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Thank you very much Audiorial !

JVR TR-909 is LowTom not BassDrum

LowTom not present on Modulargrid

DFAM se va fuera!
Metemos un KORG SQ1 dentro de la caja

SQ1:
controla el bajo y plonk

LADIK1
controla platos

LADIK2
controla bombo

MALEKKO:
un canal controla el trig/cv de Sampler
el resto de canales son LFO para el resto de máquinas (un LFO rápido para el bajo)

PLONK:
tendrá la modulación cv para 2 posibles funciones:
-cambiar de sonido
-notas (pitch)
segun la canción podra pasar de una a otra, moviendo el cable en directo
Al cambiar de preset, tendrá distintos parametros en X y en Y para modular

MIXER:
ahí estan bombo, platos, plonk, bajo
salen para FX AID

SAMPLER:
recibe su cv/trig de la malekko (todo en un canal) y podrá hacer 2 cosas:
-cajas
-vocales / largos
si muevo el knob de seleccion de sonido, a la izq (p.ej.) estoy en sonidos cortos o cajas, y si lo muevo a la derecha, estoy en sonidos largos o vocales
(puedo grabar 10 o 15 sonidos vocales de una misma persona, así al cambiar hay muchas posibilidades de se mantenga en la misma persona, y esto le da coherencia)
El sampler saca su audio a pico dsp
Pico dsp está siendo modulado por un lfo largo de la malekko
Sale su audio directamente a un atenuador dreadbox, que le sirve de volumen

POSIBILIDAD de usar la DFAM por fuera, osea en su propia case

POSIBILIDAD de añadir una distorsion, con bypass, como ruina versio, justo antes de FX AID para darle más juego

POSIBILIDAD de añadir un plato2: sería un pico drums 2, pero me faltaría trig/cv, además de un otro mixer

EDITED Aug 29th 2022, 16:17

Looking for recommendations on large rack and case manufacturers for minimum 1600hp/140 modules of full-size modules plus an additional 500hp/40 modules of 1U?

https://www.thomann.de/de/addac_901m_21u.htm?listPosition=5&type=category

Thanks for the application you are providing. It helps.

I have a minor feature request (meaning that I will certainly live without it, but it would be a nice-to-have).

I have 2 abyss devices https://www.modulargrid.net/e/abyss-devices-1u-to-3u-adapter-intellijel and would love to fit IN a few 1U modules. Currently the 1U modules I add are replacing the adapter and floating in the rack. The Adapter is moved somewhere else.

Feature request:

• 1U modules can be added within the adapter
• 1U modules could be rotated 90° (well, this is a pre-requisite for the above)
• you could then move nicely the adapter along with the 1U modules attached to it.

G.

EDITED Aug 29th 2022, 16:44

KORG SQ1
HAY 2 O 3 DE ESTOS:

KORG SQ1-A:
controla Bombo y platos 2 (el cv note, controla el volumen de cada triger del plato2)

KORG SQ1-B:
bass y plonk

KORG SQ1-C:
dfam y sampler (tiptop One)
el clock le viene de 2 fuentes (que se pueden cambiar en directo):
-clock general (a semicorcheas)
-el bombo: se dobla su señal trig y se deja un cable cerca para hacer el cambio de cables. Este pulso a negras, hace que el korg sq1-c pueda ir a negras, y así trigar más lento los SAMPLES vocales u otros samples...

SAMPLES (tiptop one)
moviendo el knob, eliges los sonidos
ahí tendríamos en la zona de la izq del knob (p.ej.) samples cortos y a la derecha, samples vocales y largos
un señal cv, controlaría los cambios de sonido (+32 sonidos a partir de donde esté el knob) esto quiere decir que con la korg sq1 le mandas unos ciertos cambios y así puedes tener distintas vocales a la vez. A la hora de guardar los samples, pones muchas vocales parecidas (de una misma persona) en un grupo de 10 o 15 vocales, y luego a continuación otras 10 o 15 vocales de otra persona. Así al cambiar de sampler, sigue teniendo coherencia...
Tenemos samples cortos que van con clock normal y samples largos o vocales (para esto hay que cambiar el cable de clock de la korg sq1, pasar del cable clock normal al cable del bombo) cuando estamos en este modo, la dfam va a ir muy lenta, pero no importa, digamos que está como desactivada durante esta canción...

