Bought a uO_C lately from @kansha. Clear communications and a speedy turnaround made him a pleasure to buy from. Did business with him before and will do again. Thanks a lot mate.
Cool I am thinking of:
1) Case/power supply
2) VCO
3) VCF
4) VCA
5) 2xEGs
6) Utilities: slew, clock, mults
7) LFO
That keeps budget as close to under 2k for a starter system to learn on and grow later. I don't have 50k for a wall system right now and the nice prepackaged systems are too expensive. Doepfer A100 is the least expensive one at 2.5k though and the Endorphin.es looks neat as well.
Personally I would build it bit by bit as you have things to make noise and you will learn way more by building it bit by bit. It will also lead you down some weird alleys if you go to the second hand market as you will stumble across makers and modules that will change the way you think about what your doing.
It really depends on what sort of sounds your aiming to get out of it but I found doing it bit by bit I learnt so much more and it stopped me from getting overwhelmed with information.
You should also look at the 3 module series on youtube to get an idea of what can be achieved with a small system.
I need it to! Please take my money!!! :P
Hi Lugia
thanks for the response :-) sorry but i think there is a problem or some kind of bug, when im logged in, it shows me my current rack as i really laid it out. But when im logged off i can see there are still old modules (like the NE sinclastic VCA/AD) in there..... is there a way to ''refresh'' my rack to the current state?
cheers
Fine, I know...it's already May when I'm posting this. I got busy; for those wondering on what, exactly, see
[There's supposed to be a SoundCloud embed here. You'll notice that there isn't one. I really don't know why, aside of the fact that SoundCloud's embedded player process is an obtuse load of crap, IMHO. To my reckoning, I should just be able to paste the URL for the project in, but no...that won't work. So you'll all just have to continue to wonder what I was doing. Thanks, SoundCloud!]
But the wait is worth it, I suppose. There's been another big uptick in amazing stuff popping up as we get toward the summer months. To start with, there's the jaw-dropping pair of...
1) Mutable Instruments Stages and Marbles. Oh...holy...crap! Stages is a transient-shaping/mod-generating one-stop module. I'm not even about to go into depth about everything Olivier tossed into this stunner! Just check it. Same goes for the Marbles, an insanely-complex randomness/sample-and-hold/quantizing/sequencing thing that clearly says that, if you can't find a use for it, you are tragic! Both of these demand serious consideration on the order of modules such as the Make Noise Maths et al.
2) Arcus Audio Buff Mult with Attenuators. Y'know, this is one of those 'it's so simple, why didn't someone come up with this sooner?'-sort of modules. Very, very simple...the description says it all, but the functionality is actually a bit more elegant than that implies. It combines a lot of ideas all behind a 6 hp panel very smartly; I'm thinking a lot of users have been looking for something like this for a while.
3) Erica Synths Black Code Source. It makes my head hurt just thinking about it. Stereo noise. Rewindable randomness. Polynomially-generated signals. And an expander that provides AR envelopes, pitchbend (yes, pitchbend on NOISE) in order to help the main module come up with all sort of chiptune-type craziness in addition to what it already does, which is a veritable buttload. Noise redefined, quite possibly.
4) Malekko Heavy Industry Quad Envelope and LFO. Wow...more hyper-versatile modulation sources, with multichannel capability and – surprise, surprise – the ability to store multiple presets when used with Malekko's Varigate modules. Live performance heaven, these...Malekko's really building on their quad architecture and coming up with some special stuff that might be a major solution for anyone taking a modular onstage, or for users who need a library of certain modulation behaviors for on-the-fly recall. I hope this trend continues...
5) Monde Synthesizer Ribbonz. A real ribbon controller setup, on the order of the discontinued Doepfer A-198, with a proper-sized ribbon controller. For those wanting to work out their Keith Emerson-isms or experimenting with all sorts of microtunings, this thing is a godsend. The controller looks quite serious, too, with a lot of extra performance controls present on it besides the sizable ribbon itself and what looks to be some beefy build quality. This would work great as either an expression controller or, for the intrepid, a master controller in of itself.
