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The Micro Ornament and Crime has 4 tweakable EGs plus a TON of other stuff in 8hp, but it's menu-divey so I'm not sure if it's the best option.

Jamming about this evening I realised, contrary to the conventional wisdom, that my setup needs more envelope generators.

Since single stage envelopes are good enough for my purposes, I first thought that Mutable Stages would be the most space efficient coming in a very reasonable 2.33 hp per envelope. But of course you can get an ADSR from 2hp (among others) which requires only 2hp.

Now Stages is certainly ergonomically superior to 6 x 2hp ADSR, and it has some different possibilities (notably not including being 6 ADSRs) but lets think only about density. Can 2hp be beaten? Is there a module on the market that packs in envelopes more densely than 2 hp/EG?

Yeah i can say the same, he lists all his modules as if he was in USA, but he's not, i had to pay import duty fees.

I've tried to add a picture for the Dunlop XL Volume pedal, but the pic I added doesn't show up. If you go to the page for the pedal, my picture is there. A nice, decent rez photo of an actual XL (can confirm; I actually own one). But when you add the pedal on a MG board, that picture does not show up; instead it's a very blurry, upside down version of a different Dunlop volume pedal.

Did the picture I uploaded need to be reviewed or something? Or is this a bug?

Hi all, loving my eurorack, but I get a bit lost on the most practical way to sync it to my DAW. I currently have an Intellijel Mixup going out to my audio interface (RME Fireface UFX) into Ableton or Cubase, but I want to be able to record all my sounds individually, so what do I need? It needs to be in the eurorack form. Maybe an Expert Sleepers ES-3? Also want to use my iPad or keystep. Please help. I’m stuck!

also got recommended some of the Endorphin.es modules

thanks guys,gonna look into those

Time flies @zuggamasta! But looking forward to it.

Oh damn it. It's the 29th already. I'll make sure to drop you something tonight @troux

I just want to share a tip I haven't seen anywhere else, I thought this would be the perfect place for that!

I clock my Eurorack modular with Ableton Live using the AC coupled outputs on my PC.
They cannot send out gates so I use single cycle waveforms instead, played by Simpler in Live.
I turn it up real loud (it clips) and then it goes directly into my modular, giving me an adaptable master clock signal (I often give it bit of swing).
It works because many modules just need a rise in voltage as a clock signal like Maths eg.
The single cycle waveform I use is a crooked sine, dunno why I've made that crooked, it was trial and error a while back.

So even if you do have DC coupled outs, I think it's a waste to spend them on clocking, this technique works solid with many modules.

Cheers!

The X1L3 Shard is super gnarly.
The Schlappi Engineering Interstellar Radio may be something to consider. I've considered picking up the Ataraxic Iteritas for dark ambient tones as well.

Dark and drone in the same sentence, as far as I'm concerned, Loquelic Iteritas is king of my castle. Not exactly the same price, but you may be able to get one on the 2nd hand market: https://www.modulargrid.net/e/noise-engineering-loquelic-iteritas

The Cursus Iteritas might also be worth a look if you want to stay in the realm of wavetables, although its of course the Noise Engineering take on it, not your typical VCO.

That being said, the LI only made me hungry for its amazing Percido version, but that's another budget... :-)

All the best,
D.

Im making Dark ambient.

i have a Synth tech E352 and love it,im currently on the lookout for another Drone module that will compliment the E352.

i got recommended this one
https://x1l3.bigcartel.com/product/shard-power-electronics-hnw-eurorack-module?fbclid=IwAR2mK13k0qjEFu89NTJLUbgnNJTQ9G3BoXjJ0VSpr-9QZAiIYjxkCbEwrGE

is there anything else in the same price class that i should check out?

Thank you very much for the help! I can tell this will be a different experience compared to any instrument I've used. The trial and error of it all is exciting surprisingly. I do not anticipate creating a "perfect" setup I notice many noobs like myself attempt. I know this thing will grow. Back to the scratch pad lol!

Hi fellow knobs wigglers !

THANK YOU FOR YOUR COMMENTS !!
I actually wrote an answer yesterday, forgot to save somewhere else and didn’t have time to write it again after that. Oh well

