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The two main voltages used in Eurorack are -12V and 12V. So there are typically three wires going from the power supply to the busboard, supplying -12V, 0V (ground), and +12V. The +12V is 12 volts higher than 0V (ground), and 0V (ground) is 12 volts higher than -12V. In many amplifier designs (and almost all modules have some sort of amplifier), it is convenient to have both positive 12V and negative 12V supplied.
+5V is not used by as many modules. +5V was a standard for digital electronics, so it tends to be digital modules that require it.
If you need +5V, some busboards must get it from the power supply (so they need both: -12V, 0V, +5V, and +12V). Other busboards can generate +5V themselves from the -12V, 0V, and +12V voltages.
No modules need -5V, and this voltage is never used.
When you connect modules, it is very very very important to line up the ribbon, so -12V on the module connects with -12V on the busbuard. Getting it wrong can destroy modules without reverse polarity protection.
Hi. Noob question. I keep seeing -12 V and 12 V on Eurorack specifications and I was wondering what the difference is between the the too. I'm not talking about why I see different voltages and amperage ratings for both, i'm just wondering what exactly does it mean and why don't I see -5 V in addition to 5 V. Thanks.
- Otto
Any basic mult should work. You're not sending the CV to a bunch of different locations, so there's no worry of a voltage sag and no need for a buffered mult. I'd suggest using some inline mults; save your cab's room for actual functionality.
That is great advice Lugia! Thank you! I think at least one more VCO is a good idea!
I have plenty of outboard gear (and plugins) so I have plenty of post processing capabilities!
One thing I am looking at is being able to send the same signal to multiple locations. So having the pitch control from the sequencer affect the Ring module and the VCO. Is the A-180-3 a good choice for that?
Bought a Doepfer Fixed Filter Bank from @fredeke and it arrived quickly (as quickly as overseas allows) and in great shape. Also bought a Doepfer Matrix Mixer from @harvestman a while back (before I realized I should post here) and that was a great transaction as well.
Well, several things come to mind. First up, is MIDI necessary here? If the idea is to mainly drive this with a Dark Time, you're better off connecting it via CV/gate to the modular and losing the A-190-4. Also keep in mind that the Dark Time, if I remember correctly, contains pretty much the same MIDI-CV converter, making the module redundant. Second, there are far better alternatives to that A-145 LFO that offer CV control...or even more LFOs...in about the same sort of space.
VCOs...OK, let's say you want to run the Dark Time in 2 x 8 mode. Now, having just one VCO is passable, but really you want two VCOs so that you can use techniques such as detuning, oscillator sync, and the like. So with two different lines at once, what you'll want is four VCOs...which might sound like a huge space-hog, but there are quad and/or dual VCOs out there that will give you what's really needed there in a decent amount of hp. In fact, a pair of Klavis Dual VCOs would do the trick and give you quantizing for your sequencer CVs all at the same time. After that, you'll need a mixer to sum your VCOs down; if you want full duophonic performance, you need a dual mixer to sum each pair separately, but if you're OK with feeding the two parts through the same filter (usually referred to as "paraphonic" voicing), one that can handle four inputs summed to one is just fine.
Filter choices aren't bad...the Wasp clone will have that dirty sound that the original was known for, and the SEM filter is sort of a clone of the original Oberheim state-variable. However, having just one envelope gen is a problem; with two different VCFs, you'll enjoy having a different envelope for each, so that the timbre can "morph" in a sense as EG 1 gives way to EG 2. But even with a single VCF, you'll still need more EGs because you'll certainly want different envelope curves for your VCF(s) and VCA(s).
Noise/random gen: good. But you'll want some sort of sample-and-hold module to make even better use of this, by 'freezing' random values as discrete CV levels to use elsewhere. If you go back to the middle part of ELP's "Karn Evil 9, Impression 1", that bubbling-on-one-pitch sound is done that way, by feeding a sample-and-hold to the filter that's in the patch. S&Hs have a lot of uses, and are very much as bread-and-butter module. You can also clock this via the Dark Time's clock, which would then sync up these randomized changes with your sequence timing.
Multiples: not in this. This build is too small; even a 2 hp mult will be better left out in order to make that 2 hp space available for some active functionality. Instead, use inline mult "widgets" that several manufacturers have available.