El sampler, necesitaría una modulación. Quizás un fx que esté dedicado solo a sampler, o un filtro, o una distorsión... algo que haga que cada vez que oimos un vocal, vaya cambiando un poco... ese otro modulo tendría un control por cv, desde la malekko

Con RADIO (modular thing) como modulo de samples, tienes la posibilidad de cambiar el start de un solo sample largo, con lo que puedes ir creando texturas diferentes (como hacía con "radio" en la model samples, con los samples de Ines y Ferran....) (o con una conversación larga de una persona hablando... cada vez se cogerían aleatoriamente palabras, y siempre sería diferente...)

MIXER: TENEMOS 2 MIXERS:
-DOEPFER MIXER (para bajo, dfam, samplers, plonk) su salida va FX AID
-OTRO MIXER (p.ej. erica synth mixer) para bombo, plato1, plato2. Su salida va a PICO DSP para un poco de efecto

PLATO 2 (PICO DRUMS 2)
a semicorchas
como no tiene control de volumen por cada nota, su salida va a un VCA (2hp) y ahí obtiene el volumen diferente por cada nota. Un korg sq1 controlará este VCA.

BASS y DFAM:
En los korg sq1, les mandamos el pitch y el trig
(en el caso de dfam, cada trig manda el tipo de clock que recibe. p.ej. 8 notas trig, ponen la dfam a semicorcheas, 4 notas separadas por 1 o 2 step, ponen la dfam a corcheas con sensación de alguna semicorchea... etc)
Ponemos una escala (p.ej. DO mayor)
Los knobs tendrán su otro knob encima, el que tiene la rayita indicadora de la posición del knob (llamemos a esto el knob2)
Ponemos este "knob2" a las 12 en punto, que será la nota MI. Así sabremos (aprox) que ese es el centro tonal. Después la escala es mi,fa,sol,la,si... osea la escala frigia.
Hay que afinar bass y dfam en un mismo tono, en cada una de esas máquinas.
La duda es como cambiar de tonalidad, osea como pasar de MI frigio a otras tonalidades??? (habría que afinar???) usar otro módulo para sumar una señal cv al voltage inicial que proporciona el korgsq1 ????

MALEKKO
Lleva los lfos de todos, incluido un lfo rápido para el bajo
Se van cargando nuevas memorias con nuevos lfos

PLATO 1 - HAT
Es trigado por ladik

MUTA JOVIS:
podría mutear 4 cosas (quizás bombo, plato1,plato2,caja ??)

POSIBILIDAD DE AÑADIR OTRO FX:
antes del FX AID podríamos poner un modulo de distorsion, o algo... que tenga DRY/WET, así lo podemos "anular" en algunas canciones y de vez en cuando en otras canciones, ponerle distorsion o ring modulator, o lo que sea.... (el noise engeniering, ruina versio, tiene buena pinta)

POSIBILIDAD DE QUE SEAN 2 SQ1:
en tal caso, el sq1 que controla el bombo y plato2, se elimina. Habría que configurarlo todo, para que otros secuenciadores puedan hacerlo, sin sacrificar mucho los lfo de la malekko.
Por ejemplo: un track de malekko, que sirva para trigar y cv a plonk (aunque perdería la posibilidad de poner 2 notas juntas) el resto de malekko para lfo. Y faltaría un ladik más (p.ej.) para trigar el bombo. O comprar un steppy para que lo trigee todo (incluido el sample)
O posibilidad de tener otro malekko

EDITED Aug 29th 2022, 12:45

VOLCA SAMPLE
va dentro de la case
tendrá unos sonidos vocales (y otros sonidos, más o menos naturales, que no tengan nada que ver con sintes)
en 5 tracks (p.ej.) coloco unos trigers con diferentes pitch, start, etc... los 5 tracks tendran el mismo sonido (sampler) y luego voy muteando y desmuteando en directo.
Está clokeada a la mitad de tempo (para que parezcan 2 compases)
Posibilidad de que necesite fx, externo (pasarlo por un pedal, p.ej. el korg nts)

MODEL CYCLES
igual que se detalla en el CLAVSTRO MODEL CYCLES CASE de modular grid
tiene el bombo, platos2, perc1, perc2, midi notes para BAJO, midi notes para DFAM
(Posibilidad de que platos2 sea un RUMBLE del bombo, osea otro synth grave que vaya en el 1,5 del compás y que con un LFO tenga un atack suave, todo bajado de volumen)

ATENUADORES DREADBOX
Parece que no caben en la case, habrá que ponerlos por dentro de alguna manera, quizás hacer agujeros en un borde de la caja, para que entren y salgan los cables, y a la vez la tapadera de arriba no los machaque

Both thumbs up!
-- the-erc

Much appreciated, thank you!

