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I'm torn between the Modcan and the Batumi + Poti. I have the Batumi... but the grass seems a little greener on the Modcan side if you have the rackspace.

-- Ronin1973

A conundrum it would seem. I think I may go with Modcan, at least for now at the planning stage as it appears (on surface detail, to be a bit more approachable to me. I think I’ll do a bit more reading up on both though and I’ll drop the Quadra due to redundancy.

In terms of the other modules, have I made sensible selections and accounted for the necessary functions apart from a lack of complex sequencer and overly greedy selection on LFOs?

I'm torn between the Modcan and the Batumi + Poti. I have the Batumi... but the grass seems a little greener on the Modcan side if you have the rackspace.

Question about the latest build:

You have the Quadra, the Quad LFO, and the Batumi. That's three units each with four LFO-ish functions. Are you planning on needing that many or are they redundant?

You mentioned sequencing but I don't see anything that does any serious sequencing onboard. Maybe that's not where you want to go. But check out the Eloquencer or if you can find a decent builder the Westlicht Performer. I just bought a Performer but I have to reflow some of the work and replace a couple of damaged CV jacks. But it's a great sequencer. I also have a 1010 Music Toolbox. I like it but the most current firmware kind of blows chunks (why I got the Performer).
-- Ronin1973

Thanks Ronin! Regarding sequencing it's true I haven't accounted for anything major. Originally I was thinking the Eloquencer as it seems of more of what I have been used to. I'm going to read up on the Westlicht Performer you mentioned. I've been on the waiting list for a Cirklon for awhile as I have lots of external gear as well so I'm undecided as to whether I keep deeper sequencing external or look to build a more all in one system (for my basic needs) that I can travel with.

Regarding the LFOs (based on my level of knowledge) gonna confidently say redundant on my part. I suppose regarding LFOs the Quad LFO seems more immediate but the Batumi seems like it has deeper functionality.

I am looking to bring more fully analog modules into my eurorack system. What are your favourite fully analog modules / makers?

Question about the latest build:

You have the Quadra, the Quad LFO, and the Batumi. That's three units each with four LFO-ish functions. Are you planning on needing that many or are they redundant?

You mentioned sequencing but I don't see anything that does any serious sequencing onboard. Maybe that's not where you want to go. But check out the Eloquencer or if you can find a decent builder the Westlicht Performer. I just bought a Performer but I have to reflow some of the work and replace a couple of damaged CV jacks. But it's a great sequencer. I also have a 1010 Music Toolbox. I like it but the most current firmware kind of blows chunks (why I got the Performer).

To both Ronin and Lugia, thanks again. I’ve had a think about everything you have said and hopefully translated that advice into a slightly more sensible (read actually usable) rack.

I’ve tried to account for sequencing and being able to play the rack as I’m coming from a more keys oriented environment so chose the tetrapad and tete combo. Using Mangrove, Just friends and pluck for voices. I may have added a few too many filters but those present seemed interesting to me so I have kept them in for reference.

After reading about the ‘boring’ modules they seem less so now as I understand better why they are present and have incorporated those recommended.

I will stress that I am building this as an ideal rack that I will grow into in the real world, picking up a module or two to learn before progressing to the next which will undoubtedly change module selection over time. However, as long as I get a rack that has the necessary building blocks in place, with modules I have at the very least read up on, I can be fairly confident that the most basic foundations of my modular journey have been laid.

Below is the most recent build and I do apologise in advance if I have forgotten to factor something in or over provided in other areas. Many thanks again.

• séquence d'une note sur la mother 32 (la plus aiguë du clavier)
• Organizer avec du lag et du choir
• Bluesky en shimmer
• Thérémine avec du delay

Some of the strengths of Eurorack for sound mangling would be complex, audio rate modulation. A simple example would be plugging an oscillator into the frequency modulation of a filter cutoff. You can get a lot deeper down the rabit hole than that of course... especially with digital modules that weren't intended to be modulated at audio rates... but you do anyways :)

Another idea would be an interface like the Expert Sleeper's ES9. That opens a lot of options for getting sounds from your DAW into your Eurorack and back out (to record them). It will also allow for some hybridization between your systems as well as allowing you to modulate virtual instruments and effects with your Eurorack.

