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Control is my first choice, then Perfect Circuit, then any of the rest.

I made some quite nice experiences by selling things to @zergon, @Draazith, @wiggler109346 and @dogzstar over the last weeks.

EDITED Jan 19th 2020, 12:12

:)

Buy a Sinfonion. Build your whole set up around it . It’s amazing :)

That's the general idea...modulars are at their best when they're being used as "discovery machines". Yank out the cords, change the settings, patch again...and a whole new vista unfolds.

@RTFM is for sure a pro builder, but also has a great musical and technical knowledge.
perfect communication, fast shipping, well packed...highly recommended seller !

@dadacore is a nice person to deal with, fast shipping and well packed, module as described...recommended seller !

Hey I'm sorry,

my post got truncated again. Not sure why, really, but it's the second time.
I can't delete my post so apparently this thread is here to stay ✌️

In case anyone wondered, I was asking questions regarding this rack:

Merry Christmas everyone!

I've just got my SD card.... you need to order a pair of Tweezers to go with it, and I don't particularly have fat fingers.

To make use of the Disting, you really have to practice accessing the programs and features. For me, it's a bit frustrating as the interface isn't intuitive and tends to be unnecessarily cumbersome.

Honestly if it came in an 8HP version with a decent LCD display... and functioned more like a micro Ornaments & Crime when accessing programs and features, I'd get that in a heartbeat.

Expert Sleepers makes great modules. But the user interfaces always leave a lot to be desired, in my opinion.

I'm enjoying the throw-away-ness of it all, pull all the patch leads and re-patch and find something completely different.... then mostly forget how to do the bits that were cool in the last patch straight way!!

Have you tried out any of the settings on your Disting? There are plenty of effects modules out there. You can try out various effects and figure out which ones work best in your workflow. You seem a bit limited on space. I've had some success with TipTop's Z-DSP. I'm also considering a Chronoblob Mk2.

I agree. Still discovering new things with modules bought months ago!

Cheers, its a bit basic.
The good thing about not having much money to spend on Modular is that each new Module gets a damn good play with before the next one arrives.

Very good experiences with
@dara (ALM HPO) @NONETHELESS (ATOM) and @barfnox (Harmonic Oscillator).

Nice!

Greetings GarfieldModular!

Yes, you are right. The A/B switch will toggle between Moog Ladder and S&K resonance characteristic.
The top switch is for the variable highpass (to thin out the low frequencies from the incoming signal, if needed).
And yes, I'm one of the co-founders of IOI.

Thanks for your wishes. I'm sure we will find our path the one or the other way.. ;)

Regards, zid aka Frank

Melodic sort of thing

With this rack
https://cdn.modulargrid.net/img/racks/modulargrid_976055.jpg

Another purchase from @PinPinKula, for a uClouds and nRings this time. Once again, not disappointed.

Hello Igor,
glad to see you here again! and thanks for your 4ms smrf, love it very much!
it's so cool you wrote about your album here, you had to do it a long time ago. as you know, I even bought CD!
despite the fact that there is a lot of guitar sound, the synthesizers are gorgeous. my favorite synth parts are pad on the first track and sound design on third. but also the guitar on the second track is amazing!
I wish you successful sales of your album and happy holidays! Hope to see you in France next year!

EDITED Dec 22nd 2019, 12:09

The 3 page manual link

3 page manual, this site seemes to strip the underscores

May I suggest these 2 quick reference guides?
http://www.vo1t.com/Euro/Illustrated/ESdistingMk4V4.14.pdf
http://www.vo1t.com/Euro/Illustrated/Disting4.14_3_Page_Manual.pdf

-- defragmenteur

Thx a lot this is so much better than the official pdf

wow, thanks defragmenteur.

The first link looks like it may make things easier but the bottom link, copied and pasted into a browser doesn't work.

