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Hi, a few comments:
-- I have SISM and am very happy with it. Yes the mini-pots are small, but the spacing is adequate for me to use happily.
-- Levit8 has medium-sized nobs and can handle a lot of duties SISM can
-- Joranalogue Morph4 may be interesting for you, but it is more of a mashup module than offset/attenuvert
-- WORNG Vector Space does a tone of CV mashup and everything is selected by tap
What I like about Doepfer is they're widely available in stock, are stackable (with some basic hardware), have great reputation for PSUs, and I imagine they'll be available for a while so in the future when I need another case, I don't have to mix and match, I can probably get another Doepfer.
Case From Lake is super responsive, nice, easy to deal with, does wide customization, and made me a real nice case.
Well, they showed up yesterday...50 50cm ones, 50 100cm ones. And the verdict is....
Hot damn, what a DEAL!
Yes, they're everything I was hoping for. True, they're only in black, but unless you're hellbent on having your modular look like a unicorn sneezed all over it, black is fine, IMHO. The cables are pretty much the same sort of thing as Nazcas et al...molded 3.5mm plugs, and a nicely-flexible cable stock that's easy to deal with when there's a bunch of them and you need to get past the tangle. Definitely NOT throwaway grade! So if you need piles of patchcables, I think this might be the mother lode!
I'm reorganizing and this rack is sort of a scetch of where I want to be headed.
I already have most of the modules shown, except the verbos and the erica synths drum machine and I'm quite sure that I'm missing some utilities here and there - whats your take on this?
And yeah, I know, it's probably smarter to just get a drum machine and save a bunch of rackspace but I'd really like to try out the squid salmple and bia with the erica synths drum machine and be able to cv the **** out of these. I also have a dfam and some fx pedals on the side and a 114hp "skiff" that can be used as an extension.
Now the other thing thats been on my mind: instead of the erica synths dm, I thought about grabing a digitact and mutant brains/ cv.ocd combo and use that to sequence my modular... or mostly my drums actually. To this point I'm not quite sure which of these would be more fun to operate and which goes further in terms of overall (drum) sequencing abilities. - I hate hearing the same beat over and over and over again so I want to be able to make quick adjustments to keep things interesting.
The digitact can also be used for drums and for fx and so on, I'm well aware of that but I'm not trying to use it as a substitute for anything, except a bad ass drum sequencer. I've been looking at other hardware sequencers (polyend, oxy, etc.) as well but I really don't like their style. to bright, to shiny, to smooth or unjustifyable, like the grp r24.
If anyone has some experience and/or expertize to share I'd be really glad to hear it! :-)
Also, Frequency Central's jammed the ARP 2600's signal manipulation section into a little module called the Process 26, and that'd work well, too.
-- Lugia
Looking into this one myself. But to be honest, the name kinda gives me the creeps.
I'm about 2 years into modular, with many other years in music and VST synthesis. Enjoying modular a lot!
I'm finding a lot of my modular patches are "flatter" than I would like -- they are 1-2 dimensional, and not as fluid, bouncy, dynamic, juicy etc. as patches I hear from Heinbach, Divkid and other power-users with videos online. I have plenty of modular gear at this point, so "not enough gear" can't really be the problem. I'm guessing either i) my approach to modular is somewhat stuck in VST based thinking and experience ii) I haven't picked up enough modular-specific techniques and patches iii) or simply more modular soak / practice time is required. Practically, I imagine I'm probably underutilizing CV and CV mashup/mixing.
That being the case, I wanted to pick your brains for favorite techniques, patches, (and to a lesser extent) modules that you love for getting a modular system to give that multi-dimensional, (broadly) dynamic sonic response we associate with a good modular system being played by a strong modular synthesist. Any suggestions of i) specific techniques or patch types ii) great videos or books on this iii) key modules you use for this?
Hmm...well, Tiptop should be close to dropping the Buchla 257t at this point, and that would be a good candidate here. Also, Frequency Central's jammed the ARP 2600's signal manipulation section into a little module called the Process 26, and that'd work well, too.
