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Yeah Tumeni.. I think there is a name for that phenomenon, where people assign extra value to something because “x” owned/wore/touched/sneezed on it.
Me personally, I could care less if Jesus Christ rose from the grave and farted eternal love onto the thing.
(And speaking of supposedly Christian values, unless any extra money accrued via the “owned by so and so” factor is going to some kind of legitimate charity, my gut feeling is that it’s a sleazily narcissistic thing to mention, at least to the extent of branding every listing with it).
i do but I've never tried using the gates before - it definitely does something - there is audio output when both gates are low - but there is too on both gates high which is undocumented
00 does make sense to me - based on reading the manual and understanding a bit about how the underlying circuit probably works - I am playing with this now - I'd say both high and both low are LPF+VCA
think about how switches work - 3 position switches are on/off/on... and low/low is off
"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!!!
Again, I renew my objections to trying to do this with modules from only one manufacturer. That might've been the routine back in the 1960s and 70s, but back then you didn't have the current plethora of module choices. And part of why I'm objecting is actually right here in this case: the Quad VCA.
OK, so that module is based on the original Veils VCA topology, and it's 12 hp...like the original Veils. But at this point, Mutable's moved on to a v.2 of that, which fits in 10 hp. And anywhere you can save space means that you have more space for functions. And with just one VCO, you need more functionality in that one point at least, since you have no way to detune between 2-3 VCOs to generate a bigger/fatter sound.
Another problem with this plan is that you're forcing yourself to use modules that, in this build size, are on the edge of taking up too much space, and the Rainmaker and Metropolix are definitely too big for this case size. In fact, those two modules alone take up 70 hp on their own...and you only have 208 hp of 3U slots, meaning that nearly 30% of the cab's main rows are covered by just two modules. That's not a good way to proceed.
-- Lugia
thank you again :)
i think that the rainmaiker is a beautifull, mighty modul what allone should a live time fun. correct me but isnt there at least three VCA modules =quad VCAx2 and the Planar... isnt that enough for shapeshifter and Plonk? + with mixup is there a mixer too.
yeah the Metropolix dosent fit so well apart from the fact the in/outputs are above, i will replace it. but with what. should i put more LFO´s or a third VCO?
it makes fun to puzzle :3
after a little bit revision it has now 4VCO´s and seven(7)!!! VCA or Mixmodules. i should be able to control everey modul and at the end the OScis audible... or not?
Great patch! I’ve been on micro since the start, but I have this struggle> It offers a good lot but sometimes overtakes needing much else in a patch, or too like daw, just immersed in that screen! and less hands on….
So I’m placing it on hold till I choose to sell..
-- Floa
I have the full-sized BitBox. I find it very nice for looping in real time... especially if you're driving it with a sequencer with MIDI clock connected to the BitBox's MIDI in.
The palette case has jacks for line level inputs and outputs. You have to BUY the modules to make this functionality work. Your modular gear works at SYNTH level, which is a lot higher than line level (your Octatrack). You're also going to need a MIDI to gate/CV converter. Again, the Intellijel case has the facilities for MIDI, but you have to BUY the modules to connect to it.
So you have a Palette and two 1U modules for MIDI and audio IN/OUT and you still haven't put in anything synth or percussion related yet.
You'll probably find that buying a drum machine and plugging it into the Octatrack is probably a much better option in terms of set-up and price.
It looks nice. But any group of modules from the same maker using the same aesthetics will look nice placed together. You'll see this in marketing videos as well as sponsored videos.
Some manufacturers DO make turn-key (ready to play when assembled) kits like Make Noise and Roland. If you're new, they are viable options for general synthesis and exploration. They aren't bad kits at all.
But you'll find as you LEARN the functionality of module types and key-in on how all of this "patching by wires" works in its own unique way... you'll find that a mixed kit is usually much stronger than a run of modules all from the same place.
The Behringer Neutron is probably going to be the only thing under $400US that is highly patchable and Eurorack compatible.
