for saving my audio installation! :-)

This will become a 9u case filled with modules that expand/support the Verbos System and the Shared System.

Expert Sleepers ES-8/ES-3 provides envelopes, LFOs, Arps, sequencers etc. with Ableton Push 2 for knob control.

Also includes Eurorack pedal versions of Retro Mechanical Labs Electron Fuzz and Hyde Filter which connect via the Retro Mechanical Labs GPI. There’s also a Make Noise Mysteron, STO, and Moog DFAM.

A Roli Seaboard Rise connects via Softube Modular and sends CV thru Expert Sleepers/Apollo to talk to the system.

EDITED May 26th 2019, 00:05

Pros: very powerful, many possibilities in terms of cv type stuff

Cons: Not very immediately accessible, hard to get a new sound just by hitting a switch or something, although cv possibility space is massive but soniclly not so much, doesn't seem fun

EDITED May 25th 2019, 22:15

Thanks a lot for the information! I can't wait till this one becomes available to check it out more detailled. Any indication on the price yet?

I didn't see this up on the module list yet, so I did my best guesstimate on its HP width.

Just as an update, this is where I am now. Have a 4MS PEG that I had to move out of the rack to fit the Z-DSP, but will put it back as soon as I find the resources to put the PP+Brains in a skiff instead.

this not small

I have the 420. I got it on sale for $679. I wouldn’t pay full price for it.

It’s extremely solid, well-built and the power is great. But they use proprietary screws, although they’re available in multiple places. It’s quite difficult to screw in a thicker module while using washers. You’d have to measure and get longer screws and make sure you won’t bottom out the rail.

Other than that huge issue, it’s nice. Therefore I’m mixed on it overall. But I can’t complain lately because I managed to find some thinner washers that have worked and now my modules aren’t going anywhere.

Edit : unfortunately I can’t answer other questions or comparisons as it’s my first case. I decided to go prebuilt for sanity’s sake and it was the most HP for the money.

EDITED May 24th 2019, 02:45

Basically, the Pittsburgh Structure line was designed (and for a time, built) by Monorocket, who had a reputation for making extremely solid cabs with very ample power supplies. The Structure 420 shows this, both in its built quality and the fact that you get an overload and short-protected 6000 mA on each 12V bus, and 5000 mA on the +5. Compare this with the v.3 power supply on the A-100 p9, which is 2000 mA on the +12, 1200 on the -12, and 4000 mA on the +5V rail.

I think you should seriously consider Pittsburgh's Structure 344, though. 5000 mA on each 12V rail + 3000 mA on the +5, same protections + extra RFI filtering, and you get a really well thought out 1U utility row with some very sensible utilities provided. More expensive, yes, but the extras + the form factor (more like a Doepfer p9 in size) make a good bit of difference.

Yup...in fact, I have used (and plan to after the studio upgrading here is finished later this summer) a pair of tube bandpass filters in the analog side of my mixchain which I set up to roll off everything from 10 Hz down and from about 15 kHz up. The filtering eliminates potential low-end losses due to detrimental subsonics and/or DC, as well as countering the 'brittle' sonic issues that result from excessive high-frequency aliasing, particularly in the octave immediately prior to the Nyquist frequency. Plus, this puts 11 active 12AX7A stages per channel into the mixchain to add some extra euphonic even harmonic emphasis, thereby warming things up a tad and deepening the presence of the higher-mids and highs.

Hi there,
Anybody have this rack ?

Is it better than Doepfer A 100 p9 case ?

What do you think ?

I had two issues with my doepfer rack a 100 p9, so i'm thinking to buy this one for replace the both doepfer.
Let me know your "reviews"

Thanks.

Nice smooth and fast deals with @Hrtl and @aierror both fantastic.

Otherwise... how would we all be able to use modular synths if nobody can listen to it because a DC signal might destroy our speakers... it's somehow a bit confusing to me to be honest...
-- GarfieldModular

As Lugia said, using a transformer coupled output module is a safe and professional way to avoid DC problems in studios and going into a P.A. system (if a bit costly). In real life all mixers I have used, even cheap ones, remove DC from their outputs. If things sound gnarly out of your speakers when they shouldn't you probably have DC in your signal going into the mixer (or other monitoring device). A scope will help you see that.

