Absolutely! Why, when I moved into this house in 2012, I had an upstairs room that was 17 x 24. And now it's full of gear. Should've started with a larger studio...
-- Lugia
Yeah, much to my wife's dismay, my record collection has its own bedroom. I may have mentioned before that I sold off all my old synths and gear many years back. I was paralyzed by options and just gave up. Modular brought me back to the dark side.
A couple suggestions come to mind:
1) Add something like a DannySound CaliOsc + a Timbre or a Make Noise STO + an Intellijel Bifolder to get into some analog wavefolding and variation territory, I've been doing that with Random*Source Serge modules and really loving it.
2) Get a 4MS Ensemble Oscillator, tons and tons of stuff to explore in it from chaotic drones to lush synth strings.
3) Get a Tanh, don't change anything else and start exploring feedback patching.
Specific additions aside, the main thing that comes to mind for me looking at this rack is actually to set aside the Rings and to keep the Kinks. It's too easy to dial in good sounds with Rings which ends up making me lazy at least. Substituting it with something that requires more effort and skill will bring some of the excitement back into your patching, imho.
my tunes: https://stevehand.bandcamp.com/
The Bastl Grandpa granular sampler and Spa expander are an interesting, quirky, 10hp, lo-fi combo. I've been eyeing it for a while myself. Seems like a deceptively powerful texture generator.
As often as we recommend that beginners start with a bigger rack, that same advice applies to those of us with larger setups.
-- farkas
Absolutely! Why, when I moved into this house in 2012, I had an upstairs room that was 17 x 24. And now it's full of gear. Should've started with a larger studio...
Robert Leiner, aka The Source Experience, not only made ample use of a Digisound 80 system on his releases, he's sort of an authority on Digisound in general. He had a few releases on R&S back in the early/mid 1990s which still have a devoted following among those from the old-skool rave scene.
Hi
This is my current rack about two years old now. I'm starting to feel a bit stale with it. I think I have a good basic set-up with a bit of everything and am happy with most modules. I'm thinking of ditching the output module and MI Kinks which will give me 14hp total spare. I am looking for ideas to fill that with something to give me a bit more excitement. I am mainly into ambient and drones, industrial and very much into experimental stuff using reel to reel tapes/loops, circuit bent toys and other sound mangling devices and home made instruments. As well as what is in my rack I have a passive self built unit giving me attenuators, mults etc numerous guitar fx pedals - delay, reverb, chorus, tremolo etc and also I have a Arturia Microbrute semi modular and Beatstep, and a Yamaha reface CP piano keyboard. So what do you think would give me a step up the ladder and some new inspiration please. Much appreciated.
I would do some more research first - specifically reading a load of other newbie with semi wanting to get into modular posts - here and muffwiggler are both good starting points
as farkas pointed out there is no point racking the semi-s
if you already have the semis - then it maybe an idea to concentrate this rack on modulation/utilities/effects/mixing
the first modules I would get would be links, kinks, shades, a quad cascading vca, a filter (non-moog inspired), maths and something that can do delay and/or reverb (FX Aid XL perhaps)
and nothing else - play with that until you know it back to front and expand slowly and organically from there based upon your own experience
at the very minimum download the maths illustrated manual and work your way through the patches in it a good few times with the modules you do have - probably one of the best learning techniques for modular there is!
use the output of the vca as a final output stage for now - most will drive headphones or speakers - output modules are a weird topic - those who have them swear by them and those that don't generally say - they are superfluous, unless you absolutely need balanced outs (which you probably don't)
"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
Good communication and nice transaction with @Buio.
Grazie Alessandro.
Thanks @farkas, I was trying out some new stuff here and am pretty proud of it!
my tunes: https://stevehand.bandcamp.com/
Oh, wow. I'm listening now. The progression and development of this one is fantastic.
Great job!
Yes, the question of cable management has to be front of mind! In fact, that's a big reason that I felt the need to rearrange everything. It wasn't so annoying when I was just tinkering around, but as I develop a more performance-oriented approach, I found that the typical signal flow layout made less sense to me. Thanks for bringing this up, the-erc.
Coming from the perspective of a small, performance-oriented rack, an important consideration is : where are the your hands going to be and where are the cables? They had better not be the same place.