6) The Space Case TE-2. This one makes my head swim from the possibilities. On first glance, it looks like a cassette deck in Eurorack format. Which it is...on the most basic of levels. But the massive addition of CVable controls, multiple presets and on and on and ON belie the fact that this is more than just some tape delay effect. Again, this is yet another function-packed device that should be looked at to be believed. The website (http://spacecasetapeecho.com/) states a release date of April 3, 2018 and contains a massive amount of info on the module, which can also function as a stand-alone in its own skiff. It's not cheap, not by a long shot at $1250. But damn....
7) Pittsburgh Modular Electronic Sequence Designer 128. Uhhhh...wow. Sort of like nearly half of a Koma Komplex in a 48 hp module. Mad complexity and feature set. Onboard quantizing, too. Internal Euclidean pattern generator on each channel, ratcheting, just too much to detail here. Again, check the MG listing on this one for the rundown.
8) Behringgggg...no.
8) Kitsch-Bent PISSbox. Hey, it's a golden shower of noise reduction! OK, fine...I couldn't resist that one. But seriously, that's what this is about, plus a bit more. The PISSbox uses a transformer circuit to invert half of a stereo signal, then recombine it to a summed A-minus-B output. If you put your desired signal into A and the noise only into B, the result...kindasorta...will be phase cancellation of the noise, plus a little bit of (in theory) artifacting. But also, since Kitsch-Bent used a little iron in the audio path here, you can also take advantage of that in mono with a bit of overdriving to create nice, euphonic transformer-saturation harmonic distortion. So...a tad more useful than it might seem, plus it's cheap enough to warrant tossing one into most anything if you've got the 6 hp for it.
9) Dreadbox Lil' Erebus. Need an extra voice module for cheap? This could be it! Basic little monosynth with a delay, very patchable, in 42 hp for a measly $200. Not much to say, aside of this being a killer value, done right.
10) Hexinverter Mutant Brain. I was somewhat upset when Hex discontinued their previous small, versatile, and well-done MIDI-CV interface. I'm not upset now, booooyeee...because this is that, times 4 and then some! Reconfigurable via SysEx messages, this again is one of those devices that live performers are going to be drooling over. It's still in prototype phase, apparently, but this is one to wait for.
11) Happy Nerding PanMix Jr. Damn...the simple stuff keeps rolling out, too! Same form factor as the other triple HN modules, but in this case we get three channels of manually-pannable stereo mixing for the dirt-cheap price of $100! And you can use it as a 3-channel attenuator/distributor, too. This is another of those “it's soooo simple...” devices that fix so much in so little space for so cheap. A no-brainer.
12) Xaoc Devices Zadar and Odessa. Superbooth 18 prototypes both, these are not exactly what they might seem to be. Very much digital-in-analog clothing for all the RIGHT reasons, the Zadar offers four very complex EG/LFOs under a massive amount of user control, with a planned expander for CV patching. But the Odessa...oh...my god. FPGA-based additive. In a Eurorack module. On the scale of something like a single Crumar GDS generator. Done right. I...uh...think I'm having a stroke or something. Literally, I cannot believe what I'm looking at, but knowing Xaoc, it's not a prank. Just read the MG page on it. This changes so much in terms of VCO architecture possibilities. It is definitely THE NEXT STEP in VCOs. And for me, one of those 'warm fuzzy moments' when I know I'm looking at where the future should go!
13) Synthrotek Fold. And for the last, another simple, small, inexpensive, and super-useful tool. A six-stage wavefolder plus ring modulator in a tiny 4 hp package for a paltry $125. West Coasters, take note...this is a toy you won't want to live without! Also, those doing small builds who want big sound altering capabilities need one of these. Or, for that matter, anyone else!
Like I said, the month of April(ish) was a wild one, and there's some things in here that are going to be game-changers. It's a good time to be doing electronic music, folks!
