Really like my Nostalgia. And it's not my only (BBD) delay. For the money a "no-brainer". Own it for over a year now. No technical issues. Only thing is that the white paint around "Time" and "Feedback" is disappearing. But that gives this Chromatic module, a nice "nostalgic" 303 look.
Owned Ataxia and the pink looked lovely next to "old school" mutable modules. Sold it because I preferred a dedicated ADSR.
Almost like having a mini Elektron Octatrack or Digitakt in one module for sample and loop playback!
How is it for recording modular stuff? Seems like would be a great way to record live performances and dump to a DAW like Ableton for processing into songs.
Ugh! It happened again - I crafted an long, detailed response about my studio set up and my real-world example, but when I hit submit it got lost in the ether...
Oh well, here's the shorter version - I have my entire synth studio being fed from a single outlet. No noise, no anomalies, no weirdness that might be power related that I can tell. I have a Furman M-8Dx plugged into the wall and four PST-8 power strips into that. Everything except the computer and its two monitors is either in a PST-8 or direct to the M-8Dx. That includes seven hardware synths, two 7U cases full, two Yamaha HS80Ms and matching subwoofer, Presonus StudioLive32 and a ton of other stuff like lighting and pedals etc. I keep the computer on its own power strip plugged into the wall so I can leave it on and have a single switch to power off all the other gear. I added up all the power requirements for EVERYTHING in my studio on that circuit and it's about 12 amps (remarkably low for all that gear).
I "believe" this is a safe setup but I am not 100% confident. I'd love to get a UPS but they are expensive at this scale - like $1,500 for a Furman. Is it really necessary?
I am not an expert here either and would love to hear from other folks.
I bought the Behringer K2 and added this interface pod so that the K2 fits in seamlessly with the rest of my modular system. I don't understand why Korg does not build an MS20-Modular in Eurorack.
-- galaxiesmerge
It's a different standard. So the K2 would have to be built on a new backbone and still try to emulate the MS20 close enough to be acceptable.
I cannot seem to get the intellijel noise tools into the 3U to 1U adapter where the module physically actually sits in my current rack so it hangs there outside the rack and disconnect. If anyone knows how to do this please let me know. Maybe it is a feature for modular grid that is just waiting to happen!
-- galaxiesmerge
Perhaps start looking at 3U sample & hold modules. "Noise tools" is more of "Sample & Hold" tools. You might find what you're looking for in 4 to 6 HP.
If you're looking for pieces to add to your Neutron, it's okay. But if you remove the Neutron, you're pretty limited.
If you're going to buy a Disting, get the EX. It has more features and a better display. It can also do the work of two of the Mk4 Distings in most cases. A small submixer that can also handle DC would be nice. Rings, Filter 8, and the Disting can all act as oscillators and you might want to combine them or some CV in a patch.
-- Ronin1973Thanks a lot for your comment above, Ronin1973. I really appreciate your feedback about the Disting Ex, and totally blanked on that when loading up the case. It really does look like an excellent addition to this set up.
I agree with your comments regarding an additional small DC (operable) mixer. Would you have any recommendations?
Thanks again!
-- djidmusic1
I'm using 1U Quadratts in my setup. But that's Intellijel 1U. Almost any mixer will do, so just go with what works in terms of features and size... just be sure it's DC coupled so it will work with audio and CV.
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
-- Lugia
See, this is why I like to ask these questions. I'm fully aware of what is out there and how to go about Eurorack, but getting some insights like this, an approach to something that is meaningful yet different to your own, that I find enlightening. I guess I need to find an octa-filter as well! :)
-- ParanormalPatroler
The Bitbox Mk2's inputs and outputs are DC coupled and you have four discrete outputs. Why wouldn't you get a VCA involved?
quality of breadbox modules on the chromatic line are top notch. I personally love the colours.
aesthetics wise I think multiple shades of black and silver look awful next to each other and I purposfully try where possible to contrast between different module shades. Dunno why but I find the pink of the ataxia attracts me first before maths when patching, I just find it much simpler and easier to use.
Started my modular journey a few moths ago, after being inspired greatly by Andrew Huang. Mylar melodies and DivKid have been invaluable resources in choosing modules and approach.
