Hi all.
I want to invite you to listen to the new album of my band.
Drone doom / power ambient.
Gamardah Fungus "Natural Storm"
https://gamardahfungus.bandcamp.com/album/natural-storm
Eurorack modular for pads and drones + electric guitars for solos.
Some interesting modules that might play well... look at the Trigger Riot from Tip Top. You can find them used for a decent price. While not Euclidean in nature, it can offer you some very interesting rhythms. Though it's a big module. For my Euclideans, I use a micro Temps Utile at 8HP. The menu diving isn't too bad and it does offer modulation.
I didn't have a chance to go through your entire rack. But do you have any dedicated logic modules? They are great when combining triggers/gates to come up with a derivative pattern that's related to your sources. Also, the Worng Vector Space is worth checking out for CV mangling.
For me... I enjoy influencing rhythms and modulations rather than dictating/programming them from scratch.
Thanks for the reply. I imagine those gate sources being useful for triggering timed modulation, but I hadn't considered them as options for gate sequencing strangely enough. Delaying events will be very useful.
Stages may well be used primarily as a step sequencer once Zadar takes on enveloping duties, but we'll see.
Thanks again, Ronin! That has been very helpful to me. I'll keep your advice in mind. Greetings!
Gate sequencing should be fine, remember that Zadar, Stages and Maths will all be able to introduce delays or additional rhythmic pulses controllable by CV, as well as acting as envelopes. One thing I'd remember is that if you're planning to use radio music as a sampler, it works well for continuous samples (such as atmospherics or voice clips) but doesn't play so nice as a drum sampler, the timing is not very tight on the reset, but I've seen people do it like that so depends how much you care about timing i guess.
The idea is for a live rig / production toolbox.
I have about a third of the modules in this rack and hope to complete it by the end of next year. Also have an Akemie's Castle, and what I suspect is a dodgily put together Turing Machine which doesn't seem to behave the way it should. I will keep these in my supplementary 84hp case
Really enjoying using maths and stages for modulation. I think for its size, Zadar seems like a good choice for levelling up my CV modulation as the system continues to grow. Also looking forward to having some simple pitch sequencing with Tirana. IQ can do all sorts of cool tunings - microtonal tuning sounds interesting - and all round seems like a beast. On ADDAC, the transition controller seems to me like it could be a really useful performance tool to shift filters/modulation amounts/times/reverb parameters/timbral shifts/generative shifts etc.
I'm a little concerned about my rhythmic options - Tempi and Klasmata (which is CV-controlled euclidean sequencer) as the main sources of gates. The Basimilus would form the main percussive element, and I could potentially swap Tempi for Pam's. I quite like Tempi's immediacy, although I am yet to really gain mastery over it (practice, and read the damn manual Sam!!).
Not sure about chainsaw as supersaws aren't typically associated with my preferred styles, but it's stereo and polyphonic so it could be interesting use with the LPGs and filters for trance flavours - TBC. Radio music seems like a must for me, but I'm guessing TipTop One could also do the job bringing samples into the mix. Instruo rules. Only had it a month but it's all you could want and then some from a 6hp analog oscillator.
As someone with a background in engineering and production, I wanted to have a fairly comprehensive set of mixing tools. X-Pan and LSMSMSLR allow for stereo play and the quintet again just looks like typical ADDAC beastiness. I send audio to pedals using Sewastopol and although I don't yet have a use for it, it's envelope following functions seem well thought out. Next year I am looking to experiment with cellos, and Sewastopol offers a way for acoustic and electronic to interact.
Personal influences include techno, drumless, hardcore/acid, dark ambient, electroacoustic, psychedelia, post-punk and jazz. Pretty much everything my father would describe as 'drug music'
Would love some thoughts. Am I missing something obvious? As previously, my only major concern is gate sequences. I may find that piano-roll style beat programming is necessary. Maybe that could be answered with a beatstep pro. Pitch sequencing is also limited, and while I am not overly concerned with melody or complex pitch sequences, it may just be handy to have the playability of a keyboard e.g Keystep. I want to be quite hands-on, but with generative elements as well.
Long way ahead for this, but I have been planning and researching my eurorack system for around 3 years, only in the last year have I actually started building it.
Looking forward to your response :)
I'm working on something similar to this, I think. I'm building what could effectively be a bank of 4 complex VCO's by combining some dual oscillators with some signal minglers.
