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Hey!
I'm building a performance based rack for EBM and industrial techno. I never had a Eurorack, but have a good experience with Reaktor, semi-modular and digital/analog hard synths, so my main concern is about function generators and VCAs/Mixers, since I already know which type of sound I want from the oscillators and FXs.
Currently I got a custom 9u, 56hp case with the Verbos Complex Oscillator + Optomix (which I'll be using for bass duties) and Maths. The plan is using a micro Plaits for percs/simple leads and Basimilus + a noise source for all drum sounds.
Garfield Modular and Lugia recommended me to get a bigger case and I'm following their advice. I'll be getting a 6u*94hp case and letting my current one for future modules, so I got plenty room for modules (about 356hp).
I'm planning to buy a module at a time so I can adapt to my function/envelope/vca needs.
What type of sequencer would you recommend for this specific genre of music?
I don't see myself having much use of the attenuvertes, should I sell my Maths and get a Quad LFO such as Intellijel Quadra or Zadar?
Are there any other oscillators I should be looking at?
Please remember that this is aimed at very dynamic performances at clubs.
(it seems the rack picture isn't updated, please click on the rack to see the actual version)
This is where I’m at atm. So I grabbed another small case dirt cheap (bottom row, the blind modules are just to note it’s only 68hp)... The Erica Synths will be swapped to the Batumi at some point and there are some modules I still haven’t bought but I’m getting there! Edges was actually the first module I bought in the spring, although I’m not sure if it’ll go into the rack in the end.
My favourite filter. I searched and searched for it. The filters are digitally controlled and you get the sense of a work in progress.
The filters really shine when resonance is turned up and the cut off lower. Because of the style of filter it is digitally controlled and between cutoffa u can hear some aliasing.
It is exceptional for percussiona and techno / aphex twin like sounds.
A truly excellent character filter I plan on keeping in my case for a long time.
My favourite filter. I searched and searched for it. The filters are digitally controlled and you get the sense of a work in progress.
The filters really shine when resonance is turned up and the cut off lower. Because of the style of filter it is digitally controlled and between cutoffa u can hear some aliasing.
It is exceptional for percussiona and techno / aphex twin like sounds.
A truly excellent character filter I plan on keeping in my case for a long time.
I'm new to Eurorack and decided to build a rack here on MoularGrid.
I was looking for advice on this; is there anything missing/needs to be removed?
I want this rack to be able to do a wide variety of things, but I wanted to keep it simple.
I haven't bought anything yet; I'm just testing the waters on whats a good idea and whats not. Any advice will be appreciated!
Thanks for the advice on here, i kind of forged my own path too with a bit of a vision.
Using this rack: (MI Links just ordered so not actually in the rack yet) (I've not posted the screenshot as it showing a totally mixed up to what it looks like in reality.
I made this:
Youtube
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.
Ive got a Arturia MiniBrute2 + Rackbrute 6u. If i buy a reverb module, is it possible to patch this into the MiniBrute2 so it will process the audio and return it back to MiniBrute2?
Similarly, if I am controlling and mixing in an external oscillator with the MiniBrute2, how can I then patch in an effect module?
To start with, this: https://www.modulargrid.net/e/the-harvestman-english-tear or something similar. Otherwise you're going to be driven insane by all of the mistracking, reverse triggering, etc. Neither the Korg MS series (original or the MS-20 Mini reissue...and, rather tellingly, Behringer's MS-clone) or Yamaha's vintage CS monosynths are set up for 1V/8va tracking or positive trigger/gates.
I am looking to buy a KORG ms20 and was wondering what external modules to pair with it. I want to give the ms20 more texture and just overall effects. I am open to any suggestions.
He, he, you got yourself quite some Intellijel stuff in that rack ;-) If this is what you want :-)
Some little feedback: You got yourself quite a few interesting and fancy modules, though I feel you could have one more oscillator and one more LFO and perhaps you should consider an ADSR module too. Quad AD is nice but sometimes it's good to have a ful ADSR too.
Or, and that would be my next piece of advice, keep it as it is, still add a bit more of oscillators, LFOs and envelopes and put that in a 7U * 104 HP unit (instead of 84 HP). Gives you just that extra space. Because with the 84 HP planning, you have no space left at all for any (near) future extension and you will be forced to buy an additional case, so why not going directly for the 104 HP case?
