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I have created a playlist of only two videos that have inspired me that I will link here:
I am a noobie but I would like the case to be portable and compact for live shows and be able to connect a korg minilogue synthesizer for a sound source or midi controller for setting VCOs.
Oh that's a nice mixer from Mackie, I overlooked that ProFX16v3, I would prefer to have that one over my Behringer Xenyx X2442 USB. Anyway, now I am looking into a digital mixer.
Well instead of buying all that sound proofing stuff, why not eat the next few months a few more eggies and use those left over egg crates to glue them against the wall? ;-)
Ha, ha, yeah I heard in your video that the JBLs can be pretty loud! Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
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!
1 it's extremely well priced for a 6u/8xhp case to be honest - personally I prefer the find the modules you want and the modules that you need to support them and then find the case to fit them in approach rather than buy a random tiny case and try to cram functionality in by using micro versions of modules etc
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
2 I was looking at cases on musicstore the other day - the intellijel palletes are very expensive - iirc the 62hp is almost the same price as a tiptop mantis... the 104 is 90€ more - and it reduces your choice of other modules - want midi - get the intellijel midi interface because it works with the case, want a mixer - get an intellijel one etc etc etc - now there's nothing wrong with these modules - but it does reduce your choice - and as modular is to some extent about having unlimited freedom of choice - it seems counter-intuitive to limit yourself in this way
if you substitute 1 hp 3 u for 3hp of 1 u (which is probably about right in terms of functionality) you can roughly work out how a 1u row compares to a 3u row in terms of what you can put in it - I mostly build my own cases (this is actually a decent option if you are on a budget and can use a saw, a drill and a screwdriver) and have never contemplated a 1u row - the hardware costs the same as a 3u row - but only get 1/3rd at best the functionality in it - and there are almost no modules in 1u that are not available somehow in 3u
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 - you would have to wait a bit though as they are out of stock everywhere - deliveries appear to be next month, but... - and again it does not have any built in utility - which I personally see as a good thing!
you have to weigh up the price of the included utilities - check you don't have to add 1u modules to use them (and if you do midi and outputs - I'm looking at you, here - decide if you actually need them!!) midi yes if you want to use midi, but outs really depends on where you are as to do you need to have this module - in europe probably not, in US almost definitely, other countries may vary
3 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
some stackcables might be a good idea - or a few headphone splitter type passive multiples
the often recommended starting set of:
a sound source, a sound modifier, a modulation, a way to play and a way to listen are mostly covered with that combination of modules
modulation is a bit on the light side - but will be fine to start - both the other modules have atttenuators on most if not all their modulation inputs and plaits has an on board lfo
how to play = outs of beads into audio interface via 1/4"->1/8" cables
if it clips buy some cheap passive attenuators - 2hp Trim for example - and try to reduce the level that way - if that still clips then you may need an output module - attenuators are always useful to have anyway
veils is a good choice of vca - quad cascading etc etc
if it was me I would next want a better modulation source (I like Maths as a first modulation source*) and some basic utilities next (links, kinks, shades or similar functionality in different modules - wmd/ssf toolbox for example goes a long way to covering a lot of basic utilities) and then possibly a stereo mixer - before adding any more sound sources or modifiers
see the illustrated manual for more information - 32 self-patching ideas - a brilliant primer for modular synthesis in general
"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!!!
Yes.. I'll try and get a bigger case! That's a good idea.
I'll check out some of those modules! Thanks for the recommendations.
I'm also looking at the lubadh tape looper which could create very interesting tape loops in a live setting.
