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Oh, always keep expansion in mind, and be as fluid as possible about expansion...you never know what mind-warping new module might be about to drop that'll change your whole paradigm up! And frankly, the best way to prepare for later expansion is to admit from square 1 that it's going to happen. This is why I'll often tell users that starting with a larger cab than seems necessary is a must. After you get a taste of modular work, expansion is pretty much a given as the initial build suggests possible new directions, and having the open space on hand already makes exploring those ideas very easy. If there's anything you should keep in mind, it's that; consider going with 6U x 104, or maybe even a 6U x 126 such as the cost-effective offerings from Erica. "Go big or go home" definitely applies to selecting a first case!
One of the reasons I tend toward putting drum modules in a different build is because, in the end, you probably don't want to treat the drum sounds in the same way in a mix than you would the rest of a typical modular's sound sources. True, you could set up a separate sub-chain for the drum signals within a large build, with separate sources, processing, mixing, and outputs...but it's always seemed more logical to treat drums as 'another instrument' and put its devices separate (but always patchable to the main modular in some way, of course).
As for the 'drum modules are anti-modular' idea...I say that's bunk. Optimally, ALL electronic instruments should interconnect in some way, and that approach in of itself is basically a modular-type approach to the 'studio-as-instrument' concept. Drum modules, machines, controllers are just as valid as anything else as something that should interconnect, and since that interconnectivity includes with a modular...well, there you are!
Now, that being said, I would suggest to the original poster that you might be in better shape at this point in time just concentrating on the synth basics, instead of trying to figure out how two ideas at the same time can be jammed into one 9U x 84 (I presume that's what's meant by '3x84') cab that's actually a starting point for working with modular. Technically, you could jam a percussion synth into a single 84 hp row (see this thread for an example I did recently: https://www.modulargrid.net/e/forum/posts/index/2828 ), but then that might shortchange space for sequencing and clocking. A better idea, though, would be to follow the other poster's lead in that thread, and use a dedicated drum sequencer (such as an Arturia BeatStep Pro) to control the drums while still either taking clocking from or sending clocking to the main modular. Saves space, avoids certain hassles of adapting non-drum things to drum usage, and so on. It's also hard to beat what it can do for just $249 street, and it's ready to go for both drum triggers (8 channels of those) plus synth sequencing (two full CV/gate outs).
In terms of sequencing, I'm of the opinion that there's no sequencer more powerful than a DAW. This does create the problem of getting accurate timing to the modular system, but this is resolved with an audio interface that has ADAT out and a handful of Expert Sleepers modules (an ES-3, and ES-5 and an ESX-8GT gets you 8 CV and 16 trigger/gate outs.) However, if you're looking to break away from the computer there's a wide variety of sequencers you can use as well (I'll leave that to the experts).
As for drum modules, I was screwing around with designs and I cooked this dream system up:
The first row is what a system built around "standard-oriented" modules would look like. It's all Tiptop 808/909 drum style modules. It is not at all adventurous when it comes to design, but it does get you plenty of drum horsepower.
The second row is more of a "designer-oriented" drum rig (with the exception of the mixers on the right, which are meant for mixing it all together). It's a quad AD envelope generator, two oscillators, a multi-type noise source, a filter, a waveshaper and a quad-VCA. You could create a single quite complex drum sound, or 3 or 4 simple drum sounds out of this setup.
This could be condensed down by using smaller, simpler oscillators. Also, the waveshaper and filter aren't really completely necessary but they help and give you more options. Once condensed, the module arrangement could be repeated a few times (sans the noise source...you really only need one noise source but you may want a few multiples).
So those are the opinions of somebody who is relatively new to modular on drum synths.
My initial idea before trying to get into eurorack was to build it around the Verbos HO but its size rendered the 3u format unusable almost, although I haven't discarded it yet as it is completely functional on its own with minimal modulation.
I'll have your edit in mind and keep both original and yours under revision before buying anything, trying to decide on the final format and all. Your input was highly valuable so thanks again. I understand the need for so many utilities and small modules but for example i'm not sure about the A-121-2+mix substituting the Sisters (ideally i'd buy all of them and try in my own and then just keep the option I like best, but....), I also think I could do without the external input (the A-119 is quite rough and I'd rather run the things straight into the MG with a preamp) and maybe invest in a better envelope generator + follower in that space; the removal of Maths might be quite smart now that I think of it. And yeah, the VCAs... you never can have too many, right?