Last one, do you really need two pieces of those 1U - Quad Annuators modules? Personally, I would be happy with one of them and have some space left for one or two other interesting 1U modules.
First I had to get used to your rack (because of all the Intellijel stuff) but I actually like it, just do yourself a favour and get the 104 HP case then you are ready for the future too!
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Well, there's nothing wrong with any of the modules that you've picked out. But for the few that you've picked out, your results aren't going to be that great.
My suggestion would be to learn a bit more about Eurorack so you can plan a rack that has some capabilities and can give you some value for the money that you're spending. You'll have to spend more as the first $1000 to $2000 into Eurorack doesn't get you very far.
If you haven't already, try VCV Rack. It's a free Eurorack simulator for your Mac/PC. Learn a bit more then put together a more robust design.
I thought it would be a simple synth phrase machine( through those patterns ) but I’m open to anything....I’m willing to swap the nerdseq with a powerful arpeggiator ( if you can come up with an idea).
It’s my first rack, so I thought it should be relatively simple but also sequencing for a bit more fun.
All valid points, as i expected they would be. The resulting conclusion - meaning buying a bunch more modules from other manufacturers, no matter the color, which I get is how it is supposed to be done, is a deflating outcome making modular even less enthusiastic for me.
Obviously, the proper way to build a modular rig is to take the best or most suitable module from all available modules and combine them in whatever finish they have. I mean, it is the entire point of modular. Had I started from scratch, I would have not abided by color scheme at all. But once I bought the black & Gold system from the estate; First, I thought that would be it on all modular purchases; that it was its own instrument, self-contained and would surely be enough with my Grandmother (hate that name), Mother 32, DFAM, 0-Coast, System 1-m, Arturia MiniBrute & Microbrute flanking it on all sides; Second, I got boxed in with a black & gold color scheme and my OCD wanted it all to match.
Make Noise even taps into that evil OCD by making me have to prove that I had a black & gold to even be able to buy the upraded modules in black when I angrily discovered Make Noise retained the exact same names for modules that were significantly changed in hardware and were not able to be updated by firmware. Since I was not original owner and didn’t have a receipt, I had to provide a ransom photo, so they were milking that black is limited thing. It cost another $3k on the upgrade skiff to get the new versions.
The last and final 4rth row skiff is on track to beat that, of which I've got modules ordered and arriving soon, including an external custom mount Euclidean Circles kit, all quite pricey, that now may just stay in the box. I only started the 4th skiff to pick up some new module releases and wanting to add percussion in the system because coming from the DJ world, if there’s no beat, it’s not a song. It’s movie soundtrack ambience at best. I mean, if that’s all it can ever do. But, then I discovered gating and clock modulation for percussion was a big factor. It wasn't so easy as adding in 2hp drum modules. You have to trigger them with offbeat, synchopation, rhtyhms, etc. I probably should have just used any of my other drum machines. I have all the Volcas and boutiques for Roland drums as well as big boy ones like Tempest and TR-8s and Drumbrutes.
I can see why now you maybe wanted effects processing down low where hands may be required twiddling knobs. My thinking was voices would be the top two rows, for the most part. Mimeophon can turn into a Karplus-strong voice – a sound I am quite fond of. Telharmonic supposedly can do some pretty voicing with chords. So those first two are technically synth voices, but as I planned on doing my mixing off-rack in two separate line racks, the main one located just above the top row, I was trying to get my effects processing (usually last in the chain) next to my mixer outs so that they could just pop into the external line rack mixer.
My second row was to be almost all Voice, which even MATHS can turn into oscillator in audible rates. I’m used to my filter being next to my Oscillator, which is why Q-Pas sat inbetween DPO and MATHS and I knew MATHS would get heavy use, so I wanted it kind of centrally located.
For the most part, I figured the third row should be all the rhythm, sequencing and clock gear. It would be close enough to the bottom that I could reach it for manipulation of more on-the-fly play, but I never intend to play it as a live rig. It’s not going anywhere. I’m not anywhere close to being able to play live. I just wanted a bit more “demo wow” factor for friends who come in a see this huge crazy thing they haven’t seen before. So, far, it’s not be great for displaying anything but chaotic or buzzy sounds, but I’ve been in theory mode, not play mode. I’m watching videos non-stop.
