Normally, no. But when you grow up in/around the music industry in Nashville, you eventually learn that dumpsters in that alley between 16th and 17th Av. S. on Music Row tend to wind up with some interesting "garbage".
Normally, no. But when you grow up in/around the music industry in Nashville, you eventually learn that dumpsters in that alley between 16th and 17th Av. S. on Music Row tend to wind up with some interesting "garbage".
So I bought a used DIY case with a sketchy synthrotek power supply off craigslist - a terribly thought out move that I will certainly not do again. I'm trying to find a new one, but I need it to fit these criteria:
Needs to be able to power a rack with 2470 mA on the +12, 1102 mA on the -12, nothing on the 5 (for now)
Needs to be able to power a 9U 104Hp case
I've been having trouble finding something that seems like it'll work. I'm under the impression that you're supposed to leave about 20% of the mA for headroom, but doesn't that mean I would need to have something with more than 3000 mA? Does such a thing even exist? Do I just do multiple supplies at that point? I'm honestly thinking about just getting another case, might even move up to a 3x126 if that ends up happening
Hi Nicholas,
I forgot a useful module to convert cv to midi.
The Tesseract Modular Sweet Sixteen (mk1 or mk2).
With it you can send 16 cv to midi.
Midi channel freely assignable with the web based editor.
You can't do midi to cv with it.
Cheers
MOTU drivers? Yeah, they're out there...check here: https://motu.com/download and you'll see the 8pre under "Audio". Win10 drivers, even!
What I like about them is that, by putting these "obsolete" interfaces back to work, we're working to keep e-waste out of landfills. You'd be shocked at what major studios toss out sometimes; nothing is as satisfying as pulling a few Altec/WE "birdcages" out of a Music Row dumpster!
-- LugiaYeah I know, but they stopped supporting/providing drivers for 828mk2 FW back in 2017 up to OSX 10.13 and I'm running 10.15 Catalina, it's all good, don't need the drivers, just use it as another set of in/outs :)
I never realised you could go dumpster diving for old studio gear, awesome haha
I’ve been thinking / asking about this type of stuff too. See https://www.modulargrid.net/e/forum/posts/index/10312 for a lot of ideas and resources
I’m going to get Expert Sleepers ES-3&6 as that will give me I/O via ADAT all run through my RME interface. So that saves me the “2 interface” issue which I don’t want to t try to deal with on my PC based setup. As I have ADAT lanes to spare this is IMO the simplest and tightest solution for my setup. If I needed more I/O there are add ons like ES-5 etc that can be added.
BTW stepping up to a good interface such as those from RME or UA etc is a big step up for your studio.
Hope this helps, cheers!
I ordered the 4MS Listen IO from Perfect Circuit. However my head is starting to hurt thinking about how I should connect the OctaTrack to my WMD Performance Mixer via the Listen IO. Ideally you should be able to route signals to and from the Octatrack at will between PM channels, so you can make full use of the OT effects. There is also the matter of using the second pair of Octatrack inputs. So my current setup using the stereo effects loop is probably the wrong choice, since it's all or nothing. The trouble is that most of my gear is stereo, and I mix it through the Befaco ST Mix before the PM. So like I said it's making my head hurt ;-)
How does the MIDI routing works? ;-)
-- GarfieldModular
Voodoo.
My suggestion would be to have a look at Ladik's A-5xx series. There's several possible solutions in there, some of which also include line-level input to modular level out capabilities. The fixed-level ones are especially cheap and don't require much in the way of fiddling around.
It's also worth noting that the vaunted Maths is also based around slope gens, which are more or less slew limiters with CV over rise/fall in Make Noise's design. Plus, anything else based in the Serge "Universal Slope Generator" family fits this definition, too.
Actually, I think the 4ms 64X is a rather poor choice here, given that only a couple more inches 'vertically' gets you an Intellijel Palette 62. Sure, 2 hp shorter, but you also get 62 hp of tiles AND the utility bar with two buffered mults, USB MIDI I/O, and your 1/4" audio outs.