For my two-row setup this means that modules with the patch points at the top should be in the lower row, and modules with patch points at the bottom should be in the upper row, installing the module upside down if necessary/tolerable. Modules with the patch points along one edge (like the classic Doepfers) ... well they are a pain. This does tend to create an illegible mass of cables between the rows but the controls are usually not obstructed.
My rack has been hacked by a previous owner to have some horizontally oriented 4hp spaces above and below the rows. While this seems useful I still haven't figured out what are ergonomically acceptable ways of using it -- actually patching something in there would require cables across the controls of the adjacent row (or else very long cables) and the lip of the case makes getting fingers in there a bit tight.
I don't have the space to leave the modular set up permanently, which implies a very brutal approach to patching : one patch, one recording, pull the cables and put it away, usually the same night.
Latest stuff : https://soundcloud.com/user-352590333
Welcome Wonderof42!
If you are concerned about wasting money, do NOT put the Neutron and Subharmonicon in a eurorack case. They already have cases and power supplies attached. Don't pay extra to rack them twice. They are SEMI-modular synths, that will be fun to integrate with the rack, but it's definitely a waste of money and space to rack them twice. They're still portable and easy to incorporate as-is.
What kind of music are you making?
Hello and good day anyone who reads this! I’ve been playing around with stand-alone analog synthesizers for quite some time now and I’m wanting to move further into the modular euro rack world because that shit is awesome. All I have right now is a MiniBrute 2s and a handful of other analog synths and drum machines and a couple different midi controllers. My goal here is to make a super synth I can take places and do things with. My idea is to get the rackbrute 6u, fill it with modules, and attach it to the minibrute 2s. Bearing that in mind here’s my rough draft of a modular case for the minibrute 2s. Any input or advice is greatly appreciated! I’m a newbie and I don’t want to waste my money building something that doesn’t make any sense or is sorely lacking key features.
Modular Noob
Thoughtful responses senor-bling, Lugia, troux, and GarfieldModular. As often as we recommend that beginners start with a bigger rack, that same advice applies to those of us with larger setups. I definitely wish I had invested considerably more in extra rack space to begin with, even though my original plan was fairly large. When I was first starting to build my modular, I didn't like seeing empty space between the modules. Unfortunately that led to a few impulse purchases that didn't work out for me. As we all know, impulse eurorack purchases can be expensive and a waste of time (I'm looking at you, Loquelic Iteritas Percido...). I probably should have invested in more empty rack space instead of more modules.
As far as mission-specific rack builds, I have thought about putting together a 104hp live skiff (inspired by @troux). That would be a fun and difficult exercise. I've also considered a small skiff of modules that I want to spend more time learning. For instance, I have kept Phonogene and Clouds in my rack because I see their value, but I rarely patch anything into them and haven't discovered their subtleties yet.
I remember Mowse's excellent layout post. Great advice on module grouping. As the rack continues to grow, it will be important to keep those grouping and signal-flow ideas in mind in the planning stages, while still taking into account our personal preferences and evolving music and individual workflows.
Thanks for the responses!
Hope IG link is ok for you, these are my "lower tempo" kings on that network:
https://www.instagram.com/tl3ss/
https://www.instagram.com/snakesofrussia
https://www.instagram.com/voltagectrlr/
I don't know of dubstep artists who use modular, but I'm not into dubstep so that's probably why :-D
--- Voltage control all the things ---
Hi folks ,
Looking for suggestions for the above...artists who use modular to make lower tempo or 140bpm darker beats...any live sets out there? Specifically not techno...as thats everywhere in modular.
Modular Therapy..... Sounds expensive, I know my 'Treatment' has cost a load! :)
Cheers
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 Mog00,
You got some nice stuff in there. I like the rhythm here, nice usage of percussion! Textual it does remind me a little bit about Latin Quarter :-)
Thank you very much for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Wishbonebrewery,
Oh yes! A few more of those tracks and you can make a large relaxing album :-)
Lovely calm, relaxing therapy (that reminds me of a doctor I know who told me about modular therapy ;-) ) music, great to finish the evening with, thanks a lot and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Farkas, All,
First answering your additional and a bit easier question about the patches. I like to keep my current patch as long as possible because once it's gone, it's gone :-) It grows over time though and it usually doesn't take much time or there is a kind of forest of cables "growing" over the case. When waiting really (too) long the forest becomes thicker and the supply of patch cables is thinning out seriously...
