feel free to comment/suggest changes as this is my first eurorack rack...
Hmmm...with this sort of gearpile, you might want to look at Mordax's GXN when it's out. My pref would be to lose the 4ms DLD for it, but finding a place anywhere for that 20hp chunk of granular trouble, in your case, could be worth it.
Seems right, although my preference for a final mixer tends toward VCA mixers that allow CV control over elements like level, panning, AUXes, etc. Plus, you might consider a stereo balanced output stage to step down your synth level signals to line level and isolate the instrument from potential ground loop issues, etc. Toppobrillo's Stereomix fits into the same 24 hp space, but would allow more sequencer/modulator control of your mix + processing. As for the stereo out, you could easily lose the Links and use inline multiple 'widgets', leaving you 4 hp open for something like a Malekko Output, Happy Nerding Isolator, or Ladik A-540. Everything else, though, seems to be spot-on!
DON'T do this! Unless you know the exact pin-outs for both modules' expansion ports, you could be looking at an expensive, module-frying mistake! Consider: if the Cockpit or Hyrlo have any pins that send rail voltages (they're both powered modules), and they do so into an audio circuit, or do so in reversed polarity, or a few other potentially disastrous things, the resulting connection could literally blow up BOTH modules as well as doing potential damage to your power system and other modules in the process.
Only do this if both manufacturers say it's possible. But the best rule of thumb is to believe that anything going on BEHIND the panel aside of power and Eurorack-standard bus connections is going to be proprietary between manufacturers, and always presume that you can't expand Company A's module with one from Company B. Again, I'm sure there's exceptions...but find out what they are directly from the manufacturers AND find out if those connections might void your modules' warranties before even considering this.
It was a wonderful day when I figured out to factor cost-per-hp as a choice criteria, to be sure. And when you start seeing how a $489 module actually becomes cheaper than a $109 one through this, it really opens up your eyes as to how to choose modules that both deliver on function and price when factored as part of a whole build.
Thank you, that is a very helpful way to look at it.
Especially with the effects.
is it likely that the master/slave out pins on the back [i.e. Endorphins Cockpit] should be compatible with another manufacturer’s daisy chaining capable mixer module [i.e. Knob Farm Hyrlo]?
So I'm ready to purchase my first modular system and i'd really appreciate feedback on whether my plan is along the right track.
This is what I have so far:
Goals:
What do you think of this setup in relation to my goals etc? Any glaring omissions?
Many thanks in advance for your help
added Hex Inverter Mutant Brain to sync up creating fresh samples from digitone and ob6 desktop for the 4ms STS !!
Just a note on how to cut $1000 out of the rack: there's a little math trick that helps with this quite a bit. Simply divide the price of a given module by its width in hp. That resulting number is the 'price per hp', and the lower you can make that per each function you want, the cheaper the build gets...pretty quick, in fact.
For instance, let's take TZFM VCOs. Scrolling through the VCOs, we come across:
Cynthia Zeroscillator: $1195 @ 36 hp.
Eowave Orage: $185 @ 10 hp.
Schippmann CS-8 Omega-Phi: $1159 @ 24 hp.
Doepfer A-110-6: $250 @ 12 hp.
Dannysound EN129: $239 @ 12 hp.
Intellijel Rubicon II: $399 @ 20 hp.
Hexinverter Mindphaser: $599 @ 30 hp.
Harvestman Hertz Donut Mkii: $475 @ 17 hp.
OK...from this, the choice seems like the Eowave, right? Lowest price...but...
Zeroscillator: 33.19
Orage: 18.50
CS-8: 48.29
A-110-6: 20.83
EN129: 19.91
Rubicon II: 19.95
Mindphaser: 19.96
Hertz Donut: 27.94
Those are dollar costs per hp covered by each module. Now, the Eowave still comes out ahead...but using this method to compare, it doesn't do so by much. Fact is, it's the bottom number in a cluster of price-per-hps centered around $19.50. So then the question becomes: how many functions/uses can you get for each different module? And the Eowave is pretty minimally featured, designed more to be used in a group of other VCOs than as a sole standalone. The EN129 is a bit better, but it's a kit and if you're not kit-savvy, it's not an option because having it built will add to the cost overall. That pares your sensible choices down to the Rubicon II, the Mindphaser, and the A-110-6, and you'll notice only a penny's difference in the price-per-hp of the first two. So...which one suits you better?