EDITED May 23rd 2019, 07:15

Back when the first synths were concocted by Bob Moog and Don Buchla, you didn't encounter a lot of DC-coupled amps. Those came along a little later, as solid state electronics for power levels typically used in amplification became more common. As a result...plus as a result of the idea that you should be able to tap a CV at any point in a patch where it might be present, including the output...the idea that the output stage of a synthesizer should be DC-coupled was rather typical, and even persists to this day with some module designers. And that's yet another reason I strongly suggest to users that they make use of a proper output module, because these tend to be (but not always!) AC-coupled only. When you have a transformer or other isolation device before that final output point, the potential for DC-caused failures drops to zero...and you also get a bit of iron in the signal path that might sound good if pushed into a bit of saturation, plus that also helps with noise and ground-loop issues. Note that this isnt the result you get by simply using typical attenuators to step the levels down for output...that, in fact, is guaranteed to pass any DC that is present on the input side of the attenuator, just scaled down but still quite capable of causing harm.

EDITED May 23rd 2019, 04:06

Hi AJfish114,

I saw nobody replied you yet, I am new to modular synths as well and I am in a very similar position like you as well, planning a modular system, checking out modules etcetera. I have the kind of luck of having a quite large music shop not too far away from where I live and where I can test quite a few modules (not all though). Some feedback from me:

• Regarding Malekko - Varigate 4+ or 8+, it really depends on what you want, if you don't mind to "dive a bit in the menu" then this might be good. If you are interested you can go in this forum to the Modular Discussion section and then look for the thread called "Sequencer search, with repeat option". Up to you if you want to read the entire thread however I just got a good advice or two from some members here, please scroll down to almost the bottom of that thread starting with the reply from Lugia on Monday, the 20th of May and the reply after his one, the reply by Ronin1973. Especially the latter reply, read his opinion, I think that might be very useful for both of us, since we are new to this :-)

I have tested the Varigate 8+ a bit, without a manual (and being new to modular synths) this isn't an easy module to understand, you really need to get the manual next to it and get started with it. So if you don't mind that plus the menu structures, then you should be fine.

• The endorphin.es, the Furrrrhhh generator or however it's correctly spelled ;-) I had a chance of testing that for a very short time, first there was no noise at all and I had to turn one main knob quite a bit (it's actually an encoder that's why at first I didn't got sound out of it because someone just turned it for "hours" to one side :-) ). But once you get sound out of it, oh yes, beautiful oscillators and oscillator mixes you can get out of that module. For myself I feel it's a "bit" too expensive but I really can understand why you would like to have it, good one!

• The Maths module from Make Noise is on my wishlist as well, I had a quick look at it and tested it just shortly only at that shop here not far away from my home. This is a complicated module, nothing against that, only not sure if we as beginners should consider that to start with, I will start first with some easier modules from Make Noise (are there any? ;-) ) and then a year later or so I also will consider the Maths. It seems to be very powerful in its possibilities. You can't really do anything wrong with getting that module is what I understood from people I have met at that store. One person I met said this must be part of any modular system... well not sure if that's correct but I guess it indicates that it is a module we should consider for sure!

• The wogglebug from the same brand, that's a fun module, at least in my opinion. I just checked my written down comments I made when I had tested this module, yes, I had tons of fun with it, just for myself I must ask the honest question to myself: "Do I really need it?" Not sure, but it's good mood fun this module; so up to you really.

All other modules you have shown or mentioned I can't comment on because I haven't tested them yet.

From ALM those Alkemie's modules, I haven't seen them yet in the shop, they might not have them so I wouldn't be able to test it. If you have the change of testing them or once you got them, I would be very curious about your comments on these modules, please keep me updated, thank you!

Good luck with the search for the perfect setup! What I have learned so far is... that finding that perfect setup might be a kind of illussion. I think, and that's what you are doing so that's good, start small (meaning, keep some budget to buy later on some more modules once you have gained experience with your new setup) and extend by gained experience with the modules you seem to need and/or like, something like that I will do too :-)

Hello Wiggler with a lot of fives ;-) Thanks a lot for your reply!

Bad as in permanently kaputt --> that's bad indeed! You make me even more worried...

So that seems to be pretty bad indeed... perhaps I should approach this issue from a different angle then... what can I do to make sure that there wouldn't be a pure DC signal at the output signal of my (upcoming) modular system? Any "protection" module for that, or is there an easy trick to make sure of whatever goes out towards a line signal wouldn't have any "DC issues"?

Otherwise... how would we all be able to use modular synths if nobody can listen to it because a DC signal might destroy our speakers... it's somehow a bit confusing to me to be honest...

Thank you ModularGrid, I don't think it's a bug, to me it "looks" like more a time-out issue. I was typing (checking things in between as well and read over my huge reply a few times to get rid of my biggest typos) and that was for over 3 hours in total, so perhaps you have a look into the time-out issue of being logged in (meaning after a certain period of time one get's kicked out of the system)? If you don't want to increase the time-out timer (at what time is that set? Then I can put an alarm just before that moment ;-) ) another approach to solve the "issue" is that at least one wouldn't lost the reply one was just busy with... so one would have at least an opportunity to copy the reply, then login again, then paste it and then it can be submitted.