I just like to keep building on my existing patch, trying to make it yet more interesting and yes, I guess I just not dare to let go ;-)
However once I clean it up, I totally remove all cables and completely start from scratch but that can easily take a few months.
Now your more difficult questions. First the second difficult one, the reshuffling of modules. I also try to avoid that as much as possible because easily a few evenings can be gone by just unscrewing the modules put them somewhere in then realising oh damn wrong position (well I try to avoid that by using here the rack planner of course). Over entire last year I only did one major reshuffling. I foresee that I need one more large reshuffling but I try to wait with that as long as possible just because of the hassle (which is sometimes nice, if you have plenty time but sometimes also just a bother).
Okay, now your most difficult question ;-)
How to plan the modules over your rack layout, is definitely something for a long term view and building up experience. I usually plan my rack layouts for at least a half year till about a year or a little over it, just to avoid the reshuffle matter as just discussed above.
However where to put the oscillators, the modulators, etcetera. Lugia's approach is definitely one of the better ones. I try to combine that with the overview of Mowse's setup (Mowse can you please show it us one more time, your rack with those coloured boxes, beautifully done, it's just that I can't find it back) and some general ideas. Like how we read a book, the same "workflow" I try to keep with modular as well, starting the patch from the left (clock, dividers, sequencers, MIDI input, that "kind of stuff") towards the right (VCAs, mixers & output modules) via the middle (sound source modules, oscillators, etc.). Here and there a multiple where roughly needed.
Then I take a bit the approach of Lugia and putting the EGs and LFOs roughly on top there where I want to modulate most modules. Filters usually go on top as well.
Though once the rack(s) start to fill up and less space is available it all doesn't become so much organised any more due to the lack of space, makes the rack actually more messy when it's getting filled up...
I am still searching for the "ideal" module arrangement, for me it's Lugia's approach mixing with Mowse's (that's similar) and a bit of myself. The problem every time again, I realised, is that problems come when the racks are getting filled up... how to avoid that? Sure don't buy any more modules but I guess that's not really what you or I want :-)
Though how silly that might sound, but perhaps that silly joke I was kind of telling on that post where Sajmund showed us a case full of VCAs:
https://www.modulargrid.net/e/forum/posts/index/8899
For every function a case full of it, might not sound too bad at the end at all, naturally space is a huge problem and of course the finance of it. But you don't need to fill up all the racks and to make this a rather bit more realistic you could certain functions that go almost always hand-in-hand together (like for example VCAs, mixers and output/input modules) put combined in one rack.
Take a rack (again, it doesn't need to be full, it needs to grow, so even if it's half empty still good, at least you don't need to reshuffle the modules) for the sound sources like the oscillators, wave tables and those nice fancy digital modules that can do a lot of stuff including samplers for example. Then all the modulating modules (LFOs, EGs, some fancy digital stuff) put that in one rack on top of that sound creation rack.
Take yet another rack for drums/percussion only (if there is still space left). Depending on finance and rack space, take one or two utility racks (could be small racks) where you put all the rest of the stuff and position those racks there between the other above discussed racks where it's most needed.
Yes this sound ridiculous but think about it, it might get close to an ideal setup. The racks can be for 80% empty, so what? At least you don't have for the next few years that reshuffle issue. It's just that one time investment of a few extra racks. Call me a blithering idiot, I don't care but I am actually considering this as an option, not saying it's going to be like that but it would solve here and there a few issues. Naturally there is this huge finance issue of getting those spare racks to start with... which is the reason why I haven't done it yet ;-)
Back down to earth :-) You could minimise the above idea, keep on shrinking it what has just been offered as an idea here above, keep it shrinking, thus less racks, less money, less space. Keep it shrinking till you reach the point that it becomes realistic for you moneywise, space-wise and rack-wise. I think it's not too bad, add that setup from Lugia and Mowse together with it and there must be laying the answer for all of us. Each in another way, sure, but I think it might be feasible.
The more I think of it, the more I like it. I am going to save a s***-load of money for a few spare racks ;-)
Cheers, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hey Suddenbeach,
Well summer in Cologne, sounds good to me, please keep us posted.
Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Re: case design, one aspect I'm really enjoying in eurorack that I think might be a little odd or unique is designing each case on its own terms as an instrument with particular goals in mind and limited range, that limitation helping me to be creative and learn. I've got an acid rack now, a drone rack, and a modulation focused weird ambient rack (R.I.P. my wallet). To do this you end up duplicating some functionality but that's also an excuse to try out new modules, and in particular to take modules that are underused in one case and to move them to another where they can shine or contribute in new ways. It also results in a lot of moving pains but I kind of just accept it because it feels worth the hassle.
