Greetings GarfieldModular!
Yes, you are right. The A/B switch will toggle between Moog Ladder and S&K resonance characteristic.
The top switch is for the variable highpass (to thin out the low frequencies from the incoming signal, if needed).
And yes, I'm one of the co-founders of IOI.
Thanks for your wishes. I'm sure we will find our path the one or the other way.. ;)
Regards, zid aka Frank
Melodic sort of thing
With this rack
https://cdn.modulargrid.net/img/racks/modulargrid_976055.jpg
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Another purchase from @PinPinKula, for a uClouds and nRings this time. Once again, not disappointed.
Hello Igor,
glad to see you here again! and thanks for your 4ms smrf, love it very much!
it's so cool you wrote about your album here, you had to do it a long time ago. as you know, I even bought CD!
despite the fact that there is a lot of guitar sound, the synthesizers are gorgeous. my favorite synth parts are pad on the first track and sound design on third. but also the guitar on the second track is amazing!
I wish you successful sales of your album and happy holidays! Hope to see you in France next year!
The 3 page manual link
3 page manual, this site seemes to strip the underscores
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
May I suggest these 2 quick reference guides?
http://www.vo1t.com/Euro/Illustrated/ESdistingMk4V4.14.pdf
http://www.vo1t.com/Euro/Illustrated/Disting4.14_3_Page_Manual.pdf-- defragmenteur
Thx a lot this is so much better than the official pdf
wow, thanks defragmenteur.
The first link looks like it may make things easier but the bottom link, copied and pasted into a browser doesn't work.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
REX50 isn't a bad choice, actually. While it's not anywhere near being a state of the art reverb processor these days, as a "module" that's accessed through something like a SND/RTN it seems like a good fit within a modular patch. You get that lower bit-rate "dirt" with older FX units like this, and that's a really good additional character to add to a sound when you can tamper with it further.
Thanks for the advice. I actually have some guitar pedals that I havn’t used with my rack. Like the Yamaha REX 50 digital multiprocessor. I will make it a try!
May I suggest these 2 quick reference guides?
10 pages manual
3 pages manual
Have you thought about bringing effects pedals into the mix? If you play guitar or have external instruments, Adventure Audio Merge could be one module for consideration, and would also give you input/output for pedals, as well as an envelope follower. Another option to think about to just bring in pedals for audio processing would be Malekko SND/RTN. I find bringing pedals into the signal flow a fun way to expand the palette.
As for filters, perhaps something really aggressive like Flight of Harmony Plague Bearing or Imp? ALM Busy Circuits MUM M8 could also be considered if you would like to have that classic Akai S950 Low Pass Filter.
Hey wendallsan, thanks for such a detailed answer!
I didn't know of the 2VL1 nor warps and it seems a bang for the buck.
Especially, the warps seems like a smart choice in a smaller rack like mine.
Can you explain why you decided to go for the same 4 complex voices, instead of varying the separate voices?
I guess it makes sense when you want to use the module inside a larger system like yours and need polyphony.
On my side, I finally went to the store and tested different modules, and reality is that everything I tested sounded good... I think I could see myself with anything that's usually mentioned of forums. It's sort of a relief and I understand better what more experienced users usually say: that all major complex oscillators or Rubicon are all good decisions and that it's just matter of personal preference...
Not that it helps at making an actual decision but anyway
I am quite happy with my rack but I need some more tools for audio processing. I’m thinking of modules like Joranalogue Filter 8 or maybe a Clouds clone but I need some more suggestions.
Now I am in a process of learning how to patch and understand my modules. One goal is to learn how to combine different modules so they mimic other dedicated modules like a crossfader. Not so much that I need these functions. More for learning how they work.
One invaluable source is ”Patch & Tweak” that for example have learned me how to build generative patches with my 6U x 64 rack although that is ”Impossible” ;-)
For crossfading I found a good algorithm in Disting and I am thinking of to get the Doepfer A-134-2.
