Thanks a lot for your detailed responses! I think I overestimated the capabilities of the SWN. I’ll definitely go back to the drawing board then post here in a bit.
I agree with Lugia,
What you have there with those 4 modules is a way to create notes and gates, letting you play the SWN - which is a beast to use as a normal musical oscillator, going into clouds, which - unless you have some more modulation sources, is going to give you some grain effect and reverb on the stereo signal coming out of SWN, and then Rosie to output it to headphones/line out. This is not a good start to modular synths. You can make some pretty fantastic drones (I have SWN and Clouds), but not much else - without some good external LFOs/Envelopes, A FILTER, and some VCAs that aren't the ones inside SWN. If your starting with modular, and keeping under 34mm deep in 60HP (as an example), start with:
- Two oscillators: Mutable Plaits (for variety) and a Make Noise STO (analog! FM source, second/third voice - as Plaits has two),
- Mutable Ripples (a VCF - that even has a VCA),
- a multi-purpose VCA (mutable Veils - 4 channels, use it as a mixer too - you can never have too many VCAs),
- an envelope generator - Xaoc ZADAR has 4 that can do some LFO-like tasks,
- and Rosie for output
All that would fit in 58HP and has a max depth of 30mm.
You can do something with 60HP, sure - but SWN and Clouds are great textural add-ons to a collection of modules that already covers the basics.
What I gave as an example comes up to $1320 on MG - where your original plan is $1412. And I guarantee you will have a lot more fun with those two oscillators, the VCF and ZADAR. So many patching possibilities, so many modulation and cross modulation sources and destinations, FM, AM... so much versatility there!
I'd even drop Rosie if you don't need headphone outs - and get Make Noise X-Pan - then you can do some wild stereo panning effects.
Cheers,
Jeff
You're going to need more than 6 hp of free space, for starters. What's happened here is that you're trying to cram too much function into too small a case. It might seem cheaper...but when you arrive at a basically-unworkable result like this, you start to see how things get unnecessarily expensive or annoyingly tiny...or both.
If this is still a MG build, scrap it and start over in something that has a more practical amount of room. Things like the Pods really exist to house "orphan" modules alongside other rigs; they're not a nice solution to making a small modular.
If you want to turn your transients to gates, a logic module for each drum sound would be helpful. Once the audio goes above a certain voltage, you'll generate a gate through the logic module... just tap the "or" output. From there you can apply whatever you'd like. Envelope followers were also mentioned. That will generate CV based on the instantaneous amplitude of the signal.
And a third device would work if the solution is to simply open/close a gate: a comparator. These also play nice with logic gates to allow strange polyrhythms and weird timing manipulations. But Ronin's on point when he says...
Honestly, Eurorack isn't the best solution. You'd be better off with a laptop with an 8-in and 8-out interface and software like Ableton. From there you can process, envelope follow, and whatever the heck you want out of your inputs. But using Eurorack is just going to be a cluster with meager results.
Eurorack ain't for everything.
-- Ronin1973
And I agree 100% there. This isn't really the right application for Eurorack, as such. It might make more sense to use an electronic drum kit and process its output mix through a Eurorack system, thereby avoiding the need for the piezos, the extra modules, etc etc etc. But doing this purely in Eurorack will get expensive and unwieldy pretty quickly.
That's not going to work, as such. You can't exactly "amplify" CVs or modulation signals and arrive at a useful result most of the time. What you can do, though, is to use an adder to add a DC offset voltage of a given amount to raise the CV/mod level. But the sort of amplification you're talking about here would probably be pretty useless...and potentially destructive, as an x2 'amplification" of a 10V p2p modulation signal would give you a 20V p2p one, and that's apt to damage circuits that're used to seeing no more than 10V or so at their inputs.