Lastly, the end of the chain. While the Quad VCA is a great choice for both mixing and enveloping the VCFs' outputs, plus leaving a couple of VCAs handy for altering CV/modulation levels (which is another reason for having more LFOs and EGs), that shouldn't be your final module. The output level will still be at synth levels, and optimally should be backed down to proper line level before leaving the cab. Also, you're missing any sort of reverb, etc at the end, post-VCA...this was a huge part of why the ARP 2600, as one example, sounded as cool as it did. No room for a proper spring here, so a spring emulator like the Purrtronics Purrvrrb would be ideal, as it's small, PLUS it's a mono-in, stereo-out device, giving you a nice, wide stereo image. Couple that with a stereo balanced out with a level control such as Happy Nerding's Isolator (which also has transformer balancing and isolation, helping to avoid noise issues, ground loops, and other annoyances), and there you are.
That altogether would be a lot more solid...and still, if done carefully, will fit just fine in the space you've allocated.
Nah, keep the Plaits...you've got it plus the Shapeshifter in this cab, and that gives you loads of digital sourcing. QCD + expander, definitely...loads of timing control potential with that. As for the Doepfer A-106-1, here's a sick and twisted idea: use its resonance insert, put the Chronoblob in it. Then take the Chronoblob's feedback insert and drop something in THAT...filter, some other processor, etc. That's what's fun about that thing, aside of the MS-20-type filter architecture. You could even set up feedback loops going back and forth from the Doepfer to the Chronoblob, and back again. Plenty of ambient drone/texture possibilities there.
Delay...here's an idea, albeit a bit spendy: Verbos's Multi-delay. Note the presence of envelope followers on each delay tap, which opens up a lot of strange amplitude-control possibilities elsewhere in the rig. And tap 8 has the reverb/octave shift on it, which has "ambient" written all over it. Same size as the Magneto, too.
Smart move with the Stages, btw...two is very much better than one there!
I just decided to expand my musical workflow with some modular synthesis. Because I'm an electrician I just like to patch cables and turn knob's :-)!
Mainly I use an Elektron Digitakt, a Moog Minitaur and a Doepfer Dark Time occasionally combined with some sounds from a Korg monologue and roland synths to make melodic techno "music" and I want to add some modular synthesis (nothing extravagant) to give me some extra options.
So after a lot of reading and even more YouTube movies this is what I came up with for now. So what are my intentions? I want t control my modular synth either way through the Dark Time Sequencer or send the sounds from my Minitaur through it and from there process the sound, experiment with it and so on. I also want to add some modular synth basics.
Since I'm completely new to this subject I want to ask you guys if 1 this is a good starting point? what would you change, add or let out? And 2 if there are any tips you guys can give me that help me would be very awesome!
I love the Rainmaker for delay, but it's so damn big.... Is Magneto enough for delay? I have a Chronoblob delay as well already. Also toying with idea of Big Sky delay pedal...
I love the Mangrove I have, should I replace the Plaits w/ another Mangrove? I thought go for different sound... Also fell in love with Shapeshifter after seeing demo...
Clock dividers... Rotating clock divider or QCD? Do I want to use HP for expanders? What about Octocontroller in comparison???
Filtering I have a Three Sisters and Doepfer Xtreme Filter... So far I'm struggling to get anything good out of the Xtreme, any replacement suggestions? I have the Jove in the new rack... Any other filter ideas? Maybe another Three Sisters, I'm absolutely loving that...
What am I missing? What should I ditch? What did I forget? Give me the modular gods interwebs wisdom from afar!
My take on the 4 hp and down world is that, when they have a function you need and space is limited, they're a blessing. Take Erica's mixer modules, for example; that would be about as small as I would think could work as a simple mixer. But when you start getting into shrunk-down versions of modules that have major functionality in their full-sized versions, I'm a lot more skeptical. For example, 2hp is great for things like their dual VCA, as you don't adjust a VCA all that much, and there's nothing complicated there: in, out, modulation. But I wouldn't consider their version of the Turing Machine to be a contender against a fully-blown Turing Machine, as there's a lot missing that really makes that module (module group, in truth) what it is. Small also works as "hole-fillers"...need an extra basic VCO to mix against a bigger, more featured one? Sure, drop in an Erica PICO if you've got 3 hp to spare. But I'd never use one as a primary VCO unless I was building something in the size of a single Moog 60 hp skiff or smaller.