Plus, this fixes one of Ronin's questions. The tile row has the ability to house Intellijel's Stereo Out tile (which directly connects to those 1/4" jacks). And as for his second, instead of the Serge version of this sort of thing, have a look at WMD's SCLPL. Also a resonant EQ albeit more limited in bands than the Serge, it DOES feature this "morph between settings" capability. Sequencer friendly, to be sure...and VERY capable while occupying 450% LESS space!
I'll bang on this when I get a little more nicotine in my system...just started this cigar, and the "brain food" hasn't kicked in yet!
EDIT: OK, here we go....
First up, this is in the 62 hp Palette, as mentioned above. The utility module gives you a pair of buffered mults and your 1/4" outs, plus the potential to add one of Intellijel's MIDI interfaces later on. I omitted that here because your description of the rig is less something MIDI-controlled and much more of a portable, manual tweakfest. And of course, your power connection is here.
TILES: First up, there the Intellijel Noise Tools gives you a master clock, sample and hold, noise source, and slew gen. Then there's your other VCO which can also be switched to LFO mode. After this, I put in another two VCAs which can be used in stereo. Then last in line is the Stereo Output Mixer, which can sum down two stereo paths to a single output. This connects directly to the 1/4" jacks on the utility bar, but you also have a direct stereo out so that you can take that summed stereo signal and mess with it elsewhere in the build.
MODULES: OK...the O&c is still there, but the little screened thing next to it is a multichannel sequencer, with five gate/trigs and one CV/gate channel with quantizing. The Paratek CV Peaks is an upgraded variation on Mutable's Peaks, albeit with full CV control over the stages in both EG channels. Your Mangrove is after that, followed by a Happy Nerding 3X VCA for controlling all three of the VCO levels pre-VCF.
And as for that VCF...I went with something like the Just Friends, but even crazier! The Limaflo Motomouth is a digital VCF that's also capable of operating as a formant filter; you can see the dial with the IPA phonetics vowel annotation in the middle left. So if you want a normal VCF, you've got that...along with the formant-based filtering the larger Mannequins module does. But the Just Friends doesn't have a morph control to shift from one vowel to the next, while this thing CAN do that. The C4RBN is also there if you need "conventional" filtering.
Then there's the FX module, where I opted for Frequency Central's Stasis Leak, giving you a choice of stereo reverb, tap delay, or chorusing. This also takes your mono "voice" signal and stereoizes it so it's ready for the WMD SCLPL...which is where that Stereo Output Mixer comes in. By having that in the tiles, you can use an out from the Stasis Leak AND from the SCLPL and then use that dual VCA to let one fade in/out against the other. And as for the SCLPL, no, it's not as complex as the Resonant EQ...really, it's more like a single resonant EQ band, albeit with a set of user-definable presets which can be morphed between, resulting in something even more filter-like and bonkers than the Serge clone. Hooking that preset "stepper" to a t/g channel from the Godfried will then result in sequenced TIMBRAL mayhem!
But yeah...this is what I was talking about above. Building these little portable systems is NOT easy...I actually revised bits of this several times for the optimal results...but by getting more functional density, adding some additional capabilities, and having that tile row, you wind up with a similarly-sized but WAY more powerful result!
Now, one notable omission here is the looper. It simply would NOT fit, and I wasn't going to stick you with that 2hp one because that's simply trying to cram too much behind 2 hp of panel space. But my idea here is that you actually might benefit more from a outboard looper for maximum sonic mayhem. Plus, the size works if you're going to jam it, the skiff, and the necessary power bricks, patch cables, and such into a nice gigbag (such as this: https://www.sweetwater.com/store/detail/SubPhattyBag--moog-sub-phatty-gig-bag). And for that, I suggest the similarly-sized Boss RC-202, which gives you dual loop engines, onboard processing, live dub/delete, a "post-processing" headphone preamp, and a bunch of other stuff. Harness THIS (https://www.sweetwater.com/store/detail/RC202--boss-rc-202-loop-station) to the build above, and you've got a rig that fits in that gigbag for maximum mobility. All DC-powered, too...so if you wind up in some odd place with odd voltages, you can at least try looking for a suitable pair of wallwarts at some bigbox.