Wow Lugia, thank you!
I'm looking up some of the modules suggested; So many mults! Trying to wrap my head around patching... Is swapping one of the the 4x4 mults for another ASK a reasonable consideration?
As for the case, would an alm / brute case do?

Both thumbs up!

As for ModularCat...you'd just better hope it didn't hear you complaining about it. You might log in one day to find clawmarks all over your module collection!

-- Lugia

you're right I don't know what I was thinking. more cats fewer bugs!

No, it would be a single voice...you've got one aerial for pitch (closer = higher) and the other for level (closer = quieter, with touching this aerial acting as a "mute"). Or at least, that's how it SHOULD be. I worked for years with a Maestro unit (one of Tom Oberheim's designs...NOT Bob Moog, since that unit came out in the pre-Norlin period) that had an amplitude implementation which worked "backwards": get closer, it gets LOUDER, and "muting" wasn't possible at all. Finally sold it for a pile of money, got a Moog Theremini instead which offers more connectivity, a far better sound module, etc.

My concern here is that the case might not be wide enough. Those aerials need some distance so that you're not accidentally changing pitch when you need volume changes, and vice-versa. A 1 x 84 would probably work better here...sort of like...wait for it...

OK, there we GO...width is now 84 hp, which keeps the aerials further apart AND which allows for some trickery.

You'll notice that this seems to violate one of my own rules, namely that mults don't belong in small builds. However, given that this ISN'T a "proper" synth and that this really NEEDS them to distribute various signals in parallel, there's three (technically, four) of them to help with that. Two are at the obvious places, to distribute the various aerial signals. The others make sense when you look at the signal flow...

SO, after the amplitude (left) aerial and its mults, you've got a pair of ADSR envelopes which get gated via the left aerial. Then there's one of Noise Reap's weird dual LFOs which has some capabilities for scrambling its OWN operation for weird, non-symmetrical modulation curve outputs. After that is a Bragi ASK, which provides two attenuverters with 3-way multed outs for altering modulation signals and distributing them to various destinations.

For the oscillator, I opted for a Twin Waves mkii, which gives you two oscillators, several useful internal routings, and a quantizer which allows you to play discrete steps in addition to the typical theremin glissandi. Another mult after that lets you distribute the oscillator outs to the various audio processing modules that are placed just after it. Mind you, you don't HAVE to use the mult there; it's just as valid to patch those in a post-VCA configuration...especially given the VCAs in question. I went with one of Plankton's dual VCAs that use a NuTube triode which you can slam the crap out of for some distortion/waveshaping.

And since we're definitely now in stereo, the VCF I chose was Bastl's Ikarie, a very odd and somewhat nasty stereo filter that can behave...or get really gritty, plus it has a dual-peak architecture so that you can have some similarly-tracking but different-sounding filter responses in its two channels. Then, effects...theremins are awesome with some processing, so I opted for Happy Nerding's excellent FX Aid XL for a useful effects "library". Then past that, I put in a HN 4x Stereo Mix...this lets you deal with the stereo outs of the VCO, VCA, VCF, FX Aid...however you want to deal with them in parallel so that you can have sound events that involve the sound "evolving" between those modules via some judicious patching of the various modulation bits. Lastly, the HN Isolator is a MUST here, since you're dealing with RF circuits and you don't want crud getting into those and destabilizing them...which is an inherent issue with theremins, and why many of the cheap ones sound like total ass. Then mult, pitch aerial, and there you go!

As for aerial placement, that'll vary a lot depending on how you feel comfortable with interfacing with the aerials. In theory, you can keep the amplitude aerial partly un-telescoped and aimed sideways so that you've got something with some similar ergonomics to the RCA and Moog designs. Pitch aerial definitely goes straight-up and at full extension, though. And remember to keep this away from metal surfaces which will couple with the RF controllers and cause various control annoyances.

EDITED Aug 29th 2022, 02:14

humbly request an option to hide the clean up the mess cat or at least fix the CSS so it doesn't make the rack jump down in the viewport when the cat appears. a lot of us use that space as a staging area.
-- scragz

True dat...but I find the function that reorders "staged" modules into a single stack to be more annoying. There are reasons why I scatter 'em in various places while working out a build, especially reworking someone else's design.

