did you already play with the sequencers? maybe some mutable mixing module? im currently looking for something like that myself for immediate control over channels
are you using the befall mixers for audio or do you use a external mixer?
Hi,
im planning on 2 Racks complementing each other. One is more suited for melody tasks (metropolis + shifty + eventually a buffered multiple), the other case for techno/glitchy stuff (the telharmonic providing a melody/chord source).
im currently struggling finding a convenient routing / mixing solution....
i know... more vcas? i just wish there was a smaller mutamix module (i love faders and mute switches )
anyone got any tips for my routing/mixing problems? you think i lack anything in particular?
cheers, Dennis
I think little nerd could be really useful for weird rhythmic clocking, so I could replace burst or sampling modulator... or get rid of olegtron..
excited for this cases perform-ability :) getting rigged up for a show next week with Hataken from tokyo and Plea here in pdx :)
https://www.instagram.com/p/BnrwjUHlNXx/?taken-by=sunfallsmusic
Lots missing here: modulation sources (envelopes, function gens, LFOs), extra VCOs to thicken up the M32's VCO sound, VCAs (both linear for CV work and exponential for audio), perhaps a reverb (not counting Clouds here, but something like a spring), some expansion to the sequencing as well as more clock modulation/logic to create variation.
I'd strongly suggest that move #1 be the removal of the M32 from the cab, though...put it back in its own skiff, if you have it handy. The build you're doing here is in a cab that's really too small to support 60 hp of it being taken up by that one device. Open that space up for more, then I think a lot of the options I and others have mentioned will happen a lot more smoothly.
Modulation sources, definitely hands down.
DivKid did a great video on the Vector Space. If I had the space, I'd get one. It should give you some interesting results when combining modulation sources. The Batumi is fine. But I sound like a broken record on the forums when I say to get the Poti along with it. You won't have to fuss with the jumpers on the back if you want LFO shapes like triangles, saws, etc.
If you'll be working with volts per octave, you may want to get a buffered mult and possibly an adder (for accurately summing CV).
Here's the video for the Vector Space.
Hello flaminggarlic, thank you for your tips, I’ll look for modulation modules, what do you think about batumi and the pittsburgh modular lifeform micro sequence? Nice video, rich of ideas, thank you.
Now I am seriously thinking of replacing the pre / env follower with an ES-8 and getting Bitwig.
This is a cool lecture I saw this morning that has some interesting approaches to sequencing in euro by South Coast Modular. It's pretty interesting and may give you some ideas of what direction you might want to go.
I'd reccomend some modulation and a second sequencer for more patch variation. Something like the qubit octone would add variation to the mother sequencer. For modulation, maybe something like a Pam's new workout if you don't hate menus, or disting if you really don't hate menus. Maths is is hands on and really useful, but there are other dual function generators out there. I've been looking at the blue lantern spore generator and thinking it looks interesting. There's also the sin phi miasma, and the befaco rampage (sliders > knobs) . The ways to use these are endless, but the logic sections are great for creating quasi repeating phrases of cv that sort of sound the way you expect melodies to sound. Paired with a quantizer you can "play" the thing and get immediate musical results. Maths is great because you can attenuate those signals before you compare them, giving you a lot of control.
MOTU and Bitwig is a solid choice for modular integration because MOTU interfaces can output DC voltage and Bitwig has native plugins build in which are very similar to Silent Way.
solitud.de | YouTube | Soundcloud | Bandcamp
Hello world. This is my rack now. Outside the rack I have a make noise 0 coast. What modules should I add now? Some must have doepfers? Maths? I'm interested in drones and ambient. Thank you very much for helping a noob.
http://www.noisebug.net/site/effects/index.cfm?ID=524
Buchla Music Easel in stock shipped in 48hrs
NoiseBug Price : $4999.00
Thanks for the feedback. I'll certainly check out Bitwig. And re the ES-8 or ES-3 I'm thinking that this could be a possibility, while the Motu as a first step could give me a taste of that type of integration.
You could...if you could get one. While I know Foxtone's scrambling to get Buchla's production back on track after the Aussie fiasco, there's still supply issues with Buchla products that make them tricky to get in some locales. The price is also up: $5k, more or less, with shipping for the traditional Easel with the Model 218 controller and without any extra Easel Cards.