Oh, and check out using some filter banks and stereo filters like Make Noise's QPAS, envelope followers, and sample and hold units.

Quick and easy would be something based in Ableton Live triggered by scenes and simple settings.

You're looking to play sax over what you generate. That's an instrument that you really can't play with one hand and tweak settings with another. Everything in Eurorack must be patched and tweaked and might need lots of meddling with. How many bars and beats can you hold off playing your axe while you twiddle with Eurorack?

If you were already experienced with Eurorack, you might be able to pull it off. But if you're new to the platform, you're asking a lot of yourself.

Okay with that said, I'd look at the Tip Top Trigger Riot, a Euclidean capable module, as well as a Turing Machine module. I think Pam's New Workout can do Euclidean, but don't quote me.

The Monsoon is nice. But it's one of those modules that takes a lot of time to hit the "sweet spot" with and there's a lot of unlabeled modes and features. I wouldn't bother with it if getting to a sound quickly is where you're at. I'd replace it with a reverb module and multi-fx module that can do flanging, comb filtering (if possible), and possibly a phaser.

One thing that's missing is a performance mixer. You need to be able to manage all of your audio sources quickly, including effects. I don't see that here.

The Noise Engineering module can be powered from an alternative power bus. Check the manual. There's a DIP switch on the back to do this. Maybe that will be enough to get everything to play nicely.

Have you already bought this rack and populated it?

If not... wait to fill it. You won't know what direction you're going in until you spend a bit of time with what you have. If you fill that space ahead of time then you're trapped with what you have. That means either selling off modules or taking them out of the rack to make room for stuff you're wanting to use.

Here's my take on the system based around one Manis Iteritas.

An output module might be a good choice... but I'm assuming you'll take care of that outside of the rack.
I thought about sneaking in a logic module or some noise. Maybe an attenuverter.
But you can't have everything in 80HP

Some highlights:
A MIDI interface in case you want to use this with your DAW.
Effects via the Pico DSP and possibly the Disting Mk4
A dual VCA.. because you need them.
A Temps Utile and Ornaments & Crime. That will give you a ton of useful features and internal sequencing.
A master clock
Dedicated distortion... because if it isn't distorting, you're doing something wrong.
A Disting... so you won't get bored trying new things.
A second mixer because you might want to mix some CV or use the mixer as an attenuator.

Find Ricky Tinez on Youtube and follow him. He's great with small skiffs. But a word of caution, small skiffs are much HARDER to plan than larger systems. Space is critical, the size of modules can lead to cramped spaces to get your fingers into once everything is patched up. You might want to use longer patch cables to they lie flat or flatter and get out of your way.

Good advise, thanks. I will start using a Peaks-Clone not Maths. I have to be careful and not start using too many complex modules.

Thank you very much for taking your time helping me!
I will carefully evalute your recommendations and inform me about the modules I don’t know, as Kinks and FXAid.
I think it is a good idea to wait with O&C despite many recommendations from others.
I did not know about the 4 channel attenuator ”problem” with Clouds.
Is it the same with Monsoon?

Maths is very valuable for all kinds of different modulation. I've got one and have barely scratched the surface. I would recommend downloading the manual/patchbook and looking through it to decide if it is what you need. There's also a great video on YouTube by Loopop called "22 Reasons the #1 Eurorack Module is Maths." With that being said, it is a large module (20hp) which would take up most of the space in your case. As a beginner, I've also found it a little unintuitive and not immediately gratifying in my experience. You have to put in a little work into understanding what it is doing to get creative and get the most out of it. If you decide to expand to a large case, Maths would ultimately be very useful for you due to its functionality.
I just picked up a Pique from After Later Audio. It ships with the "Dead Man's Catch" firmware installed which adds a bunch of different modes to the original firmware. All sorts of different LFO, envelopes, drum sounds, and even a mini Turing Machine and sequencer. Again, take a look through the "Dead Man's Catch" manual (https://github.com/timchurches/Mutated-Mutables/releases/tag/DMC-v0.7-beta) to decide if it's right for you. In a small case, I would probably find a use for Pique and a small mult in every patch. It doesn't have a bunch of patch points to "modulate your modulation," but it does a lot right out of the box and could probably help you decide what you may want to invest in next.
Hope this helps!