Hi Diego, Yes, thats us :) I think we scared our drinking-customers a bit but I enjoyed it ;-)
The Clockable effects and LFO are probably going to get used, I miss having all the direct control knobs for instant tweaking.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Hello Garfield.
I've been keeping dipping into it and the manual, I never knew I could fall out with a piece if gear so fast!
I think the VCO bits are the most usable for me at the moment, then there is the bit about using single-cycle .wav files for the Pulsar VCO and Wavetable VCO (SD card needed).
I guess you could say that, as a beginner at modular, the Manual could have an easy to understand explanation of each menu function, with 109 pages in the manual already a little more less-techie info wouldn't be missed.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Hi there !
Being an Elektron Octatrack user, I'm not afraid of reading manuals often or having to remember key combinations by heart. Consequently, I find the Disting really OK from that point of view and having that many functions available to test a bunch of ideas is amazing. When I'm not using it for experiments it usually serves as an effect module, clocked delay more often that not, it's a very decent delay module IMHO.
I also need to point out how awesome it is to have colored leds at the inputs showing voltage strength visually, brilliant idea really, even better than having the activity led that some modules have. I wish more manufacturers were using those !
With regards to sample playing, I have read somewhere (here I think) that the Radio Music sample playing might not be the tightest when it comes to timing, so if you're thinking about it make sure you check that out first to avoid frustration ;)
I hope you'll find a way to have fun with the Disting !
Best,
Diego
PS: are you the Wishbone Brewery who invited Mylar Melodies to play (he posted a video a few days ago) ? That was neat !
--- Voltage control all the things ---
Hey Ziddabit,
Interesting module this filter. How to switch from Moog to Sallen & Key and vice versa? Is that done with the A/B button?
Are you representing the IO Instruments new setup?
Good luck with the startup and let's hope you will be as successful as for example Erica Synths or Intellijel :-)
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Wishbonebrewery,
He, he, yeah, similar feelings here with the Disting Mk IV. Far too much menu stuff, but I knew this is what would happen on forehand but I still bought it... I keep the Disting as an "emergency" module: In case I miss a certain functionality or I need more modules of the same functionality but I don't have enough, then the Disting jumps into place --> though I have to go through the manual first then to figure out how to get that functionality. Nothing self-explanatory here :-)
You gave me a good hint though, I like your idea of using it as a sample-player, better than hanging idle in my casing while it's waiting to become the hot-spare/emergency module :-)
Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Update: I worked on this for a while and figured out at least some sort of OK ratcheting.. it does not sound like the track at the start but its got some of that spirit.
Its not perfect but it kind of works
there is one big missing item, i need to figure out a way to CV control the Y channel so i can make that go faster or slower, right now all the changes in the y sequence that control the bpm rate are spaced equally apart, i'd like to have the Y sequence go at a non linear pace almost random so maybe i need to run the Y clock through its own CV2 mod from the Rene 'C' sequencer.. still working on that. should be do able tho!
Thanks for the ideas everyone.
feedback appreciated.
Lugia i did see Tempi but since i already have the pamela's new workout i didnt grab it
i may have to get one and trade away my pamelas
i also read u can use the batumi with the divider outs on the square wave as a clock source i may dig into that too
You might also look into Make Noise's TEMPI module. This is designed to tandem with the Rene2 via a backplane connection, and majorly ups the game on timing and clocking capabilities with that sequencer.
Don't fret. Go to Youtube and find some tutorials on Eurorack + ratcheting. It's a commonly used effect. Your sequencer doesn't have to ratchet itself. You may want to check out the Befaco Muxlicer and some other modules. Basically you substitute your normal gate for one that's a multiple of that gate.