First up, check out Bitwig. I've been hearing a lot of praise for it as something of a 'simpler Ableton', plus it's competitively priced. Also, while Reason seems attractive, I still hear occasional gripes about timing issues from users, although my bet on their problems are that they stem from a computer issue and not necessarily the software. Even so, the tendency makes me a bit jinky of Reason. Bitwig also gives you a more traditional DAW framework, allowing smooth VST integration, which gets into the next part...
Get Silent Way and an Expert Sleepers ES-8. This would then allow you to directly address the modular from within the DAW in CV/gate/trig terms, plus allow four return channels for audio and/or control 'feedback' to the DAW of synth activity. In a small rig with this much architectural complexity, the ES-8 would prove very useful, especially with its ability to reconfigure on the fly via Silent Way + DAW calls.
That's not bad for starters...
OK...makes sense to me. A lot of what I was hearing earlier sounded like the usual "I wanna be X"-type of stuff, which was a bit worrying. Those are the people who buy in massively, then suddenly realize "my god...what have I gotten myself into!?", and that's never a fun position to be in. I like to warn people off of finding themselves in that sort of hyperexpensive quandry, as it does them no good, does the craft of musicmaking no good, and so on. So, yes, I get blunt...but that bluntness has reasons. However, you do seem to know the hole you're digging, and why, so...
So...first four critiques above still apply. Then the next would be: think smaller. 2 x 104 is actually a pretty crampy space, and dropping big hp-count modules in unless they're utterly essential (Maths) isn't the best way to utilize limited space. So, go back to the individual module types and look into how you can get close to the functionality you have but with a smaller footprint in the rack. Or...go bigger. Granted, the Intellijel 7U is a pretty ubiquitous case, but in a similar price range, there ARE others. So...the 7U is $650-ish street, with 208hp in 3U and 104 in Intellijel tiles. But then...here's this case from Erica for the same price, street, but you'd have 378 hp (126 x 9U), fully powered as well with 1.25A on the 12 volt rails per row. Plus, it's expandable, and since you have later expansion in mind, this makes it easy as all you'd need is a second cab, plus the dual-cab cheeks from Erica, to then have a nice angled rig. Yes, you lose your tile row. But when you have far more 3U space, that's not going to matter as you can easily replicate the tile functions in that format and still have room left to go.
Given that you mention later expansion, my choice would clearly be the Erica. Also, it's easier to 'hack'...let's say you want a couple of deep rows in addition to the two 64mm depth cases. Easy enough: just get hold of a woodworker who can make you the appropriate cheeks to mount all your 126hp-width stuff together as a unit. Need more? More woodwork. And woodwork is cheap compared to trying to expand into bigger and bigger racks each time you want to grow. Just grab another Erica 126hp, send the specs to your cabinet guy, get the cheeks back, and bolt away. Theoretically, that could go on for quite some time. Plus: you can stay with bigger footprint modules like you have here AND get the room you need to keep on going. Then, with that space, going with more signal paths becomes a reality, and you get way closer to the sort of complex device you need from your descriptions of usage.
So, my first suggestion at this point: tear it down, start over, go larger and with a modular case concept that you can get from the Erica gear. As for portability, that's simple enough, too: just keep your cabs separate, with separate cheeks, and get cases for each such as the ones you can get custom-built from Thomann for not a hellacious amount of $$$. Takes up more space in the studio, but gives you pretty smashproof cartage options. You'd really need to try hard to fubar an ATA case.
Hmm.. this view of the rack in the forum post isn't the correct version of my rack. It changes when I click on the link.
I have slowly been building my rack after starting off with a Minibrute 2s and 6U Rackbrute. So far I have about half of these modules installed or on order. It was a lot of fun building the VCA, Glitch Drum, and O_C modules (I have a decent working background in audio and electronics). I have not yet purchased the Morphagene, Contour, or BIA yet. I'm looking at upgrading my soundcard to a Motu Ultralite Mk4 and using the envelope follower as an effects loop. I realized that the Ultralite will output AC and DC signals at Eurorack levels, so the envelope follower is not entirely necessary. What I am ultimately after is a setup that will allow me to create a mix between ambient / atmospheric vibes, over short but evolving musical patches. I am going to count 2 VCO's from the Minibrute, 1+1 from the Cloud Terrarium, and another from any of the BIA, Glitch Drum, or Disting modules. In my head I am thinking of using the Contour to trigger stages of the song progression and specifically chose it for the longer envelope duration that it's capable of. My current DAW is FL Studio, and since starting out with my rack I have been using it only to record and sometimes send sync over USB to the Minibrute so that I can add an extra track within the DAW. I'm thinking of adding a Beatstep Pro, since I find the Minibrute a bit cumbersome to use for programming multiple tracks. My feeling with this plan so far is that I might want another filter, and I might end up dropping the Euclidean Circles. I may also try out another DAW such as Reason.
