I use these audio-rate chaos modules :
NLC Giant BONO
Neutron Sound Orgone Accumulator
Rob Hordijk Benjolin
Error Instruments Sound Scaper.
And I use these CV chaos modules :
NLC Triple Sloths V2
NLC Hyperchaos Deluxe
NLC Let's Splosh
NLC Genie.
It's (mainly) for creating backgroung soundscapes in art exhibitions, and (occasionally) soundscapes for games.
(some sounds here : https://arcanewaves.bandcamp.com/album/electronic-fields)
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
-- Lugia
See, this is why I like to ask these questions. I'm fully aware of what is out there and how to go about Eurorack, but getting some insights like this, an approach to something that is meaningful yet different to your own, that I find enlightening. I guess I need to find an octa-filter as well! :)
Based on your feedback, I came up with this one. It looks like the Disting EX could cover many FX duties, so took out the dual FX and added the Pico DSP. On Ronin's recommendation, added the small Pico CV/ Audio Mixer to cover the extra 3hp. Finally, added the Pico RND for extra modulation and randomness.
Thanks again for your helpful comments.
The P/S for the Rackbrute is missing; you'll find it under "Arturia" in the manufacturer list. And I don't think that Neutron belongs in there, since it already has a cab and power on its own. You want to use the not-exactly-cheap Eurorack cab space for things that DON'T have those. Or, a better way to put it:
Rackbrute 6 = $359 @ 171 hp (176 - 5 for the P/S). $359/171 = 2.10 (ish). This is the cost per hp of each space in the cab.
Neutron cost = $329. A Neutron takes up 80 hp, so $2.10 x 80 = $168. This is the cost to house the Neutron in the Rackbrute, which you would then add to the Neutron's cost, giving you an ACTUAL cost for the Neutron of $497.00.Honestly, you would probably be better off if you used the space the Neutron's stealing for a basic voice AND a good sequencer AND some modules to screw with timing for the interface with the Minibrute AND the Neutron. The above might look convenient, but it's going to cost you some real $$$ in the long run.
-- Lugia
Thanks very much for your detailed feedback, Lugia. I feel very fortunate to be able to ask experienced users these questions in this forum - it's a great learning tool, and saves beginners like me money.
Thanks for your point about adding the power supply to the build. I will have to add that to the rack.
I appreciate your thoughts on the redundancy of the Neutron. To be honest, this build will probably be a slow one, owing to finances, with the first rack (pictured) taking a while to come together, before stripping out the Neturon and adding another voice. For that, I thought of the Morphagene for its compatibility with Beads as a start.
I guess you may have already checked this one, but the combination of Morphagene and Beads seems like a real winner. Add to that a Pamela's and Akemi's, and I think I would be sorted for a while.
Once again, thanks a lot for your time and detailed comments.
All the best
I cannot seem to get the intellijel noise tools into the 3U to 1U adapter where the module physically actually sits in my current rack so it hangs there outside the rack and disconnect. If anyone knows how to do this please let me know. Maybe it is a feature for modular grid that is just waiting to happen!
If you're looking for pieces to add to your Neutron, it's okay. But if you remove the Neutron, you're pretty limited.
If you're going to buy a Disting, get the EX. It has more features and a better display. It can also do the work of two of the Mk4 Distings in most cases. A small submixer that can also handle DC would be nice. Rings, Filter 8, and the Disting can all act as oscillators and you might want to combine them or some CV in a patch.
-- Ronin1973
Thanks a lot for your comment above, Ronin1973. I really appreciate your feedback about the Disting Ex, and totally blanked on that when loading up the case. It really does look like an excellent addition to this set up.
I agree with your comments regarding an additional small DC (operable) mixer. Would you have any recommendations?
Thanks again!
I bought the Behringer K2 and added this interface pod so that the K2 fits in seamlessly with the rest of my modular system. I don't understand why Korg does not build an MS20-Modular in Eurorack.
The new modular rack I am working on building. This is really all about filtering, delays, resonances and modulation. It fits in with all of the other racks but adds a new palette for aural design.
Hi folks, thanks for the ideas above!