Hey all, I have a mother 32 and subharmonicon and want to expand with a fully modular system. I currently record into a Focusrite Scarlett 4i4 audio interface and record into Logic Pro X. I really like the idea of generative ambient with random triggers, audio manipulation, etc. so my first system will eventually include 4 main modules: Plaits, Arbhar, Marbles, and Beads. I also occasionally do video game covers, so it would be cool to send MIDI from Logic Pro into Plaits like I do with my Moog setup. Here's the case I've come up with so far:
It's 104HP single row, so I know I'll need to leave room for utilities, VCAs (I threw Veils in there for now), MIDI I/O, etc. I have some questions though:
Everyone says get the biggest case you can afford. Although I like the idea of a low profile 1 row case, it looks like I'm quickly going to fill it up once I add some utility modules to it, and thus probably won't have room to expand. Should I just go bigger, or could I make the 104HP single row work? I did see a 6U, 88HP x2 row case I liked on Etsy, although it only has power and no extra utility: (https://www.etsy.com/ca/listing/513149542/)
If I stayed with a smaller case, could a 4U 104HP Intellijel Palette be a good choice? It seems to have a lot of utility built into it (sums, mults, MIDI, 1/4" outputs), and also has the 1U row for more. This seems like it would leave me enough open space for expansion in the 3U row?
I can't afford to buy everything at once, so I'm wondering what modules would be good to get me started? I was thinking maybe Plaits, Marbles, and Beads (Arbhar will likely come later as it is so damn expensive). Would I need any utility to go along with these choices? I've been told that for this setup I might want to add attenuators, stereo mixers or filters? Or maybe an output module if my case doesn't have outputs?
That's about it I guess.... I have a really good idea of what I want to do sound-wise, just sort of stuck on how to actually "start" with something usable. Any advice or feedback would be greatly appreciated! Thank you!
@Lugia Just curious what your total Amperage is that you're drawing off your circuits? How many dedicated circuits do you have in your home for the studio gear? Any tweaks to the electric worth mentioning?
Thanks for the tips on the studio monitors. I will get some as I plan to use a smaller enclosed room as my mixdown studio and recording wise. I'd bounce to Vegas now to scoop up those deals but with a broken ankle, still limited on getting around. Probably once it is healed would be worth a trip also to race a Lambo on the race track there and shoot some machine guns to record for my downtown ambient vibe that I no longer get at the new much quieter place hehe!
have just watched some videos of the tetrapad and tete combo,defo seems powerfull,could be the way to go for me.
-- Broken-Form
Yes the Pad-Tete Combo is quite powerful. I can't think of any setup where they are not useful in some way.
Looking at your rack, i'm not sure about the ES-9. That might be a bit overpowered, depending on your plans. Maybe you have a certain use-case. If that's not the case, you can save yourself some major bucks and invest in more suitable gear. A good replacement for the Batumi could be the aformentioned Acid rain - Maestro. You loose some hp but you get a lot of hands on control and functionality for it. It comes with a higher price tag though.
-- MillionJT
The reason for the ES-9 is i want to be able to multi track record into Reaper
I think the pin-matrix is a major difference, since every patch point is a combined send and return. Imho there are plenty of ways how you can crosspatch and create Feedback loops with the lion. But to JimHowell's point, that might not be a big enough advantage.
p.s. @gio_coder I guess you meant the 138m not 138n.
Yeah, it's probably the pin matrix. I still need to wrap my head around that. I meant the 138m, sorry for the typo. Thanks again!
have just watched some videos of the tetrapad and tete combo,defo seems powerfull,could be the way to go for me.
-- Broken-Form
Yes the Pad-Tete Combo is quite powerful. I can't think of any setup where they are not useful in some way.
Looking at your rack, i'm not sure about the ES-9. That might be a bit overpowered, depending on your plans. Maybe you have a certain use-case. If that's not the case, you can save yourself some major bucks and invest in more suitable gear. A good replacement for the Batumi could be the aformentioned Acid rain - Maestro. You loose some hp but you get a lot of hands on control and functionality for it. It comes with a higher price tag though.
so could you please explain why the lion is more suitable as a matrix mixer than the doepfer for no input mixing? or is it just differently suitable (ie the lion has this extra function that you would need another module for)
-- JimHowell1970
As for the matrix mixers, I'd be genuinely curious to know exactly what the 138n cannot do that the lion can. The price gap is quite wide, so I'll take some time to decide. DivKid's video is very comprehensive, but I also found a lesser known video of someone playing with a 138n and feedback. (What would happen if I played them with Landscape AllFlesh cables? That would probably be quite something.)
