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On another note, do you have any opinions about codex modulex being an exact copy of mutable instruments modules? I saw some discussions online about how the creator of Mutable Instruments is not happy about those copies. Apparently the initial intent of releasing his code open source was to share the knowledge to the community but not for having other companies making profit of his work by simply copying his stuff. I'm not sure how I should think about that.
Anyway, just for the sake of trying, and as I was left over with some space I tried putting some of the original mutables inside the rack. Although I had to ditch something and for now removed one doepfer A-171-2, although I'm not quite sure what the overall impact will be. I still have 8 vca's but now it's one from mutable and another from codex modulex.
Ah...one more tweak, this time for the comparators. Jettison the Doepfers and use the Joranalogue Dual Window Comparator instead. Not only does this jam both comparators into the space one Doepfer uses, these are WINDOW comparators...which means they can trigger gates from several different comparator states (below, in window, not in window, above) instead of simply one via a combination of the comparators themselves and some logic onboard the module.
First modules here, I'd say: the entire tile row (may as well have that in place, since its your main utility set), uRinks, uMotion, Kinks, A-171-2s, Sisters and Stillson Hammer, just to get your basic synthesis functions in hand. Last in should be your drums and sampler players...because you may find things along the way that suggest to you that 1) you might not need them and 2) there are ideas emerging from your discoveries with the synthesis aspect that demand a shift in module implementations.
The key to the TB-303 sound is really the glide function as well as other aspects of the sequencer, and how these make most any typical single-VCO patch behave. The problem with the actual stock 303, IMHO, is that you have a very limited range of possible useable sounds, hence the various modded versions (such as the Devilfish) that popped up in the 1990s to alleviate some of this.
Frankly, I find that when I want a 303 "acid" sound, I turn to software. There are several software sequencers that more than adequately model the 303's sequencer behavior, and once that hurdle's been passed...well, I've found that a software knockoff of the Juno-60 works FAR better at sounding like a 303 than the oodles of "worshipful" 303 synth clones out there. Trying to make a modular synth emulate the TB-303 seems to me to be akin to buying a Lamborghini Countach simply to run errands around town.
I'll second that, having learned much of the basics myself on one of the greatest patchables in history, the ARP 2600. Having the prepatched signal paths was very useful inasmuch as I could see what a "conventional" flow was capable of, and also what patched changes to those signal paths might do. The 2600 in question here was located in Middle TN State's Electronic Music Studio through part of the 1970s and much of the 1980s, and I don't think a better educational analog synthesizer has been created since the 2600. It's something that Korg, through their ties with David Friend of ARP, should still consider reissuing, IMHO.
Good patchables for learning the modular basics that you can get these days include:
Moog: Mother32, DFAM, Grandmother.
Korg: MS-20 mini + SQ-1.
MakeNoise: 0-Coast (excellent for understanding West Coast concepts, btw)
Arturia: MiniBrute 2 and 2S (the 2 is keyboard-based, while the 2S revolves around a step-sequencer)
Plankton: ANTS!
Soundmachines: Modulor114
Dreadbox: Erebus, Nyx
Kilpatrick: Phenol (rather Serge-like...a great intro to banana-patch methods)
Pittsburgh: Lifeforms SV-1 Blackbox, Microvolt 3900
...and I'm sure the list goes on. But anyway, by learning how these work in their normalized states (where applicable), it's easy to see how modules within those work, and how the patching process changes things around. And in most cases, these can be interconnected directly to modular systems, with the Korg and Moog devices being the only ones that have certain control signal tweaks that're necessary to make that work 100%. As for controllers (should you need them), my vote goes to Arturia and their Keystep and BeatStep Pro. Both are sequencers, the former also functioning as a keyboard controller and the latter being more pad-based.
Thanks for the detailed explanations, really appreciate it. Following both your advice I switched the mutamix with the panmix. Can't wait to get started with it.
As I said in my first post, this thing is gonna be built at a slow rate, mainly because I wan't to get to know my modules first before buying some new ones. Any suggestions on which ones to buy first? Some starting combinations that might provide some great fun in the beginning?
The Stepper Acid sequencer is great, but I already have a tracker that I like to use for sequencing, and I think it requires external filters and oscillators. So I'm looking at the x0x heart module.