Just that? It's not even implemented properly to just be a synthesizer, not to mention generative work. You're missing a LOT of what needs to be in there...and ironically, there's NO modulation and NO timing aside of Pam's...which, perversely, has pretty much nothing to do here. Given the amount of control signals and control modifiers needed to make generative work, you're already in trouble with just one 3U skiff.
Jomo's advice regarding VCV Rack is probably your best bet for figuring out the what/how/whys of generative. These tend to require either very dense functionality per module, massive amounts of modulation generation and manipulation, or both. Also, timing signals get messed with quite often, with one of the requisites being some Boolean logic to (ab)use the timing signals to make other timing signals, etc etc. The only caveat I'd give about VCV is that it can get pretty piggy about resources, so it's best to run it with as little as possible going on besides it.
One other bit of advice regarding Mutable clones...if you're going to use those instead of actual Mutable modules, examine them closely to see if you see any possible ergonomics issues. One gripe that many have with these is that the knobs get so tiny and so densely-packed that you need to turn them with a pair of tweezers, or damn close to that. But seriously, that's an important consideration...you DON'T want controls that'll see lots of manual tweaking (such as VCF cutoffs) being made hard to use. Plus, keep in mind that the patchcord rat's-nest (generative programming DEFINITELY causes those) will also be obscuring those controls as well.
My new (not very large, only 4 x 104 hp) custom powered case was built by Uryan Modular, a small business that happens to be operating in my country. The prices are pretty friendly, the build quality is great. They use Meanwell PSUs with plenty of reserve power. One example for a larger case (17U/168 hp, 160 module slots, 4 x 2800 mA +12v, 4 x 500 mA -12v):
-- aphew_goodman
Damn, that's a big honker! That price is right, though...840 in 3U and 336 in tiles for EUR 1100, with some clearly BEEFED-UP power, is a helluva deal!
Just got the TD3-MO and want to incorporate it in my eurrack modular set up.
Is it safe to use the 3 5mm headphones socket of the TD3-MO to go straight into a vca ?.
-- Slammer22
In theory, yes. But you'll need to sum that stereo headphone signal down to mono, and if the level's too low, then it won't work without some sort of preamp module like a Doepfer A-119.
But if you want a better trick to do with the headphone jack, try a feedback line from there to the VCF in on the B-0-3. You will need to run that through an attenuator to keep things from going into runaway, but that OLD trick (as in REALLY old...the first synth that had people doing this was the Minimoog) really beefs up the nastiness and adds various weird resonances. Better still, put something like a delay line stompbox in the feedback loop and add THAT to the VCF path. Or a flanger, or phaser, or or or...
Hallo,
I'm in the market for an IO Instrument Sponde, I would like to hear some user's experience before buying it.
I will mainly use it as attenuators for my Expert Sleeper ES-9 inputs in Standalone mixer mode.
I can buy the ES tiny expander and control the volumes in Ableton from a controller, but I prefer having direct control via fader/attenuator in the rack and avoid midi control over volume.
The Sponde seems a good module for the job, the panel and color scheme are not my cup of tea but as long as it is functional I can live with it, and the price /function ratio is good.
I've noticed that the 8 direct output jacks on the module don't have hexagonal nuts (behringer style) and I'm a bit worried about jacks getting wiggling and worn over time.
How's the build quality? Are the slider solid or wobbly? any noise, bleeding?
Some Sponde users can confirm that it's possible to patch the 8 post-fader individual out and have the slider 5-6 on channel 1 and 2 controlling the volume on the relative main channel? From what I've understood reading the manual the signals from 1 to 4 disappear from the main channel (purple) if a jack is patched in the direct outs. Same for the other channel (green), right?
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?
-- krmk
You could do that swap, but you'll have to resort to some inline mults to get certain routings to work. As for the 'Brute case, yeah, that should work even better since they're wood...helps avoid signal leakage between the aerials and therefore playing issues that might pop up due to them. Also, you can then add the ASK and keep the mult, since these run 88 (or 89, depending on who you ask) hp.