Understood and thanks to both of you for the clear explanation! I wouldn´t like to burn more hp by adding a second PSU, so it´s either a beefier one or something completely external. I didn´t find too many module-based PSUs that offer substantially more power then the Arturia version (granted, at least they come in 4hp). Those torroidal transformers found in bigger cases come to mind,as they might allow for two smaller cases to be powered from a single PSU.

But I´ll give the cheapest option a go first, maybe I can rearrange modules and get around limits.

And what about a Maths for modulation/ utility? Thats what i often read.
Or is a small Peaks-clone enough for the start? Thanks

EDITED Mar 16th 2020, 06:09

The Arturia reads 15V/3A on the frontplate, so that indicates the demand from the powerbrick. However, it´s only specified to deliver 12V/1.6A on the +12V distribution. That´s just half the amps... is this limited by the power module itself or is the distribution board limited to 1.6A ?

No, this makes perfect sense. Remember, that power supply is also feeding a -12V rail plus the 5V rail. Each 12V rail has a possible maximum load of 1.6A, and the 5V rail can handle 900 mA.

However, if you're exceeding the current limits for your P/S, you're screwed. Your only solution is to add more current capacity via a second P/S, or to get a case that has a beefier power supply. You cannot exceed maximum rail loads without incurring some sort of problem...either damage to P/S components over time, or an outright P/S failure all at once. And depending on the power supply design, a "failure" might be more catastrophic than just popping the P/S itself.

NEVER come close to your power rail current limits. The proper rule of thumb is to exceed your rail load by at least 25%; if you have a load of 1A on your +12V rail, the power supply needs to be able to supply 1.25A. This is because, most of the time, manufacturers list the current load during operation and this doesn't reflect any inrush current loads that might happen when the synth is powered up. But even though inrush is only a problem in the first 100 or so msec when a circuit is powered up, that's all it takes for a catastrophic P/S failure. Also, the higher you can spec your P/S, the better, since a power supply under a heavy load is going to have more component issues due to thermal factors than one that's loafing along. A supply that can output 3A per rail or better will last a lot longer under a 1.5A load than one that only outputs 1.6.

EDITED Mar 16th 2020, 01:15

Surman's stuff is brilliant...much of it is on ECM, and he does a lot of workouts with reeds over constant, flowing VCS3 patterns. Another brilliant electric reeds player worth looking into would be Van der Graaf Generator's David Jackson...his use of electronics with sax, plus a lot of extended blowing techniques cribbed from the likes of Rahsaan Roland Kirk, create a sound that can flow from ethereal to sheer brutality at the blink of an eye.

I think you are probably alright for modulation sources - maths, pams and a triple sloth is not much less than I have in my racks at the moment - envelopes or cycling envelope (lfos) are the cornerstone of modulation - but utilities make them go so much further - in interesting ways - for example combining modulation from triple sloth and maths or pams works very well

Modular for video - love it - at least as much as the audio side

it really is a niche within a niche - I have absolutely no idea how many people there are into modular synthesis worldwide - I suspect somewhere in the 10s of thousands, maybe more, into eurorack alone I guess - but I have a reasonable idea of how many people use LZX based video systems - about 1000, maybe a few hundred more (including Vidiots - based on sales of core modules as of a year or so ago- but there is a lot of overlap - people having multiple core modules) and there are maybe a few 100 people extra who have either a the Dave Jones MVIP(?) or Erogenous Tones Structure or BPMC Fluxus 2(?) - which can all be used standalone or with LZX - there are a few other video synths that are standalone and some vintage ones (but these are very few and far between - often 10 or less were made of each)