For doing acid basslines, the tricky part is the TB-303 note-assignable slide. I think there are MIDI messages for portamento that are relevant (e.g., MIDI CC 5 and 84), but I bet they're ignored by a lot of simple eurorack modules. Right now I'm thinking it would be better to use a gate triggered on another MIDI channel to control the slide CV in the x0x heart module of a rack like the one below.
This rack has some other stuff I'd be interested in using, too, but I'd start with the modules that drive the x0x heart.
Does anyone have any comments about this approach?
I am a bit of a beginner as well if I'm being completely honest. BUT if you don't know yet what you want your synth to do, I would say invest into a semi modular. That's what I did before I started filling a case. I went with a Mother32/0-Coast as my first synths. Going semi modular at first is a great choice if youre uncertain about anything. Diving straight into modular is confusing and expensive. But can be even more expensive if you dont know for absolutely sure what you need or where you're going with it. I regret nothing by going semi modular in the beginning. The Mother 32 is great for beginners. It can teach you so much about the building blocks of synthesis. And will teach you what you WILL need for basic building blocks for your modular. I learned the most just by repatching the Mother. But I do wish that I would have gone for the Mother32 and the DFAM. That things insane.
Anyways, yes. Go semi until you learn more and figure out what you want to do with your synth. Also I would highly recommend picking up a copy of the book Patch and Tweak. It will answer any questions you may have
First of all, I just want to say I'm really excited about getting started on my journey with module synthesis. I've had plenty of experience with softwar synthase and midi of the years and am reading everything I can to understand the science going in.
However, where I'm falling a little uncertain is where to start with a physical unit. Should I buy a semi-modular (Mother 32 etc) or just dive straight in and buy some modules (cheaper side to start out) ?
My gut says go semi-modular until I find out WHAT I want my synth to do etc and then start building but I'd appreciate advice from the seasoned synth-meisters! :)
Cheers and looking forward to learning as much as I can from you all.
Request again for narrower racks please! ;-) Not only for 5U formats but now also for EURORACK, since 4ms has come out with their POD series, with the smallest being 20 hp (other sizes are 26, 32, and 60 hp). More info at link below: https://4mscompany.com/pods.php
Maybe another reason to create the "simple black line" rack style so that even 1 hp racks would be doable?
First of all, this is not my first time posting in the forum. The First time was a few months back and I had no clue what I was doing. Since then I have really taken time and become more realistic and grasped an idea of what I want my modular to do. I have read Patch and Tweak, spent a lot of hours on the forums on here and on Muff. So I am coming back into this with a lot more knowledge. But still, so much to learn.
I am looking to make a generative melodic multi layer ambient(ish) synth. I have already dived in and bought the Intellijel 7u case, Maths, Rings, quad vca, 1u headphone jack, 1u audio I/o and 1u buffered mult. These are all working along side a Mother32 and a 0-Coast. Which I am having a blast with so far.
I have a few questions from here.
First. I have bounced between the Rene 2 and the Metropolis as my sequencer. I know I can use the Mother's sequencer but honestly to me I am not a big fan of it. I know I will be using it along side another sequencer though for basic sequences. To me, the Rene 2 seems better suited for what I am trying to achieve. BUT, there are a lot of things that I love about the Metropolis. It seems a bit more user friendly then the Rene. But of course Make Noise modules are always a bit daunting at first. My question would be; which one would I be better off going with? Which one would be more rewarding?
Second. I have a lot of clock sources and not enough voices picked out in my opinion. This is part of the reason I left a big blank space. I feel like I need at least one more. But this is why I'm here. To ask for advice from people the know much more then me on the matter.
Third. I am going to be in desperate need of effects (also why I left black space) I am really looking for delay/reverb modules that are the most bang for your HP. And also, I am curious if the Polaris is a good fit as a filter for my system.
That's pretty much it. If anyone can comment and help answer my questions that would be amazing. Also, I am open to any other comments on what I have sketched out so far. Anything else that I might me missing or haven't thought of yet. Any input would be very appreciated. I am very humble and am always looking to learn more.
Yep...the PanMix or the Roland 500 series output mixer are decent choices here since you have ample VCAs now to handle your input levels.
