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I am having a problem with a high noise/ tone coming my system
Weirdly it kinda disappears when a signal is loud but it comes fully back in at the time that impact/ signal goes off.
I already unplugged everything
Only plugged in a few modules
Still the same problem
It’s very annoying :/
I only kept in plaits beads and the in out frm intellijel as the Vermona out
I also plugged out the vermona out.
I have the feeling that it’s much louder on the vermona out
But it’s hard to tell as it can be much louder
Will make a Leveling Check tomorrow after work
If some one has an idea or any help would be much appreciated
Maybe my new beads is the problem
Will test it out if it’s still there in other cases
Bus boards. And if the noise is still there
Oh lovely, nice long track. I was working on some document while listening at your music. Well your music fully draw my attention so what work on a document? ;-)
Very nice sounds and music, I am going to listen after this comment again to it, this deserves another listen :-) Thanks a lot for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Ha, ha, I like the beginning of the track, those kind of, as I call it, anti-rhythms are nicely done! :-)
Kind of nice mellow jam, yeah, I like it, I wouldn't mind to hear more of this sort of music. Thanks a lot for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
I'm ready to hit the dancefloor, post-vaccine of course @EroGumby, thanks for sharing this. Lively throughout and I especially like the last minute or so, the pads or drone coming in around 5:50... real nice.
Today I have been back working with my small 64hp system.
If you have a moment to take a listen, any and all feedback is greatly appreciated.
Here is this mornings jam for Feb 21st 2021:
In short, I have everything coming from the little system other than: 1) a delay and 2) one reverb only used on the kick drum in parts. What I'm using is a 1010 BlueBox to manage all of the send effects and individual sounds coming from the setup.
Overall, I am working to have a few different parts in the song so that I can have some changes in the kick drum, , hats, and other parts. So far I like what is starting to emerge from the little system.
A couple of thoughts which may or may not be helpful, but as this case is very similar to my 60hp ones I build it might be useful to you. I have a goal in mind when putting modules into the case so that there is some method to the madness. As your goal is to make ambient let's explore how to adapt this a little:
Pams + Ornament and Crime is your killer power combo and will probably do away with Maths, freeing up a ton of space. Pams is going to give you all sort of rhythmic clocking options, and LFOs and euclidean sequencing. Plus it can be modulated over CV itself. Pams will then clock OC. The stock firmware in OC gives you lots of power; Sequins is a dual 16 step sequencer/quantiser/arpeggiator so you can drive Plaits use the other sequencer as a S&H to modulate stuff (e.g. the filter on Ripples). For generative stuff that's quantised to a scale you can use Copiermaschine - a 4 stage cascading delay shift register. I've made some tutorials on it if you're interested.
I know everyone says 'get Maths' but you don't have to as there are lots of other ways to achieve the same outcome in the modular world.
With all that you can get rid of Scales. Ornament and Crime does quantisation and if you go the Hemisphere's route on OC you get even more quantisation. Pams also does quantisation when generating melodies.
Then I'd think about ambient; lots of delays that are modulated, reverb, filter, shimmers etc. You need something to bring that sound to life with lots of modulation. I use a Happy Nerding FX Aid XL (6hp effects powerhouse) or a Mimeophon (a lot bigger but insane for ambient washes of sound). Throw some modulation into either of these from Pams and you're already half-way to the races. That also means you can drop the 2hp delay and verb modules as the FX Aid does far far more than these two can and you can re-configure it with 32 algorithms of your choosing from a much larger set.
Doepfer VCA is a solid choice and lets you modulate the intensity of your modulation signals using LFOs from Pams or randomness from OC. Plaits and Ripples both have a VCA built in so you can use that with an envelope to shape the sound. Envelopes from Pams are a little limited in shape, but the Piqued app in OC gives you lots of envelope-y goodness.
I think you might want to think about some hands-on controls for Pams and OC as they are more menu-driven than hands-on. It's easy enough to buy some voltage sources to control them with though. Another alternative, and much loved by ambient folks, is Marbles both as a source of generative randomness and gates but also for its playability.
