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Hmmmm...well, echoing Jim here, take the Neutron OUT of the cab. It already has its own cab and power, so when you take something that has those and put it into another case with power, you'll need to factor in the price of the space/power you're now taking up in your main cab. Seems convenient to do, but in the end it's majorly wasteful of your Eurorack case space and power...especially at 80 hp. Remember: treat your more expensive Eurorack case space as a commodity...because, at the cost of Eurorack cabs AND the necessity for that space for UNhoused modules, that space should ONLY be for devices that require it. The Neutron doesn't.
There's some other things I could suggest, but with that one synth taking up 80 hp that it shouldn't, it's hard to determine what the ACTUAL layout of this (and additional modules) should be.
Yep...if you've got tools that work, then work with 'em! The other point to going with outboard effects is that you save hp in your build...and that means more potential sound generation capabilities. Grab a small portable rack case, jam the outboard gear and patchbay in there, and there you go...AND it's still relatively portable, so if you wanted to gig with the setup, that wouldn't be much of a hassle.
Wow, one long nice track + video! Nice goody for the weekend :-) I love that sound you make with the harmonica, subtle yet beautifully done! What kind of microphone or device you use to receive an electronic input from the harmonica towards a mixer?
Thank you very much for sharing this and kind regards, Garfield Modular.
-- GarfieldModular
Garfield! thanks!
For the Harmonica I use a "geneic overseas" elektret microphone. No brand, masivley made. Cost me $15. Its elektret so its really sensitive and Full range. Uses a AA alkaline battery as its pre-amp. Sounds really clear and its very comfortable to hold in the hand and play the harmonica at the same time, way better than when I used dynamic microhones. The Battery is attached to the other end of the system.
The harmonica is plugged to a mini system which consist of VFE Klein bottle. In one channel there is a TC Electronic Flashback, in 100% wet, 7 seconds digital delay. In another channel there is a Strymon Blue Sky reverb. With each indivual channel´s "send" I choss if I want to "solo"/play notes separetely when I send it just to the reverb. Or send it also to the Flashback and "add it" to the feedback of the Delay creating a Drone. If the Fedback of the delay is at 100% the drone just adds and adds and never fades out. If i lower the Feedback then it strats to fade away. This technique is an advace way of "Frippertronics".
Also, there is another way of doing a similar thing without the Klein Bottle and with comercially available gear, since the Klein Bottle its Ultra Rare, if anyone is interesieted I could also share the information, just ask.
I replied already to your jam in the "Modules" section of this Forum. Perhaps a good idea to keep all your jams and videos in this "You" section and not duplicating it elsewhere. See below for my reaction in the "Modules" section.
Kind regards, Garfield.
Hi Dadodetres,
Wow, one long nice track + video! Nice goody for the weekend :-) I love that sound you make with the harmonica, subtle yet beautifully done! What kind of microphone or device you use to receive an electronic input from the harmonica towards a mixer?
Thank you very much for sharing this and kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Ah, OK. I'm not that familiar with the Bitbox or the Robaux, but they look fairly powerful.
For ambient sounds, I would probably be looking at adding more random modulation like a Triple Sloths and a sample and hold, or something similar. Marbles may be another good addition, but Bloom might achieve some of the same things as Marbles. A way to mix CV signals, like the Happy Nerding 3xMIA, would probably be a fun addition.
I also like low pass gates a lot for plucky percussive sounds. They can be fairly inexpensive and can act sort of like a filtered VCA. A nice wavfeolder could give you a new range of tones too.
I also live in a place where there aren't many people interested in synths. Not even my friends... haha.
Welcome to MG! Have fun and good luck.
Wow, one long nice track + video! Nice goody for the weekend :-) I love that sound you make with the harmonica, subtle yet beautifully done! What kind of microphone or device you use to receive an electronic input from the harmonica towards a mixer?
Thank you very much for sharing this and kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
The heart of the system is the bitbox.. Which has reverb and delay, adsr, vcas, mixer, a ton of sounds (v. Per octave) plus drum sounds build in, the bitbox was my first module from which I build around.. The stereo mixer in the case was used mostly for submixes for the effects..
I often patch things up, sample those and do percussion.. I also own a punch of soma labaratory gear which is fed into the 4ms input (generates trigger, envelopes..) and then I experiment a lot..
I live in a place where nobody is interested in synths.. So I really enjoi this conversation 😉
I mostly do ambient stuff, but not only..
