@singular_sound

Hey man, it's been over a year of you posting on this forum and the trajectory is always this:

You post maximalist fantasy racks that you designed with no experience whatsoever, referencing JunkieXL and other creators with huge setups (who 1.) were most likely professional musicians/producers with years or decades of experience before they dove into Eurorack and 2.) started with smaller, self-contained setups or respected the well-documented best practices that veteran users of this forum always point to). You accompany the rack with an unstructured blurb about how conceptual and deep the setup would be and ask for feedback.

First issue: You are specifically prompting users to imagine how it would feel playing your setup. When they tell you it wouldn't feel good to them personally because it lacks basic elements of a modular, such as utilities, and has way too many voices to manage, you reply that it totally makes sense in your head and that your concepts is great, actually. Case in point in this particular thread: unsynced discrete clock sources for different drum modules and mixing via "patch throughs" (I assume you mean stackable cables?). That may sound radical and idiosyncratic to you, but anyone who tried commiting their music to hard drive will tell you that it blows because it takes all the control of a sophisticated audio setup away from you.

When users analyze your systems, they invest a lot of time and effort. You provide little information about signal flow, voice allocation, solutions for interfacing with your other studio gear, etc., so they are essentially flying blind and try to read the tea leaves of your megastructure concepts.

Second issue: The users that are kind enough to respond and make suggestions for manageable, scope-limited setups that might fit your desires, you bombard with replies without engaging with their arguments beyond "Noted, but I like my idea better". You then post more thrown-together rack designs and come across as combative by commenting along the lines of "I made this one just for you, user XYZ". That reads as so massively disingenuous and facetious that the thread often goes cold after that. You swear that you don't start arguments and feel wrongly antagonized, but I stg THIS is why no one wants to engage with you more than once.

You are an avid user of AI chatbots and would like that functionality to be added to this website. Until then you treat the other users as if they were an AI agent. You're all take, no give. You expect to be engaged with, to have your scatter-brained ideas be discussed seriously, but you don't make the cognitive effort to respond in a structured and respectful manner to well-meaning comments. You build modular cloud castles in manic bursts of unchanneled creativity, but never have to reconcile your grand ideas with the financial and technical reality of purchasing and using one.

Third and final issue: There has been zero improvement or progress on your part. Your first post in May of 2024 reflected how almost every newcomer approaches Eurorack setups: A mega powerful, but ultimately impractical machine that does everything. That's absolutely excusable - I was mesmerized by the seemingly infinite possibilities of modular in the beginning, too. I theory-crafted wall-spanning racks with the most esoteric and stimulating sound sources. But over a year later and after many paragraphs dedicated to teaching you the basics of modular design, you still post the same kind of setup and you post in the same solipsistic manner - "edits" to previous posts contain the entire previous post, making the thread virtually unreadable, you ask other users if /cobbled-together rack or addition XYZ/ makes them happy, your "peace" shtick - the list of grievances I have with your style is long. Mostly, it displays a contempt for the opinion and expertise of others. You don't want a forum to engage with respectfully and on equal footing, you want an audience of adoring and always approving sycophants.

You will not find that here. Make good on your promise and leave.


From the Morphor Dual Envelope's manual, I'm seeing that

1.) There is a length switch on the back of the module to set the overall length of the envelope. Set it to short to get the snappiest possible response.
2.) The output amplitude is 0-5V. This might indeed not be enough to fully open a filter. Do you have a module that can amplify voltage beyond unity gain? Even though some modules are called amplifiers or VCAs, they might not necessarily be able to increase incoming voltage beyond a factor of 1. If you have one, patch the envelope through it and increase the amplitude to try to get a higher voltage swing.

For the Gem LP, there doesn't seem to be a manual available on the web, so I can't say for certain that this is the root cause. You will have to do some additional testing.


Interesting problem. For me to be able to make an educated guess, it'd be great if you could list the exact modules at work here. Every filter, every envelope is unique in its design and might respond differently to the same input. Here are some questions for clarification and guesses from me:

Both are being triggered by the same gate source.

By both, you mean the envelope and what else? Are you applying the gate signal to the filter in addition to the envelope? Or are you syncing/resetting the oscillator with the gate signal?

The envelope is adsr and the attack is at zero.