Any thoughts, suggestions, or substitutions that I should consider? Do I have to fit a slew limiter in here?
Here's a demo of the polyphonic abilities of the production model of the E370, extensively using the onboard chord table sequencer
NEW EP: https://fastus.bandcamp.com/album/terra-incognito
Latest works: https://soundcloud.com/fastus
Modular studies & sketches: https://soundcloud.com/problivion
Ronin; thank you for responding man. Sorry I didn’t upload it right so you could see everything that I had really sketched out. I’ll definitely look into that expert sleepers module and do some research on it. Thanks again man :)
Lugia; thank you as well for responding and being real with me about my choices.
I guess maybe I should clarify a few things from my initial post. I know I brought up Colin Benders and Steevio and said that I would like to be able to eventually do something like them. But I guess I really should have made that statement more clear. I don’t want to sound like anyone. That has always been my mission the 7 years that I’ve been producing music. I always strive so sound different and have my own style. I want everything that I make to show me. No somebody else. I used them as an example because I love listening to them and I really want to know how to achieve a similar work flow with my modular. I know those guys are like fucking geniuses when I come to this stuff and I can’t try to be like them. That would just be crazy.
As far as me producing in Ableton; I feel like in my 7 years with the software I have barely even scratched the surface of all of the quirks and features of Ableton. But when I got my M32 and 0-Coast, I fell in love with the anolog and modular world. The sounds and different ways to get sounds out of just those 2 semi modular units has brought more smiles to my face in the year that I have owned them, then creating inside Ableton and using plug ins and operators to creat sounds for the last 7 years ever has. I am in love and passionate about sound. That is why I have decided to pursue creating a Eurorack. For the pure pastion of sound. And the endless possibilities that come with Eurorack.
Finally, me submitting this forum is to gain knowledge from people like you and the other brilliant minds of this community. I learn the most when I talk to people that know much more then me on a subject. And I understand that it’s expensive. And very complex and complicated. But that’s why I am here. To learn :) No one can scare me away from pursuing this. But I will need help and gidence to get me going in the right direction. Thank you for your help this far. It has opened my eyes to a lot of my choices thus far. If you can help out any more or give any more suggestions to me now that I have clarified my ententions, that would be amazing.
Thanks so much.
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Looking at the actual build (which will show if you go back into the designer, select 'snapshot view', then refresh until the correct version loads), there are some very glaring problems:
1) Do you have a Clouds? If not, and if you can't source a used one, then you'll have to either go with a third-party build, a DIY version, or consider something else.
2) The Doepfer A-138p is great...as long as you have its output module. Otherwise, it's input-only; you shouldn't think that you can backside-connect it to the Intellijel Line Output tile. Best advice here: try something else stereo...and make sure it has outputs.
3) That's an expensive quantizer you've got there, with four channels...and only two VCOs, which really should be paired together in the same voice. Basically, that ADDAC quantizer isn't appropriate for a small build like this; if you had something like 8 or more VCOs to feed, it would be a lot more sensible.
4) You have a lowpass filter and another lowpass filter. Yes, they're different, but not that different. Plus, since you'll obtain a much more interesting and fuller sound by tandemming the VCOs, why not just one filter? And for that matter, why not a multimode so that you can get some different filter topologies to use other than the 1 1/2 that's there now?
5)...ok, just stop. Hold it. Are you sure this is a rabbit hole you want to dive into? Modular is expensive. It's quite complicated. You might think it can solve a lot of musical issues, but if you're running Ableton (which I do, as well) with all of its capabilities, especially due to MAX for Live, and its extendability...do you need this device? Sure, you want it, and you want to sound like these other people (which I think is a really stupid, stupid, STUPID reason for plunking down big buxxx for gear, frankly; learn to sound like YOU do first!), but on something that's as much as a blank slate as a modular synthesizer really is, you probably haven't got a lot of hope of pulling that magical transformation into these other artists' clone off without a metric f**kton of practice and...especially...research beforehand to ascertain the best way to do this (which, again, I think isn't anything approximating a good idea).