Thanks again. Do you think I should keep something in mind for future expansion if I ended up building this skiff as is?
Thanks for the feedback Lugia, will take a look at the expert sleepers. The idea of a nexus mod bank does appeal!
I originally did have a Tides in the rig to complement the Rings, but was for stuck for space!
I'm still pretty new to modular too. I've been looking into this myself , and I guess the two routes I see are a more modular approach vs a more clean and digital approach.
To me it feels like one of the most alluring parts of modular is the experimental aspect of it. That, and the power of analog sound. It depends what you're trying to do. If you want accurate BPM with multiple sample options, you could get something like a Pamela's Workout plus a few Pico Drums and have that be enough. I've heard people say that even the idea of a drum module is anti-modular. Learning how to synthesize the sounds from scratch has been so far the most interesting, as well as the most valuable addition to extending my knowledge in VSTs.
Since you have the space, it might be worth it to slowly build and invest in individual oscillators and noise sources and clock generators so you can make interesting, original drum sounds and patterns. But if precision and efficiency are your goals then you'll probably want more digital modules.
Hope this helps.
Hello people,
Ive started building my eurorack synth two weeks ago. And to be clear: I dont know a lot about modular.
All it contains at the moment is:
- Mutable Instruments Plaits (oscillator)
-Doepfer A-143-1 (complex LFO/Envelope generator)
I have plenty of space (3x84)
I want to:
- be able to have a kick, snare and a hi hat to be triggered to a certain bpm
- be able to choose from multiple kicks, snares etc (does it have to be digital then?)
Wow, so crazy. I did some similar research and couldn't find the connection either. Sounds like Subotnick's work came first but not by much. I wonder the Silver Apples were simply playing homage to him when they named their group. If its a crazy cosmic significance, it would be totally freaking legendary. I'm gonna read that Yeats poem. haha
I'll let you know if i learn anything else.
Also check out my instagram, Blacksqre, to hear some of my stuff.
On the whole, it's not bad. But given that your plan is to directly interface the Rackbrute 3U to these other sources, I'm kinda of the opinion that creating something less audio-oriented might be a better idea. There's a lot of modulation and ancillary modules that could populate the case and having that as a 'nexus' for the other patchables seems sensible, especially since this would be part of a rig where there's already three patchable synths specced out. Plus, if you used the Keybrute direct into the Rackbrute cab, that could serve to branch and reprocess the control signals coming from that. To start with, go and have a look at the Expert Sleepers FH-1. That module is a USB host-to-CV/gate...which would allow you to directly interface the Keybrute into the modular setup, and from THAT you could process and branch (with polyphony, in theory!) to all of the other synths.
Remember: just because it uses synthesizer modules doesn't necessarily mean that it has to make sound itself!
Actually, I have to do the exact same thing for the more promising large-scale builds that I've been whittling on. But I don't exactly see how this might be cleanly done; it seems like you'd have to probably specify the power system's architecture during case creation, and then going back to make corrections after the fact, which may or may not work out neatly, depending on what went into the module spec.
But also, sometimes when cobbling together the amperage-check racks, I'll notice something that maybe could've been handled better. So I'm not at all averse to that method of checking current loading. To me, it's just another aspect of the refinement processes of a given build.
Well, I know that the name originates in a poem by W.B. Yeats, "The Song of Wandering Aengus"...which then brings in a third musical connection, because there was a very famous studio in Boston, MA that also played a part in equipment design and manufacture. For more on that point, see here: http://mmone.org/aengus-studios/
But aside of that, there isn't a connection beyond the poem. According to Wikipedia, there's no mention of a connection between the band and the Subotnick work, nor does the band's official website mention one. However...
Subotnick: "...I'd been staging multimedia performances with dance companies using projections and coloured oils since the early 60s, which was several years before psychedelia is supposed to have started." (The Guardian, 6 Mar 2014)
Now, this is interesting. While I couldn't find a 1:1 connection, it's worth noting that by the time Subotnick composed his work, he was in NYC, which is the same scene that the band developed in. And the band did have some avant-garde music connections, as cellist Charlotte Moorman worked with them a few times, and Moorman was a veteran of the avant-garde scene, working most notably with the composer/video art pioneer Nam June Paik. If Subotnick was still into the psychedelic scene after arriving in New York, their paths very likely crossed, either directly or indirectly.