The Serge VCS (the originator of the Doepfer A-171-2) is a very prized module. It can function as a slew limiter, an envelope generator, a LFO, a VCO, and probably a few other things that just aren't coming to mind right now. Ken Stone took the original Serge design and added a few tweaks, then Doepfer took Ken's design and did a couple more. It's literally a "Swiss Army Knife" module. MakeNoise's Maths is pretty much two of these under one panel (making the Maths more like the Serge Dual Universal Slope Gen) and added a little bit of logic/arithmetical function voodoo...but it's also 4 hp larger than a pair of A-171-2s, and the additional functionalities are easy enough to replicate on your own.
Basically, what you're looking at is a pair of CVable slews...rise and fall...with the ability to change the slew rate via any sort of incoming modulation. Feeding this with an existing CV results in portamento-type behavior, but with the ability to voltage control the rates. Now, that's where it gets weird, as the module can also output its own CV that rises and falls according to the slew rate levels. This can be done as a one-shot on a gate/trigger, making the module behave like a 2-stage envelope gen...or it can be looped, making it act like a LFO with a user-defined waveform via the slew rates. But it gets even crazier, since the Exp CV point accepts 1V/8va CV just like a VCO...and then you have a VCO with a user-definable waveform. Oh, and since you can feed the slew rates separately, you can make that waveform shift all over the place constantly, yielding some wild waveshaping action that most average everyday VCOs cannot match. And those are just for starters...with a couple of additional modules of various sorts, you can make these act as a little analog computational "brain", bouncing their functions of of each other and outputting loads of modulated CV craziness. This last bit is what the Maths is best at...but you can get there with a pair of A-171-2s, an adder, maybe a comparator or two and some simple Boolean logic, and wind up with a little more user-definability than the Maths. Fun!
I actually have both of those sequencers...the SQ-1 is nice for running typical Berlin school-type sequencing loops, plus it plays nice with my MS-20. The BSP is a different beast altogether, though...much more internal complexity and potential, especially with its software configuration capabilities. I did a live piece a few years ago that had two BSPs merged into my Kawai K5m...none of the four patterns were equal length or at the same tempo, which gave me this nonrepeating ambient wash that worked beautifully once the synth was properly processed. If you were going to be forced to make a choice, the BSP is the one to have...but having both is perhaps even better!
Get rid of the Mutamix since you have two u4xVCAs and replace it with the Happy Nerding PanMix. Now you have a stereo mixer with a headphone out built in. You can get rid of the Intellijel Headphone Out and the blank panel and pop in another Intellijel buffered mult or the Intellijel ZeroScope.
I re-organized some things in the rack based on your advice.
I replaced the mutable instruments with their codex modulex counterparts, adding a second 4xVCA.
Removed de Shakmat Time Wizard (because some redundancy with the Pam's new workout)
Removed the sequential switch matrix
Added the mutamix (doesn't necessarily needs to be that one)
Added a 2hp switch
Added the Kinks
Added 2 doepfer A-167 comparators
Added 2 doepfer A-171 slope generators
What do you think?
Also, about the doepfer's, could you elaborate a little? I understand how they work and what they do, but I'm not sure how to use them withing a modular setup. Many resources online explain their basic functions but don't explain what the advantages are of having them in a rack.
Thanks for the feedback! I was peripherally aware of the MScale. I've tuned by ear the few times I've wanted a harmonic relationship between the GM and Cursus Iteritas, but a precision bias could indeed be helpful down the road. In the meantime, you reminded me to check: there's a global setting to enable the GM to output 0v - +10v. Done.
Yeah, the EMW double adder seems like it'll have a good lifetime as a general utility, so I didn't feel bad about spending $66 on it.
Next steps that I'm considering:
an inexpensive noise source (it's annoying to isolate the GM's noise source and use it elsewhere),
an envelope/modulation source. I thought a Low-pass Gate might be a good thing to trigger, but tonight I'm a little obsessed with the possibilities opened up by the Malekko AD/LFO,
Expert Sleepers Disting as a "sampler plate" of more exotic functions, and
an inexpensive sequencer as a general control/dynamic modulation source.
I'm trying not to overthink the sequencer. At first I thought the Korg SQ-1 would be fine, but then the Arturia Beatstep Pro looks so much more capable for the money.
Already arriving:
patch cables. My patches are already limited by the number of physical connections I can make.
Yeah...while the Time Wizard does contain some logic capabilities (albeit not on the same level as a full-on Boolean gate setup), for the most part the Pam's does what it does. The question would then be whether you'd get more mileage out of the additional functions the Time Wizard offers versus the extra two channels of trigs on the Pam's. But...also, have a look at the Pexp-1 and 2, which are expanders for the NEW Workout and which offer some functions that need to be considered.
