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Here's a great video Divkid does on the Joranalogue Contour 1 - Slew Limiter & Function Generator -- that should help!

Can I use this as a level shifter for an Octatrack?
-- mntbighker

Don’t know. Does the Octatrack take instrument level?

I’d think it takes line level.

-- clwilla

Yeah, so the Strymon says it does 18db drop/boost. By the looks of the levels I'd say 12db would be better. 5 volts is obviously way too hot, but 18db down is a bit too low. If line level is 2 volts I wonder what 18db gets you down to.

-- mntbighker

What you want is something like the Intellijel Audio Interface II. Stereo line in and out. You can use it as a send return for line level gear, or to use your synth as an effect for something in your DAW. That’s a 10hp module.

You can also use the Joranalogue Receive 2 and Transmit 2, which will get you studio quality I/O that can handle anything from mic level to line level in and out.

Also, instrument level is 1-1.736v.

EDITED Aug 13th 2021, 22:22

Can I use this as a level shifter for an Octatrack?
-- mntbighker

Don’t know. Does the Octatrack take instrument level?

I’d think it takes line level.

-- clwilla

Yeah, so the Strymon says it does 18db drop/boost. By the looks of the levels I'd say 12db would be better. 5 volts is obviously way too hot, but 18db down is a bit too low. If line level is 2 volts I wonder what 18db gets you down to.

Two things for me:
1. How do you plan on monitoring the outputs of this skiff? Maybe you're using an audio interface or something?
2. The Resonant Equalizer is huge at 18HP. You could add other modules that might be more useful in its place: an effects processor, a dedicated sequencer, a multifunction module like a Disting, etc.

If you're using a Mac you can aggregate audio interfaces. Simply put, you can connect multiple audio interfaces to your Mac.

On PC, Windows only likes to have ONE audio interface. There are workarounds here and there. But this is it.

The ES-8 acts as an audio interface. So if you're using your actual audio interface to control your monitors or service other gear, you're now out of luck unless you can connect everything up to your ES-8.

With a DC coupled audio interface with MULTIPLE OUTPUTS, you can use spare outputs to drive your modular synth gear and use the others for normal audio. The issue you'll run into with the audio interface is the range of voltages that it can reproduce.

Another option is to use a MIDI to CV interface like an FH2 that acts as a MIDI interface. Or a MIDI to CV converter which simply takes 5pin or TRS MIDI and converts that to CV.

A slew limiter takes an input signal and follows it, but at a delayed rate.

Square waves are excellent for showing what a slew limiter does. Visualize a really slow square wave that's two seconds long and 8volts... at the beginning it begins its positive cycle to +8volts and in the middle it dips down to -8volts. It's a nice long square wave.

Now for whatever reason, you don't want an actual square wave. Maybe its abrupt nature doesn't work for your needs. You need something that slopes. Enter slew limiter.

You can set the slew limiter to follow the square wave, but take time to get to the +8volt peak than its natural instant peak. The same can be said for the negative cycle. So the output looks more like a trapezoid than a square.

Slew generators tend to fall into two major categories. You have slew limiters that apply the same slope to both the positive and negative slope. You also have slew limiter that can act independently on the positive and negative slope.

Maths is a popular module that can be used as a dual slew limiter. It has many other functions. Plugging a signal into the input rather than trigger will get Maths to act as a slew limiter.

As far as usage. They can be applied anywhere you want to take a source signal and smooth out any changes in the signal. There's some blur between envelope generator and slew limiters. But an envelope generator is designed take a trigger (square wave) and act in accordance to its duration. If you're dealing with ONE trigger than the functionality will probably overlap. If you're dealing with a series of changes that never return to zero volts. The EG won't track properly.

EDITED Aug 13th 2021, 17:23

EDIT: I've been looking at variations of a VCO/VCF filter in 6HP and this combo seems to check my list:

• 2HP sine VCO: https://www.modulargrid.net/e/2hp-vco
• WMD 4HP filter with wavefolder: https://www.modulargrid.net/e/wmd-c4rbn

I've updated the rack and this post is now a "please roast my rack" post 😊

Hey 👋

I'm leaving my home town for a (hopefully long) trip across Europe. As I was saying good bye to my modular system, the idea of putting up a small system to take away started to grow in me and I came up with something I would like to show you.