So, while neither says anything about the origin of one thing in another's work, it's probably best to say that there is a connection, but one that came through similar ideas in the mutual scene...sort of a product of the zeitgeist, if you will. And given the fascination with the mystical back in that period on all sides of the art scene, it's not surprising that Yeats' poetry might've been a touchstone for both Simeon and Subotnick. So, my vote goes for 'crazy cosmic significance'.
Am new to Eurorack and would value your advise on my suggested new plaything.
I already have a Micro Brute and Korg SQ1, on order is a Behringer Model D and Keystep.
I will also be getting the Behringer Neutron when it finally comes out. I see the Eurorack gear interacting and interfacing with this.
The 5HP of blanks are for allowing for the Rack Brute power supply!
Trying to put together an A-100 Basic System 2 with available modules. Throwing in some LZX Industries modules to add some visual effects. What do you guys think of the audio and video module layouts?:
Thanks in advance for your comments and suggestions!
I have two Doepfer Monster cases, both cases have two power supplies which each power two "half rows". Having the option to specify the amount of power supplies in that case and then assign modules to a specific power supply so that I get the power consumption summed up per power supply (and maybe also the sum of all modules), would be awesome.
At the moment I create temporary cases (one for the left half and one for the right half) which gets fiddly quite fast and lacks the overview a single, large rack would give.
Does this sound useful for you? Or do you guys think this is a more of a "special"/uncommon use-case?
Oh and I love this site! Thanks for creating such a helpful tool.
I've always been a huge fan of the Silver Apples but I just learned about Morton Subotnicks, Silver Apples of the Moon.
Is there a connection here or just some crazy cosmic significance that the two most famous 60's synth/electronic musicians have essentially the same name for their music?
I love this sequencer. Been playing with it for over a year now and I still love it. It's awesome for generating melodies and bass lines. I feel like it's criminally overlooked and underrated.
Yeah, this is actually not bad as you're going to expand it. As for that second 84 hp skiff, I'd actually suggest using that plus a nice clocking/trigger sequencer for the drum modules. It'd give you more room in what would be the 'main' cab, and turn the skiff into something 'mission-specific', namely a bespoke drum machine. If using the BSP is the idea, then I'd say load that skiff up with drums and some mixing (stereo, natch) plus a little bit of FX to make a beefy little drum box when the BSP's in use as the controller. (looking at one of my BSPs) Hm...yeah, this is really a doable idea. Here's what I'd do:
This is probably totally irresponsible as far as drum skiff designs go. Much of it is 808/909, but there's some weird crap added, such as the screwy dual tom module and all the crap on the left side, which allows you to build two more drum 'voices', one using external signals and the other with chipnoise racket, and both gated by a dual AR controlling a dual LPG. Two mixers down on the end allow direct-output in stereo, with four pannable voices and the rest in some variation on mono/center. I have a distinct feeling that this might be capable of hurting people.
Well, if that's the idea, then there's some problems right off. First up: no signal input. This is a big problem for the external processing function, since you'll need to boost signals up to synth levels to work with them, and nothing here does that. Also, whatever you get for that function also needs to have an envelope follower as a matter of course; envelope followers track the dynamic level of a signal and convert that signal level into a control voltage that can be used for things such as filter cutoffs, VCA controls, etc. Necessary. Very.
Mixing via the Optomix is possible...but really, you need a second mixer (preferably with VCAs) here as well. It's not enough to just mix audio in a modular, as you can get very useful results from mixing different LFO/envelope/etc CVs as well, creating composite modulation signals from that.
Disting is nowhere near useless. It simply does too much to call it that, and for small skiffs like this, you need major multifunctionality. If I were to term something something I see here as 'unnecessary', it might actually be the Just Friends, but a lot of that is due to Mannequins' trendy psuedo-babble that they use to describe the module's functions...as to which, I would like to quote the great thespian Samuel L. Jackson: "ENGLISH, MOTHERF***ER! DO YOU SPEAK IT!?" Seriously, if I have to pull out a copy of 'Psychology Today' to figure out what a module does, I call that 'fail: major'. Anyway, terminology aside, you might even consider TWO Distings, considering what Expert Sleepers jams into the 4 hp they occupy.