A question: if this is a two-voice build, why are there not two of the entire signal chain needed to make up a voice? There's two complex VCOs -- check. Two VCAs(-ish; not how I'd do this) -- check. One VCF...ah, that might be a problem. Basically, this isn't how two-voice polyphony works. You've instead arrived at something referred to (not very well, I think) called 'paraphony', where two independent sources get funneled into the same modifier chain. By default, you lose the separation you're referring to when that happens. Plus, once you mash it all into the single VCF, there's no point in having two of the Noise Engineering EG/VCAs anymore. You're just dynamically modifying the same sound in two different ways.
For reference, go have a close look at an Oberheim Two-Voice. These have been around since the early 1970s, still made today with some modern upgrades, and for very good reasons. You'll notice that, since it uses the SEM-based Oberheim architecture, you actually have two discrete signal paths with their controllers, modulation sources, etc. That's what you're trying to do here.
From the prebuilt synths you're describing, I think it might be possible that you're painting yourself into a corner by limiting the budget on these. The M32, small Phattys, original Minibrute...all of these are pretty limited solely by the fact that they're inexpensive and therefore don't contain the complexity of higher-end prebuilts. But when you start getting into the more complex monosynths, or going away from the analog (which is another 'too trendy for its own good' thing) end of synths to explore good digital synths, you get back into the sort of sonic complexity I think you're aiming toward.
Again...back up and do some research. The solution to doing things over long-term is to never act quickly, but consider where you want to go in the long-term. And this takes time. Hell, you might find you can get sounds out of an old Casio CZ-101 that are just what you've been thinking of, but without a lot of research into where you should go with your musical ideas, you'll never figure an intuitive leap like that out.
Bought modules from @kansha , @Jwiering , @adrienradio and all was well :)
Thanks.
What has steered me toward even considering modular in the first place is that while I love the sound of various hardware synths, they all seem to paint you into a corner. I liked my Minibrute for what it was but grew to want a different filter and snappier envelopes, which made me think I would be happier with a Moog Little Phatty or Sub Phatty. After demo'ing a Sub Phatty I realized it scratched an itch, but it would limit me in it's own way too in short time.
I'm always drenching synth sounds in delay and reverb or looking for other means to try and create layered ambient sounds, so when I heard some of the stuff people were doing with Mutable Instruments modules that can't be done at all on existing fixed architecture synths - then it felt right.
I might scale back my ambitions, get the Mother 32, an extra VCO, and the Rings - then think harder about what's actually missing. I'll likely need time for my wallet to catch up anyway.
https://cdn.modulargrid.net/img/racks/modulargrid_657470.jpg
So I finally have my Chris Franke/TD ratcheting sequencer. I know, a little late to the game; initially I was drawn to the Mother-32 for just this reason (? yet another single-osc mono synth... oh wait, its sequencer RATCHETS!!), but the realized that I had everything but the Doepfer ratchet controller. By separating the pieces out from my main racks, I think I distilled the essence, allowing me to use the 'big rack' for more esoteric wiggling.
In total, much more expensive than a Mother... (and apologies to Bob M for the Behr copycat) But much more versatile, even with 8-step limitation!
(And, as a bonus, I get to use one of my 'old' cases, long outgrown.)
It's impressive how technology has progressed; ol' Chris woulda killed for a whole bank of these, back in the day!
Here's the ER-301 from @kansha with capacitor torn off. I had to get help to fix the unit myself.
https://www.dropbox.com/s/4na8o465m41d3k5/torn%20capacitor%201%20when%20received.JPG?dl=0
Module was wrapped firmly in bubble wrapping by the seller who does not assume liability for any potential malhandling while packaging himself. A year has passed since he said he would initiate a compensation request from the the post office. Meanwhile I have requested a little less than a 10% discount (I paid £908,40). He does not approve of this.