I have 3 constraints that guided my choice:
- Use a 4Ms Pod 64X cause it looks small enough and sturdy
- Try to use modules you have already (JF, Mangrove and Resonant Equalizer)
- Only add modules that are easy to find (I'm leaving in a month)

I'm not good at patching mentally (which makes planning a rack super hard haha) but the idea is to use Just Friends as a clock + source of modulation (ASR envelopes to VCA, LFOs to O&C quantiser, etc.) and O&C as a melodic sequencer and quantiser. I would use the 2HP loop to pre-record drones and multiple layers (I was going for the W/ initially but it's not available anywhere and I've never been fully convinced of the module). I chose 2 oscillators that should work great in pair: the mangrove is my favourite oscillator and I felt like almost any 6HP secondary oscillator would do it. But more on that second osc later.

I'm curious what you guys think of putting a REQ there. Obviously it's really big but it may be my favourite module and I don't know how to make music without it. I think it would be super helpful to create drones and I really need a sort of mixer. If you think of an alternative, what would it be?

Later on, I've found this video online:

and it should give you a good idea of what I'm trying to achieve. But what really bugs me is how central the filter is in his piece and I don't thin the EQ would be as effective there. From this came a questioning on wether I should keep the second oscillator (currently an Instruo Ts-L although it's super expensive and I don't "love" it, but it could be Godspeed+ or a Dixie II or an MCO) or replace it with a filter (I was thinking of a µVCF because of its sine wave).

Of course, I truly want both and I've started to look at 80HP skiffs, but this is not the answer I'm looking for.
Anyway, feedback greatly appreciated.

Thanks!

EDITED Aug 13th 2021, 10:25

I have actually the Befaco Out v3 but could not find anything about it being isolated. But maybe the reason is also that I am not very well read when it comes such things. Would be great if someone could confirm. Because that would save me another 2hp vs. the WMD Pro Output.

Again big thanks to everyone for all the great content and feedback.

Three very simple use cases off the top of my head:

1) Sample and hold => slew => control CV

Rather than have an immediate jump when the sample and hold is triggered you will get a descent or ascent to the new value over your specified duration.

2) Bass drum => slew => inverter => compressor sidechain

The slew generator here will function as an "envelope follower" for the bass drum. When you invert that and pipe it into your compressor's sidechain input the compressor will make everything running through it quieter allowing your bassdrum (mixed elsewhere I think?) to boom in the mix.

3) Sequencer 1v/oct => slew => oscillator

You can use a slew generator here to create a portamento affect. Some slew generators have different values for up vs down, so you could have your portamento only appear as notes go up or alternatively if they go down, you could have different slew lengths up vs down, or you could dynamically gate and vary the slew length over time to have your portamento constantly changing.

There's way more possibilities than these three, but they're some simple examples I could think of.

I don't have one at this time, but I'd like to know about their applications and uses. Where is a slew generator more useful than an envelope generator? How do people use them in ways that are useful and non-replicable via other ADSR/LFO/EG type modules? Thanks.

FedEx is the worst (UPS close behind). They lie about delivery times, they don't provide notifications as requested half the time, they don't honour the signature requirement. I pretty much have to spend two days sitting within sight of the front window to spot them. (Packages have been known to disappear in my nabe.)

Right now, I have a splitting headache.

I have a splitting headache because I ordered some gear from the retailing juggernaut that is Sweetwater, and since it qualified for overnight via FedEx Ground, I went for that, then sat back the next day for this to show up.

Did it? No. Instead, what happened to mine and probably a bunch of others' orders is that they went to a suburb of Indianapolis...and stopped there for about 18 hours for what I was told was a snag due to "staffing issues". OK...fine, I've done this dance with FedEx's clown show before, so sit back, wait, and then tomorrow (ie: today)...

Nothing. Again. OK, check the app on the phone...and it arrived in Champaign, left Champaign, went to Champaign again, all early in the AM...and as of right now, this "overnight" shipment is coming up on Day #4.

Oh, HELL no! OK, so call FedEx AGAIN, punch through their customer deflection phone system AGAIN, and let's see what's causing this. The answers were appalling...apparently this was the package moving from the terminal to the local office, but this massive distance was simply a move from one part of their terminal to another part of that same terminal. Yes, scanning the package this way might make it appear that the package was on its way...save that that 'way' is about 150 yards.

I demanded answers at this point. S**t ain't funny. So I got connected to a higher-up in their customer mollification department, and they promised to "get this sorted out", and they'd call back in a half-hour.