That's how I settle a lot of module vs. price conflicts. And sometimes, you get surprised. Let's take another example from your build: the reverb, which you're wondering about. Here's five:
2hp Verb: $109 @ 2 hp = $54.50.
Intellijel Springray II: $239 @ 10 hp = $23.90
MakeNoise Erbe-verb: $489 @ 20 hp = $24.45
Purrtronics Purrvrrb: $130 @ 8 hp = $16.25
Doepfer A-199: $180 @ 8 hp = $22.50
Ohhhh SNAP! In this case, the choice certainly ISN'T the 2hp module! Mind you, their stuff is awesome if you have a gap that you'd rather fill with a function instead of a blank...that's a huge strong point for their stuff...but if you have space for something bigger, then no and HELL no. And with the glaringly-obvious price-per-hp advantage, you should be looking at the Purrvrrb instead.
Anyway, that's just another tool to work with...but I've found that it's a damn useful one for whittling down choices or, in cases such as the reverbs above, finding the best cost-effective solution. Give it a try!
KICK ASS!!! for August 2018.
Well, the summer's winding down, and that means Knobcon's soon to happen. So, yep, there's some neat stuff popping up on the MG radar, along with an uptick in general in new offerings. Without further ado, let's plunge right into the the niftiness...
1) VoicAs MixVert8r and 2^4^8. Right out of the gate, this company impresses. The MixVert8r is a bit of a different take on the mixer/polarizer, offering switchable reponses (unipolar or bipolar) per input, which allows you to mix both normal and selectively-inverted signals to a single...and also attentuated...output. DC coupling allows for a great deal of flexibility here, making this suitable for pretty much any mix-to-1 application you can think of. The big win, though, is the price: $100 is a cheap ticket for this sort of flexibility. And VoicAs' 2^4^8 is a great one-stop take on a VCA module, offering six inputs, two of which feed a stereo pair for panning, etc, and no mixing so these individual VCAs can be slotted into anywhere they're needed. This is pretty smart, actually, as a good system can never have too many VCAs for either audio or CV uses, and VoicAs's module here offers up a nice pile of 'em in just 12 hp for $200.
2) ReBach Catch STV. $38 or so gets you this: a trigger inverter, which can interchange negative (or S-trig) triggers to positive, or vice-versa. Now, for me and a lot of other people, that 'vice-versa' part is important, as there are a goodly number of vintage and modern (the Korg MS-20 being both!) synths out there that require a negative trigger pulse, and if you want to lock them up rhythmically to the rest of your sync in the modular...well, that can get messy. But this solves that issue, and does so for a stoopid-cheap price! Also, if you have an old Moog 960-type sequencer or a Korg SQ-10, this is your fix for using those as the 'primary' clock to drive the rest of your timing. Very smart, useful, and space-efficient at only 4 hp.
3) Metasonix RK6 Resonant Lowpass Filter. Eric Barbour is a weird dude. His modules speak for him. In this case, he's re-envisioning what a resonant LPF and/or LPG (yes, it does that too) might act like if it had been concocted in the days before Don or Bob set the solid-state standard for these circuits...and created something that floats in a strange zone between the test gear complements of the 'classic' studios and the voltage control era that began in the mid-1960s. Using transformer coupling (always a very euphonic plus) and a 17JK8 dual triode, this isn't intended to sound like a 'typical' LPF...but something closer to the old-school electronic music sound, rife with neat nonlinearities. But fear not! It runs on no more than 200 mA (at startup) on the +12V rail, which means that it can play nicely with lots of the typical Eurorack power setups. Smart design, strange idea, neat module worth checking out! $299.