Of course Pressure Points just demands bottom placement where hands-on is very likely. But I also figured both of the tape-delay “gene” modules, where you can very granular with dicing up samples, likely required a lot of hands-on play, even though these two are technically voices.
For that matter, Wogglebug, probably known more for randomization clocking, can be ran into audio rates and become a voice rather than a clock. But as it has clock features, I kept it near Tempi. Now Tempi, Disting MK4 and Rene 2 are all shared bus select state modules, so to save patch cables, those had to be on same power bus, i.e. same skiff.
I was definitely worried about EG limitations. Having only one MATHS is just not enough if it has to pull EG duty. So, I totally get the quad looping EG Zadar inclusions (which does come in black). It was unlikely EG function from my semi-modulars could be used to salvage this apparent shortfall.
I’m surprised the BIA got canned as that seems to be a live rig staple. I just bought BIA & MI and they were very expensive. I probably shouldn’t have bought Numeric Repitetor, but I hadn’t known of the far better looking and more featured Via logic Sequencer Rhythm Engine you added. That one looks like a far better add, so maybe I clip NR rhythm out of mine.
I was familiar with Delphonic. Seems they are a kit outfit though. Not sure I am at the DIY module making skill level yet. Some reviewer said the drums were good for confined space, but not the best sound and I think that comment hung in my head, plus it was silver. I figured somewhere there had to be black faced module selection that would work.
So, I guess the solution set provided where I need to source and possibly build several modules from kits myself proves so substantial an effort, particularly after the hours I have put into trying to make this system work for me, that maybe the decision is to part it all out, sell it and take the loss and just move on. I may not even turn it on again. I’m kind of done with it after seeing all the changes I’d need.
I guess goodbye to modular for me. Christmas is coming around. I’ll turn it on one last time for a makeshift tree.
The URL https://www.modulargrid.net/x/racks/view/ pointed to the last rack you had edited.
Users posted that link in the forum to show their rack which was confusing because it always shows the active rack of the current logged in user.
The patch index page now looks and behaves like the rack index page.
It's fullwidth, has high-res thumbnails and a search by name function. Also loads faster.
Yes I did get it. I’m loving the 101. Haven’t dove into the 102 just yet. BUT I must day, damn it’s fast. Way faster and easier then I could have ever imagined. So I am very much in love with it. But it is very deep and I know I’ve hardly tapped it for its full potential. But if you’re in the market for a sequencer and are looking for more complexity, I would definitely recommend the combo. :)
I follow a general rule of thumb: "up-left and down-right". Basically, control signals migrate upward on the left side, through the modulation/timing, then up to the VCOs at the top. VCO signals then go toward the right and downward; in smaller builds, the VCF is likely to be on that same "voice" row but if the space is larger, I tend to put VCFs between the VCOs and the mixing/output area at the lower right. This also should leave the VCFs and some of the VCAs in proximity to the modulation (envelopes, especially) for convenience and to keep the cable pattern somewhat sensible. The idea basically is an adaptation of the flowpath of the ARP 2600, save that modular architecture allows for considerably more flexibility in function placement than the 2600's fixed panel design.
OK...going off of the earlier PM, I went ahead and moved this over to the public forum instead. This is what you started with:
...and this is my final result:
This is a markedly different build, although it still has a lot of the existing modules. However, the original design was just unworkable and obtuse. It was missing a LOT of necessary functions (fixed), numerous utilities (also fixed), had a lot of "why?" modules (fixed), and a bad case of "sexy module syndrome". I'm not surprised that the original was that sonically unimpressive, actually. Lots of useful things...but only IF the other parts were there, which they weren't. Here's what we have:
Row 1: No. Totally reworked this so that your entire "voice" is on this row. Disting on left for various control functions. DPO replaced by the VOID complex VCO, Gravitational Waves. Telharmonium and STO replaced with Codex Modulex clones of the Braids and Plaits; in this case, you could also do two Braids or two Plaits if that seems better. Submix via Veils clone, then a Rings clone for filtering/resonance modeling. Your ring mod, btw, is now part of the VOID Gravitational Waves. The LxD follows as a stereo pair of LPGs. After this is the Morphagene, allowing it to function as a "voice source" instead of consigning it to the bottom rows where your effects processing needs to be. The QPAS is next, which lets the Morphagene feed this directly OR the Morphagene can feed into two channels of the A-138s alongside the two LPG outs, and this stereo mix can then feed into the QPAS. Similarly, you can reverse the patching of the LxD and the Rinks, which then allows you to feed the LPG "plooks" into the Rinks and have that function as a "resonant cavity" for their output.