Update: I decided to go ahead with a few modules from NLC that I've been wanting for some time. Triple Sloths, Hypster and Squid Axon. Triple Sloths is well known and loved; Hypster was strongly recommended to me as something great for my use cases; Squid Axon, well me and the GF have a big kitty who acts like a giant squid quite often, so clearly I needed a Squid Axon. It actually does look like a cool and useful module, but names matter, I couldn't resist... BTW the videos on the bottom of the NLC module pages will show you what these do, in case you're curious.
I've had a scan of the modules mentioned above. IMO the Elby Designs and Zlob modules sound like very good alternatives / complements for the type of chaos I'm looking for. The Elby in particular are by Ian Fritz who also originated the ideas behind the NLC Hypster. I'll consider those in the future if I need to add more chaos. Wogglebug I would also likely add, if it was ever available...
I have to say, of all the Eurorack modules I've considered, the chaos modules are among the hardest I've found to compare / select. Some considerations I've come had:
-- smooth or jerky: for example NLC has some jerk chaos modules, don't think I need those now (and frankly can hardly imagine a musical use for them)
-- rate: slow like Sloths appeals to my use cases, as well as having some faster moving chaos signals. I can't yet imagine a musical use for audio-rate chaos signal
-- controls: I'm finding a lot of these units (esp the NLC ones) are more "user influenced" than "user controlled" e.g. one cannot rigidly constrain the chaos behavior, just "nudge" the behavior a bit here or there.
-- # of outputs: all things considered I'd like a chaos unit with more outs so it can add wander/slop to more destinations.
-- appealing videos: as the descriptions of the module can leave so much to the question "what does it do," the modules for which there are decent videos showing the module in action producing musically interesting (to me results) go to the top of my consideration set
Lastly, for those interested, there's a thread at MW by Ian Fritz that brings up many (and more technical) issues of chaos modules in Eurorack https://modwiggler.com/forum/viewtopic.php?t=194284&start=0&postdays=0&postorder=asc&highlight=
I wanted to post this to wrap this thread up (at least from my end for now). Again, thanks for all the ideas and comments!
Hi folks,
As I expand my modular setup, I'm running into some power questions. I have zero electronics background, thought I'd ask for some help.
For the sake of easy #s, let's assume a sizeable draft rack in Doepfer Monster 12u plus 6u base case, power needs calculated by MG as approximately: 6000 mA +12V | 3500 mA -12V | 0 mA 5V
Questions:
how much of an electrical load will this present to my studio power circuit? From the above mA is it correct to assume 6 amps load from the modular any time it is on?
power channels & circuits: I initially thought "I should put a larger electrical load on 2 different circuits if possible" so I plugged in one case in one outlet and another on a further away outlet. Yuk! Big problems with noise and other very strange behavior like frequency sidebands on a sequenced sine wave (which of course should have no sidebands). Talked with my normal guy at Patchwerks who said "oh yeah, you want all your audio powered on the same circuit, or you can have various strange problems." I don't understand the issues at hand here, but it boils down to: run all your audio stuff on one power circuit if possible, or spread it on different power circuits? I'm in a home basement in the US so I assume 15 amps per circuit in general.
power regulation / conditioning: I have a ~$200 Furmann PL+C voltage regulator and conditioner, which has been decent. I wanted something to protect my studio gear and deliver "cleaner" power which would create less problems such as noise and electronics wear. But I'm not sure if my PL+C is up to the task of my current production + mixing setup? I know Furmann has a good reputation for quality, but I find their product literature baffling: I can't tell the practical performance differences between their $3600 box and their $200 box, both of which use the same marketing babble to describe their benefits. Any practical suggestions for power regulation for a production + mixing studio with ambitions of both quality output and longevity? I would invest in a new power solution if it is merited.
Thanks for your ideas and comments!
Nicholas
Can you please expand on your use of a VCA after the Bitbox? I added an octa-VCA after my Micro to be able to change the levels but I'd love to hear your thought behind the combination. Technically, you can assign a CV input on the Bitbox to control the level.