REX50 isn't a bad choice, actually. While it's not anywhere near being a state of the art reverb processor these days, as a "module" that's accessed through something like a SND/RTN it seems like a good fit within a modular patch. You get that lower bit-rate "dirt" with older FX units like this, and that's a really good additional character to add to a sound when you can tamper with it further.

Thanks for the advice. I actually have some guitar pedals that I havn’t used with my rack. Like the Yamaha REX 50 digital multiprocessor. I will make it a try!

May I suggest these 2 quick reference guides?
10 pages manual
3 pages manual

EDITED Dec 22nd 2019, 14:41

Have you thought about bringing effects pedals into the mix? If you play guitar or have external instruments, Adventure Audio Merge could be one module for consideration, and would also give you input/output for pedals, as well as an envelope follower. Another option to think about to just bring in pedals for audio processing would be Malekko SND/RTN. I find bringing pedals into the signal flow a fun way to expand the palette.

As for filters, perhaps something really aggressive like Flight of Harmony Plague Bearing or Imp? ALM Busy Circuits MUM M8 could also be considered if you would like to have that classic Akai S950 Low Pass Filter.

Hey wendallsan, thanks for such a detailed answer!

I didn't know of the 2VL1 nor warps and it seems a bang for the buck.
Especially, the warps seems like a smart choice in a smaller rack like mine.

Can you explain why you decided to go for the same 4 complex voices, instead of varying the separate voices?
I guess it makes sense when you want to use the module inside a larger system like yours and need polyphony.

On my side, I finally went to the store and tested different modules, and reality is that everything I tested sounded good... I think I could see myself with anything that's usually mentioned of forums. It's sort of a relief and I understand better what more experienced users usually say: that all major complex oscillators or Rubicon are all good decisions and that it's just matter of personal preference...

Not that it helps at making an actual decision but anyway

I am quite happy with my rack but I need some more tools for audio processing. I’m thinking of modules like Joranalogue Filter 8 or maybe a Clouds clone but I need some more suggestions.

EDITED Dec 21st 2019, 12:10

Now I am in a process of learning how to patch and understand my modules. One goal is to learn how to combine different modules so they mimic other dedicated modules like a crossfader. Not so much that I need these functions. More for learning how they work.
One invaluable source is ”Patch & Tweak” that for example have learned me how to build generative patches with my 6U x 64 rack although that is ”Impossible” ;-)
For crossfading I found a good algorithm in Disting and I am thinking of to get the Doepfer A-134-2.

EDITED Dec 21st 2019, 10:09

Hi Diego, Yes, thats us :) I think we scared our drinking-customers a bit but I enjoyed it ;-)

The Clockable effects and LFO are probably going to get used, I miss having all the direct control knobs for instant tweaking.

Hello Garfield.
I've been keeping dipping into it and the manual, I never knew I could fall out with a piece if gear so fast!

I think the VCO bits are the most usable for me at the moment, then there is the bit about using single-cycle .wav files for the Pulsar VCO and Wavetable VCO (SD card needed).

I guess you could say that, as a beginner at modular, the Manual could have an easy to understand explanation of each menu function, with 109 pages in the manual already a little more less-techie info wouldn't be missed.

EDITED Dec 21st 2019, 09:43

Hi there !
Being an Elektron Octatrack user, I'm not afraid of reading manuals often or having to remember key combinations by heart. Consequently, I find the Disting really OK from that point of view and having that many functions available to test a bunch of ideas is amazing. When I'm not using it for experiments it usually serves as an effect module, clocked delay more often that not, it's a very decent delay module IMHO.
I also need to point out how awesome it is to have colored leds at the inputs showing voltage strength visually, brilliant idea really, even better than having the activity led that some modules have. I wish more manufacturers were using those !
With regards to sample playing, I have read somewhere (here I think) that the Radio Music sample playing might not be the tightest when it comes to timing, so if you're thinking about it make sure you check that out first to avoid frustration ;)
I hope you'll find a way to have fun with the Disting !
Best,
Diego

PS: are you the Wishbone Brewery who invited Mylar Melodies to play (he posted a video a few days ago) ? That was neat !

