might be worth getting a jumble henge to try it out,so my D.O.MIXX would be like a sub-mixer of some sorts?
-- Broken-Form
That's probably how I would use them. I have a few smaller "character" sub-mixers that lead into the Toppobrillo Stereomix, which I like, but I've considered both the Jumble Henge and Soundstage for my end-of-chain mixer. I've also looked at the SSF Vortices for a completely different flavor. I just like to experiment with creative mixing in the rack. Ultimately, you will have way more control with volume, EQ, and panning in your DAW, but these fixed EQ mixers seem like a good solution for live situations and capturing an acceptable quick studio mix.
Looks like the D.O. MIXX has direct outs on each of the five channels, so you could set volume levels there and then send each channel to the Jumble Henge for EQ and panning. The Jumble Henge would allow 11 more inputs and be your main outs at that point. You might be able to do some interesting feedback patching too.
-- farkas
might be worth getting a jumble henge to try it out,so my D.O.MIXX would be like a sub-mixer of some sorts?
Rossum filters are great. I have lineaus and evolution. Morgasmatron is also badass. Lineaus and Morgasmatron have changed my mind about what a filter can be; if I push them I get totally new unexpected signal. Filter as unique topology waveshaper in that case. Very west coast mentality. Evolution on the other hand is a beautiful ladder filter, expensive for a ladder but totally covers what I want from a ladder filter. Those are my three favorite Euro rack format filters so far. If I wanted to add any more filters I would check out the Joranalogue filter or some of the ones mentioned above.
Hello!
So my rack has evolved since this initial post.
Where I am at…
I have a DFAM, PNW and expander, a Mult and sound out.
I have 1500 to spend on some modules.
PLAN:
Maths
Drone Grone or Vampire( wish I saw some more vids on the vampire cause on paper it looks amazing and I’m worried I’m pulled towards the Grone drone course of clouds)
Mother 32
Some kind of quantizer
Echophon
Bloom
Can’t get them all but this was the order I was thinking.
Really loving my DFAM and PNW…I have a digitakt which I’m using for kick, snare and high hat ( love an real high hat and wish I could just have a drummer hitting hats while I mess around)
I know everyone has a different workflow and I’ve been learning about mine…. Love modular but don’t love needing 5 modules to make something musical. Which was why I ventured down the complex oscillator path. Happy the DFAM was my first module but feel like I might have gotten spoiled and think…what that’s just an oscillator with no filter?
Sorry…this turned more into a train of though then post but I guess I just wanted to give some background on my workflow thinking.
Thanks!
While I haven't been able to pick up any other ADDAC filters yet, I did get an ADDAC105 4-Voice Cluster which has an onboard filter, and I love the sound on that one. It's not super-crazy or anything, but just very nice, clean, sharp, and smooth. Love the ADDACs I've been able to use thus far, but I do wish they had more/better CV input options on their lower cost modules.
Yeah Doepfer is sort of great when getting into modular and sort of not so great at the same time. They are as true "modular" as you get, I think they pretty much invented it, and their modules tend to be on the technical side. Their instructions are always available but sometimes not the most readable/approachable. I've typically found their UI layouts, while always clean and consistent, to be on the needlessly unintuitive side in some cases.
Beyond that I've found with ADSRs in general that the LED indicators tend to often not behave entirely as I would expect, nor in fact the ADSRs themselves. I've found the Doepfer ADSR I have to be particularly, mm... uncooperative for my purposes, maybe we could say? ... and I prefer my dual Soundforce ADSR. But I've found ADSRs in modular generally to be a much different animal than they were in the digital applications I'd always used before -- way more sensitive and particular, often with what seem to be threshold points where a tiny millimeter of a dial turn will suddenly make a big difference to the sound even though the previous quarter-of-a-dial seemed to barely do a thing. That's often the frustrating thing for me, feeling like my "workable" area in each ADSR always falls into a very tiny range of the dial or knob. Those and EGs have definitely been a learning process for me as I've gotten into this hobby. That said when used creatively they've been a great tool ... but I don't always use them in the same straightforward ways I would in digital applications.
Anyway, all the advice already provided covers it pretty well, just empathizing with the struggle I guess.