-- gio_coder
I think the pin-matrix is a major difference, since every patch point is a combined send and return. Imho there are plenty of ways how you can crosspatch and create Feedback loops with the lion. But to JimHowell's point, that might not be a big enough advantage.
p.s. @gio_coder I guess you meant the 138m not 138n.
Thanks everyone for the detailed answers.
This system is very interesting! Since I already have a somewhat developed "sampling" section (W/, Nebulae and other stuff) I think it will be very cool to integrate it with something similar to what you describe, Lugia.
As for the matrix mixers, I'd be genuinely curious to know exactly what the 138n cannot do that the lion can. The price gap is quite wide, so I'll take some time to decide. DivKid's video is very comprehensive, but I also found a lesser known video of someone playing with a 138n and feedback. (What would happen if I played them with Landscape AllFlesh cables? That would probably be quite something.)
If you go back to one of the pioneers in this, namely David Lee Myers (ie: Arcane Device), his systems were largely built around matrix mixers tandemmed with delay lines and some other filters and timbral modifiers. This should be VERY easy to implement in Eurorack.
I actually didn't know Arcane Device. Listening now. WOW...
No prob // my pleasure..
with 6u I meant.. get a double or maybe a triple row case instead of the Doepfer LC3. In the end you want more modules and that way you stick to one case. The extra row(s) you can use for the FX, utilities, maybe a control module to make it easier to play around with it a live-setting.
I am getting a lot of nice grittiness out of Monsoon, dirty ms20 clone filter (got one AI for sale, haha), St Modulars Gritzer (weird delay) & DIZ, for beefing up samples I use the Monotropa by Reverse Landfill. Another nice one // still on my wishlist // Per4mer by ModBap. A few essential FX and playabilties for hiphoporientated live case, but a bit expensive.
Well I said goodbye to my DFAM for now. Decided to go for an ES-9 as it seems that gives me a lot more options for modulation, utilities and sounds (iOS but also have a Mac). Hopefully the ES-9 arrives before the end of the week.
My main takeaway after the last jams: The more control and Instruments I got the least happy I am with the result. So I might double down on kicking out the midi input of my eurorack, soon. Good that I went with the dual LPG to shave some off.
Not super happy with the music but I'm building a VJ tool as a companion for my jams which I wanted to showcase here. Pretty basic, but I'm happy to build something audio reactive.
This actually makes quite a bit of sense, and I'm a little surprised that no one's tinkered with no-input feedback paths all that much in Eurorack.
If you go back to one of the pioneers in this, namely David Lee Myers (ie: Arcane Device), his systems were largely built around matrix mixers tandemmed with delay lines and some other filters and timbral modifiers. This should be VERY easy to implement in Eurorack. Add some modulation, a bit of the typical Eurorack voodoo, stick it all in a Behringer cab, and I came up with:
Pretty cool...the left end is the modulation section, uses a Maths, Quadrax and eight free-run LFOs, plus a few mixing/modification modules to make that do a ton of interactive crossmodulation, plus output some VERY wild curves. You get six VCAs (switchable curve) after that for modulation and audio amplitude control as needed. The "beefy" part is in the center, where you'll find an 8 x 4 matrix mixer plus a pair of Pittsburgh Delay Networks, and there's also a touchpad-controlled switch for either audio or modulation. The right end (audio processing/output) contains eight VCFs, a really useful output processor (the T-racks...I have the standalone version, and it's VERY feedback-friendly), plus your submix from the four outputs of the matrix (you'd split these...and for that, I also added four buffered mults to make sure the audio levels stay up when splitting, if necessary). Then there's an Isolator for your isolated stereo outs plus your master output level.
Now that's a nice start-point...or if you like, a finished solution.