I like to trigger drums via the robaux on the bitbox then filter up stuff via belgrad, clock for the sequencers (Pam, robaux) is Coming from Pam's (which is also do much timesynced modulation)
For ambient stuff I use rings and 4ms resonator into clouds and the tapo delay (stereo),percussion triggered via robaux on bitbox.. Modulation from the xaoc zadar and batumi and my 6 vcas..
The neutron is my lead synth.. I often use it to bring a bass Melodie idea in and build up..
OK.. Thanks!
The hel expander was a mistake.. On its place there is the xaoc poti..
There are both, mono and stereo processing..
I mix my things up via a 1010 bluebox which I own.. Enough mono and stereo channels..
I have 6 vcas which should be enough I think?
I have 4 lfos, 4 envelope generators, the Pam's new workout, envelope followers for modulation...do you think this isn't enough??
I have a Buffered mults, and a passive one plus 2 passive ones on neutron..
I have 2 sequencer channels (bloom), I trigger drums and envelopes via the robaux.. A tuner is still in (zeroscope)..
The behringer gives me some modules I don't have in the case.. (noise, random, slew limiter, 2 more adsr, 1 lfo, oscillators, overdrive...)
I don't think it's to bad?
Looking out for math in the future..
Please let me know if I have make thinks clear?
I don't think I thr is a random collection.. Best reinhard
Yeah, without knowing what kind of music you are doing, or if you have any other gear, it's going to be hard to guide you on anything too specific. I'm in agreement with Jim that this doesn't look like much research was conducted prior to building a playable instrument.
Fill us in with more details on what you are trying to accomplish with this. How do you see Eurorack solving a problem?
Hello!
I uploaded my 1rst video on a youtube account from a Hardware Live Ambient Drone Generative track.
Its far from 100% Eurorack, actually just 3 modules modulating the Hardware synth, so feel free to delete this thread if unappropriated. I thought you might like it and there are more modules on their way so music will be more Eurorack as time passes.
it looks like you threw a random collection of modules that generate and process audio and some that might trigger them, for the size of the case a poor showing of both modulation sources and utilities and what there is is not enough - not a lot of research - and misunderstanding of what modules actually do - you'll have a hell of a time using hel without odessa
try counting the number of each type of module you have - you have sound sources, sound modifiers, modulation sources, sequencers, trigger sources and utilities
are the sound sources stereo or mono?
will the effects stereoize mono signals?
have a think about the ratio of them and what they are used for and particularly how you would use them when patching
think about how you will listen to this - do you have enough mixer channels, do you have enough vcas, do you have attenuators (or any other tools for sculpting modulation)?
how many sequencer channels do you have? how many voices that use v/oct? how many buffered mults? do you own tuner? do you have on on your phone?
take the neutron out of the case - it's a waste of space and money - the neutron already has a case and power supply
this will free enough space for ample utilities and modulation sources to support the shiny feature modules that you have in your case
there's no point buying lots of sound sources and sound modifiers and ways to play them, if you can't listen to them for starters
"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!!!
no idea about Befaco Percall - although I have a few of their modules and power supplies this is not one of them - they are usually pretty decent - all mine are diy - I think SynthDIYGuy does a good youtube demo of this module (he often builds them and then demos them sometimes in separate videos)
modulation? big topic and I see you asking about utilities too, here's my take:
in my opinion:
you are better off with fewer sound sources than sound modifiers
you are better off with fewer sound sources than modulation sources
you are better off with fewer modulation sources than utilities
where modulation sources and utilities are at least 50% - possibly more if sequencers and any output modules are to be considered utilities
this is because:
you can mult (utility) a sound source and send it to multiple sound modifiers through separate vcas (utility) opened and closed by different envelope generators (modulation)
you can mult (utility) a sound modifier and send it to multiple mixer (utility) or vca (utility) channels
sound sources and sound modifiers usually have quite a few modulation inputs each some of which may need attenuators (utility) before them
you can mult (utility), modify (utility) and mix (utility) modulation sources and send them to many modulation inputs
etc etc - see how often the word utility pops up
but a sound source could be a trio of VCOs, or a complex oscillator, or a complete voice or have 3 outputs and get counted as 3, or also be an lfo and get counted as modulation too or a modulation source could be a quad in which case it probably counts as more than one
what it boils down to is in all probability you will need more mixers of various types and cascading vcas and other utilities than you think you do now
but take all this with a pinch of salt - but - it depends on you and how you patch - for example you might need only one or 2 vcas per voice, you might need 10, you might want 16 you might not want any
buy modules as you feel you need them.. if you think you could use another XYZ module then pick that up - that's why it's useful to have a swiss army knife module such as disting - you can immediately grab that extra vca or delay or whatever that you need and if you keep needing it replace it with an actual module and then disting is free to plug whatever gap comes up next
"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!!!
