Any opinions or high end unity mixers? I need to sum tracks to subgroups into my sound card and hoping to keep the signal path intact. I’m sending from Frap CGM. Nearly sprung for more 2hp unity’s but realized Frap has the 333 - and lo and behold it has some serious caps on the back B) Cheers
I picked up the g storm jupiter 4 chorus and not feeling it yet. Wonder if I’m not giving it edgy enough PWN to get the Jp4. I’m very curious about this new phasor. Not sure anything could bump Kamieniec from my “greatest module of all time” tho
@adaris Been very curious about the tube modules. The Karltron Tube looks nice and the Saevitum seems to be the tube version of Ripples.
https://www.modulargrid.net/e/karltron-tube
https://www.modulargrid.net/e/abyss-devices-saevitum
I think Ripples v2 (and Blades) is of the most under-rated filters. I prefer the sound of V2 over V1 for both inputs. It's just incredibly flexible and has nice variety of sound with different kinds of modulation. I feel the same about QPAS when especially when used with audio rate modulation. Moonphase is great, just not a fan of the popping when switching between filter types (possibly handled later in the chain).
I've slept on Belgrad despite being a heavy XAOC user. I like the sounds that Mathsmathsmaths gets with it; he mentioned about the importance of gain staging. Belgrad is top of my list to pickup as soon as I master Fumana, haha see you in 2030.
I traded a Zlob VCF with a friend who is fn loving it for techno stuff with NE voices.
Something new that’s popped up recently is the Landscape.fm Noon. It’s a passive filter topology that can produce very complex and delicate sounds. Passive filters are capable of a broader response **for varied inputs than active filters IMO. I wonder if this is because they are less prone to resonate, dunno. Interestingly the only passive filter in eurorack is the aging Trouby Organ Filter that was built to transform organ voices into woodwinds. Rossum Morpheus has these types of filter profiles but I hear it distort when used for percussion duties (as an effect or pinged), which can be 🤗 or 😶
I have an extra long monitor arm that’s great for draping right angle cables. As seen on IG
@Rabel what way are you trapped and not able to accomplish X eg nurave sinecore?
Cool thread. Funny enough I'm currently working on #1 "preset management" for generative systems. Since Droid supports MIDI over TRS, I can pipe "settings" to a Tram8 that sends 8 0-5v CVs into my 7u; with Droid's P10 I can have a 1:1 mapping of knobs to those 8 CVs. Once I'm done with the base patch, I can use Droid's "patch" scenes to switch between presets with button press. Haha wish me luck
Thanks for posting this. It took me down a rabbit hole. I saw KFW perform ~generators in SF in 2011 or so... and it blew my mind. Funny, it took me another eight years to get into physical modular synths. And I'm only realizing now how impactful that performance was on me; he's improvising lines, like a jazz solo played on a clock divider or driving an entire system from simple gestures. What's amazing to see is his comfort around chaos and how well he navigates to disparate plateaus of sound, one after another.
KFW makes it clear in this video[1] that he's using a combination of a few modules based around a concept or abstraction (e.g. chaos/feedback in clocking via OP's link). It's so refreshing, and this approach appeals to me because you get to hear the boundaries of the sonic character of his voice(s).
I think if you build a system around his approach, you'd be well served by complex voices like those from Industrial Music Electronics (he mentioned Zorlon's Cannon), Schlappi Engineering, many others. Importantly, would be to pick a "shape" (e.g. clock feedback) that integrates chaos/feedback and develop gestures. I've been working with XAOC Drezno for sometime and use it to transform simple CV into arabesque pitch and gate information that drive an entire generative system.
Something that's brilliant about KFW's work is how he utilizes control that feeds-back with audio. It's something that I've been working with recently and can be rewarding but challenging to contextualize. I think this approach may lend itself better for compositions that use on a single line/single voice.
Curious to see what you come up with. Please post a system, as it happens.
[1] Resonant
In regard to @HGSynth's comments about tuning modulations, completely agree. Zadar is great because it has that capability built in. I've been using Droid for this purpose for large generative patches because it's a CV modular in the modular, a veritable modular module (yes, does require writing patches in scripts). In fact, it's designs are offset and scaling in every "patch cable". But it's not as hands on as having a stack of 321's but saves cost and hp 4sure.
Otherwise, looks like your "playing surface" is stages and veils, do you find those good for tuning things in?