You might consider some CV mangling units to give you a few options for attenuating/mixing. I use the Befaco A*B+C for all sorts of little jobs. And you'll never go wrong with a Disting Mk4; it can give you another synth voice, play sample loops (how about sounds from nature playing on loop while you jam over them with Plaits into Mimeophon to be looped and warped anyone??), be a filter, mixer or even an LFO/S&H for you. You name it, Disting can do it.
Also do you have an audio output stage to hook your modular into a mixer or listen on headphones? Most mixers can take modular level audio signals but you might enjoy plugging in some headphones to take your ambient case out into nature and jam in the forrest (improves the sound 10x I'm told)
Have fun!
-- synthdadmusic
Thank you so much for your comment! This is really good advice, and I think I'll definitely get Pam's. Also, yes I have utilities in the case itself (Nifty Case) for things like MIDI to CV and headphone out.
whatever works for you! good that you are going slowly and not just getting 12u straight off though!
yeah cases can get pretty expensive - it's easy to forget that they are very niche products - not mass manufactured - so a lot of economies of scale that you would expect in other areas, just aren't there - plus most of the manufacturers are in the 1st world - so labour is comparatively expensive - same for modules to a large extent too
I tend to just buy rails and DIY power and some wood, but I have bought a couple of cases
I think the Mantis and LC9 are the best value built cases by a long way - Mantis if you have more power hungry modules, the doepfer if you don't (the PSU3 is a bit underpowered for the 9u - great in the 6u though)
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
You noticed that too, hm? For one thing, the video I saw of it made it seem like it behaves something like one of those products from Roland's stagnation periods (mid-90s-ish). Plus, if Korg was on the ball here, they SHOULD HAVE made a reissue of the ARP 1604 sequencer to pair with the KARP 2600 and/or Odyssey (and a bunch of other things besides...similar to the 2600, the 1604 is ANOTHER highly-coveted ARP device). I guess they were busy budgeting for goofy-colored paint for the MS-20, or maybe they DID create one and then lost it in the same closet where they keep the KR-55 Pro's missing sync connections.
-- Lugia
About the user interface, first I would have gone with something slightly wider to use a somewhat bigger screen, as it looks like the workflow makes it essential to almost always look at it when editing. If the target users would have been "laptop only producers" that wanted to carry a small controller in their backpack I'd have understood the smaller footprint.
Another interesting solution could have used a smaller additional screen per row maybe, or any other eye-catching solution that would give instant feedback about what's going on with the grid, which in some modes kind of looks cryptic.
Not quite sure the grey background with white text on the screen will make things easily readable in any environment.
It still looks very capable, and it's interesting to see new hardware sequencers with generous amounts of I/Os, yet it would have been great that unlike the BSP they put output jacks for all of the drum triggers...
The LEDs above the output jacks is a clever idea and would be a nice addition to some other sequencers.
About the release of an analog sequencer instead, I'd say things usually can take time within Japanese companies, this is a cultural thing, and with the release of the miniKORG 700FS announced earlier this year, even though in limited edition for now, I'd say Korg might keep on going with these reissues vibe that started a couple of years ago. Let's hope so.
so that's basically my Rack so far and it has been a lot of fun. But for now, I want to fill the last 30 HP. I'm thinking about an Endorphin.es Grand Terminal, as it would provide me with flexible dual filters and effects. I'm a little concerned about the third set of dual envelopes/LFO's after the fusion modulator and Maths, but at least Maths would be free for more exciting things. So it seems to me, that it would solve a few things at once. For the last 4 HP, I was looking after a Clep Diaz, just because I would like to try some stuff with it in combination with other modules in my case. Has anyone here have some experience with the Grand Terminal? Or since many of you are way more experienced with Eurorack then me, does anyone have different suggestions, maybe even a different direction I should consider taking this?