Two hours later...the phone rings. And it's not the previous person, but someone at the Champaign terminal who was VERY hostile and combative, to say nothing of being a helluva insult-slinger. They suggested I come over and get the box. I suggested that maybe you need to do your effin' job and bring the box over like you're supposed to. Call ended shortly after that in an avalanche of four-letter words on BOTH ends! Call FedEx AGAIN, navigate the customer-deflector AGAIN...then I get told that "that package wasn't an overnight". Oh? Hmmm...Sweetwater.com, check this, that...nope, that assertion is 100% BS. Either that, or you need to see what THEIR website says about this "free overnight" shipping gobbledygook.

So...call Sweetwater, where this all started. They wanted me to, actually, as they were watching how this got dealt with by FedEx (which goes quite a way to my deduction that there were A LOT of Sweetwater shipments in that trailer that got stuck in Indy) because THEY have been pissed at FedEx since FedEx dropped their delivery guarantees which apparently has led to a bunch of lackadaisical behavior at that "When it absolutely, positively has to be there overnight" carrier.

I should note that I had Sweetwater change my shipment info around this point, leaving a note on my account that Sweetwater "absolutely, positively" NEVER ship me anything via FedEx Ground ever again, period.

Now, for those of you reading this who don't know the geography here, Champaign and Ft. Wayne, Indiana are only about 3-4 hours apart. By car. At this point, I could've gone over to Sweetwater several times, gotten a bit of the gear each time, and then by the time I'd reassembled it all we would be at...well, about NOW, actually.

So the lesson is: if you're ordering from Sweetwater and you're in the geographic range for FedEx Ground "overnight"...well, don't. Have them ship your stuff via UPS, USPS, ANYthing but FedEx Ground if you need it ASAP. Or if you need it at all, for that matter, if you value your gear AND your sanity!

Hmmm...one more that's a "sorta-filter": https://www.modulargrid.net/e/wmd-sclpl

Stereo resonant EQ, sort of akin to the one you find in many Serge builds, but with the additional insanity of having morphing capabilities from setting to setting. Small and dangerous!
-- Lugia

That's one powerful tool. Amazing!

Hmmm...one more that's a "sorta-filter": https://www.modulargrid.net/e/wmd-sclpl

Stereo resonant EQ, sort of akin to the one you find in many Serge builds, but with the additional insanity of having morphing capabilities from setting to setting. Small and dangerous!

Would this work? Morley MHE 2-channel Stereo Hum Eliminator

EDIT: They're proving difficult to find. If someone was committed to avoid putting an output module in their main case, I suppose they could bring along a tiny separate case with an isolated output module and maybe a few other utilities.
-- CardiacTasty

Directly from Sweetwater's listing for this:

"Note: The Morley Hum Eliminator isn’t intended for use with mic- and instrument-level signals or powered speaker lines."

So, no, it won't work unless you stepped the levels down to line-level before hitting it. Given that, I'd say just go with a stereo balanced-out module in the cab, because a stereo attenuator module would take up about the same space.

@Ronin1973 Do you have any output modules you would suggest that have a pair of built in isolation transformers?

EDIT: I see three at the moment that seem to qualify and also have a small profile:
- Happy Nerding's Isolater
- Joranalogue Audio Design's Transmit 2
- WMD's Pro Output

-- CardiacTasty

A couple of others that work nicely AND which have parallel stereo mixing capability (great for FX returns) would be Bastl's Ciao! (5 hp) and Happy Nerding's awesome OUT (6 hp). Both of these have some interesting routing capabilities that allow you to do a few more things there than just level step-down and isolation, and both also give you an extra headphone pre.

EDITED Aug 13th 2021, 01:06

My fave? Tiptop's Forbidden Planet, but that's because I owned an actual Steiner-Parker Synthacon for a number of years and came to LOVE that yowling, cutting filter. Nothing exactly like that weird topology for generating leads that literally RIP their way through your mix!

MOTU drivers? Yeah, they're out there...check here: https://motu.com/download and you'll see the 8pre under "Audio". Win10 drivers, even!

What I like about them is that, by putting these "obsolete" interfaces back to work, we're working to keep e-waste out of landfills. You'd be shocked at what major studios toss out sometimes; nothing is as satisfying as pulling a few Altec/WE "birdcages" out of a Music Row dumpster!

Can I use this as a level shifter for an Octatrack?
-- mntbighker

Don’t know. Does the Octatrack take instrument level?