Hi Ronin thanks for clarifying that!!
well its too late now i was in Chicago at CME and got a Rene 2 sequencer and i combine that with my arpitecht
thing is i like the gate behavior like delays stops etc of the Rene but i cant find a good way to get the ratcheting effect damn!
i bet the Rene can do it i just dont quite know how, maybe combine x and y sequences or use the amazing c sequence i am perplexed
i have a pamela's new workout also
any help appreciated thanks again
There are crossfading modules available if you don't want to dedicate your VCAs and other modules to creating a functional crossfade.
For Trap-style, it's all about the ratcheting. So when you review any Eurorack sequencer, you'll want to look for this feature. Ratcheting takes the current step and subdivides the gate into multiple gates, giving you the 32nd notes or whatever division you'd like in your ratchets.
You're going to want to run your 808-style kick through some sort of drive or distortion module to get some crunch out of it. Are you having trouble making an 808-style kick in Eurorack?
I've just got the Disting Mk4 and now i know why i was trying to avoid menu-based modules. I'm hoping there is going to be something in there that i can experiment with but right now I feel like the manual is like some weird form of algebra, and i could have spent my money on something i would have enjoyed straight out of the box rather than Click-Twist-click-twist-check the manual, plug-unplug-check the manual!
I shall persevere, but leave this expletive here Fckngmenus
Some time later
I have an SD card turning up soon for this so I can play with the sample playback stuff.
My current feelings are that I would get better use (Fun) out of a Ping-able LFO and a Radio Music :)
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Wow, thank you very much for such a detailed answer. Yes, maybe the guitar plays a leading role on this release, and the modular synthesizer is more for creating the background and atmosphere. We wanted to show that a modular can be not only a solo instrument, but also can be well introduced into heavy guitar music.
Nevertheless, on our previous releases, the modular synthesizer plays a leading role . Therefore, you are welcome to listen to our early works. Also, in 2020 we are planning a new album, in which the modular synthesizer will again be the main instrument.
In any case, thank you very much for the nice words, it's very kind of you. Wish you good luck with your music!
Hi Ronin,
Appreciate your response. I must admit I haven't paid much credence to TipTop modules but I will consider it.
In my larger modulargrid rack I have an
Intelligel Plog, which seems, as you say, a really great way of deriving patterns from simpler sources. Glad to see you validate this thought.
Again, vector space is one I am also looking at, but this will likely wait for an expanded system, mainly due to space and the priority of getting basic functionality up and running in the near future.
In terms of playability, I totally agree about influencing rather than dictating.
Keen to hear further thoughts if you do get the chance to think about other module selections. Thanks again
I'd just written a long reply, when the website decided it was time to login again and just ate the whole thing… damn it. So here's a hopefully short summary:
-- senor-bling
always copy to clipboard before posting!
Basically, your music will only come out as good as your monitoring system will allow. It often amazes me how people are perfectly willing to drop thousands on modules but continue to monitor what they're doing with them on a $300 pair of powered crackerboxes. Or worse, headphones, which have proximity effect issues with low frequency sounds...mainly because they're not exactly suited for repro below about 300 Hz without some circuitry and/or physical design elements that will color up your results. Back many years ago, I was told to never, ever, EVER mix through headphones, and having experimented with that to see the reasons for myself, I know that that's something you shouldn't do.
But if you have a good set of monitors, set up correctly...then you'll know exactly what you're doing and can avoid all of these coloration issues you're noting. 98% of problems of this sort get fixed that way. Better still, if you have the ability to use multiple monitors, you can use one pair for uncolored, critical applications such as mixing, and then have a set of "crackerboxes" as well to use as "check" monitors, to see how the mix behaves in typical real-world situations. But you'd never want to actually MIX on the latter ones, instead just checking to see if something's glaringly wrong that needs correction.