@kansha sold my a MenQui DPLPG which is working perfectly.
very nice person to deal with, highly recommended
I've had two bad experiences with this person. @accountboy
Communication is very difficult and childish even, just making private conversations public, is really not a good thing. I admit to have been stupid to send the wrong email address, but I've corrected this directly after and PayPal has all the options to provide a refund. So there is actually nothing wrong. Please read this tread, I have enough good experiences with other people.
I had two weird experiences with @kansha who the other two here seem to like.
Hey Folks,
tried coming up with a 2 separated voice complex VCO rack, what do you think is it lacking? i thought about swapping the motomouth with a smaller filter (i.e. polivoks) to get some space
i have another small rack with yarns so i will combine this rack with a digitakt and an octatrack for my drum sounds
glitchy IDM trancey techno electro stuff
Ok i have replaced the 48hp skiff on the bottom with another 104hp. I decided on the Make Noise Morphogene and the 4MS DLD to fill the last 40hp hp with. They are on the way. I will remove the 2hp comb and delay that I had in the rack giving me enough hp as i'm not impressed with these two modules. This rack will then be complete for a while.
So watching videos on learning modular systems the idea is start with a VCA, VCO, filter, clock, envelope and power/case.
What are your thoughts on this versus buying a fully assembled system like the Doepfer A100, Make Noise Shared System, Harvestman Polivoks package ?
My goal is to learn modular synthesis well. I already have an Elektron Analog 4 and Make Noise 0-coast and for sampler/sequencer have my Elektron Octatrack. So would not need to spend cash right away on sampler/sequencers or controllers since the Elektron can manage modular over CV connections.
The package systems I am looking at in future:
For under 2k the Polivoks looks cool for industrial!
http://store.industrialmusicelectronics.com/product/iron-curtain-electronics-full-system
Make Noise Cartesian (about 2k)
http://www.makenoisemusic.com/synthesizers/system-cartesian
Verbos System (about 3.5k)
http://www.analoguehaven.com/verboselectronics/compositionsystem/
Endorphin.es Shuttle system (2.5k)
http://www.noisebug.net/site/endorphindotes/index.cfm?ID=2
While I would love a Buchla the cheapest one the Easel is 5k!
The expensive drum Buchla machine is on my list however. And if I score a big bonus I would love a Buchla Skylab.
I looked at Phenol, Ants, and Modulor but they look like they cannot be expanded or fit into a Eurorack or modular system and look to be more stand alone portable units.
I had two weird experiences with @kansha who the other two traders (edit: a lot more suddenly since I wrote this) have great experiences with.
I bought an ER-301 which came with a component loose and rattling in the box, possibly broken off during transport but as likely to have been torn off when put into the snug bubble plastic bag. This was a year ago and after lots of back and forth, insisting everyone from the bag to the original seller, to the post office might have been to blame he settled on requesting insurance coverage from the post office. This was a year ago but no updates, no partial refunds ever materialised. I had to get the 301 soldered myself. I just assumed he was tired after the rather extensive dialogue related to that trade. Up unto the point the module turned out to be broke he was stellar but then he lost it.
Fast forward to today I jumped on a Three Sisters he was selling. He provided me with the wrong Paypal address (wrong domain, .de rather than .net which I sent for). I paid for that address while he pretty much at the same time sent a message correcting the Paypal which, well, I didn't register well enough (you'd think he'd be aware of his own email domain to begin with but apparently he needed me to more aware of the finer details of his correction for his incorrectly provided Paypal email). I did manage to cancel the payment but money locked down for 2-5 days, no big deal I guess but frustrating. I sent him an email saying something along the lines of "Wtf I sent it to the wrong address dude." which was enough for him to get combative while generously offering to hold the module for me (rather than the "ooooh sorry I messed up dude I'm sorry let's try again, forget about that Paypal fee I wanted to charge you and we'll work it out", or something)
If something goes really wrong expect to possibly end up in a worst of the internet styled argument, blame shifting, not pulling through on promises and no refunds or discounts.
