I've been playing/recording music for close to 20 years and am finally ready to make the plunge into modular.
The core of the system is the idea of having two stubby condensor mics on either side of the case that connect (almost) directly to the Little Mikey modules that each provide audio to the Lubadh in a neat stereo fashion. I could plug almost directly, just using a stubby adapter, two audio technica at4022 mics. Alternatively (or additionally) I could bring in signal from a guitar, the SP404, a synth, or whatever else into the stereo-in on the AA.1 module or the Little Mikey. From there, the Lubadh provides tape-like looping which can be shaped by the Three Sisters filter, then sent to the Beads module for color. Beads' scale is controlled by Scales and timing is controlled by Pamela's. Pam will also control the timing on the loops from Lubadh, as well as plenty of knob turning by me, I'm sure.
I don't know if the Scales module is really necessary or if it's redundant since I also have Scales. My undestanding is that Pamela's can do much of what Scales does, but I haven't quite worked that out in looking into the module. It seems like Scales will be more immediate with Pamela's keeping everything well in sync.
If Scales is unnecessary, I'm not sure what to replace it with. The whole thesis on this is that outside audio sources provide the audio. I could see having a drum machine focused on basic percussion to give some sense of rhythm,or even more inputs/mixers. I'm not really sure where to go there.
The future plan is to also build a rack that is more of an audio source and could be used in conjunction with this...so I understand that eventually I'll want some oscillators, and they will come, but on a separate rack.
I've been interested in doing more field recordings and finding a way to capture music more 'on the fly.'
With $10k or so in outside sound sources accumulated through the last 20 years in synths, guitars, etc. I want the focus of this to be using my existing gear in unique ways.
All of this will go into a Nifty 84hp powered case, so I should be able to come midi-in and get my clock from there.
Again, I'm a newbie to this world. The most modular instrument I have is my Moog Grandmother, which I think will play nicely with this. The music from this would be more in the realm of ambient with a health dose of taking in sound from the outside. My yard backs up to a state park and I have a deck with the ability to run power to it that I can use to capture some interesting sounds.
That's an interesting piece of music. He, he, I feel the video is "darker" than the music. Your track gives me some thrills and could be a good sound track! :-)
By the way... that girl on top of your rack, isn't that the same girl as your "pin up girl" track from the convertible car? ;-)
Nice work and thanks a lot for sharing this with us, kind regards, Garfield.
-- GarfieldModular
Thanks, Garfield, for your feedback!
About that girl… we found her many years ago outside the entrance of a diner and she’s been living with us ever since ☺️ As of late she got appointed to be the guardian angel of my rack ☺️
Thanks again and all the best!
Cheers, G
I am inspired by birth, death and the events inbetween.
I’m sad as well and big fan of WMD modules and have all of their fabulous percussion modules, Metron sequencer and Performance mixer all top notch gear that looks great, sounds incredible and fun to use. Hopefully they come back in the future. The WMD and SSF collaboration produced really cool modules too like Toolbox and Blender.
Besides the above mentioned manufacturers' manuals, those from Erica Synths I like too; sometimes they can be a slightly bit short but on average good explaining manuals.
In the old days Doepfer wasn't too bad either, however for some of their new modules it isn't as good, in my opinion, as it was back in the old days.
Very clear manuals are those of Waldorf, pity though they decided to stop producing Eurorack modules, the very last modules are now on the market, soon it will be sold out, I am afraid.
Perhaps not everyone's cup of tea if it comes to manuals however those from Xaoc Devices I don't mind to read either.
Shakmat Modular manuals are quite all right too. Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
That's indeed real sad and bad news. I never managed to get a WMD module yet, looks like I have to hurry :-(
Then I also heard that Synthesis Technology is going to stop by March 2023 :-( Yet another bad news... and I was barely recovered from the shocking news earlier this year that Mutable Instrument decide to stop their production too...