Hi @Lugia, I did some rethinking and got rid of the Bataleur (it had a noise issue as well). Working with this rack now. Much simpler and it sounds good so far. Trying to figure out what else could be a nice addition to this rack now. I'm thinking about a BBD delay, maybe an EQ, also thinking about trying to squeeze in a bass voice with the addition of another row. Reverb and delay are coming outside of the modular.
thanks
First up, separating your modulation/CV from your audio generators and modifiers is a really, REALLY bad idea. For one thing, if you wanted to use a logic gate as a waveshaper (which can be quite neat...results in nasty pulse waves!), you'd have to run a long cable all the way to the other cab, connect to the gate, then another long run back to your audio chain. This is just one example, and I know there's tons of others, but the point is that working this way is VERY inefficient and unintuitive. Remember: one of the strongest points to modular synthesis is that there's a certain degree of interchangeability between things that make noise, things that modify noise, and things that make those two things happen. And having everything in one place, as one unitized whole, is a thing that modular is prized for.
Second, if you have a stereo out here, where's the stereo mixer to feed the stereo out with a proper stereo image? I see a lot of HYUUJE (and in a couple of instances, pointlessly so) modules in a tiny 2 x 84 cab, crowding out any of the room you'll need for other things (VCAs, mixers, modifiers, etc etc) that make these big, expensive modules work to their fullest. This promises to turn into a problem pretty quickly if the target here is "3-4 voices"; if I were to use the DTM mixer as the primary qualifier of how many voices you ACTUALLY have, I'd pin that total at "1".
Remember, a "voice" isn't JUST a VCO. It's the signal chain that goes from a VCO, through a VCF for timbral modification, then through a VCA for amplitude modification. You simply don't have that here, ergo you're not even on track to having those 3-4 voices. You might (read: SHOULD) want to rethink what you're doing here, jettison the idea of splitting the modular functions up into separate cabs, and reconsider putting everything where it belongs...in the same case. It'll make what you're up to a lot clearer in the end.
-- Lugia
A couple of thoughts which may or may not be helpful, but as this case is very similar to my 60hp ones I build it might be useful to you. I have a goal in mind when putting modules into the case so that there is some method to the madness. As your goal is to make ambient let's explore how to adapt this a little:
Pams + Ornament and Crime is your killer power combo and will probably do away with Maths, freeing up a ton of space. Pams is going to give you all sort of rhythmic clocking options, and LFOs and euclidean sequencing. Plus it can be modulated over CV itself. Pams will then clock OC. The stock firmware in OC gives you lots of power; Sequins is a dual 16 step sequencer/quantiser/arpeggiator so you can drive Plaits use the other sequencer as a S&H to modulate stuff (e.g. the filter on Ripples). For generative stuff that's quantised to a scale you can use Copiermaschine - a 4 stage cascading delay shift register. I've made some tutorials on it if you're interested.
I know everyone says 'get Maths' but you don't have to as there are lots of other ways to achieve the same outcome in the modular world.
With all that you can get rid of Scales. Ornament and Crime does quantisation and if you go the Hemisphere's route on OC you get even more quantisation. Pams also does quantisation when generating melodies.
Then I'd think about ambient; lots of delays that are modulated, reverb, filter, shimmers etc. You need something to bring that sound to life with lots of modulation. I use a Happy Nerding FX Aid XL (6hp effects powerhouse) or a Mimeophon (a lot bigger but insane for ambient washes of sound). Throw some modulation into either of these from Pams and you're already half-way to the races. That also means you can drop the 2hp delay and verb modules as the FX Aid does far far more than these two can and you can re-configure it with 32 algorithms of your choosing from a much larger set.
Doepfer VCA is a solid choice and lets you modulate the intensity of your modulation signals using LFOs from Pams or randomness from OC. Plaits and Ripples both have a VCA built in so you can use that with an envelope to shape the sound. Envelopes from Pams are a little limited in shape, but the Piqued app in OC gives you lots of envelope-y goodness.
I think you might want to think about some hands-on controls for Pams and OC as they are more menu-driven than hands-on. It's easy enough to buy some voltage sources to control them with though. Another alternative, and much loved by ambient folks, is Marbles both as a source of generative randomness and gates but also for its playability.
