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Hi Sunchylde,

That's definitely "Fun stuff" :-D Nicely done, it nicely and especially it slowly changes here and there a bit but never too much. Yes, this can go on and on for me!

Looks like you got yourself a nice setup... is it too much asked for a future video from you to record it a bit clearer so the viewer can see more details of your rack? :-) I know a bit of joking, I know you do this video-style on purpose but for me, being a curious person, I love to see details on people's setup, it's interesting to see how you are busy with your modular system while making music.

Well done and I look forward in hearing/seeing a new one from you :-) Kind regards, Garfield Modular.

This is great. Thanks for sharing.

I think this might be a better option:

I made a major set of changes to this, starting with the workflow. Audio up, modulation down (for the most part). Kept the Noise Engineering stuff, although I should note that I'm not a fan of their obtuse/eye-wrecking panel marking scheme and cod-Latin nonsense. Now, following the BitBox, I added a 2 hp mixer to better integrate this with the Basimoid Sigismoid Colon whatever percussive thing. This sets up that end of the top row as your sequenced percussives/samples. Note that I dumped the other sample player; trust me, once you start digging into the Bit Box, you'll see that that was superfluous.

Kept the wavetable NE, added a Plaits clone. Reason here is that if you double your oscillator, you get a fatter, richer sound...and with digital oscillators, you might just want that. Now, next to this, I put in a Tiptop wavefolder, which also allows you to mix/crossfold both oscillators, with a much more controllable result. Mind you, I didn't get rid of the ability to use effects such as the Lo-Fi Junky...I just put in an effects loop module instead, which now gives you CV over your wet-dry balance.

After the wavefolder, there's a different VCF. Tiptop's Forbidden Planet is also a really aggro filter, like the Polivoks...but UNlike the Polivoks, this thing can screech and howl, making for really vicious leads. This VCF is based on the Steiner Synthacon VCF, actually...an INFAMOUSLY nasty filter, which in this case also gives you HPF capabilities that the Polivoks doesn't offer.

Modulation row: added a Happy Nerding 3xMIA, because you've got a lot of modulation sources, but you didn't have a good way to crossmix/manipulate these. Also, I added a dual ADSR because the original build was very envelope-starved, even with the Maths. Plus, you'll find the four-stage envelopes useful for your VCFs and final audio VCAs. Then, the cherry on the cake is a true stereo output after the Black DSP, with a ganged attenuator for stereo volume control.

There's still a few things here that bug me, most notably the absence of a couple more VCAs as well as a dedicated stereo audio mixer. But in this small a build, I think this might be a decent start.

Hi farkas
Hi Shakespeare

Thank you both! That's exactly what I came here for.
@farkas: Thanks for your suggestions and updating the modulation sources! Especially the Links and 3xMIA as utilities would have gone by completely. I was always - maybe somehow stupidly - under the impression I also could attenuate the signal with the quad VCA and didn't think of it as a mixer. Finally, I like your way of thinking to 'implement' my guitar into Eurorack. So far I don't have something to convert my instrument signals to line. Any suggestions on your part?

@Shakespeare: A great thought to use effect pedals after the Eurorack! Thank you. But I have my concerns and reservations. First, I would want to be 'independent' from my other gear. That's not to say that I wouldn't joke/jam around with an external drum machine or my guitar. But I might also use my Eurorack outside my house and wouldn't want to take my pedal board with me. Second, it 'just' feels better (I guess) to be able to manipulate everything (effects, in that case) within arm's reach.
But I am truly grateful for your creative approach thinking outside the box ;)

Your rack showed up in my Google News feed haha congrats your famous!

AAAACK!!! Your first step needs to be to take those Yamahas out in the backyard and douse 'em with gas, then toss a match on them! Yamaha monitors are NOTORIOUS for being ear-fatigue monsters, plus they're not all that accurate. Studios DO use them...but they use them as "checks", not for the critical-listening functions. They're not at all neutral. Plus, since you only have a 5" woofer here, you're not hearing all of your low end, as it can't be accurately reproduced. Personally, I'm very much part of the "He-Man NS-10M Haters" club, and the HS5s are just an outgrowth of those.