Let's hope that good times for Eurorack manufacturers will return soon! Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
You are pampering us with an album, great! I am now at track 2 and that has a great start, it glues me to my chair and can't let go :-) I will continue listening after this comment and see what else good stuff you have done there! :-)
Thanks a lot for sharing this with us and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
That's an interesting piece of music. He, he, I feel the video is "darker" than the music. Your track gives me some thrills and could be a good sound track! :-)
By the way... that girl on top of your rack, isn't that the same girl as your "pin up girl" track from the convertible car? ;-)
Nice work and thanks a lot for sharing this with us, kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Thank’s for the advice, let’s go for the mantis.
At the start I wanted to creat a finished case, but yes your are right.
Let’s start with a bigger case, and grow slowly.
Some advice for some modules to start?
-- supernatur
a sound source, a sound modifier, a modulation source, a way to play, a way to listen... maybe a few utility modules to help join everything together nicely...
a sound source - plaits is a common recommendation - there may be some available - otherwise any basic analog vco will be fine - doepfer or the like
a sound modifier - a low pass filter is a good place to start... I particularly like the SEM - or possibly a delay or multi-fx if you get plaits (as it has a built in filter) - so maybe an fx aid (I'd go pro though for this tbh! - so you can see what program you are on easily)
a modulation source - personally I'd get a maths - and download the 'maths illustrated supplement' work through that and try to understand what it's doing, how it's doing it and why, but a lot of people find that overwhelming (complex is just lots of simple!!!) - otherwise something like batumi is good - 4 lfos at once, different waveforms etc etc
a way to play - a sequencer, a midi->cv module etc etc etc
if a sequencer - get the one you like the workflow of best - don't be afraid to get a multi-channel ne especially if you intend to expand to multiple voices in the future - as then you will only need to learn one sequencer and avoid another learning curve in the future - I like the Erica Black Sequencer, but this is very personal... do your research - you will get lots of recommendations ie everyone has a different favourite...
a way to listen - really depends on what else you have and whether you think you need stereo from day 1 - plaits is dual mono, SEM filter is mono, fx aid is stereo... I'd just get a decent quad cascading vca (veils if you can find one) and use that as a mono or stereo output... at least for now...
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
I started in modular a few years ago with small semi modular synths and gradually built up a large 14u system focus on percussion and weird trance type beats. Looking to jam with fellow synth nerds here in northern California. Sad to see great modular synth firms end production like Mutable Instruments, Synthesis Technology and WMD.
The fifth EDU module from Erica Synths that I’ve built, this is their voltage controlled filter,
.A pretty good foundational filter, has some beefy resonance and some good mod inputs. You might use this in your main rig.
And as always with these modules, the manual (which you can download for free ) is superior, a great practical guide to electronics for music.
Thank’s for the advice, let’s go for the mantis.
At the start I wanted to creat a finished case, but yes your are right.
Let’s start with a bigger case, and grow slowly.
As usual with Bastl this is super bang for buck, very decent quality, and good use of precious HP. Beyond that I'm finding some insane tones with very little effort. I'm afraid what I will find when I read the manual ;-)
I'm pretty sure you can use the es8 as a standalone ADAT expander - don't use the usb and connect the ADAT I/O to the ADAT I?O of your Motu... the extra channels will show up as part of the Motu in your DAW
check the manual - it's easily accessible on the ES site!
-- JimHowell1970
you know what i totally forgot it did this because i always have the usb plugged in to mine! But honestly, for use as an ADAT converter from an existing interface i would still probably go for the optx for the full 8x8 channel set...
I'm pretty sure you can use the es8 as a standalone ADAT expander - don't use the usb and connect the ADAT I/O to the ADAT I?O of your Motu... the extra channels will show up as part of the Motu in your DAW
check the manual - it's easily accessible on the ES site!
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
plus 62 hp for Intellijel-format tiles...we'll call those 31 hp, as most tiles are sort of "half a module". 93 + 93 = 186 hp, with me being charitable. But as far as JUST the 3U modules, you've only got 124 hp.
-- Lugia
very charitable, I'd call them 1/3rd of a module - so 20ish hp
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Judging by the size/composition of your rack, I'm guessing you watched this Andrew Huang video.