Have a look at the Doepfer A-185-2, vpme.de's T43, or Tiptop's MISO...all of which are useful for modifying CV/mod levels. But the thing that I'm wondering here is that, if Eurorack and the Roland System 100 use the same CV/gate standard, why do the levels need boosting from the Eurorack to the Roland system? Everything should track 1:1 between those two.
Hey, y’all!
I’m building my first rack inside of a 40ms 60hp Pod. I’ve mapped out a few of the modules I’d like to use, and have 6hp of space I’m unsure about.
Modules I’ve planned so far:
Mutable Yarns
4ms Spherical Waveform Navigator
uBurst
MakeNoise Rosie
I’m wondering if there’s anything I’m forgetting to be able to perform this thing. If there isn’t, what kind of module could I throw in there that could give me the ability to modulate things differently, or generally get the most use of the space with the features already available? Maybe some extra effects or a VCA for the Audio Out of the 4ms Spherical Waveform Nav? I thought maybe some utilities, like 2hp Mult, 2hp Mixer, and a 2hp inverter, to be able to modify control voltages from the LFOs, wavetable, & Yarns.
The 60hp Pod is only 34mm deep, so modules such as the Expert Sleepers Dister & 2hp products are not compatible.
Any reccomendations would be greatly appreciated, thank you!
Bump to this topic a couple years later. I would love to see width and height options similar to the way you handle hp and u for modulars. Variable boards that resemble a PedalTrain with 2 rails, 4 rails, or 5 rails, and variable width, but using a generic, royalty-free illustration. If you let me know the image spaces for the 2 ends and the variable space, I'm happy to provide hires images. As I'm sure you are aware, any pedal freaks (or modular geeks) are pretty neurotic, and plywood or blank floor totally kill the vibe . Plus, it is helpful to see how the rails line up for planning your cabling.
This is just a terrible idea from the get-go. To do it right, you're going to need individual mics on each piece of the drum kit. You're going to need a preamp for each mic. You'll probably want a mixer with a minimum of 8 buses to get each drum sound (or stereo pair for overheads) out to your Eurorack. You'll also want a line to Eurorack level module with multiple inputs and outputs... else a bunch of single modules.
Now you have audio going into your Eurorack. If you want to turn your transients to gates, a logic module for each drum sound would be helpful. Once the audio goes above a certain voltage, you'll generate a gate through the logic module... just tap the "or" output. From there you can apply whatever you'd like. Envelope followers were also mentioned. That will generate CV based on the instantaneous amplitude of the signal.
You'll also need a compliment of envelopes, VCAs, or whatever else you're looking to run through.
Honestly, Eurorack isn't the best solution. You'd be better off with a laptop with an 8-in and 8-out interface and software like Ableton. From there you can process, envelope follow, and whatever the heck you want out of your inputs. But using Eurorack is just going to be a cluster with meager results.
Eurorack ain't for everything.
Bought a module from @pawal - everything was as described and international shipping was fast. Many thanks!
Thanks @Lugia,
It’s primary function will be to bolster modulation signals coming from my eurorack and modulating my Roland System 100-101.
That's not enough information. Is the signal in question audio or a CV or modulation signal?
Technically, you don't "play" the VCAs. But what does happen is that you work with the control and/or modulation sources connected to them in order to control either audio or CV/modulation levels. It's sort of like how you also don't "play" a sample and hold...the sample and hold is what "plays" other things instead.
The entire point of the voltage-controlled synthesizer is to put many different electronic music functions under a fairly minimal set of controls, and this goes back to both Buchla's and Moog's original concepts. The idea is that if you press a key (more typical in a Moog system), you can control pitch and duration, but also trigger other circuits such as envelope generators, etc with the same key-press gesture. So, if you wanted to create a neat lead sound with some VCO sync sweeping, a nice rubbery filter sound, and a slowly-building vibrato, you'd connect up the controller's CV output with the VCOs and VCF, then set up a few envelope generators...one to do the VCO2 sweep, one to get the filter contour, and a third for controlling the slow-rise on a linear, DC-coupled VCA that's passing an LFO to VCO1. Oh, and you'd probably also want to mult up the VCF envelope to yet another VCA (exponential in this case) to contour the sound's level. And this is all on one keypress.