I'm gonna tinker with this a bit...but I'm also going to presume that this isn't a powered skiff, and add a power supply just to be on the safe side. If you don't need that, then I suggest dropping in that second Disting, but this'll be done with only one:
OK, now that's solid. Notice that there's a bunch of itty-bitty modules here now, but the functionality is jacked way up. The optional P/S is at left, and like I said, if you're using a powered skiff, just replace it with another Disting and put that next to the one that's there.
External input: added. Morphagene and Telharmonic, as the heads of the signal paths, are right of the Disting(s). Then things change a lot. Next up is a Happy Nerding 3xVCA, which allows you to use the VCAs together in mixing or separately, as needed. Next, I mashed the Maths down to two of its contituent circuits with the pair of Doepfer A-171-2s, saving 4 hp. Waveshaper next, then a pair of modules: a Doepfer A-121-2 multimode VCF (which outputs all modes on separate jacks) and a 2hp mixer, which allows you to mix the VCF's outputs to get some very weird filter voicings. Same space as the Sisters, but still quite strange and cheaper. Then more VCA/mixing, and two FX processors, a 2hp delay and an Erica Pico DSP, which also serves to stereoize your mixed mono signal, so that you get a stereo signal out the right side with that Ladik output, which also has metering and separate inputs so that you can run the Morphagene path out through one, and have the Telharmonic voice on the other.
This thing is capable of some pretty nutzoid stuff, even with the minimal modulation section, due to the Disting (maybe two) and extra VCAs. As far as multiples go, my suggestion is, like with any small skiff, to use inline multiples or stackable cables and just be careful not to connect outputs to outputs. Should work...granted, it's a bitch trying to cram two different signal paths into 104 hp, but it IS doable!
im looking into getting the maths and morphagene in time... but what do you recon of the rest so far? do i sort of have a decent idea and without certain modules being without use?
Can you post the link to the modulargrid page for your rack instead of screenshotting/uploading a picture? It's easier for people to play around with the system and make recommendations.
Hey, been lurking around here, mw and lines for a while; wanted to put together this 3u but still not sure how capable this combination of modules would be.
The idea would be to have a synthetic voice plus the MG for manipulating (the 3u itself + acoustic instruments an field recordings) or as a tabula rasa to build patterns and "track". The MG being the center of the skiff, would have modulation from Pam's (which would clock everything plus sequence little phrases or add randomness when needed) and I would run it through Sisters (which at the same time would also filter the Telharmonic). Optomix and Maths as function generator and to modulate the Sisters, MG and the Telharmonic, mix some signals. Folder and Disting are pretty much self explanatory. I'm not sure how much I would need the Disting so I could replace it with something else.
Any improvements/changes/swaps you would suggest? Feel free to point out anything! (I wouldn't be surprised if this is full of dumb or redundant choices if not useless at all, so...)
Looking forward to the discussion ~
I don't have such a problem with using the computer to manipulate controls, etc, probably because I've been doing that so long I either don't notice, or VCV's UI coding is good enough that it doesn't drive me up the wall. As a basic learning tool for the underlying concepts of modular synthesis, I'd have to say that it's unparalleled at this point. Everything behaves like it should, albeit up to a point.
That point is, as I noted, when VCV Rack runs into its processor limitation. And I wasn't too pleased when I got a snarky reply from the developer as to the possibility of it having multiprocessor capabilities in the future. To me, that's a problem, and it's also a problem when the primary developer refers to a professional musician as a 'layperson', as if the point of the VCV project is the coding and not the end-use. It struck me as unprofessional, and gave me certain concerns for the long-term usability of VCV at a large-scale level if the intentions don't involve creating something pro-grade. For cobbling 20-30 modules together to do virtual basic builds, it's fine. But if I want to construct something extremely complex and sizable as to scale...as I've found...it's not going to work after a certain point because timing issues, severe audio glitches, and the like begin to creep in as it hits the top-end limit of the sole processor core it runs on. That's unacceptable as far as I'm concerned.
Consequently, I've been doing a lot less long-term work with it over the past week, after discovering that critical limitation and the developer's apparent unwillingness/inability to address it. I'll keep an eye on it, however, and hopefully this will get dealt with by the time we reach the 1.0 iteration...but I'm not holding my breath.