As for ModularCat...you'd just better hope it didn't hear you complaining about it. You might log in one day to find clawmarks all over your module collection!

a mental track, i guess … some patch info in the video description.. thanks for watching

I would appreciate a few hints or an full on roast concerning the rack from the link.
Could this possibly work as a double voice something something theremin?
Thanks

Only just signed up and can’t create new posts but looking for advise myself as also new to eurorack.

I have an original ARP2600 and want to get an expert sleepers FH-2 to send CV to it from my DAW.
I do all of my sequencing in Logic and can use the likes of the Expert sleepers / Logic Midi Fx plugins and Cableguys plugins etc to have fun.

Thing is, I believe need a small eurorack just to be able to power up and use an FH-2.
What’s the smallest / cheapest little rack I can buy that would be suitable for an FH-2?
I may add an another module later on if there is space on the rack, but it’s mainly for the FH-2.

I just saw a Doepfer A-100 MC which looks nice and cheap but decent for what I need

EDITED Sep 5th 2022, 08:33

humbly request an option to hide the clean up the mess cat or at least fix the CSS so it doesn't make the rack jump down in the viewport when the cat appears. a lot of us use that space as a staging area.

Get a Doepfer 12u or 14 monster case and Doepfer monster base case. Love mine as it has handles, covers and bullet proof power supplies.

This patch, inspired by the french musician and writer Boris Vian: ‘the monkey > the man > the fool’.
So sometimes it’s good to pull the plug.

Now that is some good thinking!!! Excited to hear what they come up with !

Appreciate it Lugia. I've had my eye on Case from Lake since before I got into modular, so I've just reached out to them for more info.
-- NICU

And also, ask if they've ever done a case with built-in wheels. If they DO cook up a suitable solution, you'll want to make toting it easier!

Appreciate it Lugia. I've had my eye on Case from Lake since before I got into modular, so I've just reached out to them for more info.

Solution simple: Case From Lake. Not only do they do custom builds, you can have them add custom features to their "standard" fare. Power supplies on those are always overspecced, they're super-solid, and you might even wind up working with them to come up with a fully portable solution...yes, even for THAT MANY modules! https://www.casefromlake.com/

Another source for gawdawfully-huge studio cabs is ADDAC...they've long offered cabs that offer 197 hp (ie: 1 meter) rows, plus they share CFL's philosophy about having enough current capacity...and then some. You can even get some 2U 19" rack toppers for those, and there's 2 x 168 of tile rows right there just by adding some tile frames and power connections.

Then for the ultimate in Eurorack case overkill, there's https://eurorackmodularcase.com/. Just click it...no explanation needed there!

A fine, FINE example of specious reasoning. WMD closes shop, people make assumptions.

Let's explain something, shall we? First up, module manufacturers closing up shop is nothing new. We consistently lose several a year, and yes, some of them are big names. And while some of those have more annoying reasons (like Emilie finally getting quitting-grade discouraged after Herr Behringer lifted Plaits and Veils from Mutable's lineup), much of this is simply what you'd expect to find in an overheated field with lots of "churn". There's nothing odd about that...typical capitalism at work.

And yes, the current supply-chain fubar over electronic components is hitting everything, not merely synthesizers. That's the "changing forever" that's far more scary, with acres of cars waiting for chips sitting around idle worldwide being one obvious symptom. And yes, that shortage makes it difficult for synth companies...but it works the same way for any company that uses electronic components.

But when you get down to it, the components needed in a big percentage of modules aren't anything too esoteric. By and large, there's typically a larger amount of passive components (caps, resistors, diodes, etc) than anything VLSI-ish...aside of certain modules that are dependent on Atmel/Atmega, RasPi, etc devices for their engines. Since these passive components don't require any hi-tweak manufacturing methods (like UV litho), they're far less "endangered", and those components have made up the majority of what's on a module board since...well, Bob and Don.

And another big source for Eurorack devices is the used market, which apparently wasn't figured into the idea. There's a lot of used Eurorack out there, with a big chunk of that these days from erstwhile synthesists thinking they're ready to step up to modular...followed by a litany of bad choices and sales pitches...which results in plenty of viable modules popping up on eBay, Reverb, et al when these users discover that they got tossed into an infinite gulf of confusion (which this is IF you're not capable of doing some basic research) and not the wading pool. Frankly, I think overheated "analysis" like the above clip does more to HARM Eurorack, inasmuch as it attempts to spread a poorly-reasoned but seemingly-authoritative rationale for some impending implosion of Eurorack, etc. People that are incapable of looking into things themselves have long been self-generated problems in modular, and I (and others) have a bone to pick with "influencers" that use YT as a bully pulpit for nonsense such as that.