@Lugia: My God, this is excellent, are you getting tired of me thanking you for the knowledge sharing ? Because I’m not tired of reading your rack rehauls, so many ideas !! I have many questions as well, sorry for the wall of text but I feel it makes things clear at least.
- Modulation section: Finally, it looks like something that makes sense as a whole. I was not considering those logic functions you included, for some reason those eluded me during my VCVRack training sessions, but I’ll definitely go try asap as it sounds like fun. I really like the group you made, with crossfader, mixer and VCA, I think I’d feel more at ease even with only the modules I own but grouped like that.
- Quad LFO: I have the O&C that I use exactly for that when I need slow LFO’s, the Quadraturia app offers an incredible range, from audio rate to several hours for a single cycle (lol) and also offers the tap tempo functionality (which I never use, maybe I should, here’s an exercise). Plus between Ochd and the Octasource, there’s already a lot of LFO fun to be had. Zadar can also do some crazy stuff.
- Quadrax and double ADSR: same remark as above (makes sense, EG and LFOs are similar in nature), there is the Piqued app which offers me 4 envelopes when needed. Not the same as above though, this is the app the O&C ends up on most of the time, and Stages is often used for that as well. I’m not sure I need yet another EG, but freeing the flexible O&C and Stages for other things on a permanents basis isn’t a bad thing. Quadrax (how useful is the expander ?) will therefore stay if there is room, or the ADSR, maybe both. I prefer the added crazy functionality on the Quadrax of course…
- Fractio Solum: I like the idea of having a separate clock divider, or rather I should say I hate “wasting” PNW’s outputs for clock division duties; I’m thinking I could, instead of investing in a 3U modules, get one of those Shakmat Time Apprentice to replace the 1U passive mult on the second 1U row. Big bonus is that I get to build that one myself from a kit, that’s always fun (and cheap).
- Varigate 8+: I’ve been hesitating a lot with including another gate sequencer in my rack. In fact, I still have my Robaux SWT16+ for sale right now, an excellent 16 tracks (!) gate sequencer with a bunch of cool features. I just felt like I was hardly ever using it, it was meant to be used with percussions modules most of which I sold after getting the MPC but now I usually generate simple patterns with PNW or use one of the Hermod tracks to trigger the HH and Bitbox. The way I use Bitbox is mainly to record loops out of other voices, and trigger them by hand, I’ve considered getting rid of it too, the MPC can do all that very well, and turning it on next to the rack isn’t a big effort. Am I crazy, should I keep the SWT16+ or buy a Varigate ? Really can’t decide here…
- Mutes: nice gotcha on the cv control over AUX sends, I always forget that. Not sure how useful that would be for me though, I don’t see myself modulating that so much, I usually set and forget values. Mutes is a nice to have, but since I’m hardly ever using both inputs on the Mixer, I often can use the A/B switch as a mute, by not using the second input. I’d probably skip this, especially if it means I get space for something like Tetrapad.
- Panning Mixer: whaaaaat ? I had no idea something like that existed. Can you use something like that with different VCO outputs ? Imagine that… If I can get my hands on one, I’ll bite, the issue will most likely finding one at a decent price but I definitely want to try it !

This is where I’m starting to get lost:

• Percussions and Bionic Lester n°2: Hahaha, excellent, hadn’t realized there was a second Lester hiding behind the PH (at least that’s how I see it). I don’t actually have 2, unfortunately, that’s just a bug I have sometimes. And I like the thing, but 2 of them, one on percussions? Sure, I’ll try my BIA into the one I have, that experiment is due anyway, but the Lester is in my view, somewhat of a specialist filter, I’m not sure I’d know what to do with it on a percussions section. Using it on the output of the Bitbox makes sense to me though, but again, do I prefer that over using the MPC and its very decent filters ? I guess not, if I’m honest. The more I think about this, the Bitbox is extraneous, I’d just keep the BIA (is it drums, is it a synth ? who knows, who cares, it’s bloody awesome), and the HH just because I built that myself, but I don’t think a Eurorack rhythm section is for me…
• Voices: I’m very lost here lol. You grouped the 2 main VCOs, do you see them more as a single voice ? You removed the Dual filter from Erica, you didn’t like the idea (as I said above, I’d like another stereo VCF if I consider having 1 C-sL and PH as separate voices, plus I think the many simultaneous outputs are a really interesting feature that could go well with my setup) ? Is the Lester at the end of the 1st row meant for the LIP or for the big synth voice ?
• What about Tetrapad ? That’s probably my most desired module right now, mainly to greatly improve the way I can play my patches, to play the thing more like an instrument. I’m willing to make sacrifices to include it in the rack.
• I like experimenting with feedback, so what about that Matrix Mixer ? I feel like that and an Instruo tanh[3] could be very useful for that kind of noise, and could perhaps make my desire for a ResEq much less pressing.

@GarfieldModular: I had never considered that side of things, I only have Intellijel VCA’s for now and found them absolutely clean, I should probably carefully experiment and compare when I get a chance. Also never considered feeding both exponential and linear CV into a single VCA, but now that I think of it, it has a few interesting implications. But I can’t bring myself to dedicate 20HP to 2 VCA’s.
Re QPAS, I actually had it for a while, but just didn’t gel with it. I liked having the simultaneous outputs there, and the interface is great, but the sonic character of it wasn’t for me. I tried to make it work and even had fun with it (of course), but didn’t see myself keeping it in the long run. The Erica one sounds great with audio rate modulation, from what I hear in demos, what is your experience with that ? How controllable is resonance, when you bring it at the edge of self-oscillation ?

Take care !
Diego

This was my entry system into modular synths. So much fun.

As a beginner as well to modular, my advice is to buy the largest case you can buy, the bigger the better. I recommend a 9u or 12u case at the bare minimum. That way you won't be squeezing tiny 2hp modules in it. Thus far, I really like the MDLR 12u and 14u mobile cases they have 1u rows of tiles so you can add the Intellijel utilities to those and save the space for larger cool modules. Pamela's New Workout is great. I have mixed views on the Disting- lot of menu diving and not the easiest to use for live performance or beginners.