Tiles are space-savers...but only with certain modules. For example, I deleted the Joranalogue mixer from the original build because Intellijel's got their QuadrATT, which gives you one more mixing input/attenuverter for cheaper ($179-ish vs $79). And the Noise Tools solves the noise source and sample and hold issues. But when there's no need for tiles, then yes, Jim's right on that. However, for portable rigs and definitely for one-row skiffs, tiles make a good bit of sense for shifting the basic utilities out of the "expensive" row.
I get fussy about tuning, so my tuner of choice is actually a Peterson Strobetuner. Yep, with the motorized disc, the line-frequency neon lamp, all that fun stuff BECAUSE you can detune up or down with precision due to the Strobetuner's cents vernier dial and the strobe disc's "motion". And if I'm seriously chasing some REALLY out there scalar stuff, I also have a frequency counter. If it worked for Rick Wakeman back in the early 70s, it'll work great today, too!
These are good fixes...but the REAL fix is this one book, probably one of the best books on electronic and/or studio mixing strategies of all time. And it's from 1913! Vide:
No lie. This was the orchestration text we used for my instrumentation and orchestration classes in undergrad...but I noticed that Rimsky-Korsakov's concepts of how to keep various orchestration layers from clashing/overrunning each other also worked perfectly when mixing multitrack audio. No oboe or cor anglais? OK, there's some electronic signal that sounds like 'em, so why not deal with those the same way, albeit with faders and EQs? By doing this sort of "ab extensio" sort of approach to this book, you'll find that mixing and composition in electronic media gets WAY easier, and your mixes sound tighter.
One other caveat: if you're using EQ while multitracking, NEVER boost. Always cut. The only times you'd use boost on an EQ will either be to accentuate frequency bands within a sound, as an effect, or gentle and wide boosts on a mixbus program EQ during mixdown, and even there, you don't want to go bug-nutz on boosting. You can always pull levels up...but bringing them down can actually really mess with your ability to control the mix because you'll get a false perspective from the hotter signals.
Good idea as well, I’ll probably go that route after getting the Behringer ARP 2600 (which I believe might be closer to what I’m looking for than the minibrute). Thanks everyone for all the help!
For a test, what you could do is, set all A, D, S & R knobs to for example a small value, let's say at 2 but not at zero, please! As Catwavez already mentioned, make sure you provide a gate signal to the gate input and then for example connect the out of that ADSR to the CV input of a VCA. If you have a Doepfer A-130-1 or A-131-1 then connect it for the sake of keeping the test simple to the CV1 input.
Then feed the VCA with some music, try to keep the rhythm of the music and the gate signal you sending to the ADSR in about the same tempo and then you should hear something coming out of your VCA. Once that works, try to play with the ADSR knobs and you should get some results.
Make sure that the gate signal that you feed into the A-140-2 isn't too extremely fast. For the sake of this test purpose provide a rather slow gate and then test it. Once you can confirm the ADSR works, you can increase up the gate speed of your preference. Note that Doepfer ADSRs (at least the A-140-1 that I have) can't cope with extremely fast gates.
If you are looking for a nice snappy EG (that can handle fast gates) then consider the Hikari Instruments - Triple AD as a second EG and use your Doepfer dual ADSR for the more slower gate stuff. I am not saying that Doepfer can't handle fast gates, it can but perhaps not at super speed (if that's what you are looking for). At "super" speed, the LEDs might not lit up. At extreme low ADSR knob settings the LEDs might not lit up either hence my advice to start with a slow gate first and all knobs set to two (2) for example.
Good luck with the troubleshooting and I hope you can manage to get your dual ADSR work. Kind regards, Garfield.
-- GarfieldModular
Awesome! Thanks for this, I did as you mentioned and its definitely working :)
Still wish they had some sort of reference 'manual' like Mutable has for their stuff...even if its just a page that has a brief label for all the connections and outputs...oh well, soldier on with the learning curve ;)
The dual envelope? The Doepfer website says the LED is for the output so it should light up once you send a gate into it.
-- catwavez
Can you send me a link that you looked at...i went to http://www.doepfer.de/home.htm and didn't find anything on the a-140-2...saw something for a-140, but they look quite different.
-- jb61264
Here is where I found it. http://www.doepfer.de/a1402.htm
-- catwavez
Thanks, I did see this page but was hoping there was a PDF somewhere too like the links that they have there for A-140
Right...technically, you could use a basic comparator as well, but this specific Doepfer module is designed for audio AND modulation use. Not all comparators can work nicely at audio frequencies, so this purpose-designed version is the winner here I think.