Not sure what I'd call this, genre-wise. It's a hip-hop-ish beat and tempo, I guess.
Enjoy!
P.s. Sorry for the abysmal camerawork!
@catwavez, I hear ya -- fair enough & thank you for the rundown. That's helpful and interesting. Didn't mean for my reply to be testy or whatnot, but I'm not above liking things simply because they're pretty at times, so I kinda wanted to think through my feeling about aesthetics vs. function anyway, lol.
@Lugia that's an interesting point about about "samey" racks and does make the to me otherwise baffling design of something like, say, the Moog Grandmother, more understandable (though I realize there's an all-black version as well). While my modules are mostly black, I do find it helpful at times to break up portions that sort of blend together with an accent (via any non-black module). I don't perform live, but I feel a little OCD about my evolving rack at times (not uncommon in this hobby I'd imagine) and sometimes vacillate between liking the idea of a very clean feel with a lot of consistency (an all- or mostly-(black) ADDAC system makes me salivate a bit, lol, I love the vibe of their modules -- it's like the appeal of Doepfer vintage, if DV had to clean itself up to attend a fancy social function) -- and also wanting a case that has a lot of variety and character and personality and a bit of chaos to it, continually trying modules from many different makers (maybe part of the reason I can sort of embrace Blue Lantern's aesthetics). It's going to be the mish-mash / a-little-of-everything route regardless, for various reasons, but I used to be a freelance designer and am currently an artist, so I always end up musing about the overall visual aesthetics of things, and always vacillate between enjoying extreme clarity and order, and cozy, personality-rich chaos.
@plragde -- I just looked up that module, and ... yeah, agreed, lol. Tbh despite all I've said about it, I can usually get past or come around to most module aesthetics if I have a reason to (great value, needed functionality, a useful accent/splash of something different, etc.) and can at least theoretically see the appeal of many modules ranging from Manhattan Analog to Dreadbox Chromatic, ADDAC to Blue Lantern. But occasionally an especially bad aesthetic can be a dealbreaker -- the other that comes to mind I noticed recently was a ... mm ... I think a Birdkids module, maybe? ... that had a unicorn graphic on the front and the unicorn's butthole was one of the main jacks or something like that. I get they're just having some fun, but ... man. Snazzy FX comes to mind too ... I think being aggressively psychedelically ugly is just kinda their thing, but, man ... I'd have to really want one of their modules to get past the look of most of them.
As a side note, being an aesthetically driven buyer to a small degree, it does drive me a little nuts when I can find something like an ADDAC Marble Physics in cherry red and matte black, but for some reason every vendor -- including ADDAC themselves -- wants a ton extra for the black one.
I use these audio-rate chaos modules :
NLC Giant BONO
Neutron Sound Orgone Accumulator
Rob Hordijk Benjolin
Error Instruments Sound Scaper.
And I use these CV chaos modules :
NLC Triple Sloths V2
NLC Hyperchaos Deluxe
NLC Let's Splosh
NLC Genie.
It's (mainly) for creating backgroung soundscapes in art exhibitions, and (occasionally) soundscapes for games.
(some sounds here : https://arcanewaves.bandcamp.com/album/electronic-fields)
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
-- Lugia
See, this is why I like to ask these questions. I'm fully aware of what is out there and how to go about Eurorack, but getting some insights like this, an approach to something that is meaningful yet different to your own, that I find enlightening. I guess I need to find an octa-filter as well! :)
Based on your feedback, I came up with this one. It looks like the Disting EX could cover many FX duties, so took out the dual FX and added the Pico DSP. On Ronin's recommendation, added the small Pico CV/ Audio Mixer to cover the extra 3hp. Finally, added the Pico RND for extra modulation and randomness.
Thanks again for your helpful comments.
The P/S for the Rackbrute is missing; you'll find it under "Arturia" in the manufacturer list. And I don't think that Neutron belongs in there, since it already has a cab and power on its own. You want to use the not-exactly-cheap Eurorack cab space for things that DON'T have those. Or, a better way to put it:
Rackbrute 6 = $359 @ 171 hp (176 - 5 for the P/S). $359/171 = 2.10 (ish). This is the cost per hp of each space in the cab.
