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this is a 'known' feature of some electrical items... including modules... it's called 'inrush'
if it's only when plugged into certain places, I'd move it - possibly some busboards have limits...
-- JimHowell1970
Its a phenomena where a capacitor with very low ESR is demanding very high current (becaus of the super low resistance) during startup and therefore the PSU is driven into saturation. That will probably cause trouble initializing digital modules... So yes, moving it would be a good idea... especially considering the lifespan of your PSU
I'll second this. Asking which tool they use for the jack nuts and got talked to like a complete moron. Zero help, rude condescending replies. There are nice ways of saying no or not being able to help out a customer....
Ah so that's why they were awful and condescending when i asked support about PNW's expander pinout recently...
-- justarandomgeek
Cheers for all the info guys....
As you mentioned very sound heavy but im selling a few modules (TT filter, The Evelopes and Cellz) and got a couple on order intellijel quadrax and another quad VCA. Ill read trough te bulk of the comment tonigt and have check on some suggestions.
as much as I love my eurorack gear, for serious stuff in limited time, I fire up my Virus TI2 keyboard synth that has incredible sound and workflow. Easy to run 16 multi timbral polyphonic dozens of voices with many types of synthesis models from wave table to granular and tons of filter types and effects. Yes, it is digital but does polyphony well. I also love to jam on my Oberheim OB X8 if I want analog polyphony at simple keyboard level. Met a pro level pianist who wants me to teach her how to use Nord piano synthesizers and while I am not a keys player I do know synthesis.
The power thing is something you have to be aware of even with Mantis cases. The +12v power supply provides 3A, but split into three zones of 1A each. It's small enough space-wise, though, that it would take some really beefy modules to hit the max on any one zone.
-- PragmaticusMax
my big problem with the mantis is the -12v... but I am using it for video...
this happens a lot on all sizes of cases... a lot of small cases are underpowered...
the doepfer 9u cases are often underpwered... they have the same psu as the 6u (which the psu is fine for).. & the 9u are fine if you are using predominantly doepfer (or similar) analog modules, but start putting in small digital ones and...
"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!!!
Third, just a quick observation: you have a lot of oscillators and filters and not too much else, so it's not really a surprise that your patching is feeling repetative. You have many impressive sound sources (more than you may realize, with self-patching), but not much to play with them and manipulate them. I suppose you have the computer at your disposal (VCV rack has some great free modules), but I'm not seeing the midi 0r other interfaces to connect? In any case, you should consider a few additions (everyone likes buying more gear, right?). Your patching options open up exponentially as you get more modules and patchpoints.
this!!!
Consider for example, VCAs. You have the Quad VCA, which is a great module, but doesn't even give you enough channels for the voices you already have, and it certainly doesn't give you enough channels to play around with, such as modulating an LFO with another LFO to come up with more interesting cv. A Veils clone or Doepfer's quad mixer vca might be of more value than you realize.
get the veils clone... a much more versatile vca than the doepfer - not that the doepfer is not good, just less versatile...
I also always advocate for more modulation options, like Ochd or Batumi, so you can have motion. Finally, you're missing the essential architecture, utilities. There's been a few good analogies floating around the comments about utilities, but in the end, the unsung utilities are what enable you to actually use the big-ticket modules like VCOs.
an extra modulation source would be good - depending on how you are using Pams... if you are using that a lot for modulatiojn at the moment I'd prioritise a matrix mixer... probably less. expensive than a worthwhile an inexpensive modulation source
You might want to consider a mutli-utility module, such as a Disting EX or uOrnament and Crime, which gives you a taste of a lot of types of utility modules so you can figure out what's useful (again, VCV rack gives you plenty for free if you're already using a computer, but you need to be able to interact with it). For example, until you play with a clock divider, how would you know you can use it as a sub-osc? Or a that comparator can be amazing for taking LFOs and making rhythms, or just how fun switches can be?