I'm going to suggest spending some money here, but it's 100% worthwhile. First up, don't look at ANYTHING with a woofer smaller than 8". Electronic music can do massive bass...but if you can't hear what you're doing in that range, it's pointless. Second, you want biamplification and POWER; it might seem silly to have 100 watts of amplification sitting 4 feet in front of you, but you won't use all of those 100 watts. Instead, you want headroom...ample wattage so that, if there's a BIG transient, it can be reproduced accurately in the few milliseconds that the amps have to hit hard. Lastly, find a pro audio dealer, and take some time to audition monitors. If this requires travel, screw it and do it anyway. The monitors are your window on what you're doing, and if THEY suck, your own work will suck!

Now, holding a line at $600 apiece, here's some suggestions. I'm familiar with these to varying extents, and they should be more than adequate for your uses.

Focal Alpha 80
Presonus Eris E8XT or Scepter S8 (single-point source, like the older Tannoys!)
Adam T8V
KRK Rokit G8 or Rokit 10-3 G4 (this is a 3-way system, 10" woofer!)
Tannoy Gold 8

Use the Pioneers as your "checks", since they're weighted more for DJ work, which I'll bet is where you're aiming your music. But get those Yammys outta there. Yamaha makes some nice stuff...but their monitors ARE NOT part of that!

Feel free to check it out ...

Cheers

Very cool. You are probably going to want Lugia's take on this rack. I'm guessing he will likely tell you to leave the Moog semi-modulars in their factory cases and buy one of the three tier Moog stands for those.
-- farkas

You know me well. ;-) And yes, unless you like spending a pile of extra money on rehousing and repowering your Moogs, don't do this. Here's why...

OK...the rest of the build has some issues. You're lacking VCAs (two is NOT enough!), you're missing mixers, attenuverters, and other things that allow you to mix/manipulate the CV/mod signals. BUT...you don't have room to expand now. So, let's look at what those Moog spaces cost you.

Each 1 hp space in a Pittsburgh EP-420 costs roughly $2. Your Moogs eat up 180 hp. That's $360-ish JUST on housing the Moog components that already have cabs and power, so you'd need to add $120 to EACH Moog to see what they're really costing in this configuration.

Instead, if you remove each Moog, you now have 80 hp of Eurorack modules per row. So you can effectively cut this BACK to an EP-270 plus, yep, the three tier kit. EP-270 = $649, and that cuts $200 right there, while also giving you 10 more hp per row. And even tossing the $79 for the three tier kit back into the amount, you STILL save money. And that money can then be channeled back into the build to provide the modules I note above (in addition to some needed swaps in that part of the build). Also...with the Moogs, you really need something like Erica's MScale to get them to play 100% nicely with the other Eurorack devices, so space is needed for one or two of those, also.

Yeah, I do tend to bitch about this quite a bit. But that's because if you make sure and try and maximize your "bang for the buck" factors in Eurorack builds, you recognize that the only real reason for co-locating cased and powered patchables is portable convenience...and the EP-420 isn't a portable rack.

Another example of this: your VCAs. So, you have two VCAs, which take up 16 hp, and total out at $185. Averaging here, that's $92.50 per VCA. Now, if you just move to a pair of A-132-3s, you fill the same space with four VCAs for $280. Looks more expensive, right? But then, if you do the math, those VCAs now come in at $70 each. Twice the VCAs, but you save $12.50 on each one. And you can do even better than that by looking at other options outside of Doepfer's. Take Ladik's VCA selection, for example. Now, if you were to use the same 16 hp space for a pair each of A-011s and A-012s...OK, this costs $304. But now you have EIGHT VCAs in that space (four linear, four expo), each one of which costs $38. And you've not required any new space for this...it all fits into the space your two occupy right now.