Man...that's got to be the most hideous URL in Interwebz history! But yeah...if you're willing to do an overnight trip, there's a BUNCH of stuff getting blown out in the Las Vegas area, probably due to the huge tourism downturn. The Siena was another desk that was in the running here until I found that irresistable FIVE.
I did get some new JBL 5 inch monitors with stands and they sound amazing for a low cost affordable studio speaker. Also have two new desks to assemble for my home studio. At least new house has lots of space for studio gear and no more gun shots or homeless all over the bloody place!
OK...well, now you'll need a few guns so that you can fire them off randomly to keep the ambiance right. Those JBLs should make excellent "check" monitors, but you'll want something flatter and with more low end for your mains and/or main mixdown monitors. Ran across the discount on these the other day...they'll be PERFECT: https://www.sweetwater.com/store/detail/Gold8--tannoy-gold-8-8-inch-powered-studio-monitor That point-source driver provides a really clear stereo image...plus, I learned on some older/bigger Tannoys decades ago, and the mixes I did on those STILL stand up.
Whew such a relief. At least I can record pure modular now. I do need to get some acoustic treatment egg crate stuff to put on the walls to keep the massive echo effect from ruin my video recordings.
-- sacguy71
Don't go nuts with that stuff. You want SOME room in your room, instead of trying to suck up all the stray audio. One thing that works that you might consider would be hanging some "clouds" at various angles from the ceiling. By using different angles, what bounce the clouds might have will be misdirected, plus the space above them works nicely for absorbing low-mid to midrange sounds, and it kills the bounce from the largest "problem surface" most rooms have. Also, keep an eye out for bass buildup that'll necessitate adding some bass traps in a few 90-degree-angled corners.
Yeah, it is great having a ton of space and options now with no limits. The mixer in the video is a Mackie ProFX16v3 16-channel Mixer with USB and Effects. It is super awesome and I needed a much larger mixer to accomodate fellow musicians who visit and more gear. The level of control and FX options are superb in this affordable mixer. As my studio grows, larger mixers become essential equipment. The JBL 5 inch monitors are LOUD for a small speaker. I still need to assemble two studio desks to place more gear in the same area. At this point, I may also use another room or two for recording quiet mixing studio room as it is more enclosed and would lend itself perfect for sound treatment. Lots of egg crate sound proofing material to be purchased for sure to avoid the loud echo in the rooms.
Thanks again for your advice! And apologies to the OP for hijacking this thread :)
-- oldandintheway
Quite frankly I learned so much from the different answers that it really changed my approach. I hope this helped others as well that are just getting started. As an example, I am not a lot more into my Maths, Kinks, Links, and Shades modules as I've focused a lot more on modulation. The addition of a matrix mixer will probably blow my mind and allow me to just immerse myself in the complexity.
-- marcomixtle
I'm glad I was able to be a helpful nuisance at least ha.
I'm also getting intrigued with the prospect of a matrix mixer. I'm currently experimenting with using the Intellijel Tête-Tetrapad combo in voltages mode as an automated scene manager, so to speak, where I periodically bring in a new set of 8 CV levels to shift mod amounts, move through wave tables, etc. Combining this with a matrix mixer could be great fun and/or mentally push me over the edge, either of which would be entertaining.
Aye man! thanks for replying!
Initially the concept was to design a rack that could play in tandem with my Sv1b and Op1. Playing a Daw-less hip hop live set.
But after a few days of thinking I'm considering creating a rack with just effects and utilities. Is this what you mean by a 6u? or is that more like a traditional studio rack system?
A eurorack of effects and utilities could definitely could be a lot more powerful with a standalone sampler! Your right!
Thank you for your reply! If you know of anymore #reccomendations please let me know! I need that hip hop lo fi goodies!
much love!
Thanks again for your advice! And apologies to the OP for hijacking this thread :)
-- oldandintheway
Quite frankly I learned so much from the different answers that it really changed my approach. I hope this helped others as well that are just getting started. As an example, I am not a lot more into my Maths, Kinks, Links, and Shades modules as I've focused a lot more on modulation. The addition of a matrix mixer will probably blow my mind and allow me to just immerse myself in the complexity.