Note that by "set up correctly", I'm including any acoustical treatments needed at your mixpoint or in your studio space in general. This especially goes for bass traps, which correct deceptive low-end buildup that results in a room with parallel walls that reinforce resonances known as "room nodes". If you don't know about these, go in a bathroom stall and start humming in the lower frequency range...and at some point, the stall will "ring" because you've hit a harmonic node of the space enclosed by the stall's walls. Just transfer what's going on with this experiment to your studio space, and you can easily see why treating studio spaces is just as critical as having a proper monitoring setup in it.
Secondly, this sort of problem is why program equalizers exist. These aren't the same as the more typical parametric or graphic EQs, but include such things as the Pultec EQP-1A which are designed for making broad coloration changes. They also tend to work differently, accentuating more than just the indicated frequencies on the controls. Along with a suitable compressor to merely ride gain, one of these belongs on your mixbus at all times, precisely to make large-scale timbral adjustments. I should also note that, when you're using ANY equalizer, the rule of thumb is to cut levels of objectionable sonic elements...not to boost everything to swamp them. And if the real deal here is too pricey (which it is!), try a good VST emulation such as Ignite Amps' PTEq-X...which is FREE (and on KVR Audio).
But again, without proper monitoring, you can have all the knobs for tweaks in the world and you'll STILL not have a good idea of what you're doing. Just like how you wouldn't drive around at night while wearing a smudged and scratched pair of sunglasses, you shouldn't be trying to mix on something not suited for the task. But 99 times out of 100, when people mention how all of their mixes are [INSERT PROBLEM HERE], the blame invariably comes back to the monitoring being used. Instead of looking for a synth-specific fix, or trying mixing techniques that're putatively for electronic sound (which, IMHO, don't work as advertised...I just mix electronic-based audio the same as any other large-scale multichannel mixdown), examine your monitors, how they're set up, what your workspace's room might be doing, and the like. In the long run, this will yield better, lasting, and consistent results.
Just received a dixieII+ from @Plexusgel , perfect condition. Very friendly and smooth transaction, very recommended.
If you're mixing in the rack, your tools probably aren't as exacting as a DAW. Trying to replicate the function of a DAW in Eurorack... ummm... super expensive if possible at all.
I'm not hearing too much mud in my opinion. But here's what to look for. If DC (control voltages, etc.) are leaking into your audio, then you can have issues. Many DAWs like Ableton can remove DC for you. You can also use a sharp high-pass filter on the very bottom of your mix. Start at 20Hz and work your way up.
In electronic music, the kick and the bass often compete for the same space. One timely trick is to duck the bass by side-chaining the kick to a compressor. You can emulate this effect with an envelope follower and a VCA. If you invert the envelope follower and dial it to taste, you should be pretty close.
If you can EQ the rest of your sounds to cut any unnecessary low end from them, that might be helpful too. Again, if you have DC in your hi-hats, snare, etc... problems. There may also be natural occurring low end in all of the other instruments that are muddying up your sound as well... especially mid-range synth sounds. Your kick and bass are pretty greedy animals and will poop mud if anything else is in their low end. :)
It's not bad. If all else fails, find a reasonable mastering engineer to evaluate your track and master it. You can also get pointers from a mastering engineer as they have a keen ear for balanced mixes.
Hi Yalivec,
Nice and impressive music, thanks a lot for sharing this!
Especially the guitar is nice and impressive :-) That brings me, though, at least for me personally, to one point... I wouldn't have mind a bit more accent on the Eurorack modular system to give that here and there a bit a higher chance of "shining through" so to speak. The guitar is quite leading and overwhelming in a good way but it's a bit pity for the modular sounds; slightly bit too much in the background if you would ask me. Of course this is most likely wanted in this music, so it's rather my personal view on it.
Other than that, I am very jealous about the fact that you produce nice music of which I only can dream of, I wouldn't be able to make nice music like that!
I wish you good luck and I look forward to your next release :-)
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi all.
I want to invite you to listen to the new album of my band.
Drone doom / power ambient.
Gamardah Fungus "Natural Storm"
https://gamardahfungus.bandcamp.com/album/natural-storm
Eurorack modular for pads and drones + electric guitars for solos.