Erica Synths Pico System III is just under $500. But that's $100 above your price range.
For Eurorack I would budget $1000 to $2000 to get in the door.
Great patch! I’ve been on micro since the start, but I have this struggle> It offers a good lot but sometimes overtakes needing much else in a patch, or too like daw, just immersed in that screen! and less hands on….
So I’m placing it on hold till I choose to sell..
So I’m still relatively new to this as a hobby and this might be a really stupid question, but after spending a lot of time scouring Reverb listings, I have to ask … who exactly is JunkieXL and why would I care that something was owned by him?
-- eexee
Haha! I asked that same question when I saw those listings. I didn't ask it when Rick Wakeman liquidated a load of warehoused items. I'm just glad I had the sense to let my brain make the decisions when browsing those listings. It would have been cool to have a Rick Wakeman Prophet 5 in the studio, but "cool" isn't enough justification for me to blow the extra bucks.
There seems to be an interesting mistake on the panel. It says that if gates 1 and 2 are LOW it will be in LPG (LPF + VCA) mode, which makes no sense.
When both gates are low nothing will happen. :-)
Thanks Garfield. Maybe you were having a bit too much wine and some really strong cheese when you were listening? ;-) You’re definitely right about one thing - those Hollywood folks certainly are nuts! Cheers and thanks for checking it out.
Just shot a video of semi-generative patch based on 1010music Bitbox Micro sampler.
Exploring the possibilities of this sampler and I should say it's amazing for complex layers.
Here Bitbox is playing previously created samples, triggered and modulated by Batumi and Zadar.
Music inspired by Lars Von Trier's Melancholia movie. More information on YT under the video.
Not sure how I missed this thread, but these aqua drum tracks are fantastic! I’ve never seen that instrument before and you’re making it sound great. Thanks for sharing.
That’s sick! I’m definitely sold now. One last thought I had is if I wanted to incorporate a percussion based module, would it pair well with the 2600? What inexpensive options are there for a more aggressive percussion voice? I’ll do some research myself, but if you have any ideas in terms of pairing I’d love to hear them. And thank you!
That looks like a great option. I also might be able to wait on the KSP for now, and use my current midi controller/sequencer?
Thoughts on the 2600 in terms of versatility in sound? After buying the 2600, what eurorack modules would be best to create more sound/timbre possibilities?
-- ethanlawrence
The ARP 2600 may actually be...even today...the BEST synth for learning the basics of analog synthesis. It's what I learned on, many years ago. There's no surprises, it doesn't do anything particularly quirky, it's just a hella solid patchable monosynth (or paraphonic...it all depends on how you configure/control it). It's also what the roots of Eurorack go back to, as ARP designed this with what we now consider standards: 1v/8va CV tracking, positive 5v gate/triggers...exactly what you'd expect in a present-day Eurorack setup.
As for what one sounds like, gives you perhaps one of the most iconic ARP 2600 tracks of all time. And yes, that's an ARP 3604 controller he's wearing!
Really, all one of these needs is a skiff with an extra HPF, some extra modulation, maybe a matrix mixer and a few other widgets...but not a whole lot else in "must-haves". Plus, the Behringer has the 3620 keyboard's "extras" on the main panel, so it's got the extra LFO, clocking, latching, all that; Korg did have those on the "nobody's gonna get one of these" 2600FS, but their "2600 for everyone else, ie. the 2600M" is crippleware next to the BARP, as the 2600M doesn't have the 3620 circuits, period. And having played 2600s with both the 3604 and 3620 controllers, there's really no comparison.
Sadly, I am not the right person to give you tips on this, I am on the same boat as you. But, I recommend you to start using the Finder Module option by category and read all about the modules and make some investigation on them, manuals and stuff. Then, you put together your own creation, don't worry, the people on modulargrid are awesome and will guide you and help you on all you doubts. I did that and they treated me really well and still do, and you can learn really fast after all their ideas and suggestions.
Just decide what kind of case you will need at first, make your rack public on the forum and the vast ocean of knowledge will come to you.