Neutron cost = $329. A Neutron takes up 80 hp, so $2.10 x 80 = $168. This is the cost to house the Neutron in the Rackbrute, which you would then add to the Neutron's cost, giving you an ACTUAL cost for the Neutron of $497.00.Honestly, you would probably be better off if you used the space the Neutron's stealing for a basic voice AND a good sequencer AND some modules to screw with timing for the interface with the Minibrute AND the Neutron. The above might look convenient, but it's going to cost you some real $$$ in the long run.
-- Lugia
Thanks very much for your detailed feedback, Lugia. I feel very fortunate to be able to ask experienced users these questions in this forum - it's a great learning tool, and saves beginners like me money.
Thanks for your point about adding the power supply to the build. I will have to add that to the rack.
I appreciate your thoughts on the redundancy of the Neutron. To be honest, this build will probably be a slow one, owing to finances, with the first rack (pictured) taking a while to come together, before stripping out the Neturon and adding another voice. For that, I thought of the Morphagene for its compatibility with Beads as a start.
I guess you may have already checked this one, but the combination of Morphagene and Beads seems like a real winner. Add to that a Pamela's and Akemi's, and I think I would be sorted for a while.
Once again, thanks a lot for your time and detailed comments.
All the best
I cannot seem to get the intellijel noise tools into the 3U to 1U adapter where the module physically actually sits in my current rack so it hangs there outside the rack and disconnect. If anyone knows how to do this please let me know. Maybe it is a feature for modular grid that is just waiting to happen!
If you're looking for pieces to add to your Neutron, it's okay. But if you remove the Neutron, you're pretty limited.
If you're going to buy a Disting, get the EX. It has more features and a better display. It can also do the work of two of the Mk4 Distings in most cases. A small submixer that can also handle DC would be nice. Rings, Filter 8, and the Disting can all act as oscillators and you might want to combine them or some CV in a patch.
-- Ronin1973
Thanks a lot for your comment above, Ronin1973. I really appreciate your feedback about the Disting Ex, and totally blanked on that when loading up the case. It really does look like an excellent addition to this set up.
I agree with your comments regarding an additional small DC (operable) mixer. Would you have any recommendations?
Thanks again!
I bought the Behringer K2 and added this interface pod so that the K2 fits in seamlessly with the rest of my modular system. I don't understand why Korg does not build an MS20-Modular in Eurorack.
The new modular rack I am working on building. This is really all about filtering, delays, resonances and modulation. It fits in with all of the other racks but adds a new palette for aural design.
Hi folks, thanks for the ideas above!
Update: I decided to go ahead with a few modules from NLC that I've been wanting for some time. Triple Sloths, Hypster and Squid Axon. Triple Sloths is well known and loved; Hypster was strongly recommended to me as something great for my use cases; Squid Axon, well me and the GF have a big kitty who acts like a giant squid quite often, so clearly I needed a Squid Axon. It actually does look like a cool and useful module, but names matter, I couldn't resist... BTW the videos on the bottom of the NLC module pages will show you what these do, in case you're curious.
I've had a scan of the modules mentioned above. IMO the Elby Designs and Zlob modules sound like very good alternatives / complements for the type of chaos I'm looking for. The Elby in particular are by Ian Fritz who also originated the ideas behind the NLC Hypster. I'll consider those in the future if I need to add more chaos. Wogglebug I would also likely add, if it was ever available...
I have to say, of all the Eurorack modules I've considered, the chaos modules are among the hardest I've found to compare / select. Some considerations I've come had:
-- smooth or jerky: for example NLC has some jerk chaos modules, don't think I need those now (and frankly can hardly imagine a musical use for them)
-- rate: slow like Sloths appeals to my use cases, as well as having some faster moving chaos signals. I can't yet imagine a musical use for audio-rate chaos signal
-- controls: I'm finding a lot of these units (esp the NLC ones) are more "user influenced" than "user controlled" e.g. one cannot rigidly constrain the chaos behavior, just "nudge" the behavior a bit here or there.
-- # of outputs: all things considered I'd like a chaos unit with more outs so it can add wander/slop to more destinations.