Some interesting modules that might play well... look at the Trigger Riot from Tip Top. You can find them used for a decent price. While not Euclidean in nature, it can offer you some very interesting rhythms. Though it's a big module. For my Euclideans, I use a micro Temps Utile at 8HP. The menu diving isn't too bad and it does offer modulation.
I didn't have a chance to go through your entire rack. But do you have any dedicated logic modules? They are great when combining triggers/gates to come up with a derivative pattern that's related to your sources. Also, the Worng Vector Space is worth checking out for CV mangling.
For me... I enjoy influencing rhythms and modulations rather than dictating/programming them from scratch.
Thanks for the reply. I imagine those gate sources being useful for triggering timed modulation, but I hadn't considered them as options for gate sequencing strangely enough. Delaying events will be very useful.
Stages may well be used primarily as a step sequencer once Zadar takes on enveloping duties, but we'll see.
Thanks again, Ronin! That has been very helpful to me. I'll keep your advice in mind. Greetings!
Gate sequencing should be fine, remember that Zadar, Stages and Maths will all be able to introduce delays or additional rhythmic pulses controllable by CV, as well as acting as envelopes. One thing I'd remember is that if you're planning to use radio music as a sampler, it works well for continuous samples (such as atmospherics or voice clips) but doesn't play so nice as a drum sampler, the timing is not very tight on the reset, but I've seen people do it like that so depends how much you care about timing i guess.
The idea is for a live rig / production toolbox.
I have about a third of the modules in this rack and hope to complete it by the end of next year. Also have an Akemie's Castle, and what I suspect is a dodgily put together Turing Machine which doesn't seem to behave the way it should. I will keep these in my supplementary 84hp case
Really enjoying using maths and stages for modulation. I think for its size, Zadar seems like a good choice for levelling up my CV modulation as the system continues to grow. Also looking forward to having some simple pitch sequencing with Tirana. IQ can do all sorts of cool tunings - microtonal tuning sounds interesting - and all round seems like a beast. On ADDAC, the transition controller seems to me like it could be a really useful performance tool to shift filters/modulation amounts/times/reverb parameters/timbral shifts/generative shifts etc.
I'm a little concerned about my rhythmic options - Tempi and Klasmata (which is CV-controlled euclidean sequencer) as the main sources of gates. The Basimilus would form the main percussive element, and I could potentially swap Tempi for Pam's. I quite like Tempi's immediacy, although I am yet to really gain mastery over it (practice, and read the damn manual Sam!!).
Not sure about chainsaw as supersaws aren't typically associated with my preferred styles, but it's stereo and polyphonic so it could be interesting use with the LPGs and filters for trance flavours - TBC. Radio music seems like a must for me, but I'm guessing TipTop One could also do the job bringing samples into the mix. Instruo rules. Only had it a month but it's all you could want and then some from a 6hp analog oscillator.
As someone with a background in engineering and production, I wanted to have a fairly comprehensive set of mixing tools. X-Pan and LSMSMSLR allow for stereo play and the quintet again just looks like typical ADDAC beastiness. I send audio to pedals using Sewastopol and although I don't yet have a use for it, it's envelope following functions seem well thought out. Next year I am looking to experiment with cellos, and Sewastopol offers a way for acoustic and electronic to interact.
Personal influences include techno, drumless, hardcore/acid, dark ambient, electroacoustic, psychedelia, post-punk and jazz. Pretty much everything my father would describe as 'drug music'
Would love some thoughts. Am I missing something obvious? As previously, my only major concern is gate sequences. I may find that piano-roll style beat programming is necessary. Maybe that could be answered with a beatstep pro. Pitch sequencing is also limited, and while I am not overly concerned with melody or complex pitch sequences, it may just be handy to have the playability of a keyboard e.g Keystep. I want to be quite hands-on, but with generative elements as well.