As for the Behringer Neutron...again, not holding my breath. It took them quite some time to start delivering the Model D in any sizable quantities after making it 'available' to retailers, and despite the fact that some beta users have prototypes, to me, that means nothing. My suggestion would be to avoid Uli's vaporware and instead look at patchables from manufacturers that put product out, instead of teasing about it until hell freezes over; IMHO, Uli Behringer needs to shut the f**k up, quit trolling certain forums to cadge marketing ideas, and stop doing cheezeball renders of 'new products' and hyping his 'development' of things that, frankly, already existed and which shouldn't require much 'developing' in order to bring them up to speed for the 21st century.
I have been playing with VCV to get my head around some aspects of modular, but still I am getting tired of clicking on a screen. Also having to dig around third party modules for VCV to do some basic stuff gets a bit boring (0.6.0 I hear should help that though).
My initial thought was to buy modules slowly and use VCV rack with the modules but so far that isn't happening.
I reckon the Behringer Neutron is going to be something that I get as it's got plenty of patch points.
Not bad...but yeah, the cab will need to be a powered one if you stick with this size. Also, the output module's a couple hp wide in this. My suggestion: Ladik A-540. Also stereo to 1/4", plus you get a little level meter on there.
I still think that going to something larger, such as a Tiptop Mantis or an Arturia Rackbrute 6U, would be a good move, tho...
I've kept the sequencer, filter, reverb, delay and output. I've replaced your LFO, oscillator, VCA and envelope with two oscillators, a dual VCA and a dual envelope. I've also added a multiple and a mixer. Good on you for thinking to put in an output module by the way...a lot of people don't think of that and it's a good thing to have.
By swapping the LFO out for a fully featured oscillator, you get the option to use the second oscillator as an LFO or as an audio source. The multiple is added so you can have both oscillators follow the same CV if you're using both for audio. You can use the mixer either to mix the two oscillators, or if you're not using it to mix oscillators you can use it to mix control voltages. This really isn't a big enough system to really warrant a voltage-controlled envelope, so I swapped that out for a dual envelope generator. Finally, I swapped out the single VCA for a dual VCA.
I don't know whether or not the case you're looking at includes a power supply, but if it does make sure it supplies enough power and has enough connectors (8 connectors for the system as you laid it out, 10 for the system as I laid it out). If you don't have a power supply, you'll need to sacrifice the effects modules (the reverb and delay) in order to have space to put in a 4HP power module.
This actually has all of the basics, although you might find it useful to look into a smaller LFO module. That Fonitronik is huge, and takes up room for some other modules that could push the build a lot further. 1 x 84 isn't much space, so shrinking things down as much as possible is important. Alternately, you could also look into a larger case if you've not acquired this one pictured yet. That would open up space for a couple of other VCOs (important for getting things to sound 'fatter'), maybe some waveshaping to dirty up the sound a bit, a few useful utilities such as mixers, mults, and the like, and also a few more VCAs to enable control over both audio and CV levels.
But as a base-level emulator for a 303...yeah, it's got that covered.
I am completely new to modular and hoping for some guidance from you more experienced folk. I'm looking to build my first synth in this format and wondering what the basics are to get something to 'work'?
Copied the system from a post made by Maison Vague on GS.
For the past several years, I've been slowly putting together a Buchla 200 (not 200e) inspired Doepfer A-100 system. To roughly approach the functionality of specific Buchla modules, I've been using this list as a guide:
254: A-138e 3 way crossfader and A-133 Dual VC Polarizer
259: A-111 VCO, A-110 VCO, A-137 Wavefolder, A-196 PLL, A-132-3, A-134-2
266: A-149 SOC and A-118 Noise/Random
281: A-143-1 Quad A/D and A-172 Max/Min
291: A-101-1
292: 4 x A-101-2 LPG and A-138 mixer
I've been pleasantly surprised at just how far I've been able to get using only Doepfer modules!
Polka, huh? Well, that could be several places, but a couple of polka-crazed areas are also key to modular synthesis. Wisconsin gave us the Wiard system and Grant Richter's module designs, and it's the current home state for Serge/STS. As for Minnesota, Foxtone in MNPLS now controls Buchla USA...so polka is no bar to modular synthesis!