I'd be more towards getting some basic utility modules - you can research more interestin things later... although something to interface with vcv rack is a great idea - es9 is probably best of breed - unless you already have a decent audio interface with ADAT I/O
In my mind, it's the ability to access these architectural circuits that makes modular unique. Plenty of standalone synths give you deep rawring sounds and luscious pads, but how many of them can create modulation and movement over time that can be controlled by other parameters? I'd say watch some videos about the modules you already have (look up that MATHS manual!) and about different utilities, and you'll get a good sense of where to go next with your patching.
architectural circuits ? more like the plumbing - no point in building a house (or any building) without the making sure the plumbing is properly there...
Edited: Just saw the link has already been posted. Ignore point 1.
-- HGsynth
classic cross posting!
"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!!!
First off, if you copy and past the link to the rack, we'll get to look at the rack itself and not a jpg, which really isn't useful.
Second, other folks can give you specific recommendations to patch the sounds you're looking for, but don't forget about self-patching (looking at you MATHS and QPAS). In fact, look up the MATHS Illustrated manual for a ton of patching examples. Also, many module manuals provide patching ideas; it may be worth menu-diving and watching some videos.
Third, just a quick observation: you have a lot of oscillators and filters and not too much else, so it's not really a surprise that your patching is feeling repetative. You have many impressive sound sources (more than you may realize, with self-patching), but not much to play with them and manipulate them. I suppose you have the computer at your disposal (VCV rack has some great free modules), but I'm not seeing the midi 0r other interfaces to connect? In any case, you should consider a few additions (everyone likes buying more gear, right?). Your patching options open up exponentially as you get more modules and patchpoints.
Consider for example, VCAs. You have the Quad VCA, which is a great module, but doesn't even give you enough channels for the voices you already have, and it certainly doesn't give you enough channels to play around with, such as modulating an LFO with another LFO to come up with more interesting cv. A Veils clone or Doepfer's quad mixer vca might be of more value than you realize.
I also always advocate for more modulation options, like Ochd or Batumi, so you can have motion. Finally, you're missing the essential architecture, utilities. There's been a few good analogies floating around the comments about utilities, but in the end, the unsung utilities are what enable you to actually use the big-ticket modules like VCOs. You might want to consider a mutli-utility module, such as a Disting EX or uOrnament and Crime, which gives you a taste of a lot of types of utility modules so you can figure out what's useful (again, VCV rack gives you plenty for free if you're already using a computer, but you need to be able to interact with it). For example, until you play with a clock divider, how would you know you can use it as a sub-osc? Or a that comparator can be amazing for taking LFOs and making rhythms, or just how fun switches can be?
In my mind, it's the ability to access these architectural circuits that makes modular unique. Plenty of standalone synths give you deep rawring sounds and luscious pads, but how many of them can create modulation and movement over time that can be controlled by other parameters? I'd say watch some videos about the modules you already have (look up that MATHS manual!) and about different utilities, and you'll get a good sense of where to go next with your patching.
Edited: Just saw the link has already been posted. Ignore point 1.
well I'd want more utilities - a matrix mixer would be a good start - and probably some attenuators....
seems far too sound source heavy... see my signature for hints...
patch ideas - work your way through the 'maths illustrated supplement', use the fx directly after the sound source and before filtering...
write a python script on that MBP - to generate random patches - if you search there's an example one floating about online... if you can read and do basic maths it'll be easy to adapt for your rack...
write some selection tables on a pad and use dice to generate patches...
mix outputs of sound sources, before doing anything else...
tune your sound sources to different intervals...
mix & modulate your modulation!
hope this helps!
"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!!!
The power thing is something you have to be aware of even with Mantis cases. The +12v power supply provides 3A, but split into three zones of 1A each. It's small enough space-wise, though, that it would take some really beefy modules to hit the max on any one zone.
To cut a long story short, I had expendable cash during covid and bought a Doepfer A-100 and slowly slowly Im filling it up.
I was hoping that some people here could give me some patch tips for my setup?
Since buying all of it ( I bought an Akai MPCx and a 2nd hand MacBook Pro 2017 aswell) ive just been loving all the interesting sounds i can make however, ive become terrible for patching the same thing over and over, maybe with a slight diference in tonal character or movment.......BORING nonetheless.