4) Funkstill Filter Threek 13700. While we're talking filters, this is a strangely-implemented pile of 'em. It says it's a “3-pole VC-Morphing Filter”...but that's really an undersell of what this concoction's about. With a very dense control-set, plus its morphing capabilities, it also can serve as a waveshaping-type device and, if the morphing is done at audio rates while the filter is resonating, it turns into this psycho-grade source of morphing timbral OH HELL NO-type abuse! The manufacturer's website has a video that should explain what I'm talking about there most adequately. At $358, it's not cheap...but in a small rig that only has space for a single and wildly-versatile VCF, this wuld be a primo choice, especially since it not only does the above, but offers multiple response-curve outputs, too.
5) Mystic Circuits ANA. This refers to itself as a 'logic' module, but that's not exactly right as logic tends to refer to on/off trigger/gate operations in the modular synth world. Instead, what the ANA is is an arithmetical operator. Think about things such as the discontinued Buchla 257, and you're more in the ballpark of what's going on behind this panel. The ANA takes in CVs, and crossmodulates these according to specific arithmetical functions, along with a few normal logic functions via a three-step comparator. It's a very deep module, capable of ring modulation in several manners, waveshaping, controllably altering CV behaviors, and so on. For those into the various flavors of generative music, you need to look at this thing. And for everyone else...well, it's got a zillion uses, when you start considering what it does in only 6 hp. $180.
6) Flamingo Break3. 3 hp, $28, and really simple...but one of those things you wish you had when you need it. Three 'break' switches that go inline in a patch. Looks kinda...well, meh, right? Nonoooo...there are all sorts of reasons you might want to have an inline 'cut', ranging from switching VCOs back and forth from controlled to drone states, muting CVs, muting audio, altering how other modules behave on the fly...the list goes on, especially for the live performance set. Just because it's simple doesn't mean it can't KICK ASS!!!
7) Noise Reap Audio Mixer. An inexpensive 3-in DC-coupled mixer...with a surprise! What's that, you ask? Well, it's that fourth input, marked AUX, which can be jumpered over to a line-level input for a quick and easy audio input at a fixed level. For those putting together small builds where you'll want an audio-in, but you just don't want to allocate the precious space needed for a dedicated line-in module and you also don't need something like an envelope follower...well, you DO need mixers, and this happens to have that neat “Easter egg” built right in. Smart! $64...also, smart money!
8) Erica Synths LINK. Another “how can something this simple KICK ASS?” type thing...and yet, it does, while offering something dirt-simple that you know you need. Five 3.5mm inputs, five 1/4” outputs, and in between, a passive attenuator per line at a fixed level to evenly drop synth-level signals down to line-level. For those wanting to use a small external mixer to mix down their modular signals instead of a modular final mixer....this is the exact, precise thing you've been looking for. Loads of people can make use of this to drop their synth audio down to line so they can mix several different voice chains on a more finger-friendly mixing surface. It strikes me as something that would appeal especially to the live performance crowd again, plus makes a good way to avoid the larger space a modular performance mixer requires in a small skiff-type rig. And at $62, plus the lesser price of an outboard desktop mixer, how can you go wrong?
9) Motovilo zLFO. Complex LFOs...with their onboard LFO-modulating-LFO architecture...tend to be pricey and large. Add to that the ability to make that second LFO a morphable wavetable oscillator, and then you're really talking ca$h. Not so much here, though...think of something sort of like half of a Cyclebox jammed into 8 hp for only $190. This thing screams abuse potential. Plus, it can be patched all sorts of other ways externally in addition to its internal architecture. It looks small, but the fact is that this is a prime power-user's perfect little modulation source.
10) Error Instruments RAW DATA!. Ever screw around with an Atari 2600 game system, deliberately crashing it in various ways to get a panoply of screechy, grindy, gnarly chip-glitch fun, but had no real way to control that? Error Instruments has your solution. The RAW DATA! is 6 hp of digital lo-bit racket and trouble...still not 100% in control, but workable enough for your power electronics and industrial purposes. Check their video...if you do NOISE, you need one! $88.