I’d think it takes line level.

Hi Synthmage00,

But it actually makes sense what you are asking here, just not sure if this is easy to be implemented...

I was just joking in my previous comment ;-) Kind regards, Garfield.

I am so glad that I am not the owner of this modulargrid.net website when I see feature requests like that

How does the MIDI routing works? ;-)

Hi CardiacTasty,

Don't forget the Intellijel - Audio I/O module, with 10 HP it's still compact though very useful as an audio interface module, it can handle inputs and outputs (both stereo) simultaneously. Then there is Befaco Out v3, very small module, only output (or only input if I am not mistaken). Oh yes and the Bastl Instruments - Ciao! module. Though the Intellijel one might be the best fit from these three.

I haven't mentioned XLR modules since you were asking for compact modules.

Good luck with finding a good audio interface module and kind regards, Garfield.

Well, I got burned out looking at all the filters. Was overwhelmed quite frankly. For me came down to the SSL and Qpas, granted Qpas isn't a filter module in the strict sense of the word. I think for filter power SSL and similar, were all extremely powerful. But I went with the Qpas. I just like the sound design possibilities. Make Noise wanted to make it fun and inviting to experiment. I took the bait. Maybe down the road I'll look at other options. I'm fairly new to eurorack. I have the Wasp, and enjoy it. I like Doepfers filters as they work as advertised and are relatively inexpensive. So it'd be no problems adding some of their filters on the cheap. Thanks to the contributors.

I was looking for a Steppy but found Analogue Haven has Polaris in stock ( DO NOT FOLLOW LINK IF YOU CAN'T RESIST IN STOCK FILTERS)

Can I use this as a level shifter for an Octatrack?
-- mntbighker

I've used it as a level shifter for an MPC, guitar pedals, external synths, and a Mackie 1202VLZ. I've found it very useful.

-- farkas

Thanks man, I'm sticking in in my external 4MS pod that hosts mu ES9 power HOG ;-)

Edit: Aaaannnd... yeah, those levels look way better.

EDITED Aug 12th 2021, 22:25

Can I use this as a level shifter for an Octatrack?
-- mntbighker

I've used it as a level shifter for an MPC, guitar pedals, external synths, and a Mackie 1202VLZ. I've found it very useful.

Intellijel Polaris (On my radar)

-- mog00

Based on what @eexee has mentioned, Polaris probably would be a really good/versatile filter to look into. Good suggestion.

Can I use this as a level shifter for an Octatrack?

Thanks @Ronin1973 for the feedback. The output comment is very helpful and I incorportated the feedback. However, I disagree with the drums, especially since in my planned setup (which will differ to what Lugia suggested) I actually do not have too many drum voices. Also a submixer is not necessary here, since I have the Quadratts and the WMD which has enough inputs. I have Plaits at home, and while it has a very versatile sound you hear that it is Plaits which I do not like too much. Also, for Drums, if I want only samples, I do not need to go into modular. But I think its just a different perspective and I agree that you have a very valid point.

EDITED Aug 12th 2021, 20:29

Thanks for the advice. The Motu choice was a happy accident, used them in the past, and recently bought the 8pre-es before looking at getting into modular, so lucked out with the whole DC thing :)

-- TheSoundGardxn

Another nice thing about those older MOTU interfaces is that most pro audio types these days consider them to be "obsolete", so they turn up for cheap. That makes it relatively easy and definitely inexpensive to slap new I/O in in banks of 8 via either another interface or the ADAT lightpipe. Plus, add an outboard patchbay to the mix, route your I/O through that, and then it becomes a snap to change your CV/gate/trig routings. All you need are 1/4" to whatever's needed for the synth's format cables, and you're set.

-- Lugia

I kept my very old Motu 828 MKII (no drivers anymore) and now I'm glad I did, as yes I was aware I can daisy chain both of them together via ADAT to increase my system by another 8 in/outs. Long way off that but I did have 'future proofing' in mind when deciding on the 8pre-es.

in the middle of your range:

Intellijel Polaris (On my radar)
Mutable Ripples (On my radar, one or the other not both to me)

both solid filters

On the lower price end
Doepher Wasp is on my list (likely before the polaris), there are plenty of others, LPG can be added here as well if that is your jam
Make Noise LxD (I am always finding a use for this)

On the upper end
XAOC Belgrad (In my case currently)
Instruo I-o47 (In my case currently)
SSF Dipole (soon to arrive)

I don’t believe the Doepfer SEM is capable of self oscillation if that is important to you. It’s a very classic sound. Very late-70s/early-80s vibe. Definitely on my shortlist.