Well, how about the Happy Nerding Isolator? 4 hp, plus it DOES have transformer isolation and a ganged stereo level control. As for the Befaco, I even looked over the PCB diagrams and saw nothing resembling a transformer on them. If you go with the Isolator, you won't have a headphone jack there...but at the same time, the WMD mixer does, plus that same headphone output is where you'd be able to check things (like tuning!) on a CUE bus via the CUE/MIX crossfader. Using a headphone pre on a different module, like an output, won't give you that functionality.
What do we think of the 4MS Listen IO? Also, I could use the ES-9 1/4 inch outputs via the ES-9 mixer. Then I would just need an input level shifter. Like the Erica Pico Input?
-- mntbighkerWhat do we think of the 4MS Listen IO? Also, I could use the ES-9 1/4 inch outputs via the ES-9 mixer. Then I would just need an input level shifter. Like the Erica Pico Input?
-- mntbighker
I’m sure the 4ms would work.
Yes. That could work, although I don’t know if the Pico is stereo in or not.
With a DC coupled audio interface with MULTIPLE OUTPUTS, you can use spare outputs to drive your modular synth gear and use the others for normal audio. The issue you'll run into with the audio interface is the range of voltages that it can reproduce.
-- Ronin1973
I was a bit suspicious about this but RME states this about the Fireface UCX II:
Voltage Ranges
Line Out 1-6, unbalanced (mono jack), unloaded:
+19 dBu: +9.5 V, +13 dBu: +4.75 V, +4 dBu: +1.7 V
I think it's pretty solid. I'm informed that modular works at 10 V ranges. Please let me know if I'm wrong about these. Here's the manual (page 43): https://www.rme-audio.de/downloads/fface_ucx2_e.pdf
What do we think of the 4MS Listen IO? Also, I could use the ES-9 1/4 inch outputs via the ES-9 mixer. Then I would just need an input level shifter. Like the Erica Pico Input?
Here's a great video Divkid does on the Joranalogue Contour 1 - Slew Limiter & Function Generator -- that should help!
Can I use this as a level shifter for an Octatrack?
-- mntbighkerDon’t know. Does the Octatrack take instrument level?
I’d think it takes line level.
-- clwilla
Yeah, so the Strymon says it does 18db drop/boost. By the looks of the levels I'd say 12db would be better. 5 volts is obviously way too hot, but 18db down is a bit too low. If line level is 2 volts I wonder what 18db gets you down to.
-- mntbighker
What you want is something like the Intellijel Audio Interface II. Stereo line in and out. You can use it as a send return for line level gear, or to use your synth as an effect for something in your DAW. That’s a 10hp module.
You can also use the Joranalogue Receive 2 and Transmit 2, which will get you studio quality I/O that can handle anything from mic level to line level in and out.
Also, instrument level is 1-1.736v.
Can I use this as a level shifter for an Octatrack?
-- mntbighkerDon’t know. Does the Octatrack take instrument level?
I’d think it takes line level.
-- clwilla
Yeah, so the Strymon says it does 18db drop/boost. By the looks of the levels I'd say 12db would be better. 5 volts is obviously way too hot, but 18db down is a bit too low. If line level is 2 volts I wonder what 18db gets you down to.
Two things for me:
1. How do you plan on monitoring the outputs of this skiff? Maybe you're using an audio interface or something?
2. The Resonant Equalizer is huge at 18HP. You could add other modules that might be more useful in its place: an effects processor, a dedicated sequencer, a multifunction module like a Disting, etc.
If you're using a Mac you can aggregate audio interfaces. Simply put, you can connect multiple audio interfaces to your Mac.
On PC, Windows only likes to have ONE audio interface. There are workarounds here and there. But this is it.
The ES-8 acts as an audio interface. So if you're using your actual audio interface to control your monitors or service other gear, you're now out of luck unless you can connect everything up to your ES-8.
With a DC coupled audio interface with MULTIPLE OUTPUTS, you can use spare outputs to drive your modular synth gear and use the others for normal audio. The issue you'll run into with the audio interface is the range of voltages that it can reproduce.
Another option is to use a MIDI to CV interface like an FH2 that acts as a MIDI interface. Or a MIDI to CV converter which simply takes 5pin or TRS MIDI and converts that to CV.