11) Klavis Logica XT. We talked about logic modules earlier, and while this is more in the traditional Boolean-type operator mode, it offers a few surprises, too...like a weightable coin-toss algorithm, gate multiplication, sample-and-hold, and user-storable settings. Again, this is one of those “you need to see it”-things, as it does enough that I can't fit all of its goodness in one of these short blurbs. Anyone doing a lot of timing-specific work needs to look into what this might do for you, especially (again) those contemplating smaller builds but who need rhythmic/sequential complexity. 5 hp, $139.
12) Analog Sound Devices Valvetron. Two tube devices this month...but this one is rather different from Metasonix's. Instead of test-gear strangeness, this is a more straight-up LPF...but drenched in ACIEEEED!!! Incorporating the very cool Soviet-era 1Ж24Б microtube plus an overdrive circuit, the main thrust of this is squelchy, yowley, naaaaasty acid tastiness. Plus, with three mixable inputs, it's super-convenient as a VCO mixer, to boot. If Frank Zappa's guitar wants to kill your mama, this VCF wants to burn the house down afterward! 7 hp, $170, and yes, it's Euro-current friendly at a mere 50 mA on the +12 rail.
13) Feedback STATIC and HI-FUSION VCF. First of all, the neglected HPF...which it shouldn't be. After all, if you want to patch up band-pass or band-reject configurations, you've got to have one. Plus, it's a secret key in a lot of synths for their particular sound (think Roland Jupiter-8 or the venerable Yamaha CS-80/60). If you like to do a lot of subtractive work on your sound, there's not been a lot of dedicated high-pass filters to choose from, so a new one like this is a welcome addition to the fold. 10 hp, $101. And not only that from Feedback, but they've also given us a comprehensive noise source with a lot of potential source behaviors and colors, plus the only “TROUT” jack I know of in synthesizers, period! The price for all of this flexibility is super-stoopid, too: $78, and at 10 hp this could become a new “go-to” noise source for lots of different users out there.
So...if this is any indication of what we'll be seeing all shiny-new at Knobcon, that's going to be a neat event, since the Eurorack denizens are cooking up some nifty contraptions for everyone to check out. For now, check these out here on MG. Until next month...
I'm just getting into modular and have a chance to build my own system. If any of you have any tips on what I should get, or not get, I'd love to hear.
My goal with a modular synth set-up is to create performable, semi-generative drones and bleeps with a West Coast sound (I particularly like Suzanne Ciani), along with some sample playing and mangling.
I currently have a Make Noise 0-Coast and a Beatstep Pro. I’m not sure if I am duplicating or omitting some functions. And I've got to cut about $1000 of of this...
My current thinking is here:
https://cdn.modulargrid.net/img/racks/modulargrid_732412.jpg
I am looking at these modules for the following reasons.
Oscillator: Rubicon II (looking for a complex oscillator that can do through-0. Also considering Hertz Donut or the Furthrrrrr Generator. I'd really like the Furthrrrr, which is why I included it on the bottom row.)
Oscillator: Plaits for wavetable, particular vowel and drum sounds.
Filter: Three Sisters, seemed like you can get some unusual effects. But maybe I don’t need a filter or just something simple?
Low-Pass Gate: Optomix for west coast style sounds.
Stages: For LFOs, envelopes, etc.
Marbles: for random triggers and gates and sequencing. (or would a Sapel be better in pairing with Stages and Maths?)
Noise: Bastl Instruments Noise Squared. Seems to have some interesting features in addition to noise.
Maths: For… generating functions?
Morphagene: for mangling samples.
Multiples: Doepfer seems like a straightforward solution for signal splitting.
VCA: The 4MS VCA Matrix, seems to provide functionality and performability.
Ring Modulator: Looking for traditional west coast sounds, and the Befaco A*B+C does a few things.
Reverb: 2hp Verb seems like an economical solution (or Intellijel Spring Reverb?).