I'll also note I've naturally gravitated towards the flow approach @Lugia laid out, but like you @farkas I'll put modules in odd spots if it makes patching easier or I want direct access to one, and yes sometimes if I'm just feeling lazy.
Good topic to bring up and I'm curious what others are doing.
my tunes: https://stevehand.bandcamp.com/
Fun jam to kick off the week:
https://stevehand.bandcamp.com/track/no-highpass-acid
Hope you all enjoy!
my tunes: https://stevehand.bandcamp.com/
Threw this one together today very rough mix as I wanted to get this out today.
All the players active
Lubadh tape delay
Dixie fm bells, fm modulation provided by the I-o47 through intellijel quad vca
Typhon textures
Blackbox samples
Pyramid sequencing
U-He Zebra chords
A bit of a development from that patch. More twinkly shit ;-)
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.
Thanks for the responses. I can't remember seeing a thread specifically about module arrangement and maintenance, so I figured it might be a good discussion/thought exercise. This is a craft that revolves around long term gear acquisition in a way, and with that comes some occasional headaches.
Lugia, that's definitely similar to the signal/work flow idea I initially started with (and looks like a fun rack). Now that I've expanded to near my limit, added a few hardware pieces, and developed my personal preferences, I had to upset the apple cart. Spent all afternoon re-racking everything (God bless threaded rails, and screw some sliding nuts. Ugh!) after realizing that I preferred some modules in close reach regardless of how illogical their placement might seem to someone else. I'm thinking the new layout should keep me focused on creativity for a while. I may add a Low Gain Short Bus and a Knob Farm Ooots eventually, but I can't think of anything else I need to add for a while.
Would love to hear anyone else's approach to this minor tedious aspect of modular.
Actually, I did a build just the other day that's a good example of how I proceed with groupings and flow:
OK...so, in this setup, the TOP row is audio sources and modifiers. And in that row, things flow from left (the A-119) to right (Veils).
Then the next row is random sources and modulation manipulation until you get to the QPLFO, then you're in modulation source territory. Dead-center in that are the key manipulation modules for CV and modulation, in this case they're a SISM and another Veils. The idea here is that you can spread the outputs from this to patchpoints above and below the row, which would make it easier to differentiate between your audio path and the various mod sources/destinations.
Bottom row has a Hermod which is also intended to drive an M32...so in the lower-left corner, you have the Hermod, the MScale, and a dual lag generator for direction-dependent portamento with two of the Hermod outputs. Then we get back into audio, as the system's effect processing sits between the lag gen and the mixer. This particular build ALSO had an emphasis on looping, so I co-located the two looping modules (Morphagene, DLD) near the mixer since they should be pulling audio from it and then sending it back there. Then at the row's end, you see a 3xMIA for summing when needed, a Mixology performance mixer, and an Isolator for output isolation, plus it adds some transformers which you can 'hit' a little hard for a touch of warmth from transformer saturation.
So, when you study this, the Hermod is where the various CVs originate...and flow upwards to the top row, with the ability to make use of the Verbos Random Sampling's analog shift register for arpeggiation/tesselation purposes. Then the signal flow goes across that top audio row, and back down to the mixer, with the modulation row able to "hit" anything in either the top or bottom rows.
Now, if you've ever had the pleasure of working with an ARP 2600, this flow pattern should seem familiar. Technically, the 2600 has two "rows" to it, with the EGs actually being in the top row before the VCA, and the output/reverb mixer is also up there. But otherwise, the builds I do tend to replicate something of that same pattern...because it's worked for 50 years, so why change? Alan Pearlman and his team nailed the flow on that synth, and LOADS of synths since then follow their own variations on it. The only time I deviate from this is when the top row is stuffed with sources, and the audio modifiers have to go downward along the right side. In that case, I defer to Nyle Steiner's Synthacon design, placing the CV/mod modules to the left end, and filters, waveshapers, LPGs, etc on the right so that you can easily break out mod sources to go to the other end of the row(s) for use there. Again, this lets the modulation, etc "fan out" from its section to wherever those signals are needed in the audio path.