Since you are looking for rather chaos modules and less for random modules then have a look into Make Noise's Wogglebug and Telharmonic modules as well. They can be total chaos and with a bit luck, sometimes, you can manage to get something reasonable out of it, but if you want just chaos they serve that purpose pretty well is my experience :-)
Another "beauty" if it comes to unorganised chaos is the Erica Synths - Black Octasource, that's a chaotic LFO pure! But semi-organised if you like otherwise just leave it completely up to Octasource itself to get totally bananas, I love this module. It needs a bit time to learn and understand this psycho (module) but I love it.
Have fun with all that chaos and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
For a test, what you could do is, set all A, D, S & R knobs to for example a small value, let's say at 2 but not at zero, please! As Catwavez already mentioned, make sure you provide a gate signal to the gate input and then for example connect the out of that ADSR to the CV input of a VCA. If you have a Doepfer A-130-1 or A-131-1 then connect it for the sake of keeping the test simple to the CV1 input.
Then feed the VCA with some music, try to keep the rhythm of the music and the gate signal you sending to the ADSR in about the same tempo and then you should hear something coming out of your VCA. Once that works, try to play with the ADSR knobs and you should get some results.
Make sure that the gate signal that you feed into the A-140-2 isn't too extremely fast. For the sake of this test purpose provide a rather slow gate and then test it. Once you can confirm the ADSR works, you can increase up the gate speed of your preference. Note that Doepfer ADSRs (at least the A-140-1 that I have) can't cope with extremely fast gates.
If you are looking for a nice snappy EG (that can handle fast gates) then consider the Hikari Instruments - Triple AD as a second EG and use your Doepfer dual ADSR for the more slower gate stuff. I am not saying that Doepfer can't handle fast gates, it can but perhaps not at super speed (if that's what you are looking for). At "super" speed, the LEDs might not lit up. At extreme low ADSR knob settings the LEDs might not lit up either hence my advice to start with a slow gate first and all knobs set to two (2) for example.
Good luck with the troubleshooting and I hope you can manage to get your dual ADSR work. Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
@TumeniKnobs, yes what you described of Plaits+Sloths is exactly the main type of use case I'm planning: chaos signals routed into timbral controls. FYI bottom of Nonlinear Circuits pages often have videos where you can see their modules on scopes and hear results. But yes I would be interested to hear your configuration!
I just installed Sloths today and it’s immediately making Plaits do very cool things by modulating timbre, morph and harmonics. I’ve also got it hooked up to Data so I can see the waves. I was thinking about doing a video of the scope with some detailed descriptions- there’s not much out there to help understand exactly how it works.
The 1U modules are very practical and somehow space savers.
I'd disagree with this - if you can fit an extra 3u instead of a 1u then go for the 3u - I really don't see the appeal of 1u tiles - except in extremely small cases - and I rarely see the point of them, tbh
a tool like Maths or Quadra. Or maybe both?
I would get one and then think about what best complements that for you - personally I would go maths first because of the illustrated manual
sequencer (steppy?)
what are you trying to sequence?? - if it's plonk then I would just use Pams for now
why? because a single sound source can be copied and processed differently, a few simple modulation sources can be mixed and >modified to become more modulation sources that are more complex
Could you explain a little bit more on how to achieve this? The part of the copied sound source I mean. To what degree can one sound source be copied and modified ?
output of sound source -> multiple -> outputs of multiple to different filters, delays, reverbs, vcas etc etc etc
By doing this, you can then move some of your functions up into the tiles, plus the header gives you three buffered mults (usable as one HUGE buffered mult)
What's the advantage to have many buffered multipliers, is it related to previous question where you would duplicate one sound source/cv signal to multiple outputs?