Discussion thread about the trade:
https://www.muffwiggler.com/forum/viewtopic.php?t=200785
Yea I really like the idea of mixing synced with unsynced, or polymetric or even poly-tempi, especially with a vocal or melodic part, so it can “groove with its own groove,” so to speak.
Modcan QuadLFO + Make Noise Tempi + Syntherks SP-4DP quad active fader is my current modulation madness. (Just bc i already own the modules; I’d love to try your suggestion.) Tempi is great for polyrhythmic and mutated stuff with CV control of the switchable states as well as clock rotation. I think Synthwerks stuff is awesome and very overlooked. Stuff that’s made to be touched, that can leak, blast, and shape modulation signals...the controllers also make viable parameters still reachable once there is a rainbow hedge growing from my eurorack. Can’t wait to try w the Fumana
Hi, I'm looking for a delay module which has a long delay time. (Often the max delay time is not even mentioned.) I have an old guitar pedal delay which does 1300ms, but I'm looking for a longer delay time. As long as possible. What would you recommend? Thanks!
Another bonkers suggestion would be abusing a few of the Doepfer A-144 Morph Controllers in conjunction with the output VCA patchpoints, plus a few syncable (or not!) LFOs.
Scariest. Polymod. Filter. Ever.
That Fumana has abuse potential coming out the ying-yang, believe me.
My own JP-6 is sitting to my left, about six feet away. Trust me, you want accuracy here. The VCF arrangement in the actual synth is utterly amazing, not exactly like anything else Roland did before or since. It has its own particular sound, but it's very chameleon-like...it's capable of going in a lot of other directions than the obvious.
As for the Klavis Dual VCOs...note that. They're dual VCOs...each module contains two VCOs, plus quantizing and several other tricks. So what you see there isn't two VCOs, it's two modules that contain four VCOs. The Roland/Malekko stuff can't get you in that ballpark for Klavis's price, believe me. Demos, though...look, modular is very open-ended. If someone does a shit demo video, it doesn't necessarily mean that that's going to be your result when you program it alongside your modules. Anyway, yeah...four VCOs, which means you can do a lot of different potential directions, such as two-voice paraphonic, using all four in a stack, or using some elaborate crossmod or sync schemes.
At the same time, however, modular is, by default, 'deep'. And, annoyingly, trendy. That's a bad combo; you have people thinking that 'wow...these modules will solve everything in my music!', and that's NEVER the case. Consequently, I keep hearing of people diving into this, making a lot of wrong assumptions, getting hosed on money, and still wondering why their music isn't clicking...and the fact is that they could've saved a lot of money by just looking in a mirror to find the problem instead of dropping several large and discovering it the hard way.
Going into modular synth work isn't a casual decision. It requires a sizable amount of background information, research, and outright scutwork to sort out whether or not this really is a viable direction (for starters) and then, if so, what next? My advice: the rack above will work, but if the concepts seem somewhat beyond your comfort area, step back before massive cash gets thrown around and dig a lot deeper into this first. Figure out why things sound the way they do, both on recordings you're familiar with, instruments you're familiar with, and relate that to the modules you're not familiar with. Do get the M32, maybe another patchable or so first before a headlong, thousands-of-dollars dive into the deeper end of the pool. You'll likely be a lot happier and more satisfied in the long run.
Oooh just had another idea....something like the ol' Moog Voyager with the expander would be nuts with this. All those cv outs for the touch pad and other controllers, plus being able to use the envelopes and much more sophisticated modulation busses with the eurorack....would be bonkers.
The labeling on the image CV jacks don't mesh with what's in the description. This should be corrected to prevent confusion.
Awesome Lugia. Thanks much for the tips and your input; you’ve given me some new new spots to dig for treasure. I was considering putting in a stereo I/O module in for the carrier, but there were other modules I wanted to fit and that’s why I ended up with the make noise 7U. Not sure if it’s clear on the grid (was hard to find a Hi-Rez photo when I created it) but the 1U row in the middle has a mono line input with gain pot, and L(mono)/R output patch points to 1/4”.