I often post on instagram - username is the same as here - if you want to check out what I do: https://www.instagram.com/jimhowell1970

Thanks Jim! I'll shoot for Maths next and definitely keep my spending in perspective. As far as Maths goes: between that and Pam's I should be good on envelope generation right? I don't know how much need I have for envelope generators at the moment (seeing as not much in this proposed rack would benefit from non-cycling envelopes), but will I want more in the future or should Maths and Pam's cover me for the moment?

Also, I noticed you have a rack for video. How do you (or anyone else) like modular for video work? Seems like a deep and seldom explored cave.

its related to the 1.6A -12v and 900mA 5v - don't ask me how exactly - but that is where the answer lies

there are simple answers to your problem - buy fewer or different modules - buy a different case - buy another case

2HP Tune Quantizer. 2HP. - why? what are you going to quantize? I see Marbles and the outputs from that are already quantized - as are those from the minibrute - don't get unless you can justify this properly (so -2)

Doepfer A-151 Quad sequential Switch. 4 HP. - brilliant module - get

Ladik B-010 Bool2 – logic module. 4 HP.
Doepfer A-118-2 Noise S&H. 4 HP. - replace these 2 with kinks (-4)

Ladik S-186 Trig/Gate Delay. 4 HP. - ok - get

After Late Audio uBurst (Clouds).8 HP. - replace this with a happy nerding FXAid (-4)

Doepfer A-135-2 Quad VCA. 8 HP. - wouldn't be my pick but you will always need more vcas - get

Michigan Synth Works uO_C. 8 HP. - what are you intending to use this for? again think long and hard - do you really need 4 channels of whatever right now ? would a 2nd disitng make more sense in the short term - before the inevitable second case!!!

I've freed 10hp for you - amounts are in brackets at end of lines -maybe more depending on the answer to the ornament and crime questions

If you desperately want clouds - a word of warning - you will probably want 4 channels of attenuators as well for the cv inputs

EDITED Mar 15th 2020, 19:30

I would look at utility modules instead of (or as much as) more modulation sources - I've typed why in multiple answers here, on muffs and on reddit recently - use google too find out why - or find my posts - I'm either JimHowell1970 or Agawell on all eurorack centric sites (reddit/muffs/here) - but I would seriously consider getting Maths - see the illustrated manual (google it) for why

I don't really think that what you've bought is "heinously expensive" though, as that implies overpriced, but definitely not cheap - it's comparable to a decent slightly over mid priced electric guitar - and that still begs the same again (at least) on an amp and effects - and lets face it how many guitarists do yuo know with only 1 guitar and 1 amp etc?

This is due to the very nature of both the market and the manufacturers - the market is tiny so you are never going to get the economies of scale that are possible even with more mainstream musical instrument manufacturers (especially behringer) and really not compared to more mass market items

Most eurorack modules sell in the hundreds - a few sell a thousand, a very few sell multiple thousands - the Lubadh I suspect might sell a thousand, but probably not

The companies that do make them are generally small and based in the first world and most don't seem to outsource manufacture to 3rd world (although I think this is starting to happen more)

Even the economics aside - I estimate I spend at least 1000 hours a year playing with my modular (not including the amount of time I spend on the internet in relation to it) - as a hobby and I spend let's say 50€/week on my hobby (2.5K/year) - it works out at 2.50/hour - which is actually compared to a lot of other hobbies very reasonably priced indeed!!!

Intellijel umidi 3U

Given that the power supply eats 5hp and my planned design also exceeds the power specs by roughly 10 percent, I wonder what it takes to move to some external power solution, giving more power and saving 5hp. Has anyone done that?

Regarding the power specs: The Arturia reads 15V/3A on the frontplate, so that indicates the demand from the powerbrick. However, it´s only specified to deliver 12V/1.6A on the +12V distribution. That´s just half the amps... is this limited by the power module itself or is the distribution board limited to 1.6A ?