And then there's manufacturers that specialize in small, aside of 2hp of course; one that comes to mind is Ladik. Ladik has things that fit in 4 hp that really don't exist anywhere else. In such cases, those ARE your primaries, and there's nothing wrong with using them to get that extra bit of functionality. One just ignores the fact that it's in a small footprint. One other one that comes to mind, also, is Konstant Labs' 1 hp power checker; if your cab has no power rail indicators and you do happen to have an extra 1 hp free, then I'd call that a "must-get". Slip it in on a row end, and you get valuable rail voltage info...again, tiny as hell, but tiny works in this case.
Otherwise, yes...if we're talking about something that needs a lot of interaction, like a VCF, then small probably isn't the way to go. But again, different builds and/or different users call for different things, and there's not really a hard and fast rule about size. If you've got Trump hands, then PICO might be the way to go!
Another observations is that you use many tiny modules (2hp and Pico). I am sure there are many different opinions about this (and I would be very interested in hearing Lugia's view), but I think it can be a problem, because: 1) they are hard to work with (tiny pots, cables too close together); 2) they are typically not fully featured compared to full size modules; and 3) they are relatively expensive for the functionality you get.
If you look through the list of the 100 Top Modules, rated by users, there is not a single 2hp or Pico module on this list.
I suspect you just want more functionality than what really fits in the case, and the easy fix is to just start with a bigger case, so you can get this functionality in regular sized modules.
I don't mean to say that one should never use tiny modules. They have their use, typically when you are running out of space and need to solve a particular problem. Of all things, I ended up with a 2hp, 3:1, because I needed switch, and it is great. But unless you have a particular reason, I don't think it is ideal to use them extensively from the beginning.
The Z8000 sequencer is huge and the outputs are unquantized. Perhaps look into an Ornaments & Crime 8HP multi-function module. The price is about $250US and you get two 16-note sequencers that won't require a quantizer. It also has a dual quantizer function in it as well. If you pair that with an Expert Sleepers Disting Mk4, you get a lot of functionality in a little space. Some functions overlap, which can be an advantage. You can always add the Z8000 to a larger version of this system and your O_C and Disting will find other uses... they won't become redundant.
Look into the 1010 Music Bitbox if you're going to have on-board percussion. It's 26HP if I remember correctly and $600US. But you won't need all of those sample-playback percussion modules and won't need any additional modules to mix them. It also has easy loading alternate firmwares (free!) as a synth engine or an FX box. You can also record and loop any audio signals from inside your modular (it doesn't record DC). This will let you record the output of the RainMaker if you have some sort of awesome ambiance going and want to buy-back some of your modules that went into making it.
A clock source or divider is also a must (IMHO) for starting a system. Pamela's New Workout or a Temps Utile would work out well.
Also, the Rainmaker and Erica DSP have stereo outputs. You'll want some sort of mixer to take your mono signals and stereo signals and combine them... the same for any stereo samples.
And last, the Batumi has an expander called the Poti. It's 3HP. It will give you a lot more functionality out of the Batumi in terms of waveforms and sync/reset. You HAVE to have it IMHO.
BIA goes direct out (with Amp CV modulation from Maths OR Output, chose OR because 2hp VCA is not bipolar), while Maths CH. 4 is filtered at Cinnamon then sent to Quad VCA and out
Maths modulates BIA Trigger In as well as CH. 4 amplitude cv
LFO's from DixieII and Peaks, as well as a Pitch Sequence from Micro Sequence (which is both advanced and receives a separate Gate from Tempi) bring rhythmic and textural variety to Maths CH. 4's amplitude and filter cutoff, as well as to BIA's various timbral parameters
IMPORTANT, In DAW
- Used Klevgrand Brusfri to cut down on noise from the modular
- Duplicated the BIA Input, where the duplicate is centre panned and only plays frequencies below 300Hz
- Maths CH. 4 is panned left 20L
- BIA unfiltered is panned right 15R
That works, too...technically, you could take all VCF outs and send them to differing processing, then into separate VCAs controlled by different modulation signals, with the result being a constantly morphing sound (if you use LFOs) or a sound that changes across its duration (by using differently-set EGs from the same gate source).
Hey! I am in the exact same situation! Got a Moog mother 32, a case with power and a Pico VCO module as my starting gear! And I am lost to what I should by next, I would like to create beat/electromusic so maybe drum modules! First maybe an output module for using it live?