I cant stop myself from patching what i already know works, such as oscillator to filter to VCA with an envelope controling the filter cutoff.
Maybe some patch ideas for some nice pads or a some crazy rises/dives or impacts.......
I love 90s big beat music such as Chem Bros, Prodigy and Leftfield so once ive got a little bit more know how with the mod synth and the MPC i will do my best at recording some matrial.
this is a 'known' feature of some electrical items... including modules... it's called 'inrush'
if it's only when plugged into certain places, I'd move it - possibly some busboards have limits...
-- JimHowell1970
Yes, it's likely I had too many high power usage modules with significant inrush on the same busboard. I should have mentioned I have fixed this by plugging the problem module into a different busboard on the same power supply.
It's frustrating to discover a problem like this after installing all your modules, and maybe you are using all the plugs on a busboard so swapping things around isn't a simple matter. I have found it invaluable, especially after moving to a big case, to have a few multi-power cables / flying bus cables around to give me some extra plugs or even act as an extension cable to a far-away busboard. 4ms has always served me well for this: https://4mscompany.com/power.php
I bet it is more common to run into problems like this in a big case because you're installing more modules. More modules = more likely to encounter a problematic combination. It totally depends on your module collection, but if you have power hungry modules, you might end up with a layout with too many of them on the same busboard. So be aware of this potential problem, and my tip is to get some of those power cables and try swapping around which modules (the ones having problems) are plugged into which busboard.
My theory is some modules (probably digital) have a spike in power usage when first booting up. During an initial "cold boot", not every digital module gets the surge of power it needs and it crashes during boot-up. The module is unresponsive and does not work at all in this case.
-- adamj
this is a 'known' feature of some electrical items... including modules... it's called 'inrush'
if it's only when plugged into certain places, I'd move it - possibly some busboards have limits...
"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!!!
Adam, from the name I can tell you have a Volkskabinett from Eric Needham, right? Are you happy with it? How´s the PSU? Any noise or other complaints?
-- ak47exe
Yes, that's right! It's a solid case. I don't really have anything to compare it to in this size/price range, but I'm plenty satisfied with it. It's got plenty of power, and I have some pretty power-hungry digital modules. I never worry about hitting power limits. Physical build quality is very good and it's designed for good ventilation. I think the price is reasonable for what you're getting (though I did get it during an initial launch sale, so that helped). Be aware: Assembly can be very challenging if you are not a DIY person, but I think with patience and determination, probably anyone can manage.
There are a few minor issues / things to note: You need to use a good amount of power or the power supply can emit a fairly noticeable high-pitched whine. I was warned about it and it's apparently expected with so much power being supplied. Once I had the case mostly full, it was not an issue. So you should be able to mostly fill it before investing in it.
I think some module in my rack is still emitting a faint high pitched noise though, but the room has to be quiet and I have to really listen to notice, so I just ignore it and it doesn't bother me. It's not clear if that's the module's fault or the power supply, or the combination of the two. The quality of my recordings is fine and I rarely hear it in practice, so I never bothered to diagnose this any further.
The only other issue is: depending on my layout, I think if I have certain combination of modules plugged into the same row of the power supply, certain modules (namely an original Mutable Instruments Marbles) does not always boot up correctly. My theory is some modules (probably digital) have a spike in power usage when first booting up. During an initial "cold boot", not every digital module gets the surge of power it needs and it crashes during boot-up. The module is unresponsive and does not work at all in this case. It's pretty obvious because usually there are some LEDs on but they aren't when this happens. Whenever this has happened, I wait a few seconds, power off, and quickly power back on. Then everything works fine. I guess this because some residual charge is still in capacitors or something, so more power is available on the second power-on then the initial cold one. I have always occasionally had this issue in other racks, so I really don't think it's this power supply's fault. Once you put a lot of modules from different manufacturers together, there can be issues. Maybe they are more likely in a bigger rack? But in my current layout, I don't seem to have this problem at all, so that's cool. It's not a big deal when it happens. You just gotta be aware and check your modules after powering on for the day.