I was going to try a small rack, too, but what I learned from the folks round here is that Eurorack is a slippery slope, meaning you don't simply stop buying modules. Thus, bigger case is generally better case.
Don't get me wrong, the video is a good video. But the car-size modular behind Andrew is a bit moar realistic than the plate-size one in front of him.
So, when and if you do start, you should probably start with a big(ger) rack, like a Mantis.
Hi,
After seeing lots of videos about modular systems, I'm planning my first
I'm using a beatstep pro as controller.
The choice for a 62hp from intellijel, is because I'm planning multiple little cases as one big case. Next case it would be for drums.
What do you think.¿
-- supernatur
Well, I can't see what you're doing, but I can guarantee you that what you're planning will be expensive and rather pointless. Cases are some of the biggest expense in Eurorack, especially since they come in as an "up-front" cost when you're starting a build. But hey, let's do some math...
So, right now you're talking at least TWO Palette 62s. These go for $299 a pop, so $598 gets you 124 hp of space, plus 62 hp for Intellijel-format tiles...we'll call those 31 hp, as most tiles are sort of "half a module". 93 + 93 = 186 hp, with me being charitable. But as far as JUST the 3U modules, you've only got 124 hp.
Now, around here the Tiptop Mantis is generally considered the best all-around starter case. And they give you 104 x 2 hp for a total of 208 hp...for around $350. Definitely FAR cheaper...and as for power and ergonomics, they're pretty damn good. Plus, if you need 64 hp for a certain module subset...in the Palettes, you're screwed. But in a Mantis, it's easy. Which brings up the next point: small cases are really more suited for "mission-specific" builds...like adding a modulation "sidecar" or some such. And while it IS possible to mash a modular into one, you're going to have to make a lot of compromises that will wind up giving you less while costing more.
The best rule of thumb for case sizes is to whittle down a module complement to your desired result...then double the case size that it calls for. Sounds stupid, but the fact is that there's a buttload of "in between" modules that are the "glue" that makes the rest of the build work, and they're the ones everyone forgets. So, when you remember that there ARE important uses for some attenuverters and the like, they're going to need space because you're going to need them.
Now, as for the drums...this is another rabbit-hole. Yes, you CAN get loads of drum modules. Yes, the BSP HAS trigger sequencing. But this doesn't mean that you MUST do that. Fact is, if you just go out and snag something like Uli's RD-8 or 9 (or 6, even), you could get TWO of those and still not come close to the cost of doing that in modular (and yes, even in a Palette 62!). Nor would the functionality come close in terms of sequencing and integrated functions in those drum machines. By all means, yes, do your master clocking in the modular (Pam's to the rescue!) but DON'T just throw a couple grand at an issue that can be solved for less than $500.
So, yeah...that's without even seeing the build itself. But then, with how you're planning to do that, just the details about the cases alone are sufficient to indicate an impending cash bonfire. And since money works better for buying things than using it for kindling, I strongly suggest a rethink here.
I just published my first EP produced and partly mixed on modular. It has two tracks in which I remember traveling northern Japan, matsuri, taiko, and nature. The next two tracks are a serious reality check of what happened since. You can listen to it on BandCamp. Feedback is welcome! https://arrandan.bandcamp.com/album/early-works-reminiscences-of-japan
@Synth-Cat What's with the alternate panels? Who made them? They are not official, I assume. If not, I suggest making a separate upload, indicating that these are non-official, alternate designs.
Bought this as a PCB + Panel DIY set in 2020. It was claimed to be shipping as the modulargrid listing states being "available".
Have seen no evidence this module has shipped so it probably should be listed as a prototype
Was not delivered nor refunded as of 2022.
Hi,
After seeing lots of videos about modular systems, I'm planning my first
I'm using a beatstep pro as controller.
The choice for a 62hp from intellijel, is because I'm planning multiple little cases as one big case. Next case it would be for drums.
What do you think.¿
Some advice would be appropriate.
Thanks
OK...3 x 104? Done!
Hooo boy...have I lost my mind here? Might look like it...but...