Oh my goodness! What is this? Is this for real? This is so beautifully done, so... so... much the real thing, I hear here a professional modern mixture between J.M. Jarre and Tangerine Dream. So nicely composed, at one stage I was thinking (well at least trying to think) that I was missing something, and indeed when my face went blue I realised I was missing oxygen, I totally forgot to breath, so tense I was (and I still am) listening to your beautiful track!
One thing is for sure after this. Hans Zimmerman can pack his stuff and you can take over seamlessly and do even a much better job than he does ;-) There is still one thing left, I don't understand... why didn't offer any hotshot from Hollywood you a soundtrack contract yet? They must be nuts to leave you unused here! :-)
For me this sounds professional and top notch material you got here, thank you so much for sharing this with a peasant like me ;-) Keep coming with this serious stuff but if I would be you, I would look around if they indeed all lost their mind in Hollywood or if you indeed can manage to get a serious contract there any soon! Thank you and kind regards, Garfield.
P.S.: Nice video too. It's great to see your two racks together with your sequencer running. Lovely! :-) I am going to listen for the third time, I still can't believe this :-)
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
That looks like a great option. I also might be able to wait on the KSP for now, and use my current midi controller/sequencer?
Thoughts on the 2600 in terms of versatility in sound? After buying the 2600, what eurorack modules would be best to create more sound/timbre possibilities?
In my case, I already have the SQ-64 and Keystep 37, and most likely I will get my Analog four MKII into the equation when needed. I think I am good on the Sequencing department for now. And yes, I want to put my hands on that blue thing asap. ^^
Very true. And with a KSP, as noted above, you can use two lanes of sequencing and still have a third VCO for straight-up keyboard work when using it with just a 2600. Only one VCF, yeah...but the 4012 is awesome, given that it's the "lawsuit filter" that Bob Moog contended was a copy of his transistor ladder LPF.
Again, I renew my objections to trying to do this with modules from only one manufacturer. That might've been the routine back in the 1960s and 70s, but back then you didn't have the current plethora of module choices. And part of why I'm objecting is actually right here in this case: the Quad VCA.
OK, so that module is based on the original Veils VCA topology, and it's 12 hp...like the original Veils. But at this point, Mutable's moved on to a v.2 of that, which fits in 10 hp. And anywhere you can save space means that you have more space for functions. And with just one VCO, you need more functionality in that one point at least, since you have no way to detune between 2-3 VCOs to generate a bigger/fatter sound.
Another problem with this plan is that you're forcing yourself to use modules that, in this build size, are on the edge of taking up too much space, and the Rainmaker and Metropolix are definitely too big for this case size. In fact, those two modules alone take up 70 hp on their own...and you only have 208 hp of 3U slots, meaning that nearly 30% of the cab's main rows are covered by just two modules. That's not a good way to proceed.
What Lugia said is a excellent idea for new people (like myself) getting into the modular world.
I made a reservation on Sweetwater for the B.2600 Marvin edition, probably I will get it at the end of the year, but it is a solid step to get into modular and build around it.
Much of the "bad behavior" as of late seems to have been here in the States, partly due to how these companies treat their rank-n-file folks over here. In the rest of the world where government standards dictate AGAINST that, they're relatively trustworthy.
Better solution? Well, if you're considering a Crave but you want something more "modular-esque", I'd suggest a B.2600. It's a couple hundred $$ more, but it'll fit right in as a "modular core" that you can build around. Snag that and a Keystep Pro, and I can guarantee that you'll be busy for a while!
And yes...after a few months, I can now say with all certainty that their 2600 really is the "rev. 5" we never got due to ARP's post-Avatar implosion. I've found little to no significant differences between it and rev. 2, 3 and 4 versions. The VCFs sound right, the various CV paths do even the "not really supposed to work" stuff...worth it.
Also worth noting: Junkie XL is also a big soundtrack composer as well. Think Hans Zimmer with more beats and about the same amount of gear prior to JXL's "studio yard sale".