This is worse on some levels, though. Instead of being able to explain simple technical issues (such as why you're going to have trouble building a full system in 1 x 84), this hits more on some ontological level which takes advantage of potential users hearing this and then giving Eurorack a wide berth due to the general state of imposed panic these days. Boo. Hiss. NOT GOOD.

There's a big difference between causation and correlation...and there's more of the latter in the YT clip than the former. While I agree that losing WMD and especially Mutable is not a good thing at all, the only "changing forever" that's going on here is the usual constant change that's part of reality in general. And ultimately, that's not an actual change at all.

Hi there,

Looking for recommendations on large rack and case manufacturers for minimum 1600hp/140 modules of full-size modules plus an additional 500hp/40 modules of 1U?

Things I like to hear:
high-quality / durable
well-spec'd power
stylish
reasonably affordable but not expecting miracles

Any and all advice is welcome.
Looking for one GIANT case for the studio, and can take out as needed to populate smaller travel / gig cases.

• Christian at NICU

Looking for this Benjolin.
Message me if yours is to sell.
Cheers,
Harold

What Lugia said. If this is the size of system you're committed to, you can't fill it up with enormous modules. You can, however, pick one "pet module" and then build up a more workable system around it. In this case, I'd ditch the Starlab... you already have FX in your 1u row. Consider how much more fun and useful this system would be if you replaced the Starlab with the following:

Klavis Twin Waves (8 hp)
XAOC Zadar (10 hp)
Another small VCA module (4 hp)
Any of a variety of other utilities (mixer, attenuator, etc.) (6 hp left)

Update:

I got that second Mantis, ignored Jim and got the brackets, didn't like how big and unfocused the whole thing was, realized Jim was right about the brackets, panicked at the flippancy of my approach, returned the second mantis.

Another few months of trial and error and this is what it's looking like:

Happy to say, it's finally starting to feel coherent!

Nerdseq means I don't have to drag the KSP around anymore if I don't want to -- plus I already have experience with trackers and the extra envelopes and lfos free up the rest of the rack considerably. Vortices streamlines the decentralized mixing I had been doing, plus acts as extra VCAs; Tides gives me access to complex / interrelated envelopes and LFOs when I want them; Select 2 neatly fills a few utility holes in minimal hp (offsetting, switches, "hang" circuits, muting); and those tiny VCAs (most recent pickup) allow me to fit in the Befaco Out, which it turns out I really don't like going without.

I'll be picking up a 3Ux84hp skiff this week as an overflow case and I think that's where I'm gonna park for the long term. I'm loving the main rack, and the overflow will be enough to let me keep OPTX and a few other modules of interest sitting around without being tempted to let it grow out of control. It also seems fun to make portable mini systems every now and then (out of stuff I already have).

Thanks again for the help getting over that hump!

EDITED Aug 27th 2022, 04:40

Not pictured is the dual buffered mult above the 1U row on the Intellijel 62HP 4U Palette case.
-- graycat

Easily fixed. Just add another tile row and check under Intellijel's listings for the Palette 62 utility bar. Just remember to pull up the "screenshot" and refresh that, otherwise we'll still all see this layout.

The more obvious problem has to do with the Intellijel stereo mixer tile. That's usable in that position...but it can also connect directly to the cab's 1/4" jacks, which then lets you fly a second signal (such as effects) over the main mix to parallel it into the final stereo output. If there's no earth-shaking need for the connecting modules at the left end of the tile bar, I'd suggest tossing those and then adding Intellijel's stereo VCA tile to have CV over one or the other signals to mix. And adding a DuATT would also be a VERY good idea, as you don't have any way to add offsets, mix CVs and modulation signals (the stereo mixer is AC-coupled...won't pass anything below audible range!), or do inversion/polarization of your modulation.

Hmmmmm...

...sort of like that. Also, I ejected the speaker...yeah, I know it sounded cool and all, but by tossing it and the Ochd, I was able to put the NANO Quart in instead. That module has four AD envelope generators which can be looped to serve as variable-waveform LFOs where needed. And that was 100% needed...otherwise, all you had was the Ochd as a modulation source, with NO envelope generation. It even rocks the same look as the Qu-bit black panels!