-- appealing videos: as the descriptions of the module can leave so much to the question "what does it do," the modules for which there are decent videos showing the module in action producing musically interesting (to me results) go to the top of my consideration set
Lastly, for those interested, there's a thread at MW by Ian Fritz that brings up many (and more technical) issues of chaos modules in Eurorack https://modwiggler.com/forum/viewtopic.php?t=194284&start=0&postdays=0&postorder=asc&highlight=
I wanted to post this to wrap this thread up (at least from my end for now). Again, thanks for all the ideas and comments!
Hi folks,
As I expand my modular setup, I'm running into some power questions. I have zero electronics background, thought I'd ask for some help.
For the sake of easy #s, let's assume a sizeable draft rack in Doepfer Monster 12u plus 6u base case, power needs calculated by MG as approximately: 6000 mA +12V | 3500 mA -12V | 0 mA 5V
Questions:
how much of an electrical load will this present to my studio power circuit? From the above mA is it correct to assume 6 amps load from the modular any time it is on?
power channels & circuits: I initially thought "I should put a larger electrical load on 2 different circuits if possible" so I plugged in one case in one outlet and another on a further away outlet. Yuk! Big problems with noise and other very strange behavior like frequency sidebands on a sequenced sine wave (which of course should have no sidebands). Talked with my normal guy at Patchwerks who said "oh yeah, you want all your audio powered on the same circuit, or you can have various strange problems." I don't understand the issues at hand here, but it boils down to: run all your audio stuff on one power circuit if possible, or spread it on different power circuits? I'm in a home basement in the US so I assume 15 amps per circuit in general.
power regulation / conditioning: I have a ~$200 Furmann PL+C voltage regulator and conditioner, which has been decent. I wanted something to protect my studio gear and deliver "cleaner" power which would create less problems such as noise and electronics wear. But I'm not sure if my PL+C is up to the task of my current production + mixing setup? I know Furmann has a good reputation for quality, but I find their product literature baffling: I can't tell the practical performance differences between their $3600 box and their $200 box, both of which use the same marketing babble to describe their benefits. Any practical suggestions for power regulation for a production + mixing studio with ambitions of both quality output and longevity? I would invest in a new power solution if it is merited.
Thanks for your ideas and comments!
Nicholas
Can you please expand on your use of a VCA after the Bitbox? I added an octa-VCA after my Micro to be able to change the levels but I'd love to hear your thought behind the combination. Technically, you can assign a CV input on the Bitbox to control the level.
-- ParanormalPatroler
Sure, but having the VCA pair allows for some interesting stereo modulation. All you need is an LFO + inverter, and you've got some very trippy L-R panning happening. It also allows for easy AM (in stereo) of the signal.
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
The P/S for the Rackbrute is missing; you'll find it under "Arturia" in the manufacturer list. And I don't think that Neutron belongs in there, since it already has a cab and power on its own. You want to use the not-exactly-cheap Eurorack cab space for things that DON'T have those. Or, a better way to put it:
Rackbrute 6 = $359 @ 171 hp (176 - 5 for the P/S). $359/171 = 2.10 (ish). This is the cost per hp of each space in the cab.
Neutron cost = $329. A Neutron takes up 80 hp, so $2.10 x 80 = $168. This is the cost to house the Neutron in the Rackbrute, which you would then add to the Neutron's cost, giving you an ACTUAL cost for the Neutron of $497.00.
Honestly, you would probably be better off if you used the space the Neutron's stealing for a basic voice AND a good sequencer AND some modules to screw with timing for the interface with the Minibrute AND the Neutron. The above might look convenient, but it's going to cost you some real $$$ in the long run.
If you truly don't care about the aesthetic factor at all, why not just use Max8 and VCV and a DAW?
That is not just about aesthetics: it's a very different way of working. But the look of the front panel of a module (assuming that the labelling is clear) does not affect how one uses it. That said, I share some of @eexee's concerns. The Dreadbox modules look a little garish to me. An example of a module that I will not consider solely based on the aesthetics is the recent Cre8audio / Pittsburgh Modular collab called Capt'n Big-O. Terrible name, terrible look. Even though I was contemplating an SV-1b earlier (a submodular thought phase before going full Eurorack), I will not buy this module, no matter how good it sounds. Is that irrational? Perhaps. But a lot of what we claim as rational behaviour is thin justification over an irrational core. Some of my recent acquisitions were swayed by aesthetics, and my current rack looks pretty good. I think it also sounds good, but am I kidding myself? Hard to say, really.