-- ParanormalPatroler
Sure, but having the VCA pair allows for some interesting stereo modulation. All you need is an LFO + inverter, and you've got some very trippy L-R panning happening. It also allows for easy AM (in stereo) of the signal.
Given that the Bitbox is technically a tiny little computer hiding inside a Eurorack cab, I tend to approach it so that it can dedicate as much of its operation to audio synthesis. So getting a bit LESS going on with it is one of those things that I, at least, would feel good about as it should do better at its "mission" with less going on inside of it.
The P/S for the Rackbrute is missing; you'll find it under "Arturia" in the manufacturer list. And I don't think that Neutron belongs in there, since it already has a cab and power on its own. You want to use the not-exactly-cheap Eurorack cab space for things that DON'T have those. Or, a better way to put it:
Rackbrute 6 = $359 @ 171 hp (176 - 5 for the P/S). $359/171 = 2.10 (ish). This is the cost per hp of each space in the cab.
Neutron cost = $329. A Neutron takes up 80 hp, so $2.10 x 80 = $168. This is the cost to house the Neutron in the Rackbrute, which you would then add to the Neutron's cost, giving you an ACTUAL cost for the Neutron of $497.00.
Honestly, you would probably be better off if you used the space the Neutron's stealing for a basic voice AND a good sequencer AND some modules to screw with timing for the interface with the Minibrute AND the Neutron. The above might look convenient, but it's going to cost you some real $$$ in the long run.
If you truly don't care about the aesthetic factor at all, why not just use Max8 and VCV and a DAW?
That is not just about aesthetics: it's a very different way of working. But the look of the front panel of a module (assuming that the labelling is clear) does not affect how one uses it. That said, I share some of @eexee's concerns. The Dreadbox modules look a little garish to me. An example of a module that I will not consider solely based on the aesthetics is the recent Cre8audio / Pittsburgh Modular collab called Capt'n Big-O. Terrible name, terrible look. Even though I was contemplating an SV-1b earlier (a submodular thought phase before going full Eurorack), I will not buy this module, no matter how good it sounds. Is that irrational? Perhaps. But a lot of what we claim as rational behaviour is thin justification over an irrational core. Some of my recent acquisitions were swayed by aesthetics, and my current rack looks pretty good. I think it also sounds good, but am I kidding myself? Hard to say, really.
Actually, when I've dealt with systems that have all sorts of different module aesthetics, I've found the various panels and layouts to be helpful...as long as they're designed to make sense. When navigating a front panel, you get used to the pattern of light/dark/color/no color that's there, and that aspect helps to make things easier to navigate...especially in low-light situations as one might encounter at a live gig. If I know that, say, my LFOs are right there between this wide black panel and that gold Ladik module, it makes it easier to simply grab the right knob after a cursory glance, whereas with everything having the same appearance, you might not be able to do that as easily.
Fact is, one thing that drove me off the hinge when dealing with Moog modulars was that constant black space, with modules denoted by the little silver strips between them (usually). They might sound awesome (and they DO) but my god, are they ever a nightmare to deal with in low light and/or when you're starting to familiarize yourself with a given system. Buchla 200 modules have much the same problem...but in their case, you're also dealing with the two different patching layers. Again, not really fun until you get past the learning curve.
Klavis Quadigy is a fantastic envelope generator. Tonns of functions, but very easy to access. Many stages, and possibilities for exponential or logarythmic curves. And 2 CV- and one „direct“-knob-modulation. It seems to be a complex one, but it is not by far. But under the hood so many nice add on‘s. You can discover functionalities for a long time, but use it straight out of the box… love it.
My comment was a word of caution about choosing modules based strictly on aesthetics alone and allowing "thumbs down" to affect choice. You asked for an opinion on Dreadbox and I told you mine. I didn't say specifics because you didn't specify which Chromatic module and I don't have experience with their cream colored modules.