OK, so let's presume an Intellijel 7u...hold up...
Hmmm...this isn't half bad:
OK...the tile row is now filled nicely. uMIDI to take advantage of the rear-panel MIDI/USB jacks, buffered mult for future expansion CV sending, QuadrATT for extra attentuators/mixing, a digital reverb, and the Intellijel I/O so, again, you can take advantage of the built-in 1/4" jacks.
Next row is all your stuff, arrayed more like a 'voice' with the trigger control and mult at one end and the Frames mixer at the other.
Third row is where I got busy. I added a master CVable clock, S&H/noise, and clock divider. With this array, you can divide the master clock for different tempi to the sequencer, the M32's sequencer, and the S&H if you so decide, or any combination thereof. Batumi (with the Poti control expander) adds four LFOs, and a Doepfer A-171-2 gives you a CVable slope gen for an extra envelope, LFO, slew gen, or what have you. These Serge-derived modules are super-useful for buttloads of functions.
Next to that, two more linear-only DC-coupled VCAs for processing control voltages and the like. Then the Dual ADSR, with that being the end of the modulation section. Next to that, an uMod II, which can be used for ring modulation, certain logic functions, or as yet another VCA. Polaris is next in the chain as your other VCF, with the Veils in position for mixing and/or more CV control right by the Clouds to do your granular manipulation before sending its output upwards to the Frames, then on to the I/O.
Layout seems right...the signal flow should be really clear, making it easy for both studio and performance work. And the M32's patchpanel is about dead-center to let the M32 be the primary 'voice', allowing it easy patching to any of its surrounding modules. Normally, I might've put this on the bottom row to get at the chiclet keyboard on it easier, but somehow, this makes more sense from a signal flow standpoint. Not too shabby, I think...
Thank you both for the reply’s and suggestions. My rack is 2 Moog 104 skiffs that’s why i have 2 power supplies but plan on getting the Intellijel 7U 104 case in the next few months. All the modules I have listed in this picture https://cdn.modulargrid.net/img/racks/modulargrid_629785.jpg These are modules I currently own. I live in a very very small town,and I’m pretty sure I’m the only person who does anything with eurorack. People around here play classic rock, county, or polka... not joking lol. What are a few modules that I could use to really step this up to the next level.
Yep, love the Quad VCA...it also increases function density, which is critical if you're doing a 3u skiff like this. My advice for going further would be to jam maximum function into smaller space (hence the Quad VCA) and save the large hp spans for very specific functions that are must-haves.
As to a filter that fits this bill, my suggestion would be a Doepfer A-121-2 followed by a 2hp Mixer. That way, you get the multimode filter, but with the added mixer, you can combine response outputs for some elaborate sound manipulation, and the whole mess fits in only 10 hp.
But go small and powerful...there's quad LFOs that fit into that Dual LFO's space or less, and those would be better options with the limitation the skiff causes, and so on. Also, see if you can locate a powered skiff, such as the Erica 84hp skiff or MakeNoise's powered 104hp. That way, you take the power off the patchpanel and gain another 4 hp. The more space you can free = more space for possible functions.
My experience with VCV has been rather different. Apparently, the software isn't multiprocessor-capable, and it runs into critical limitations when it exhausts the capacity of a single core among the 16 that it should have at its disposal here. If it could use the rest of the capacity, it would be an outright monster...but in its current iteration, it's best kept to simple builds, especially if any of the sample-based modules are in use.
I like the idea, I like what it could represent...but that limitation is a serious problem for me.
Yeah, this status change makes no sense. The S-180 is the core of their entire sequencer system, and Ladik doesn't discontinue things until they have a successor to the discontinued module, then they yank the prior version from their product list altogether (check the C-040 and C-041 for an example). If that status is wrong, it needs confirmation...then fixing.
First question that comes to mind is whether this is an Intellijel 7U or a compatible-with-everything-else 7U. There's a big difference in how to proceed with this build between those two, and the options they give aren't mutually-compatible.
Otherwise, Braids and Clouds don't exist in those forms anymore. Clouds only exists as third-party builds in a different size, and Braids has either been replaced by its v.2, Plaits, or exists as a third-party build as well with the original circuitry. Unless you have the originals of these on hand already or are 100% certain that you can get them second-hand, it's best to remove them altogether and replace with the present-day options.