TOP: This is all voicing. And I sort of violated the "all in 3 x 104" rule here, in that I put an external signal input (with envelope follower) in here. The idea there is to add some odd, quasi-random signal into the fray; I prefer a shortwave receiver for that...probably due to too much exposure to Stockhausen rays. Anyway, that's got a little compressor just after it to level the signal out, and then we're into the synth voices.
Each voice consists of a Doepfer A-111-4, a Codex Modulex Veils clone, an Alyseum QMix, and a stereo VCF. Each VCO has its own VCA, then that VCA feeds a QMix channel where it gets manually panned and summed to stereo. The first four feed a Rossum Linneaus, and the second goes into a Make Noise QPAS. These two stereo filters are quite different in character; one is more like a subtractive VCF but with some VERY odd modulation capabilities, and the other is a multimode with all filter outs live. Accordingly, the first block is "lead" and the second is "wash". We'll get back to how that works out in a bit...
MIDDLE: Generative requires some level of "structured" noise signals, and there's little else that's better than the ol' reliable Source of Uncertainty. This gives you various random and psuedorandom signals to route around the build. Then a Ladik Min/Max stores highest and lowest CV values across four CV inputs. So, since that's there, I put in a Joranalogue dual window comparator. That one module can provide SIX gate outputs, all dependent on the CV levels present at each comparator's input. Then a Ladik Derivator follows, firing gates when its inputted CV goes up, down, stays steady, or moves in either direction. That's a lot of gates, you say? Maybe...but then, you can use 'em to turn things on and off in either the modulation or audio paths, so feeding a couple of modulation signals up to those gives you a lot of switching potential. And then, a Tenderfoot Quad Quantizer.
But wait! Doesn't the Pam's in the next row do quantizing? Well, it can...but it's more busy as a clock source here. Instead, the Quad Quantizer is for taking modulation signals and "melodicizing" them. Four LFOs...plus all those gates...gives you four different moving lines, and the Quantizers constrain each to whatever "scale" you prefer for each one.
Then that hugeass Erogenous Tones VC8 is actually your level control for the filter outs above. The Linneaus and some of the various QPAS outputs get routed through this (left is 1-4, right is 5-8) and summed separately by channel. By doing this, one VCA can be lowering a level on one channel while raising the level on the opposite channel, generating some stereo platform motion. After the VC8 is a buffered mult for splitting the L and R outs, and these go to the Dual Delay and Aurora, with a third stereo feed for direct mixer input. The Dual Delay and Aurora have stereo (Veils topology) VCAs which can go either before or after the FX devices, depending on how you want to deal with the effect tails.
BOTTOM: Starts off with the aforementioned Pam's. Then the LFO mayhem starts with a Doepfer A-143-9 for quadrature LFO curves...loads of abuse potential there...then there's a Doepfer A-145-4 Quad LFO for four "free-run" LFO outs. And a...ring modulator? Yep...you can ring modulate low frequency stuff and get weird results, somewhat unpredictable as the slow LFO curves crossmod each other. And as if that wasn't enough LFOs, the 4ms QPLFO gives four more "pingable" LFOs that can range out to as long as 71 MINUTES...which you need to create events that occur VERY slowly across time and which also preferably are nonrepeating due to the timescale involved.
Then we get conventional for a minute with Maths, MISO, and a 3xVCA, which all has the ability to make even more ridiculously-complex modulation curves. Hence that Quad Quantizer...this isn't JUST for controlling envelopes and basic modulation, but it ALSO functions as a stochastic line generator by feeding some of what's coming off of this part of the build and turning that into discrete steps according to whatever "clock" each quantizer is receiving. And lastly, there's a Quadrax/Qx combo for envelopes...or...? Remember, this ALSO outputs pulses on EOR and EOF, which can be routed most anywhere for firing other events.
And finally, the output mixer. This time, I opted to put in a Toppobrillo MiniMix, which is based on a Buchla 200 design but with a few twists...such as two stereo input channels and two channels with autopanners. And the cherry on the cake is right next to it...a Bubblesound Reducer, which is a quartet of synth to line level converters. The idea with those is...well, surprise again, this is intended for a QUAD installation! In the space this fills, you have two stereo outs, with the stereo field crisscrossed via the Reducer. One pair of signals should be "normal", and the other will be "phase inverted"...in a space about 25' square, so that walking through the space causes all sorts of strange cancellations and reinforcements. No one person will experience this in the same way, thanks to that final trick.