This is how you have to think in Eurorack. Yeah, I get it...I started out on an ARP 2600 at around that same period of time. But times and tech have changed. You can go WAY denser on functionality and still come in with something cost-effective because you can double, triple, or more on what can occupy a typical module space. But RACKS are a different story. They've always been the spendy stumbling block to Eurorack, even if some more recent offerings do manage to pull the price down somewhat. The objective is really to maximize your minimum space, so that even if you spend more on denser modules, you're STILL coming out ahead.

Very cool. You are probably going to want Lugia's take on this rack. I'm guessing he will likely tell you to leave the Moog semi-modulars in their factory cases and buy one of the three tier Moog stands for those.
Overall this looks like a fun rack. Are you planning to do all of your sequencing with the Moogs?

@aarontw I think next up is just a long, deep dive into this thing I've built. As much as I'm looking to get certain things out of it, I'm also looking for it to lead me in interesting directions. Sometimes, I just stare at it and marvel at the sheer number of possibilities and permutations. It'll rain here over the weekend and all work and chores are done...

I first learned about synthesizers about 45 years ago in high school, as we had an ARP 2600 the music teacher would let me take home home on weekends. I have not done much sound creation with synths since though I use many synth presets in playing commercial music on weekends. (I currently own about 12 synths, several moogerfoogers, and about 20 rack modules in my little home studio). I like to create soundtracks, combining various sounds, some electronic, some acoustic, often in multiple time signatures. I am primarily a keyboard player. Most of my experience in playing with changing synth sounds in real time on gigs has been with a minimoog, and now a voyager, and in the past with Arp odysseys. So, I'm interested in getting into modular synths to explore unique sounds for home recording.

@Lugia I agree with your thoughts on monitoring and mastering. Right now, I'm working with a fairly limited setup and haven't invested the time to ramp up my skills and understanding in that area. Currently, I do mastering in Logic Pro X. That includes limiting, compression, EQ, stereo spread management, and normalization. For monitoring, I use Yamaha HS5's and Pioneer HDJ-X7's. The chain looks like: modular -> Scarlett audio device (input) -> laptop -> Logic Pro X. Output is through the Scarlett to monitors/headphones. I hear you about ear fatigue and also struggle with mastering for the typical case end listener. I've tried to master using 'neutral' monitors and headphones, but I'm lacking a good end result for the normal listener. It's an area where I'm looking to improve, for sure.

@GarfieldModular Thanks, glad you liked it. I hope to do more of these in hopes that others can get something out of them as I continue to learn.

EDITED May 30th 2020, 14:25

Good point about utilizing existing effects. Bastl makes that 5hp guitar pedal interface that might be a good option to eliminate some of the effects here. I’m sure there are plenty of other modules that do that too.
Just realized also that the Disting EX would add more sample playback options and an integrated recorder.

At this price point this filter is a must own for a mono set up. Sounds great, two channels in and attenuators for $120. Hard to beat that.

I like both versions of this rack, and I think farkas's suggestions are good. One thing to consider, with the idea of getting a Disting and potentially some other stuff in here: Black Hole DSP 2 is awesome, but big. You say you're a guitar player... do you have pedals on hand? If so, you may find that something like a pedal interface module would be a better choice than a large module. No sense eating up rack space for effects you already have access to. The space and $$$ you save would leave you room for other things. (The Lo-Fi Junky might also fall into this category... if you have pedals that serve this purpose, no need to get the module.)

First, thank you very much for this excellent and informative website and the extremely helpful utility that's enabled me to plot this out.

I initially thought of getting a few modules to support and interact with my DFAM and Delaydelus 2 funboxes. Then I started looking on eBay and seeing wondrous-looking things like the Octocontroller and before I knew it I'd assembled a rack with modules left over, so then I had to start a second especially when I found the Erthenvar Patch Chord...

There are two racks. The bottom row isn't a rack but is there to show my DFAM, as well as two modules I have on order, the Entropy Cannon and Disting EX. There's space for the EX at the end of the top rack, but not for the Cannon, so I'll probably have to start a third rack anyway. I anticipate it mostly consisting of mults and other mixing utilities, due to the presence of the amazing Patch Chord and its 25 outputs (yes, I do want to use lots of them).