Hopefully their corporate practices are entirely different in Australia. It's ground shipping in the US plus the "last mile" that we're all moaning about. Perfect Circuit at least has good tracking information. Two of my shipments from them have gone through the Navajo Nation, which is at least interesting.
Eh, I don't have any guidance for you there (aside from maybe Plaits if that is the right sound for you). I've already kind of given the best advice I have for you. Maybe some of the other members would like to chime in on specific low-cost modules/options.
Have fun and good luck.
Well I've just ordered some modules from Perfect Circuit and Control Voltage who use Fedex and UPS respectively, so fingers crossed how this turns out, all shipped on the same day (I'm in the AU), let the race begin...
Okay, thanks for the help. For the sake of the idea, lets not take the case into account. It seems like it is possible to find or build a small case for relatively cheap… if I need I could find an extra $100-$200 for that.
I’m just interested in what combinations of low cost modules have the most versatility - yield a variety of different sound possibilities.
I started with a used 104hp powered Make Noise skiff for about $200 plus tax. If you want something versatile, Mutable Instruments' Plaits is a good place to start looking, and you might be able to find a used one for about $200... and there's your budget.
But what about all of the other stuff to actually make it work? Cables, filters, LFOs, a sequencer, envelopes, effects, blind panels so you don't accidentally touch a cable to a power header and short everything out...
If you really think that getting into modular is the right direction for you, spend your $400 on a decent powered case (TipTop Mantis or small Doepfer for example), and then save up again until you can afford your first module. Then save up again for your next module. Repeat, repeat, repeat. I don't know your financial situation, but it may take a considerable amount of time until you have a useable system. Whatever you do, don't go into a large amount of debt.
That is fair, and I have done a lot of research already. Although my goal is to own a large rack sometime in the future, I don’t plan on buying a large case/power supply in anticipation of that. I am going to start with a very small and inexpensive case, size based on the solution I go with (plus room for a couple new modules). Potentially portable, and then it might still have use after I buy a larger case.
I don’t necessarily need simultaneous voices with the small rack, as more than one or two would definitely limit my options in terms of what I can accomplish with it. I hope to eventually be able to compose full tracks in eurorack alone, but I don’t see that happening with such a small budget, so again that will be a future rack.
The main goal for the synth is to have access to a wide variety of sounds that I can sequence within the eurorack (unless an external sequencer is a better option). Mainly techno/edm, and sound design within the score.
So when I say versatility, I mean that it has lots of versatility in sound with a small amount of onboard sequencing. I would then record straight into logic.
Well, it will be important for you to do a considerable amount of research for your individual needs. What is "versatile" to you may not be very useful for me. You will need to plan out exactly how large of a case and power supply you will need in the long run (not just right now). Are you interested in manipulating samples in your rack, or do you just need a good monosynth built to your specs? How many simultaneous voices do you need? Are you just wanting to sample the sounds of your rack into Logic, or do you hope to perform fleshed out compositions?
What exact problem do you see eurorack solving for you that you can't achieve now?
Yes, I know the functionality will be limited. Right now I compose for film using mainly sample libraries in Logic Pro. I own a Roland JD-XI, which I mainly use as a midi controller, as well as a few mics, pedals, etc. Nothing specifically eurorack compatible.
The Behringer Crave looks like a good option, and that might be the way I’ll go if there aren’t any possibilities with strictly eurorack.
Still curious as to what a $400-$500 eurorack option could look like with or without a semi modular as a base. What can I get out of a limited amount of modules? What modules are most versatile?
He's a fairly famous DJ/producer/composer. He recently liquidated a massive amount of gear that had been gathering dust in his studio. https://en.wikipedia.org/wiki/Junkie_XL
Hi Ethan. This is going to be near impossible at your current budget. You can easily blow through $400 on a case and cables. Any modules that you can squeeze into that budget will be severely limited in their usefulness, as you likely won't be able to fit in all of the most basic components of a functioning synthesizer. I would highly recommend saving up AT LEAST a thousand dollars/euros/etc. to get close to something that is a bit more than a single oscillator and filter with onboard VCA. Save up for what you really want and buy those modules one at a time if necessary, and don't just buy something because it's an affordable alternative.