And why? Well, prior to the development of this, electronic music was a massive PITA to work with, and Herb Deutsch (on the East coast) and the composers at the San Francisco Tape Music Center (West coast, natch) asked Bob Moog and Don Buchla (respectively) to come up with some sort of solution to simplify and power up these processes through some sort of technological solution. In short, they were trying to get to a point where it was possible to do less for more results, and both cases here were successful. But the thing they were trying to avoid was where you address every...single...frickin'...control...one...at...a...time in order to arrive at a result. So the point of a synthesizer's controls isn't that they're necessarily supposed to be performance controllers, but that when you can bring several aspects of control into play, you have the ability to make adjustments when needed, and let your controller systems do the heavy lifting.
basically I’m looking for a module that behaves exactly like a buffered mult, but amplifies the signal X2 at each output. does anyone know if such a thing exists? (smaller the better.)
yeah to a large extent it is access to knobs - in the case of the veils it's a cascading quad vca - so in a lot of cases I use it as effectively a mixer that has vca on the inputs
but I was really being more generic (ie not just about vcas) - it seems a lot of people want to get more and more, smaller and smaller modules into the same space - I don't find small dense modules fun to use - and the few 2 hp modules that I have with knobs are always sandwiched between 2 larger modules with space around the edges near the knobs on the small modules, I even do the same with disting, as I find the knobs are difficult to get to with a lot of jacks/knobs around it
NP about links and kinks
"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!!!
sound sources < sound modifiers < modulation sources < utilities
Oh for sure, I appreciate that the larger size has upsides, and I've heard many good things about Veils. Out of curiosity, how do you "play" a VCA? Other modules I get, but is it just manually changing the level?
Thanks for Links & Kinks btw, I use those in VCV all the time but forgot about them for this.
Well, the problem with the Ears should be pretty apparent: you're paying for an onboard contact mic that's not useful for the purpose you have in mind here. I also feel that putting a contact mic in a patchpanel is a pretty bad idea unless you can disable it somehow to avoid lots of extraneous clunking and banging around that'll get into your signal path. It might be cool-looking and all...but it's not the right tool.
Basically, you're talking about using this sort of thing: https://reverb.com/item/2274010-2x-piezo-elements-for-drum-triggers-contact-mics-fast-shipping , which is a piezo sensor that can also act as a contact microphone. These need a good bit of amplification to be musically useful along with the other parts of the needed module, namely the envelope follower. My concern is whether the Ears's input preamp is capable of the necessary level of amplification...if it's designed for line-level input signals, it might not be. But both my Dean Markley and John Pearse contact mic/pickups do need that, so I'm basing my observations on those. There are a few that have high outputs (AKG makes one that I've used before to amplify a chalkboard through a Peavey stack via its guitar-level input), but they're not piezos.
And I should note...the next consideration is going to be what you plan to do with the envelope following function, since there's no VCAs here or, for that matter, much else that the envelope follower can interact with. And if you're planning to use this with drums, that consideration is key.
Thanks for your feedback!
I won't be miking the whole kit, but rather one or two drums at a time. It should be said that this wasn't the initial purpose of the rack and it is still not supposed to be solely a drum mangler, but rather a external sound processor for live sound and/or samples. What sparked the idea of using Ears for this purpose was this demo:
However If the contact mic+drum thing doesn't work we'll try something else and save that idea for later and then I will definitely consider getting a Kong!
You're going to be rather short on inputs if the idea here is to contact mic the entire kit. To do this optimally, EVERY drum needs to be fitted with a contact mic, each going to its individual preamp/envelope follower. Doing this with just one...well, if you're trying to create a single percussive effect device like a Syndrum or Clap Trap, that would be fine, but there's no decent way to make this work with a single Ears.