So one idea is to be able to take something like my OB6 and send a nice bright sound into the 1/4” input, connect a midi cable to yarns and have patch points for pitch, velocity, gate, trig, mod wheel amount, mod wheel LFO, aftertouch, etc., which allows you to build patches that are controllable from the external carrier synth itself....looking forward to new vocal sounds at each show and being able to modulate my eurorack patches when I can’t take my hands off the keyboard.
Cool, thanks!
The Jupiter filter is a little spendy, even compared to the SE 8106 which seems to get some rave reviews. I've never played with hardware Jupiters to care about total accuracy. Will have to try and find some demos online to see if it sounds good enough to sway me.
I had not really thought about syncing VCOs since I often didn't bother with it in hardware synths I've had. Guess I assumed I would just stack a dissimilar saw wave VCO with the Mother's saw wave and patch thru a different filter for Roland-ish tones. The Klavis VCOs seem pretty deep, likely deeper than I was aiming for. What about Roland's System 500 dual VCO? That would be more affordable than two Klavis and they have sync capability. Most of the demos I have found sounded like farting sound noise, not very musical, so it was hard to gauge it's potential.
I like that triple LFO, seems a lot of versatility in small space.
You're talking over my head a bit about the triple band pass filter and modulating it with LFO. Am I correct to think of that sutble (or sometimes not subtle) whooshing or sweeping sound I sometimes hear in a lot of OBX and Jupiter poly sounds? If so that is intriguing. I was thinking this would stay a monosynth only modular setup but I could likely use that sound even in some lead and fx patches for sure.
Is the multi module necessary to send CV pitch to multiple devices from the Mother?
Done...and I think I hit all three targets:
Moog: obvious.
Roland-ish synth part: OK...in this case, I went with two Klavis Dual VCOs, because to get that sound right, you need some oscillator detuning and, potentially, sources for sync and/or suboctaves. Filter is a G-Storm JP-6 clone...doesn't get much better than that for the Roland analog polysynth sound in modular format, I think. Then it gets interesting; the mixer allows you to do some inversion of VCO waveforms, which can also cause some nice phasing results, done right. The Klavises, also, have the plus of being internally-quantized, so running them right off of the M32's sequencer is easy. Two EG + VCAs, two VCS...not a bad modulation section. But the last triple LFO, that's specifically for the triple bandpass filter...and this gives you that counter-swept-ish resonating behavior common to some really great divide-downs such as the Polymoog, Korg PS-series, et al. Closed that up with a delay, because...well, a delay. Just puts the cherry on that late 70s-type string synth process w/o wasting an external box.
Rings is still there, natch. Then there's a 3x VCA for CV-controlled mixing to mono, and a metered Ladik mono out.
Note that I swapped the P/S...like I often say, overspec that part. It puts less load on the P/S, reduces heat and component strain, and makes for a more reliable build. Added a mult, too...necessary if you're going to do your MIDI-CV conversion in the M32, then send that upwards to the upper row's module compliment.
Not too shabby...yes, a bit spendy in some areas, but I managed to avoid some areas you were heading toward that might've spelled some sizable expenditures while still coming up with major capability.
Nicely done...and a good move, getting compression on the input for your modulator signal. You'll find that'll make the Fumana (like most any other vocoder) more responsive to vocal transients once you get it dialed in properly for your voice and mic. You might even consider another input (non-compressed) module to input an external carrier signal.
One tip: the Fumana is brilliantly set up, and can do some EMS Vocoder 5000-like reroutings between the modulator's envelope followers and the output analysis bandpass filter/VCAs. I advise major exploration of those patchpoints; having them is one of the huge plusses of that particular vocoder module!
I am looking to put together a modular trying to chase 3 things:
1) Some basic Moog type sounds (I know not exciting, but I don't have a fixed architecture Moog-ish mono synth)
2) Some juicy Roland filter type action for Juno / Jupiter leaning lead sounds as well.