What exact model is the envelope module? Attack at zero does not necessarily mean an "attack time" of 0 seconds. Usually, the attack stage takes at least a few ms to reach full amplitude. This might be an issue.

There's nothing like a CV amount or attenuator or envelope amount knob on either the filter or eg.

Next potential problem: The envelope output amplitude might be too low from the start. If it's only putting out up to +5V, that might still not be enough to open up the filter as much as you'd like it. Check the manual, it ought to list the envelope output amplitude under the specs.


There are analog implementations of ADCs in Eurorack in the form of R-2R resistance ladders. Equation Group by Wildfire Laboratories is one example.

-- theneweuropa

R-2R ladder is a simplified implementation of a DAC, not an ADC. So this could be a substitute of the right side of Drezno, not the left side.

-- mbartkow

You're right. I suppose you'd need a reference voltage and a comparator per output to make it an ADC.


There are analog implementations of ADCs in Eurorack in the form of R-2R resistance ladders. Equation Group by Wildfire Laboratories is one example.


Thread: System WOW

How do you play World of Warcraft on that?
-- sandleitner0s

It's a new Plaits algorithm.


Hello Subharmonicon wizards,

I prefer controlling the pitch of my Subharmonicon with external MIDI instead of the internal sequencers. While doing this, I have to have the Play button unlit, or else the envelopes won't trigger. However, now I feel like I'm wasting a pair of great 4-step sequencers here that I could use to control other parameters. Ideally, I would like to clock the sequencers with the MIDI clock or an external analog clock signal, but without the resulting trigger overriding or otherwise interfering with my MIDI sequence. Currently, when Play is lit, the internal sequencers advance, but my external sequence doesn't get through. When Play is unlit, the external sequence goes through, but the internal sequencers don't advance. Damned/mildly inconvenienced if I do it, damned/mildly inconvenienced if I don't.

Does anyone have a solution for this? There are two SysEx files at the Moog website, labeled subharmonicon_seq_transport_on / off, respectively, but the forum page with instructions or comments on their exact workings does not exist anymore. Does anyone know if these could help? Is there another way to hack it?

Regards


Pricewise there is really nothing that can compete, I think. Maybe two of the Erica Synths x Moritz Klein 5-Step Sequencers can scratch your itch, but if you already own an SQ-1 I recommend you look into ways of mounting it in your rack using DIY rack ears. I sometimes see people selling 3D-printed ones on Etsy or Reverb, too.


The DFAM can sound really nasty, and when combined with the MAFD by Sonoclast you can program in 8 different sounds and sequence them independently from the rather limited onboard sequencer. I am also currently getting back into the Dreadbox Drips, which features similar concepts (2 VCOs with FM plus Noise, Filter, 2 Envelopes), albeit with somewhat less flexibility.


ModularGrid Rack

I'm trying to use the Octatrack in a DJ configuration and put together a small companion rack out of modules that were mostly sitting in boxes on my shelf. The idea is to have 2 "decks" on the Octatrack for conventional mixing, with two extra layers of complexity and sonic expression in the shape of this stereo processing rack (which receives audio from the Octa's Cue outputs and sends it back to the AB inputs) and a pickup machine or two to help with transitions and corrupt captured loops in real time.

Overseer, Morpheus and the Z-DSP could be used in series or parallel, with 2x SAM providing either mixing or multing/attenuating service for the stereo track(s). I have the Time Domain cards, but maybe getting Grain de Folie would be more interesting for mangling audio with the Z-DSP.
The ADDAC filter, OR, and Slew function from the dual S&H are my attempt at finagling an Envelope Follower. I wanted to filter a copy of the stereo input through the bandpass filters, half-wave rectify them and slew them with the S&H to either directly modulate parameters or scale modulation within the rack. The issue is that after bandpass filtering, there is not much energy left in the signal, another half is lost because the OR has the diode-specific voltage drop of 0.7V and is not full-wave-rectifying (I'm currently using two 3dB boosts from the Quad VCA per EF signal), and the slew control on the S&H is finicky, but the general functionality is there.