You might consider some CV mangling units to give you a few options for attenuating/mixing. I use the Befaco A*B+C for all sorts of little jobs. And you'll never go wrong with a Disting Mk4; it can give you another synth voice, play sample loops (how about sounds from nature playing on loop while you jam over them with Plaits into Mimeophon to be looped and warped anyone??), be a filter, mixer or even an LFO/S&H for you. You name it, Disting can do it.
Also do you have an audio output stage to hook your modular into a mixer or listen on headphones? Most mixers can take modular level audio signals but you might enjoy plugging in some headphones to take your ambient case out into nature and jam in the forrest (improves the sound 10x I'm told)
Thanks Jim, that's exactly what I was looking for.
As for the rack solution, it was a matter of using that spare 12U I already have. I'm just thinking long term. I'm not planning to stock it all up with modules anytime soon.
The multiple warts and extra HPs really don't bother me. I use multi-ways for everything. And I find it's a fair trade-off to avoid the ridiculously overpriced cases out there. After some research at Thomann, I found it to be the best solution for me, considering not only price per hp, but space distribution in my studio.
Well, I'm thinking what you don't want me to think: GET A BIGGER CASE. However, that IS the root of the problem here. That, and not thinking about the rig as a single instrument, which (invariably) comes up when these "fit a thing in X hp hole" threads appear.
First, consider a Mantis or something along those lines. Then, as you start to populate it, STOP thinking of the modules as individual bits of circuits. Instead, view what you're doing as setting up several blocks of specific activity...sound generators here, modulation there, filtering over here, etc. And make sure that you're putting those subsets together with modules that can synergize; you want modulation sources that can crossmod other mod sources, filters that can work in tandem, and the like. Then make sure that the ENTIRE build has that same synergy between the subset blocks. That's the real trick...and also, that's why most people can't just jump on MG and suddenly know what to do, as it takes time and effort to get to a point where that synergy factor gets optimized.
And yeah, it really does feel like the initial build above was the result of tossing things into a box. Case in point: the very overworked Maths, which is being pressed into service as an envelope generator, LFO, and probably a lot more other things. First of all, when you get dependent on one specific module like that, you're going to use it in ways that the dependency forces you to. The result here is sort of like buying a classic Lamborghini Countach for the purpose of going grocery shopping. Maths is capable of some VERY complex things...but not so much in this situation, because it's being pressed into the service of basic scutwork even though there ARE modules that can do those things better and more intuitively.
-- Lugia
You're right, I'll get a bigger case at some point, but your comment also convinced me I really should get a dedicated ADSR so that I can use MATHS more to its potential.
The usual suspects.
Pyramid running clock - drums
Blackbox - Drum/samples/resampling
Belgrad - beginning sample blackbox sample running through modular, Maths providing the envelopes, Belgrad adding well you hear it.
Dixie, Mimetic Sequencing,Clep Diaz modulation, CVilization step sequencer, Disting Mk4 quantizer, FM by I-o47, Belgrad on Filter, U-He delay, Bat-Verb, Maths on envelope duty, Quad VCA,
U-He Zebra on strings
FX-Aid on delay (sprinkles)
Bat-Verb on Bat-Verb (for various effects)
Studio One 4 - Mix
Tascam Model 24 I/O
I have a Batumi and recommend the Poti expander. It really helps use the options for the module without dealing with changing jumper settings on the back of the module.
You wouldn't have "so little space" had you not put the already-housed and already-powered Moog standalones into the cab. This is almost never a good idea, save in very specific instances where convenience forces this. Also...
Dreadbox cab = $600 and has 2 x 84 hp.
Moogs = 120 hp, $1348.
Per-hp cost of Dreadbox spaces: $3.57
$3.57 x 120 = $428.40
THEREFORE
Your Moogs in this configuration NOW cost $1776.40. And they're restricting you from adding more functionality to the limited cab space. This isn't supposed to be how this works. So, put the Moogs back where they belong, and get a 2-tier Moog stand for them. Set this up next to the Dreadbox cab, and you'll find that there's no ergonomics issues that result...PLUS you now have all of the space in the Dreadbox cab for things which belong in there.