Hello!
I'm new to modular, but have been doing analog hardware live sets (actually playing live regularly) for 3 years, the last year I´ve been live streaming over the internet regularly.
I'm a multi-instrumental musician and Audio Engineer, so everything modular seems to be in a steady learning curve so far.
I want to create an ambient / generative / drone system, with many musical elements that come and go, takeing "turns''.
So far I have a XOAC Devices Butami and Doepfter Quad LFO. My idea is to have each of the 4 segments of the LFO (using either module) to modulate the Level and effect send of each element. As the level of each element drops, the effect send goes up into a reverb, and the sensation would be that each sound disappears into the background. So far i've been doing this manually with the mixer level and effect send, but with modular I know it can be modulated in sync automatically.
The LFO`s rate I am considering are between 4 and 8 minutes, so each element fades in and out really slowly.
I dont have the Mixer/VCA yet, which I can assume is the key element for this.
For what I can imagine, I need a mixer with CV over Level, and Aux send.
Also, since I mix in mono, I thought that maybe PAN could be used as "dry vs effect" instead of "L vs R", modulating the Pan of each channel and having L be Dry and R master output into the Reverb (with 100% wet mix) and then having for signals summed into the sound system in mono to both channels. So instead of panning from left to right, panning from near to far.
A 2nd aux send (or 1 if pan is used) is needed to as a second effect send for sonic manipulation. Though having CV would be great, it's not necessary for the 2nd one, I can do this manually.
So far I found these:
-XOAC Devices Praga: CV over level and pan, 1 extras manually controlled effect send.
-Qu-Bit Electronics Mixology: CV over level, pan, and send, looks like a candidate.
-Intellijel Dubmix: DISCONTINUED, CV over pan, aux send, each track master level manually controlled.
*with AUX Expander I can have a 2nd and 3rd AUX send both with CV control.
Also, I found these modules that maybe can do the job, but i'm not sure of what they actually do, so im might be wrong:
-4ms VCA Matrix
-Non Linear Circuits Clump or Cluster
-Grayscale VCAM
Thanks so much for any information, confirmation, feedback, or any other semi-off topic discussion.
I just started a youtube channel for uploading the live sets, I just uploaded the first one, if you want to hear what this is all about.
In this live set I have the Quad LFO into some of the elements Level, having a simpler version of the system im planning.
Here is the link with the first video, though other videos will probably appear as time goes by:
I forgot to mention, I find that the Moffenzeef modulation and utility modules are really interesting and unique if you can still find them somewhere. His voices and noise sources are a little more limited in my book. I have the Moffenmix, Mito, and Deviant and love them. I got rid of the Muskrat though. It was one of those things that I just couldn't fit in anywhere. All of his stuff is weird, but not always in the most useful way. YMMV.
Alright, here's my take. I left your modulation sources alone for the most part and concentrated on voices and mixing. I've been researching similar rack ideas and noise sources myself.
I replaced Manis with BIA. BIA is so powerful and Manis ultimately seems a little limited and same-y to me. It's just not quite as versatile to me.
The MCO seems like a completely overlooked oscillator. It's got PWM, digital noise, and a sub-octave out in 6hp and under $200. I would use this and the Patching Panda Shuby linear feedback shift register to create your own percussion with the Patching Panda Punch v3. That could negate the need for the Crater.
You already have a PLL with the Interstellar Radio (the only module I regret selling), so the Doepfer PLL might be a bit redundant. I added the 100 Grit filter and Dark Matter feedback mixer just because they are so gnarly. You could probably eliminate the 100 Grit if you want to just use the Serge for filtering. You could probably also eliminate the 3xVCA and add a Bastl Waver for gnarly wavefolding since you have the VCAs in the Patching Panda, Befaco, and Dark Matter. Always a consideration with noise racks should be the X1L3 modules (Shard, Underwurlde, Wreckage). I've got the Shard and it's impossible to tame.
I would have a lot of fun with this rack. Let me know what you think.
Thank You Jim for your time. I will take your suggestions into consideration. Especially the Tesseract combination looks very interesting. Yes, the choice of voices is quite custom – but hey it is modular so I can change them any time ;)
I started tracking my use of knobs on each module during a performance. I want to get a better feel for balance of ergonomics versus flexibility that is really needed. Do I really need to (de)tune my drums all the time or is it just about fiddling on the decays? And can this be done via a single CV controller? I will split / ditch the sequencing probably into smaller parts or use external devices for that. That also means I will miss using accents on the Ericas. Maybe someone has experienced the same challenges? What is your take on using a B.Percall and utilities instead?