I have built 4 2VL1's by Weston Audio, which is a dual oscillator plus a LFO in a tight 10hp package. I'm planning on combining these with 4 Mutable Instruments Warps, which acts as the 'signal mingler' component of a complex Oscillator, and is capable of FM, AM, and many other modulations. There is a small 8hp version of this module out there called Twist that I'm planning to use. I have those modules together with a 4x4 buffered multi to handle feeding CV inputs to multiple Oscillators at once and an octal VCA to handle output. The plan of course is to use the module as one component in a larger system. While the 2VL1 lacks a true sine wave option, I really like its construction and size factor. I'll be pumping all of this plus a power supply module into a 1-row 104hp package.
I asked about viable complex oscillators elsewhere but found there wasn't much out there beyond the obvious options such as the Rossum Trident and Make Noise DPO, etc, and there was not much at all as far as DIY options, which is what I was interested in. Someone turned me on to the MU Warps in that conversation. I thought I had oggled the entire line of MU products, but several had apparently gotten past me (such as the truly amazing Edges). I'll be acquiring my 1st Warps at the end of the month, and will be getting 3 more if the results are good.
Here is the current plan for my project:
Ronin—I am also excited to see this new Behringer case, would definitely be a good entry point w/ a little bit more room to play. Having a bigger rack to workshop through ideas to get to various configurations of a gig-ready palette would be a great way to explore, too.
A longer term goal of mine would be to have a lightweight, DAW-free Palette that I can easily tote around for gigs & collaboration with friends. I could imagine packing a little mutant monosynth configuration in my carry-on to take to a recording session at my friend's pad where there is zilch in the way of modular gear kicking around.
I was reading Aaron's post. The lower half of your post really hits the nail on the head.
I'm excited for Behringer's new case. It's huge and rumored to be around $200. It's probably a lot larger than you'd need for a basic entry-level system. But if you're new to modular, it means you have room to add almost anything that you wish. This allows new Eurorackers to experiment and reconfigure their set-ups based on their first-hand experience and preferences.
Once you've found your ideal set-up, you can always transplant your modules to a smaller case that will fit your specific collection. But if you start out too small, you'll hamstring yourself into making compromising decisions.
If the rumor is true on the $200 case and the specs are decent, I'd definitely recommend it as a starter kit. The power supplies for their synths seem acceptable so making an empty box with a power supply in it should be a no-brainer.
Thanks for sharing, looks well thought out, I want to give it try! Where are you in the process with this one—any tweaks or ideas since you posted?
I'm researching and planning different ways of setting up a Palette case—for me it presents more of a challenge than a bigger case, because there's more of a need to keep a focused and pared-back rack. Intellijel is wise to make a compact case like this, and no doubt it is going to appeal to folks who are newer to modular—myself included—because it looks like a way to test the waters without a huge investment. IE, buy a small handful of modules, and experiment with modular, decide "ah, I like this modular thing" and then go gangbusters and start putting together a larger rack.
It is arguably more difficult for entry-level folks to have the constraints of a compact case. It makes every module choice more critical, and requires (from what I understand) a greater knowledge of modular than if I were to go ahead and buy a bigger rack—where, theoretically I can add in modules more willy nilly, have room to grow, make mistakes, and be able to tinker with a rig that is less focused initially. Say—maybe I want to try to figure out a nice analog drum machine area over here, and over there I'll start building up a generative sequencer, and then leave some room in that other open area for some sound sources that are yet to be defined.
For reference—Ricky Tinez put together a very compact kit with plenty of sequencing & modulation oomph, you may have seen it already: 
Any others you've seen that have stood out?
By using a MIDI to CV converter you can connect to your rack as if it is a typical hardware synth via MIDI. This allows you to connect any MIDI device to it (controllers, DAWs, stand-alone sequencers, etc.). If you go the USB to CV route, you can use your DAW as a piece of modular equipment. But then you're limited to addressing it AS modular.
MIDI-CV: less expensive, easier to use, universal
USB-CV: more expensive, more difficult to use, very specific
You will also find, especially if you're using a PC that the USB-CV solution wants to be considered an audio interface. PCs do not like multiple interfaces directly connected. Macs are a little better as they can aggregate multiple interfaces.
I'd go with a MIDI to CV solution for such a small rack as you'll have fewer headaches. You can always add an ES-8 (or even better an ES-9) to a larger set-up where you can get more use out if it where the trade-offs are better.