A slew limiter takes an input signal and follows it, but at a delayed rate.
Square waves are excellent for showing what a slew limiter does. Visualize a really slow square wave that's two seconds long and 8volts... at the beginning it begins its positive cycle to +8volts and in the middle it dips down to -8volts. It's a nice long square wave.
Now for whatever reason, you don't want an actual square wave. Maybe its abrupt nature doesn't work for your needs. You need something that slopes. Enter slew limiter.
You can set the slew limiter to follow the square wave, but take time to get to the +8volt peak than its natural instant peak. The same can be said for the negative cycle. So the output looks more like a trapezoid than a square.
Slew generators tend to fall into two major categories. You have slew limiters that apply the same slope to both the positive and negative slope. You also have slew limiter that can act independently on the positive and negative slope.
Maths is a popular module that can be used as a dual slew limiter. It has many other functions. Plugging a signal into the input rather than trigger will get Maths to act as a slew limiter.
As far as usage. They can be applied anywhere you want to take a source signal and smooth out any changes in the signal. There's some blur between envelope generator and slew limiters. But an envelope generator is designed take a trigger (square wave) and act in accordance to its duration. If you're dealing with ONE trigger than the functionality will probably overlap. If you're dealing with a series of changes that never return to zero volts. The EG won't track properly.
EDIT: I've been looking at variations of a VCO/VCF filter in 6HP and this combo seems to check my list:
I've updated the rack and this post is now a "please roast my rack" post 😊
Hey 👋
I'm leaving my home town for a (hopefully long) trip across Europe. As I was saying good bye to my modular system, the idea of putting up a small system to take away started to grow in me and I came up with something I would like to show you.
I have 3 constraints that guided my choice:
- Use a 4Ms Pod 64X cause it looks small enough and sturdy
- Try to use modules you have already (JF, Mangrove and Resonant Equalizer)
- Only add modules that are easy to find (I'm leaving in a month)
I'm not good at patching mentally (which makes planning a rack super hard haha) but the idea is to use Just Friends as a clock + source of modulation (ASR envelopes to VCA, LFOs to O&C quantiser, etc.) and O&C as a melodic sequencer and quantiser. I would use the 2HP loop to pre-record drones and multiple layers (I was going for the W/ initially but it's not available anywhere and I've never been fully convinced of the module). I chose 2 oscillators that should work great in pair: the mangrove is my favourite oscillator and I felt like almost any 6HP secondary oscillator would do it. But more on that second osc later.
I'm curious what you guys think of putting a REQ there. Obviously it's really big but it may be my favourite module and I don't know how to make music without it. I think it would be super helpful to create drones and I really need a sort of mixer. If you think of an alternative, what would it be?
Later on, I've found this video online:
and it should give you a good idea of what I'm trying to achieve. But what really bugs me is how central the filter is in his piece and I don't thin the EQ would be as effective there. From this came a questioning on wether I should keep the second oscillator (currently an Instruo Ts-L although it's super expensive and I don't "love" it, but it could be Godspeed+ or a Dixie II or an MCO) or replace it with a filter (I was thinking of a µVCF because of its sine wave).Of course, I truly want both and I've started to look at 80HP skiffs, but this is not the answer I'm looking for.
Anyway, feedback greatly appreciated.
Thanks!
I have actually the Befaco Out v3 but could not find anything about it being isolated. But maybe the reason is also that I am not very well read when it comes such things. Would be great if someone could confirm. Because that would save me another 2hp vs. the WMD Pro Output.
Again big thanks to everyone for all the great content and feedback.
Three very simple use cases off the top of my head:
1) Sample and hold => slew => control CV
Rather than have an immediate jump when the sample and hold is triggered you will get a descent or ascent to the new value over your specified duration.
2) Bass drum => slew => inverter => compressor sidechain
The slew generator here will function as an "envelope follower" for the bass drum. When you invert that and pipe it into your compressor's sidechain input the compressor will make everything running through it quieter allowing your bassdrum (mixed elsewhere I think?) to boom in the mix.