EDITED Aug 27th 2022, 02:39

With ornament and crimes on sequencing duty is there enough audio oscillation?
-- emergencypeanut

I think you might have some bigger problems than enough oscillators. For one thing, you DO realize there's only 104 hp for those honkin' big modules in the 3U row, right? By having those there like that, you're causing them to monopolize the build, and the end result is that you've got some really cool modules...but very little in the way of getting them to work together as an instrument. Part of the problem, of course, is the cab itself; while it's possible to cram a decent build into a Palette 104, this majorly involves reducing the module sizes so that everything that should be there CAN be there. Instead, three of those modules take over half of the 3U row, which is forcing you to jam things in as afterthoughts, where space allows. This isn't a good thing, especially given that the Panharmonium is sort of the only nonreplaceable that's there. And I say "sort of" because there's likely ways to do what it does with certain combinations of modules. Although in this case, you don't really have any audio sources to feed it (hence the stereo inputs as well as Dave noting that the module is a "mutating spectral resynthesizer"...and resynthesis tends to need some sort of incoming audio to...well, resynthesize.

Continuing my endless goal for the perfect little standalone system, which also combines nicely with my larger system. Currently focused around the beautiful lofi but somehow amazing quality Speak To Me speaker module from the lovely Winterbloom. Not pictured is the dual buffered mult above the 1U row on the Intellijel 62HP 4U Palette case.

With ornament and crimes on sequencing duty is there enough audio oscillation?

Deckerd's? Mmm...OK, having a CS-80 laying around the house gives me a bit of an insight there. Basically, you've got the basic voicing of a single CS-80 card there...but that's not the only aspect to that sound. Adding the Rachael "expander" would do a lot to remedy this, but then you're talking about 46 hp in cab space and a tab of $1048 for a monosynth that still won't approach the "playability" of the OG. TBH, given the prices I'm seeing on vintage Yamaha's CS-01 as of late, you could get TWO of the little Yammys for that and still have beer money left over. Things are changing, to be sure...

It would honestly be a better choice to get a patchable synth and then use that with the modular, then use the space gained from removing the Deckerd's for more modules. In fact, one combo I'm liking is a pairing with my other modular/patchable devices with one of Uli's 2600 "Xmas tree" clones. It's...well, it's an ARP 2600, a synth I've used off and on for some 40+ years now, made more compact (without becoming difficult to play!) and including the 3620 circuits, which Korg left off of their 2600M. Ergo, I look at Korg's available-to-everyone version as literal "crippleware", and the snarky SOB in Penang gets the win for creating the real Version 5. Plus, unlike the Deckard's, it's 100% complete...you can even cram it into an 8U road case (plus, you can even find 3rd party cases out there that emulate the original's form factor). And the fact that you can "break out" the modules via the patchpoints for full-on modular integration is the cherry on the cake.

And Jim's 100% on about that larger case. It's possible to do a build in 104 hp, sure...but 2 x 104 hp means more room for utilities and other "helpers" that make the spendy ones do what they oughta.

Given the amount of sheer unadulterated BASS that you can get out of a modular without even trying hard, I would suggest that you go with monitors that have at the very least 8" drivers for the low end. I use a pair of SF-era KRKs, myself...9000Bs...as "critical nearfields" with a Crest FA601 amp. However, be careful that what you get is actually rather flat; one monitor that I've learned to DREAD are the horrid Yamaha NS10Ms and the various descendants of those...they make everything sound like refried ass when you check your mix on more typical monitors. Some people swear by them; much of my time with them over the years found me swearing AT them. Just. Say. No.

Try and find something that's more "point source-ish", actually. Uli's reissued some of the Tannoy single-point ones for decent prices, but my money would be on the more-spendy powered Presonus Scepter 8s. But get the best thing you can afford...monitoring is 100% NOT the part you skimp on, as that subsystem of your studio is how you know what you're doing!

I wouldn't suggest that you sell off the current 1 x 84 skiff. You WILL want it for adding more modules later on. If you doubt this, contact me in a year's time and tell me about what you repurposed it for.

But instead of trying to build an entire synth in a 1 x 84 skiff (always a bad idea...you WILL wind up compromising subsystems in this build if you do!), I would suggest that you check out a Tiptop Mantis. We say that loads on here...and it's not JUST because of the 208 hp of space you get, but because the Mantis is a sensible size, has really good power specs, is lightweight and portable enough that Tiptop sells a custom gig bag for it, AND you can stack a second one with its special stacking brackets to double your space.