Sorry if that's TMI, but with an investment this big, I know some people can be a bit "audiophile" and maybe get really upset hearing any high pitched noises or anything. So maybe my story will give you pause. I wouldn't be surprised if I experience all these things with a different manufacturer's "monster" case though. Like I said, the Marbles power-on issue happened in other racks too. For the most part, I feel thrilled things generally work great and any issues are ignorable.
PS - I live in the same city as Eric's workshop so I picked my case up in person and got to take a tour. He's a cool guy and seems really passionaite about making awesome high-end modular cases. I'd recommend his products if you think they are a good fit for you.
Market has slowed down but I see new companies driving new types of interesting modules. I bought most of my eurorack a few years back and have no real desire for anything new. I still have a lot to master since getting into the modular world and at a gear saturation point cannot see reason to buy much for a long long time. Love my Make Noise Shared System and several cases of modular. Only thing would be the Erica Synths Techno System and Intellijel Cascadia or maybe new Buchla system but I am good for now. Plus I need to fund home repairs and a new car purchase.
I can see that its nice to have some portable gear, I don't consider my main case Portable cos its Blooming heavy but I'm working towards having a my Top Case and Percussion Case as being portable and easy to combine with a Beatstep Pro. This leaves my Main Case to be more Generative and experimental.
the original 6u case looks really portable to me...
I've had my mantis on planes, trains and buses many, many times with ease in the past...
"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!!!
So which concept are you preferring?
I can see that its nice to have some portable gear, I don't consider my main case Portable cos its Blooming heavy but I'm working towards having a my Top Case and Percussion Case as being portable and easy to combine with a Beatstep Pro. This leaves my Main Case to be more Generative and experimental.
I want to develop another case that will be more about weird shit and sound mangling from external sources like Pizo pickups etc.
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.
‘Today, we say goodbye to four of our popular modules: Basimilus Iteritas Alter, Manis Iteritas, Cursus Iteritas, and Ataraxic Iteritas’. (The Noise Engineering Blog - 08/15/2023).
Just saw that the Noise Engineering Basimilus Iteritas Alter is being discontinued. I thought, ok, maybe
an upgrade coming, but who knows, maybe the market is flooded and they are cutting their losses.
-- halbroome
No, I think the processor/CPU thingie that series is built on is being discontinued so they won't be able to make them anymore. I'm sure they have cool new stuff in the pipeline
I've recently finished transitioning from one rack-mounted eurorack to many desktop modules using 4ms pods. I wanted to share my former rack then progression into pods, pedals, and semi-modular in roughly chronological order.
My First Eurorack - (2) Happy Ending Kits + Startech 2-post rack - (Former)
THE GENERAL - POD48X - (Current)
BEAT BOY - POD32 - (Current)
METATRON - KB37 - (Current)
WESLEY - POD26 - (Current)
STREG0 - Semi-Modular - (Current)
METACOSM - Pedalboard - (Current)
Just saw that the Noise Engineering Basimilus Iteritas Alter is being discontinued. I thought, ok, maybe
an upgrade coming, but who knows, maybe the market is flooded and they are cutting their losses.
I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.
I think you have it mostly right, except maybe something about the relationship between the quantizer input and the trigger. The wide-open gate (EOR) is not the signal being quantized by Scales, the S&H of the Wogglebug is. Here is a visual:
[Wogglebug S&H]---[Maths ch.2]--->[Scales Pitch Input]----- [quantizes S&H]--->[Pitch Out to v/oct of Rings & Plaits]
[Maths EOR gate]-------->[Scales Trigger Input]---[selects duration of S&H]-------- ^
The Wogglebug S&H is the signal being quantized to the key of G. The trigger input slects the moments that Scales will draw from the now quantized S&H. This is helpful if you want to control the pitch quantization with an LFO or any non-clocked source and then ensure that the pitch changes are in sync with the beat of the track. For our purposes, it also allows us to take something like a gate to determine the timing and duration of the rapid S&H changes modulated by the Wogglebug. If you put any S&H into your quantizer it should quantize the signal at the speed of the input, be it an LFO or a S&H, or whatever. But the tempo of the pitch input is over-ridden by the trigger input, allowing you to be more selective of what pitches are selected and when they are output.