Row 2: Also no. The original row was a hodgepodge of functions, very easy to get lost in. In this build, your "percussives" are on the left, in the form of a Delptronics LDB-2 and its expander. This drum module uses the time-tested TR-808/606-type drum sound set. Next to that, I added a Tiptop ONE for one-shot samples, then the X-PAN is used for a stereo submix for these. The rest of the row is 100% modulation: another Veils clone for VCA processing of modulation signals, the Wogglebug, then an Erica Black Modulator for an extra LFO, sample and hold, and noise. Maths follows, then a pair of expanded Xaoc Zadars, as the original really had nothing in the way of proper envelope generation. And since the Zadars can loop, this also lets them serve as user-definable LFOs in addition to envelope generation. At the end of this row is a DC-coupled triple attenuverter/mixer, allowing you to manipulate and/or mix your modulation outputs.
Row 3: I cut the original WAY back to a single Rene, plus its Tempi. This should lower the confusion factor considerably. The Euclidean Circles got added to this row, as well as a Starling GateSeq, which is an interesting logic-driven combo of normal and probabilistic sequencers. All of this is intended to feed the percussives above it, but there's ample output so that some of the timing can be routed elsewhere. Tempi/Rene next, then effects, which is where the Erbeverb and Mimeophon wound up. More about that in a bit.
Row 4: I put the Shared System utility row here. The reason will be obvious momentarily.
Row 5: The Brains/Pressure Points combo was retained. I added a much more flexible and intutive clocking system to its left, in the form of 4ms's Quad Clock Distributor and its expander. THIS is what a master clock should be for a large system such as the one you've acquired, and it's capable of outputting numerous clocks with various divisions and multiplications under CV control. Note also that since most things that can take external clocks will know what to do with a +5V pulse, this module pair can actually serve as your studio's clocking "nexus", besides handling all of the internal clocking duties imaginable. On the other side of the Pressure Points, I put in a Tiptop MISO; the intention here is to give you a CV/modulation control point located conveniently between your manual controller and your mixer so that you can route critical modulation paths through this and adjust them there, improving the control paradigm considerably. Next, I put in a stereo compressor/limiter, which should prove extremely useful on your stereo drum path. Then, a Toppobrillo Stereomix. This is a proper performance mixer, allowing CV over level, panning, and AUX send. You can manually mute on this, plus you also have a cue send which allows you to audition channels offline for changing patches or settings during a performance. This is also where the Erbeverb comes in; since it uses the same mono-in/stereo-out that the Stereomix wants to see for its AUX send/return, you can now use the Erbeverb as a global reverb...probably its best use. As for the Mimeophon, this can either be used as a thruput for another stereo bus (either from the "voice" row altogether, the Morphagene, or the percussion bus) or it can be used as a final processor for the entire stereo mix. With these co-located by the Stereomix, this also reduces the ergonomic issues required in controlling all aspects of the final mix. And the output on the Shared System tile is in between the Stereomix and the Mimeophon, making it convenient to either module.
OK, so...it's not all black now. Mmmm...well, eh. Trying to go with all of your modules as one color at the expense of functionality is a very bad idea. It would be like specifiying that you want all of the hammers in your piano redone in purple felt because...PURPLE. Ergo: expensive and pointless. Since you didn't exactly have a functional instrument with the "paint it black" approach, that was actually the very first thing I discarded from the original, primarily because it's a pointless limitation. You should be more concerned with what's behind the panel, to start with, then whether or not you can make sense of the panel as a whole so that programming and playing the instrument isn't a brain-shattering chore. Anything beyond that makes no sense.
I also worked to synergize functions here, which was another thing missing from the original build, and also something that was almost certainly contributing to the build's annoying non-usefulness. Everything is now grouped while still maintaining the up-left/down-right general flow, although it should be very easy to patch outside of that flow pattern when necessary. So...timing is down and left, audio generation is across the top, drums are immediately above the timing/sequencing, modulation sources are central and to the right, sequencing is lower and central, and output + processing is lower-right.