3) Sequencer 1v/oct => slew => oscillator
You can use a slew generator here to create a portamento affect. Some slew generators have different values for up vs down, so you could have your portamento only appear as notes go up or alternatively if they go down, you could have different slew lengths up vs down, or you could dynamically gate and vary the slew length over time to have your portamento constantly changing.
There's way more possibilities than these three, but they're some simple examples I could think of.
my tunes: https://stevehand.bandcamp.com/
I don't have one at this time, but I'd like to know about their applications and uses. Where is a slew generator more useful than an envelope generator? How do people use them in ways that are useful and non-replicable via other ADSR/LFO/EG type modules? Thanks.
FedEx is the worst (UPS close behind). They lie about delivery times, they don't provide notifications as requested half the time, they don't honour the signature requirement. I pretty much have to spend two days sitting within sight of the front window to spot them. (Packages have been known to disappear in my nabe.)
Right now, I have a splitting headache.
I have a splitting headache because I ordered some gear from the retailing juggernaut that is Sweetwater, and since it qualified for overnight via FedEx Ground, I went for that, then sat back the next day for this to show up.
Did it? No. Instead, what happened to mine and probably a bunch of others' orders is that they went to a suburb of Indianapolis...and stopped there for about 18 hours for what I was told was a snag due to "staffing issues". OK...fine, I've done this dance with FedEx's clown show before, so sit back, wait, and then tomorrow (ie: today)...
Nothing. Again. OK, check the app on the phone...and it arrived in Champaign, left Champaign, went to Champaign again, all early in the AM...and as of right now, this "overnight" shipment is coming up on Day #4.
Oh, HELL no! OK, so call FedEx AGAIN, punch through their customer deflection phone system AGAIN, and let's see what's causing this. The answers were appalling...apparently this was the package moving from the terminal to the local office, but this massive distance was simply a move from one part of their terminal to another part of that same terminal. Yes, scanning the package this way might make it appear that the package was on its way...save that that 'way' is about 150 yards.
I demanded answers at this point. S**t ain't funny. So I got connected to a higher-up in their customer mollification department, and they promised to "get this sorted out", and they'd call back in a half-hour.
Two hours later...the phone rings. And it's not the previous person, but someone at the Champaign terminal who was VERY hostile and combative, to say nothing of being a helluva insult-slinger. They suggested I come over and get the box. I suggested that maybe you need to do your effin' job and bring the box over like you're supposed to. Call ended shortly after that in an avalanche of four-letter words on BOTH ends! Call FedEx AGAIN, navigate the customer-deflector AGAIN...then I get told that "that package wasn't an overnight". Oh? Hmmm...Sweetwater.com, check this, that...nope, that assertion is 100% BS. Either that, or you need to see what THEIR website says about this "free overnight" shipping gobbledygook.
So...call Sweetwater, where this all started. They wanted me to, actually, as they were watching how this got dealt with by FedEx (which goes quite a way to my deduction that there were A LOT of Sweetwater shipments in that trailer that got stuck in Indy) because THEY have been pissed at FedEx since FedEx dropped their delivery guarantees which apparently has led to a bunch of lackadaisical behavior at that "When it absolutely, positively has to be there overnight" carrier.
I should note that I had Sweetwater change my shipment info around this point, leaving a note on my account that Sweetwater "absolutely, positively" NEVER ship me anything via FedEx Ground ever again, period.
Now, for those of you reading this who don't know the geography here, Champaign and Ft. Wayne, Indiana are only about 3-4 hours apart. By car. At this point, I could've gone over to Sweetwater several times, gotten a bit of the gear each time, and then by the time I'd reassembled it all we would be at...well, about NOW, actually.
So the lesson is: if you're ordering from Sweetwater and you're in the geographic range for FedEx Ground "overnight"...well, don't. Have them ship your stuff via UPS, USPS, ANYthing but FedEx Ground if you need it ASAP. Or if you need it at all, for that matter, if you value your gear AND your sanity!
Hmmm...one more that's a "sorta-filter": https://www.modulargrid.net/e/wmd-sclpl
Stereo resonant EQ, sort of akin to the one you find in many Serge builds, but with the additional insanity of having morphing capabilities from setting to setting. Small and dangerous!