Getting rid of the VCA? Hell no! :)
You need VCAs. You can get modules with more VCAs in HP8. But what you have here should be adequate with lots of extra features like mutes. I'd keep it.
If you enjoy putting together your own modules, Befaco almost always has kits available for some nice finger burning sessions. :)
First of all, thanks a lot for your answer, Ronin. Much, much and appreciated!
Connection with the DAW is a critical part of the system, but also on of the areas which I am most clueless and lost. I've spent some time reading and looking for options and the ES8 and the —too prohibitive for me— Shuttle Control seemed like the standard. What are the advantages of using the FH2 and also the MIDI thing? It looks like I am actually losing HP, right? Also, would you get rid of the VCA?
Thanks again for your time!
input is appreciated guys THANK YOU!
i did some studying up on attenuverters this weekend, and i saw the utility in all the utility modules and realized they are probably was more important and versatile then the latest coolest filter. Inverting a signal to create panning with VCAs is pretty darn awesome.
i guess now i need an attenuverter, quantizer, and precision adder haha. what else ha?
tons of mults? i picked up some 3.5mm female jacks and blank panels to make my own passives. Also got some toggle switches to make passive mutes.
I picked up another VCA (Intellijel Quad) so i'll have 1 linear and 1 linear/exp.
Not sure which attenuverter to pickup, i'll figure it out.
My old soldering iron didn't have enough wattage so i just got a new Hakko.
I still have to put most of these together.
Now i have to lookup adding voltages, i'm sure it's much deeper than doubling an octave.
I think the plan now is to get that attenuverter, then put all these kits together and actually make some noise to figure out what else i need going forward. Looks easy in this game to make the wrong decisions as a noob and have a $2000 rack that does nothing! ha!
Thanks for your help guys! Going to research utilities til the holidays and work with what i've got so far.
OK...when Intellijel came up with their slightly-different 1U tile format, I was a bit displeased...as I knew this would lead to some level of confusion over which 1U is the "right" 1U...but what we got in the end was both 1Us existing side by side. Here on MG, they look more or less identical, and in a build, they behave on the grid in the same way. But they are not the same! Not only are the form factors slightly different, the Intellijel tiles use a typical 10-pin power/bus connector, while the original version of the format uses a 3-pin.
Sooo...annoying! But I think I have a relatively simple idea, and this will also help out companies making both versions, such as Plum Audio.
What I propose is that, when posting new 1U Eurorack modules, posters should add a [i] or [p] at the end of the module name. The [i] is for Intellijel, of course, and the [p] stands for Pulplogic, who was the big original innovator in the tile scene along with Erthenvar. By tagging each module like this, it becomes far easier to sort out whether your tiles belong where you think they should go. It should also help curb the mistake of new users not knowing that you can't mix these tile formats in the same row or put them in cases not capable of housing them.
Also, if you know you're looking at an Intellijel or Pulplogic format tile while browsing around MG, please take advantage of the user-editable listing capabilities and make that little addition (when possible) to make things easier for loads of other MG users. Pay it forward, folks!
Examples of using both:
Inverter: Let's say you have a pair of mono phase shifters, and you'd like to use these to create a signal that pans its phasing. To do this, you would mult your audio to both phase shifter inputs so that each one has the same signal to process. But when feeding the phase shifters with a single LFO for modulation, you'd first split these as well, but then one LFO split goes through an inverter before the phase shifter, while the other goes in to modulate the other phase shifter as normal. The result will be that when the first phase shifter is at the top of its sweep, the other is 180 degrees opposed and is at the bottom of its sweep. Also, in audio inverters can have a very neat use with effects; you can use a mono reverb to put a typical reverb effect on an audio signal, but before the reverb you'd mult the audio. One mult goes on to the reverb, and the other to an inverter, and both signals come back together in a mono mixer. In this usage, the inverted audio will cancel the "dry" part of the reverbed signal...but will also partially cancel similar waveforms in the reverb's output. As opposed to cranking the reverb to 100% wet, this method creates more of a "ghosted" signal, with the cancellation of the similar waveforms in the resulting mixer output becoming less and less as the reverb processes the zero degree signal with a certain degree of imprecision.