But a lot of the previous modules got chucked out. And rightfully so, I think; in some cases, they didn't provide "bang for the buck" and took up space that could be used in better ways. And in other cases, they were obvious culprits in the confusionality you were describing. But by doing all of that culling, THAT opened up a large amount of space that allowed me to rebuild this...with actually quite a few of the existing modules, really...with the proper additions that will actually allow the modules that remain from the original build to outperform what they were capable of in the original. So, in the long run, this makes a helluva lot more sense to me as an instrument than it did before, and it should be far more capable than its prior incarnation might've led you to believe!
An interesting but I am afraid difficult question... I had asked that question myself as well... What's a good setup? Thus:
A) to make as efficient as possible use of the available HP-rack space
B) position the modules in such way that you have them in a logical order next to each other or at least in each other’s "neighbourhood"
If you just look at point B only and don't even take the space matter into account, that's a huge puzzle... The more modules you get the bigger the puzzle get.
Roughly I start in my modular on the left-hand side with clock modules & sequencers, then oscillators and LFO's, followed by filters, envelopes & others and VCAs & mixers and to end with the audio input/output modules at the right-hand side because for me at the right-hand side my external mixer stands next to my Eurorack ;-)
But as you mentioned already by yourself, it's a rather personal thing. You should do what works for you in the most pleasant & comfortable way. Or if you really want to improve your module-positioning: try to monitor yourself for a couple of days or weeks how you patch which modules with which ones and then see if you have a lot of (unnecessarily) long patch cables, those might be an indication that you could put a few modules closer to each other. I think the larger the setup becomes you can't completely avoid long patch cables though.
So I was struggling with that as well but I kept it roughly as above described and solved my space issue by just buying another Eurorack case. Why bothering yourself with such a difficult puzzle that every time becomes more complicated when new modules are added if you simply can solve it by getting yourself another rack to solve the HP-rack space issue? ;-) Might not always be possible, I know. I only can do that one more time and then I don't have space at all any more for the Eurorack stuff to extend but at the moment that was the nicest solution. Now I am happily adding modules without the concern of HP space (of course till a certain extend) and as long as there are not too many long patch cables, I am happy with that solution and don't stress myself too much with how to make it more efficient --> because it’s an almost impossible puzzle to solve. I think we all can use that time better to put that time into creating sounds ;-)
Not sure if this helps you but what I am trying to say is... don't stress yourself too much about this... if possible get yourself just more HP-rack space.
Also don't migrate to too many small modules because then sooner or later it's getting too congested and the patch cables are blocking too much your modules and knobs might be difficult to reach to use them comfortably.
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Apologies, I've not been on here much for the past week.
Yes, I got that. I thought the befaco might be useful as mono audio mixer or as an inverter depending on the occasion.
However I thought it more as an audio mixer.
Since my last post I have been mulling over everyone's input on my dream rack and I have made quite a few changes to my ideal plan.
I've upgraded the skiff. It's bigger with an extra row. I've swapped a couple of modules, dropped a couple and added a couple.
Not sure if there are enough mults on my latest update but I hope this might be looking a lot better...
I've looked at other modules too.
Thinking about a comparator possibly. Also a sloth.. As is I have run out of knowledge/understanding to be able to tweak this anymore.
So....
Here's my latest plan:
This will take me a while to put together. As I've said earlier I have started but obvs funds are a major player in this game.
At the moment I am filling up one row at 104hp ( I freed up 22hp which I am going to fill with a: function, mini ornament and crime, sequential switch and logic modules. I bought some small passive mults, intellijel, which live out of this skiff to maximise space for now).
I have a smaller 60hp skiff filled up with modulation: rene, tempi and yarns + uZeus power.
In the meantime I am back to the drawing board. I am looking at different options to build my bigger skiff. Looking at vintage suitcases, cdj flight cases and old wooden carpenter's tool boxes.
However it seems my best option would prob be building my own wooden skiff from scratch. I enjoy working with wood and I am pretty capable with it so..
Hopefully this will be complete in the next few months. There's no rush really as I won't be able to buy many more modules for a while after this last run.
As per usual your thoughts will be greatly appreciated.
Interesting feedback. My first attempt to post, but when I click the link, it works. I guess somehow the URL https://www.modulargrid.net/e/racks/view (which I thought the "e" for "5" was the rack flag) is triggered for my sign-in link???