For Christmas I got myself a Moog Werkstatt-01. I like it very much! Here you can hear it make some acidic noises accompanied by its cousin the DFAM. The DFAM part is a little boring because I was having too much fun tweaking the Werkstatt!

The Werkstatt makes the main synth line, with its pitch, gate and VCF cutoff sequenced by the Beatstep Pro. The actual sequence doesn't change -- all the variation is just from tweaking the synth. The BSP also sends clock to the DFAM which is making all the other noises (kick, snare, weird bass squawks). Despite all the flashing lights only one of the BSP's drum channels is actually used... A little delay and reverb applied outboard.

Definitely great suggestions from Lugia as usual and I upgraded to larger mixers in my new setups as well. I just got the Befaco Hexmixer which is fun with the mute switches and can be expanded later on and have a Xaoc Devices Praga on order that can be expanded as well as chained to another Praga mixer for 4-8 channels of cv/audio mixer with aux sends. WMD Performance Mixer is the one to beat and on my list for next year.

Sure...just click on my version, then use the "copy rack" function at the top to copy it to your account's builds. And yeah, the way this is set up now makes it much easier to build each subsection individually. My suggestion for starting would be to get the top row and the Performance Mixer, plus one or two of the modulation sources and the Tenderfoot attenuverters. From that, you'll start to get a sense of the raw power that I've hidden in this...this build ain't no joke! Rather, it's a "system core" from which you can expand outwards, with ample capabilities for just that.
-- Lugia

Nice. The performance mixer is definitely a big improvement, and I was strongly considering its addition. The rack is copied over to my account.

I am pretty excited as a modular setup was something I have considered for over 18 months, and will provide me with a specialized setup for Techno music. In addition, I will be able to reclaim a lot of studio space. I presently own close to 30 synths and 10 drum machiness/grooveboxes, but only keep a limited amount setup in the studio. Nevertheless, it still clutters my studio more than I prefer, and it could use some improvements for Techno music. The other genres of music that I create are vocal based, and are generally better suited for in-the-box music production. A eurorack makes a lot of sense for my situation.

EDITED Dec 29th 2020, 02:27

Sure...just click on my version, then use the "copy rack" function at the top to copy it to your account's builds. And yeah, the way this is set up now makes it much easier to build each subsection individually. My suggestion for starting would be to get the top row and the Performance Mixer, plus one or two of the modulation sources and the Tenderfoot attenuverters. From that, you'll start to get a sense of the raw power that I've hidden in this...this build ain't no joke! Rather, it's a "system core" from which you can expand outwards, with ample capabilities for just that.

Thank you so much, Lugia!

I knew some items were out of place, and needed to be rearranged or modified. The shown example definitely helps, and it is copied it to my own account. I plan to purchase the first group of modules tomorrow to consume about 270hp in total of the EP-420's full capacity.

EDITED Dec 29th 2020, 02:05

Hi Garfield,

Glad you are having fun with the Vector! I look forward to my Metron and Eloquencer. I figured that for what just the Vector and expander cost, I could get two amazing complex sequencers for my larger cases. I also have a Praga mixer on the way and find creating submixes addicting. Next year, I plan to get the WMD Performance mixer and maybe a granular sampler cv recorder like the Qu-bit Nebulae v2 or Instruo Arbhar to record and chop up incoming audio, record and remix it so that I can use my modular without having to sample to Octatrack. Vector is on my future list of sequencers but with the Metron, Eloquencer, and Stillson Hammer, my bases are covered for quite a while. Maybe after I get a larger studio space and two new larger cases would get one.

Hi Sacguy71,

I just received the Vector + expander from Five12. Didn't had much time yet, but first impression is (very) good! Now I just need more time to explore it, since I got the expander as well, giving me 6 channels output (each with pitch, velocity & gate outputs), I might need here and there some more modules to be able to come up with 6 voices/channels :-)

First very good impression is the unexpected, even better than I thought, good and direct working of the settings of those step parameters (like gate length, pitch, note length, ratcheting, repeat, velocity, groove & chance). You just press one of those buttons and straight away you can change those parameters with the below encoders, very clear, very direct, very intuitive way of handling it. Now I need to dive a bit deeper into the details.

The only con I could discover so far is... is... that this device is sooooooooo addictive that you just can't stop playing around with it, meaning that you spend hours, forgetting the time and at 6 am or something realise that you need to get some kind of sleep before continuing playing with it ;-)

I can't wait for you to receive the WMD - Metron, I hope you will have as much fun with it as I have with the Vector :-) Kind regards, Garfield.

I made the above build make more sense. Vide:

I tossed the majority of the adders and buffered mults as being superfluous. However, note the arrangement at the top left...in this case, the adder and buffered mults are PAIRED here so that you can use two separate CV channels (you'll see why in a bit) and have transposition control over each separately.