Doepfer A-185, Vmpe T43, NE Quantas Pax all can do the job. With only 2 voices smaller is probably better, but Odessa w/ expander could be very useful. Switches are inherently more performable but if you can CV transpositions that can also do the trick.
Martix mixers: Tesseract 8x8 could be nice. The WMD matrix is also super cool especially since you can sequence the stages. Other mixers get a little big for this size. I got a cheap passive on in a trade and that honestly does the job too. With a little muscle memory you'll be able to basically turn on and off modulation to set destinations or combinations of destinations.
Thanks a lot for the reply, lots of type of modules i would've never get my head into before hearing it now.
I feel like i need to try things out with the modulation modules, so i can fully commit to some type of sequencing within a rack, i had a BSP Pro until now, but you're right, their all do basically the same thing in the end, i'll cut some of them and find my way without this much redundacy in modulations.
Precision Adder seems interesting, you have some you recommend for playability/live use ?
Will definitely look into matrix mixers too, always saw them as a "big case" mixer somehow..
Veils is gonna be on my list too once i figured out what to ditch Voltage Block or Mimetic/scales
whenever someone recommends a shiny new expensive module - remember to look around and see what else there is that will do the same thing (or almost the same thing) for less money!
-- JimHowell1970
Sure, you might be right with that, but there is a huge difference between the lion and the doepfer 138m. The lion isn't more expensive without a reason. And for his use case the lion is suitable. The doepfer is not (or almost not).
-- MillionJT
@MillionJT - you may be right - I'm just a little skeptical - so I took a look at the spec for the lion (just the description here) and apart from the 'expensive pin matrix' (which is one of the 2 obvious reasons why lion is more expensive, the other being that it's built in Scotland and not China) and the black panel - I really don't see a lot of difference between the 2 - they're both matrix mixers at the end of the day...
it could be that the lion can add a lot of gain, but I don't see that in the specs - and if that's the case you could easily patch say +20db of gain in via Veils or something
so could you please explain why the lion is more suitable as a matrix mixer than the doepfer for no input mixing? or is it just differently suitable (ie the lion has this extra function that you would need another module for)
"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 was/am doing the techno groove box thing, so here are some notes/concerns...
You have lots of modulation but some of them appear kinda redundant when you take a closer look.
For sequenced modulation, you have three modules(kinda a lot for this size) and two of them are quantized and then a quantizer. I think its important to stay in key, but this is also techno so I think you could remove at least one stepped modulator and the quantizer, or if you really want it, find something that is smaller. Also, consider a small precision adder.
Look also for CV mixers, rectifiers, inverters, etc.... These will really allow you to capitalize on what you have and essential make all new modulations sources. Matrix mixer is also a good shout. Can combine gates, audio, and modulation really useful.
Steppy is fine, but I would check out the Shakamat Four Rooks for perfomablility.
Quad VCA -----> 2020 Veils.
I would also suggest looking into noise sources, Low pass gates, simple oscillators that can be fm'd. Can make for some really unique clamorous percussion.
whenever someone recommends a shiny new expensive module - remember to look around and see what else there is that will do the same thing (or almost the same thing) for less money!
-- JimHowell1970
Sure, you might be right with that, but there is a huge difference between the lion and the doepfer 138m. The lion isn't more expensive without a reason. And for his use case the lion is suitable. The doepfer is not (or almost not).
Been filling my diy 6u 62hp for 5 months now but i can't go on much longer ; i definitely need a bigger case asap
I've been assembling a new rack for a few weeks, here's a sketch of it
I wish i could go a little bigger but i really want to keep it portable and quite light. All the drums are external (TR-8 for now but Octatrack in a month), so the focus is to have a fun 2 voice live playing techno instrument that will be routed to Octatrack for effects and sampling for some tunes maybe, once i get the hang of the Octatrack.