The top rack is a Doepfer A-100, and the middle rack one of those Cre8Audio ones. In addition to the DFAM I have a Delaydelus 2 sampler/delay, which is currently being fed by the mixer.

I'm currently trying to arrive on a good configuration for what I have. Patch Chord has to be on the lower rack due to 5V requirement. Takaab 3LFO has to stay where it is due to stuck screw but this is okay as I really like it, bargain module. Otherwise I'm trying to centre sound sources around Patch Chord. I really don't know what I'll use GND CTRL for, it just looked interesting and a good deal.

EDITED May 30th 2020, 14:35

A few questions: What is your end goal with this? What kind of music are you interested in creating? Do you already have any other gear, or are you new to synthesizers?

This is a pretty good start. I reworked it some to give you a few new ideas. No worries if you aren't interested in my choices, but you might want to give these ideas some thought.
I mentioned in another recent post that BIA (and CI for that matter) need a lot of dedicated modulation to get the most out of them. With that in mind, I replaced Mimetic Digitalis, Maths, and Stages with the Varigate 4+ (4xCV, or 4xgate, or 2xCV/2xgate sequencer), Voltage Block (8xCV), Zadar for envelope generation, and 3xMIA and Links for utilities, mixing, attenuverting, etc. Your Quad VCA also serves as a mixer. To me, this gives you more options in the same amount of space. If you can figure out a way to fit a Disting in there too, you have an even broader palette. (You could probably fit a Disting MK4 if you went with one of the smaller Marbles or Rings clones instead of the full-size factory versions)
I got rid of the compressor because the LoFi Junky already provides compression (top left knob, Counterclockwise). The 4ms Listen IO gives you a line/headphone output and a line-to-modular level input. You mentioned that you are a guitarist, so it would probably be pretty fun to bring in some external sound directly. I'm guessing you already have some gear to convert your instrument signals to line level?
Overall, this looks like it would be a pretty versatile rack. Hope this gave you some things to consider.
Have fun and good luck!

Hi there!

I'm Phil, new to the endless world of modular synths, and about to take a plunge into the rabbit hole they call Eurorack.
A couple of months ago I purchased a cheap semi modular for the sole purpose of getting 'into patching' and learning the most I could about triggers, gates, CV and the signal flow from VCO to OUT - before I would start collecting, assembling and enjoying modules.
Here I am, getting comfortable in the forum and building my first Eurorack synth. That said, would you mind telling me your opinion about my plan and setup?

First, a little bit of background and what I'm trying to achieve here: Actually I am a guitarist and want to explore and create music in a completely new way. I don't want to copy anyone or any genre. But if I were forced to talk about the sound I want to create, it would certainly have elements from Industrial, Drum'n'Bass and Hip Hop. An artist I admire is Snakes of Russia, and although I love his beats and how he synthesized drums, my aim is to go for something more melodically rich (due to my background). I could also imagine myself creating soundscapes with character to which I could play the ol' six string.

Let's take a look at this thing!

The BIA is here to create positively weird percussion and to occasionally provide the punchy bass. The CI should give me that dark harmonically rich sound and would be the center of my sound creation. Rings would provide an array of more natural (instrumental) sounds to add another layer or timbre to my compositions. Bitbox Micro... well, it's a sampla player (I probably wouldn't use it as a sampler; I have the WAV recorder for that purpose) so I can bring in externally sampled sounds I can trigger and manipulate.
Let's continue with the lower row: Pam will provide the clock, MD is my esteemed CV sequencer and Marbles should do the rest of rhythm and melodies - especially when I'm too lazy to meticulously program the MD.
Back to the upper row, where you'll find two filters. I initially added the M8 to manipulate the samples. But by now I am certain it will do more than just that. Erica's Polivoks is here because I simply love the sound of it and it will further enhance the sound of the CI and even the BIA.
Off we go to the modulation and manipulation section. Here I'll expect to learn the most from just patching and playing with the modules - and maybe from your input.Batumi should take care of the main LFO-duties and Stages will provide the Envelopes. And frankly, I am a bit intimidated and in awe of what Stages and Maths promise to do to this setup.
Coming to an end, there's a quadruple VCA (intellijel), a simple compressor (2HP), the Lo-Fi-Junky (because I already know and love it as a guitar pedal) and Erica's Black Hole DSP2 for the finish. I can mix everything in 4ms' 4Q, get the audio out and send it to the WAV recorder and its SD card.