Adder: These are the reliable method for adding offset voltages to CVs. Let's say you have several VCOs fed from the same CV. This goes through an adder before splitting. Then, you have a sequencer, and you want to transpose all of these VCOs identically with it. The messy way would be to feed the VCOs directly. But the right method would be to use a precision adder to combine the incoming CV with the sequencer CV, then split the adder's output, as this gives you a lot more control, a simpler signal path, and as long as your sequencer CV out has quantizing, you can transpose the VCOs in exact steps to anything you prefer while at the same time maintaining proper CV control from your own local controller, MIDI, etc. Simple, straightforward. That example is one of what's probably countless uses for these.
Lastly, line level audio in Eurorack. Yes, you need a preamp. Audio signals within the modular environment are several times higher than typical line level signals, plus the impedence difference between your external source and the modular can also be a detriment that a good input module can correct. Another reason for having an input module is that many of these also have envelope followers, which allow you to take the dynamic information in an incoming signal and extract that to a CV, and these prove invaluable when using the modular as an external signal processor...such as in using the incoming dynamics to sweep a VCF in tandem with the external signal's peaks. Plus, a good preamp with isolation helps keep ground loops out of the synth; conversely, this is also why you should have output isolation, in addition to stepping the synth levels back down to line level.
Hey,
fyi - the Euporie filter is planned to be available in January 2020 (along with the Sinope Dual VCA).
We are hoping to complete some sound demos in the next few days... :)
Questions? Feel free to ask in this thread (thanks to the person initiating this thread)
Some further infos:
Four Pole LOWPASS VCF with Moog and Sallen&Key Resonance
Powerful Sound from sweet to overdriven with lot of character
Simultan 24dB, 12dB & 6 dB Filter Outs
12dB State Variable Highpass Input Switch (150Hz)
Linear Resonance Distortion and Input Gain Stage,
Make up Gain (Bass Boost) for Moog Style Resonance
Linear FM Input for Audio Rate modulation and Resonance CV IN
Keytracking In with 1V/Oct and Attentuator
Two exponential INs with Attentutators and CV THRU Outs
Update 10. January 2020:
have done some sound snippts for your enjoyment...
Great, I did not looked at the 1010 before but it sounds really good. I will keep thinking about it
prem
You're welcome. Definitely take it in stages. I think you'll find that when you build up "Stage One" and start getting your hands on the modules, you'll revise Stage Two, etc. The more rackspace you have available then the more flexibility you have to change your mind later on. At some point, though, you just have to roll the dice and order something. Don't be afraid to make mistakes while learning... just limit your exposure ($$) to what's comfortable.
These are all great points, and exactly the kind of questions I was hoping for. Much appreciated.
As far as ease of use, I enjoy both sides. I love WYSIWYG old analog monosynths, but I also enjoy reading manuals and fumbling around to discover capabilities. I may even try my hand at some simpler DIY modules. Like you though, I probably lean to the side of preferring one knob per function.
I'm definitely going to go back to the drawing board on the LFOs and ADSRs. You are absolutely right. I will check out your suggestions. I'll also start checking out multiple outs.
Thanks so much for your time. This is a dream project in the works, and I'm sure much of it will change as I start to build it and wrap my head around the pros and cons. I'll keep an eye on the forums and check in again in a few months when stage one is complete. Have a great day.
I'd also look at the 1010 Music "BitBox" instead of the Salmple. I'm not saying it's better or worse for your set-up, just different. Some major differences is the ability to record and playback in stereo, visual editing, and more sample time (longer loops than 11 seconds). The Bitbox also has a MIDI IN on a 3.5mm jack. So you can go from a 5-pin MIDI cable to a dongle, then straight into the Bitbox. So if you are using your DAW or hardware unit with a MIDI OUT, you can skip the Nerd Sequencer and just fire it off via MIDI (as an alternate set-up). It may or may not be your cup of tea.
What I also like about the Bitbox is that you can run two additional firmwares on it that turn it into a multi-effects box or a wavetable synthesizer.
" I cant really fathom what i would use an inverter for or an adder for, i need to see it on an oscilloscope and hear it with my ears first."
The inversion won't make a huge difference to audio rate signals but will make a major difference in much slower CV.
Well, let's take an attenuverter module as an example. I own a Befaco dual attenuverter.
https://www.modulargrid.net/e/befaco-dual-atenuverter-
Each channel has two knobs. One controls attenuation the other controls offset. Full clockwise passes your original signal, full counter-clockwise passes your original signal 180 degrees out of phase. 12 o'clock mutes your signal. The positive range simple attenuates the signal, the negative range ALSO attenuates the signal but inverts the phase. The offset moves where your signal centers.