Now...why two channels? Here's why...I split out the "voice" into two discrete voice "zones". On the left end, you've got your stereo VCOs grouped together, then this feeds to a Hyrlo, set up for three stereo inputs to one stereo out. Then there's a Morgasmatron next to this (I tossed a lot of the excess filters, also...this and the other two are placed to be used by the separate "voices") for the stereo filtering. This would then output stereo to a pair of strips on the Performance Mixer. Then, right after that, are the monophonic VCOs, and a dual VCA/mixer (1/2 of a Veils, actually) is right by those for summing. OR you can use the inputs on the Fold Processor for summing, OR you can send the individual VCA outs to the Fold Processor and have IT serve as the VCO summer...plus the source for sub-octave bass! After that, I kept the Tiptop Steiner-Parker clone for even more post-sum processing then the A-106-1 is intended as a final VCF pair for THAT voice. You'd send that from there down to...again...the Performance Mixer. By doing this, you now have a split between a "pad" voice and a "lead/bass" voice, with the outputs of both going right to the level VCAs in the Performance Mixer.

Your drums are now on the next row down, next to the Konstant Labs PWRchecker which lets you keep an eye on your DC rail performance. The thing next to the BlckNoir isn't a mult...it's actually a fixed-pan stereo mixer (the white-ringed points are the L and R outs) that lets you sum that module down to stereo. After that, the SampleDrum...then a 2xSAM handles the stereo summing of all of that. Its output would go to...yep...two more strips on the Performance Mixer. All of the modulation sources are next...I added the expanders to the Batumi, Zadar, and Quadrax for even more flexibility and interaction between the mod sources, plus a Tenderfoot 3-in attenuverting mixer in the middle for polarization and modulation summing. Each attenuverter can be broken out of that, also.

Bottom row got beefed up quite a bit. Everything from the Pam's to the quantizer are co-located so that you can screw with timing more easily. Plus, there's another adder next to the quantizer so that you can add its output with another CV...and of course, that meant putting the OAx2 by it for a good DC offset source + an extra attenuator. The MISO logically fits next to this, and allows you to manipulate your mod signals globally. But where there should be VCAs...well, there is, but by using the VC8, you get much better functionality AND save about $80 over a pair of the Tangles. These are your linear VCAs for CV/mod manipulation...as the final audio VCAs are actually in...here it is again...the Performance Mixer. Your effects are next...and again, the goal here was to up the capability AND fit the space, so I went with a MSCL stereo compressor for mashing the stereo drum feed (makes it bang HARDER), a Statis Leak (reverb, tap delay, chorus in mono-to-stereo) and the Echoz. After that...yep, there it is...the PERFORMANCE MIXER. This has your final audio VCAs, plus it has a mono FX send and stereo return and a bunch of other tricks that makes this WAY easier to use. Then I followed that with a FX Aid XL which you can either feed the stereo mix through and control the wet-dry mix...OR you can use the second stereo input on the Happy Nerding OUT as a second stereo return, which is pretty convenient! This also has your headphone preamp, main output metering, and transformer isolation which you can oversaturate a bit for some extra warmth.

I got rid of ALL of the small 2 and 3 hp mixers, all but two of the adders, all but one of the buffered mults (which is now where it needs to be...the rest made no sense, and instead of those expensive things, just use passive in-line mult widgets), and a bunch of other things that just didn't fit together nicely with each other. And that last point is key here: the subsystems in here are now PROPERLY grouped and outfitted with their various support modules for ease of use and better internal routings. And I put it in a wood cab like the Pitt 420 so you can get a better idea of the final looks. Result: much tighter configuration, better ergonomics overall, plus much more "readable" where the subsystem patching is concerned instead of having subsystem modules scattered all over the place. And the addition of that WMD Performance Mixer is not only designed to streamline workflow, it ALSO has enough remaining inputs to mix in any "wing" cabs you might get in the future, or you can also send the SV-1s to those since their outputs will be at the proper level, letting you directly integrate those into the final mix. Also, if you go to an arrangement of wing cabs, you can shuffle things on the bottom row so that the Performance Mixer can be expanded with two more input strips, direct mutes, and CV over AUX sends on your first four strips. No room for that YET...but it's something to consider if you go to a "next stage" build.

The power draw here IS HIGH...but by putting this in a EP-420, there's loads of Amps to go around. Oh, yeah...the uZeus went away, too, since the EP-420 has those STONKIN' DC supplies already in place!

EDIT: oh...and I saved you about $300 here, even with expensive additions like the...gotta say it one more time...PERFORMANCE MIXER! haw!

EDITED Dec 29th 2020, 01:48

I know this part of the forum is about 'You' well, this track from Asian Dub Foundation is as good a representation of 'me', and no doubt many others, as anything right now...

So, I have a favour to ask of all you lovely people and I hope you don't mind me asking it here, it IS for a very good cause...

Can you spare ONE £€$?

Then please buy this awesome ANTI-RACISM track and get it to No.1 for New year 2021

ALL profits go to KENT REFUGEE ACTION NETWORK!

https://asiandubfoundation.bandcamp.com/track/coming-over-here-feat-stewart-lee

Lyrics here:

https://twitter.com/ADFofficial/status/1341337504071475200

Thank you!