-- codecks
no a simple passive mult is adequate for most signals within the modular with the exception of v/oct - this needs to be precise if you want to play in tune, especially with other people - once a v/oct signal is quantized you want to use a buffered mult to guarantee that any copy is exact when delivered to the vcos inputs - say you have three vcos and tune them to specific intervals to play chords - you want each one to receive exactly the same pitch information (the root note, usually) so that the chord is in tune - with other signals audio, modulation, gates etc a tiny variation will not make any noticeable difference
as you only have a single vco I would not worry too much about buffered mults - unless you want to modulate filter cutoff with the v/oct - in which case you would need a single buffered mult - you already have 2 on order in links
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
to mirror a positive waveform to a negative waveform a standard inverter would absolutely do
for the phase offset a short dc coupled delay would work - but if the frequency of the waveform changes the so will the phase offset - so may not be a viable solution
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
@Broken-Form, how many voices would you be running simultaneously?
I thought about this point a while back for my own rig. My conclusion was I would need to go into the DAW for EQ etc. if I was running enough voices; I thought doing a lot of EQ in modular, or having EQ hardware to run the modular into, just wasn't worth it for my uses.
I did get Mutable Shelves to be able to do a little EQing in modular. I don't use it too much, but it is helpful on occasions.
@cmb_ is correct, I am presently more interested in "chaos" type modules which are different from random. The Elby link / description above is good. Put simply, chaos module outputs are less patterned than LFOs but more patterned than random.
The Nonlinear Circuits chaos modules are particularly interesting to me (https://www.nonlinearcircuits.com/modules?tag=Chaos). I'm going to get Triple Sloths. If people love/hate the other modules, I'd be interested to hear which ones and why!
In the meantime, I'll continue to check out the recommendations above, most of which I'd never heard of before. Thanks for the ideas everyone!
Looks like the D.O. MIXX has direct outs on each of the five channels, so you could set volume levels there and then send each channel to the Jumble Henge for EQ and panning. The Jumble Henge would allow 11 more inputs and be your main outs at that point. You might be able to do some interesting feedback patching too.
The Worng Soundstage and ALM Jumble Henge mixers seem to solve this problem with EQ and panning pre-set for each input. Every demo I have heard of each sound great for standard usage, and they can be used more creatively too.
-- farkas
would be cool to be able to use one of the above with my D.O.MIXX but dont know if thats possible?(Properly Not)
Wow, thanks for the detailed replies! Really appreciate it. Something I didn't mention is that I will be building my modular in a 19" rack. So for one 3u row I'm limited to the 84HP, but I still have enough space in the 19" rack and eventually I will expand to a second row. The 1U modules are very practical and somehow space savers. I haven't seen a 19" 1u rack yet but I'm looking into that.
There's a lot of valuable information to process here. I'll take my time to go through, check the modules you refer to properly and reply here later on. I guess the best is to build up slowly, test with the modules I already own and see what makes the most sense to add.
I'll sum up what I have already. I now realize that I maybe should have waited for your replies to make better choices, but heck, at least it got me started (I have a tendency to put things off when I start thinking too much about it :-) ). So here's the current list:
1 behringer 19" 84hp rack (possibility to add a second one + 1u row)
1 pamela's new workout (on order)
1 joranalogue mix 3 (on order) (veils might have been the better choice as you both suggested, but I think it will do fine for now, I can always replace it later + I checked and it's DC coupled.
1 plonk (probably not the best to have as sole sound source, because it's more percussion oriented, so I will definitely add a proper VCO, although I wonder if the plonk can output regular waveforms?)
1 kinks (on order)
1 links (on order)
1 befaco output V3
As for the next batch of things I think to buy, it will probably be a:
a VCO (Gravitational Waves sounds really good)
a tool like Maths or Quadra. Or maybe both?
a filter
fx
sequencer (steppy?)
I'm thinking of a tighter integration with my DAW (midi, CV) in a follow-up phase. For now I'll be happy just playing with the thing and record the audio into my DAW.
I still have a lot of questions but two things I'd like to know more about for now (and sorry for the newbie questions):
why? because a single sound source can be copied and processed differently, a few simple modulation sources can be mixed and >modified to become more modulation sources that are more complex
Could you explain a little bit more on how to achieve this? The part of the copied sound source I mean. To what degree can one sound source be copied and modified ?
By doing this, you can then move some of your functions up into the tiles, plus the header gives you three buffered mults (usable as one HUGE buffered mult)
What's the advantage to have many buffered multipliers, is it related to previous question where you would duplicate one sound source/cv signal to multiple outputs?
The image looks like it has a 50% phase offset in addition to mirroring the wave. If it’s just a “mirror” you want wouldn’t a standard inverter do that? Maybe I’m missing something.