So let's take a simple LFO and plug it into the Befaco. Its range is -5 to +5v. If I start at full clockwise and turn the knob down I can diminish the range to something else... let's say -2 to +2V. If I'm in the counter clockwise range I can possible have my LFO running at +2 to -2V. Again, for slower modulation, this will make a difference.
Now let's get to the offset. We'll pick up at the +2 to -2V we just dialed in. By turning the offset knob I can keep the range of the signal... which is now 4V peak to peak versus 10V where we started... and offset it to something else. How about +5 to +1V, or -1 to -5V?
In the modular environment, it's all about the voltages. So being able to manipulate them in this way is going to give you much more fine control over how you modulate a CV input. Some modules do have built-in controls over the CV inputs; others do not. Some have controls for some functions but others are just a straight input (think of a filter with a built in attenuator for filter cut-off, but only a simple jack for resonance).
Precision adders. They simply sum a signal. But they do so with... precision. For something like summing two sources of modulation to control a filter cut-off... it's probably overkill. But where it counts is if you're taking two CVs that are controlling something like an oscillator's pitch and trying to sum them into a third pitch, you want something that's going to be exacting as inaccurate summing when you're trying to control pitch will lead to notes that are out of tune... even more so if you're covering a greater range of notes.
I'm sure there are details I'm leaving out and more accurate ways to describe the above... but in practical terms, this is why that these types of modules are very helpful in a modular environment.
Before commenting, I have a question. How does ease-of-use come into play when you're using stand-alone equipment? Some modules require a lot of diving into the manual and committing to memory all of the functionality and semi-secret button pushes and combinations to get full use out of a module. While a single module isn't too bad to learn... it's a bit of a challenge to commit an entire rack of modules to memory without spending a lot of time with them. The Mutable Instruments stuff definitely falls into this category: multiple modes that are only accessible by knowing how to get to them ahead of time. I'm not saying this is good or bad... it's just a matter of personal preference. My preference is one knob per function unless the module is really worth my time... again... my preference.
Another consideration would be the number of modulation points on a module. Take for instance your ADSRs. Zero modulation points... just a gate input and an output. I think I'd want at least one ADSR that has modulation points for the four stages. This will allow you for more expression in your system which (in my opinion) is the power of modular. Also, your EMW LFO... same story. You have 3 LFOs... cool... but they are out there in the wild and seem to only have only rate control and one waveform. That doesn't sound like a lot of fun. Something like a Xaos Devices Batumi + Poti expander will give you four LFOs with lots of CV modulation and multiple waveforms to choose from.
The last thing to touch on is outputs. A stereo output is fine. But if you're planning on recording a live set, you may want multiple line-level outputs if you plan on mixing your music after-the-fact. There are a lot of options there... again it's about preferences...
As a stand-alone unit, it seems to be missing a filter and a dedicated LFO.
The ES8 gives you DAW to CV access. That means your DAW will have to generate gates and CV. The other solution is to use a MIDI-to-CV solution. The FH2 can do this. There are also much more simple modules that are smaller in space with the same functionality as an FH2, but more limited in scope.
For me, I'd ditch the ES8 and Optomix. That opens up 16HP.
I'd put in a 2HP LFO v2 (2HP) and a Befaco MIDI Thing (6HP).
I'd also put in a Happy Nerding HN VCF (6HP) and a 2HP Mix (2HP).
Those changes will give you a lot more options in your rig.
You can open up 4 more HP by ditching the York quad attenuator and using external attenuators in line with your patch cables. Koma makes patch cable extenders that do just that. You can then use that 4HP for something like an Expert Sleepers Disting Mk4. That will give you a boatload of extra functionality to experiment with.
This is just one possibility and you might be able to swap other modules if they are to your liking.
Nevermind, let me try to write it down a second time:
I've been looking to buy a new main voice for my somewhat small case (3x84HP).
Complex oscillators (these days Instruo cs-l, Rossum trident and Double helix) seem like the most natural/common choice as they pack multiple modules in one. So, I was about to pull the trigger but against my gut: I have a feeling that other coherent paths to building complex sounds exist, and that they may suit me better.