Right, toodee...there's not exactly "patch examples" for something like the MISO, because it's such a CV/mod control workhorse, there's not really any "basic" way to use it. It's more of a "Swiss Army Knife" for those signals...and the best way to approach it is probably to look at it as a cross between a CV processor and a controller for the CV/mod levels/routings. In short, it's got a bazillion uses, and how the OP uses it probably will differ from how anyone else uses it.
Wow...that's super-annoying! You'd think there'd be some indication of connections/polarity on those.
What you've got with the supply wiring is that the builder used red for BOTH "hot" legs and the black wire should be the common ground. Very dumb...because -12V isn't at all the same as +12V. What I would suggest is this:
Grab your multimeter, first off. If you don't have one, get one...these sorts of issues are precisely why EVERYONE doing electronic music needs one of these on hand. So, what you need to do is to check the pin header continuity, since these are invariably the same on ALL distros. So, start here: http://www.doepfer.de/home_e.htm and go to "Technical Details A-100" where you'll find the pin-out diagrams for the 16-pin standard Eurorack power/bus connection.
Next, check continuity. Put one probe onto the -12V rail pins, then see which of the two red wires it corresponds to. Once you know that, the same pin-out will apply across ALL of the distros. And you'll also know which wires need to be changed out to a different color...I suggest something that you can tell at a glance, such as white. Keep the +12V as red. And yeah...the supply lines from the AC switch shouldn't be changed, as there shouldn't be any DC polarity issues until AFTER the P/S unit.
As for that linear DC honker...that thing has enough current capacity that you'd have to really work at trying to overload it. And like I noted, when the P/S is running way under-spec, it runs cooler, and cooler means better operating conditions for it and most everything else. The stability on it should be rock-solid!
Looks like everythings back... After some more thought, I think its possible to make a Cs-l work in there (though this will probably be a purchase later on down the road if it’s working out) . Might be tight on VCAs/Mixers if I try to go for a standard 3/4 voice setup, but if they are all talking to eachother, I think it could work. Put in the Bastl Grandpa to make the sample voice a little more functional and less static. Belgrad also seems like a great complement filter to add some character and also having a varied sound to get some different stuff out of it. Also moving away from the effects thinking, just the 2hp delay and the Desmodus Versio (as send effect) would fit everything I need.
Ultimately, if I can make this many voices work in such a small space, I think this will be able to cover a really nice variety of sounds. And the modulation allows for some exciting intermingling of control.
I try to leave my modules in place as long as possible, because a) it's just no fun (even with knurlies) b) there's always a chance of plugging in something wrong (even with shrouded headers on the bus boards) and c) I hope I don't spread FUD but I've read somewhere that the Eurorack connectors are in fact spec'd for a number of re-connections that's in the double digits… [citation needed!] and I prefer not to test my luck too much. Still, I think I've rearranged >50% of my rack two or three times last year.
I have certain classic synth voice combos that I leave patched for a very long time. Also, I don't feel I need to mess with final fx->mixer->outputs wiring too often. In general I go blank slate when I feel like I'm completely stuck or actually done with a track. But that means I sometimes live with a patch for weeks and it gets very messy fast.
All that said, I do wish it was easier to rearrange everything. I agree, this thing does seem to have a life of its own. And the way modules are arranged has a huge influence on my patches. Most boring case, because I'm running out of long cables and mults…
Just noticed that it has been exactly one year to the day since I ordered my first modules. However mediocre and intolerable the sonic outcome of my creative endeavors, the fun, creativity, process, and community has made the last year a great experience, all things considered. :)
In the time since, I've put together a pretty nice instrument for myself. Adding cases and modules regularly to fill needs and wants, plugging holes in my racks, adding additional functionality, etc. I've tried to adjust the layout a bit at a time to accommodate new acquisitions, but the time has come to rearrange just about everything. I'm learning my own work and signal flow preferences, and trying to incorporate a more "performance oriented" layout.
Just curious how often you all rearrange your racks, if at all? At some point, a studio rack sort of takes on a life of its own. Do you all consistently rearrange modules to maintain your evolving workflow, or have you stopped trying to contain the beast? I'd much rather be experimenting and making some noise than unscrewing modules, so it would be cool to hear any insight into how you all approach this side of modular.
Thanks, and have a great day.
*Edit: Additional question, I have always started with a completely un-patched blank slate every day, but I'm moving towards leaving some module combos consistently patched. How often do you completely pull every patch cable and start over? What module combos do you leave plugged in long term?