Delay: I like a good delay. The 2hp Delay seems fine to start with.
Mixer: Again, the 2hp seems satisfying enough.
Output: Eric Synths Pico Out. Just to get the signal out of the unit.
Big thumbs up for @filipl !
thank you @gesta for my purchase of IJ Rainmaker. Good seller, clear communication and fast shipping!
I hope this hasn't already been requested, but I'd love to see negative filtering on module functions. For example, I want to search for Attenuators that aren't Polarizers, so I don't get attenuverters in my searches.
If there's already a way to do that, I can't find it.
-- Oldstench
Not possible right now. Workaround:
If you search by function you can set the result search order to Number of Functions ascending. You will get the modules with a single function first, in your case modules that just act as attenuverters and nothing else.
Beep, Bopp, Bleep: info@modulargrid.net
Is there anyway to stick modules together when optimizing the rack space?
-- asdfqwer
Currently not, but someday there will.
Beep, Bopp, Bleep: info@modulargrid.net
And not show any modules.
There is a preference for that under Privacy->Show My Modules
https://www.modulargrid.net/e/users/edit
And why these two out of all the others? Thanks!
The Collection is a special favorite like function.
If you click on the suitcase icon on modules in the module browser that module will be added to your collection. To not have to search for it every time when planning different versions of your modular the modules of your Collection are available under the tab menu My modules.
I guess you clicked on that suitcase icon of the 2 modules not on purpose.
Unicorn users (You, thank you!) can also add every module of a rack to your collection. (Top left navigation: Edit->Add all to My Modules)
Beep, Bopp, Bleep: info@modulargrid.net
What's bizarre is that I've watched it display properly, then not, then properly, then not again for a couple of days now. Tried emailing ModularGrid but no response yet. I mean, it's no big deal, just a little irritating.
-- thelowerrhythm
Cannot reproduce it and still have to check it.
Do you know about the Panel Selector mode? If you enable that top right there appear small arrows on the modules where you can select different panel versions.
To pin down the error: are you using that mode?
Beep, Bopp, Bleep: info@modulargrid.net
I am fairly new to the world of modular and gradually building my rig.
Just wondering if anyone can suggest great modules that would work with my current setup?
I have 22hp of space left and looking for anything that will enhance what is already there.
You'll need to click on the image to see the full setup. The rest of the modules aren't showing up for some reason.
Thanks!
Hey, Im looking for one, but looks like it been discontinued.. :/
Thanks dude, glad you like it! Ultra-quick, no hassle payment, very accommodating on postage too (agreed to overpay to cover postage options, then I refunded once we knew the postage cost, worked really well). Cheers @mister_wavey
— Stochastic Instruments Ltd. —
Rethink Random//Perform Process//Create Chaos
— Save the World Entire: Vegan —
End the holocaust. Change our world with science.
Bought a A-118 Noise/Random from @phinland in great condition and safely wrapped. He was flexible, friendly and quick. Thanks dude.
Thanks for the tips. I will look into all those modules. I need to balance complexity (i.e. stuff I will never fully comprehend) and my desire for nice, pure, analog simplicity, with the fact that I don't want to start off buying stuff I'll immediately want to replace. So I'll give the VCO a rethink and look into the Doepfer!
Derek
Lugia, worked great Thank you. Also, there was a difference in the manual I had found for Prizma+. The older version is in an archive at http://doboz.audio/archive/ if anyone else needs it. Should be much easier now :)
Ok, no joy on the first try,I will give the second a try. I'm starting to wonder if I have something wrong in the Prizma settings. The manual I found is for Prizma+ and this is the older version so some of the menu items are missing. Thanks for the help, this is quite different from my Kurzweils.
The Prizma also appears to need a clock to step it. Try this instead:
Tides: Set up an LFO frequency waveform with a hard leading edge ('slope' to full-left). Patch UNI to CLK on the Prizma. Your clock speed is now controlled via the FREQUENCY on the Tides.