What is your opinion about great modulation sources? Is it better to have many sources or many combined? Should I focus on the Ericas modulator with great ergonomics but only two sources? What about Stages Mutable instruments or Intellijel Quadrax with more value for each hp. Or just go super small with a lot of Pico EG from Erica Synths or Doepfers? I love the richness and flexibility of PAM but in my experience this module requires a bit of menu diving and I am mostly using it for keeping the rack in sync. Speaking about utilities what is the ratio for each modulation source? Or how many LINKs and KINGs?
I shared this the other day, but was having enough fun making noise (https://stevehand.bandcamp.com/album/l-i-t) I've started thinking about a dedicated 208 rack for it, put this together, and thought I'd ask the forum what people think, what am I missing, where you'd take it.
Some quick notes on composition:
1) PNW for all sequencing, I don't especially want 1 V/Oct sequencing in a rack like this so a pitch sequencer isn't needed, but I still want to be able to create drum lines.
2) Maths + SSG for pitch and dynamics control, lots of fun possibilities there, A * B + C to expand that even further.
3) Crater seems awesome and a powerful kick is critical for this stuff.
4) Serge ResEQ for feedback patching, WMD SCLPL for end of chain EQ'ing.
5) Terci Ruina, DTM, + Let's Splosh for distortion (both audio and CV)
6) Warps for various effects, including wavefolding, which is a bit of an open question: is its wavefolder good enough?
7) Bad Idea #9 is playing the snare role.
8) Pressure Points plus Ears for a more performative touch (and for the ability to create distinct structural moments that PP provides).
Anyway, curious what people think and how they'd tackle this.
Hi @nickgreenberg. Thanks for your thoughts here. Some great things to consider.
As far as the Spotify thing, BT's thoughts and experience with AI are presented in about the last 15 minutes of that podcast. I've read through a few things about Spotify's "Creator Technology Research Lab" but there isn't a whole to of good info on what exactly their goals are with generative music. I'm not sure if there are any academic papers on the topic and with Spotify being a private company, I'm sure they are keeping data, algorithms, and strategy pretty close to the vest. In general though, it seems like Spotify is a data company masquerading as a jukebox... and they get to keep the money. I can't say that I am a big fan of BT's music, but he definitely knows what he is talking about in regards to music technology and the future.
Regarding drum modules, I have a small subsection at the bottom left dedicated to drums and drum sequencing. I also incorporate an external drum machine here. I've been working more towards synthesizing my own percussion tones with the Patching Panda Punch v3 and low pass gates, and so it makes sense for my workflow to have a drum section integrated within the larger rack. Your recommendation of waveshapers/wavefolders will come in handy here. In fact, I have switched out a few modules since I initially posted the rack image above so I can include a wavfeolder. I haven't decide if I want an Intellijel or Instruo yet. I will definitely try the audio rate switching with the Switchblade. I still have some time to tweak my remaining 104hp before I commit to anything.
And finally, your recommendation for submixers is one that is essential for everyone (and especially noobs) to consider. I have pondered that exact question quite a bit and have ultimately decided to adhere to Jim's insistence over multiple threads that I add a larger matrix mixer (as opposed to smaller submixers). I reasoned that each level of submixing that I incorporate limits the amount of control I have over single sounds at the end of the signal path. If I submix drums, what happens if I decide I want to add reverb to a single snare hit or send just hi-hats to a delay? I could probably use a few more buffered mults, but I have a considerable amount of external passive mults, so signal splitting isn't much of a problem. From a performance perspective I reasoned that a dedicated mixing section worked for me. With the Toppobrillo, Erica Fusion and Drum Mixers, and the Doepfer matrix all in one area of the rack, I can perform with a dub approach that makes sense to me. I can also use the matrix mixer along with the 3xMIA to mix CV in interesting ways, so it seems like a winner. As much as I love the WMD Performance Mixer, I had not initially planned to go this big with the rack, and so I ended up with multiple mixers. I'm actually pretty happy with the feature set and sound quality of the mixing section I've cobbled together. I do have the Moffenzeef Moffenmix (not pictured here) that I can always add back in if I find a need for more mixers.
Thanks again for your thoughts. These are all very useful ideas to ponder.
Take care and enjoy your weekend.
Thanks, that looks like a good option that would save me €€€, as an alternative to the all-Eurorack method. Although I've been eyeing some Tiptop modules that seem reasonably priced too. Still, I have no idea how they perform. I'll look into it.