Now it's your turn, fellows. What did I miss? Where am I wrong? What do you like about it?
Do I have enough to trigger and sequence my rhythms and melodies? What's with the modulation part? Am I right to be intimidated but is it the right (whatever that means) equipment in this section? Am I forgetting other utilities?
I am a beginner so be honest and let me learn from you.

Thanks!
Looking forward to this discussion.

Cheers,
p.

EDITED May 30th 2020, 07:45

Any thoughts on my proposed eurorack synth?

Hi Mowse and Lugia,

Mowse: Wow, thank you very much sharing your lessons learnt on your Pinging filters! It's nice as well as very interesting!

Lugia: Thank you very much in sharing your experiences and view on the mastering stuff!

Kind regards, Garfield.

Thanks Farkas,
I'm thinking the attached is looking pretty complete now. Let me know what you think.

Thank you!

About that mastering issue...that's not what the problem sounds like. Instead, your description sounds a lot more like the result of a mediocre monitoring chain. And in electronic music, that's not good, given the potential range and sonic complexity synths can put out.

My suggestion would be, if you're planning to stay in this for the long haul, to invest in something serious for monitoring purposes. In my studio, I actually use three different monitor setups for different situations, all routed and controlled by a Presonus Central Station +. The "mains" are a vintage pair of Altec 3841s driven by a Crown D150A, and this is what gets used during tracking. Then for "check", I use a pair of TADs + an Alesis RA100 -- this is for seeing how mixes will sound on a "typical case" end-user system.

But in between is the key setup, which is what I use for both mixing and mastering: a pair of KRK 9000Bs (San Francisco-era...NOT the recent Gibson versions!) driven by a Crest FA601 (actual Brit unit...NOT a Peavey build!). And this wasn't cheap...but it's proven essential, since the 9000Bs are brutally honest, and that "real" Crest amp has the over-the-top slewing rates that allow for precise high frequency reproduction. This is the "critical" chain, where the real voodoo takes place, and without it, things would not work as smoothly as they do. Having utterly flat response and precise waveform replication is KEY to eliminating issues like you're mentioning, as well as avoiding nasty issues like "ear fatigue" from several hours of trying to work on inadequate monitors.

This might not sound like something that requires that level of attention, but believe me, it makes a huge difference...both in your own workflow AND in the final results.

Thanks for the feedback Garfield, glad you liked the video :)
Cheers, Gabor

Just had a chance to listen to and read through this post. Some amazing stuff you are doing which is a great inspiration for someone like myself who is just taking those first shakey steps into modular synthesis, so thank you for this!

Random question but is this the Wishbone Brewery where Oli, who used to work at Cap and Collar, works?
-- TMR1984

Yep :) Though he is currently Furloughed and its just me doing all the work we have at the moment.

Thank you for sharing. It's easier to understand the way you work with the instrument you build.
I have listened to your track several times with the patch in mind. Very interesting and beautiful piece!

A few questions:
- Are you fully satisfied with the 2hp TM, and why not have chosen the Music Thing Modular? (I personally use Marbles...)
- 2hp Euclid, same question :) Completely satisfied? Did you hesitate with another module like Euclidean Circles?

Thanks in advance for your answers.
With kind regards.
-- Sweelinck

Thanks :)

I'm happy with the 2hp TM, I didn't choose the Music Thing because I am trying to keep a compact setup (This has its pros and cons). I quite fancy a Marbles sometime.
2hp Euclid, same reasoning and the price is a lot cheaper than Euclidean Circles. I've got a DNI pro DOT on order and that has 3 channels of Euclidean sequences.

Is there a Manual? Is the Sound on the Youtube Demo Video only from the Grone with external effects?