What did you go for??
Thanks. That's good to know. I was just thinking of using a filter's bandpass out as the signal that goes to reverb or delay per the mylarmelodies/divkid podcast discussion of reverbs and effects.
If you're using a Minibrute 2S, why not use the Rackbrute cases? The 6U one comes with power, plus its stand connects to the 2S's frame to provide a fold-up portable situation. You can also, later on, connect two Rackbrute cases to each other in the same manner. Given that you'd get a lot more bang for your buck with these (as they have power + distros already installed, plus they're bigger), those would seem a lot more sensible.
Absolutely. This is one of the nice things about multiple outputs...you can use them + an audio mixer to tailor not only the filter's sound, but there's some response tricks that're possible as well. Some of what's possible will depend on the filter in question, of course.
Hi everyone.
This is my first post here and I'm really glad that finally, after many years, I decided start my journey with modular synthesizers. I'm a music producer and live performer since almost 10 years and after all this years in many clubs, raves and festivals with my laptop and midi controllers, I want develop my skills and go deeper with analog synthesis and I want do this with euroracks. I want ask You for some recommendations and some advice how can I start. I know that this is all my choice and everybody's got different perspective, but I would like to hear Your opinion what You'd choose on my place.
As a professional performer my main goal will be to play whole "sets" with my modulars and this is the plan for the future. But I don't have much money so I need to progress from year to year. For now I've got already Arturia Minibrute 2s which I can use also on start I guess. I'm playing mostly music around dark bass music with techno (deep dubstep, dub techno, dark chill). In music I love a lot of space and deepness so I know that I need a lot of effects (reverbs, delays etc.), but this also should be danceable - then system can't be without drum machines which will let me do fat drums and big snares.
My budget for now is around 1000$ and:
1. As I mentioned, I've got already Arturia Minibrute 2s which comes with sequencer.
2. I can use Ableton for everything, what I would not have on the start and change some functions to analog with time and new modules.
3. I need small and portable case. For the start I was thinking on Moog Mother/DFAM cases, couse they are cheap used and I can build small modular with three of them starting from one.
4. Main goal are live performances.
What You can advice, what modules should I check for the beginning before I'll buy anything in Your opinion?
Cheers!
Once you've had your system for a little while, you might want to explore additional filter types including low pass gates. If that's not your thing, you can try additional modulation sources. The Worng Vector Space looks tasty as well as the Xaoc Zadar quad envelope generator.
Granted, you can't go wrong adding an Expert Sleepers Disting Mk4 for a sampler-pack of useful features you might want to add a dedicated module to reproduce.
Actually, that sequencer complement isn't all that different from what I presently have (2 x BSP, SQ-1 [for my own MS-20], Keystep) in addition to the various incorporated ones in other synths. And yes, they all play very nicely with each other. My plan for later this year is to cap this off with a Koma Komplex and use that as a 'hub' for all of the other hardware sequencers + direct interfacing with my modular. This'll then free up a BSP to use as a drum sequencer for an ancient MXR Drum Computer which has a blown sequencer but which recently received a trigger-in 'fan' for this exact purpose.
VCOs aren't the whole problem with how VCOs sound, btw. Very pure VCOs tend to sound rather meh, so by putting some things inline with them that introduce some nonlinearities, you can beef their sound. Also, just one VCO is probably two fewer than you need, because you want some slight detunings and waveform nonsynchrony to get a more interesting sound. The whole key to the Minimoog sound is, in fact, these two things; not only do the VCOs have a tendency to drift slightly even when warmed up, the Minimoog also contains the guts of the CP3 mixer for mixing these...and the CP3 isn't a very clean mixer, but it's not clean in a musical sort of way, if that makes sense. Feed that on to the classic LPF on there, and that's "that sound".
As for effects...unless you want something non-replicated in outboard (such as Intellijel's Rainmaker), my suggestion would be to grab some cheap outboard devices and a 1/4" patchbay for them, then have fun routing all sorts of processing cascades, insert loops, etc.
Hi all,
I’m new to the modular world so looking for advice on the rack I created. I already have the Treadstone module but nothing else so far. I’d like some sort of drums and something to sequence the beats and heard Workout and the Alter on a friends rig hence adding it in.
Any pointers would be appreciated!