Thanks for the recommendations so far. I may need to watch some videos about different filter types to get a sense of what I'm looking for more. I mean obviously I understand LP/HP/BP etc., but when it gets into what the filter is modeled after or circuit types -- all that stuff is over my head.

I always feel like Erica Synths modules won't be worth their price, somehow, but I had their noise generator and I thought the LPF built into that was pretty fantastic -- I only sold it off because that filter had no CV control of any kind.

I generally like the filter on my Moog DFAM and Moog Werkstatt quite well ... nice and rich and acid-y to my ears.

I had a Doepfer multimode filter and found it oddly underwhelming at the time. Never used the Wasp, but have been tempted a few times.

I currently have an SH-VCF by Radical Frequencies. It's listed on Reverb. I like it pretty well, actually, and it seems sorta hard to come by ... the character of the different slope outputs are interesting and the 6db output has a pleasing grainy saturation ... but it's too deep for my skiff and I'm out of room in my main case, and I want to get money towards something with more modes.

I had a Zlob Modular multimode filter, but just didn't dig it that much. Good value for the space it took up, nothing really wrong with it, but I feel like whatever my filter(s) is/are, I should really enjoy using.

Curious about the Doepfer SEM. I'm probably interested in the more dynamic and acid-y type filters, something you can really push as an interesting soundsource, and -- importantly, I'm realizing -- something that has some kind of gain compensation for the volume loss typical of filters.

My budget for new modules isn't what it was, so any recommendations for the $100-300-ish range are of extra value to me, though long term, I'm willing to invest more for a filter that I really love and has a lot of functionality.

EDITED Aug 12th 2021, 18:32

Well stated... agree on all counts.

Would this work? Morley MHE 2-channel Stereo Hum Eliminator

EDIT: They're proving difficult to find. If someone was committed to avoid putting an output module in their main case, I suppose they could bring along a tiny separate case with an isolated output module and maybe a few other utilities.

EDITED Aug 12th 2021, 18:07

I wonder, are there external output modules that have built in isolation? It's hard to justify putting something like this into a small rack when most of the time spent will be practicing in a safe environment. I'll look and report back, feel free to suggest things in the mean time.

I nearly posted something the other week about being confused about Modular mixers, there really isn't one that is suitable to fit all tastes.

Things like:
Lacks enough standard Stereo channels.
The add-on mixers lack Mutes and Pan control.
Takes up too much HP.
Its massively cheaper on Ebay, buy a Mackie, Behringer or Yamaha outboard mixer second hand or even new they can be a good price.

I've pretty much decided for the playing about I do with modular I'm better with small sub-mixers.
There is almost an argument for buying a few Befaco Out v3's as leveled Outs to a desktop Mixer.

I emailed a suggestion to Befaco a bit back, make an STMIX that has Stereo Mutes and Pan control attached, thats what I need/want, and it would make the STMIX a better more functional part when coupled with the Hexmix, and in turn the Hexmix more appealing with its mono panned and EQ'd channels with Stereo effects returns.

My Current mixers are; Befaco STMIX, 2x Doepfer A-138s (for percussion mixing), and a Happy Nerding 4xMix.
There are so many modules that are Stereo, I think I have 6 stereo-capable modules in my rack now and add the outputs of the 2x A-138s's and thats 8x Stereo outs I need before thinking about Mono.

I'll leave this here, in its vaguely confused state :)

Joranalogue, WMD, and Happy Nerding have some isolated output modules. Ladik may make something inexpensive as well, but I haven't checked.

@Ronin1973 Do you have any output modules you would suggest that have a pair of built in isolation transformers?

EDIT: I see three at the moment that seem to qualify and also have a small profile:
- Happy Nerding's Isolater
- Joranalogue Audio Design's Transmit 2
- WMD's Pro Output

EDITED Aug 12th 2021, 17:45

For live performance... less is MORE.
The more connections, the more things to go wrong. K.I.S.S.
You have plenty of percussion modules... then you'll need to mix them with a submixer or all your main mixers channels will be clogged up with them.

For percussion, I would go with a sample playback module that allows for muting of individual tracks within the module. Unless you're focused on bending percussion samples, I would just simplify things by using sample playback. You can always record your own percussion before your live set.