Actually, when I've dealt with systems that have all sorts of different module aesthetics, I've found the various panels and layouts to be helpful...as long as they're designed to make sense. When navigating a front panel, you get used to the pattern of light/dark/color/no color that's there, and that aspect helps to make things easier to navigate...especially in low-light situations as one might encounter at a live gig. If I know that, say, my LFOs are right there between this wide black panel and that gold Ladik module, it makes it easier to simply grab the right knob after a cursory glance, whereas with everything having the same appearance, you might not be able to do that as easily.
Fact is, one thing that drove me off the hinge when dealing with Moog modulars was that constant black space, with modules denoted by the little silver strips between them (usually). They might sound awesome (and they DO) but my god, are they ever a nightmare to deal with in low light and/or when you're starting to familiarize yourself with a given system. Buchla 200 modules have much the same problem...but in their case, you're also dealing with the two different patching layers. Again, not really fun until you get past the learning curve.
Klavis Quadigy is a fantastic envelope generator. Tonns of functions, but very easy to access. Many stages, and possibilities for exponential or logarythmic curves. And 2 CV- and one „direct“-knob-modulation. It seems to be a complex one, but it is not by far. But under the hood so many nice add on‘s. You can discover functionalities for a long time, but use it straight out of the box… love it.
My comment was a word of caution about choosing modules based strictly on aesthetics alone and allowing "thumbs down" to affect choice. You asked for an opinion on Dreadbox and I told you mine. I didn't say specifics because you didn't specify which Chromatic module and I don't have experience with their cream colored modules.
Though, I'd be more than happy to discuss the Chromatic modules I DO have. The Hysteria analog VCO with built-in quantizer and morphing waveforms blows my mind because it is $99. Also, at the same price, Utopia module with buffered multiples, 4 attenuverters, CV LFO, offset, "pulserizer/distortion", and intuitive normalization. The Chromatic modules are feature packed and super affordable. That's the point. Not really the color. I mean, 95%* of all modules are grey or black anyway. After a year and a half of owning these, I just don't think about the color. Some of my favorite legendary artists have entire systems of Doepfer or Analogue Systems or Moog Modular. Those aren't exactly visually striking.
Go with whatever module you want. All I'm saying is a $4000 64hp single bandpass filter isn't automatically better just because it has a hand-painted Renaissance-inspired painting on it. And a thumbs-down from some random anonymous forum user shouldn't damn a module to obscurity; especially from a beloved creator.
*made up number
@catwavez/Lugia, I'll explain it to you. There are hundreds of modules I'm interested in. I won't be able to afford them all anytime soon, and there is a tremendous amount of cross-functionality between existing modules. I am an extremely visual and aesthetic person. This doesn't always equate to preferring the prettiest or "coolest" looking things, necessarily, but I like what I like. If it comes down to two dual filters that both perform well and do comparable things to my satisfaction, I'm going to choose the one I enjoy the aesthetics of more (unless I consider the price differential too unreasonable). Aesthetics can also overlap with functionality a bit. Recent threads I started on MI clone modules and Blue Lantern modules both received a number of comments from users dinging both for, at least in part, aesthetic reasons.
If I'm sitting and working with a module every day, then the way it looks, the way it feels, the way the knobs turn, etc. etc. -- they are subtle things that may not seem "important" to you, but I would argue it's all a part of the subjective user experience, and a part of the appeal of modular generally, at least for me. If you truly don't care about the aesthetic factor at all, why not just use Max8 and VCV and a DAW? It's way more efficient and way less expensive than populating a modular rack. Beyond that, while it's not my aesthetic of choice, I'd say that people buying up those candy-colored Dreadbox modules are doing so at least in part on the basis of enjoying the sort of cheesily, tongue-in-cheek, nostalgic aesthetic of them. Different strokes.
Thanks for the confidence vote on Dreadbox, though. It's not very specific, but I'm (honestly) happy to hear you enjoy their modules and feel they're a good value. Their modules are pretty affordable, but the very meh reviews/ratings and low cost had me wondering about them a bit, in terms of build quality, user experience, etc. As I said, there are some Dreadbox modules I am pretty interested in.