As i said i'm relatively new to this world, coming from Volcas some years ago, to Elektron Digitakt, Minilogue XD, those types of kinda immediate instrument, so i still have this kind of dream of building a more personal and immediate """groovebox""" feel in Eurorack.
So for people playing live on a small rig like this, techno players would be even more helpful, is this making sense to you ?
the instruo lion is a very expensive version of a matrix mixer - there are others that will do the same (less the pegs - that in my case I would loose) for less money - Doepfer do a good one (one of the most ergonomic) and so do AISynthesis
whenever someone recommends a shiny new expensive module - remember to look around and see what else there is that will do the same thing (or almost the same thing) for less money!
"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!!!
Hi Guys, many thanks for the reply, I really appreciate the time taken. To answer what I wish to do, my influences are very much Tangerine Dream, Tomita, Jarre, Gong, Hawkwind, so while I do like techno, it's not the main intent!
Lugia, I'm blown away by what you've done - lots more research for me to do! that PWRchekr is a new one on me and looks to be compulsory :) And yes, 2 x 104 was the aim for an initial case.
I've read about the no-input approach a while ago but never tried it. But if you searching for Modules who are producing a lot of noise, then take a look at the endorphine Milky Way and the Squawk Dirty. They are notorious for being noisy.
To farkas point. The Bastl Dark Matter does weird stuff and creates feedback loops, but i think it needs an audio source. I guess that is not what you want to do.
One Module who could be interesting is the Instruo Lion.
Sorry if this sounds newbie-ish, but I was wondering if the idea of no input mixing can be exported in Eurorack. Something like having a matrix mixer patched into itself, or just a chain of several VCAs going into each other, or some multiples passing feedback loops between themselves. I love the idea of no input mixing, I'm imagining what sort of coolness would arise by CVing it with control modules or other stuff.
I have a Veils, a Bastl ABC and a Gargoyle Delay and I get some squarewave-like feedback tones if I cross-patch those two, but maybe there are some other modules which have more ground hum that could serve a feedback-oriented approach. Maybe DYIing them would be the answer? Or maybe this just isn't the format for this kind of explorations and I just should go with a regular no input mixer (which would sadden me, alas). If anyone has more information it would be lovely to expand on this idea.
Hi Tom,
working on an hiphop orientated live case myself..
don't mind me asking why go this route instead of getting a MPC for instance?
I am not seeing the extra things what this setup will bring you.
Not a lot of modulation options and besides the per4mer (that I love) not a lot of playability either..
My humble 5cts: get a 6u with some utilities, filter, delay/reverb thingy.. makes is all more versatile plus more fun to play around with in an accessible way.
Got myself a Feedback Modules Squeeze (4hp compressor) to glue the samples together a bit #recommendation
Maybe i'm totally wrong here, but what is exactly the "difference" between difference and the result of a subtraction? I'm pretty sure the result of a subtraction is called difference.
To this point...
CV1 = 3V, CV2 = 5V, Subtraction = -2V, invert that to get my 2V
I think i would just switch the two voltages, if that is possible in your use case.
CV1 = 5V, CV2 = 3V, Subtraction = 2V
I mean it's always good to know about alternatives, but Maths does all of this without a problem. I wouldn't even bother to use an inverter. A Full-Wave Rectifier makes more sense imho. MI Kinks has one.
This isn't a finished product by any means, just a rough draft
A few nights ago, I was searching for the perfect kick in my sample library, and all of them seemed very generic. So I opened up VCV Rack, and during my fiddling around, I made a kick drum. I was using a sub oscillator, the Erica Synths wavetable VCO, a few envelopes for pitch and wave shaping modulation, some VCAs, and a filter... not bad. I made a pretty solid punchy kick. I hit record and then...
The result ended up with me recording over 1,000 different Kick Drums in one night in Ableton Live!
Doing the math, 4 kicks per bar X 16 bar wav files X 20 different wav files recorded = 1,280 kick drums (TOO MANY FUCKING KICK DRUMS) all with their own transients and lengths so that they're all different from one another. And it wasn't even hard! It took me an hour at the most! Recording, going in and changing a few parameters around, and hitting record again. It was that simple.