My performance mixer fave as of late is different from Ronin's. Qu-bit's Mixology is a four-in, stereo-out...but offers CV control over per-channel level, AUX send, and pan, with a proper AUX mono send and stereo return, which means it plays nicely with reverbs, choruses, and most other FX that tend toward that routing. You also get manual solo and mute per channel as well, which can come in handy when programming complex patches.
As for the Veils, tho...again, Codex Modulex shrank that down to 8 hp and brought the price in cheaper. So ultimately, you could add a pair of those for a hair under $300, giving you eight VCAs with variable response curves, potential submix abilities, and a compliment of VCAs of that size would then easily allow you to CV level control both audio and CV, again upping the potential complexity.
Good moves thus far...the Moog bipolar DC thing is annoying, yep. I would've hoped that they'd learned from example that when there's a standard that's making the development of new things possible, you're supposed to follow that trend mainly for the sake of being constructive. My bet is that with the Moog gear's basis in Bob's older circuit designs, it sticks with their older voltage standards...hence the bipolar DC, the continuing presence of the (ugh) S-Trigs on their modular reissues, etc.
One thing you might look at, though, would be the Erica Pico MScale. That's specifically designed to solve the Moog bipolar DC issue, fits in a mere 3 hp, and only costs around $70. That way, you can just route your pitch CV direct to that and the problem's instantly solved in the first patching step outside the Grandmother. As for the EMW Offset Proc...that not only fixes your control issues, but it allows some extra craziness in that you can modulate offsets with it. So, say you have an incoming CV that controls your VCO pitches...by using a square wave as an offset modulator and a little poking around with the gain control, you can impose a trill of a specific interval onto the VCO CV with that module. And that's just one example of some of the fun you can have with it. My assumption is that EMW mashed an offset source plus an adder in there twice over...not a bad idea at all!
That sounds like a job for the Roland 531 Mixer module. You get six channels with faders and pans. The pans are CV controllable. You also get mute switches, a preamp and a headphone output. https://www.modulargrid.net/e/roland-system-500-531
Veils functions similar to the Quadratt EXCEPT you have CV control of each output volume. I wouldn't define either of these as a proper mixer, though you can use them as basic mixers or submixers. I would think about all of your outputs (drum modules, FX units, etc.) and figure out how many audio signals you might want to mix together at once. With eight "mixer" inputs (seven if you're cascading one unit into another), you're going to probably be short when it comes to a complicated patch.
Look into the Roland 531, Happy Nerding PanMix, Pittsburgh Modular Lifeforms System Interface, and Blue Lantern Stereo Sir Mix A Lot. All of them are 6 input mixers with pan capabilities on all/most channels depending on the unit. With exception to the Blue Lantern, they all have headphone outputs as well.
You probably won't need a decent mixer to begin with. The Quadratt and Veils will be enough to get you going. But as you start to flush out your case, you'll probably want one.
@Lugia: I'll definitly design a rack with the modifications as you suggested and see where that brings me. I'll post it here once it's done.
@Ronin1973: You're totally right, that's something I'll have to take into account. Although, the Veils also acts as a mixer. So wouldn't it be possible to take the mixed output from that and route it to one channel in the Quadratt, or am I misunderstanding how the Veils actually works? If it works this would give me 7 channels to play with.
Do you think it's also a good idea to have the shakmat time wizard and the pamela's new workout, seems there's quiet some overlapping in their functions?
I'm just starting out in Eurorack. This supplements the semi-modular Moog Grandmother. I've quickly learned the limitations of such a setup, and those limitations have informed most of the modules here, which in turn are putting the Grandmother on a path towards being supplanted completely.
Some Grandmother controls don't have encoders attached, so the Offset module helps with those. It also helps with Moog's -5v - +5v pitch offset.
The Grandmother's clock doesn't run unless there's an arpeggio or sequence currently running, so the Rebel Tech Clk was added.