-- Lugia
That's one powerful tool. Amazing!
Hmmm...one more that's a "sorta-filter": https://www.modulargrid.net/e/wmd-sclpl
Stereo resonant EQ, sort of akin to the one you find in many Serge builds, but with the additional insanity of having morphing capabilities from setting to setting. Small and dangerous!
Would this work? Morley MHE 2-channel Stereo Hum Eliminator
EDIT: They're proving difficult to find. If someone was committed to avoid putting an output module in their main case, I suppose they could bring along a tiny separate case with an isolated output module and maybe a few other utilities.
-- CardiacTasty
Directly from Sweetwater's listing for this:
"Note: The Morley Hum Eliminator isn’t intended for use with mic- and instrument-level signals or powered speaker lines."
So, no, it won't work unless you stepped the levels down to line-level before hitting it. Given that, I'd say just go with a stereo balanced-out module in the cab, because a stereo attenuator module would take up about the same space.
@Ronin1973 Do you have any output modules you would suggest that have a pair of built in isolation transformers?
EDIT: I see three at the moment that seem to qualify and also have a small profile:
- Happy Nerding's Isolater
- Joranalogue Audio Design's Transmit 2
- WMD's Pro Output-- CardiacTasty
A couple of others that work nicely AND which have parallel stereo mixing capability (great for FX returns) would be Bastl's Ciao! (5 hp) and Happy Nerding's awesome OUT (6 hp). Both of these have some interesting routing capabilities that allow you to do a few more things there than just level step-down and isolation, and both also give you an extra headphone pre.
My fave? Tiptop's Forbidden Planet, but that's because I owned an actual Steiner-Parker Synthacon for a number of years and came to LOVE that yowling, cutting filter. Nothing exactly like that weird topology for generating leads that literally RIP their way through your mix!
MOTU drivers? Yeah, they're out there...check here: https://motu.com/download and you'll see the 8pre under "Audio". Win10 drivers, even!
What I like about them is that, by putting these "obsolete" interfaces back to work, we're working to keep e-waste out of landfills. You'd be shocked at what major studios toss out sometimes; nothing is as satisfying as pulling a few Altec/WE "birdcages" out of a Music Row dumpster!
Can I use this as a level shifter for an Octatrack?
-- mntbighker
Don’t know. Does the Octatrack take instrument level?
I’d think it takes line level.
Hi Synthmage00,
But it actually makes sense what you are asking here, just not sure if this is easy to be implemented...
I was just joking in my previous comment ;-) Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
I am so glad that I am not the owner of this modulargrid.net website when I see feature requests like that
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
How does the MIDI routing works? ;-)
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi CardiacTasty,
Don't forget the Intellijel - Audio I/O module, with 10 HP it's still compact though very useful as an audio interface module, it can handle inputs and outputs (both stereo) simultaneously. Then there is Befaco Out v3, very small module, only output (or only input if I am not mistaken). Oh yes and the Bastl Instruments - Ciao! module. Though the Intellijel one might be the best fit from these three.
I haven't mentioned XLR modules since you were asking for compact modules.
Good luck with finding a good audio interface module and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Well, I got burned out looking at all the filters. Was overwhelmed quite frankly. For me came down to the SSL and Qpas, granted Qpas isn't a filter module in the strict sense of the word. I think for filter power SSL and similar, were all extremely powerful. But I went with the Qpas. I just like the sound design possibilities. Make Noise wanted to make it fun and inviting to experiment. I took the bait. Maybe down the road I'll look at other options. I'm fairly new to eurorack. I have the Wasp, and enjoy it. I like Doepfers filters as they work as advertised and are relatively inexpensive. So it'd be no problems adding some of their filters on the cheap. Thanks to the contributors.
I was looking for a Steppy but found Analogue Haven has Polaris in stock ( DO NOT FOLLOW LINK IF YOU CAN'T RESIST IN STOCK FILTERS)
Can I use this as a level shifter for an Octatrack?
-- mntbighkerI've used it as a level shifter for an MPC, guitar pedals, external synths, and a Mackie 1202VLZ. I've found it very useful.