Thanks a lot in advance for looking into this!

By the way, for every reply I try to submit, I get every time (so far I haven't seen an exception to that) this error message in red above the reply message I am typing:

reCAPTCHA error: timeout-or-duplicate. Just try again!

Are you able to do something about that as well? Much appreciated! :-)

Hello Lugia and Ronin1973,

Both thank you very much for your feedback/information.

Though I usually don't mind complexity... I think, Ronin1973, I am going to follow up on your advice to start rather simple than spend a fortune on a large sequencer. Better start easy first and figure out what fits me best, exactly what you mentioned. It's also good to hear that you never can have enough sequencers :-) It puts me at ease ad not to worry and just start small, again, just as you mentioned :-)

All right, thank you very much both and though I had already a sequencer in mind, it's likely now that I might change that into just a smaller and cheaper one just to get started with that, will take that up into my planning of my new modular system.

...
You make me a bit worried about your warning about passing DC to my speakers that they will get wrecked, how bad is that?

Bad as in permanently kaputt.

Since I am a bit technical guy, I actually don’t understand the concern of DC signals? DC signal is, at least theoretically, nothing more than just the positive half of an AC signal :-) For which part of the loudspeakers would it be the killer? The subwoofers or the tweeters?

You might kill your woofer first. Due experimenting may proove me wrong though ;-)
Problem with DC on any audio signal chain is that it does not alternate and thus cannot be heard. More specifically it takes away from your headroom/dynamics usable for audio and puts useless stress on your speakers. That is why P.A. power amps usually have steep hi-pass filtering to void any DC in their output. (More smoking details on speaker death by DC on demand.)

-- GarfieldModular

I'm hoping to expand on the dfam really with the 60hp with some extra rhythm/weirdness maybe also some looping capability from the Squaver as I was planning on playing my Bass through that into the Boog as a melody section(although I may get an external looper pedal setup for this.

As I say I'm only just building it all up so hoping to keep it quite open for mow and see where it leads.

Hi TheDirtyLow, what are you expecting to get from the modular that your other gear cannot do? The Squaver has a row's worth of functionality to begin with...

I updated my 1.0 version.

In the empty space I added the disting mk4 to have some logic possibilities and just because it is just such a useful module.
And a stompbox/guitar pedal interface to add some effects such as delay and reverb to the system.

https://cdn.modulargrid.net/img/racks/modulargrid_902841.jpg?1558527867

EDITED May 22nd 2019, 12:25

Oh this is ridiculous, I was writing a rather large (okay huge) reply here then when I submitted it I had to login again, and everything is gone...
-- GarfieldModular

My sincere apologies. One day I will find and fix that bug...

Hello All

I have been away from here for a while after getting distracted by life etc.
So I sold most of my gear (that I never got round to learning or using correctly) and I'm now looking to start again with the exploration.
I come from a Bass Guitar playing background so this time round I am starting with that in mind and am currently waiting for delivery of a Sonicsmith Squaver P+ that i found for what I consider a good price. This I am hoping with be a creative core of my plan being able to play a Bass and control which ever synths and modular I finally end up with.
So other additions currently are a Boog and a Dfam and with that in mind I am looking to fill a 60hp case to go under the Dfam within the moog two tier.

Any advice for filling this case.

(I also still have a MPC live which I don't have a clue how to use yet)

EDITED May 22nd 2019, 08:53

Thank you all for constructive feedback. I will take a step back. Most likely return for further advice. BR

A noob question, can 1 strom+ module handle this amount of +12V ?

i think the disting does this also.

Asking which sequencer is best is like asking what beer is the best. Now... if you're looking to get intoxicated... well beer is beer. If you're all about the journey to inebriation... you can branch off into sub-category after sub-category and still not cover them all.

Buy a small, inexpensive sequencer or module with sequencing built into it. Chances are you'll probably keep it around... since most sequencers can be clocked externally and synced to another sequencer... and sequencers can do a lot more than trigger notes.

As you build up some proficiency with your inexpensive, "simple" sequencer you'll start to develop a taste for what you like about it and what you don't. You could even buy two different types of inexpensive sequencers and see how you get on with them. Once you have some wiggle time under your belt, you'll probably feel more confident about selecting a larger sequencer.

I'm not recommending modules here but telling you about my own experience.