Long way ahead for this, but I have been planning and researching my eurorack system for around 3 years, only in the last year have I actually started building it.
Looking forward to your response :)
I'm working on something similar to this, I think. I'm building what could effectively be a bank of 4 complex VCO's by combining some dual oscillators with some signal minglers.
I have built 4 2VL1's by Weston Audio, which is a dual oscillator plus a LFO in a tight 10hp package. I'm planning on combining these with 4 Mutable Instruments Warps, which acts as the 'signal mingler' component of a complex Oscillator, and is capable of FM, AM, and many other modulations. There is a small 8hp version of this module out there called Twist that I'm planning to use. I have those modules together with a 4x4 buffered multi to handle feeding CV inputs to multiple Oscillators at once and an octal VCA to handle output. The plan of course is to use the module as one component in a larger system. While the 2VL1 lacks a true sine wave option, I really like its construction and size factor. I'll be pumping all of this plus a power supply module into a 1-row 104hp package.
I asked about viable complex oscillators elsewhere but found there wasn't much out there beyond the obvious options such as the Rossum Trident and Make Noise DPO, etc, and there was not much at all as far as DIY options, which is what I was interested in. Someone turned me on to the MU Warps in that conversation. I thought I had oggled the entire line of MU products, but several had apparently gotten past me (such as the truly amazing Edges). I'll be acquiring my 1st Warps at the end of the month, and will be getting 3 more if the results are good.
Here is the current plan for my project:
Ronin—I am also excited to see this new Behringer case, would definitely be a good entry point w/ a little bit more room to play. Having a bigger rack to workshop through ideas to get to various configurations of a gig-ready palette would be a great way to explore, too.
A longer term goal of mine would be to have a lightweight, DAW-free Palette that I can easily tote around for gigs & collaboration with friends. I could imagine packing a little mutant monosynth configuration in my carry-on to take to a recording session at my friend's pad where there is zilch in the way of modular gear kicking around.
I was reading Aaron's post. The lower half of your post really hits the nail on the head.
I'm excited for Behringer's new case. It's huge and rumored to be around $200. It's probably a lot larger than you'd need for a basic entry-level system. But if you're new to modular, it means you have room to add almost anything that you wish. This allows new Eurorackers to experiment and reconfigure their set-ups based on their first-hand experience and preferences.
Once you've found your ideal set-up, you can always transplant your modules to a smaller case that will fit your specific collection. But if you start out too small, you'll hamstring yourself into making compromising decisions.
If the rumor is true on the $200 case and the specs are decent, I'd definitely recommend it as a starter kit. The power supplies for their synths seem acceptable so making an empty box with a power supply in it should be a no-brainer.
Thanks for sharing, looks well thought out, I want to give it try! Where are you in the process with this one—any tweaks or ideas since you posted?
I'm researching and planning different ways of setting up a Palette case—for me it presents more of a challenge than a bigger case, because there's more of a need to keep a focused and pared-back rack. Intellijel is wise to make a compact case like this, and no doubt it is going to appeal to folks who are newer to modular—myself included—because it looks like a way to test the waters without a huge investment. IE, buy a small handful of modules, and experiment with modular, decide "ah, I like this modular thing" and then go gangbusters and start putting together a larger rack.
It is arguably more difficult for entry-level folks to have the constraints of a compact case. It makes every module choice more critical, and requires (from what I understand) a greater knowledge of modular than if I were to go ahead and buy a bigger rack—where, theoretically I can add in modules more willy nilly, have room to grow, make mistakes, and be able to tinker with a rig that is less focused initially. Say—maybe I want to try to figure out a nice analog drum machine area over here, and over there I'll start building up a generative sequencer, and then leave some room in that other open area for some sound sources that are yet to be defined.
For reference—Ricky Tinez put together a very compact kit with plenty of sequencing & modulation oomph, you may have seen it already: 
Any others you've seen that have stood out?