Second...why two power supplies? 7U at 104 hp isn't totally huge, and one of these Tiptops alone does 2 amps at +12v. The -12v spec is a little...ah, lacking, but unless you're exceeding 500 mA on the -12v rail, having the second one is unnecessary. If this IS an Intellijel cab, also, the cab's already powered with a supply that way exceeds the Tiptops, but given that that's unclear here, it's hard to tell if you can lose both supplies or just one (or better still, put one in with a better current balance across both 12v rails).
m1sterlurk's spot-on about the Quad VCA, also...saves some ca$h over the Veils and you can free up its VCAs with a couple of little submixers for that duty. And the thing that jumps out at me as a problem is that there's a lack of cycling modulation sources here, such as LFOs, a function gen, etc. Granted, the Dual ADSRs can cycle, but that plus the M32's LFO isn't going to properly feed all of the modulation-hungry stuff in here.
I mentioned this in a couple of discussions that I participated in today, and I don't want to be cross-posting, so I thought I would start a single thread to let people know about this.
My apologies if this is a violation of terms but I searched and it didn't seem to be.
I recently started a Slack community for the purpose of real time chat on the subject of all things Eurorack. Not much activity in there yet, but I am hoping to build a community of people interested in the subject and establish a hangout of sorts where people can converse in real time if they are so inclined.
For VCA you can't go wrong with the Intellijel Quad VCA. 4 VCAs in a single module that can double as a mixer. Very useful both now and down the road when you have more modules.
The sky's the limit when it comes to what filter to use. The most popular "basic" filter is the Doepfer A-124 Wasp filter, which is a 12db basic multi-mode filter, but really any filter you feel like would work for you could be used.
On the subject of virtual modular, VCV Rack is really great, free, runs on the most recent version of OS X, and even has a collection of Mutable Instruments modules that you can use.
I am currently building up a hardware rack myself for the first time, but I have found VCV Rack to be a great way to try out certain modules, configurations, etc. to determine whether or not I want to buy the hardware. The software alone, sounds great BTW, I just like the physicality of the hardware rack.
Also, I started out with a Mother 32 myself, and other than the fact that it takes up a lot of HP, I find it integrates well with everything else I have added since and I am not planning on retiring it any time soon.
Also, and my apologies if this is a violation of terms but I searched and it didn't seem to be, I recently started a Slack community for the purpose of real time chat on the subject of all things Eurorack, and as a newbie myself, I have included a getting-started channel. Not much activity in there yet but I mention it in case you might want to join. And bring your friends! :)
My apologies if this is a violation of terms but I searched and it didn't seem to be.
I recently started a Slack community for the purpose of real time chat on the subject of all things Eurorack, and I am very into drones myself so there is a drone specific channel. Not much activity in there yet but I mention it in case you might want to join. And bring your friends! :)
The module profile for the S-180 8-step sequencer marks it as discontinued - on the ladik website it says:
" I´m not able to answer individual emails about its availability. I´m making S-180 and S-183 (and listing them) almost every day, kindly check shop occasionaly. I´m not able to manage preorders or waiting list or alerting you via emails. Thanks for understanding.
Out of Stock"
Anyone know for certain what status is? idk how old the above text from website is
I would replace the Veils with an Intellijel Quad VCA. I would also add a mixer module or two (2hp makes a 4 channel mixer that is, well, 2HP in width).
Other than that, you have two sound sources (Braids and Mother32 Oscillator), three sound processors (Clouds, Mother32 Filter and Polaris), and a good number of CV sources (Dual ADSR, LFO/Envelope in Mother32, Frames, Peaks, and Micro Sequence). With an added mixer module (so you're not eating your Quad VCA/Veils) you have a fairly balanced system.
She is complete (for now)
Final Build list:
Pitsburgh Modular Cell 48
Make Noise Mysteron
Make Noise Pressure Points
Synthrotek DLY
TipTop Audio uZeus
Pittsburgh Modular Lifefroms Outs
I had to cut the ARP and the passive Mult in order to fit in a power supply. But now it is a self contained synth like I intended it to be. Eventually I will move everything over to the Cell 90 and use this as a control device with sequencers, PP and probably some sort of random event generator.