Ha, ha, let's see how it goes next year! :-)

You would be wise to listen to Lugia... If you absolutely have to fill out that 8hp check out Pamela's New Workout. Every rack benefits from PNW. Or a Disting EX

You've severely limited yourself here. This build is too small to support something like the SV-1 without making serious compromises to other subsystems that should go in here. A far smarter mover would've been to study the SV-1, then obtain the "primitives" behind its panel as discrete modules. As it is, your rig here is now being "forced" in terms of operating capabilities by that one module. This actually negates the point of modular...YOU should determine how things function, not some particular module.

Also...why do this sort of setup in general? 2 x 84 is pretty limiting as well. I note that you've got a uZeus in there...so why not jettison it AND the 2 x 84 and go with a Tiptop Mantis? You'd have 40 more hp to work with, the rack is prepowered so no need for the on-panel supply, and it has proper filtered power bussing...no flying busboards! But even if you go with that (IF you can change your order ASAP!), the SV-1 is still a no-no, as even 2 x 104 is too small for a big honker like that.

An example of why you need attenuators...or in this case, attenuverters on a DC-coupled mixer:

Let's say you want a VCF to sweep irregularly. Instead of having the same EG behavior each time, you could send the envelope and another envelope to such a mixer, then INVERT one of the envelopes. Next, rig up a VCA to control the level of the inverted EG signal before it hits the attenuverting mixer, and feed the VCA's CV with a slow LFO. This will cause a constant, repeating rise/fall in the inverted EG's input to the mixer. Send the output from the attenuverting mixer on to the VCF's cutoff CV. The result will be envelopes that have a weird behavior to them, and if you set the level-governing LFO to a period that's not related to the rhythmic pattern that the track your working on, the VCF will constantly output different but related behavior each time it's swept by the mixer's constantly shifting modulation result. This also shows why you've GOT TO have ample VCAs for instances such as this; for generative work, the "support" modules do more heavy lifting than one might imagine! And even if you're NOT doing generative patching, the ability to add a little "ear candy" like that is ALSO what those modules are for. In short, they're essential, and one leaves them out at their peril!

EDITED Dec 28th 2020, 21:46

Thank you again everyone for the feedback. It is truly appreciated.

Big changes has been made! After much thought, additional research, and budget considerations, the eurorack case has officially been upgraded from the Pittsburgh Structure EP-270 to the EP-420. Below is the present goal to fill in the said eurorack case:

Feedback is definitely welcomed.

Although I want nothing more than to purchase everything now, I will probably only invest up to $5.0k to 6.5k initially to get started, and confirm or modify the remainder of the purchasing decisions over the next year. The modular system will be triggered via an Arturia Keystep Pro (and two additional Beatstep Pros and two Keysteps, if needed), and passed through an external mixing board for additional processing. However, I plan to eventually consider a separate eurorack case with specialized sequencers and mixers later.

My final goal is to have a self contained 4-voice and 8-drum modular groovebox. I am also considering an Elektron Analog Four MKII and Elektron Analog Rytm MKII combo as an alternative to the proposed modular system. Although far more expensive and less convenient, as an electrical engineer and musician, a modular system has truly captured my interest for quite some time, and I do not want to regret not diving in 100% to verify whether or not it inspires and assists me to achieve my music creative goals.

In addition, I also have a Roland System-1m, Arturia MiniBrute 2, and two Pittsburgh Modular Lifeforms SV-1s available for additional modular synth devices to integrate in the future. Also,the Roland TR-8S, Pioneer DJ SP-16, and Arturia DrumBrute can also be used for more drum sources later on as well.

Thanks @mowse, much appreciated.

@sacguy71 I haven't recorded any video yet but it's something I would like to try out.

I hope you are right!

However, The Clown was heard to be celebrating the fact that UK traders should be 'galvanised' by the thought of all the red tape and be keen to comply - or some such nonsense!

I had a contract recently, well a year or so ago, something smelled off so I started reading it properly, no joke, it was 23 pages long and it took me nearly a month of hard work to unravel it all - cross reverences and insane clauses like 'where the singular is used the plural is also implied and vice versa' - no joke!!! Try re-reading anything and applying that little gem to anything let alone a complex cross-referenced contract!

We're living an a Kafkaesque nightmare!!

12-12-2020 Frequency Freaks 3-Module Challenge Patch Notes

OVERVIEW
This patch was theorized in a few different forms during the week of Sunday Dec 6th to Thursday Dec 10th 2020,
the date it was recorded. Taking the many channels, modes, CV routing capabilities, and Channel trigger link
routing capabilities available on the Quadrax, an initial "bed" of frequency modulation (2 x Bipolar LFO at
audio rate) was created. From there the 2 audio waveforms were sent to Disting to be quantized at a major
third interval apart from one another (most of the time, transpose function was used in performance on the
Carrier VCO) and these CV's were sent back into Quadrax and applied to LFO Rise for 1v/oct tracking. While more
detail is provided below for each module, what happens from here is the combination of the unfiltered signal
and the filtered signal from Spectravox, each sent into an input on Hexmix with some EQ and level control.