As for the skiff...one really good idea might be to repurpose it as a controller/sequencer cab. You could put a Tempi/Rene mkii pair in there for sequencing and touchplate control, then maybe jam your performance mixing in the other half-ish, maybe with space to add a couple of CV faders for "remote" control of other modules. That would get two types of potentially chunky modules OUT of the Mantis...which, in the end, gets you still MORE space in that new cab. People don't seem to think a lot about the case implementations, and in the end that should actually be one of the FIRST considerations because that's one that depends on both you AND your available studio space. And you'll also hear it said that you should always make your case(s) too large...because, eventually they won't be!

Given that it's usually a PITA to cram a full-on synth into a tiny cab, and also since you've got two "noisemakers" already, you might consider doing the more sensible task of making this into something designed as a "helper" for the two Moogs. Otherwise, no, it doesn't make sense. So... [wait for it]

OK...no audio sources, first off. This is all about playing around with modulation (to a degree that neither Moog is designed for) and some sequencer timing tricks to beef up the DFAM. You'll note right off that I used a different case here, an Intellijel Palette 62. Most times, tile rows are just basic utilities; in this case, there's a Steppy there, along with a MIDI interface which uses the case's USB MIDI. It's also got a DuATT for extra mixing/inversion/offsets and a ring modulator for either audio or modulation alterations.

The row here starts with a Doepfer A-118-2 for noise, random voltages and sample and hold. Then there's an Ornament and Crime multimodule for various modulation tasks along with a bunch of other stuff. Another Doepfer module next, a quad "free-run" LFO.

Now, you'd expect to find a Maths here. But in 62 hp, that'd have about 1/3rd of the 3U row taken up with one module. Instead, I dropped in Toppobrillo's (relatively) new redux of their Sport Modulator, which is sort of like a little more than half of a Maths. Now, that would imply that this won't be as capable as Maths...but that would be true only if you didn't have the next modules. Instead, you'll find an Antumbra dual VCA (based on the Veils VCA) and a Frap 321, and those two together can do A LOT to generate even more modulation signals from the sources in the cab. Then, Paratek's dual Peaks clone gives you two envelope generators, and a Disting mkiv sits between the clocking and modulation because...well, try it on both!

The ANA gives you comparator functions, along with some logic and arithmetical operations on CVs. Then the NE Fractio Solum is a CVable clock divide/multiplier, positioned conveniently so that it can take the clock off of the MIDI interface. And last but not least, a sequential switch which will allow you to use the DFAM's sequencer in a 1 x 16 configuration.

This sort of thing is what these little cases excel at. In this case, the "mission" that the build is "specific" to involves bridging the two Moogs with some additional trickery, as well as massively upping the modulation capabilities...among other things! For example, just look at what the O_&c and Disting are capable of, and it'll be very clear as to why they're there. In short, it "integrates" the Moogs, letting them do MUCH more together with this build than if you either had the Moogs alone, or if you'd tried to build a synth voice with a little cab.

EDITED Aug 26th 2022, 03:08

Confirming that mine won't fit into my Mantis unless I tug the rails apart, in which case it puts too much pressure on the pcb to be safe in the long term. It's pretty disappointing to run into such an avoidable issue - and it's not a board you could sand down either, so I don't think there's a workaround.

Other than that it's a great module though. The design itself is really good; the sound is quality (most important); it does what you'd expect it to do; you won't find any other options at 6hp with anything close to this feature set; and I actually really like the distortion from the ACAB circuit. For those with skiffs that fit it better I think it's a no brainer!

EDITED Aug 30th 2022, 20:56

start with a bigger case - get a tiptop mantis!!!

make sure you leave most of it free though - no plan survives contact with the enemy

not a lot I would call 'utilities' there - see my signature for advice on that

I was thinking of getting a Grandmother and wanted to theorycraft a boy-toy for her: effects, utilities, another voice to harmonize with. This build is at least a year off, so feel free to make suggestions/recommendations or tell me i'm way off the mark.

It's fixed! Cheers!

Hi, just to express a feature request (already mentioned here https://www.modulargrid.net/e/forum/posts/index/11271 ): would be VERY helpful to have a global view of his own modules used (and how many) for all the racks. I'm talking about the modules in "My modules" tab.
To illustrate :
Before, I had a 15U monster case, but I was used to split it into several racks in Modulargrid - more manageable. And so it was difficult to know if I had put a module in several cases or conversely if I had forgotten one.
Now I decided to redistribute this big case in several smaller cases, and same issue : easy to lost track of modules.