As for this being a "performable" synth...it can be, actually. You'd just patch it more conventionally. But in the sort of signal flow I describe above, with the various control signals rolling off of the lower rows, it's intended to really shine in unattended operation. Note also that not everything is automated; some of these modules are intended as "set 'n' forget", like the QMix pannings in the top row, which puts some control back into the user's hands. So, this build, four portable powered speakers on tripods, and two phase-inverting boxes in the signal line to two of them, and you can be good to go in LITERALLY a matter of minutes!
So...what's missing? Well, I would've liked to have put four channels of hall reverb after the MiniMix and before the quad level shift, but it would be just as easy to snag a couple of cheap FX units (like some tc M350s) and put them in the signal paths coming off of the level shifters. But aside of that...nah. Big sequencer, maybe? Nope...this thing "sequences" by itself with a very low probability of repetition. And aside of that...hey, it's got it all sewn up!
EDIT: Also...note the seemingly-ridiculous amount of VCAs here. You might be led to think that that many of them is overkill, but remember: those VCAs are a big part of what makes this "play", since the normal operation for this build is 100% hands off while running. Skimp on VCAs, and you'll have issues getting that to happen!
Two Maths is probably overkill here, given what just ONE can do. And I concur with your observations about the VCAs...there's way too few here for what you've got. And those are sorta linked...
Let's say that, instead of the extra Maths, you replace it with something like a Happy Nerding 3xVCA and a Tiptop MISO. With those two, plus your other modulation sources, you can generate plenty of other modulation "sources". And you get a few hp back as a result...win! That combo, or something pretty similar, is possibly better than a second Maths...less confusional, for one thing. But also, you can come up with some very twisty modulation "composites", depending on how you patch it up. You could also do this with the B. 297 and three or four more linear, DC-coupled VCAs.
One other thing I see an absence of are Erica's MScale modules...if you've got three M32s, being able to use them completely with the Euro setup would be pretty useful, and the MScale handles the negative CV values (which, for the most part, don't exist in Eurorack). Otherwise, it's not a bad build...kinda jumbly, but I suppose there's a purpose to that...?
Gave this a shot also...in this case, it assumes an external sequencer is in use as well as a separate drum machine:
So, what this got turned into is a dedicated synth. The left side is your modulation, right is the voice.
So, this starts with the Arturia P/S since we're dealing with a Rackbrute if the size is any indication. Then a Batumi + Poti gives you four LFOs, a Zadar + Nin with four envelopes, and between those is a dual After Later VCA (Veils topology) and a Frap 321, with those two being useful for altering your "normal" mod sources into other signals.
Next up, there's a Doepfer A-118-2 for sample and hold, noise, and random signals. This gets followed by...count 'em...FOUR VCOs. Two Klavis Twin Waves mkii modules give you wavetable-based sound generation, plus they come with quantizers on the inputs. These sum down through a Codex Modulex Veils clone and then feed into G-Storm's clone of the Korg Delta filters...lowpass and bandpass, using SSM-style circuitry, giving things a nice, retro feel. This is also the same VCF used in the Korg Polysix and Poly-61. The little sliver next to that is a pair of LPGs, which can also be switched into VCA modes, and then it all feeds into a Frequency Central Stasis Leak for stereo tap-tempo delays, reverb, and chorus. And at the right end, an Erica PICO Output handles your stereo output and headphone levels.
Now, if this isn't an Arturia cab after all, then remove the Arturia P/S and put a Bastl Ciao! at the right end. This will then let you mix a second set of signals over the main feed, which alters your ability to use the LPGs, making them more capable as percussives (via the A-118-2's noise output) panned left and right, plus it gives you balanced 1/4" outputs and, yep, it's got a headphone preamp too. Also, pull the current LPG and PICO Out, then swap in a Make Noise LxD. Plus, this swap would allow you to use the top section of the LxD as a VCA and then this passes on through to the lower section which can function as the LPG itself. Loads of possible swaps...