Modules like Braids and Plaits are also popular in live set-ups because they offer a wide range of sounds that can be accessed and tweaked very quickly.

Also, an output module might be tasty... especially one with a pair of built in isolation transformers. You DO NOT want someone messing up and sending gear melting voltage back down your rig's audio path and frying your modules.

Tractor Beam 12 (though has Star Wars logo on it)
VXP1 Voyager Output Expander
Gravity Well

Since I wrote those comments I got an Octatrack. I am using the PM stereo loop to attach the Octatrack. Ultimately I don't think I will stay with this setup. The levels are really wrong. I think the OT needs a dedicated "line level" interface, and I plan to try using my Strymon pedal interface. For Stereo mixing I'm running my stereo sources through my Befaco ST Mix, and into the PM input 7. But as you said, you lose the per voice effects levels that way. You get far less versatility out of your effects modules.

Holy crap, that is one stupendous build. @Lugia, you've outdone yourself.

I just installed one of these a couple of weeks ago to replace the Roland 531 mixer I started with. I just dialed in my first big patch with it and so far I am very happy with it. The comments you made are right in line with everything I read on the ModWiggler thread, so I knew what to expect. My system isn't huge (2x 7Ux104) so I am not hitting serious limitations with stereo channels yet.

I am patching stereo voices into channels 1/2 and 3/4 for example and panning left/right. I imagine that I can also group voices using the mono channel A&B inputs as long as I want to control them similarly. Totally agree that stereo aux would have been great, and I haven't tried using one of the stereo channels as the return yet, but this is a suggested workaround. But I really wanted to just use reverb on the aux and control the amount of effect per voice, and it does that perfectly. OK it'd be better if I could use the stereo reverb but I am satisfied with mono on the effect. CVing the panning controls on the channels gives enough stereo imaging for my taste.

No power gremlins so far with the maxed out Intellijel case it's in. Mute buttons would also be convenient, but I am OK so far using the A/B switch for the channel inputs or just slamming the faders.

If anyone is thinking about this I highly recommend you read the full thread on ModWiggler. It's long but super informative and reveals a ton of use cases with potential issues, workarounds and alternative mixer modules to consider. What I was really impressed with is the active forum participation of WMD and their approach to problem solving. WMD steps right in to resolve issues very quickly and the customer feedback about WMD support is also great.

I'm really glad I pulled the trigger.

Thanks so much @Lugia !

I will have a look at it and think what I want to incorporate. Nevertheless, this gives me tons of ideas. While I kind of desparately want the X0X Drum-Sequencer (I know it has a lot of disadvantages), the Rene/Tempi combo looks interesting. Also the split up into two cases, is actually a great move and will probably be the way to go for me. Thanks for that! Will give an update later once I had enough time to go through everything in detail.

Hi,

There is one available here:
https://reverb.com/fr/item/40737363-blm-grids-mk2-2021-12hp

Directly from Blue lantern.

Cheers

Think I've got that, I'll have to give that a go, thanks

Went nuts:

Oh, holy crap...what all did I do to this build? Well...lessee...

First up, I reset the cases. Since it was clear that the desired cabs were Intellijel format on the one tile row, I simply opted to put an Intellijel 7U up top, then a Palette 104 down below. Not only did this make the build a bit easier, it added a SECOND tile row, plus the Palette utility 1/2U row. Once those were chosen, I could then eliminate the 1/4" I/O tile since the Intellijel cabs have 1/4" jacks (four, actually). The extra row also allowed me to put a pair of the mono send/return modules on the lower tile row, above the WMD mixer...which means you can use some rather complex outboard processing in stereo if you like. Plus you get some extra buffered mults and a couple of precision adders on that 1/2U row on the Palette.

Then I really dug in and tried to shrink some things. First of those were the sequencers...which although the new ones fit into a smaller space, they actually have MORE in the way of features than the Ericas. For example, there's a Rene/Tempi combo on the bottom (flat, so that it'll work better as a mixing/controller row) cab that not only gives you loads of clock modulation, you get six channels of clocking AND the Tempi still connects directly to the Rene, keeping all six of those clock outs free. And the Rene can also double as a manual controller, too. The drum sequencer got switched to WMD's very potent Metron, with sixteen output channels and a whole lot of other tricks behind its little aluminum panel. And THAT move then allowed me to revamp the entire drum section, with solid kick, snare, and hats...and also Delptronics' electro pairing for another several analog percussives (with CV!) AND a 4-channel sampler/sample playback module that also takes SDs to swap out the audio files. But let's go into this thing row by row...