Quick note on choosing pitches and intervals:
During performance, I felt that adjusting the X and Y Attenuation on Disting's H3 Dual Quantizer algorithm
was very satisfying as it expanded and contracted the range not only of the notes themselves but also
changed the FM relationship between Carrier (Quadrax Ch. 1) and Modulator (Quadrax Ch. 2) oscillators
(Bipolar LFO algorithm at audio rate)

1. INTELLIJEL QUADRAX
   Channel Algorithms
   Channel 1: Bipolar LFO (@ audio rate)

   • acts as the Carrier Oscillator
     Channel 2: Bipolar LFO (@ audio rate)
   • acts as the Modulation Oscillator, as well as a Modulation source for other destinations
     Channel 3: CYCLE (cycling AHR envelope)
   • acts as a CV for Spectral Shift on Spectravox, in addition to being fed back into Quadrax CV C
     to effect Channel 2's LFO Shape
     Channel 4: BURST (Alt mode, in order to use a raw up saw shape)
   • many little upward saw waves that increase in amplitude until dropping back to 0, such that the
     aggregate shape of the waves also forms an upward sawtooth shape
   • This Channel is the source of CV for Disting's Dual Quantizer (both X and Y inputs), and has
     some effect on the RISE parameter (Frequency in this case) of Channel 1's Carrier VCO
     CV Routings
   • Destination: Channel 1
     i. Source: CV A (quantized pitch from Disting's A Output)
     x Applied to: RISE (acts as Carrier VCO Frequency)
     x Mod Depth: +100%
     ii. Source: CV D (Channel 2 waveform)
     x Applied to: RISE (acts as Carrier VCO Frequency)
     x Mod Depth: +25%
   • Destination: Channel 2
     i. Source: CV B (quantized pitch from Disting's B Output)
     x Applied to: RISE (acts as Modulator VCO Frequency)
     x Mod Depth: +100%
     ii. Source: CV C (Channel 3 Cycling AHR waveform)
     x Applied to: SHAPE (dynamic Timbre modulation of the Channel 2 Mod VCO)
     x Mod Depth: +100%
   • Destination: Channel 3
     (none)
   • Destination: Channel 4
     (none)

   Channel Trigger Links

   • Destination: Channel 4 (Burst Trigger)
     • Green EOR linked from Channel 3's looping AHR envelope

2. EXPERT SLEEPERS DISTING MK4
   Algorithm: H3 (Dual Quantizer)

   • Initial Transposition (S Knob parameters 2 and 3) difference between channels 1 and 2 was +3
     for channel 2, then moving channel 1 around in intervals of +/- 7 and +/- 12
   • Attenuation (S Knob parameters 0 and 1) for both channels was initially set around 9-12 to "contain"
     it, expanding outward later on
   • Both channels received the same pitch information from Quadrax Channel 4 (burst generator) but
     dealt with that voltage differently (as explained above)
   • Output of both channels was sent to CV A and CV B for routing around Quadrax and to the wider patch
   • Z Mode Scale value = 3 (Triad). Best to keep a simple scale when manipulating timbre and intervals

3. MOOG SPECTRAVOX (FILTER SECTION)

   • Fixed filter bank of 10 here worked to provide great spectral shaping
   • Faded in the Spectravox on Channel 2 of Hexmix, mostly panned right with EQ emphasis on mid (1kHZ) and
     low (100Hz) bands

IV. MORDAX DATA (Visualization Notes)
- Uses all 4 channels @ 5.0V Scale, DC Coupled, Vis: ON, Source: CH1-CH2, Offset X: 50, Offset Y: -5
- Channel 1 Pos: +15V
- Channel 2 Pos: +5V
- Channel 3 Pos: -5V
- Channel 4 Pos: -15V

V. BEFACO HEXMIX (Simple Mixing/EQ Notes)
- Unfiltered Outputs from Quadrax into Channel 1, panned mid left
- Channel 1 EQ: high band - 12:00, mid band: - 10:00, low band: - 9:30
- Spectravox on Channel 2 of Hexmix, panned mid right with EQ emphasis on mid (1kHZ) and
low (100Hz) bands
- Channel 2 EQ: high band - 12:00, mid band: - 2:00, low band: - 2:30

VI. PERFORMANCE NOTES
10 Performance Parameters (obviously many more could be added, but this list practically restricts
things for use in a short recording)
i. Quadrax Channel 1 SHAPE parameter (will drive different timbral results both for itself and
with regard to its' relationship with the Mod oscillator at Channel 2)
ii. Disting X Transpose (S knob parameter 2)
iii. Hexmix CH. 2 volume (begin patch with level @ 0)
iv. Spectravox Spectral Shift knob
v. Quadrax CH. 4 Burst length (FALL knob)
vi. Attenuversion of CV from CV C to CH. 2 Shape (push to -100%)
vii. Quadrax CH. 4 Burst Rate (RISE knob)
viii. Attenuation of Ch. 3 Shape from CV B (-100 to -50 or -25%)
ix. Disting Input X Attenuation (increase values)
x. Disting Input Y Attenuation (increase values)

VII. COLOUR CODING
Colour coding was implemented to match the colour of the oscilloscope channels on Mordax DATA, where the
colouring of a given patch cable is indicative of the origin of that part of the signal chain.