From my experience in music, I can tell you that there's a pile of other people who want to do what you want to do here, too. This doesn't mean that you should do the same. That's not creative, nor would it be anything indicative of who YOU are as a musician. You'd just be a clone...among other clones...in a zone awash in clones. Which will, believe me, suck more than you know because the results won't fool anyone.
If you feel that you have exhausted the possibilities of Ableton plus the patchables you have now...well, you're a better man than I, Gunga Din. But my guess is that you haven't. Having worked in electronic music for some 40 years now, I can tell you that there's not a day that goes by that some new wrinkle doesn't pop out of the musical framework for me to mess with, even with devices I've had since the 1980s. So, my advice...ultimately...would be to stop, soberly take a look at your musical situation and development minus the "I want" attachment thing, and really consider what you're doing. First. THEN...and only then...if you think this is what you need to do, again...stop, do research that helps you understand what a good electronic instrument is about, and THEN...and only then, again...start building on MG toward a final build. Expect to fail at this about...oh, eleventy-billion times, but eventually you'll arrive at something you just know is correct. But by doing this this way, you're not simply building a shopping list and/or future debt, you'll be taking assessment of who you are as a musician...and this is infinitely more important than any piece of gear you can buy! Trust me on that.
Worse still, it wouldn't be just that one module. What would happen is that, due to the excess load on the 5V line in that ribbon, it could overheat and catch the ribbon itself on fire. This would then lead to a bunch of cross connections and shorts, leading to circuit damage and more fire. This would, due to the tight quarters inside the cab, catch even MORE things on fire inside of it...module boards, components, ribbon cables, etc. About this point, the amount of smoke coming from any opening would be apparent...but then, given that we're talking about a sequence of events that might take about 15-30 seconds, by the time that smoke's streaming out of the case, everything inside would be pretty royally boned. Plus, if you have no open panel spaces, putting this flaming monstrosity out would be difficult; yanking the power would stop the electrical aspect, but by that point the materials themselves would be on fire.
Some power supplies and/or modules actually do have overamperage cutouts...but not many that I can think of offhand. So, the hard and fast rule is that you have to know your wire gauges inside the ribbons, know your current draws per module, and never exceed the wire's current handling capacity. Doing so gets expensive.
DivKid did a video on the Batumi. It has four LFOs in it. You might want to get the Poti expander (also shown in the video).
If you're going with Intellijel 7U, get the 104 case. You will eat up module space much faster than you think. Also, be aware that the power supply eats up a lot of room in the lower 3U row. You won't be able to put modules that are very deep in that row.
You might think about replacing the Intellijel MIDI interface with an Expert Sleepers FH2. The built in USB/MIDI connectors on the back of the case are nice. But the FH2 will offer you a better interface with Ableton Live. Plus you can edit your set-up via ES's web interface (optional) and expand the FH2 for even more CVs and gates. Plus the FH2 can do LFOs, arps, and envelopes. They aren't as easy to set-up as a dedicated LFO, ADSR, but they are useful.
In your initial set-up, you'll probably want to add at least one filter, a set of VCAs, and at least one LFO... unless you're going to rely on the Mother-32 for that.
It may be a little early to add the Metropolis until you get some wiggle time in. You can always sequence via MIDI through Ableton to begin with. Maybe a Pittsburgh Micro Sequencer to start with?
I have had good experiences buying modules from @kinan, @qleonetti and @yochwired recently. Thanks!
I do agree with you that Dieter is a clever person.
I just didn't know that some more juice could turn a module into a flame throver... ;)
Thank you for the precious information.
Check this: https://www.powerstream.com/Wire_Size.htm
Now, given that the gauge of individual conductors in a ribbon cable is going to be rather small...28 ga is fairly typical, as can be 26 ga...the given maximum safe amperage (sometimes called 'ampacity') is 1400 mA for 28, 2200 mA for 26. YOU DO NOT WANT TO EXCEED THESE VALUES...because it ain't pretty when you do. We're talking electrical fire here, people! Yeah, even at 5 volts!