Is it possible to get one with regular Knobs without these Crimson Omen Skulls?

You will need a LOT of dedicated modulation sources to get the most out of a Basimilus Iteritas Alter. Something like the Voltage Block. Check out Baseck's videos to get an idea of what's possible, but only with the right setup. The Disting will give you access to a vast array of possibilities, but it's not as fun to use.
I finally broke down and bought a Disting Mk4. I hate menu diving, but it's an insanely valuable module. I also have the BIA, and I would have to recommend the Disting first, for what it's worth.
Have fun and good luck!

So I've been revising this rack for over the last month and this is the update. Rather small update, but wanted some advice.

I took out the Rubicon 2s and added the ZPOs as I do like the sound and features slightly better. Switching also allowed more space to fit the Basimilus Iteritas Alter.

The main issue is I'm kinda struggling between the Basimilus Iteritas Alter and the Disting EX. I like that the Disting can do many functions and when connected to its MIDI module, it has way more functionality than the MINI MIDI. on the other hand, if I leave the Disting EX out I like that everything besides the Tetra doesn't have a bunch of possible functions for each input/output, WYSIWYG-ish.

I would like to hear any recommendations.

Thanks again!

MicroSequence runs the clock
Clock divided
2hp Euclid then opens and closes the envelope controlling the Freq and Res on a VCF
2hp Turing machine and Tune control all the Pitches
STO is split off to: 2hp Verb / Erica Pico DSP / Monsoon Clouds
There is also a little 2hp Bell in there which goes through the Stereo Tape Delay on the Disting MK4
Mostly mixed with the Befaco STMIX

Current Rack below (Ignore the DNI Pro DOT as its somewhere between Ukraine and UK on its way in the post)

-- wishbonebrewery

Just had a chance to listen to and read through this post. Some amazing stuff you are doing which is a great inspiration for someone like myself who is just taking those first shakey steps into modular synthesis, so thank you for this!

Random question but is this the Wishbone Brewery where Oli, who used to work at Cap and Collar, works?

Thank you for sharing. It's easier to understand the way you work with the instrument you build.
I have listened to your track several times with the patch in mind. Very interesting and beautiful piece!

A few questions:
- Are you fully satisfied with the 2hp TM, and why not have chosen the Music Thing Modular? (I personally use Marbles...)
- 2hp Euclid, same question :) Completely satisfied? Did you hesitate with another module like Euclidean Circles?

Thanks in advance for your answers.
With kind regards.

Two more thoughts after several listens.

1. Delete the modulation path to Clouds 'Blend.' It drowns us in reverb. Less is more.
2. The sharpest pings should be reigned in a bit. Expand patch to include attenuator. Solve quickly with Maths.

Hello,

Just sharing some things I learned this evening. Every week, I try to set aside an evening to experiment with a particular concept or to learn more about something that evades me. Today, it was pinging filters.

For this one, I'm creating rhythmic and musical textures and accents by pinging Make Noise QPAS and Mutable Instruments Ripples with Pamela's NW and Quadrax. I started with a lush ambient landscape and introduce twinkling arps supplied by STO and a Moog Mother 32. Rossum Electro-Music Trident and Plaits provide low and mid drones with a bit of 'zing' resonance from Trident Reverb is managed with Clouds and Mimeophon. To add/remove pings, I used mute switches from Muta Jovis. I have the option to play STO via Keystep keyboard and will do more of that as this track evolves. If I can do this right using resonance, some of the pings are arranged musically and sound like to-scale notes delivered by a sequencer. Clouds helps to round out sharp edges.

Lessons learned:

Lesson 1. Physical mute switches might send a "pop" downstream when toggled. Mimeophon will gobble them up and send a cascade of terrible repeats right to your face because, let's face it, you probably deserved it.

Lesson 2. Master resonance control between Trident and QPAS. Find balance between Trident 'zing' and QPAS 'Q' so that resonance doesn't overwhelm the high end.

Lesson 3. I'm reaching the limits of my mastering skills. Track where the high end is busy are difficult when it comes to removing ambient hiss or just-too-sharp elements. Low end needs more oomph and a cleaner drop off. I've just got to work towards mastering kung fu... mastering mastering kung fu.