Hey Ziddabit,

Interesting module this filter. How to switch from Moog to Sallen & Key and vice versa? Is that done with the A/B button?

Are you representing the IO Instruments new setup?

Good luck with the startup and let's hope you will be as successful as for example Erica Synths or Intellijel :-)

Kind regards, Garfield Modular.

Hi Wishbonebrewery,

He, he, yeah, similar feelings here with the Disting Mk IV. Far too much menu stuff, but I knew this is what would happen on forehand but I still bought it... I keep the Disting as an "emergency" module: In case I miss a certain functionality or I need more modules of the same functionality but I don't have enough, then the Disting jumps into place --> though I have to go through the manual first then to figure out how to get that functionality. Nothing self-explanatory here :-)

You gave me a good hint though, I like your idea of using it as a sample-player, better than hanging idle in my casing while it's waiting to become the hot-spare/emergency module :-)

Kind regards, Garfield.

Update: I worked on this for a while and figured out at least some sort of OK ratcheting.. it does not sound like the track at the start but its got some of that spirit.

1. Setup a simple 808 type sequence on Rene X channel - with 808 don't go to many notes apart. Enable all gates and all access channels. Make sure to enable 'sleep' mode for x in the function page.
2. Setup the Y channel of Rene to spit out a tone that goes directly to the CV2 in of Pamela's new workout (+/- one, CV1 wont work as its + only). Do not enable sleep mode, for simplicity of different clock bpm changes disable access and gates to most of the Y channel as you see fit. Make sure sleep mode is not turned on. Big key here you have to set the quant page of the Y seq. to level 4, four full ocataves that way there is enough CV voltage to properly move the Pamela's CV2 clock based on knob turns in the Y seq.
3. In the main Pamela's new workout clock page setup a clock to use the CV from Rene Y channel see #2 above, as a clock modifier so depending on the voltage of the Rene coming out i.e. what note you are playing, it will increase or decrease the clock! Must use CV2 option not cv1. To do this just crank the clock multiplier past 512 and the next one is CV1 (does not work) and then CV2 that works great.
4. Use that clock to set the X channel in Rene and pull a new slower clock to feed the Rene Y channel that way you can sequence your bpm changes slower than the X channel will play the notes.
5. Patch the Y gate out of Rene back to the Rene X channel 'Xmod' input then choose 'reset' in the function menu so every time the Y gate hits it resets the X and plays a gate and cv, that way every time it changes rates it also plays a note and gate on the X channel so you don't get any missed beats where it changes to the next note with no gate - that was an issue.

Its not perfect but it kind of works

there is one big missing item, i need to figure out a way to CV control the Y channel so i can make that go faster or slower, right now all the changes in the y sequence that control the bpm rate are spaced equally apart, i'd like to have the Y sequence go at a non linear pace almost random so maybe i need to run the Y clock through its own CV2 mod from the Rene 'C' sequencer.. still working on that. should be do able tho!

Thanks for the ideas everyone.

feedback appreciated.

EDITED Dec 20th 2019, 17:55

Lugia i did see Tempi but since i already have the pamela's new workout i didnt grab it

i may have to get one and trade away my pamelas

i also read u can use the batumi with the divider outs on the square wave as a clock source i may dig into that too

You might also look into Make Noise's TEMPI module. This is designed to tandem with the Rene2 via a backplane connection, and majorly ups the game on timing and clocking capabilities with that sequencer.

Don't fret. Go to Youtube and find some tutorials on Eurorack + ratcheting. It's a commonly used effect. Your sequencer doesn't have to ratchet itself. You may want to check out the Befaco Muxlicer and some other modules. Basically you substitute your normal gate for one that's a multiple of that gate.