It's the Make Noise Proposal skiff (missing 1U row, semi-modular but with external Circles v2 enclosure hanging around in the kitty mess area as it is a rhythm module I own off board).
I have filled the oscillator row (row 2) out with 4 2hp modules I do not yet own (Kick, Snare, HH, Play) next to Pluck and between BIA fir a very tight fit that will require use of flying bus cable off of one bus power header.
The rhythm/sequence/clock row (row 3) has 2 module additions for clock modulation I do not yet own, 4 hp M/Div dual channel and Noise Engineering Integra Solum Dual RCD.
I have been getting into modular for a year now and have fallen into the eurorack rabbit hole. Trying to claw my way back to sanity I want to get smarter about how to make smart use of the space in my system.
What modules, functions do you prefer to combine or place together? How do you organise the space in your system so that it works best in your workflow? Do you have LFOs in one corner and effects somewhere else? Or do you create islands of voices? Or something else?
I understand that this differs from one person to another. Just curious about different approaches and your thoughts about them.
That’s really quality insight , especially with your experience.
I graduated visual arts and some universities would accept Basquiat’s work as something to refer on , in their curriculum and other universities would simply call it rubbish.
This kind of “ leading” or “ showing the way” in education , I agree it’s detrimental towards your own self / style ( at least in arts).
Since I am a newbie in eurorack, I need clear demos of all vco’s and stuff out there.
My ear maybe it’s not trained to taste all vco’s modules as being different or specific flavors.
But each time after I dig more into it, I kinda have some favorites ( just like a painter prepares his color pallet , before the actual painting).
So, maybe I should have just asked , what modules/ functions for melodic ambient, very organic timbre and arpy.
What vco’s and what quantizer?
What efx?
No, the Erica LINK is just fine for this purpose. Go ahead and use that. But keep in mind that it's just a passive attenuator bank, so you still need to control your levels carefully on the modular side of it, as it can still output something relatively hot if you hit it really hard on the modular side.
One other thing to remember, also...this is likely to be a simple resistive circuit and this means that it can pass DC. That's Garfield's concern here, since your interface can also pass DC. The best solution, eventually, will be to exchange the LINK module with something that has transformer balancing/isolation, which prevents the DC from going beyond the transformer itself. There's another method of preventing DC from passing, though...but I can't look at the PCB side of the LINK module or find any data on Erica's site that says whether or not the attenuated outputs have capacitors that work as DC stops. Not quite as preferable as transformer isolation, but still quite workable.
Solution to this should be simple enough: if you're running your audio path in the patch example you give through a VCA in linear mode, this behavior is what you should expect. To eliminate the VCO leakage, try changing the VCA's response to exponential. You will need to adjust the envelope's "ballistics", but that should fix the VCO leak issue. If it persists after that, turn the VCA's CV level down and change the envelope so that it's outputting a hotter envelope signal into the CV input.
Thanks GarfieldModular, but I am even more confused now.... so what you are saying is that the erica synth link module wont work ? here is the description of the module functionality from their website :
LINK is the module that bridges eurorack to destop mixers — it has 5 sections that attenuate eurorack signals to line level signals and send them to 6,3mm jacks for quality connection to the mixer.
So basically I can plug in hot signals from the eurorack and the link will attenuate it enough to be then plugged into my audio interface, but according to you that`s not the case ?
My personal take on "copying " is a bit different. Personally, I don't think anyone here is re-inventing the wheel in sonics/sound/noise spectrum. It's physics/electronics, under clear laws based on human ears.
Don't be so sure about that. There are modules that turn up on a somewhat-routine basis on MG that are gamechangers. Yes, music is a big physics experiment, but there's always going to be new methods with which to ply those physical laws.
This is actually a problem I ran into in my final academic stint at Illinois. The Experimental Music Studios, by the time I'd gotten there, had devolved into a highly-compartmentalized situation in which, if you were working with analog synthesis, you were expected to stay within analog synthesis. If you worked with any of the digital hardware, you were supposed to keep your business confined to those studios. There weren't any tie-lines between these studios, either; if you wanted to, say, run some of the Kyma (in Studio D) output through the Buchla (in Studio A)...well, not only was that made deliberately difficult, just suggesting it would elicit howls of protest from the powers that be at that time. I also ran into this at Tennessee, but it was far easier to circumvent the problem there, plus the professor who ran the studios there wasn't very savvy about what he was hearing in other peoples' work...so if you felt like dragging the Synthi AKS from Studio 1 to Studio 2 to process the Synclavier, you could get away with it.