One thing that comes to mind: with as many clock signals as this will have going on, you should look into some logic modules to create more intricate behavior with the gates you'll be using. On a similar note, a couple of comparators would also come in handy for similar reasons...you can use those to derive gate on/offs from CV levels coming out of the Stillson Hammer, for example. Maybe take the Switch Matrix out for some of that, potentially adding a much smaller thing like a Doepfer A-151 to swap sequencer CV outs to create longer sequences. Maybe toss out the uScale, also, since the Stillson has some potent onboard quantization. You can also recover another 4 hp in your top row by swapping the Maths out for a pair of Doepfer A-171-2 VC Slope Gens (basically they're akin to half a Maths each, minus a few extra jacks that you can work around). Even more space can be regained by swapping the Rings and Tides for Codex Modulex's 8 hp versions of each. See how much space you can get back by doing things like this; empty space eventually = more modules, after all! ;)
I'd definitely start with more audio sources. Maybe a Plaits or two to pair with the Braids. An output module would be nice, and if you're thinking about adding FX, check out Happy Nerding for a great output stage that also contains a second stereo input with attenuator, which is super-handy for adding reverb, delays, etc to your stereo mix when you don't have a mixer with an AUX send/return.
MIDI/CV...IMHO, Expert Sleepers for the win there. You'll just have to sort out whether you want to use just MIDI or if addressing the modular with CV/gate/trig under control via Silent Way sounds right for you.
Other stuff...hm...better mixing would be nice. The 2hp MIX is a nice summer for somewhere within a patch, but nothing beats a dedicated stereo mixer with panning and all that stuff. Plus, finding one with an AUX bus would really make the best use of the limited space open for a decent FX module. A couple more EGs and VCAs, and that'd sort of nail it.
This is the first concept for my eurorack synth. I plan to build the rack over the course of 2019. My plan is to gradually buy modules and getting to know them before buying more modules. Along the way there will be probably be many adjustment and changes. Nonetheless this is my first concept based on videos I saw on the net and some advice I got from people.
My aim is to be able to generate percussive and rhythmic sounds/loops as well as melodic synth sounds.
As you might notice from looking at the top 1u row, this is most likely going to be built into an intellijel 7u rack.
Any suggestions or changes needed? What do you think?
Hi,
Thanks for the tips. I have an erebus 3 and a nyx that i was looking for more tempo synced modulation for (which they both lack a bit), as well as more modulation and attenuation for the shuttle system. I guess I'm looking to make the more complex "wubs" of bass house/dubstep. The mordax will help a lot with education/understanding the modulation as i'm using it.
I will leave out rings for now and put a maths in there. Think i'll get rid of one of batumi or stages, probably batumi.
I appreciate your different viewpoints and thanks for the tips.
Christmas day here with the kiddies so i'll respond more tomorrow. Boxing day sale at moog audio here in Toronto.
Sure. Not proving universal facts here, just my thoughts as requested, (i´ve played synth of all kind since my first purchase in late 90s). I don´t say you need this or that for a certain purpose cause i´ve read this or that. It just happened that a Dx7 didn´t worked for me as the bass i wanted at the time, or that plaits which i have right here, isn´t really my first choice for the bass/lead track. It´s not rumours, nor the universal to-do list, simple personal experience on how things turned to be for me.
All cool ;)
so i've had the black magpie version of the z-dsp in my rack for a while. today i accidentally deleted it from my rack, and when i went to add it back, it is no where to be found. i reset my filters, and tried searching under both "z-dsp" and "magpie", and neither brings it up in the search results... also i noticed while searchnig for magpie, many of the magpie versions appear to not come up in search results anymore. how can i have something in my rack that seemingly doesn't exist anymore when searching?
First of all, the killer bass sounds you hear in a lot of techno are NOT ALWAYS the result of analog synths. One of the more popular for this purpose in the Detroit end of things has actually, for some time, been the Yamaha DX100. Derrick May, in fact, is a real master of 4-op programming; Carl Craig's also made extensive use of the DX7. The idea that you MUSTMUSTMUST have analog for bass is, in fact, bullshit. Even I have a certain death-dealing bass patch on my long-beloved CZ-101 that has, through the proper amplification setups, caused actual physical damage due to it's subbass properties. So is the Plaits usable for bass? Sure...because in analog synthesis, the key to huge bass isn't the oscillator, it's the combination of the VCF and the right modulating EG for that, plus maybe a little nonlinearity in the VCA to do a touch of waveshaping. A sharp, percussive attack modulating a good 4-pole lowpass VCF fed with most anything will create hefty bass, depending on how you've set up the cutoff and resonance on it and the pitch class of the incoming audio. As for the 303...yeah, sure, it says "Bass" on the case, but most people using it, starting with Larry Heard, MISused the TB-303 to get all sorts of higher-range squelchy sounds, particularly in tandem with the "glide" control in the step sequencer.