Hi Ronin thanks for clarifying that!!

well its too late now i was in Chicago at CME and got a Rene 2 sequencer and i combine that with my arpitecht

thing is i like the gate behavior like delays stops etc of the Rene but i cant find a good way to get the ratcheting effect damn!

i bet the Rene can do it i just dont quite know how, maybe combine x and y sequences or use the amazing c sequence i am perplexed

i have a pamela's new workout also

any help appreciated thanks again

There are crossfading modules available if you don't want to dedicate your VCAs and other modules to creating a functional crossfade.

For Trap-style, it's all about the ratcheting. So when you review any Eurorack sequencer, you'll want to look for this feature. Ratcheting takes the current step and subdivides the gate into multiple gates, giving you the 32nd notes or whatever division you'd like in your ratchets.

You're going to want to run your 808-style kick through some sort of drive or distortion module to get some crunch out of it. Are you having trouble making an 808-style kick in Eurorack?

I've just got the Disting Mk4 and now i know why i was trying to avoid menu-based modules. I'm hoping there is going to be something in there that i can experiment with but right now I feel like the manual is like some weird form of algebra, and i could have spent my money on something i would have enjoyed straight out of the box rather than Click-Twist-click-twist-check the manual, plug-unplug-check the manual!

I shall persevere, but leave this expletive here Fckngmenus

Some time later
I have an SD card turning up soon for this so I can play with the sample playback stuff.
My current feelings are that I would get better use (Fun) out of a Ping-able LFO and a Radio Music :)

EDITED Dec 19th 2019, 21:57

Wow, thank you very much for such a detailed answer. Yes, maybe the guitar plays a leading role on this release, and the modular synthesizer is more for creating the background and atmosphere. We wanted to show that a modular can be not only a solo instrument, but also can be well introduced into heavy guitar music.
Nevertheless, on our previous releases, the modular synthesizer plays a leading role . Therefore, you are welcome to listen to our early works. Also, in 2020 we are planning a new album, in which the modular synthesizer will again be the main instrument.
In any case, thank you very much for the nice words, it's very kind of you. Wish you good luck with your music!

Hi Ronin,

Appreciate your response. I must admit I haven't paid much credence to TipTop modules but I will consider it.

In my larger modulargrid rack I have an
Intelligel Plog, which seems, as you say, a really great way of deriving patterns from simpler sources. Glad to see you validate this thought.

Again, vector space is one I am also looking at, but this will likely wait for an expanded system, mainly due to space and the priority of getting basic functionality up and running in the near future.

In terms of playability, I totally agree about influencing rather than dictating.

Keen to hear further thoughts if you do get the chance to think about other module selections. Thanks again

EDITED Dec 22nd 2019, 14:57

I'd just written a long reply, when the website decided it was time to login again and just ate the whole thing… damn it. So here's a hopefully short summary:
-- senor-bling

always copy to clipboard before posting!

Basically, your music will only come out as good as your monitoring system will allow. It often amazes me how people are perfectly willing to drop thousands on modules but continue to monitor what they're doing with them on a $300 pair of powered crackerboxes. Or worse, headphones, which have proximity effect issues with low frequency sounds...mainly because they're not exactly suited for repro below about 300 Hz without some circuitry and/or physical design elements that will color up your results. Back many years ago, I was told to never, ever, EVER mix through headphones, and having experimented with that to see the reasons for myself, I know that that's something you shouldn't do.

But if you have a good set of monitors, set up correctly...then you'll know exactly what you're doing and can avoid all of these coloration issues you're noting. 98% of problems of this sort get fixed that way. Better still, if you have the ability to use multiple monitors, you can use one pair for uncolored, critical applications such as mixing, and then have a set of "crackerboxes" as well to use as "check" monitors, to see how the mix behaves in typical real-world situations. But you'd never want to actually MIX on the latter ones, instead just checking to see if something's glaringly wrong that needs correction.