I can see that this feature is not necessarily obvious to implement, but I'm sure there a way to address this need - even partially.

And of course I'm interested in possible workarounds used

EDITED Aug 25th 2022, 13:51

Weird stuff is... going on 'round here. Like when I zoom in on the Afterneath module, it turns into the silver version! Now that is spooky! I suspect whichever panel was uploaded last becomes the "main" panel.
-- catwavez

Zoom now always shows the selected version. Zoom bug is fixed.

I use the pair of joranalogue modules for anything out just to be safe. Would they serve the purpose well? I just wasn't sure how much limiting was going on.
-- EatTrumpet

I'm using the Joranalogue Transmit and Receive. There's no limiting in those modules, but there's good built-in metering and headphones out on the Transmit with volume control .

I also have a pair of Bubblesound Booster and Reducer to give me extra in/out when needed. Not as hifi as the Joranalogues, but they do what they're supposed to do and can give some extra drive when you want that.

I'm always recording in my DAW at 24 bit. It's good practice to set your peaks at -6 dB in your DAW and - when needed - add some gain, EQ and compression/limiter in the mixing or mastering stage of your tracks. I never use a limiter on my tracks when recording : better reduce your gain so it's not clipping when recording. If you work in 24 bit, there's more than enough room to add gain after recording.

MODEL CYCLES:
-bombo, platos 2 (a semicorcheas), perc1, perc2, midi control para DFAM, midi control para BASS (erica synth)
(midi control, implica el triger y la nota)

YARNS:
recibe el midi triger/notas de dfam y bass.
Manda su clock out a la mitad de tempo (esta medida es necesaria para que el clock out, de la malekko, envie clock a corcheas y que van a parar al Beh 182, así tengo el Beh 182 con una sensación de 2 compases)

MALEKKO:
-LFO lento para dfam
-LFO (rapido) para bass
-gate y notas para Plonk
-LFO lento para el pico dsp (controlando el sonido de radio)

RADIO: (sampler)
es trigado y cv desde el behringer 182.
El cv va pasando por distintos starts de un mismo sample
está configurado para que no comience el sample, cuando llegue a su final

BEHRINGER 182:
"espero" que una señal de cv (con un gate corto) sirva también para trigar
Iría a corcheas (clock divided desde la yarns a malekko y su salida, a la beh)
Selecciono la opción 16 steps
Pondría 2 o 3 steps (p.ej.) de los 16 steps, girados (en algun punto) a la derecha para hacer que salte un triger, y su cv, indicaría el start del sample
el resto de steps están a la izquierda, apagados

PICO DSP
La salida de radio, va a pico dsp, y para darle modulación, hay un lfo lento que viene desde malekko
La salida va a un atenuador (dreadbox) y de ahí para afuera
(está por ver que tipo de efectos usaría, y cual parametro le pondría el lfo)

HAT
está trigado por ladik

MUTA JOVIS:
mutea a plonk, radio y plato1

MIXER doepfer:
Ahí tenemos la dfam, plato1, plonk, y bass
La salida va para FX AID, y de ahí para afuera

EDITED Aug 25th 2022, 11:55

I use the pair of joranalogue modules for anything out just to be safe. Would they serve the purpose well? I just wasn't sure how much limiting was going on.
-- EatTrumpet

I assume you mean the Joranalogue Transmit and Receive. Yes, perfect. I chose the Ladik's I mentioned for their cost-effectiveness (and they use 30% less power than the Joranalogue). I also didn't need the XLR connections as my board accepts balanced TRS.

That's really kind of you.

Yeah, I think CV could be pretty easily done. It could also function as an 8 step sequencer.

Will keep you posted on the Unsung Machine album!

I think i tried when i had one and i could not get M3 sliding nuts in.

I used to run things through my SSL2+ but for now I wanted to just be able to mess with things off the computer. I have it going into a knockoff auratone, so its destruction, while not ideal, wouldn't be horrible. They are still floating around, beware!

I use the ES-9 outs to the inputs of a Motu M4 audio interface that is connected to my monitors. The ES-9 outs come from an iPad where I control all levels. The Motu isn't connected to the iPad (iOS can only do one audio interface at a time) -just straight in & out. So it's a pretty robust chain. If I want to, I connect the Motu to my mac for more fun.