I started with an Ornaments and Crime module paired with a Temps Utile. I could get a fair bit done between the two modules.
I then bought a Pittsburgh Modular Micro Sequence. It looks pretty simple at first glance... but accessing features using long and short button presses and remembering which and what blinking light means what was infuriating. I pulled it from the rack in anger.

I bought a 1010 Music Toolbox because of the screen. I use it a lot but it isn't something I'd want to structure an entire song on. But it's really flexible and offers quite a few neat features like recording CV and audio (in a limited way). I also bought a Mimetic Digitalis from Noise Engineering around the same time. The Mimetic does almost everything the Micro Sequence can do and more.

I'm considering a Westlicht Performer... however they have to be built as they can't be bought retail. It's similar to the Eloquencer... which is something I thought about getting.

My recommendation is start small with the sequencer and don't be afraid of using small ones sync'ed together rather than trying to find a large one that does everything in multiples. You can never have enough VCAs... and you can never have too many sequencers. Also... anything that wasn't pulled from the rack in anger has an easy to manage interface. That's also a requirement for me as well.

EDITED May 22nd 2019, 03:33

the 4MS Pods is not deep enough (34mm) to hold a Doepfer Wasp (45mm)

Hello Lugia,

I think I have explained enough about hi-fi ;-) See my common reply and my reply to Ronin1973. Talking about the ARP 2600 though... I never had the chance to test or listen at it live but what I have heard of it, people talking about it, it must be fantastic. I had the chance, in a local shop here not far away from where I live, to test the nowadays available ARP Odyssey and to be honest with you I was a bit disappointed about the touch and feel of it. The sound was about okay but I wasn’t overly impressed. I heard on the Internet a demo of the to be released Behringer Odyssey and I must say I was pretty impressed about that sound, at least more impressed than about the ARP Odyssey. So let’s hope that the Behringer Odyssey gets closer to that sound of the ARP 2600.

You make me a bit worried about your warning about passing DC to my speakers that they will get wrecked, how bad is that? I was so far under the assumption that as long as I would put my amplifier not too loud (I stay usually away of volumes that go beyond -20 dB, with my mixer level at mid or zero and within the green LEDs level with perhaps sometimes hitting one orange LED), would that still be able to damage my speakers? :-(

If the answer is yes, what should I do then? Get monitors instead? Are they able to withhold DC signals? Wouldn’t there be the same problem?

Since I am a bit technical guy, I actually don’t understand the concern of DC signals? DC signal is, at least theoretically, nothing more than just the positive half of an AC signal :-) For which part of the loudspeakers would it be the killer? The subwoofers or the tweeters? But if one plays at a moderate level (which I usually do), I actually can’t see an issue here? Please enlighten me here, thank you!

Okay let’s avoid the word “hi-fi” for the sake of a good atmosphere within this forum, ha, ha ;-)

So please allow me to call it then... good quality audio? :-) And as in my previous common reply, “good quality” everyone can for themselves define what that is, it’s partly a personal taste rather than a pure technical specification only.

So back to “good quality audio”, with that new modular system I am planning, to start with I think I want to get started with two “synthesizers” (two synth voices?) within that new system. One for the... indeed more focussed on the “good quality audio” and the other one more for the fun tests, for squeezing out the sounds, for getting weird stuff out of it, in the search of an interesting sound, and then yes, I agree with you, the quality of the audio becomes then less important.

That’s the reason why I am interested in ACL modules and I was hoping Waldorf too, since I had the impression they might be focussing a bit more than average on good audio quality, for my, let’s call it: better quality audio output :-)

Then the other output or voice, the focus is not so much on good audio quality but rather on experimenting with sound and then I am thinking of Erica Synths and Make Noise modules; checking it out sonically :-) For me, both ways of approach have fun parts.

For the sake of my lack of experience, I will put Doepfer somewhere in between these two options, borrowing a few models for the fun bit of sound creation and a few other modules perhaps for the more audio oriented output of sound.

I hope you that it’s okay for you that I have this “split approach”, in that one way I focus a bit on the audio quality, whereby you might not agree with me ;-) and the other way I focus more on experimenting with sounds, and I think looking at all the modules I have checked so far, that my main focus will be anyway on those modules that create fun and weird sounds so for those modules, I totally agree, the “so called audio quality” is or shouldn’t be an issue there, it’s sometimes even wanted that it doesn’t sound too good ;-)

Well thank you too for all your help, and though we might have a minor difference in defining good quality audio, I hope you are still willing to support me further with possible future questions and matters I might have with this crazy nice modular synthesizer hobby! :-) Thank you!

hell yeah!! sputnik had a prototype of something like this a few years ago but never saw the light of day. such a shame, but you brought it back to life. really looking forward to hearing more about this! (don't be shy about using different color LEDs!)