Lesson 4. Rossum Electro-Music Trident is beautiful.That's the first word that comes to mind. I was afraid that it would be buzzy or metallic beyond my liking. It can be if told to be so. Otherwise, it's not. It's just so, so good. I'm only scratching the surface of this thing and will dedicate more time to finding out what it can do. I think that's precisely the feeling you want when you introduce any new module, but especially with an oscillator.

Anyhow, hope you enjoy the snippet of noise. I've decided to post each one of these evenings to YouTube so that maybe others can might glean useful bits from my experiments. Any feedback welcomed.

-mowse

Hi Gabor,

Ha, ha, amazing, 2nd day, 2nd video, nice to see how you are playing around with the Disting Ex! Thank you very much for your provided information on your previous video post in this same "You" subdirectory of this forum.

Somewhere halfway your video you mention by text that it might be a little too much. Oh come on! When can be modular ever be too much, no matter how much we tweak it, how much we modulate it, it's never really too much ;-) Of course I got your point, I am just kidding.

Thanks a lot for this joyful demo and kind regards, Garfield.

Hi Kel,

No problem. Sorry, I am terrible bad with abbreviations. DM?

With BSP, do you mean BeatStep Pro with that? But I meant KeyStep Pro :-) It's a new one from Arturia to become available any moment... like the Ground Control ;-)

Well yes, you are right about being patience but this item has already been announced at the Superbooth 2019 if I am not mistaken and it's still not there, so this indeed makes me a nerve-wracked "patient" rather than being "patience" ;-)
See your reply/text above here: patient/patience ;-)

I don't know it any more, I just can't find a suitable sequencer, I thought the Ground Control might be the solution. The big con of the KeyStep Pro is that's big (I don't have actually space for it) but it's not big enough to have normal keys and yeah, I wish there was a Eurorack module version of it, that would be cool!

Okay I try to be a bit more patience but I had enough of it actually (all that waiting I mean)...

Cheers, Garfield, the lazy patient that isn't very patience ;-)

The other "screw-with-CVs" thing that's both highly useful AND cost-effective ($99!) that I'd recommend would be Tiptop's MISO. For modifying/manipulating CVs and modulation signals (and audio, too), the thing's pretty much a super-capable blank slate, with loads of different potential for different users. For small builds, I'd go as far as saying that it's an essential utility component.

Ahoy!!

I didn't get a notification about this, sorry for delay in replying (and sorry to anyone else I am missing, feel free to DM if you would like me to look at something).

I guess production is disrupted with this virus thing, some things are simply not available, so we just have to be patient?

BSP looks good, but no experience... and to be honest, not really my kinda thing :)

I really like the Westlicht Per|former - that's very cool and very comprehensive for modular sequencing!

I guess I love the new Disting Ex :)

You could make the most of modulation sources with a DPW Design AV-1, your two inputs can be attenuverted, there is also a SUM output and a A>B output so lots of options for screwing around with your CV signals to create more. You can even throw a couple of gate sources at it and get a new sequence based on the two input.
That HN 3xMIA does look tempting though ;-)
-- wishbonebrewery

that one does look good,have to check it out,have put it on the list

@mowse Thanks for sharing your experiences. Your appreciation of the journey really comes through. And the notion of being open to the magic of surprises—and tearing down preconceptions—resonates with me.

One of the things I think you're touching on is that beginner's mind can be a rewarding mindset with which to approach eurorack. Being open to possibility, just as much as we are shaping our instruments with each choice made (modules, signal flow, etc.), can lead somewhere unexpected, and rewarding.

Another thing you've demonstrated here is that committing pays off. Committing to a process that involves learning the ins/outs of modules, patience, and reflection. And continuous learning.

If you're up for one more question, what lies ahead as you continue on your journey? Are there any particular sounds, patches, performative aspects, or anything else on the horizon?

Thanks again for all.