It indeed looked like an interesting sequencer at first, and looking at some videos, the user interface/workflow doesn't quite look appealing to me.
-- XODES
You noticed that too, hm? For one thing, the video I saw of it made it seem like it behaves something like one of those products from Roland's stagnation periods (mid-90s-ish). Plus, if Korg was on the ball here, they SHOULD HAVE made a reissue of the ARP 1604 sequencer to pair with the KARP 2600 and/or Odyssey (and a bunch of other things besides...similar to the 2600, the 1604 is ANOTHER highly-coveted ARP device). I guess they were busy budgeting for goofy-colored paint for the MS-20, or maybe they DID create one and then lost it in the same closet where they keep the KR-55 Pro's missing sync connections.
Well, I'm thinking what you don't want me to think: GET A BIGGER CASE. However, that IS the root of the problem here. That, and not thinking about the rig as a single instrument, which (invariably) comes up when these "fit a thing in X hp hole" threads appear.
First, consider a Mantis or something along those lines. Then, as you start to populate it, STOP thinking of the modules as individual bits of circuits. Instead, view what you're doing as setting up several blocks of specific activity...sound generators here, modulation there, filtering over here, etc. And make sure that you're putting those subsets together with modules that can synergize; you want modulation sources that can crossmod other mod sources, filters that can work in tandem, and the like. Then make sure that the ENTIRE build has that same synergy between the subset blocks. That's the real trick...and also, that's why most people can't just jump on MG and suddenly know what to do, as it takes time and effort to get to a point where that synergy factor gets optimized.
And yeah, it really does feel like the initial build above was the result of tossing things into a box. Case in point: the very overworked Maths, which is being pressed into service as an envelope generator, LFO, and probably a lot more other things. First of all, when you get dependent on one specific module like that, you're going to use it in ways that the dependency forces you to. The result here is sort of like buying a classic Lamborghini Countach for the purpose of going grocery shopping. Maths is capable of some VERY complex things...but not so much in this situation, because it's being pressed into the service of basic scutwork even though there ARE modules that can do those things better and more intuitively.
I have some similar misgivings about this...if there's a restricted budget issue here, then the LAST thing you'd want to do is to try and buy into modular as a solution.
A smarter idea, if you're trying to get to the PPG zone, would actually be to NOT get a Blofeld...but, instead, get a Studiologic Sledge. I have one of these, and while it uses something akin to the PPG digital "oscillator", it ALSO uses the PPG paradigm of having plenty of controls to futz with live. And yes, Waldorf has software that can serve as a "Waveterm"-type solution for programming that digital engine. But the Sledge is actually closer in architecture to the Wave 2.2/2.3 than the Blofeld, since you have the digital generation + analog signal path which includes a true analog VCF. The Sledge DOES take a lot of crap from people on the Interwebz, true...but when you start digging into the "complaints", it becomes pretty apparent that the users bellyaching about the Sledge never really had to deal with a PPG setup.
Another potential solution to consider: the Modal Argon-8. I have one of these as well, and while some complain about the short keyboard, the synthesis engine inside the Argon-8 is VERY robust, also including their take on the analog signal path. It behaves a bit differently from the PPG engine, but not so much so that you're utterly lost from the moment you turn the synth on. And again, ample realtime controls.
There's also the ASM Hydrasynth, which I bailed on in favor of the Argon-8. This wasn't due to a technical issue, however, but an email exchange with one of ASM's "minions" who opted to rip me a new one for even ASKING about the delivery date to Sweetwater, where I'd already paid for one. After that outburst, which STILL didn't contain the information I was trying to find out, I told my sales engineer there to drop the Hydrasynth and sign me up with an Argon-8 BECAUSE...when I asked Modal much the same thing that I did ASM, I got a cordial reply which actually contained a delivery window and some hints about the upcoming 2.0 firmware. Comparatively, dealing with ASM made me feel as if I was dealing with some sort of lunatic cult...contacting their China ops only yielded a typical "Engrish" form reply, and then that guy stateside. I don't buy things from people who behave that way, even if they might have the "superior" product. But then, your mileage may vary; hopefully Glen Darcey has beaten that rep of his with an ugly stick...because even Sweetwater knew who that ASM guy was and also knew about his shitty attitude.