Quadrax CH. 1 - Green
Quadrax CH. 2 - Blue
Quadrax CH. 3 - Red
Quadrax CH. 4 - Yellow
Disting - Black
Spectravox - Purple Stackcable (except at the output of Data CH. 2 where I had to use a purple
stackcable to send Quadrax CH. 2 (Blue) to both Spectravox and CV. 4 of Quadrax

EDITED Dec 28th 2020, 13:34

I'm very new to modular synthesis. I currently own a DSI Prophet '08, original Roland JX3P, Behringer Model D, Ensoniq TS12 and several Akai and Roland samplers. I create HipHop, IDM, Ambient, OST, VGM, Dungeon Synth and occasionally synthwave or house. I first placed the Behringer system 100 modules in a basket and cancelled the order after notification everything was on back order. I decided to start with these.
The tiptop audio happy endings racks will be most useful for me since my studio room is already cramped. I have an Omnirax Force 36 desk (https://www.wwbw.com/Omnirax-Force-36-Workstation-548085-548085000203000.wwbw?source=TWWR5J1BB&cntry=us¤cy=usd) and the right side monitor stand/rack bay is cleared and ready to install two of the racks which are on the way. One of them comes has the power module. So far, I've ordered a Pittsburgh SV1-b, Noise Engineering Mimetic Digitalis and a Erica Synths Black Hole DSP 1.
I want to sequence the sv1b and the model D (staying in it's own box) for normal synth patterns and create long ambient sounds maybe get a little crazy with noises. I can stand to afford one more module for my first crack at this. Any recommendations? I thought about getting a Serpens Modular Hydrus but I have yet to see a video or demo of it. The description sounds like something I would utilize but not totally sure and I'm trying to fight my low level OCD of completing that 8 HP left in the first rack. The second rack will be in the closet ready for expansion once I feel confident enough creatively and financially to grow.

EDITED Dec 28th 2020, 12:43

Hi Guys.

Thanks for your input so far. The quoting in this forum doesnt work as easy as thought and the rack is not updated correctly.
However, the Neutron is not part of this Rack.

I built this rack with any modules I could lay my hand's on 2nd hand. So therefore some of them might be to big or overblown (Doepfer) and I will exchange them over time surely. Mainly to gain space. ;-)
Especially thanks for the QPLFO and the 4VCA. Will keep looking for those.
Regarding support modules (Attenuators etc.) I am not yet sure as for what I might need them.
Maths i looked into but was a little hesitant as I might be overwhelmed with its functions. But I already noticed that something between my existing ADSR and LFO's could be fun to play with.

So what do you recommend to look out for next? VCO wise I am equipped I think, modulators like MATHS etc. could be interesting. Also the WMD Toolbox seems like something.

Thanks in advance.
With kind regards
Jan

I would remove the Neutron from the case as first step as it takes way too much valuable HP.
You don't really need it.
It was added as a Test and removed already. As said, I do not own it. Somehow the rack was not updated.

Next step is you need support utilities and modulation sources like LFOs, attenuator/attenuverters, mults and logic. Adding something like a Batumi or Divkid 0chd would give you a good modulation start and something like Mutable Instruments Shades or Noise Engineering Lapsus Os would provide attenuators and maybe throw in a Kinks and Links for support modules.
I looked at the 0chd. Interesting LFO and thanks for the MI and NE tipps.
Regarding support modules (Attenuators etc.) I am not yet sure as for what I might need them.

Next thing: how are you sequencing the rack? Maybe get a basic step sequencer if you want to create beats either in case or external like a Korg SQ-1 or Arturia Keystep with CV control. A good in rack basic sequencer and clock that I love is Pamela's New Workout as it small, powerful, easy to use and does a ton of cool stuff.
Sequencing happens solely from my DAW via the Doepfer 190-5. I know it's 4 channels and I will not use it for polyphonic purposes. So maybe a bit overblown. However initial playing around was nice giving me separate control (playing multiple melodies etc.) over the VCO's.
Maybe I will change that over time.

Third- function generator like Maths or Quadrax would give you lots of options or maybe Zadar.
Maths i looked into but was a little hesitant as I might be overwhelmed with its functions. But I already noticed that something between my existing ADSR and LFO's could be fun to play with.

Last- effects, a delay and reverb would add a lot to your setup. You can get something like an Erica Synths Pico DSP or Happy Nerding FX Aid.
So far the Audio Signal goes into a small desk before recorded to DAW. That Desk has two external effects attached which I can play around. So at first No additional FX within the Modular was intended.

Thank you for your Input.

With kind regards
Jan

Thanks Garfield,

Really enjoying these modules and the new setup. Mordax is a great module and love easy set tempos at different rates and offsets and the Mob of Emus with the Acid Rain Maestro is super modulation madness great for live on the fly performance changes. WMD has great percussion modules and my WMD Metron will hopefully arrive first week of January after such a long wait. I really like the MDLR case the two rows of 1u tiles are great and I have a few Intellijel 1u tile modules like Quadratt and mults. I will add more 1u modules after next year when Intellijel has more for sale as these have been in short supply and sold out quite a long time like their 7u cases. Did you ever get your new sequencer yet? I also have a Winter Modular Eloquencer on the way to add to my Doepfer monster base case and a Mimetic Digitalis for the 6u case with VPME Euclidian Circles. Should be a fun 2021 start with new gear and patch learnings.