But in my own studio, I've allowed all of the different methods to interplay. Back in Nashville, we never believed that you had to do things that way, because it stifles development. So as a result, my own studio starts with the early 1920s (albeit a bit updated: Moog Theremini) and goes to right-frickin'-NOW, and allows in every working paradigm in that span with zero operational barriers between them. And by putting all of these disparate methods side by side, a lot of new ideas do emerge. True, the same physics applies...but the endless combinations of possible results frequently suggests new ideas for that tired ol' wheel we're all so accustomed to.
Even just within the modular environment, you see this sort of thing going on. For example, there's no reason why you can't have some elaborate wavetable-scanning oscillator with the very latest tech feeding into replicas of Don's gates from the early 1960s. Hell, you can even buy them at the same store!
Now, every once in a while you DO see something that seriously warps the synth landscape. But the REAL re-inventions are coming from the insane combinatorial math going on when you have a 100% variable topology that consists of several thousand possible elements. And that's where Eurorack is at. Every time something gamechanging appears, the impact of that is so much greater than people suspect, because not only do you have that new thing, its presence has the ability to redefine literally dozens or even hundreds of other modules' functionalities.
So, sure...it's easy to replicate someone else's efforts, and even improve on them in the process. But why would you? Especially when you don't have to. When you open the door of possibilities that exists here, you're getting an opportunity to accomplish something different and potentially better...sort of the diametrical opposite of the academic studios I mentioned above, where everything's set up to trap composers in a given paradigm with little chance of escape. So, in such an open-ended working environment as Eurorack, why set your own traps?
I am trying to close out the final spaces in my modular system. When I first got the Make Noise Black & gold shared system (original in the 7U Enclave case), I knew virtually nothing about modular (and not much else about any synth, really; as far as music is concerned, I come from the DJ side of things. Large music collection, lots of gear, but nothing on the production side).
A friend had been getting me into Modular once he started augmenting his musician collection during the resurgence of analog synths. I had seen I Dream of Wires, the expanded 4hr cut, which was my sum total knowledge that got me entering the synth world with some semi-modular gear. I purchased the Mother 32, DFAM, 0-Coast and even the grandmother. Progress was slow and I never got too deep into patching bc I was majorly expanding the DJ setup with all kinds of crazy lights and then suddenly, my friend with all the synths, passed away.
All his gear was way over my level, but it was just going to go to strangers on e-bay, so thanks to Hurricane Harvey, I had flood money bc I was not going to rebuild. I was uniquely positioned to help the family and I bought a lot of synths from the estate. He had a twin 94hp Pittsburgh Rev 1 (before lifeforms) system I knew would have been the better system to learn on, but I also knew Make Noise was the cutting edge one, but with a notoriously steep learning curve.
First thing I noticed when purchasing the B&G shared system was that mine was not up-to-date. Tempi wasn’t in there and Rene was completely different. My Optomix was not the latest (I have added since and it is also black despite the rack view), but my ModDemix, MATHS and Wogglebug were latest versions. Immediately, I found myself building out a new skiff to catch the updated modules, which included tempi, Morphagene (retaining Phonogene), Brains and Pressure Points, which I expanded to maximum allowed of two units. To fill in some gaps, I picked up Disting MK4 and 2hp Pluck and Arp bc I can’t stand a skiff with blanks and want it filled ASAP.
Then I started watching YouTube tutorials. I was clueless on patching and Make Noise tends to favor Buchla or Serge type systems over Moog’s subtractive synths, which I understand more. I get that basically I am in driver’s ed still watching videos and reading manuals, yet to be behind the wheel and I’m trying to figure out if I want a McLaren or a Bugatti and what trim options I should get when the thing is probably going to stay in the garage anyway, so I am sure requests like these are annoying, but after investing in another skiff to pick up some of the new Make Noise modules and an attempt to solve the problem of no drum kits, I started creating a final skiff for rhythmic variations and drum modules with an interest in more on-the-fly live playing simply bc this is the most expensive system in the house by far and so far my least favorite. Friends aren’t impressed when I turn it on a make a buzzsaw sound. We all much prefer the other synths with presets and what not, but I’m not giving up yet. I mean, of course the easier gear shows off better. Presets!