By using a MIDI to CV converter you can connect to your rack as if it is a typical hardware synth via MIDI. This allows you to connect any MIDI device to it (controllers, DAWs, stand-alone sequencers, etc.). If you go the USB to CV route, you can use your DAW as a piece of modular equipment. But then you're limited to addressing it AS modular.
MIDI-CV: less expensive, easier to use, universal
USB-CV: more expensive, more difficult to use, very specific
You will also find, especially if you're using a PC that the USB-CV solution wants to be considered an audio interface. PCs do not like multiple interfaces directly connected. Macs are a little better as they can aggregate multiple interfaces.
I'd go with a MIDI to CV solution for such a small rack as you'll have fewer headaches. You can always add an ES-8 (or even better an ES-9) to a larger set-up where you can get more use out if it where the trade-offs are better.
Getting rid of the VCA? Hell no! :)
You need VCAs. You can get modules with more VCAs in HP8. But what you have here should be adequate with lots of extra features like mutes. I'd keep it.
If you enjoy putting together your own modules, Befaco almost always has kits available for some nice finger burning sessions. :)
First of all, thanks a lot for your answer, Ronin. Much, much and appreciated!
Connection with the DAW is a critical part of the system, but also on of the areas which I am most clueless and lost. I've spent some time reading and looking for options and the ES8 and the —too prohibitive for me— Shuttle Control seemed like the standard. What are the advantages of using the FH2 and also the MIDI thing? It looks like I am actually losing HP, right? Also, would you get rid of the VCA?
Thanks again for your time!
input is appreciated guys THANK YOU!
i did some studying up on attenuverters this weekend, and i saw the utility in all the utility modules and realized they are probably was more important and versatile then the latest coolest filter. Inverting a signal to create panning with VCAs is pretty darn awesome.
i guess now i need an attenuverter, quantizer, and precision adder haha. what else ha?
tons of mults? i picked up some 3.5mm female jacks and blank panels to make my own passives. Also got some toggle switches to make passive mutes.
I picked up another VCA (Intellijel Quad) so i'll have 1 linear and 1 linear/exp.
Not sure which attenuverter to pickup, i'll figure it out.
My old soldering iron didn't have enough wattage so i just got a new Hakko.
I still have to put most of these together.
Now i have to lookup adding voltages, i'm sure it's much deeper than doubling an octave.
I think the plan now is to get that attenuverter, then put all these kits together and actually make some noise to figure out what else i need going forward. Looks easy in this game to make the wrong decisions as a noob and have a $2000 rack that does nothing! ha!
Thanks for your help guys! Going to research utilities til the holidays and work with what i've got so far.
OK...when Intellijel came up with their slightly-different 1U tile format, I was a bit displeased...as I knew this would lead to some level of confusion over which 1U is the "right" 1U...but what we got in the end was both 1Us existing side by side. Here on MG, they look more or less identical, and in a build, they behave on the grid in the same way. But they are not the same! Not only are the form factors slightly different, the Intellijel tiles use a typical 10-pin power/bus connector, while the original version of the format uses a 3-pin.
Sooo...annoying! But I think I have a relatively simple idea, and this will also help out companies making both versions, such as Plum Audio.
What I propose is that, when posting new 1U Eurorack modules, posters should add a [i] or [p] at the end of the module name. The [i] is for Intellijel, of course, and the [p] stands for Pulplogic, who was the big original innovator in the tile scene along with Erthenvar. By tagging each module like this, it becomes far easier to sort out whether your tiles belong where you think they should go. It should also help curb the mistake of new users not knowing that you can't mix these tile formats in the same row or put them in cases not capable of housing them.
Also, if you know you're looking at an Intellijel or Pulplogic format tile while browsing around MG, please take advantage of the user-editable listing capabilities and make that little addition (when possible) to make things easier for loads of other MG users. Pay it forward, folks!