TOP TILE ROW: This thing's got some new CV trickery, so first up is a buffered mult because that just might be useful in this, with the several VCOs and what-not. Next is Intellijel's Noise Tools tile, which has a potential master clock, sample and hold, and slewing. QuadrATT and the VCAs are next, then there's that first Pedal I/O so that you can add a basic mono effect such as flanging, etc.

FIRST ROW: Konstant Labs PWRchekr, because while you can "see" the DC rails in the Palette via its indicators, the 7U doesn't have that amenity in clear view. But now it does. Four LFOs and four EGs next, via the excellent Xaoc Batumi and Zadar, which both have their expanders here. Then the Hel expander gives you more CV ins for the Odessa, making it also quite useful as a chordal pad source. After the Odessa, there's some real fun from LA 67 with two VCOs that offer variable waveforms under CV, using a circuit like that found on the RSF Kobol VCOs. A Veils clone deals with level control/mixing for the VCOs as desired, and note also that you can "break" the mixbus on there so that if you wanted two VCAs for the Odessa and one each for the LA 67 VCOs, that's as easy as plugging in some patchcords. Then the Morgasmatron (good pick!) and the FX Aid XL. This row is basically the "voice" row, with a potential of up to...get this!...SIX separate voices (4 CV ins for the Odessa via the Hel, one each for the LA 67s).

SECOND ROW: This is mainly drums. The Disting is first up, then the Metron. Two Frequency Central modules handle the kick and snare (with some useful CV ins), then the Tiptop 909 hats...and then there's the Delptronics modules. The left one is the "voices" and the right has various CV ins for controlling the circuits in the left. All of these point back toward the fine electro sound of the early Roland stuff...CR-78, TR-606 and 808...that sort of thing. Then, not satisfied with just one sample playback module...now there's FOUR via Squarp's Rample. The drum submixer is by Paratek, giving eight ins with stereo panning over all channels. Then next, there's WMD's stereo take on a resonant EQ, with morphing capabilities...perfect for timbral tampering with the percussion! At the end, another Frequency Central module offers mono-to-stereo capabilities with chorus, tap delay, and reverb.

LOWER TILE ROW: That first thing is derived from Mutable's Peaks, but with some extra potential modulation mayhem. Another QuadrATT next, then another FX unit...this one's the Intellijel tile with some similar capabilities to the FC Stasis Leak in the second 3U row, but this also lets you time the delay from your clock. And then the pair of Pedal I/Os which connect directly to the Palette's 1/4" jacks.

THIRD ROW: Nope, no joystick! But...see that silver and blue thing with the D-sub? That's the module for Monde's RIBBON CONTROLLER! Yeah, baybee...put a big ol' long 9-pin D-sub on that and wade out onto the floor while sending the modular lots of possible craziness. It worked for Keith Emerson, after all. Then there's the Tempi/Rene combo, which you can use all sorts of ways. You can kill the clock and use the Rene as a 16-plate controller, or clock it and get one quantized and one unquantized channel, also with a pair of gate/trig channels. And you can have that AND interfere with it while it runs, too. This is quite different from the earlier Erica sequencer in that you have many more control possibilities with the Rene. After that, I put in the WMD's mute expander (now you have touch-mutes on ALL of those channels) to get some more mileage out of the Performance Mixer. And at the end are your D-sub send/returns.

Now, you could theoretically toss the buffered mult tile (and that 2 hp blank next to it) and replace it with a 10 hp tile of some sort, since the Palette's utility bar has three of those in addition to your adders (from which you can derive some of those extra CVs the Odessa wants with a little DC offset magic). I sort of left that open. But as for the rest of this, it's LIKE your version...but pumped up on lots of 'roids!

As for portability, what I'd suggest is to get over to your local outdoor sports big box and look into some deeper, cube-foamed ATA-type gun cases, sort of like the expensive SKB keyboard ones without as much of that expense. Futz around with the foam, and you should be able to fit BOTH cabs, power bricks, a few pedals, and some patchcables into that one case. You could even get one that's carry-on sized and much of this will STILL fit, although that might necessitate putting the pedals in a separate gigbag. Either way, this should travel very well in something like that...even if you're traveling out of the country and schlepping everything yourself.

EDITED Aug 12th 2021, 06:37