Though, I'd be more than happy to discuss the Chromatic modules I DO have. The Hysteria analog VCO with built-in quantizer and morphing waveforms blows my mind because it is $99. Also, at the same price, Utopia module with buffered multiples, 4 attenuverters, CV LFO, offset, "pulserizer/distortion", and intuitive normalization. The Chromatic modules are feature packed and super affordable. That's the point. Not really the color. I mean, 95%* of all modules are grey or black anyway. After a year and a half of owning these, I just don't think about the color. Some of my favorite legendary artists have entire systems of Doepfer or Analogue Systems or Moog Modular. Those aren't exactly visually striking.
Go with whatever module you want. All I'm saying is a $4000 64hp single bandpass filter isn't automatically better just because it has a hand-painted Renaissance-inspired painting on it. And a thumbs-down from some random anonymous forum user shouldn't damn a module to obscurity; especially from a beloved creator.
*made up number
@catwavez/Lugia, I'll explain it to you. There are hundreds of modules I'm interested in. I won't be able to afford them all anytime soon, and there is a tremendous amount of cross-functionality between existing modules. I am an extremely visual and aesthetic person. This doesn't always equate to preferring the prettiest or "coolest" looking things, necessarily, but I like what I like. If it comes down to two dual filters that both perform well and do comparable things to my satisfaction, I'm going to choose the one I enjoy the aesthetics of more (unless I consider the price differential too unreasonable). Aesthetics can also overlap with functionality a bit. Recent threads I started on MI clone modules and Blue Lantern modules both received a number of comments from users dinging both for, at least in part, aesthetic reasons.
If I'm sitting and working with a module every day, then the way it looks, the way it feels, the way the knobs turn, etc. etc. -- they are subtle things that may not seem "important" to you, but I would argue it's all a part of the subjective user experience, and a part of the appeal of modular generally, at least for me. If you truly don't care about the aesthetic factor at all, why not just use Max8 and VCV and a DAW? It's way more efficient and way less expensive than populating a modular rack. Beyond that, while it's not my aesthetic of choice, I'd say that people buying up those candy-colored Dreadbox modules are doing so at least in part on the basis of enjoying the sort of cheesily, tongue-in-cheek, nostalgic aesthetic of them. Different strokes.
Thanks for the confidence vote on Dreadbox, though. It's not very specific, but I'm (honestly) happy to hear you enjoy their modules and feel they're a good value. Their modules are pretty affordable, but the very meh reviews/ratings and low cost had me wondering about them a bit, in terms of build quality, user experience, etc. As I said, there are some Dreadbox modules I am pretty interested in.
If you decide to go that route, Addac sells a smaller dual VU meter. https://www.addacsystem.com/en/products/modules/addac800-series/addac812vu
Paratek also has a variety of single VU meters if you want larger.
If you're looking for pieces to add to your Neutron, it's okay. But if you remove the Neutron, you're pretty limited.
If you're going to buy a Disting, get the EX. It has more features and a better display. It can also do the work of two of the Mk4 Distings in most cases. A small submixer that can also handle DC would be nice. Rings, Filter 8, and the Disting can all act as oscillators and you might want to combine them or some CV in a patch.
Hello again to this awesome community. I have other hobbies and I am in a lot of forums, but this is by far the most expressive and knowledge sharing of all of them. Normally people just show off what they got and what they did, but rarely they explain things. Most likely, you figured out, English is not my mother tongue, sorry about my mistakes on that regard.
Now to business.
I am trying to simplify my first prototype from two "Mantis" cases and one "Intellijel 7U" to only the two "Mantis". It is hard because I had to compromise my finger's comfort to small modules, comparing to my first built rack.
What I am looking for is really simple, an custom-made modular synthesizer.
I said it before, I want to generate Leads from it; I want to play it with all my external devices: Drum machine, step sequencers, mixers and complement the other sound devices: Behringer 2600, Model D , Subharmonicon and Hydrasynth. To summarize it a little, what I want to build is a extremely customizable "standard" synthesizer.
What I want for making public this second rack v2, is all the help you could provide me, pointing what module should get out and replace it for more efficient ones, what probably will I use the most and what is not so useful. Things like that.
I had read about a lot of modules listed on the modulargrid DB, but I am not even close enough to say I know half of them. -_-: that is why I am asking for directions.
Thank you very much.