3) Some ambient / textural string type sounds.
I am thinking the following to start:
- Mother 32 as a base. It has great saw wave and VCF (to my ears). I have tried but can't figure out a VCO, VCA, VCF combo for as cheap as I can pick up a Mother 32 so I keep coming back to that. The sequencer and basic LFO are just a bonus, plus I get the MIDI to CV without spending money on a separate converter.
- Studio Electronics 8106. Adds some variety and juicy Roland type filter as an alternative to the ladder filter of the Mother 32.
- A basic ADSR since the Mother 32 lacks it, and I really like a good bit of release in string type and lead sounds. The Noise Reap Dopes unit is cheap and comes in a visually cool black, with the ability to be dual AD envelope generators which = versatility.
- Mutable Rings. Self-explanatory, but mainly to be a processor / sound mangler for drawing out string like resonance from otherwise normal synth patches. I'm definitely sold on this as an important part of the rack.
- Mutable Tides. I'm on the fence about this one. Thinking maybe it could help to get longer evolving textural sounds by using the looping, and it seems to cover multiple things. The wave folder seems to hold interesting potential.
- I think I will need another basic VCO, something with at least triangle and saw, since stacked saw waves for detuned sounds are cool, and also since the Mother 32 lacks triangle altogether. The Studio Electronics Slim-O looks like a possibility but at $200, I know there have to be other options that sound as good or bring something interesting.
- I will probably want to add a more elaborate LFO later.
What else am I missing? Is there any module I should consider that maybe covers multiple bases for ultimately versatility??
I will be mainly playing via a MIDI keyboard and sequencing in my DAW both. I have effects like stereo delay and reverb covered well with my existing guitar pedal board. I have a homemade 84HP case, with the ability to expand it to dual 84HP by buying more Z rails, so I am limited by money overall more than thinking of myself as limited by case size.
Just planned this rig with the new Make Noise case for live use with vocals. Easy I/O of mic, line, and modular levels, and midi control. Connecting a MIDI synth gives you cv outs for pitch, gate, trig, velocity, mod wheel, LFO, or aftertouch, allowing you control the patch with your carrier synth. With the Fumana capable of spectral transfer, this rig can be a vocoder and vocal processor, making it easy to patch a thick, fat, unique stereo sound right into the PA. Last 2 modules in the mail, and the case coming in May; psyched to build.
Hej I recently made good experience with @mosley101 and @mikmanner.
Both very friendly contacts and fast shipping! thanks again
Don't forget to get VCAs! Make sure to get a decent CV keyboard controller device
and sequencer/sampler as well.
I too am working on planning my first modular setup. For now, just using my 0-coast and Elektron gear.
gerade gesehen (keine Eigenwerbung) und bin begeistert, dass endlich jemand wieder ein plug and play fuer den DIY synth anbietet!
Ok first to clarify,
Do you have MIDI on these devices? Sounds like you would benefit from both a mixer and sequencer.
Behringer makes cheap Eurorack mixer
For sequencer- you can get a Beatstep Pro and Korg SQ-1 to handle the modular and other gear. These both have CV and MIDI.
That would be the easiest and cheapest route that I am aware of.
BUT if you actually want to sequence and play each track separate you need a more powerful sequencer I think like an Elektron Octatrack, Squarp Pyramid, Social Entropy Engine, or Kilpatrick Carbon!
Nice! Well if I get a job where I can score deals on modular gear than it will help me piece together my portable setups for space and industrial music. Something that can do industrial, house, techno, deep psy-trance. Bands like Infected Mushroom and Shpongle come to mind. Unfortunately it is hard to find out what actual gear Infected Mushroom and Shpongle actual used!
So here are my thoughts:
Industrial modular rack
House/Trance/Techno/Psy-trance, ambience spacey sounds
My Elektron, Moog, and Make Noise 0-coast do a fairly decent coverage of house/techno/bass ground.