And lastly, the Korg whatever-the-hell wavetable thing. I have a Wavestation A/D, and a definite lack of interest in anything Korg's up to after the "limited" ARP 2600 shitshow (and other lesser poo-flings on their part before and after that), so I don't really need a retread of something they've already done. And I can get at the A/D's "guts" via M4L, so...yeah. Maybe someday Korg will get back to putting out amazing things...instead of oddly-colored versions of something else they sell for over half less minus the goofy color schemes. I ain't holding MY breath, tho...
This is a nice playful track. I love the sounds you use here. Pity you are going to remove all the patch cables, we will never hear any more of this great music :-) and :-(
Thanks a lot for sharing and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
I am fairly new to Eurorack stuff. Given my limited space, what kind of module(s) would you suggest I should consider filling into the lower right corner of my case? Sequencing is done from DAW, so I was thinking of something in the direction of polyphony, randomness, delay and weird sounds. Kind of Maths (-like) looks interesting e.g., not sure... Advanced rhythms are satisfactorily covered so far, and not my personal priority as of now. Prioritizing is not easy for so little space. Suggestions?
Just dropping in to say this comp is still active. I am posting it Monday afternoon as soon as I get out of work. Accepting submissions all the way up until release. We are at 7 tracks at this point. I'm excited to see how it turns out in the end!
Hi, I wonder if it's possible to have separate rows within the same rack page.
The thing is I've got a spare 12U rack lying about and my plan is to get four Behringer Eurorack racks, and these come with a 1000 mA power supply each. So it would be convenient to be able to make a rack on here with four rows, but calculate the power consumption separately for each.
Is there any way around this, other than make four separate 1-row racks?
Sorry if it's a dumb question... I don't know my way around this site yet.
I just received two of these that I ordered less than 10 days ago. I can’t believe they made it from France to New York City so quickly. The kits came packaged very professionally and the components seem top-notch. Now I just have to get a case to put my two neutrons and two model Ds into.
The only soldering that I see you have to do is to install the additional midi through 1/8th inch jack. This requires on soldering the five pin MIDI header on the PCB and soldering in three wires; the kit provides a new MIDI header if you want to reverse things back to the original state. (You can probably even omit this step if you don’t need MIDI). Otherwise everything seems to be mechanical in nature to install this.
If the original back panel wasn’t so long, I would’ve liked to have been able to use a 1U to 3U adapter, but that’s no fault of this product. The price is very reasonable, and like I said the shipping was amazingly fast. My only gripe is there was no installation manual in the box, but once I figured out what the link was it seems pretty straightforward.
(Edit) I’m not sure why my wife’s picture is being used for my profile. Probably has to do with the way I signed in through Google when I created my account here.
Hello!
Im interested in having 4 LFO´s with the same 90 degrees out of sync. I need the rate to be between 2 and 10 minutes slow.
Im reasearching and maybe the XAOC Butami can do this, setting it to QUAD mode.
The manual says that negative voltage in the "frq/ph/div" CV input will allow an extended frequency range up to 53 minutes, but doesnt specify if all the LFO`s will react to this lowering of frequency, while mantaining the "90 degrees out of phase" relation of the QUAD mode . Maybe only LFO 1´s rate changes.
I email the the official site and havent got a clear response yet.
Anyone have one and now the anwser?
Is there another module that can do this?
Thankyou @Lugia@troux
This gives me a lot to think about. And thanks @troux for taking the time to write all that. I'll be cutting and pasting it into my notes to read it several times in the course of saving money and buying modules.
It indeed looked like an interesting sequencer at first, and looking at some videos, the user interface/workflow doesn't quite look appealing to me.