Variation on a portable electroacoustic palette
Keep in mind that the Count is a bit quirky, it only has 7 outputs which means it doesn't do your standard base-8 counting. And no reset! Arrythmia is amazing and everyone should have one.
Only problem is that the Hinton Signal Level module seems to be a one-off/custom unit (at least it's not mentioned anywhere on the internet aside from modulargrid at all) and that, knowing other hinton modules, it is probably 10+cm deep so it may not be optimal for a small system to carry around :D
But I realize that this is more for imagination / aesthetics than a proposal for a real system.
That IntrFx looks pretty slick. Thanks for the heads up.
@Lugia, you don't need the Timewizard if you have the Godfried there. Godfried can do any division possible on its own. Also, you can assign external pulses to change the preset and get some kind of sequenced divisions. It is The shit!
Can you please expand on your use of a VCA after the Bitbox? I added an octa-VCA after my Micro to be able to change the levels but I'd love to hear your thought behind the combination. Technically, you can assign a CV input on the Bitbox to control the level.
I'm sorry to hear about your A103, Garfield. That has to be a disappointment.
The SEM filter does interest me more than the A103. I can't believe I haven't gotten one yet. I'll look forward to checking out your report.
Have a great week.
Hi All,
I have just ordered the Minibrute 2s and am looking to purchase the Rackbrute 6U.
*I already have the Neutron and will look to sequence the rack with the sequencer on the Minibrute.
*Eventually I will look to replace the Neutron when funds allow.
*Joranalogue was included for juiciness and functionality (also considering the Polaris)
Is there any redundancy here or anything else I have overlooked?
I greatly appreciate any comments/ feedback.
Thanks!
Roger that. I did actually debate if it would be better to adjust the yellow channel scale or keep them all at the same scale. I just figured keeping them consistent would be easiest to relate. Cheers!
Hey, this is cool, thanks for posting!
Only one comment (for future uses): Data 4 (yellow) is clipping on the scope. I assume that's the view on Data vs the CV itself going flat; if so, you could set that channel on Data to a larger volt value. But this is a minor comment; very helpful and interesting videos!
Hi folks - I just put a bunch of scope videos of Sloths on YT. I included detailed notes on the routing, the Sloths outputs used and some performance notes for each video. Each clip starts out dry but I do drench them with effects since that's how I would use these particular sounds. It certainly is an interesting module and I can't wait to do something musical with it (clearly these videos are just clinical...).
I hope someone finds these useful. Cheers.
Disclaimer: I've never done anything like this before and my video skills are non-existent, so I may have missed the mark on these, but I'd be happy to set up another test if someone wants to see something specific.
Which is weird, because Bob cooked those up in the 1960s. Behringer ad copy is so amusing sometimes...
@Lugia, thanks, I'll read the whole thing! Curiously well timed reference to that book -- lately I've been trying starting compositions by getting strongly complementary ensemble sounds first, and notes later vs. the other order. Makes a big difference.
-- nickgreenberg
And that's exactly what I did when, while still at MTSU, I sat down at their big Harrison desk and opted to try setting up the mix based on ensemble organization and NOT the then-in-vogue method of total track isolation. Each ensemble had their own FX parameters, along with the few needed for global "stitching" of the mix itself. My session slot was scheduled to end at 6 AM; I actually got done at 4:30 AM because that trick of "orchestral conducting with faders" sped things up while mixing. By the time I had the ensembles set, all it took was a couple of passes to balance between them, and voila! Thank you, Nikolai!
+1 on catwavez comments above. Also, it's worth noting that if we put pretty much any of the modules in my Digisound Series 80 up as "new" (in the MOTM section, which is pretty much the same form factor), they'd get one-star ratings as well. But at the same time, I also used the same Digisound system as part of an elaborate installation in 2000, and it had a few people thinking I'd done this thing with some complex Max/MSP or Supercollider rig. If you make it work, and it works the way you want, who gives a flying about "stars"?
People don't tend to care about the appearance of a modular synth outside of the synth community. The vast majority of the public want good MUSIC, not aesthetic instrument design.