The Behringer Crave is a good inexpensive semi-modular alternative for under $400. It has everything you need to get started making some sound and you can incorporate it later on when you start building a rack.
What equipment do you currently have to use with a eurorack setup?
Looking to put together a small modular system with just a few modules to start, and grow from there. I can’t afford a full system right now, what options are there for low cost, but versatile modules?
I know eurorack is generally expensive, but I plan on continuing to collect modules for a larger system - so I do want to go the eurorack route as opposed to other synths, etc.
In terms of style, I will be using this for scoring films, with an edm/techno twist - so lots of sound possibilities is important. Obviously that doesn’t make sense with such a small budget, but that is the eventual goal. Short term, I’m looking to have something I can mess around with while I work towards a larger budget synth.
what do you mean by redundant? "functional duplication" in modular is often a very good thing
currently you seem to be quite modulation heavy - tetrapad/tete/quadrax/planar, melodic sequencer and adsr channel heavy - metropolix is I think 2 channels (and you only have one vco!) and you may not need adsr envelopes = the intellijel dual adsr is huge compared to similar modules from other brands
no vcas????
rainmaker is too big, imo, in a single rack like this unless some compromise is made with other modules being smaller than they should be (and I don't think you can do this in solely intellijel)
so you almost definitely need to add a quad vca and another vco - which means 20hp+ if you want to stay intellijel only (personally I wouldn't - I hate constraints)
-- JimHowell1970
a art dream machine that can do sounds above your imagination but also minimal techno or ambient shit :D
i think that should work^^
other module builder dont fit in the esthetic... maybe mutabel instruments and alm buiscuit....
So I’m still relatively new to this as a hobby and this might be a really stupid question, but after spending a lot of time scouring Reverb listings, I have to ask … who exactly is JunkieXL and why would I care that something was owned by him?
thanks so far fellow humans. i re build it and made a few changes... what do you now think?
i know that the limit that set i me with the idea to only use Intellijel is a little bit for the ass but on the other site.. thats the challenge and its fancy :P
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Wow! I love the seemingly off-kilter scales/notes/progression in this. It somehow sounds like it shouldn't work, but it really does. I went back and listened to a bunch of your more ambient tracks and again really loved Pandorum. You have a great Kenji Kawai - Ghost in the Shell soundtrack thing going on. Subbed. :-)
-- TumeniKnobs
I guess what do you mean. I like to make complex arp/melodies... but it's difficult always fit them in random stuff or pseudo random. But if you keep the same scale in all elements, it somehow to keep on scale/on tone. I've tried go ahead in this direction, and I like to experiment around this concept. Sometimes seems works, sometimes it's catastrophic :).
And sure I've hard inspired in general with cyberpunk/space/sci-fi content. I've lost the count of my GITS' views.
use fixed filter bank to create feedback within afterneath. Optionally use frequency in sv-1b to regulate input. All other basic parameters don't matter
Something to consider as well. If you're in Europe, there are probably plenty of places to pick up modules on holiday. You can always swap some stuff out as you travel if you want to make some modifications.
Wow! I love the seemingly off-kilter scales/notes/progression in this. It somehow sounds like it shouldn't work, but it really does. I went back and listened to a bunch of your more ambient tracks and again really loved Pandorum. You have a great Kenji Kawai - Ghost in the Shell soundtrack thing going on. Subbed. :-)
I removed the Roland 531 and a MN Pan Mix to get the PM in the rack. I was going to sell them, but I think I am going to keep them for the utility that sub-mixers provide and the inevitable expansion. ;-) Yeah, I deliberated for a long time before I bought the PM and looked at a load of the alternatives. Ultimately I choose the PM as offering the most bang for the buck with a reputable manufacturer. It is not the ultimate mixer for all racks, but that module doesn't exist.