BEWARE @modulante has sold me DIY clouds with a disfunctioning mode button and blend knob.
Sadly due to some other things it took me a lot of time to first find out about the issue, than test many repair options like different firmware etc.
I asked about the issues 6 days ago and there was no answer so far. I will retract this message when the issue is resolved, obviously.
His PayPal is
audionoyz@libero.it
So I think for the price, I am going to grab a beatstep pro. Itll help me with having extra sequencing power without taking up room or costing too much.
The Korg SQ-1 does seem nice for the MS-2o, I might want that in addition to the beatstep! That would give me two 16 step sequencers (BSP) 1 8 step (Lifeforms) and then two more 8 steps from the Sq-1. Do you all think that is a good enough amount of sequencers and would they all play well together?
FX are on my list down the road. What are some top ones for more ambient and sequenced music? Obviously a good reverb and delay, but what else would you suggest?
What are some of your favorite VCOs? So far, I have not been a huge fan of the A-111-2, nor do I like the sound of the A-106-1
An outboard Korg SQ-1 might be just the thing for keeping the MS-20 in check with the rest of your system.
SEEK or the Varigate 4+ are other nice sequencers to check out besides SHmkII. Also have you thought about any FX in eurorack or a mixer? Also why not get another VCO, noise source and a WAV player like TipTop One or Pico Drums to get some different flavor in there for small HP.
Hi
about the Klangbau Köln Frequency Shifter : do you know if the two outputs are identical (feedback ?) or, as one can expect in a FS, there is an upper side band output and a lower SB ?
The Stillson Hammer mkII can definitely function effectively as a master clock. It even has a direct clock out with no division/multiplication as a normalized patchpoint. Given that, you could easily run a trigger sequencer such as a Four Bricks Rook, Circadian Rhythms, Knit Rider, etc from that to provide various rhythm patterns in sync to pass on to the MS-20, Juno, etc, plus most any sort of clock modulation module will work nicely for clock maths.
Thank you for your input. I agree a better sequencer would be a good idea. I love the idea of getting the SMmkii. I had no idea the ms-20 did not communicate well with eurorack. Getting the English Tear would be an easy fix for that to help trigger it. And with the Juno, if I could just sync the arpeggiator I would be happy, no need to trigger it right now. Could the SMmkii act as the central clock? I would love to get something with an actual digital bpm display to help with accurate tempo!
I had good experiences with @BrokenBo who I bought a Wavetable VCO from a while ago and recently with @hallmar who sold me his Ears ;) (excellent condition and shipping and very friendly communication)! Cheers
The Expert Sleeper is a great sampler plate of audio and CV functionality. It's super clunky to use and requires a cheat-sheet print out or an iPhone open to the manual to adjust anything. For the sub $200US, it's worth the hassle for features you're willing to take a few minutes to set-n-forget.
For simple sequencing, have you looked at a micro Ornaments & Crime? The sequencer, Sequins, is VERY useful and offers a LOT of features for a basic sequencer. Plus you have all of the other modes available (like a dual quantizer, etc.). You're looking at $250-300 for the micro version (8HP). Some functions overlap with the Disting. But that gives you a lot more options between the two modules.
So after a lot of hand-wringing, I ordered some more Eurorack modules. I had been debating more and more over the mixer... whether to add a 1010 Music Bitbox at this point and a bunch of other modules. I settled for a Blue Lantern STEREO mixer. It has the most ins and outs and TWO aux sends and returns.
I added a switch, some mutes, an attenuverter, some nice Tiptop ADSRs, and a Joranalogue Filter 8. I took a step back and thought about where I was hitting roadblocks in patches rather than thinking about gear lust. I'm trying to get into the undiscovered aspects of my set-up more and more rather than adding new gear, but I just didn't feel like I was at a point where ideas could develop to the point that I was comfortable taking them into a DAW.
There's more modules planned and probably another 4U Intellijel rack that will become "master-control" with sequencing, interfaces and anything else that was hands on.
Overall, this patch was just ok, and the recording leaves much to be desired. Some ways it could have been better:
- periodic changes in direction, length, scale, and clock rates fed into Micro Sequence
- Filter Cutoff Modulation
- BIA Morph, Harmonic, Spread, and/or Fold Modulation
- Could have added Plaits
- Peaks Drumsynth was somewhat unnecessary