If you decide to go that route, Addac sells a smaller dual VU meter. https://www.addacsystem.com/en/products/modules/addac800-series/addac812vu
Paratek also has a variety of single VU meters if you want larger.
If you're looking for pieces to add to your Neutron, it's okay. But if you remove the Neutron, you're pretty limited.
If you're going to buy a Disting, get the EX. It has more features and a better display. It can also do the work of two of the Mk4 Distings in most cases. A small submixer that can also handle DC would be nice. Rings, Filter 8, and the Disting can all act as oscillators and you might want to combine them or some CV in a patch.
Hello again to this awesome community. I have other hobbies and I am in a lot of forums, but this is by far the most expressive and knowledge sharing of all of them. Normally people just show off what they got and what they did, but rarely they explain things. Most likely, you figured out, English is not my mother tongue, sorry about my mistakes on that regard.
Now to business.
I am trying to simplify my first prototype from two "Mantis" cases and one "Intellijel 7U" to only the two "Mantis". It is hard because I had to compromise my finger's comfort to small modules, comparing to my first built rack.
What I am looking for is really simple, an custom-made modular synthesizer.
I said it before, I want to generate Leads from it; I want to play it with all my external devices: Drum machine, step sequencers, mixers and complement the other sound devices: Behringer 2600, Model D , Subharmonicon and Hydrasynth. To summarize it a little, what I want to build is a extremely customizable "standard" synthesizer.
What I want for making public this second rack v2, is all the help you could provide me, pointing what module should get out and replace it for more efficient ones, what probably will I use the most and what is not so useful. Things like that.
I had read about a lot of modules listed on the modulargrid DB, but I am not even close enough to say I know half of them. -_-: that is why I am asking for directions.
Thank you very much.
Variation on a portable electroacoustic palette
Keep in mind that the Count is a bit quirky, it only has 7 outputs which means it doesn't do your standard base-8 counting. And no reset! Arrythmia is amazing and everyone should have one.
Only problem is that the Hinton Signal Level module seems to be a one-off/custom unit (at least it's not mentioned anywhere on the internet aside from modulargrid at all) and that, knowing other hinton modules, it is probably 10+cm deep so it may not be optimal for a small system to carry around :D
But I realize that this is more for imagination / aesthetics than a proposal for a real system.
That IntrFx looks pretty slick. Thanks for the heads up.
@Lugia, you don't need the Timewizard if you have the Godfried there. Godfried can do any division possible on its own. Also, you can assign external pulses to change the preset and get some kind of sequenced divisions. It is The shit!
Can you please expand on your use of a VCA after the Bitbox? I added an octa-VCA after my Micro to be able to change the levels but I'd love to hear your thought behind the combination. Technically, you can assign a CV input on the Bitbox to control the level.
I'm sorry to hear about your A103, Garfield. That has to be a disappointment.
The SEM filter does interest me more than the A103. I can't believe I haven't gotten one yet. I'll look forward to checking out your report.
Have a great week.
Hi All,
I have just ordered the Minibrute 2s and am looking to purchase the Rackbrute 6U.
*I already have the Neutron and will look to sequence the rack with the sequencer on the Minibrute.
*Eventually I will look to replace the Neutron when funds allow.
*Joranalogue was included for juiciness and functionality (also considering the Polaris)
Is there any redundancy here or anything else I have overlooked?
I greatly appreciate any comments/ feedback.
Thanks!
Roger that. I did actually debate if it would be better to adjust the yellow channel scale or keep them all at the same scale. I just figured keeping them consistent would be easiest to relate. Cheers!
Hey, this is cool, thanks for posting!
Only one comment (for future uses): Data 4 (yellow) is clipping on the scope. I assume that's the view on Data vs the CV itself going flat; if so, you could set that channel on Data to a larger volt value. But this is a minor comment; very helpful and interesting videos!
Hi folks - I just put a bunch of scope videos of Sloths on YT. I included detailed notes on the routing, the Sloths outputs used and some performance notes for each video. Each clip starts out dry but I do drench them with effects since that's how I would use these particular sounds. It certainly is an interesting module and I can't wait to do something musical with it (clearly these videos are just clinical...).