No no, not Moog, 'the modular synthesizer of the 1970s'
@Lugia, thanks, I'll read the whole thing! Curiously well timed reference to that book -- lately I've been trying starting compositions by getting strongly complementary ensemble sounds first, and notes later vs. the other order. Makes a big difference.
@Broken-Form and others, regarding your potential in-modular EQ needs:
-- suggest you check out Ladik EQs/Filters (https://ladik.ladik.eu/?page_id=7) these are small and cheap enough you could potentially handle several channels of EQ/filtering needs without a crushing HP or $ cost
-- also what comes to mind is Intellijel Mutamix for its ability to set levels and select among 3 bus outs. THAT would let you do some leveling and grouping before EQ/filtering. In the DAW I usually try to do as much group (vs channel) processing as possible as that often leads to a faster and better result. The group (stem) mixing approach in modular might have similar benefits. Not sure Mutamix is a great fit for you as you already have D.O.MIXX, but I wanted to at least mention the grouping/busing idea.
Hi Farkas,
I have some "sad" news, I am afraid my Doepfer - A-103 module doesn't work :-( There barely comes any sound out of it, if I unnaturally high amplify the output then I hear a bit however when I then turn the frequency knob I don't get much results other than a bit of a cracking sound. Sounds to me that this module doesn't work... So I need more time to investigate this properly.
Since I saw you also mentioned the SEM filter from Doepfer in another post, instead of reviewing the A-103, I will make a review report of the Doepfer - A-106-5 SE SEM filter module. I hope to have that ready by (end of) September. Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi can anybody have suggestion for youtube channel that as ambient, techno, minimal, dark vibes...
im already following
julia bondar
deorbiter
elinch
lightbath
thanks !
minimal, techno, dark, percussive, psy
I just picked up Bored Brain's IntrFx, and a few pedals.
I had been using the Intellijel 1u Pedal I/O to use some guitar pedals I have as an fx loop, and then recently realized I could just ignore the send and plug my guitar in to the pedal chain and bring it into my rack via the return on the I/O. From there it can go pretty much anywhere. Sending it to Morphagene with a clocked record is pretty fun. It's like playing over a looper but more interesting.
On the output I am just including it with my rack's audio out into my computer's audio interface, so I haven't thought about bringing an amp into the equation yet. Sounds pretty good without one though. I've been considering getting a Strymon Iridium to add to my pedal chain, though since the rack is not dedicated to guitar alone (mixes in with VCOs and the rest) this is probably about as far as I'll go with it.
If you're not buying modules because of aesthetic reasons... what are you doing man? Is it going to mess up your instagram pics? #blessed #justmodularthings Choosing fashion over function is not recommended. You'll miss out. You're shooting yourself in the foot because no one else is using your rack.
And online rating systems have been ruined over the past decade. Amazon, Walmart, Yelp, etc. For every 1 good review, there are several bad or disingenuous reviews. Every time a Behringer module is posted on MG, people rush to give them a 1 star and then they pat themselves on the back, "I saved modular synthesis! Hooray!" But in reality, they've just contributed towards making rating systems worse as a whole. i.e. Ratings should be taken with a huge grain of salt.
In other words, the Dreadbox Chromtic line is great! :) People love Dreadbox's desktop synth line-up. So it's nice to have an affordable, fully-modular version. And after a while, you won't even notice the aesethetic. The function is the important part.
Hi Mitch. I have been experimenting a little bit with the Doepfer A119 and Strymon A.A.1 as input/output/effects loop modules. I also have several effects pedals, modules, and filters that have been fun to incorporate, but I haven't done much recording of the outcome yet.
As far as adding rhythm to your guitar stuff, you would likely be best served with a nice external drum machine like the Roland TR8S. The cost/benefit/usability ratio is very high with that one. Check out some demo videos.
Just curious about them. I couldn't bring myself to purchase the candy-colored ones regularly available on Reverb out of aesthetic stinginess alone, but some of their other modules have interested me at times. Skimming around the modulargrid ratings however, seems to leave me with the impression their modules aren't very high-quality, with some (like the Alpha dual ADSR) receiving as low as 1 star. There's not very many ratings to go by on most of them though. I'd been really interested in the Drips at one point (which does have a high rating) and a few of the other cream-colored ones (Alpha/Beta/Theta etc.) but ... guess I was just curious if users here have used their modules much and have any opinions or experiences to share about them.