The Oberheim semi modular system looks good as does the Analogue Systems gear.
Kraftwerk also used modular gear starting in the late 1990s, mainly Doepfer stuff. But really, not until then.
If you want to talk about who was the heaviest modular user in the Krautrock scene during its most significant period, that would have to be Klaus Schulze. Klaus's setups during the latter part of the 1970s would find EMS AKS, Korg PS3300, ARP 2600s alongside a huge hybrid Moog/PPG modular plus a bunch of other prebuilds, all in use at the same time, especially live.
Hmm good to know I did see Nord gear as well at one live concert used by Tangerine Dream as well as Moog gear and Roland synthesizers. So probably an Oberheim SEM would be good for the spacey sounds since I already have a Moog Sub 37.
TD: anything Moog-like. Basically, 5U-type stuff, or Eurorack gear that uses typical 1970s subtractive methods. The fact is that a lot of Tangerine Dream's sound was not due to the modulars...these mainly dealt with the sequencing layers. More typical gear would be devices such as Oberheim SEM polysynths, Elka Rhapsody, and later the initial PPG Wave series, starting with the 340/380 and going on from there. And Edgar's guitar work.
Kraftwerk: none. Much of what they did during their classic period between "Autobahn" and "Computer World" was on off-the-rack devices as well as some custom gear, but none of this was modular. The spacier parts of their work often made use of an instrument that I can guarantee you will NEVER, EVER get your hands on called a Vako Orchestron., which was something like a 'pro-grade' Mattel Optigan. I might be one of the very few users on MG to have ever played one, perhaps, since both Vako and I are products of Nashville, and I got to have a bit of time with one c. 1979. After "Computer World", a lot of what you hear up until "TDF Soundtracks" was Synclavier.
What kind of modular setup would be great for ambient, spacey trance and house sounds like that from Tangerine Dream and Kraftwerk? Besides industrial this is a sound that I love.
One person suggested that maybe it could also be implemented "outside the rack", re: on the list of modules.
-- ParanormalPatroler
Yes, that would be cool, I look into that. First I have to fight the bug that it is now impossible to delete slim 1u modules with the mouse because the zoom button pushes the delete button away
Beep, Bopp, Bleep: info@modulargrid.net
[...] I like the purple colour on the button.
-- ParanormalPatroler
Haha, thanks, I am no designer. So I just rotated the primary blue color in Newtons color wheel by 120° and hoped that the miracle of numbers will get a pleasing result :)
Beep, Bopp, Bleep: info@modulargrid.net
The new Zoom function is excellent. One person suggested that maybe it could also be implemented "outside the rack", re: on the list of modules. Hover over a module, and press z to get a bigger shot of the panel. Doesn't seem that bad when browsing through the list of modules available; should cut down on time if you don't to open the Info page for each and every module.
That Spinal Cat module made it in the demo image of the MG marketplace default offer.
solitud.de | YouTube | Soundcloud | Bandcamp
Lovely, too bad that not all modules are available in New Zealand. Otherwise I think it would fit ideally to the under-water conditions of cove diving.
Ahhh, but since I insist on automatic convenience, the interior 'wiring' is designed so that you don't even need the extra switch. Just turn it on...and IT EXPLODES! Which, in a sense, is the answer to many synthesists' prayers: auto-programming in a modular. It's a technical innovation that is guaranteed to be groundbreaking...probably for your funeral if you're standing over it when you power it up, actually.
It's also auto-tuning and totally drift-free. I guarantee that whatever extremely momentary noise this emits will be perfectly cent-accurate compliant to some sort of scale in some way or another. Yet another horrible and long-vexing technical issue SOLVED!
Looks cool- all that it needs is a detonator switch and wires and wick then you have an explosive synth!
One technical detail not visible in the build is a number of frayed, bare wires inside the skiff, which is also packed with quite a bit of gun-cotton.
I guarantee this will be the most excitement available in Eurorack today!
(insomnia. just say no.)