And for that matter, I don't think Ears is the right choice here. Something like Bastl's Kong, which is specifically designed for drum pickups like this and which also manages to cram two of the needed functions into 5 hp would be a far better choice.
A new single from our upcoming album is out now: https://wilderbeats.bandcamp.com/track/ryuichi
Track composed with modular synthesizer and Lyra 8. Hope you like it!
Me and a friend of mine are about to start a new experimental music project. The basic idea is that he’s gonna be playing drums and I'm going to use some contact mics to capture his playing and process it with my very-soon-to-be finished modular. Neither of us really know what we expect this to sound like, which is sort of the point. It will probably be noisy though.
I’m going for a pretty small setup to begin with, limiting myself to 84hp. Obviously this is never gonna be enough, but you gotta start somewhere. The modules in the rack are the ones I currently own, so there’s not a lot of room left. Only 14hp.
So, what do you suggest I fill the gap with?
I know I need an lfo and have had my eyes on the 2hp lfo v2 for some time. But I’m also considering a Peaks, seeing as it can do so many different things, is good value and the controls seem pretty straight forward.
sell;
Plaits 280 , DFAM 650 = 930
found sound
chords v2 469
maths 459
928
re: "veils is quite big for a quad"
saving space is not everything - playability is also inportant - I find larger modules easier to play
"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!!!
sound sources < sound modifiers < modulation sources < utilities
Oh it also doesnt need to interface with VCV Rack, I did look at an ES-8 but I make better stuff with my actual hands than on the computer. What I meant was for playing stuff, I'm fine with that being on the PC with a Keystep.
get a quad vca (the one you have in the rack already seems ok, personally I'd go with veils)
-- JimHowell1970
Veils is big for a quad, I could get a Hexagram and have 6 VCAs for 2hp less. I was looking at the Malekko one which is 8hp, if I needed to squeeze something else in.
don't you want envelope and pitch following and gate extraction?!?
No, otherwise I'd get an Ears or something like that. I'm not looking to use the bass as something to control the system. I know you can set it up so you can do some really cool things, but for the type of stuff I do it's not relevant. Thank you for suggesting that though.
The intrfx has 3 channels, and I only have 4 pedals (2 of which are used together or not at all) so one will do me fine. It can do some fun feedback stuff as well. I'll only be using the bass at home, so permanently using up space for something that I can run outboard didnt seem like the way to go for me.
I'd want to go slowly and learn each module pretty well and how it interacts with other modules first
-- JimHowell1970
That's the plan, planning out a full system makes it easier for me to visualise and aim for something so I don't end up with random components.
I'll look into the Mantis for sure, I chose the mods because of the lower intial cost (about half the price of a Mantis) and because they'd be easier to carry around.
Thanks!
Don't do this. Put the controls on the floor, sure...but NOT the modules!!!
-- Lugia
nothing is going on the floor, pedals go on the desk too.
Marbles using his own internal clock will always generate random voltage even if not patch.
Overview
The purpose of this patch is to apply an alternate mode for the CLK OUT jack when using an External Clock source. Where as by default CLK OUT would simply divide the incoming clock source by even numbers, using the d_STA value in the DIV TYPE sub-menu (in CONFIG), the CLK OUT emits a Gate HIGH at each new Stage of the sequence. Musical interest is created here when stage(s) are given a Pulse Count >1, because in d_STA a Gate HIGH will NOT be sent for those additional pulses on the same Stage. In this way, the CLK OUT can advance a second sequence (in this case a second pitch sequence) but in such a way that the user can manipulate the interaction between the pitches sent by Metropolis and those from another sequencer (in this case the PM Micro Sequence). The initial clock is fed from Circadian Rhythms.
Additional Enveloping, Filtering, different Quantized Scales, Wave Folding, and Mixing are added for sonic interest.