This is one of those modules that's been floating higher and higher on my potential "to get" list lately, as I'd like a dedicated sampler of some kind. I got a Squarp Rample, but while it was a very nicely made module and did what it was advertised to do, I found I just didn't really enjoy working with it much, and there are some aspects of it that seemed weirdly limiting. So I was thinking about this as a potential replacement. I'm also very interested in the Futureretro Transient, which I know is a different animal in many ways. It's mostly a matter of budget and which one I decide I'm likely to actually use more, I suppose. Anyway, always nice to see these things in action.
I haven't used a MATHS yet, but two of the first modules I got were a 4MS PEG and a Befaco Rampage, which are similar. They were both cool, but I ended up keeping the 4MS PEG and selling the Rampage. I'm not entirely sure it was the right call, but it was slightly more fun to use than the Rampage. In any case, it has been incredibly useful. I also don't see it mentioned as much when these types of complex EGs come up, so I like to throw it a mention/recommendation, bc it has been very good to me and has been a keeper from day one, where a lot of other modules have already come/gone. It has some interesting features and it's one of those tools that I use every single time I patch, almost no exceptions. And after five months or so with it there are still a couple aspects of it I need to dive a little deeper on to get the most out of (I haven't probed the possibilities of the async and qnt jacks much, or gotten all that creative with the ways its dual egs can be switched between or used to self-manipulate).
That being said, it usually actually runs a little more expensive than Maths or Rampage, and those have a few tricks that are unique to them as well. I'd love to be able to try all 3 and compare and select the one I liked the best, but for me the PEG has been way too useful to even think about trading off anytime soon. My only complaint is it can be rather "clicky" when trying to manipulate audio directly (this also seemed just as true of the Rampage, if not more so). But I mainly use the PEG to manipulate CV signals going other places, so it's usually not a big issue for me. It also may be more my own inexperience than anything particular to the module itself. ( When I first got the PEG I was approaching it more like a traditional AD(sr) which I don't think is really how its intended to be utilized.)
As for saving space with the DFAM, I recently racked my DFAM, and while it is certainly a space hog, I like it better racked and use it more when it's racked. And while it could certainly be my imagination, I feel like the audio is a little bit better too. I wondered if this had something to do with being on the same power source as everything else, but I'm not sure if that could possibly even matter, so it's probably my imagination. Nevertheless, it'll stay racked until I absolutely need the space again. I wish I could rack my Moog Werkstatt too!
This is just a "cute" minimal system to carry around, of course it doesn't have every module on the planet. Think outside the box. If Hainbach can make great music using just two Koma Electroacoustic Workstations so can you and so can anybody else. Those meters are just for eye candy and to give it a retro look and to show you your levels, nothing too taxing. It is meant to be ultra minimal and able to create soundscapes, the heart of the unit are the Electroacoustic Workstations which are very powerful and can make some nice stuff, yes they many not be ultimately stereo but they do a good job at sounding 50s, 60s lo fi. Make Noise Morphagene is very powerful in its own right. and can do splicing and audio manipulations enough to satisfy. Adding that to the effects on the Electroacoustic Workstation and utilizing modulation tools and other tricks on the upper Electroacoustic Workstation will be enough to satisfy anyone at a park. The goal here is to sound 50's and 60's and not modern. I am fully aware of the difference between a large system such as yours.
Uhmmm...no. For one thing, you've added a case to two standalone devices, thereby increasing their cost. And why in god's name is there a pair of bog-standard VU meters taking up 24 hp here? As someone who's worked in concrete media as well as tape AND sampling systems for that sort of work, I can safely say that you do not need those.