Second of all, modulation. The Batumi and the Stages both have sliders. And that's where the resemblance stops. The Batumi is a great source of LFO curves. But the Stages is more akin to a sequencer in that you set your different stage levels and the module sweeps through these to create a user-defined modulation curve, or discrete modulation steps, plus a few other tricks. It's not an LFO or EG per se...but at the same time, it can be both and more besides.
Three, the Maths and the Quadra. The Maths is an interconnected and self-contained pair of what, for the most part, are a pair of Serge-type slope generators. It's more akin to a very simplified analog computer in how it creates both self-generated and externally-derived voltage curves. The Quadra, however, in its base form is just four AD envelope generators. To get it to work on an order of complexity more like the Maths, it's necessary to add the Quadra Expander, which contains the controls and patchpoints for more complex functions. But this also kills another 12 hp of space.
Lastly, why do this in modular? Consider for a minute that if you're simply trying to augment a Shuttle System, wouldn't it be easier, smaller, and cheaper to go with a small patchable or two? You could snag a MakeNoise 0-Coast for much less and make ample use of that (especially its LPG!) in tandem with what you have now. This would also be helpful if you were playing live, in that a handful of patchables, your sequencers, a drum machine to sync with those, and a mixer could easily fit in one decent-sized compartmented flight case. Modular may be sexy...but it's also spendy and, unless you have a very specific need for it, kind of impractical in live settings.
So, by "FM", I'm assuming you mean Chowning FM, also known as algorithmic FM. Now, yes, this is technically doable in a modular environment. There are several 2-op FM modules around, besides Akemie's Castle which is 4-op, using a NOS Yamaha 4-op chip, of which Yamaha made several variations over the years. All well and good...BUT...
The problem with Chowning FM in the analog domain is that, to get the full advantage of it, you need a buttload of modulator sources. Envelopes (looping and otherwise), LFOs, function generators, etc etc are the real 'meat' behind FM. The Akemie's just allows you to control the different operator and oscillator functions via continuous CVs. But that's where the trouble starts...
Go back over to ALM's site and watch the video on this module. Now, when the user starts adding envelopes to control the operators, listen carefully to what's really going on. Notice that 'stepped' bllggn-ingg-eeng-ingg-type sound as the voltage curve sweeps the operator(s)? This is happening because no matter how smooth you make the incoming voltage changes, the Yamaha YM-series chip is going to reinterpret that in discrete steps. And there's not really any workaround for that; it's simply how the Yamaha digital chips were designed to be used, with what's going on in the Akemie's Castle being a bit of a kludge to get one to 'recognize' CVs...but not necessarily take full advantage of the continuous change in the CVs. Sure, you can get some really complex sounds that way, and the Akemie's makes it easy to get a simulacrum of FM under analog control...but you're still only dealing with a simulation. To see what's really supposed to be going on (and does under the proper digital control in Yamaha's FM implementation), see here: https://en.wikipedia.org/wiki/Frequency_modulation_synthesis (NB: the forum mangled this URL slightly...insert underscores between the last three words). Note the little block diagram in the upper right corner; that shows how each "operator" is configured, as a combination of an oscillator, an envelope generator, and a linear VCA which allows the EG to modulate the outgoing level of the oscillator. This result then passes on to modulate a second, identically-configured operator, and so on.
BUT...reading further in this Wikipedia entry, we find some notes about how Don Buchla's complex oscillators also were designed to make use of FM sound generation techniques. Now, this is where it gets interesting. Assume that, instead of having the Yamaha NOS chip in the Akemie's with its digital translation of analog CV curves, you were to build up the operators as discrete modules. There's actually no reason why you can't...and in fact, doing FM synthesis THIS way eliminates that stepped bllggn-ingg-eeng-ingg, replacing that with the beautiful sweeps of truly analog-controlled FM. And hey, look at what Happy Nerding's got...a discrete module that has the necessary VCA configuration, all ready to go. Just add a VCO and modulator, and there you are!