YouTube videos backfired in a way bc they kept showing other gear I liked so I went a bit berzerk and now have maybe 30 synthesizers, 20 of which are various drum machines and keyboards with about 10 being tiny boutiques (roland & Volca). It’s a stupid amount, taking forever to setup, update and load soundbanks. That’s taken up the bulk of six months and I have barely made a dent in those, but watching all the videos showed me they do have drum modulars and live play rigs which usually have all kinds of clock modulators. Now, I like all my modules to be black face, but in addition to the Semi-modulars I had before (M32, DFAM, 0-Coast, Minitaur, Grandmother and both Mini&MicroBrutes plus an 84 hp Roland System-1m with I believe the System 100M loaded out), I ordered a vpme.de Eucliean Circles V2 with 6 switches in it’s own external enclosure that will affix outside the skiff, as do my semi-modular on various clamp mounting platforms.
Workflow I tried to keep like with like, so in the oscillator skiff, I have about 8hp to spare that I was thinking of loading up with 2hp Kick, Snare, HH and maybe Play for a very tight fit alongside of pluck and in between the BIA and MI.
That leaves about 12-13hp in the rhythm section for clock modulation. Tempi can do it, but it is complicated and I was looking at something more with switches that could drop out kick, snare, HH, etc. on the fly. Circles may handle that but most live rigs seem to have Pamala’s workout or the 4MS rotating clock div, usually with these DIY switching Mult mods. I think I need a clock mult and div for my drums. I have no logic modules. I didn’t even know those existed until about a week ago. Obviously, if I move the Numeric Repetitor up to the oscillator skiff, I would have 20 hp clear in the rhythm/sequencer skiff. Would be nice to have a combo drum module with 4 part voicing and a single signal out, but that is probably asking too much bc that would eat up my clock modulation space. I have line rack mixers and tuner in the system, too.
I plan to use Tempi and the Renes for more slow, in-depth programming, so the goal now is fast rhythm changes using compact clocks/triggers/gate modules.
Anyway, sorry for the length. Any black faceplate suggestions welcome. I don’t mind blunt criticism. That’s just the history of how this came to be.
Thanks, GarfieldModular. I've edited the post to include my rack (although the Quadratt and Disting are not yet installed). I'll try the step by step approach you outlined tonight and post back if I still can't figure it out. Thanks again!
Thanks Garfield, yeah it's just my personal "taste" I'm looking for
My personal take on "copying " is a bit different. Personally, I don't think anyone here is re-inventing the wheel in sonics/sound/noise spectrum. It's physics/electronics, under clear laws based on human ears.
I see each module as a possible preset/function. There is a big unit number of the same synthesizer, used by different people, in different ways. Just like several people are using Braids and so on...
Where the magic strikes is in the timbre/melodic line/arrangement/patching.
It might be useful if you could provide your link with your rack that you are using regarding the above mentioned case, so it's easier to troubleshoot the problem.
Talking about troubleshooting, did you troubleshoot this, starting from the beginning and then step by step going there where you are now with your sound? What I mean is, start first just with that plain VCO, see if it behaves as you expect it should be, then do the next step, break the sound-circuit from the VCO to your output module, is it directly quiet? Then the next step, add the next module of your above descriped setup and check again: does it behave the way you expected it? Then abruptly break the circuit and see if it's directly quiet. Keep repeating this with adding step by step the modules you are using till you found the problem, and then solve that where you found it :-)
That might be a long road to go but it helps you in understanding exactly what's going on where on the road of sound creation, if you get my point?
Good luck with the trouble shooting and if nothing goes or helps, provide the link of your rack (and additionally perhaps a patch overview) and tell the exact setup, perhaps then it's possible to trouble shoot it for you.
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
On one hand quite interesting music the Rubber tijd with Legowelt :-) On the other hand, why would you like to "copy" someone's sound? I know it might sound good and therefore you would like to use it, however, I do believe having a modular system is all about creativity and trying yourself to come up with some nice (and unexpected) sounds and use that in your music or sound.
I admit I am not experienced enough to know how to create such a sound with which modules but then again, I wouldn't even want it. Perhaps more senior members can tell you this but I wonder if this is what you really (should) want...?
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