So, my question is:
are there other winning couples of modules that would pack a lot of sonic possibilities and in maybe other directions than the traditional Buchla 259 system?
I heard of the trio Dixie + Rubicon + Wavefolder of course, and other people even mention coupling 2 mangroves.. I thought that a Rubicon + a Mangrove could be interesting, but I'd love to hear your thoughts!
Of course, if you really think that a complex OSC would simply provide more,
I'd love to hear you too!
Thanks :)
Mmmh, does the empty thread means that I actually deleted my whole, long message?
Hi, eurorack noob here!
Lately I’ve been thinking of getting some modules to complement my 0 Coast and recently my purchased Dreadbox V3. I planned this rack here with that idea in mind (initially it was just the ES8 and the MATHS) but, you know, I just got carried away! Not 100% if this could work as a standalone system, though.
I’m mostly computer based, so I’m not looking for a huge beast (that’s why i tried to keep it in the realm of 84HPs). As I said, i have no experience with full modular systems, and I’m especially worried with all things physical (i’m thinking of getting an Eowave’s 84 HP wide 3U Skiff as a case but i don’t know if it will get me enough power…) but I’m pretty well versed in Aalto, so i think i get the hang of how modular works. At least to a degree.
Looking to do mostly tonal and “musical” stuff with it. Any ideas and suggestions will be more than welcome.
Much thanks and greetings in advance!
Ricky is THE MAN! Thanks for sending, I've seen him use it in a few videos but haven't watched this one yet! Cheers.
Hello new community! I'm returning to music creation and synthesis after many, many years away. I'm excited to see the growth in the modular world. I'm not new to hardware synthesizers, but I am new to Eurorack, so I would like to welcome any guidance you may offer.
I enjoy the music of Kraftwerk, Brian Eno, Cabaret Voltaire, Underworld, Aphex Twin, Throbbing Gristle, Depeche Mode, Tangerine Dream, Autechre, and everything in between, so I'm looking for a wide palette of sounds. I'm planning to build this 6U-9U rack in stages over the course of a year or two. I sold all of my old synths years ago, but recently picked up a Moog DFAM, Arturia Keystep, Behringer Crave (Mother-32 clone), and I'm adding a Beatstep Pro. It might be fun to play live gigs eventually, but I'm more interested in creating for myself and a few close friends. I don't really enjoy making music via software.
I'm sure I am missing some important utility modules here, or maybe I have picked out some redundant modules? Please offer your wisdom.
Thanks so much. I look forward to participating here in the future as I gain some knowledge to pay forward.
Thanks again for taking your time. I do not have enough knowledge for understanding exactly what you mean. But I think I got the big picture.
The modules I can use is Doepfer dual multi A-180-2, Doepfer dual attenautor A-183-1, Veils Quad VCA, an inverter, Mixer, Maths and some LFO:s.
Enough?
Sorry for the post/delete. My planned rack image has not updated yet, so I will repost when the link is current.
Thanks.
One missing thing: a dual mult. You need to send the same signals (input and modulation) to the VCAs to get a smooth L-R panning action. But there's an issue here in how the panning itself would sound...
Stereo panners are set up (usually) with what's called an "Equal Power" crossfade. What this means is that as each audio signal approaches the center of the stereo platform, it starts to drop so that when the signal is at dead center, each VCA would be outputting a 3 dB lower signal than the actual peak...that, in truth, would be from the extreme hard-panned direction to about 35-40% of the way to center. But you need to do this because if both VCAs were outputting an unattenuated signal, the center 10-20% of the stereo field would be abnormally loud. By lowering the VCA outputs at each VCA approaches the center, the summed level comes out to be pretty much the same as a single unattenuated VCA's. The result is a smooth motion across the stereo field without a big over-level "lump" in the middle. This is also how you'd want to do this if the VCAs were panning a control signal; again, you don't want this "zone" in the middle of the pan where the CV levels go waaaaay up, as that same, smooth equal power crossfade is also useful in keeping control signals from driving other modules into difficult to control areas.
Now, as to how to do that...well, that depends on the VCA in question, plus your own patching methods.
I guess I can get a crossfader by starting with some vca:s, an lfo and an inverter. But I understand that is not enough.
What do I need more and how shall I think?
Thanks so much for your answer Ronin!
Actually i have 6 VCO sound sources haha.