Naturally, though...there's a downside. Or a few, actually. First of all, such a setup will be a bitch-and-a-half to program and control. You'll be in constant tweak mode until all of the many controls in such a setup are exactly where they should be. And if anything gets knocked ever so slightly out of whack...there goes your sound. So you'd have to take a certain degree of unpredictability into account. Then there's the cost. To do six-op FM (like a DX7, more complex than a 4-op but more nuanced), you would need six VCOs, six envelope generators, and six properly configured linear VCAs, plus the ancillary modules needed to control those and alter their routings (if you want to get that complicated). And that's going to get spendy. Plus, that's also going to get sizable unless you're OK with doing much of this on smaller modules.
Soooooo...if the Akemie's Castle is a bit of a 'kludge' and the real analog implementation is insanely complex, what do you do? There's a few options...
1) Get the Akemie's Castle...knowing that, to take advantage of it to its best potential, you're also going to need a pile of modulation sources...mostly EGs, but some LFOs as well, possibly. Result: modular FM, but not exactly as it could be, with a goodly amount of programming and knob-juggling.
2) DON'T get the Akemie's Castle, but try and implement this purely in the analog domain with VCOs, VCAs, and modulators. Result: real, fully-realized FM in the same sort of modality as Chowning FM, but with the sacrifice of easy control and higher cost. It'll also potentially result in a rather large build.
or, 3) Have a look at Yamaha's new MODX synths. No, they're not modular, I know...but for what this modular build will cost, you can instead get an MODX6 (possibly for less, even), which then gives you 8-op FM (like the FS1R, as well as the FM implementation in the Synclavier). The programming gets much easier since it's then under the synth's microprocessor control. Also, programming one of these is NOT the brain-wrenching chore that programming the early DX and related Yamaha models was back in their day, when you had minimal display feedback and one crappy data slider. Since the MODX is an FM-centric offshoot of the Montage, you now get a full touchscreen and ample real-time controls.
Ultimately, the last option makes the most sense to me. In fact, I'll be picking up one of those MODX6s this coming spring, because even if I have a modular setup, it does what IT does best, and the MODX will do what IT does best, avoiding the headaches of the synth programming equivalent of cramming a square peg in a round hole. And, having used the DX series (and I still have two FB-01s, in fact) and grown to HATEHATEHATE programming them, I can safely say that the MODX kills the crappy interface argument against their FM implementation. It's a very different creature. And that leaves my modular for doing things it's happier with...and that I'm happier with, also!
Plonk and rings do similar sounds, i would pick one first and other if i really loved it.
Plaits is great for dronning and ambient, maybe not for usual bass and lead works.
Batumi is a great modulation source, dunno if you still need stages, i would pick one and then see how much you need more modulation later. Maybe save the space for some Evenlope generator, like Intellijel dual ADSR, or someone who does envelopes and modulation like maths or Intellijel Quadra.
Maybe uZeus+Tiptop 1000ma would be enough for this system and save one power supply.
Unless you really need oscilloscope, maybe Pamela´s wourkout would save more space instead of mordax.
Also i would probably look into more tecnho oriented modules, like Intellijel atlantis(sh101 techno goodness), acidlab m303, or some more traditional stuff for bass?
Hi all,
Can anyone give me some tips on what to add or subtract from this setup. It's for house and techno mostly. Bass, leads and atmospheric/weird sounds. I have a couple sequencers (digitakt and deluge) as well as an endorphines shuttle system. I guess I'm looking for a few modules to add to the shuttle system as well as being usable standalone. Any advice or thoughts would be appreciated.
I have had some experience with a mother 32 before and the Moog sound but the flexibility of the grandmother I like combined with the Digitakt which I already have.
I am looking to add fm synthesis in the form of a modular system with effects. That is the basis of my search. I am a novice in modular and finding it hard to get going but having stumbled on akemies castle and it’s reviews it is exactly what I am looking for but am unsure what else I need to go with it if indeed I go with that option.
Yup...the ES-8 (and do think about maybe including an expander for it if you're crosslinking it to VCV via Silent Way...opens up loads of extra CV/gate possibilities) and Silent Way are pretty much the 'power-user' way to go these days. Putting the computer in direct contact with the modular's functions will blow the doors off of anything with a basic MIDI converter. Plus, you can also work with other software packages to realize even wilder notions; using Max as an initial control source would allow you to create your own control paradigms from scratch. Plus, keep in mind that the ES-8's return channels also allow functions in the modular to work as "control feedback" for your software environment, neatly closing that cybernetic loop!