EDITED Mar 15th 2020, 14:55

My rack aimed for ambient generative patches has space for 31 more HP modules.
The modules that I want to fill the empty hole with is:
2HP Tune Quantizer. 2HP.
Doepfer A-151 Quad sequential Switch. 4 HP.
Ladik B-010 Bool2 – logic module. 4 HP.
Ladik S-186 Trig/Gate Delay. 4 HP.
Doepfer A-118-2 Noise S&H. 4 HP.
After Late Audio uBurst (Clouds).8 HP.
Doepfer A-135-2 Quad VCA. 8 HP.
Michigan Synth Works uO_C. 8 HP.
? ? ? ? ? ? ? ? ?

But they cover 42 HP :-(

Please help me with which of them I shall choose.

yes, i´m getting the point about a bigger case, i changed the case
for a Doepfer A-100LC3 which is a little bigger.
But i really don´t want to get too much stuff at the beginning.
But again, thanks guys for all your modules-tips and help.

Hi MG,
I recently dipped my toes into modular synthesis and I'm looking for some professional advice before I go too wild. It'll be important to note that I'm coming from a background in tape manipulation and 4-channel sound out of Max/MSP and I'm trying to replicate some of those characteristics in a rack. Now, I know some want to ask me: why not keep using Max? But, come on! You know why. You and I both get that same buzz when we get a new module in the mail.

Keep in mind, I'm not a musician, not trying to be one, and not trying to make music. I'm just trying to manipulate tape sound spatially using modular. So, don't be alarmed that the only dedicated audio source in this rack is the Instruo (I've done that on purpose).

Pictured above is a long-term wishlist. I already have Pam's, Sloths, Tangle Quartet, Lubadh, and XOH as a small, yet heinously expensive, start. The idea is to use the Lubadh as the only source of audio and to run it through a Sloths/Tides modulated x-pan and then a Sloths/Tides modulated ADDAC to move sound very slowly in a 4-channel environment. All the other goodies in the rack could provide modulation for the Mimeophone, the Lubadh itself, and a future stereo phaser of some kind (the Modcan Dual Phaser's price is a little bananas, alternatives anyone?).

Needless to say, I have a few questions. Do I have redundancies? Gaping holes? Could I be doing anything cheaper? Based on this rack, where are my gaps in knowledge? Also, I know that Maths and Cold Mac are both crazy deep. Is both overkill? I know maths is semi-standard but that surveillance mode on Cold Mac is pretty cool right? Tell me I'm dead wrong and let's keep that cost down! Also, any recommendations for crazy stuff? I was looking at the ADDAC300 to suck power from the Xpan and make it go nuts and that ERD unit that lights incense because cool reasons. Let's bring that cost right back up!

I've been creeping around these boards for a bit now and I know on everyone's first rack they ask about redundancies, gaping holes, and price. All great questions! With that in mind my biggest question is (admittedly my most obnoxious): What other questions should I be asking myself and you guys?

I'm psyched and nervous to be posting, but definitely more psyched than nervous to be hearing from people! Thanks any/everyone!

-nm

You need a MN Mineophon :>

EDITED Mar 15th 2020, 02:55

Yes, you’re right, 60hp everything. Thank you so much for taking the time to give that comprehensive answer! That’s really helpful. I don’t know who John Surman is, I’ll check it out.

That's great, thanks so much for taking the time for the clarification. I will definitely check out starting with a Mantis case and a Marbles. And I'm glad I joined this website.

I'm presuming that these are all 60 hp Moog skiffs, and you're using the existing ones that came with the DFAM and M32.

I wouldn't make the third one yet another voice. Instead, consider what's in the two Moog patchables: sequencers, VCOs, VCFs, etc. Now...what are those synths lacking?

First up, some clock modulation could get those sequencers to behave in some rather complex ways. Logic could be useful here, too.