Prizma: Patch CV to V/OCT on Braids. Patch your TR outs to TRIG1 on Peaks and GATE on the ADSR.
Braids: Patch OUT to IN on Ripples.
Peaks: Patch OUT1 to ADSR on the Erica VCA. The Peaks' envelope settings now control the overall amplitude contour of the patch.
ADSR: Patch OUT to FREQ on Ripples. The ADSR now controls the timbral contour. Since this and the Synthrotek ADSR are being triggered synchronously, it's now possible to have different amplitude and timbral changes as part of the single event being triggered, like one has on a Minimoog, etc.
Ripples: Patch whichever output you like to the INPUT on the VCA. The VCA's OUTs are now sending your patch's audio at synth level, and this can either go out of the synth (after stepping it down somehow to line level) or on to the Clouds and/or PRE/KM for further processing.
...at least, that's where the wires all should go. Once that's established, though, some judicious exploration of the various control settings will yield a massive amount of timbral, temporal, and amplitude variation just from this simple sequencer patch. Good luck!
Not exactly. For example, there's a ring modulator...but you need two sources to make those work, and there's only one VCO. Other bits are sort of superfluous, such as Clouds (which doesn't exist anymore, anyway, except as a third-party build or used) or a six-channel mixer where you only really have a single voice chain.
Stop for a minute and go and research some of the 'classic' analog synths, most notably the ARP 2600 or Odyssey, the (still being made, it's that useful) Korg MS-20, or the venerable EML 101. See how those are put together and how they can be varied via patching. THEN come back to MG with that info under your belt and start building again.
I can't stress how important research like this is. While MG is an unparallelled resource for creating mockups of builds, data sets, and the like, it's also a mass of pitfalls for those who have no modular or patchable experience. By doing some careful examination of the older synths and discovering why those designs are prized right down to the present day (and, as noted, still in production with the MS-20 and, also, the Odyssey), lots of mistakes can be avoided, less time wasted, and better results obtained. Of course, it's also worth noting that your first several builds will suck...but by doing them, you start to notice patterns in the parts that intuitively work well together, and eventually this process yields results. It's sort of like building musical capability through practice; you might WANT to play Beethoven's 'Hammerklavier' sonata, but you're going to have to get there through a lot of other stuff first!
The CV out from Prizma goes into the V/OCT input of the oscillator (be it Braids or Tides). The TR out from Prizma will then go to your TRIG input of Braids, or an envelope on Peaks, or a VCA, or whatnot, depending on how things are configured and how the rest of your patch out of the oscillator travels.
Let me know if you have more questions. These first steps can be confusing, but once you get a couple of patch flows down, it's a piece of cake.
What's bizarre is that I've watched it display properly, then not, then properly, then not again for a couple of days now. Tried emailing ModularGrid but no response yet. I mean, it's no big deal, just a little irritating.
I just bought this system as my first entry into modular and cannot figure out how I should patch the sequencer into a voice. I realize this is probably very basic, but I have never used this type gear and could use some input if possible. I have been able to use most of the other modules in a rudimentary fashion, and I have watched the Prizma vids and read the manual, but there is no mention of the basic cabling for the patch. Thanks!
Hi all,
I'm completely new to modular but really keen to get involved, is the system I've put together on here everything I need to get started on a synth voice? Sorry for the basic question but help would be really appreciated.
Thanks
https://cdn.modulargrid.net/img/racks/modulargrid_527661.jpg
Any thoughts are encouraged, thank you.
The DixieII is a bit limiting, compared to the II+. However, my sugestion would be to sidestep these altogether and look at a Doepfer A-110-6 instead. This gives you TZFM, both LFO and VCO operation, and quadrature outputs so that you can have synced but phase-different LFO curves. Complex, both as a modulation and audio source. As for the rest of the Intellijel stuff, makes sense to me. Another modulation suggestion might be the Doepfer A-171-2, which is more or less half of a Maths and is derived from the classic Serge VCS...this would give you CVable waveshape/duration from LFO range up into audio and it can also act well as a two-stage EG. Not a bad compliment to a Maths at all.