And this shows you should never sell stuff, and instead put it away for future use. I had four Quadraverbs in the 90's that would come in super-handy now.
question: you said "With Spotify and other data-collection companies actively stealing (or paying fractions of pennies for) the work and ideas of artists in order to create artificially intelligent generative music that sounds like those artists..." are there a couple key articles / videos you could point me to on this topic? The Mylarmelodies vid you mentioned is ~80 minutes long. Thought I'd just ask you where the good bits of info you've seen on this topic are
reactions to your rack:
-- looks awesome! It contains a lot of my "top pick" modules I consider most interesting. Having instruments that I find exciting, inspiring, that I want to come back to over and over -- that's a big deal. A mixture of sonic appeal and depth, physical beauty, kinesthetics, ease & fun of use but also challenge and depth, to me that makes a great instrument. Your rig has a lot of that vibe to me
-- I'm also new to modular but experienced in music and synthesis. I had asked some recent questions to the forum. JimH and Lugia got back to me with loads of useful recommendations. One Jim said that sticks out to me in this instance is basically "consider separating your drum modules from others." To me that seems helpful and I thought I'd pass it along. So maybe as you evolve your rack(s) you split rhythm from other?
-- what else might be useful in your evolving rack? I haven't scrubbed your rig design module by module, but at a glance, I might suggest:
** It's a big rack, so maybe sprinkling some more "utility / submix pods" in 2-3 spots around the rig could help. This could mean mults and low-HP mono and stereo mixers. While it doesn't sound sexy on the face of it, in effect it should allow for a huge range of parallel signal paths. I know you've already got some utilities sprinkled around; IMO a few additional submix pods could be interesting.
** More waveshapers!? To me those are a very exciting part of modular, esp when driven with deep modulation and/or audio rate. Also very neat is Instruo Tain, a switching utility that can be driven at audio rate. So like the OS2 scissor you have, but able to intake anything. My jaw dropped the first time I got that working. I'm not sure if Switchblade will work at audio rate, but I know Tain will. And today I spent some good time with Rossum Linneaus; it really changes my ideas of what a filter can be. Yes it can do the normal "removes spectral content" aspect of filtering, but it can also add a lot of content in interesting ways. To me Linneaus is a really interesting waveshaper. All these modules I'm mentioning essentially fit the category "what could come after an OSC but before final FX?" that would add interesting depth and flexibility to your already formidable rig.
** syncing audio rate modulators: I just learned about this recently, when reading the manual on Rossum Trident, and I'm SOO excited about the technique. Basically, if doing audio rate modulation, syncing the modulator to the carrier gives rock-solid pitch tracking (due to the sync) while you can get a huge range of timbral variety from the audio rate modulation, and even change the modulation depth without losing pitch tracking. If you haven't already spent time with this technique, I would recommend it, as it opens up a vast added dimension of timbral variety. It's the bees knees! The Trident literature explains this technique pretty fully, and I've verified the technique works in broader usage.
I hope at least some of these ideas above are interesting / helpful / fun.
my 2 ordered LPGs ver 2 have now been underways 10 days
-- Broken-Form
They ship from Bangkok, if I remember correctly. Given the Covid situation, I'd suggest patience; while I've had a couple of things from that side of the globe get here pretty quickly, much of the things I've ordered out of China (same general shipping situation) seem to take 2-4 weeks-ish via surface shipping.
Echoing what Lugia and others are saying, why use a Eurorack rig for live hiphop instead of one of the "grooveboxes" like Tempest, Elektron Rytm, Maschine, or one of the MPC line?
A few questions I'd recommend considering (if you haven't already):
-- what's your preferred workflow for playing / programming beats? (e.g. rack sequencer, outboard sequencer, finger-drumming, etc.)? There's really a huge difference in workflow for different setups; I find some of the sonically appealing rhythm rigs have a painful (to me) workflow.
-- what are the desired core sounds? What platforms help you get those efficiently?
-- what sound polishing / fx / mixing are needed to get the final audio? Things like MPCs and Maschine are built to get you performance-ready sounds, volume leveling, bus compression etc. Other rigs, it may take more thought / work / additional modules to get the same "performance ready" sound.
IMO, MPCs are great rigs for hiphop: they're proven over decades of use, and they've really refined the platform specifically for hiphop. Maschine is also strong for that genre.