You could make the most of modulation sources with a DPW Design AV-1, your two inputs can be attenuverted, there is also a SUM output and a A>B output so lots of options for screwing around with your CV signals to create more. You can even throw a couple of gate sources at it and get a new sequence based on the two input.
That HN 3xMIA does look tempting though ;-)

EDITED May 28th 2020, 18:10

have just ordered a MI Kinks.will check the other recommendations

@GarfieldModular Thanks for the kind words. I hope to be around more. There's so much more to learn and maybe some things I can share to help others.

@aarontw I have not tried Knurlies, but I'm definitely going to give them a shot, especially on that top row. In terms of vision and direction, there have been many changes. The more I expose myself to different personalities and styles, the more I am drawn to things that didn't resonate with me at first. What I first found appealing is changing. For example, Telharmonic was way off my map as a VCO versus my Moog oscillators. Same with Wogglebug. How do you get controlled results from this thing?! Well, you don't. The magic is in the element of surprise and chaos. Coming from U.S. East coast, not my typical style. A lot of preconceptions were torn down, mostly because I didn't actually know what I was talking about. So, I suppose that my current vision is to expose myself to as much information and learning as possible and see where it leads me.

@Ronin1973 I haven't sold any of my modules and I don't feel buyer's remorse for any given purchase. This is a learning process for me and I have decided to make the commitment in full. I'm sure that I'll sell things eventually, but I want to do so when I'm sure that a piece of gear has been fully explored and is wrong for me.

Looking forward to learning and sharing more, especially some noises and music. Thanks, all, for the kind words. Much appreciated.

Yeah, those little 6 hp wonders from Happy Nerding are pretty amazing...and function-dense, too. For mixing, attenuverting, all of that, they're an awesome solution.

I just purchased @txl879 's E560 Deflector Sheild and it's grand. Working great; cosmetically in the shape he described, so no surprise there. You can buy from him with confidence.

I find myself using the Happy Nerding 3xMIA in every patch. I also use Links and Pique (After Later Audio’s Peaks clone) a lot.

this may sound stupid, but i really love my AMSynths 8016.

Hey Garfield,

I pre-ordered the Disting EX from Signal Sounds in Glasgow a couple of weeks ago (Jason said the new stock had been sold before the units arrived in his store) so I guess I was lucky (and impatient ;)).
As the tagline goes, the EX is (also) like "two souped up" mk4's because some mk4's algos have been reworked and now have much better audio quality and processing. To me though it's the single modes that make the EX a wonderful module. I thought the Matrix Mixer is something I'd never want to use but the 6 inputs/4 mix outputs and 60 (!) tweakable parameters turn the EX into a complex CV/audio mixer. Then there's the SD Multisampler which I was tweaking last night (plan to post a video demoing that algo as well) and I find it so awesome (up to 8 voice polyphony, polyrhythms, etc. - and it sounds great!), the Augustus Loop stereo tape delay is also very complex. And there's a lot more to discover here. The tiny OLED is really useful and with the EX you can't escape menu diving but it's quite convenient and with 256 presets on board you're pretty much covered.
Like I said I still have two mk4's and plan to keep at least one for good. It's simply too good a 4 hp module to let go of. If one can afford it, having an Ex AND one or more mk4's is fully justified, imo. Hope this helps.

Best wishes,
Gabor

Hi Wishbonebrewery,

Thanks a lot for sharing the details with us, very interesting! :-)

Kind regards, Garfield.

Hi Aphew Goodman,

Oh come-on! Here (in Germany) we have to wait till mid July before we can get this thing (Disting Ex) and you got it already! ;-)

You not only got it already, within the same day you create somehow (no idea how you do this so fast and nicely) already a video about it with some decent sounding music out of it! :-D

Well thanks for sharing this and putting this nice demo here, very well done!

Just a question, without wanting to sound negative, is the Disting Ex a kind of "double" Disting Mk4 with a nicer screen (OLED) or is there "a bit" more behind it? I guess the latter? Sounds like the Mannequins - Just Friends is an interesting module too!

Thanks a lot, continue enjoying the Disting Ex and kind regards, Garfield.