Another thing the 60 hp Moogs lack is a comprehensive selection of modulation sources. Adding a Batumi and a Zadar here would blow that limitation away, though...and do so in only 26 hp, provided you include their expanders.

Now, that Chronoblob2...good choice, but you'll want to exploit its feedback path insert. Some simple bandpass filtering in there could be fun to get the delays to degrade in an unexpected manner...or a mono reverb, perhaps, to turn the delays into a blurry ambient wash. In either case, using something 4 hp and smaller should be fine due to the case limitations.

Mixing...mmm, nah. The Moogs output line level, so you're probably better off with an outboard mixer that can also handle your sax pickup. By putting all of the level controls on the same mixer, you can get a better handle on your balance between the synths and your horn, plus you can then globally process the overall mix with ease.

I'm also presuming you're aiming at something of a John Surman sort of thing here, btw...not exactly easy to replicate, since Surman used EMS synths as a rule, and those have a very different sonic character than Moog stuff.

I’m interested in something very immediate to improvise with and flexible for some psychedelic beats and melodies and drones. I planning to make sound environments that are quick to tweak and change while i play saxophone over it. Any advice from more knowledgeable community members?

Klavis Twin Waves please!

I second all of the advice given above. I'm pretty new to this too, but the guidance to plan for another/bigger case and add some utilities and modulation sources has been invaluable to my experience. I've got the X1L3 Shard and a Schlappi Engineering Interstellar Radio, and the possibilities become so much greater with a system expanded with basic plumbing and modulation. For a case this small, you might find some use for a Pique (micro Mutable Instruments Peaks clone), which offers two LFOs, envelope generators, drum sounds, randomness, etc. in 4hp.
Have fun and good luck!

Expert Sleepers Little Mikey - phantom power and combination xlr/trs input - MSRP: UK £129, US $160 (exclusive of sales tax), EU €126 (exclusive of VAT)

I'm glad you appreciated my response, but really everyone else has been trying to help you too!

so don't be confused or unhappy - relax and enjoy people trying to help you - even if you have to answer a question or 2 along the way!!!

it's quite a common thing to ask questions in reply to questions, when you think the question is too broad and needs to be more focused more to give a good reply - the more information the better - "this is exactly what I have now", "this is what I want to do" , "this is the genre(s) of music I am interested in" and "this is why I want to use a modular effects rack over vsts" are all really useful bits of pertinent information for focusing a reply

I can see why you might take exception to - what are you intending to use for modulation?, but really it's just the same as you need some modulation, think about it and come back - this is the internet - it's never (fingers-crossed) going to be the most polite place in the world - but it can be one of the most efficient (and for that matter one of the least efficient) ways of getting information there is

tbh - the first line of my reply is actually meant to do a similar thing - make you think - is this really for me? in that a lot of people think that building a cool modular effects rack will be a cheaper way into modular synthesis - when really it's not - or that it's a way to get great effects - which maybe it is, but only if you understand the fundamentals of modular synthesis and realise that if you take out the instrument interface and replace it with a vco - you have a modular synthesizer

the rest of the reply I gave was pretty much the reply I always give - because mostly that's what's missing from generic starter racks - utility and modulation - and those are good modules that I have had since I started and that I use constantly 3 years later - and I spent at least 18 months - 2 years researching before I bought a single module

but it only gives you what and not why - answering the questions is a better route to gaining that knowledge - or replying to my response asking why you need modulation and utilities, for example, rather than just blindly buying whatever modules someone on the internet says you should!!!