You're wanting to build up a system around a Moog Grandmother. All well and good...but to do what, exactly? Don't ask what modules are the ones you should have based on generalizations like that, because the methods for a build is created should always take the MUSICAL requirements in mind FIRST. For example, if you want to direct your musical efforts more toward something rhythmic and danceable, that gamut of modules isn't going to be the same as what you'd need if you were doing industrial/noise, or ambient, or sound design work, or...well, you get the idea.
Creating a modular system for your specific needs is not a simple process. If done correctly, it's not on the order of simplicity of going to the grocery and getting ingredients for a recipe. It requires you to really understand what your music is now, and where you want to go with it in the long-term as long as you want to avoid a pointless outlay of piles of cash on modules that you find aren't ones that work for your purposes. Plus, how well do you know that Moog? That's not been out that long...so have you fully explored its own potential to a suitable limit where you really understand what functions it has that you want to expand upon?
Those are things you need to start on before starting in on slapping together hardware...even in a virtual form such as on MG. Spend some time in things such as VCV Rack (a modular emulator...very useful for exploring module functions and combinations). Spend time on here alongside that, looking into which modules are for what best purpose, alone and in combinations with other modules. Spend time looking at important 'historical' instruments, and find out why they were assembled with the module/circuit complements they have. And expect this to TAKE time; I know people are enamored with instant gratification these days, and ample Magic Plastic + synth retailers galore might seem to make that possible, but the plain fact is that rushing into that situation without ample preparation is a recipe for massive annoyance and fiscal ugliness...and certainly NOT any sort of gratification, unless you're a masochist.
Step 1: remove everything that's already in its own case from this case. Putting these into a Eurorack cab is a major waste of rather-costly space that should be allocated for modules that aren't cased already.
Step 2: remove any discontinued modules...Clouds, for example.
Step 3: if this is an Intellijel powered case (the layout looks like it might be), eliminate the uZeus, since you don't need to put a power supply in a powered case.
Step 4: start over. Do a lot of research on what modules do which functions before building the next attempt. Watch videos and listen to examples of modules from various manufacturers and other users. Study existing builds here on MG by experienced synthesists, also, as well as classic systems to see how they're built up. Expect to spend A LOT of time doing this, as even those who have a lot of time and experience with synthesizers know that you can't nail a modular build on attempt #1. Or even attempt #10, or #20, etc etc. This is a PROCESS of creating an instrument; simply because you can buy a lot of this off the rack with ease and ample cash these days doesn't mean that creating an optimal build is equally easy. The more likely thing that would happen without proper research and prep is that you'd be doing the same thing as putting your money in your backyard grill and setting it on fire.
Also, ask yourself if you know your musical output well enough to predict what an appropriate instrument for it would consist of. And not merely at this moment in time, but in five years...or ten...or twenty. These things COST, and it's best to have figured out that your money is being well spent in advance!
So, I managed to piece together an A-100 Mini System used with a 9u case. Feel pretty good about it as a start. I won't rack the Boog. LOL. I figured my next module would be the Expert Sleepers ES-8 so I can incorporate VCV.
I’m new to modular but I want to build a modular system around my Grandmother. That only modular I know I want is ALM Akemies Castle. I am looking at upto a 7u rack in size so open to suggestions and certainly considering Maths and the Strymon unit for effects (although it takes up a lot of space). So open to suggestions and in terms of sequencing I was thing of Intellijel Metropolis.
Anyway please do leave me your thoughts on this one.
I'm looking for feedback while planning my first eurorack. Experimental and sounds, I receive all kinds of advice, or instruments that I could add or change
Thanks !
I'm not affiliated with any of the players mentioned. BUT... there's a bundle now for MiniBrutes plus Rackbrute 6U for $800US (Minibrute 2 or Minibrute 2S).
It includes patch cables and a travel bag. At Perfect Circuit, you can also get 10% off for the holidays (have not confirmed that it works on the bundle... just enter the code from the banner and see).
No real reason, actually...Plaits should also work nicely given that it can sweep through changes in a generative system. Its predecessor, Braids, didn't exactly have that ability. It's also worth noting that I put this together about a day or so before Codex Modulex dropped their 8 hp version of the Plaits...given that, I'd suggest that if you go with Plaits, use theirs, which would allow you TWO of them in the Rubicon2's space with 4 hp left over.