IF you're really committed to doing hiphop with Eurorack THEN I suggest really zeroing in on a sequencer you're going to love to work with. If you'll be happy working with the combo of Hermod Sampler and OP-1 (which you mentioned above) then that's cool, I just want to emphasize that the sequencer / interface will be key to having fun and getting good results. If I was building a Eurorack rig for rhythm, I would use Erica Synths Drum Sequencer, which is the best small format sequencer I've ever spent time with, OR a stand-alone sequencers to send MIDI in such as Polyend Seq 8 or Linnstrument. The standalone sequencer would give more room to work on a sequence grid AND free up HP from your rig. As far as reference Eurorack rhythm systems go, IMO Erica Synths Techno system is a very good implementation of the "groovebox" concept, BUT it retails near $5k and it voiced more towards Techno vs hiphop.
All considered, I'd urge you to see if a MPC will work for you, and if you really want to do Eurorack, focus on making sure you have a sequencer setup you'll love to work with.
@JimHowell1970
"the psu looks to be a standard meanwell power supply - great if you are only using low powered modules - but not so good if you want to use something high powered - the fact that the builder states the number of power headers, but no the available power may or may not be a cause for concern - I would at least ask before buying"
I admit this is where my lack of knowledge comes into play. I had no idea this was something to keep an eye out for - I just assumed "powered case" would be enough to power any combination of modules that fit into the case. Thank you for the advice.
that's why most cases and power supplies state their available power on each of 3 rails +/-12v and +5v and why at the bottom of your rack on modulargrid there is a sum of the power draw for each of these in the rack and a warning if there are modules that don't have power draw listed (I always allow 10mA/hp on both the +ve and -ve 12v rails for these)
make sure that the power draw of your modules is significantly less than that available from your power supply - allow at least 20-30% to allow for inrush and inaccurate power listings
"personally I prefer the mantis over either of these cases - but that may just be me, partly because the mantis power supply is clean enough for video (less ripple up to much higher frequencies) whereas by all reports the intellijel supplies are not so quiet"
I would probably already own a Mantis case if I wasn't also so picky about aesthetics (even though it's a little bit larger than I'd like)! I like making videos with my synth gear and having a good looking case that appeals to me is part of the whole package. You mention the possibility of video "noise" and some power supplies not being clean enough. Is there a proximity effect to this? i.e. Would I need to be careful about how close my camera gets to my gear if my case happens to have an "unclean" power supply?
I barely notice my cases when they are full and patched and I quite like the mantis aesthetics anyway - but I understand aversion to aesthetics - I really dislike the rackbrutes for the same reason (and the rack wart)
by I can see video noise I mean from a modular video synthesizer - my modular is both audio and video - not proximity effect from rf interference or whatever on a camera that is close to the modular - analog video is at a much higher frequency than audio and I can see artifacts on the screen when I use my frequency central power supplies to power modules that are in the actual video path (as opposed to modulation sources) but there is no noise at audio frequencies - my befaco and tiptop power supplies are great for both audio and video though
Can you speak to the power supply used in this build? The size is exactly what I'm looking for (I have decided on 6U, 84-88 hp would be more than enough for a long term build) and I really like the aesthetics of it.
looks ok - power looks ok - but I have no experience of the manufacturer and they don't advertise the manufacturer of the power supply
funnily when I clicked on your link CaseFromLake (as linked by Lugia) were in the banner ads
"not many people can afford to go out and fill a case with modules on day 1 - and it's not often recommended either - whilst most modules are relatively simple to understand, lots of them all at once is not - and those that do need a bit more time generally fail to get it when purchased in huge batches - so starting with a few modules and learning them in depth before expanding is a great idea"
Again, another great point made and something I instinctively abide by. I've been working with two Moog semi-modulars for just over a year now and still have more to explore with them. Although it's time to augment that setup with this new modular journey :)
Thank you for all of your recommendations around how to output, modulation, attenuation, etc. Definitely gives me a solid starting point and feeling a little more comfortable with my starting module choices and some ideas on how to support them with more utility.
glad to hear it!
"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!!!
That's a great composition! Adding the keyboard "touch" to it, is a nice element in this music. I feel that the keyboard could sound a bit louder though, it's a bit underwhelmed compared to all the other sounds, other than that, it's great! :-)
Thank you very much for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Yeah, that would work well...fact is, the Ranes I use here are sort of matrix-ish, as they can simultaneously split a stereo signal to several outs AND offer return channels that sum down to a stereo out. If you added a distro amp, then you could derive multiple buffered sends and fire them off to a bunch of rack devices, then sum all that back down with a Rane SM 26B, with all of that only using a stereo pair on your converter for send and another for return. The only caveat I'd make here would be to get a distro that's ONLY for stereo audio...there's quite a few on the usual used gear sites that also have video in various formats, but those aren't what you'd be looking for.