Yeah - you do indeed have to start somewhere

you know I think those cases (anything under 6u /84hp to be honest) should come with a warning - "buyer beware not suitable for a starter case, unless you want to buy another one in a few months" - imo great for a dedicated and focused single purpose once you know what you are doing - ie to house a few controllers or a mixer or whatever

but anyway good luck and once again enjoy

Link works - thanks
There's quite a bit of duplication there

I would either get Marbles or Turing Machine/Clock Divider/Wobblebug/Quantizer - why? because Marbles does all these things - the only exception being processing audio - but you can use the random from Marbles to modulate the audio source instead - or if you desperately want to explore randomizing audio then get a wobblebug as well, later - so I'd get Marbles

I like to use a combination of Kinks, Links and Branches as utilties to expand Marbles (If you get one - get Kinks - you can get 7 related modulation outputs from a single source, with some self patching and stackcables) so I would get those next

I'd also add a Disting mk4 - as it's a great learning module, will show you the way to further modules, and will always be there to fill in when needed

I'd get a quad cascading vca instead of the matrix mixer (I'd get a matrix mixer too they are great - but in the future) - you may find very quickly you want a second one of these as they are so useful, for cv as well as audio - my pick here is Veils - it's simple to use and has a lot of gain available if needed

Then I would get Rings and Warps (and probably at least try parasites firmware on warps)

Then I would stop and see what else I needed - maybe follow disting - maybe a wogglebug NB if you want to use this for processing audio - you can't send the audio output through a quantizer to get it in tune (that's not how quantizers work) - it will just be what it is

Generative music normally requires a lot of plumbing (utility modules) and modulation - so you will probably want more of these - sequential switches, mixers, function generators, lfos, evelopes, lpgs, etc etc - for slowly evolving chaotic modulation the nlc triple sloth is hard to beat

As for cases - get a bigger one than you think you need - the tiptop Mantis is a great size and is usually the most economical case ($/hp) at the moment - behringer may change this with their larger case which is due soon, but the power may not be so good

Thanks! And thanks Lugia for the tips! I‘ve heard of Moffenzeef, awesome stuff.
I ordered this case
https://www.perfectcircuit.com/4ms-pod-60hp-powered.html
and you are probably right, that it soon will be too small. Argh, we will see. Gotta start somewhere.

Cool man - have fun - which case did you order?

Jim, i just ordered the modules with the Bastl and a bigger case ;-)
Thanks, Bro!

I am seriously confused with you all. How is this a dialogue from your side? I asked very simple few questions and response was questions about something I did not ask. Thus far big thanks to Jim for his opinion. I’m saddened that the rest of you chose to see something that wasn’t there.

I like the cut of your jib - you're quite right about the Bit One. A great-looking synth too, Darth Vader would have one for those quiet down moments, although he's not keen on vocoders.

I'll be building this rack out over summer, learning more as I go and dipping in and out of the forums here as I go.

EDITED Mar 14th 2020, 13:47

no that's a jpeg - you need to copy and paste the url

EDITED Mar 13th 2020, 22:45

Answering questions with questions is considered impolite.
-- vilmycil

Diatribe over dialogue, hm? I ain't touching this with a 10-foot pole...

I'll second a look at the Schlappi stuff...they've put out a line of truly ill-behaved, nasty modules that specialize in spectacular sonic wreckage. Another couple that might be worth your attention: Moffenzeef and Noise Reap.

Seriously...go BIGGER. I know the idea of some little box that obliterates hearing is sort of a harsh noise scene "thing," but if you take this on up into a more typical case size, then you can start to assemble something of a harsh noise "ensemble" under your direct control. In "I Dream of Wires" (probably the long edition) there's an incredible extended bit of Keith Fullerton Whitman doing a Eurorack set using only a pink-noise generator as the initial source and a LOT of parallel processing chains to screw with it. Definitely worth a look...

EDITED Mar 13th 2020, 22:33

Don't even THINK of dumping that Bit One, btw...those last analog Crumars have an awesome sound to them.

Yeah, I thought of trying to incorporate an octave switch, but the space just wouldn't materialize. At the same time, though, I'm quite used to VCOs with full sweeps, and find them easy enough to work around. In fact, you're more apt to run across interesting detunings without fixed octave offsets, so there's that "happy accident" factor creeping in. Plus, in both cases of VCO groups, I opted to have the Wavefolders act as "mixers" so that detuned combinations can actually do quite a bit more than just have detuning going on. A bit Buchla-esque, I think...