Metropolis Settings:
1. PEnT- (Minor Pentatonic)
2. Frd-F (Forward-fixed Mode)
3. Stages (8 then more/less, to taste)
4. Config->d_STA (default: d_EvE)
5. External Clock
Micro Sequence Settings:
1. Phrygian Mode
2. Forward Direction
Play this first by setting all Pulse Counts to 1 then gradually adding Pulses to different Stages and listening to the different intervals created between Metropolis and Micro Sequence. with High Resonance, additional intervals/chords are created coming from the VCF-74's dual peaks.
What could have improved it?
- In performance, hitting the Reset button on Micro Sequence at the same time as Metropolis is reset to 1 Pulse per Stage (bringing it back to the initial pitch relationships)
Octavian
hi, indeed nice work; perhaps a silly question, i see movement on the marbles but no patching, if yes, how does it work then (i don't know the marbles module ...)
Kind regards, Dirk
Thus far, I think there's only been one synth manufacturer that's released a stompbox case, the Pittsburgh Modular Patch Box. And there is one specific, overriding reason for this:
Do you really want delicate module controls in the same enclosure that you're supposed to be poking at with your shoes? A single misstep can be awfully expensive.
Don't do this. Put the controls on the floor, sure...but NOT the modules!!!
I find myself writing a lot of replies to beginner threads too - mainly on Muffs and Reddit
Most beginners do not even appear capable of reading a post 3 down from the top which has 90% of the answers they need
Most of the issues are about cramming too much functionality in a small rack with little or no utility
or trying to save money with an effects only rack to start with hehehe
In terms of a manual - a quick start - "read this before wasting your money" guide - with links to more in depth coverage may also work
as for how to describe cv I'd go even further back and talk about pressing a key on a keyboard (gate and v/oct) and twiddling a knob, then how that relates to both midi and cv
and I'd add a list of things to list when posting beginners questions - what other gear they have, mixers, outboard, computer, audio interface, other instruments etc etc what sort of music they hope to make etc etc
"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!!!
sound sources < sound modifiers < modulation sources < utilities
I'd get a bigger case
also I'd want full size versions of the MI modules (I have them and they are nice to use - I can imagine anything smaller being a bit fiddly
if's definitely possible you would want more vcas (get a quad cascading one - veils or intellijel are good starter vcas) and attenuators (clouds or derivitive can easily take up 4 on it's own)
focus more on effects/modulation sources and utilities (especially as you already have so many voices outside the rack)
there seems to me to be some overlap between things (do you really need midi in and marbles??) and a few things I'd want missing (mostly utiltities)
I'd also try to work out how you'd use it and in conjunction with your existing semis before buying anything
and when you do buy - only get as little as you can - ie a minimum viable synth - learn it well and then add modules sparingly, learning each modules ins and outs before you get another
NB disting is one of those modules that either you hate (it's too complicated because it has a menu) or find indispensable - only you can tell
"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!!!
sound sources < sound modifiers < modulation sources < utilities
If I had the same requirements
portable
interface with instrument
interface with pedals
interface with computer (vcvrack)
I would do this instead - minimum viable starting synth:
buy a tip top mantis (better hp/$ ratio and still portable)
get a rack mounted instrument interface (either doepfer or befaco)
get a rack mounted pedal interface (or 2) - possibly ALM SBGs, maybe doepfer or addac
get a rack mounted expression pedal interface (or 2) probably addac
get a disting mk4
get an es8 or es9
get mutable instruments links and kinks (a basic utility powerhouse, you will want something like these sooner or later)
get a quad vca (the one you have in the rack already seems ok, personally I'd go with veils)
get one of the effects modules from above - either the morphagene or the mimeophon
why get in the rack interfaces instead of the intrfx:
I just googled it - it seems ok for what it is but you'd probably want 2 or 3 anyway: 1 for bass in, and at least one or 2 for effects pedals and on top of that it didn't appear to have any more functionality than level and format swapping - don't you want envelope and pitch following and gate extraction?!? and using an expression pedal or 2 to control the modular whilst you are playing bass is also useful
after those I'd probably want to get maths, the other make noise effect and maybe a vco next
but, I'd want to go slowly and learn each module pretty well and how it interacts with other modules first and when selecting the next module to buy I'd like to think I'd consider if I have enough utilities to support my new module, and if not what I would need to add and then get it at the same time
"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!!!