Oh when around 1:00+ those strings or drone kicks in, that sounds great and exciting! :-) Oh and then again that heavy sound around 03:00+, wow! Fantastic music for a serious good film :-)
Nice drone jam, thank you very much for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Cool...in fact, have a look here: https://www.facebook.com/casefromlake This maker turned up on here a month-ish ago, and what I see from them is impressive: built-in IEC AC outlets, great and PORTABLE designs, solid builds. That 3 x 104 case for EUR 455 (with power, busboards, all that fun stuff) is a KILLER deal, and offers tons of room for future expansion at a price that kicks the crap out of most other case makers. Check 'em out!
Looks solid to me...about the only changes I'd make at this point would be to suggest using something a tad more complex than the Erica CV processor. Frap's 321 fits the space, and offers CV/mod scrambling that's on par with the Tiptop MISO along with the functions that the Erica module has. And also, going with a Happy Nerding OUT instead of the 4ms Listen I/O would allow you to fly in another stereo pair over the top of the rest of the mix...very useful for an extra FX return for something global, like reverb.
Other than that, though...yeah, build it. It's ready.
There's goes my stimmy check! lol
-- isolatediguana
Money is transitory, but good musical instruments are forever. Even if they croak, you'll still have the work you created with 'em.
Second cab makes perfect sense, btw...you were gonna get one anyway (just like EVERYONE eventually does...there ARE reasons we call this "Eurocrack", after all), so go ahead and take the plunge. Just make sure this time out to put plenty of the "boring" stuff in there to make the "sexy" modules do everything they're capable of.
"don't skimp on case or power, especially if you find modules to be expensive - the case protects them and the power gives them life!"
This makes a lot of sense, especially when full cases can exceed several thousands of dollars. Thank you for your input.
"the psu looks to be a standard meanwell power supply - great if you are only using low powered modules - but not so good if you want to use something high powered - the fact that the builder states the number of power headers, but no the available power may or may not be a cause for concern - I would at least ask before buying"
I admit this is where my lack of knowledge comes into play. I had no idea this was something to keep an eye out for - I just assumed "powered case" would be enough to power any combination of modules that fit into the case. Thank you for the advice.
"personally I prefer the mantis over either of these cases - but that may just be me, partly because the mantis power supply is clean enough for video (less ripple up to much higher frequencies) whereas by all reports the intellijel supplies are not so quiet"
I would probably already own a Mantis case if I wasn't also so picky about aesthetics (even though it's a little bit larger than I'd like)! I like making videos with my synth gear and having a good looking case that appeals to me is part of the whole package. You mention the possibility of video "noise" and some power supplies not being clean enough. Is there a proximity effect to this? i.e. Would I need to be careful about how close my camera gets to my gear if my case happens to have an "unclean" power supply?
Can you speak to the power supply used in this build? The size is exactly what I'm looking for (I have decided on 6U, 84-88 hp would be more than enough for a long term build) and I really like the aesthetics of it.
"not many people can afford to go out and fill a case with modules on day 1 - and it's not often recommended either - whilst most modules are relatively simple to understand, lots of them all at once is not - and those that do need a bit more time generally fail to get it when purchased in huge batches - so starting with a few modules and learning them in depth before expanding is a great idea"
Again, another great point made and something I instinctively abide by. I've been working with two Moog semi-modulars for just over a year now and still have more to explore with them. Although it's time to augment that setup with this new modular journey :)
Thank you for all of your recommendations around how to output, modulation, attenuation, etc. Definitely gives me a solid starting point and feeling a little more comfortable with my starting module choices and some ideas on how to support them with more utility.
@defragmenteur
Thank you for the info about the MIDI modules.
@Lugia
Thanks, I appreciate the advice. I've decided to go with a larger case (6U, and 84-88hp) as it will allow more room for expansion and won't be too overwhelming in my studio.
looks ok - I suspect it will change as you start buying modules anyway - buy what you are missing when you are patching - keep a copy of this to compare with the actual filled rack when you get there
no personal experience with the droid - I do know there is a long thread on muffs that Mathias (der man mit der maschine) posts in - support seems good
"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!!!
@Lugia@JimHowell1970 Thanks for all the opinions/input. This is where I am today with it. (Preview is inaccurate)
Still around 2/3rds of the +12v, shaved a few off the -12v rail. Depth is doable, 2 free power connectors on the board, and some inclusions/alternatives to your suggestions that I thought most prudent.
Thoughts? Either of you have any experience with the Droid module?