So I thought to myself "What if I had a skiff with the soul purpose of recording my own drum sounds?"
I know what your thinking, " Corban, why waste time and money to make a separate skiff just for drum synthesizing when you can have a full case filled with more options and modules that are drum sounds on their own, let alone, do it on your computer like you did in one night?"
The answer is simple: Variety of options, an analog sound, originality, and having a sense of control in my sound.
Allow me to explain...
There's a few things that you wanna modulate when synthesizing a drum.
In this example, lets say I'm making a kick drum.
The Click - A VCO like the Erica Synths Wavetable is perfect for creating those beginning transients in a drum hit that sound organic whether it be a kick, a snare, a hat, or a tom. And with a VERY subtle attack and decay modulation, its the perfect replacement for a standard noise generator for making those clicking transients. It has so many options that you can dial in between using a VCA, or just by itself. So that as the beginning shape of your drum can give you almost unlimited options for how your drum will sound in the sum of it all.
The Punch - The punch (thats what I call it) in a kick drum is the fast pitch modulation of the sine/triangle wave, and like the click, the punch is modulated with a subtle attack/decay ratio to the v/oct. It starts from relatively high, and drops fast to a very low frequency. That's how you get that solid bassy "oof" out of a kick drum. Especially when you throw it through a filter with some drive and tune it right. I chose the STO by Make Noise as that body, and the Polaris as my filter to get rid of some of the higher frequencies I might not need.
The Shape - the shape of your drum can be anywhere from very short and punchy to very long and driven. Having the option to shape your drum in anyway you want seemed very interesting to me. Especially since I like to make house music. The shape of my kick drum needs to fit my track and compliment the rest of the sounds without being too overbearing. I like it somewhere in between short and snappy and long and driven, as if it acts almost as a metronome, while still giving it that driving force to move my body and bob my head. Too long, and it drowns out the sounds. Too short and you cant feel it. I like to make it just right. Just long enough for that thump to hit me and let me know its there while also disappearing as fast as it came.
Having all this control, and all these options plus an analog sound, you don't get that with samples.
You get it with this skiff.
And you can create MANY different percussive sounds. The possibilities are almost endless. I guarantee you will come out with something different EVERY TIME.
You could maybe make something like it, or something that sounds close, but never again can you make that exact same one shot sample that is 100% you. Never in a million years. And that's what's so great about it. Having ONE specific instrument with ONE specific job that can make so many different variations of ONE sound, its nuts.
And, honestly, who the hell has a skiff where its soul purpose is to make hard hitting Kick drums? Nobody. That's who. So... that's why I'm going to do it.
Dammit...this is making me want to add that "Maths skiff" to the sandbox...pair of Maths + a MISO to feed ALL of the patchables here.
-- Lugia
Yep, I think two Maths would be great - although that would be nearly half my rack! :)
Hi ModLifeCrises,
Wow, what a sound you got there! Weird and beautiful at the same time, well done! :-)
Thank you very much for this demo and kind regards, Garfield.
-- GarfieldModular
Thanks. I surprised myself with the sound, especially the 'cuckoo' which just sort of emerged from nowhere. I think the cuckoo was Maths end of cycle into FM input of Maths, creating a cuck-ooo two note phrase. Crazy! :)
Yes the module itself is the same. There were a few revisions of the module that will be displayed on the rear PCB, but the differences are quite minor. For example, the first run would close the VCA at the FOLD output if the FOLD knob was all the way down.
They can all be updated to the latest firmware of 2.04.
My new 16 channel Mackie mixer and JBL monitors arrived and had fun messing about today in new studio space.
I may use another part of the house eventually but these areas are great for folks to come over and jam and with the 16 channel mixer can easily accomodate friends with modular synths. A quick demo
Now it is not a Mozart performance just mess around try the various presets and FX from the new Mackie mixer and JBL monitors. Amazing how loud 5 inch studio monitors can sound!