Thanks for the thoughts on this. I'm liking the idea of Rings or Pluck, and Tides. I've thought about Clouds. Somehow, my intent is to try to keep things as analog as possible until I have really exhausted myself in that realm, and only then add digital effects like Clouds, or things like wavetable VCOs (thinking Erica Synths here). With my MOD Duo (www.moddevices.com), I will have tons of offboard effects.
I guess this will all start to come together once I play with what I have already ordered for a while, and start to realize what I, personally, feel I'm missing. If anyone can recommend replacements for the four Intellijel modules I have not yet ordered (or confirm they are just awesome), that would be great: Dixie II (not Plus), uVCF, Mult, and uScale.
Also, inputs on my (rash?) decision to get a VCA with only CV and no knobs would be great. I was figuring I could control it with the Maths... And finally, now that I have room, I'm thinking of adding a dedicated LFO like the quad Batumi (but should I really be looking at Tides? Or can I get by for a while with only the Dixie II and Maths)?
Again, these are really noob questions, and a lot will likely become very clear when I plug it all in...!
Derek
Bought a Dinky's Taiko from @Bobje - super fast shipment and perfect condition, thanks a lot!
Mangrove did the bass, DPO the melody, Rings the plucked string, Plaits the chords, DrumBrute the drums and Roboto the pitcheffect on the drums.
https://cdn.modulargrid.net/img/racks/modulargrid_728522.jpg
Haven't made any module purchases yet beyond the M32 and DFAM, but this is the build I'm entertaining. Goal is mainly to produce quality generative patches/ambient music, more melodic than noisy, with the possibility of creating some informal live ambient or dance music. Am I way off base on anything? Too many oscillators? One thing I'm wondering about is more randomization; the Disting can do this I believe, as well as the assignable output on the M32, but is that enough? Or maybe I'm way off base and that doesn't even matter! Any thoughts appreciated.
Just had the same thing happen to me, and I don't know how to remove the image....
I think it is worth mentioning, that the Black Maths cycle state ist initially off. I had another silver panel V2-Maths-Module that initially was always on (like the function module does it); not sure if it is a feature of the black version or if newer Math-Modules also handle it that way.
hi ladies and gentlemen :)
concerning this module, i’d like to loop the voltages and gates with a clock rate.
is it possible with this module - or is it only pure randomness ?
can’t find any infos or thread on that question.
if not, could you recommend module(s) to add that could help to do so, and that has enough ins and outs to use chance module plainfully.
or recommend another module that has the almost same characteristics.
needed to trig and cv modulate a sampling module and clouds.
bests and thanks for your time :)
gregg
Tides is nice due to the long cyclical periods available. Another useful modulation generator for long, generative work is the 4ms PEG which can have a great deal of variance in cycle duration/phase, plus there's a lot to be said for the various iterations of the Serge VCS (ie: Maths, Doepfer A-171-2, etc) for similar work, especially in tandem with the others. That module can also double as a user-definable-waveshape oscillator/LFO with the waveshape under CV.
As for ambient sounds, I tend to stay away from simple sine waves, since they have no harmonics that allow them to 'rise' in the mix. Instead, if I can make use of more complex waveforms and then slowly modulate their spectra via subtractive methods or, if using digital generation, by modulating the different formants themselves, this tends to give me a result that catches the ear better. It tends to mean more work in terms of programming effective sounds, but the final result is that I can have simpler compositional structures that more effectively draw a listener into the patterning, and with the gradual timbral shifting, this can be played out over rather long durations. Plus, it's worth noting that one of the most effective and beloved ambient works, Brian Eno's "1/1", has very little in the way of time-based processing aside of some basic 'room' reverberance. There's loads of different ways to approach ambient music.
Thanks @gesta for Erbe Verb!
nice seller and super communications! everything allright with him!
Straightforward jam. My rack, a drum machine and a tiny bit Una Corda towards the end.