I would like EQ capabilities in my rack and might think about adding it when I eventually upgrade to bigger rack space. But as noted, without it I have turned to more careful sound design, filtering, arranging, enveloping, panning and effects use to avoid sonic clashes in the final mix (with varying degrees of success).
That Jumble Henge looks pretty compelling, and definitely sounds effective, but I guess I could only use it on things I want to sub-mix prior to hitting my main rack mixer.
I often use a Korg TM-40 for tuning my Mother32 and Subharmonicon since they’re not in my 7U cases. I just prop it up in front of a monitor. It’s not ideal but it does the job and it’s cheap. I put Data in my rack and use that for tuning everything else. I know you said you weren’t really considering it, but I can’t recommend it enough especially for the scope functionality. Very educational.
I believe it’s known as contagion. Which is a bit of a creepy term. “Value” is certainly a complex philosophical concept, but at least it’s also a decidedly personal one. No doubt many would empty their bank accounts for an item that Jesus farted on. ;-)
The Worng Soundstage and ALM Jumble Henge mixers seem to solve this problem with EQ and panning pre-set for each input. Every demo I have heard of each sound great for standard usage, and they can be used more creatively too.
I'm having a problem with the Disting's (mk 3.1) sample and hold algorithm:
-Noise is coming out of output B as expected, and am feeding this back to input X
-I have a simple lfo ramp wave to input Y, and the led light in input Y flashes at the tempo of the lfo
Now I would expect random voltages changing at the speed of the lfo, but out comes a steady waveform. What am I missing? Or is the device/firmware corrput? I can get other patches to work fine (tested a few, not all yet...)
I'm kinda beginner in the eurorack world, but can handle synths just fine!
guitar pedals tuners - depending on the model they are easy to read and don't take up any rack space - connect with a 3.5 -> 6.5mm cable - and they are no more expensive than modules
if you have a disting you already have a tuner built into that
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
I am looking for a module that can reverse the curve of a signal.
For example, as if I placed a mirror on the floor and reflected an object on it. A horizontal reversal of the wave.
an illustrated example: https://i.servimg.com/u/f90/20/36/39/92/captur12.png
Is it a case of jumpers at the back to switch between VCA/Mix modes, or is it dependent on how it's patched? If it's the former, I'd maybe be able to live with it, as that's kind of versatile.
-- ryanthegecko
I would check in the manual if I were you - they often hold the answers you are seeking - sometimes manuals can be ambiguous or confusing - so come and ask specific questions if you don't understand something
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
for the time being i only use my modular in the studio have a bloodcells Audio D.O.Mixx going into my studiolive 16.02 then i record seperat tracks into Reaper,where i have eq plugs on every track.
but came to think about what if i want to take the modular out of the studio sometimes,how do you avoid frequency clashing in the modular world?
EQ Modules could quickly take up alot of space i would think??
I am looking for a tuner to tune oscillators in my system. I currently have a bunch of analog and digital oscillators and i am struggling to get them all well tuned.
At the moment, i don't need functionalities other then the tuner, so i am more on the side to buy something cheaper then Data or O'Tool Plus (as i am not interested in the oscilloscope at the moment).
Just a note here, if the information about the Disting EX is correct, the module is too deep for the Palette. I even had to keep that in mind when putting it only at the Mantis's bottom row, not at the top.
OK...first up, 3U x 84 is just not a good starter case size. It's small, as Jim notes...small enough that you'll be making compromises that you probably won't like. So, taking your intentions and mixing 'em up with Jim's notes, I cooked this up:
First of all, I jacked this on up to an Intellijel Palette 104. Instead of the previous cab, this gives you a utility tile row AND the power supply/header half-row. By doing this, you can then move some of your functions up into the tiles, plus the header gives you three buffered mults (usable as one HUGE buffered mult) and two adders. And a MIDI port. Oh, and four 1/4" jacks. We'll get to those in a bit...
Tiles: MIDI Interface. NOW you can connect this to your DAW's MIDI. This will give you a synced clock, also. Then the Intellijel Noise Tools provides a noise source, slew limiter, sample and hold, and another clock that can also spit out random pulses. Then there's a utility VCO that doubles as an LFO with CV and sync. The QuadrATT provides mixing, but also polarization, and a breakable summing bus. Then the first 1/4" jack thing: a Pedal I/O, which lets you drop in various FX processors or, if you like, you can use the return line as an audio input. This makes use of a pair of the 1/4" jacks for its own I/O. And last, the stereo output. No, the Befaco isn't in here, because NOW you can output from the build via the Stereo Out and its 1/4" jack pair...no need to rob 4 hp for the output.