  • What ideas for other processing modules do you have? Clouds or Beads is an obvious candidate, but maybe you know of some other obscure audio buffer with cool modulation possibilities.
  • For a better envelope follower I thought about the Doepfer A-135-4C, but it's lacking comparators, and those would be nice to have. There don't seem to be that many EFs on the market in the first place. Got any tips? Maybe some ideas to fix the issues with my bootleg EF described above?
  • The XAOC Katowice would be cool because I could split the incoming stereo track into three separate frequency bands, process those individually, and mix them back together at the output. Has anyone tried that with a fully mixed track? Is it worth the 200+ $? In general, I'm trying to just use what I already have and don't get to use in my other setup at the moment, but if a purchase here or there would elevate this concept significantly, I'm not opposed to it.

Warm Star Electronics has a module called The Bends in 10hp. That might be an option to look for. You can find them used occasionally and they are fairly inexpensive.
-- farkas

Wow, this looks fantastic and extremely well thought out! Thank you for the tip, I hope I'll find one on the secondary market since they don't ship outside of the US...

alternative: doepfer matrix mixer
-- JimHowell1970

Definitely on the shortlist, although the knob matrix is almost a bit crammed imo. Thank you for the suggestion!


Hi everyone,

I'm looking for a module that lets me mix, offset, scale, and otherwise mangle several CV signals. 4ms SISM and TipTop MISO come to mind, but I have developed a severe aversion to these mini-pots that are not mounted to the front panel and would really prefer a module with a clean, spacious layout and full-size, haptically satisfying knobs. Happy Nerding 3x MIA seems to be sold out everywhere with no word about a restock anytime soon, so my number one option at the moment is the XAOC Samara. Do you have any other ideas or recommendations?

Regards


What elevates Eurorack effects modules from guitar pedals is the ability have voltage control over many of the parameters, either through hands-on manipulation or by utilizing control voltage generators like LFOs, Sample&Hold, Sequencers etc.
You have Pams New Workout in thhis setup, which can provide up to 8 CV sources, but lacks immediate control due to only having one encoder. But even if you use all of Pams outputs, you still have vastly more CV inputs on your three effects modules that you aren't using. I would drop at least one, if not two of the effects modules and add more CV sources, mixers, maybe a filter and, most importantly, VCAs into this system. One knob per function-type modules will make your effects rack very playable. Also think about mixing several modulation sources together before sending them to the CV input of one of the effects. This is almost mandatory if you want to go beyond what you can do with guitar pedals anyway.


Note I read one online review of the HPO that said "that only about a quarter turn of the volume knob is needed to achieve ear-shattering volumes" which is why I'm hoping someone on this forum has real world experience with either of these 2 modules and can comment.

To my knowledge, the achievable volume in headphones depends on the relation between output impedance of the headphone amplifiers and input impedance of the headphones themselves. Low impedance headphones will allow for more current to flow and the volume to be louder, vice versa with high impedance headphones. Check the manual/specs of both the module and your headphone set (and ideally the headphones of the user who complained) and decide accordingly.


From my limited knowledge of electrical engineering, I'd say yes. DC coupling means both AC and DC current can pass through. It has no bearing on the polarity of the current (positive or negative) which I'm suspecting might have been why you asked? The opposite would be a problem though: DC signals can not pass through AC coupled inputs, because AC coupling has no direct path between input and output and will only allow AC current above a certain threshold frequency to pass through.


The Happy Nerding 4x Stereo Mix is pretty good if you don't mind the dual knobs - https://happynerding.com/category/4x-st-mixer/
-- wishbonebrewery

How do the dual knobs work? Do they push in / pull out to switch which channel you're interacting with?

-- Podfrog

They are concentric knobs, with the center one controlling one channel and the outer "ring" controlling another. You can't push them in but they don't protrude that far from the panel tbh. I find them ingenious and love how they save space without compromising playability.


While I'm a fan of Ladik for their affordable and compact modules, I would not recommend this particular mixer of theirs. The pots are not srewed to the panel and thus feel pretty wobbly and low quality. I do recommend the Doepfer Performance Mixer, their quality is consistently outstanding. Can't say anything about the other models you listed.

If your budget for some reason doubles at some point in the future and you feel like you want to splurge on a mixer, I would also recommend the Xaoc Praga. Amazing Performance mixer with CV control over panning (which many other performance mixers lack) and level, among other things.

Hope that helps!


Thread: WMD 4tten

Thanks for the info, I was just about to jump on an offer for one to add to a palette case. What rail presents an issue, exactly? Upper one? Lower one? Both? And do you think some filing down of the PCB could help? Had to do that with a MN Rosie once...