So the A-183-9 is limited to a maximum of 1A across its four USB ports for that exact reason. Product liability, basically. Dieter clearly doesn't endorse the idea of flaming gear!
It can be an interesting goal, though. I've done generative-type patches on some not-too-huge systems that involved less internal variation, but which used external processing variations to create all of the complexity. The key thing to remember is that your 'instrument' in electronic music isn't limited to the particular boxes in question, but is in fact made up of everything you've interconnected. Hence the entire 'studio-as-instrument' concept which you first start seeing with the likes of Brian Eno et al. Once the gear starts to get hooked to each other, the lines between where one device stops and another starts get very blurry.
Best way of conceiving of generative systems is the 'orders of control' concept which I'd first encountered in academia. Take a single LFO and patch it to a VCO to use it as a modulation source. That's 'one order'. Then take a second LFO, modulate the first LFO with it, and you get two. But the fun starts at 'two orders', because these can either be linear (like the above example) or they can involve feedback paths, such as sending part of the VCO's signal back to the LFO and making use of it to FM the LFO, which then affects how the VCO behaves, which then etc etc etc. Get on up into third orders and beyond, and this can get really involved and interesting.
Another way to break out of straight-up sequencing is to make use of generative variables in your DAW. Ableton Live, these days, is rife with possibilities invoving algorithmic, random, psuedorandom, arithmetical and even more mojoistic methods of generative structuring. Couple some of this with, say, Silent Way and an ES-8 interface in the modular, and then you can even bring these things directly into play in the synth itself...or since the ES-8 has four return lines, just take that 'feedback loop' concept above to utterly insane heights!
The Dixie II is a very vanilla oscillator. Having a third oscillator isn't bad if you're wanting a three voice architecture. I'm not familiar with the Mother-32 architecture itself, so I would ask how do you intend to use this third voice and mix it into the signal flow of the Mother-32?
Once you have that figured out, you may want to go with the Rubicon II if you want to stick with Intellijel. It will give you more options than the Dixie and a ton more in waveforms. Plus it does "thru-zero", which may be something you're interested in.
If you're looking to expand the Mother-32, you may want to consider going for effects and modulation rather than another discrete VCO (unless you plan on modulating with that VCO). You can get some new sounds with the use of wave-folders, complex LFO generators, ring modulators, etc.
As to being a full-time producer, modular is expensive on the bottom-line in both cash and TIME. Playing around with Eurorack to get something you can cook up on a traditional synth isn't a very effective use of time. If you want something special with a bunch of unique modulation, then Eurorack just might be the ticket. But the biggest down-side is that once you pull your patches, they are GONE and can't ever be recreated exactly, even if you remember/document your exact settings.
Okay... that's all my opinion and take it with a grain of salt.
It could be used to power a ouple of USB LED lamps and a couple of Korg SQ-1, for instance.
What I do not understand is the limit to 1000 mA, when the PSU3 is able to provide 2000 mA on the +5V rail.
Good points, and an interesting patch idea.... for much further down the road. I might be using the word "generative" in its most generic or basic way, versus a much deeper definition that modular guys would, and maybe there is a better word to carry my point. Creating a big self-playing patch that evolves over time might be a real "stretch goal", but the more immediate goal is to break away from meticulously writing / sequencing everything and inject some randomness.
Responding to Lugia, I spoke with Vinicius Brazil today, and he certainly does speak Portuguese. :) They have rebranded their site to: https://viniciuselectrik.com/ but the old VBrazil Systems page still seems to be active (and contains his e-mail)
Put together a video for for this track based on material from MVGen. It's a bit hysterical. Enjoy!
I have been interested in getting started with modular for some time and I have been keen on getting the twisted electrons crazy8 beats for the reason that you can take it out of it's desktop case and add it to a modular rig. I figured this would be an easy way for me to use it standalone and then place it in a case once I am ready.
Fast forward a few months and I am really enjoying the videos about the Black Noir from Endorphin.es. So I just had a random thought that I could probably put together an all-black modular drum machine.
Some random google picture searches later, I found a really cool case called Mechanism that has some joysticks and other audio/cv utility modules in a 1U format and 95 HP of space.