Just looked into the Noise Reap Paradox, and jep you're right. It's more than just a VCO. Looks and sounds frigging nice. I'll contact them today if they currently ship to the EU/Germany, as a lot of people have shipping issues right now.
I switched out the unity Panning Mixers form your build and added these 2hp ones as the PCB and front available at pushermann. Seems like mouser has everything I need in stock, too but I need to check local suppliers too.
https://www.modulargrid.net/e/other-unknown-telexn
https://github.com/bpcmusic/TXn
It's probably a good idea anyway to have some wiggle room for the time I'm still in my jumpskiff.
The Machine: https://www.modulargrid.net/e/racks/view/1601144
Hi,
Not really instances of patch ideas but there are some included in the articles, if memory serves:
https://www.perfectcircuit.com/signal/methods
Make a search on the page for "Learning Synthesis". Some of it will be things you know, but there will also be a lot of information that you can add to your mental toolbox. For example, I suspect https://www.perfectcircuit.com/signal/learning-synthesis-logic will help you.
If you have some cash, the Patch & Tweak book or one of Chris Meyer's lessons could go a long way as well.
Hope this helps,
D.
--- Voltage control all the things ---
Hey GarfieldModular,
Thanks for your comment !
I can only hope to perform in Cologne in the summer of 2021 but who knows... I keep my fingers crossed.
You're really lacking on ways to manipulate CV/mod signals here, so for 10 hp, I'd suggest a Tiptop MISO.
-- Lugia
Hi Lugia,
Can you explain a bit more ? I am totally a newbie in eurorack. it would be grateful if you can give me instances of the patch ideas.
I usually experiment CV signals with Maths and quad VCA (fed in with some LFOs)...well, perhaps I misunderstood something.
Thanks, Lugia! Can I ask you some stupid questions?
Thanks for the PS recommendation. Just ordered it :-)
What would I replace the red wire with? I would assume that the the red and black are either 12v or -12v--and I do have a problem knowing which is which.
Also, dumber question, I presume you're talking about the red wires going to the distro boards? And not the inputs from the power switch that attach to the PS?
I pulled up one of the boards and....amazingly...no writing whatsoever!
Hi Gabor,
He, he, nice video and fantastic music that goes along with it. A real nice combination of the both (video & music).
Thanks a lot for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Suddenbeach,
Wow, nice video! You got a lot of nice effects in the video as well as many nice, surprising & interesting sounds.
When will you perform in the Bonn/Cologne area? :-)
Thanks a lot for sharing and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Address is broken, btw...close up that space before "view" so it'll show the build.
-- Lugia
It seems like a modulargrid issue and unfortunate time to post then :/
The NTO, VCFS, and VCFQ are fantastic, I'd recommend all of them. Cold Mac is also pretty sweet, opens up lots of interesting interactions.
my tunes: https://stevehand.bandcamp.com/
Address is broken, btw...close up that space before "view" so it'll show the build.
Hi there,
I’ve been making some good progress on my rack and was hoping I could get some feedback.
Would be nice to hear if anything you think is entirely missing. Also what else to fill in the rest. Seriously considering finishing the top row up with a second Mangrove - but on second thought the Cs-l sound amazing, and it fits perfectly, but definitely gets tight on mixers/vcas... Other things I’m considering:
Not sold on anything in the current rack except for the Verbos Harmonic Oscillator, Mannequins Mangrove and the Three Sisters. I am mainly thinking about how to best expand/complement these 3. Organic, warm. Thanks.
Edit: switched to a mantis to give it some more room..
Right? It is an occam's razor situation. I don't want to really buy much more for a while until I master the basics for my current setup. I am digging into the Euclidian Circles v2, Eloquencer and Mimetic Digitalis sequencers which are tons of fun and working on learning to create beats and melodies with the Hertz Donut, Trident, and Angle Grinder as well as Loquelic Iteritas Percido which is a complete synth voice. It is simple to make crude buzzing noise but melodies are far trickier as these can get unruly quickly. Especially the Hertz Donut and Angle Grinder! Those are beasts and feed 100 Grit distortion can get wild fast.
Hopefully if I can move into larger studio space this year...
-- sacguy71
Of course you realize that "larger studio space" just means you've got an excuse to cram even MORE gear into the studio!