Row: Pams first, then a Ladik dual pulse delay lets you offset two channels of pulses on the fly. I kept the Steppy because now, it makes a decent sequenced trigger for the Quadrax...or you can use the Quadrax's QX expander's EOR/EOF pulses to fire it in ways that can, if wanted, turn the entire Quadrax into a complex LFO. Hell, you could even clock a channel or two of the Quadrax at audio rates to use those function gens as extra oscillators WITH CV over the rise and fall values. And in the same vicinity, there's the Disting EX to provide all sorts of ancillary functions...quantizing makes sense, but there's OTHER weird things it's very capable of with the other modules in here.
Now, for the voice section, I opted for a more "proper" complex oscillator, as that'll give you your dual VCOs for fattening up the sound. But you don't have to do that with this; instead, you can FM one oscillator via the other, you can AM them by using the ring modulator, or you can entertain a bunch more weird routings, all of which gives you some really rich timbres before even hitting the VCF. Next, a quad VCA (Veils) lets you strum through various waveforms, which more or less gives you some simple timbral sequencing, or you can use one half of it for audio from the Gravitational Waves while reserving two more for modulation amplitude functions.
The next two modules actually work in tandem. First up is Doepfer's take on the MS-20 Sallen-Key VCF pair...which, strangely, includes an insert loop in the resonance path. And for that insert loop, I added that second module, Recovery's Bad Comrade mkiii, which is a delay line with many ways to cause glitches, freezes, etc etc, which the resonance path then takes back in...so, as each sound loops through the Bad Comrade, you have ample opportunities for seriously messing with it, then it all accumulates back in the VCF...and around you go again!
Last, some effects. First up is a Stasis Leak, which I find comes in very handy for "stereoizing" audio. It's a mono in-stereo out reverb/chorus/tap delay...and yes, you can use the Steppy to define/redefine that tap delay length as a sequenceable function. Then the end of the 3U stuff has a Warps clone, which lets you do a lot of pitch change, various other modulations, stereo ring mod, and so on.
Now THAT'S a serious and small production rig. Instead of the previous version, this has a lot of open-endedness to it that keeps it from being a "one-trick" build. Timbral variety is REALLY big in here, plus the Steppy has the ability to mess with certain other functions, AND you can offset it in time from the Pams with the Dual Pulse Delay. But by going a big bigger, adding the extra tile and header rows, NOW this is working at the right capability for a really diverse system that still fits nicely under one arm.
The dual envelope? The Doepfer website says the LED is for the output so it should light up once you send a gate into it.
-- catwavez
Can you send me a link that you looked at...i went to http://www.doepfer.de/home.htm and didn't find anything on the a-140-2...saw something for a-140, but they look quite different.
It's great to have you back here under us, earthlings, I thought you left us back there in 1827 ;-)
Regarding your question... there are tons of modules that can do PWM. Just look for any VCO that has a pulse/square output and most of such modules have a PWM knob and then again most of them have a CV input for that too. There are so many of them that's close to impossible to list them all here.
Just have a look at Doepfer A-11x modules many of them have PWM. Like the A-110-1 for example. Rubicon2 from Intellijel has it in all kind of sorts and ways, even the Dixie II+ from the same Canadian club is able to do just that.
The Erica Synths - Black VCO 2 is able to do PMW too. As well as the ACL - Variable Sync VCO and there are many more of them, these are the first ones that come to my mind. Whatever module you are going to choose, my advice is to look for at least a module that has PMW knob as well as a CV input for PMW.
I am an admirer of symphonies and of course of your symphonies too! I therefore look forward to your next new symphony, I hope you don't let us wait too long before you are going to release and please us with a new symphony? Can't wait for it and perhaps you can demonstrate it on your Eurorack? :-)
Welcome back here in this new world where it is nowadays much about electronics, Eurorack fits in there pretty well and I am sure a new symphony of yours would fit in the world of electronic music. It would be an honour for me to listen at it! Thank you very much in advance for that and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