As to your final point, yes, I do attenuate the range of Wogglebug's S&H pitch by running it through channel 2 of Maths and then from the channel 2 out, into Scales' 'Pitch' in.
I have tried this with other basic quantizers that have independent quantization inputs and trigger inputs. In the case of Quantermain, I would say take a S&H, attenuate the range via Maths, input it into the Sample CV #1 input on the Quantermain. Then take the EOR gate from the Maths and run it into the Sample Clock #1 input. This should achieve the effect we are looking for.
Hope this helps!
-- FredFoxtrott
My confusion arises because there is definitely a difference in how Quantermain operates in comparison to Scales. After thoroughly RTFM to brush up, I tested it and verified (via Scope, not audio).
There are 2 modes in Quantermain, clocked and continuous.
In clocked mode it requires a rising edge to trigger each new note. Whether a gate, trigger, clock, square wave lfo, whatever, it only spits out a newly quantized pitch on the rising edge of an incoming signal. So even if I were to send it a gate that stays high a minute long, I'd get exactly 1 quantized pitch until the next rising edge, not a stream of quantized pitches for as long as the gate is high. This mode is clearly not what we're looking for (even if there are ways to do it still by using the EOR gate to gate the triggers from Wogglebug Burst output - EOR gate is high, the Burst triggers from Wogglebug go through to Quantermain).
In continuous mode, it will spit out newly quantized pitch values as new values are input without regard to trigger or gate. Some value comes in, and a quantized value goes out in real time. This gets us going in the right direction. If I were to put a gate into the trigger input in this mode, the output would be transposed up or down by 1 octave (depending on the particular setting chosen) for however long the gate is high, and not turn the output of the quantization on and off like it does in your patch.
So to work around this, I need to use an extra VCA. The first VCA is to tame the raw S&H voltage, as per your patch, and the second is to gate the quantized output using the Maths EOR gate.
As a note, these sorts of patching issues are why I love modular. I really dig the puzzle; having to find the right algorithm to get a job done. That there are generally multiple ways to do one thing makes it even more exciting.
The pandemic created an artificial boom in music instrument retail, not just eurorack. Was just reading something a few days ago about Fender having something like $100,000,000 in orders cancelled in 2022. People are using their meager expendable income on other leisure activities now.
Definitely a buyer's market for modules now. I still see people listing on Reverb for insane prices though.
I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.
I think you have it mostly right, except maybe something about the relationship between the quantizer input and the trigger. The wide-open gate (EOR) is not the signal being quantized by Scales, the S&H of the Wogglebug is. Here is a visual:
[Wogglebug S&H]---[Maths ch.2]--->[Scales Pitch Input]----- [quantizes S&H]--->[Pitch Out to v/oct of Rings & Plaits]
[Maths EOR gate]-------->[Scales Trigger Input]---[selects duration of S&H]-------- ^
The Wogglebug S&H is the signal being quantized to the key of G. The trigger input slects the moments that Scales will draw from the now quantized S&H. This is helpful if you want to control the pitch quantization with an LFO or any non-clocked source and then ensure that the pitch changes are in sync with the beat of the track. For our purposes, it also allows us to take something like a gate to determine the timing and duration of the rapid S&H changes modulated by the Wogglebug. If you put any S&H into your quantizer it should quantize the signal at the speed of the input, be it an LFO or a S&H, or whatever. But the tempo of the pitch input is over-ridden by the trigger input, allowing you to be more selective of what pitches are selected and when they are output.
As to your final point, yes, I do attenuate the range of Wogglebug's S&H pitch by running it through channel 2 of Maths and then from the channel 2 out, into Scales' 'Pitch' in.
I have tried this with other basic quantizers that have independent quantization inputs and trigger inputs. In the case of Quantermain, I would say take a S&H, attenuate the range via Maths, input it into the Sample CV #1 input on the Quantermain. Then take the EOR gate from the Maths and run it into the Sample Clock #1 input. This should achieve the effect we are looking for.