Pair this up with a Beatstep Pro, and you'll have a potent two-voice (yep...doable!) paraphonic, or stereo gated synth. Just remember to have some inline patching widgets handy, as the build is way too small for mults.
Many beginners post their racks and wonder if they are suitable for ambient generative patches. Most of the time the answer is NO with patient explanations from guys like Lugia, GarfieldModular and JimHowell.
I think it would be very valuable if you and others designed proposals for generative racks as simple and basic as possible. Hopefully no bigger than 3x104 HP.
Which module manufacturers have the best manuals?
My impression is that the manuals are often far too concentrated and difficult for beginners like me.
Although I do not have so many modules, I have downloaded and read several manuals from different manufacturers.
Some that I like are those from Mutable Instruments and Doepfer.
I'm having trouble finding info on that specific model, but yes, if it supports ADAT then yes that's pretty much it - you'd just hook up the optical cable and use the extra channels. Do note that ADAT and S/PDIF use the same physical connector but are not actually compatible protocols, so be sure which you've got on the MOTU!
the ES-8's ADAT ports are additional channels of the ES-8. If you just want more eurorack jacks from an existing interface with ADAT ports you probably want something more like https://boredbrainmusic.com/product/optx/ and/or the ES-3/6
hey guys,
I'm thinking of buying an ES-8 because it looks like a really useful module for interfacing with Ableton & MaxMSP. I have a Motu Ultralite mk3 and was wondering if anyone has any experience with using the two at the same time.
It says on the website you can use the ES-8 with another interface via ADAT, but I've never used ADAT and also have no idea what that would look like (for example, I can only select one interface/driver in Ableton or MaxMSP, so how does it recognize the second interface...?)
best,
Let's try to make it work. You'll need small fingers.
I kept the modules you already have, and the Nerdseq -- if you want a nerdseq nothing else will do.
The NerdSeq is the brains of the whole affair; expect to use every output to modulate something.
I had 2hp left over at the end so I stuck a hi-hat in here... a hi-hat is always useful.... and here the cables don't get the way too much.
Since you have a lot modulation from the NS, I replaced the TT Kick and Snare with BIA. It can do both jobs at the same time, and it is more fun. Added a Dual Attenuverter to give some hands on control of the modulation going into the BIA.
Added a filter to go with the CEM VCO; any 4hp filter will do, but the MS-22 seems cool.
Added Skis - use one envelope and one VCA with the CEM oscillator, one Envelope with the filter, and the other VCA on the FX send (more later) of the BIA, so you can sequence how when BIA gets sent to effects.
I left Rings as it was.
Finally the mixer section.
the tiny ph Modular mixer is your FX sub mix : mult an output from each voice into here; this goes into ....
the FX Aid XL gives you lots of cool effects and lots of modulation of them; I reckon creative FX use is the key to having fun with this case and making interesting sounds. I don't have an FX Aid but I want one!
The main mix is the Erica Drum mixer. It gives you enough (stereo) channels but only one is pannable -- loads of other options.
Anyway, there's one idea. I think this would be flexible enough to do something listenable, but limited enough to make it fun to find the solutions. It really does all hang on how much you like fiddling with the NerdSeq. Personally I would do something else : probably a lot more basic modulators in the rack, and a a beat step pro for the sequencing.
-ONE TIP TOP, saca su audio para un filtro, que le hará modulaciones.
MALEKKO:
malekko block envía modulación a estos 8 objetivos:
-4cv para: dfam, plonk, bajo, plato2 (que será el pico drums2 a semicorcheas)
-1 cv para triger/numero de sample de ONE, version rápida (p.ej. percs en 7x4)
-1cv para controlar el filtro de ese sample (acorde con ese ritmo)
-1cv para triger/numero de sample de ONE, version lenta (p.ej. para vocales)
-1cv para controlar el filtro de ese sample (más lento, tipo curva LFO, p.ej.)