So I plopped in the Crazy8 Beats, Black Noir, and an Erica Synths Drum Sample Player. Originally I had planned to use Erica Synths clock generator as it fits perfectly in the remaining space (11HP) and would provide some extra clock utility for other gear. But after some though, I just don't see this being terribly useful to me right now. Also, I realized I needed a mixer to pull the main mix from Black Noir, the two sample outputs and at least one extra channel for a sound pulled from Black Noir's main mix. So I settled on a small mixer than can double as two mixers! The extra space lets me put in two Pico DSP modules.
I figure this is covers all the bases for a neat starting point into a modular drum machine.
Pamela 87-97bpm
output 3: /4
output 4: x1
output 5: x8 clock 4 nexus
output 6: /8 reset for nexus
Little Nerd
outputA: multiplier full tilt
outputD: probability 1/3 tilt
Disting mk4 I2 WAV playback clockable
Sample: SlumVillage dont fall in love drum loop
Randomization doesn't equal generative, per se. It's a part of it, to generate variation, but you can't make up a decent generative structure out of pure randomness.
A better idea, and this actually would be generative:
-Take a series of LFOs. Four of these feed modally-set quantizers and cycle through their waveforms at slightly different periods. -Now, feed these four LFOs with differently-timed quadrature LFO signals, so that one of each pair of the first LFOs is offset by 90 degrees phase from the other.
-Next, feed these two quadrature LFOs with a single master LFO at a very low rate of change. Also, one of those feeds should go through a CV-able polarizer, which is being controlled by one of the quadrature LFOs (reverse-feedback control structure, more or less).
-Now, add comparators. These step the quantizers, and also provide trigger/gates for VCAs, VCFs, down the line, in the voice structure. We'll just deal with the control structure here, tho. Each comparator is paralleled to the initial LFO outputs via mults, but each one's trig/gate output affects a different voice than the originating LFO/quantizer pair controls the pitch of.
-Patch each of the quantizer outputs to a VCO in the voice chain, and then keep patching as normal for voicing.
Notice that, while the summed behavior of the output pitches is also, in a sense, random...it's actually not. Instead, what you hear is the result of a rather complex algorithm of voltage curves, smoothed into pitches through the use of quantizing. But given that there are constraints present in the various LFO rates and waveforms, the comparator settings, the quantizer modalities, the VCO tunings that allow each of these a randomness within a range of N actions (N being the factor of constraint created by the settings as well as control inputs), it's technically NOT random. Instead, the result is generative...a constantly-spun pattern of notes in four-voice polyphony, non-repeating, but constrained in such a way that there is a seeming predictability to the result, despite the fact that there is no actual proper 'control' applied. A better way to think of it is to look at it as a 'chaotic' process; not random, but certainly not linear, either.
Actually, the 'full-time producer with a well-equipped studio' part is the most perplexing thing here, given that you're just NOW getting a rather basic analog patchable. I detect hyperbole.
Anyway, the point of modular is this: when you've exhausted the normal potentialities of existing synth architectures, this allows you to toss all of that out the window and start with your own definitions about how to generate and manipulate sound. Even with the plethora of buttons and knobs that a Sub37 has, you're still dealing with a fixed sound generation path. But when there's no fixed path, you're free to define all of that yourself. Now, if you know synthesis methods pretty well, this isn't a problem. But if not...well, there's potentially a BIG problem.
Consider: two different model kits. One, you have step-by-step directions, plastic parts that snap together, a tube of glue, and decals. The other consists of a number of appropriately-sized pieces of wood, a picture of the end-result, and you're expected to have your own tools, paint, and glue/fasteners. Modular is like the second example. You have the parts...but you have to make them into something. Whereas prebuilds give you the parts, the basics, and all you have to do is twist knobs and such. Most anyone can build the former kit. The latter one is for when you've mastered the former variety and know exactly how to turn those basics into something amazing.
Granted, it wasn't always this way, since back when all of this started, the only choice was modular, period. And this is part of the problem, because modular has this 'cachet' from that history that makes it 'sexier'. But it doesn't make it necessary, because these days, for a large percentage of applications, it's not. I use both modular and non-modular synths, myself...some work perfectly for certain tasks, others are perfect for others.