Thank you Defragmenteur :-)

Hi Sacguy71,

Nice jam! Lovely to see your MDLR case in action :-)

Thank you very much for sharing this and kind regards, Garfield.

Hi Mowse,

Wow, you got some quite special sounds in there, I love that! At certain spots quite daring using different sounds then usual, I like that :-)

Thanks a lot for sharing this and kind regards, Garfield.

I like this! :-)

Hi Farkas and Toodee,

Thanks a lot for listening :-)

Farkas: Though I didn't configure it as such, with the Sinfonion you can do indeed lots of different scales.

Toodee: Indeed, that cry kind of sound is done with the E330 - Multimode VCO from Synthesis Technology, lovely fun module. The "total" sound ends up with these two voices (E330 that cry sound and then that repetitive LFO sound is done with the quad VCO from Doepfer, the A-111-4) into the Warps of Mutable Instruments. I actually was testing and playing around a bit with Warps when these kind of sounds happen to appear :-)

Have fun with modular and kind regards, Garfield.

Yeah, Van Der Graaf Generator and Peter Hammill of course :-)

He, he, that guy plays two sax at the same time, didn't even know that was possible :-)

Hi Diego,

Well yes, if you look at it like that, then go for the Veils :-) I was thinking of the Veils to, just under the motto: "You can't have enough VCAs" however for me the user interface counts as well, the knobs on the Veils look pretty close to each other. Besides that, you don't have separate CV input for Linear and Exponential behaviour of the VCA; the beauty of the DVCA1 is that you can use both at the same time.

I agree, the Colour option is a nice to have but, at least for me, not a must have.

I am not saying that between these two particular VCAs there is a quality difference, however in general there can be quality differences between VCAs, depending on the quality of the components (and other possible reasons) why on one VCA the sound sounds better than on another VCA.

Thanks a lot for sharing your experience about the WMD - Performance mixer, I might consider it perhaps, bit expensive though :-(

Regarding (dual) VCFs... yes difficult one, another idea might be the triple State 700 Mk2 from Frequency Central, but I prefer the Black Dual VCF. How about the QPAS from Make Noise, that one is quite nice, bit different from the Black Dual VCF, naturally but really not too bad, you can do some nice stuff with the QPAS.

Good luck and looks like Lugia gave you quite a few hints & tips too; so tons of things to check for you there :-) Have fun and kind regards, Garfield.

Edit: Removed typo.

EDITED Dec 28th 2020, 03:54

Hi Kel_,

If I read and understand the news papers correctly (reading in Germany as well as in the Netherlands) then with this Brexit deal both ways (UK to EU and EU to UK) there will no import taxes apply (free good traffic, i.e. as it currently is). But then again with how many pages, 1200 or 1600 pages thick contract, who knows...

I guess time will tell :-)

Kind regards, Garfield.

Would love to see a live video of you jamming on your setups.

Lugia has words of wisdom. I have Shades in my 6u case for mixer/attenuator/attenuverter and it works great for 3 channels. Also like the Intellijel Quad VCA that has lots of features in small form factor. Then I send outs to 3 channel Intellijel Mixup for mixer and love that especially since it has mute switches and super easy to use. I just got WMD/SSF Toolbox which is super useful as it packs a ton of CV utilities in small module: sum, rectifier, compare, logic, invert and switch. I had fun using it over a friend house this weekend jamming and trying out different patches.

Yeah. Some things happened here. All came together rather nicely. Really nice session!

Actually, I would strongly suggest redoing this build. The reason is because many of the individual modules here can also be found in modules which have multiples of that same circuit. Case in point: the two VCAs on the second row...one each, takes up 16 hp. Yank those, put in one of the new versions of Veils, and suddenly you get FOUR VCAs...plus six more hp to play with.

There's a lot of this issue in the build. Take a good look at the various functions and then see how densely you can go in the same or less space. Also, you can drop the Doepfer MIDI interface...you won't have space here for four voices of polyphony. A better move would be something like an Expert Sleepers interface, which would then allow you to send CVs, gates, triggers, mod signals, etc directly from your DAW via a few different pieces of software. Or you can integrate a VCV Rack build with this with one of those.

Lastly, lose the Vermona modules. They're pointlessly expensive for what they do...plus, too damn big! Have a look at 4ms's QPLFO (12 hp! duty cycles from low audio out to 71 MINUTES!) instead of the quad LFO there, and Happy Nerding makes a 6 hp stereo balanced out with metering, headphone preamp, AND a second stereo input which would work like an FX return, with its own ganged stereo level pot. Or you could just as easily add the Befaco Hexpander, and then you'd get three FX loops, balanced I/O, metering, master level, and so on...although, really, you might find that a smaller performance mixer would make more sense if polyphonic operation isn't going to happen. Have a look at Toppobrillo's take on that.

The ideas are there...sorta. This needs a bunch of refinement, though.