A Serge resonant filter from Random Source. Not just an interpretation but licensed from Serge to be as authentic as possible.
VERY important to read the notes in the build guide and notes in the list of materials, there are components included that you usually will not install though you have the option to, read carefully.
Other than that, the build is straightforward.
And the unit sounds very good!
Yep, people's pockets are getting deeper and their arms shorter.
Its definitiely a buyers market out there.
I have a few things I want to sell that i don't use anymore but I know they aren't going to get a good price.
The Roland TB-03 I have and don't use is a prime example, they look to be going for around £200, though in this instance I feel I can blame Behringer for bringing out their fully analogue TD-3 which you can get New for £99 and it probably spounds better than the all digital Roland.
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.
It seems to me, the interest in eurorack seems to fade....
I am trying to sell some modules at wht i believe are lowprices, but it's much harder than it used to be. Other than that it looks like a lot more people are offering a lot more modules for sale....
I wonder if eurorack might be on its way down from maybe too high a peak interest. (Maybe caused by the very cheap stuff dropped onto the market, with names, looks and features that should remind of great stuff of old.
Thanks for the explanation. Most of what's happening is pretty clear to me.
I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.
To my knowledge, I've never used a Quantizer that will allow whatever is input to be quantized and output with a high gate. The quantizers I've used require a rising edge to trigger quantization, as far as I know, so I dont think a wide open gate will do it with Quantermain (although I may be wrong). I'll definitely be trying it soon.
That said, if Quantermain cannot quantize continuously with a high gate , I'd imagine that sending the spewing output of Wogglebug to a VCA would work, if I used the EOR gate to open the VCA which would output it forwards to the V/oct input on my VCO. The VCA would also act as an attenuator for the S&H.
Hi, thank you, yes, I think it is quite cool too. I'll do my best to answer your questions.
"There seems to be a distinct delay between your input and 1. the quantization, and 2. hearing plaits."
The delay is a function of the 'End of Rise' gate out (EOR) produced by the guitar audio through channel 1 of Maths. The unity out is used as the envelope for the Plaits VCO that changes pitch in-key with every strum. The quantizer, Scales, does not simply continuously output pitch values. You'll note that there is a 'Trigger' cv in, which is where the 'End of Rise' gate is patched. So only after the peak of the guitar audio does the gate allow new pitches to be drawn from Scales. So, it will hold the pitch until the audio begins to close on the envelope and then it toggles the new pitch for the next strum and toggles the voice coming out of Rings.
"You're getting continuous quantization from a single gate as quantizers normally only send out a new pitch on each rising edge."
I'm not sure I understand, but hopefully this adds clearity. The Wogglebug goes into Scales and continuously toggles the pitch quantized to the key of G. When you put a cable into the 'Toggle' cv in, it overrides the continuous toggling of the good old sample and hold blasting out of the Wogglebug. Now, you can input a gate that determines the duration in which the Wogglebug, still continuously toggling the pitch, is allowed to modulate. Maths channel 1's side function is 'End of Rise,' which is the gate used to trigger Scales. This also accounts for the delay effect discussed above.
"How there is a delay between your input and actually hearing Plaits when the envelope controlling Plaits should also be near instantaneous, and starting at its highest level."
Plaits actually is sounding instantaneously, it is just a single droning pitch that accompanies the guitar strum. Listen again, you'll hear it. When I strum a chord, let's say C, Plaits will play a G or D, or whatever in-key pitch was toggled by the last strum, remembering from above that the sample and hold from the Wogglebug continuously toggles the pitch in the short duration between the peak of the guitar audio (fairly instantaneous), and the closing of the envelope. This interaction between the envelope and gate on different VCOs, Rings and Plaits, give this patch its awesome quality.
One truly feels like they are playing with their modular not mearly processing audio.
Hope this helps.
Also, I use principals from this patch in a lot of patches. Here is a short I made of a bouncing ball patch:
This is a very cool patch, even if i dont understand how the result is coming from the setup.