sound sources < sound modifiers < modulation sources < utilities
Pedalboard, just for reference: https://www.modulargrid.net/p/pedalboards/view/1030188
Hi! Looking to get into modular stuff, been putting it off for years but some of the more recent Make Noise efforts and some other things have finally pushed me into starting to build a system. This is something that will be built up over a fairly long time, and as such things will probably change along the way, but this is the kind of system I'd be aiming for.
It's designed with the intent of running in 3 separate 4ms pod 48Xs, daisy-chained together, with each row representing an individual pod. The aim is to let me take 1 or 2 pods out with me during the day, without limiting my overall space at home. I'll build/buy a rack for them to sit on like a baby big system.
So with that out of the way, as you can see each row has a main "function" in mind. From the top we've got: modulation (2nd on purchase list), looping/granular stuff (this is going to be what I get first, with an intrfx to interface with my effects pedals and bass), and voices/tone generators for when I want to play 'music' and sequences and stuff (last, a KeyStep and VCV rack does me for now).
Just wondering if I've got the important stuff covered (enough modulation, enough VCAs, etc.) before I start buying things.
Lots of words I know, but any and all feedback is appreciated!
Units I have with user interfaces that I hate (and probably will end up selling):
Expert Sleepers Disting Mk4
Monsoon (Clouds clone)-- Ronin1973
Have a Monsoon myself. Hate it and bought an Original Clouds. I like sliders but
i can't get along with the sliders in the Monsoon. The additional Knobs are a great Idea
but they are too cramped.
The Disting and its "Display"..... I definitely keep mine. I really like the Chorus Effect :-)
The oLED on the micro ornaments and crime doesn't bother me so much. It's pretty straight forward. You do have to learn a couple of key presses to enter different modes. But the main functionality of the module is pretty straight forward. I've had more problems with digital units that do NOT have any sort of screen but instead have a bizarre amount of button pressing and holding with little to no feedback about the changes I'm making.
Units I have with user interfaces that I hate (and probably will end up selling):
Expert Sleepers Disting Mk4
Expert Sleepers FH2
Monsoon (Clouds clone)
Pittsburgh Modular MicroSequencer
Tip Top Audio QuantiZer
All of which have no graphical display except the Disting, which marginally qualifies.
You're under budgeting in what you need to get started. Don't take this the wrong way. But from what I'm looking at you haven't grasped the concept of control voltages yet.
Planning out a rack without understanding how each module interfaces with the system as a whole will mean a lot of money spent in hopes of a functional system with even more money spent once you begin learning how the ecosystem works.
The concept of an ADSR, for example, is pretty common among all synth platforms. But the HOW of getting an ADSR to work in Eurorack is as important as its use.
Can you run me through how you would create a desirable sound in this set-up and control it? Including the patching? If you can't, then you're building your rack blindly and its going to end up costing you more money or disappointing you.
Over the last couple of weeks I had the pleasure to buy from:
@tfunk, @Barksten, @Lamouette, @airfrankenstein and @helloitsmeagain
Very smooth and seamless transactions, friendly communication and fast shipping. All reliable and recommendable folks!
Thanx 2 @Bohler - Easy transaction, quick dispatch, good protective§ box for shipment. Can recommend :-)
Get a bigger case if you can afford it. I wouldn't ditch ErbeVerb as it's a really nice reverb.