-- farkas
Thanks man, I'm sticking in in my external 4MS pod that hosts mu ES9 power HOG ;-)
Edit: Aaaannnd... yeah, those levels look way better.
Can I use this as a level shifter for an Octatrack?
-- mntbighker
I've used it as a level shifter for an MPC, guitar pedals, external synths, and a Mackie 1202VLZ. I've found it very useful.
Intellijel Polaris (On my radar)
-- mog00
Based on what @eexee has mentioned, Polaris probably would be a really good/versatile filter to look into. Good suggestion.
Thanks @Ronin1973 for the feedback. The output comment is very helpful and I incorportated the feedback. However, I disagree with the drums, especially since in my planned setup (which will differ to what Lugia suggested) I actually do not have too many drum voices. Also a submixer is not necessary here, since I have the Quadratts and the WMD which has enough inputs. I have Plaits at home, and while it has a very versatile sound you hear that it is Plaits which I do not like too much. Also, for Drums, if I want only samples, I do not need to go into modular. But I think its just a different perspective and I agree that you have a very valid point.
Thanks for the advice. The Motu choice was a happy accident, used them in the past, and recently bought the 8pre-es before looking at getting into modular, so lucked out with the whole DC thing :)
-- TheSoundGardxn
Another nice thing about those older MOTU interfaces is that most pro audio types these days consider them to be "obsolete", so they turn up for cheap. That makes it relatively easy and definitely inexpensive to slap new I/O in in banks of 8 via either another interface or the ADAT lightpipe. Plus, add an outboard patchbay to the mix, route your I/O through that, and then it becomes a snap to change your CV/gate/trig routings. All you need are 1/4" to whatever's needed for the synth's format cables, and you're set.
-- Lugia
I kept my very old Motu 828 MKII (no drivers anymore) and now I'm glad I did, as yes I was aware I can daisy chain both of them together via ADAT to increase my system by another 8 in/outs. Long way off that but I did have 'future proofing' in mind when deciding on the 8pre-es.
in the middle of your range:
Intellijel Polaris (On my radar)
Mutable Ripples (On my radar, one or the other not both to me)
both solid filters
On the lower price end
Doepher Wasp is on my list (likely before the polaris), there are plenty of others, LPG can be added here as well if that is your jam
Make Noise LxD (I am always finding a use for this)
On the upper end
XAOC Belgrad (In my case currently)
Instruo I-o47 (In my case currently)
SSF Dipole (soon to arrive)
I don’t believe the Doepfer SEM is capable of self oscillation if that is important to you. It’s a very classic sound. Very late-70s/early-80s vibe. Definitely on my shortlist.
Thanks for the recommendations so far. I may need to watch some videos about different filter types to get a sense of what I'm looking for more. I mean obviously I understand LP/HP/BP etc., but when it gets into what the filter is modeled after or circuit types -- all that stuff is over my head.
I always feel like Erica Synths modules won't be worth their price, somehow, but I had their noise generator and I thought the LPF built into that was pretty fantastic -- I only sold it off because that filter had no CV control of any kind.
I generally like the filter on my Moog DFAM and Moog Werkstatt quite well ... nice and rich and acid-y to my ears.
I had a Doepfer multimode filter and found it oddly underwhelming at the time. Never used the Wasp, but have been tempted a few times.
I currently have an SH-VCF by Radical Frequencies. It's listed on Reverb. I like it pretty well, actually, and it seems sorta hard to come by ... the character of the different slope outputs are interesting and the 6db output has a pleasing grainy saturation ... but it's too deep for my skiff and I'm out of room in my main case, and I want to get money towards something with more modes.
I had a Zlob Modular multimode filter, but just didn't dig it that much. Good value for the space it took up, nothing really wrong with it, but I feel like whatever my filter(s) is/are, I should really enjoy using.
Curious about the Doepfer SEM. I'm probably interested in the more dynamic and acid-y type filters, something you can really push as an interesting soundsource, and -- importantly, I'm realizing -- something that has some kind of gain compensation for the volume loss typical of filters.
My budget for new modules isn't what it was, so any recommendations for the $100-300-ish range are of extra value to me, though long term, I'm willing to invest more for a filter that I really love and has a lot of functionality.