I'd rather wait for something like the OXI ONE which looks to have a better user interface to me and might look like an interesting mix between a monome-esque device, BSP, and SQ-64 :
Excellent idea and video. May have to try this patch. Thanks for sharing!
-- farkas
Hi ModLifeCrisis,
Wow-oh-wow! What a sound you got there!!! That's a kind of sound you want to die for, that good! :-)
Nicely done and thanks a lot for sharing this, kind regards, Garfield Modular.
-- GarfieldModular
Thanks both for your responses. It was quite a fun patch to explore. I enjoyed the performance aspect of it. And I did like the sound I got from Plaits. I'm very new to modular, but one thing I'm finding is that I need to have the patience to twiddle and twiddle and try a wire here and a wire there, for ages, and sometimes, if I'm lucky, out of nowhere I'll get this amazing sound. Often not, too, of course. Or I'll get a sound I like then lose it again...
I love my Soundstage and use it in just about every patch. This week, I added the Vector Space and am already really into it, so much that today I ordered the LRMSMSLR. WORNG Electronics rates in my top five faves.
I'm not waiting for this, partly because I still think Korg needs numerous repeated headpunches over their ARP 2600 (and a few other things besides) screwup saga...but ALSO because I know that Uli's planning to drop the BCR32, which is a smaller version of the BCR2000 that ALREADY includes the ZAQuencer firmware straight from the factory. And before anyone gets riled up, Uli actually got the rights from the ZAQuencer firmware's developer AND paid for that (or worked out some sort of arrangement per unit sold).
For those unfamiliar, the ZAQuencer is a 3rd-party firmware that runs on the BCR2000 knob controller to output up to three channels of eight steps via MIDI. It's also got a bunch of sneaky functions that are very useful and intuitive...and it's ALSO the reason why you don't see many BCR2000s on the used market for very long. The BCR32 even goes further, with CV/gate I/Os for each "channel" and a few ZAQ-centric additions. Think "poor man's MAQ16/3" here. So yeah, the Korg has more steps and what not, but it also seems a bit "closed-ended" in how it works, where the ZAQuencer is more adaptable and actually pretty agile in live use.
Depends on your definition of "travel case", I suppose. Sure, the Doepfer stuff has handles and so on, but you could go with a Mantis which can be had with a gig bag designed for that cab itself. But the bigger difference there is actually the cost: Doepfer A-100 6U = $530, Mantis = $335 + another $39 for the gig bag. There's definitely more space for utility and ancillary control modules with the additional 40 hp you'd get, too.
For example, if you wanted to go with the Time's Arrow (16 hp), that leaves 24 hp still open...and if you're adding a generative sequencer like that, you'll want some logic + other timing-altering widgets, quite a bit of that 24 hp would probably be best suited for those, and changes to what's already in the 2 x 84 version above would be minimal. But have a deeper look at the current case situation in Eurorack...some time back, I would've probably gone with the same 2 x 84 for a small travel rig, but just in the past five years, that whole aspect of the Eurorack thing got turned on its head by innovations such as the Mantis, Intellijel's 7U x 104 powered cabs, etc.
Well, when I define a "voice", what I'm referring to is the "source + modifier" part of a chain. So if you look at the Ts-L/Plaits pair as a "source" thanks to the 2-in VCA/mixer and the Sinc as the "modifier", that's how that should work. Remember: one VCO is good, but TWO of them means you can do quite a bit with detuning, waveform combination, etc + some form of mixing to sum those signals. And likewise, the Piston Honda has that dual oscillator architecture, then it feeds right to the Morgasmatron...but in this case, you can keep the entire "voice" in stereo, where the other "voice" is mono. And at the same time, you could just as easily patch those directly to the ES-9's inputs to stripe those directly to the DAW.
But the Cosmix is still pretty essential. Let's say that you come up with this complex result that requires the Cosmix's AUX send/return architecture to work with the Morphagene. Well, without the Cosmix (or something similar), you lose the ability to parallel process that way. I put it in because there'll be times that the working method from above is just fine, but there WILL be other points in time where you'll want to patch up something epic...and the stereo mixer/AUX architecture makes that much easier.