You can take a Eurorack level audio signal and patch it directly to your Mackie. But the Mackie has to be able to handle the output level. That will depend on the specs of the Mackie input. You may also have to worry about DC voltage leaking into your audio chain and eating up headroom (you can't hear DC and also it's not good for your speakers). Take the output of one of your oscillators and patch it directly into a Mackie input. Make sure the gain on the Mackie is all the way down. A sine wave is great for this. Can you bring up the level of the Mackie to unity without distorting the sine wave?
If you go with a larger case, severa Eurorack to line level modules are available and might be worth the investment, especially if you're using outboard effects that might have an issue with Eurorack level audio.
Also, the Batumi has a Poti 3HP expander for around $60US. It's worth it as it gives you control of features that are only accessible by moving jumpers on the back of the Batumi.
I'd also look into something like a Befaco dual attenuverting module with offsets, a logic module, and something that does sample & hold + noise. You'll get a lot more out of this rig. I think the Disting can do these features, so you might want to try them out and research their potential within your own rig before buying them.
$0.02.
The part I find most newbies aren't getting is the concept of control voltages (gates, triggers, clocks, CV). In a post-MIDI, post-DAW world this aspect of control is like going back to ancient Latin when everyone is used to speaking French.
The voltage environment is "new" to most people and they don't get it. That's why the unsexy stuff is overlooked. So a primer centered on control voltage management would go a long way to opening eyes. There are a lot of aspects of modular that can't be fully expressed in 10 pages if you're going from soup to nuts.
So Garfield is right that anything written can't be a bible to Eurorack but simply an introduction to the functionality of Eurorack. But I would try to relate it to common entry points like MIDI and soft-synths. I.E.- a MIDI note-on message and breaking down the Eurorack equivalent, MIDI sync vs. clock, CC modulation vs. CV.
Educating people as to WHY they need to worry about CV clocks rather than detailing how they physically work should be the focus.
And for God's sake, why a VCA and attenuverter are necessary utilities.
Hi all. Currently i am trying to revamp my system and this is how it looks like. I have most of the modules except Sisters, uBurst, O_c and Sloths. Asking for the opinion whether this add up is better or not. I am ditching Erbe Verb in this system because of its hp. Also Wogglebug. Or should i get a bigger case...
One technical question can i uses the output of Veils or uBurst and patch it in the outboard mixer (Mackie)?
Thanks.
Hi Diego,
Looks like our messages got crossed, I only saw yours now :-)
Yes you are right of course and a manual is still helpful. I just try to avoid that Lugia puts, initially, too much efforts in it, especially regarding the "TL;DR" effects ;-)
It is also nice to hear from you that it's still a good thing to work on this, thanks a lot for this positive support!
Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Lugia and Ronin,
You both hit the nail on its head and I totally agree.
Lugia, about the manual, I am afraid that what you think might happen, indeed will happen: that people don't bother to read large manuals and still focus, indeed Ronin, on the cool & fancy looking modules...
So therefore my suggestion, just write a real basic manual, I wouldn't go over 10 or max 20 pages or so because otherwise you put way too much efforts in it, and I agree, the danger that people don't completely read it becomes quite big and that would be a real pity of your efforts, it would cause frustrations to you and, let's be honest, you should/could have put that time better in enjoying your own rack and creating fantastic sounds! :-)
I wanted to start yesterday evening with a basic Visio drawing but I have a problem with by laptop (MacOS) and Parallels. I think I need to update my Parallels first before I can use Visio again. So at the moment I can't help you with a basic synth drawing, sorry about that.
Take it easy Lugia on yourself and I do think a basic manual of a few pages should be sufficient to get people starting with modular synth into the right direction. Looking at the efforts it would costs, my advice is to keep it simple and don't try to come with an extensive manual (that might be something for later in case the "basic manual" would work well). But hey, that's just my two cents, it's up to you of course.
And a big thank you for being so honest, that at the same time hits a few real good points!
Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