There seems to be a distinct delay between your input and 1. the quantization, and 2. hearing plaits. I see the Freeze light from clouds light up directly on your attack of the guitar. That makes sense to me because the Rise on Maths is set full CCW, meaning the gate should be instaneous upon receiving input. But I dont understand how 1. you're getting continuous quantization from a single gate as quantizers normally only send out a new pitch on each rising edge, and 2. how there is a delay between your input and actually hearing Plaits when the envelope controlling Plaits should also be near instantaneous, and starting at its highest level.
I have all of these modules, except Scales (I use Quantermain), so maybe ill get a better idea once i patch it up.
I was looking at info about the Tallin and I see the modulae description says current draw is 20mA on both the 12V and -12V rails. The descriptions has the "approved by manufacturer" note, but the information on the Xaoc site says the draw on both rails is 50mA. Any know why there is a discrepancy?
Thanks for answer here.. So basically how close can i go to 2000MA? Would around 1850 be safe and no problem?
-- flow3r
It should work fine. I have several doepfer units, one of which is pushed almost to the max on the -12v rail, and full of Frap Tools modules that are fussy about power. No problems at all. Runs great.
Through no fault of his, the shipment was delayed. He was so consistent in
his communications with me through his prompt and thorough responses that it really
made this stressful international shipment ordeal much more
tolerable.
Absolutely ace seller.
Excellent, both thumbs way up.
I promise I'm not insane. This is my first post but I think I'm onto something:
A fun fact is that if you overload your MicroZeus power supply with too many modules, it may make a high pitched tone. (THIS CAN BE SAMPLED BOYS)
Funner fact: if you almost overload your power supply, that high pitched tone will be produced right when you power up the system, but then quickly fall off as things stabilize. As such I will be contacting modular grid to have the MicroZeus reclassified as an envelope generator
and then I will sample it and turn it into a bassline
I can only agree with all of this. First, to get the matter over with, if they bring AI to photography, I'm moving back to analog. Heck, that's what I did with music to a large extent already anyway!
Second, about the module purchases. I haven't even started building my large rack (planning 14U 168hp) yet, though I've asked one quote from a builder which wasn't bad. And I've already noticed the slowdown. My most recent oscillator is an Ensemble, which is quite something different. I see a few effects and small sequencers could be interesting, but they're not urgent. And indeed, utilities multiplying the possibilities. My most recent purchase is a Pico RND and a rotating clock divider - both are quite intriguing and just bring out more of what I already have. So instead of utilities being the base on which I build a system, it may actually be the other way round. Oscillators and effects are the base on which I can build stuff using utilities. I've gotten far more creativity out of PNW or Zadar than out of any sound source module so far. Best thing - it's frequently cheaper to buy utilities and cables than to buy those "hero" modules like sound sources, fancy filters or effects.
Never more true words, I am definitley becoming a discriminating gourmet, I even feel like my module-buying is slowly coming to an end.... Shocking I know
-- wishbonebrewery
Who would have guessed that a bigger case is the cure for GAS :D
Now I´m convinced to go for it.
Just imagine the look in the face of my imaginary girlfriend when I tell her that... lovely
The AI discussion is pointless in my opinion. I realized it when i watched a review of a camera and the person reviewing it was saying "Sony pls make AI happen..." I was like "fuck please no". I´m into photography because of creating and not only because of the result. I mean I love it if the picture turns out to be awsome but i want to create it by myself. AI often feels like a shortcut
I never felt joy in using synth presets either. I guess thats what led me to Modular as well.
The process itself is what brings fun and knowledge in a delightful package :)
Any AI creating a sound for me will kill that nice vibe while you hear your new sound and I guess it´ll also kill the "aha effect" .
But maybe I´m wrong... maybe it´s just another way of being creative.
Anyway, I came to the conclusion that I couldn´t care less about AI synthesis. I just want to enjoy fiddling those beautiful knobs...
Professionally, thats a whole different story. I use bots like Chat GPT for lots of things. For example problems / concepts I just can´t wrap my head around. Things you can´t build on a breadboard quickly. Stuff like this... It´s fantastic in this regard. The most patient coworker I can possibly imagine :)