If you want to know 'why modular?', go back and study the history of synthesizers, back into the pre-synth 'classical studio' period first. Know why they were developed in the first place. And then why the first prebuilts came into existence. And how the first polysynths were developed out of those. And so on. And then, why people DIDN'T use them for quite a while...which is also very important. Understand your instrument...which, as a 'full-time producer', is technically the studio but unless you understand its origins, and the origins of key subcomponents, you're not either. Anyone can say that; walk it, instead. Just sayin'.
not sure why its not showing all of the modules in the forum. :( but just click the rack and it was show everything I had selected so far.
Hello. :)
okay well to start, I have had a love for analog and especially modular synths for a while now. about a year ago I decided to purchase the mother 32 and 0-coast to start my modular journey. as these are two great platforms to learn from. now I am on the move to start my eurorack.
first of all I'm a huge lover of techno and house music and have been producing for about 7 years now in Ableton. I want to make more organic and raw sounds. thats one reason I love eurorack so much. so thats a big thing I am wanting to achieve with my eurorack. integrate it into my production set up and rely on modules making up about 80% of my tracks.
second, I want to be able to make an entire song with my eurorack.similar to Colin benders or steevio. obviously not as amazing as them though and with a smaller set up. I am going to add in a DFAM more them likely in the future for my drums as well.
third, I am wanting it to also be able to be a bit of an ambient monster for days I just want to relax and listen. hints the clouds module and the rainmaker.
finally, I am wanting to add two more rows far in to the future for more of a live set up.
I have decided to go with the intellijel 7u case because I love the for factor, the fact that you can put the top on while its patched, and the audio ins and outs on the case as well as the midi ins and outs.
I am basically a beginner in all of this so I need as much help as I can get on this journey. and I know how close nit and passionate the modular community is. I really want to know what I am going to need to make what I am wanting out of my eurorack possible. maybe tell me things that I have in my sketch that I don't need or that don't make any sense. things that I don't have that I should add. and modules that I don't know about that may help me achieve all of the things I want to do.
any advice I can get will be amazing.
thanks :)
Pamela tempo 206
output 1
square wave x1
output 2
cv1 input from nexus cv
Disting mk4
B4 clockable delay
I'm new to eurorack, so I don't have much to offer on your rig other than amazement. Wanted to leave a message saying that your album is dope. "the fucking sweathearts" is a winner of a closing piece.
-- TheTerribleFamiliar
thanks so much ! glad you dig it :)
Keep in mind that the Pitch CV from the DFAM is bipolar, and the A-156 only takes positive CV. You'll need to rescale your CVs from the DFAM to use the whole range of the knobs.
You might consider getting a module like Triatt or Shades for that. Alternatively, if you want to go bigger, maybe consider getting a four-quadrant multiplier like Blinds: it can do CV rescaling, VCA, ring modulation , and mixing for 4 channels. I use Blinds almost exclusively to construct my LFOs before I quantize.
For quantizing, I really like the Toppobrillo Quantimator, it can do a lot of scales and the arrebesque feature is cool. I find it more useful than the A156 personally. I would suggest pairing this with a clock divider and sample+hold.
If you want to sequence that with both channels of the DFAM, you can use one sequencer channel to control pitch and the other channel to either transpose or change scale - having the 2nd channel go through a sample+hold triggered to sample on an odd beat (like 7 or 9) out of 8 will result in a lot of variations.
EDIT: Oh! Almost forgot to mention it, you are really gonna need a bigger power supply than that Zeus for 9U, especially if you plan on filling it out. Power is expensive, but worth it, so plan for what you think you might need plus another 20% (you need extra power at power-up for some modules).
Marbles is more of a random-function type of device, though...a sample and hold on major 'roids, mainly for working with random variable signals. To get the scalar stepping, you need a quantizer, which is also sort of a sample and hold, but one which outputs very specific scalar CV intervals...or which, in many iterations, can simply rescale incoming CVs without the need for a stepping clock signal to 'fire' a sample-step.
Gotta say, tho...Marbles is a killer random-manipulator module. Anyone doing generative work of any sort can benefit by having one of these in the rack.
I kind of only want the samplilng modulator cause it seems cool... I have s&h in o_c and in disting. so maybe I should get rid of it. If I got rid of it, and / or moved the terminal tedium as above, what I could use is more oscillators. a orchestra of oscillators would be great for drone / sound design stuff.