THANKS JimHowell1970 and Lugia for taking the time to give me this feedback! I lurk quite a bit here and it always surprises me how generous people are with their info and expertise. I think I'm going to follow Jim's suggestion by getting another case and then start filling it with some of the modules that Lugia suggested. There's goes my stimmy check! lol
Wow thanks for the extensive and interesting info.
As you say, I was thinking about the usual reverbs and delays, but in Eurorack module format. I have a few stomp boxes for the guitars but I wasn't thinking of using those.
The setup I have in mind when I mention FX is really a simple one. My audio interface has 8 inputs, all of them with pad switches, and for now I have no problem sending audio signals directly from the Eurorack modules into it. It peaks in the region between -18 and -12 dB at unity. So what I was thinking really was just to send mult'ed copies of my audio outputs into a matrix mixer, then from the mixer outputs into the FX modules, and from them either back to a simple (sub)mixer or directly to the audio interface.
That's where I have the Doepfer matrix mixer in mind, but I wasn't sure if I would be doing/buying something unnecessary, or if instead I'm being too traditional and there are better more modern methods.
In any case, I hope this is of interest to the OP too. I'm not trying to hijack anyone's thread...
Oh, no doubt...but the key is to get a sequencer that properly emulates the TB-303's behavior, something like a Stepper Acid or similar. Beyond that, the sky's the limit as far as sound generation...and that factor is the big thing here. You can still have 303 patterns, but that 303 sequencer getting harnessed to some raw sonic power...THAT'S the point. Even if you do this in a DAW, it's still the "right thing to do" to use a 303-style sequencer to drive a very complex VSTi synth these days.
Ahhh, if only Aphex hadn't released the Most Expensive Acid Track Ever ("180db" on "Syro", which uses not one, not TWO, but THREE Korg PS3300s controlled by a 303), this would be SO much simpler...
the obvious thing especially after what you have said in your last post is a lack of modulation and utility modules
I don't think you're going to achieve your goals in 10hp though and loosing batumi seems counter productive to me
my recommendation would be to put whatever you were going to spend on that 10hp module towards a new case the same size as this one
and then fill it with some modulation and utility modules that support them well matrix mixer, mults, logic, sequential switches, waveshapers, random and one or more modules that can work like meta-controllers - ADDAC VC Transitions and the like!
Doepfer are fantastic for utilities - inexpensive and do what they say they do
"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!!!
It's not just you...you're missing some utilities.
I had a go at the build, eliminating some modules in the process. I didn't see the point of having huge distortion and stereo delay modules taking up space, so I chucked those and went with a different FX setup. I also got rid of the sequential switch (no sequencer, so...) and modified a few things, and this is what resulted:
I took a BIG cue from your frustration with the current state of capability, and tinkered with this so that it's capable of more elaborate modulation, plus I added a beefier (Pachinko...Marbles clone) random signal module to kick that up considerably.
Top row: This is ALL audio now. "Voice 1" is the Dixie2+/Red Dragon/Javelin set. Then "voice 2" has the stereo oscillators feeding the Squawk Dirty via a Happy Nerding 2x SAM, which provides two stereo inputs to one stereo out, letting you submix the stereo oscillators. Morphagene follows, then I changed the VCAs to a Veils clone (getting back 2 hp for the 2x SAM) and placed that so the VCAs can function as level controls for your mixer strips.
Bottom row: PWRchekr, then a Yarns clone (much more capable than the previous MIDI interface). Pam's is after this, then the Kinks, but after that I added a CVable Logic module, which will allow you to play a couple of timing channels from the Pam's off of each other to create some more complex clocking behavior. Marbles clone is after this, then the Batumi with the Poti expander. And keeping with that, I added a Zadar and its expander; the build now has five EGs, including the one in the Javelin. A Frap 321 provides various CV/mod alteration functions, and I added three more VCAs after that...which will allow your modulation signals some improved capability by adding CV control over modulation amplitudes. Then Maths...and the FX section is now a Happy Nerding FX Aid and a knob.farm Ferry allows two channels of FX send/return for an external FX processor (or two) which can be a much more complex rack device (and those are pretty cheap right now, thanks to VSTs). Lastly, the Befaco output module.
Again, this was done with the "self-modulation" shortcomings in mind; this build now has that dealt with, and the modulation palette is MUCH more complex with the addition of the various bottom row modules and the deletion of the 32 hp's worth of FX modules. That part was a great example of "sexy modules" gone bad, as those took up the space you really needed as modulation modules. Your voices are also now laid out more sensibly, with all audio modules except the FX and output on the top. And yes, there were deletions as I've noted...but this is definitely much more focused on creating complex sounds with considerable internal change, as you'd wanted.