I hope someone finds these useful. Cheers.
Disclaimer: I've never done anything like this before and my video skills are non-existent, so I may have missed the mark on these, but I'd be happy to set up another test if someone wants to see something specific.
Which is weird, because Bob cooked those up in the 1960s. Behringer ad copy is so amusing sometimes...
@Lugia, thanks, I'll read the whole thing! Curiously well timed reference to that book -- lately I've been trying starting compositions by getting strongly complementary ensemble sounds first, and notes later vs. the other order. Makes a big difference.
-- nickgreenberg
And that's exactly what I did when, while still at MTSU, I sat down at their big Harrison desk and opted to try setting up the mix based on ensemble organization and NOT the then-in-vogue method of total track isolation. Each ensemble had their own FX parameters, along with the few needed for global "stitching" of the mix itself. My session slot was scheduled to end at 6 AM; I actually got done at 4:30 AM because that trick of "orchestral conducting with faders" sped things up while mixing. By the time I had the ensembles set, all it took was a couple of passes to balance between them, and voila! Thank you, Nikolai!
+1 on catwavez comments above. Also, it's worth noting that if we put pretty much any of the modules in my Digisound Series 80 up as "new" (in the MOTM section, which is pretty much the same form factor), they'd get one-star ratings as well. But at the same time, I also used the same Digisound system as part of an elaborate installation in 2000, and it had a few people thinking I'd done this thing with some complex Max/MSP or Supercollider rig. If you make it work, and it works the way you want, who gives a flying about "stars"?
People don't tend to care about the appearance of a modular synth outside of the synth community. The vast majority of the public want good MUSIC, not aesthetic instrument design.
No no, not Moog, 'the modular synthesizer of the 1970s'
@Lugia, thanks, I'll read the whole thing! Curiously well timed reference to that book -- lately I've been trying starting compositions by getting strongly complementary ensemble sounds first, and notes later vs. the other order. Makes a big difference.
@Broken-Form and others, regarding your potential in-modular EQ needs:
-- suggest you check out Ladik EQs/Filters (https://ladik.ladik.eu/?page_id=7) these are small and cheap enough you could potentially handle several channels of EQ/filtering needs without a crushing HP or $ cost
-- also what comes to mind is Intellijel Mutamix for its ability to set levels and select among 3 bus outs. THAT would let you do some leveling and grouping before EQ/filtering. In the DAW I usually try to do as much group (vs channel) processing as possible as that often leads to a faster and better result. The group (stem) mixing approach in modular might have similar benefits. Not sure Mutamix is a great fit for you as you already have D.O.MIXX, but I wanted to at least mention the grouping/busing idea.
Hi Farkas,
I have some "sad" news, I am afraid my Doepfer - A-103 module doesn't work :-( There barely comes any sound out of it, if I unnaturally high amplify the output then I hear a bit however when I then turn the frequency knob I don't get much results other than a bit of a cracking sound. Sounds to me that this module doesn't work... So I need more time to investigate this properly.
Since I saw you also mentioned the SEM filter from Doepfer in another post, instead of reviewing the A-103, I will make a review report of the Doepfer - A-106-5 SE SEM filter module. I hope to have that ready by (end of) September. Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi can anybody have suggestion for youtube channel that as ambient, techno, minimal, dark vibes...
im already following
julia bondar
deorbiter
elinch
lightbath
thanks !
minimal, techno, dark, percussive, psy
I just picked up Bored Brain's IntrFx, and a few pedals.
I had been using the Intellijel 1u Pedal I/O to use some guitar pedals I have as an fx loop, and then recently realized I could just ignore the send and plug my guitar in to the pedal chain and bring it into my rack via the return on the I/O. From there it can go pretty much anywhere. Sending it to Morphagene with a clocked record is pretty fun. It's like playing over a looper but more interesting.
On the output I am just including it with my rack's audio out into my computer's audio interface, so I haven't thought about bringing an amp into the equation yet. Sounds pretty good without one though. I've been considering getting a Strymon Iridium to add to my pedal chain, though since the rack is not dedicated to guitar alone (mixes in with VCOs and the rest) this is probably about as far as I'll go with it.