Note that by "set up correctly", I'm including any acoustical treatments needed at your mixpoint or in your studio space in general. This especially goes for bass traps, which correct deceptive low-end buildup that results in a room with parallel walls that reinforce resonances known as "room nodes". If you don't know about these, go in a bathroom stall and start humming in the lower frequency range...and at some point, the stall will "ring" because you've hit a harmonic node of the space enclosed by the stall's walls. Just transfer what's going on with this experiment to your studio space, and you can easily see why treating studio spaces is just as critical as having a proper monitoring setup in it.

Secondly, this sort of problem is why program equalizers exist. These aren't the same as the more typical parametric or graphic EQs, but include such things as the Pultec EQP-1A which are designed for making broad coloration changes. They also tend to work differently, accentuating more than just the indicated frequencies on the controls. Along with a suitable compressor to merely ride gain, one of these belongs on your mixbus at all times, precisely to make large-scale timbral adjustments. I should also note that, when you're using ANY equalizer, the rule of thumb is to cut levels of objectionable sonic elements...not to boost everything to swamp them. And if the real deal here is too pricey (which it is!), try a good VST emulation such as Ignite Amps' PTEq-X...which is FREE (and on KVR Audio).

But again, without proper monitoring, you can have all the knobs for tweaks in the world and you'll STILL not have a good idea of what you're doing. Just like how you wouldn't drive around at night while wearing a smudged and scratched pair of sunglasses, you shouldn't be trying to mix on something not suited for the task. But 99 times out of 100, when people mention how all of their mixes are [INSERT PROBLEM HERE], the blame invariably comes back to the monitoring being used. Instead of looking for a synth-specific fix, or trying mixing techniques that're putatively for electronic sound (which, IMHO, don't work as advertised...I just mix electronic-based audio the same as any other large-scale multichannel mixdown), examine your monitors, how they're set up, what your workspace's room might be doing, and the like. In the long run, this will yield better, lasting, and consistent results.

Just received a dixieII+ from @Plexusgel , perfect condition. Very friendly and smooth transaction, very recommended.

If you're mixing in the rack, your tools probably aren't as exacting as a DAW. Trying to replicate the function of a DAW in Eurorack... ummm... super expensive if possible at all.

I'm not hearing too much mud in my opinion. But here's what to look for. If DC (control voltages, etc.) are leaking into your audio, then you can have issues. Many DAWs like Ableton can remove DC for you. You can also use a sharp high-pass filter on the very bottom of your mix. Start at 20Hz and work your way up.

In electronic music, the kick and the bass often compete for the same space. One timely trick is to duck the bass by side-chaining the kick to a compressor. You can emulate this effect with an envelope follower and a VCA. If you invert the envelope follower and dial it to taste, you should be pretty close.

If you can EQ the rest of your sounds to cut any unnecessary low end from them, that might be helpful too. Again, if you have DC in your hi-hats, snare, etc... problems. There may also be natural occurring low end in all of the other instruments that are muddying up your sound as well... especially mid-range synth sounds. Your kick and bass are pretty greedy animals and will poop mud if anything else is in their low end. :)

It's not bad. If all else fails, find a reasonable mastering engineer to evaluate your track and master it. You can also get pointers from a mastering engineer as they have a keen ear for balanced mixes.

Hi Yalivec,

Nice and impressive music, thanks a lot for sharing this!

Especially the guitar is nice and impressive :-) That brings me, though, at least for me personally, to one point... I wouldn't have mind a bit more accent on the Eurorack modular system to give that here and there a bit a higher chance of "shining through" so to speak. The guitar is quite leading and overwhelming in a good way but it's a bit pity for the modular sounds; slightly bit too much in the background if you would ask me. Of course this is most likely wanted in this music, so it's rather my personal view on it.

Other than that, I am very jealous about the fact that you produce nice music of which I only can dream of, I wouldn't be able to make nice music like that!

I wish you good luck and I look forward to your next release :-)

Kind regards, Garfield Modular.