-Luego voy muteando/desmuteando en malekko, la versión rápida o lenta (puede elegir una u otra) los cables: 2 cables van a parar a la entrada de ONE y 2 cables van a parar a la entrada de Filtro de one.
-Cuando estoy en la versión rápida (tengo muteada la lenta) y los cables envían CV a one y el filtro, para conseguir ese sónido de perc rápido, y su modulación que le corresponde.
-Voy grabando memorias en la malekko, en ellas pongo distintas modulaciones, y sobre todo grabo 2 cv para ONE rápido (1cv triger/numero de sonido y otro 2v para filtro), y 2v para ONE lento
El mixer (A) saca su fx a Pico DSP y el mixer (B) saca su fx a FX AID
Habrá 4 atenuadores sacando, las 4 señales para external mixer
ENDORPHINS:
-dispara los trigers de:
bombo, plato1, plato2
-dispara los trigers y cv de:
bajo, dfam, plonk (el cv-nota de plonk, sirve para cambiar su sonido)
(los de ONE los dispara el malekko, que tiene funcion mute)
La memoria puede llevar grabada una linea de bajo (p.ej.) (u otras cosas grabadas) y luego si quiero tocar yo, la borro en el momento y grabo una linea de bajo mia
Greetings!
I've started my eurorack journey a couple of years ago and the empty spaces in my case(s) are gradually disappearing. Main goals of this case are having fun (!) and making psydub,ambient and berlin school stuff. I think I've grasped the basics of modular synthesis but I know I've still a lot to learn and discover.
I would love some advice on the best way to complete this system and organizing the already installed modules.
Some details on my current setup:
- this system is paired with 3 Mother 32 semi modular synths
- Hermod is linked to the Roland MC707 Groovebox (707 for tempo sync, drums and poly stuff)
- Top and bottom row are seperate cases, enabling me to use the bottom row as a movable control surface and the top row as a self contained morphagene oriented case (hence the headphone module up there).
- My main voices (beside the 3x M32) are 2x Plaits and 1x rings, giving me a broad range of sounds.
- Beads and typhoon together are a bit of overkill, but I really like the emi-verb mode on typhoon, giving me a nice reverb, leaving the granular tasks for beads.
- One of the mixups is used as a 'send' module to beads or typhoon.
- amount of vca's is rather low (x5) but Plaits and Ripples aready have integrated audio vca's in the module. The Doepfer A-133-2 can be used as an extra dual vca if necessary.
- My µmarbles has lost it's main function due to Hermod, but I can't depart from it (yet), as it was one of my first modules. Now its main use is 'controlled randomness'
- The amount of modulators is imho quite high, but they're used for modulating the M32's as well.
- On my wishlist: a sequential switch and a wavefolder.
Any feedback, suggestions and tips on improvement and layout are most welcome!
I agree with your points. I already have a complex system in a 2x104. Since I have this old 88HP rack collecting dust, I do not want to sell it or to expand my system so I was wondering if I could turn it in a standalone system, out of mere curiosity.
Oh...one thing that's a far better substitute for Ears, fits in the same space, does everything Ears does but which has a MUCH better external audio interface would be Nonlinearcircuits' Envelope Follower. It's sort of misnamed, though...there IS a good envelope follower and gate comparator on it, but it ALSO has the proper preamp circuitry plus a 1/4" input, which really makes it into something closer in capability to the Doepfer A-119.
One of the really neat things about the 258t is that you don't have to go with the internal signal routing. For example, putting a VCA with a slow rise and fall envelope between the second oscillator's output and the FM input on oscillator 1...this "fades" the FM clang in and out over the duration of the note. A frequency shifter in that same insert would also be quite nuts, plus if you feed its signal into a delay before sending it back to the 258t, you'll get this swirling weirdness of rising FM indices if you can set up a feedback path from the delay and back around through the frequency shifter. You can do this with a pitch shifter, too...the Butthole Surfers really got into that sort of whirly psychedelic bad craziness on both "Rembrandt Pussyhorse" and "Locust Abortion Technician".