OK, so if you're going to do a sample-based system, first up, it needs more in the way of modulation. You also have to figure out how to get both mono AND stereo samples to play nice in there. Plus, you can add more than just a single stereo voice. So, I cobbled up something that I, as someone who was chopping tape back in the late 1970s, would feel would be suitable as a concrete system. Ergo:
This build, in a Make Noise 7U cab, goes a long way toward that. You have an input and output (to TRS) on the mult bar, and with the top row's first module, you can extract dynamics information from an incoming source...which need not be mixed in with the rest of the audio if you just want the envelope follower as a modulator alone.
So, there's that, then a stereo sample module, the 1010 Bitbox, which has a dual VCA for level control after it and before it feeds into a Rossum Linnaeus stereo VCF. This filter also has the ability to do TZFM, so you can impose some VERY extreme filtering onto the Bitbox's output. From here, this would feed down to the mixer section so that it can either be manipulated further by the Beads or it can go directly to two mixer channels.
The second sampler chain uses a Squarp Rample, which has four mono outs. The little module next to it allows for ring modulation and some other mangling options (suboscillator is one of them), then you have a Veils for the four voices followed by a Qu-bit Quad VCF, and this feeds to a stereo submixer for spatialization and mixing. The mixer then goes to the mixer and/or Beads, as desired.
Now, for modulation, we start with a complex clock gen, then a hex clock divider. After this, a Quadrax/Qx setup provides four envelopes or, if desired, four looping envelopes. The Qx also allows the Quadrax to "cascade" these. Then, a matrix mixer; since this is a bit limited in mod sources, this allows the user to crossmix several mod sources so that up to four more "composite" modulation signals can be derived. The Zlob Vnicvrsal VCA then gives you six linear VCAs for even more modulation manipulation capability. As for LFOs, I put in a Batumi with the Poti expander for four LFO sources.
Then the mix/FX section. The Beads is Mutable's "mkii" version of the venerable Clouds module, with many granular methods of messing with audio, and this could conceivably be fed by either the first or second sampler chains, then sending the output to a pair of mixer channels. And as for that mixer, I specced out Cosmotronix's Cosmix, giving you four mono ins, two pair of stereo ins, an mono AUX bus and stereo FX return. And since the Cosmix has a mono out/stereo in for FX, I dropped in a Frequency Central Stasis Leak which has that same topology. This provides reverb, chorus, and a tap delay. Then the last module gives you a headphone amp with stereo passthru to the Make Noise's stereo out. On, and the little white sliver is a Konstant Labs PWRchekr; yeah, the Ladik headphone passthru has DC bus indicators, too...but the Konstant Labs one is mission-specific, whereas the Ladik's indicators are something of a "sideshow element" and not the module's main focus.
Now, THIS is a decent sample-based setup. It not only has several voices, but it adds all of the modulation devices you'd need to really make those voices go really bonkers. As someone who's spent years...literally...futzing around with splicing blocks and grease pencils, this build is how I'd rather approach sample manipulation: if you have to do it all in one "box", make sure the box has everything it needs already self-contained.
Actually, this comes from Uli's slavish copying of the Moog spec. The original Moog modules that made up the System 15/35/55 module complements never had buffered mults...NOR do they have inputs that have the right sort of circuitry that allows you to avoid using buffered mults. This is just one endemic-to-Moog issue that later manufacturers (starting with ARP) dodged.
Another great example is Moog's shitty S-trig system. Yeah, you heard me right...shitty! See, S-trig stands for "shorting trigger"; there's a trigger bus that has a constant +5V on it, and when you trigger something, that +5V drops to 0V because the bus has been "shorted" to ground. BUT...and this is actually important when considering Moog modular stuff (which in essence, this is, at least as far as basic design conventions), if you put too many devices on the S-trig bus, it'll cause the bus's voltage to sag (because, as noted, Moog modular stuff has NO buffering on inputs), and when that sag hits somewhere in the +2-3V range, the S-trig will suddenly get a mind of its own and random trigger-fires will start happening. To say that this is irritating is an understatement!
I'm sure that Uli could've one-upped the Moog designs by adding front-end buffer circuits where needed. He didn't, though. And getting rid of the S-trig was one thing that I KNOW a lot of us who've used the originals wanted...and didn't get.