I agree that more utilities are probably necessary (i.e., power if you're not using a powered case) or very desirable. Definitely an envelope (dual+ if possible - that way you can control amp and filter envelope independently) and a standalone LFO (i.e., not Pamela's NW). A slew limiter could be very nice as well. A Make Noise Maths or Befaco Rampage will give you LFO + slew limiter (and lots of other things) in one package, but you're rather limited in terms of waveforms. You can use a lowpass VCF to modulate the LFO though, so not a dealbreaker.
The biggest gap to me is: how are you planning to trigger notes? If you're using a keyboard or other controller that doesn't have CV outs (i.e., just MIDI or USB), you'll of course need a MIDI to CV converter. If you're planning on using software to sequence/trigger notes, you'll need an audio interface (like a MOTU), which doesn't need to be in your rack and can be beneficial to leave outside (more space + power for fun modules )
Honestly, unless you're using a sequencer module, you can probably ditch Pamela's NW - an Arturia KeyStep Pro, for instance, is both a keyboard and a clocked sequencer with CV outs that only costs about $100 more than Pam's alone. So you'd be getting all the "core" functionality you need for almost certainly cheaper than Pam's + a sequencer module - many sequencers are more expensive than a KeyStep Pro by themselves, and they usually take up a ton of room.
On the topic of leaving some stuff out of the rack, you can definitely do that with effects processors as well. I see you have Beads, which is very cool, but if you add a 1/4" audio out utility, that opens up the possibility of using many very nice desktop effects units (like a Strymon BigSky). Eurorack obviously has tons of great effects units, but there are a LOT outside of Eurorack as well. The tradeoff there is that you have less CV control options, but in my experience at least, effects units are more often tweaked by hand than by CV. Just something to consider in case you want to mix and match.
One point - none of these modules have been discontinued.
Plaits is an amazing oscillator - I would argue one of the best for a beginner as it's very versatile and fairly easy to use, with just enough learning curve to get you used to the "funkiness" of Eurorack.
The Wasp is an awesome filter, especially for more aggressive/acid-type sounds. That being said, you'll be pretty limited to those kinds of sounds - it's doesn't do smooth well. One very affordable option that can give both smooth and aggressive sounds is a Behringer 121 - I have not used it personally, but I've heard several demos and (to me) the sound and functionality are very impressive (esp. for the price).
Two ideas that could help you refine further: (1), look at the setups of simple modular systems that produce sounds you like on YouTube and use them as starting points; (2), give VCV Rack a try. It's a free, open-source eurorack system for the computer, and it has exact replicas of most Mutable devices (so you could test/play around with Plaits and Beads for free - they're digital, so the "guts" are identical on a module or on a computer). If you do go the VCV Rack route, try setting the audio sample rate to 96khz and adjust the buffer as needed; it makes a big difference in the sound of the Mutable modules :)
Anyways, super long response, but hopefully helpful. Have fun with your system!
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...
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.
I don't own a TD3 but route external hardware instruments like Nord Drum, OP-1 directly into VCAs in my rack on a regular basis - no problems detected.
I am inspired by birth, death and the events inbetween.
Just got the TD3-MO and want to incorporate it in my eurrack modular set up.
Is it safe to use the 3 5mm headphones socket of the TD3-MO to go straight into a vca ?.
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?
My new (not very large, only 4 x 104 hp) custom powered case was built by Uryan Modular, a small business that happens to be operating in my country. The prices are pretty friendly, the build quality is great. They use Meanwell PSUs with plenty of reserve power. One example for a larger case (17U/168 hp, 160 module slots, 4 x 2800 mA +12v, 4 x 500 mA -12v):
No, sorry, it would not. You have some of the basic building blocks... but you need sources of modulation (LFOs, envelope generators) and more basic utilities.
Also, it's worth noting that all of these modules except the Wasp filter are now out of production. There are knock-off versions available, of course (except for Beads)... but you may find it hard to buy these if you're looking for actual Mutable modules.
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
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?
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
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
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
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?
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.
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!
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
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.
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.