I was looking at the Intellijel Quad today, it looks perfect but i dont have much space left. I can always remove some of the elementary synthrotek stuff. Any VCA function inside the rack would be strictly for voltage control and logic functions, i have an extra 6 channel desk mixer to use for output.
REgarding white noise, the DS-M drum modules have 3 color types on a toggle switch. The MIX pot blends the built in VCO with the built in noise VCO. However, you are correct, if i am using all three modules for drums already, i have no noise source. My 'studio' area also has an old short wave radio that i built years ago, i was thinking of using that as a noise/sample source at times.
Regarding the attenuators, inverters, adders, shifters, polarizers.....thank you for the heads up. I cant really fathom what i would use an inverter for or an adder for, i need to see it on an oscilloscope and hear it with my ears first. However, my goal here is to be able to modulate and create logic functions wherever possible, i'm an automation guru at my day job, that's my cup of tea.
Would a single quad passive attenuator be sufficient? (hopefully one with add/subtract also)
Maybe i throw in a Doepfer A-183-2 Offset/Polarizer for good measure?
An side question also, If i plan to bring in external audio into the rack, is line level going to work well? Do i need one of these LineLevel Utility modules if I plan to bring in a sample to mangle?
Thanks guys! Just me writing this out helps a lot anyway haha, thanks again Ronin for the input.
I'll take whatever recommendation that are out there.
No, it's not a mistake...this is presumably a B. clone of the Moog 923. I saw this in a vid from them about a day ago along with teases of some other black-face B. modules that were clones of original Moog modules while they were hyping the new cab.
How the 923 is used: basically, it's NOT a filter module. It's a noise module. You have a white and a pink noise source, then the filters are there to adjust the noise color. Those are, if I recall correctly, Baxandall-type filters...non-resonant and more akin to "tone" controls albeit with a selectable corner frequency; as such, you wouldn't be using them like a VCF anyway. Some Moog users also like them for similar reasons as to why some engineers like to put Baxandalls on their mixbusses to do a bit of spectral tilting.
Hi Defragmenteur,
I think you helped me already a lot with your comment that without individual output for each voice, the result is ok but flat.
So if I want to do recording & mastering outside my modular system but without a computer... I need something that can handle a lot of voices or at least as many voices as I might want to use.
Thank you and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Modular Freq,
Nice demo and drum beat :-) I like the way you explain how you get a certain sound, it's very educative as well as interesting!
Thank you very much for sharing and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Guitarsenal,
Ha, ha, yeah just two very plain filters, but might be useful if you just want to cutoff at a certain frequency.
Did you or anyone have heard of any update regarding Behringer versus their Eurorack modules? Pretty quiet around that theme, isn't it?
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi s_____,
Have a look at the Erica Synth - Black Octasource, there you have 8 phase-shifted outputs equally spread over the 360º, thus 45º each. Is that what you are looking for?
I am having this module and I love it. This module is totally bananas and if you start modulating even your dullest modules, they become rather interesting :-)
Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
This module seems like a rare mistake for modern era Behringer. There is no voltage control for cutoff and no resonance control with voltage or otherwise. It's not a VCF, it's just an F...
Exponential VCAs don't have to be entirely new VCAs. The Intellijel Quad VCAs can be tuned to respond linearly or exponentially. It's a matter of preferences. If you want your VCAs to respond exponentially to your linear signals... then sure. But it's up to you if you need them.
Your rack could use some utilities like attenuators or attenuverters. You have a quad mixer/VCA unit. That's fine. But I see at least five sound sources. You don't necessarily need more mixer channels. But it's something that I noticed. Another small mixer for mixing CV (or audio) would be great in here. It doesn't need to be special, just handle audio and be DC coupled for CV.
Do you have a noise source? Pink and white? Noise mixed at low level can add some grit and character to a sound, even if you're filtering off the high end.
I'm assuming that your sequencer and time based effects (reverb, delay, etc.) are all handled outside of the box.
First of all, this ModularGrid module builder is great! thank you, i wish i saw it a month ago haha.
Right now, technical people would call my style 'industrial hip hop', sort of like technoanimal i guess but better. Maybe some days more Funk than others. Anything near experimental or ambient tends to be dub reggae like King Tubby or Lee Scratch. If i feel like turning up the BPM, it's jungle-ish with maybe a Gangstarr sample. Heavy Drums, Heavy Bass, add in a catchy melody with some accents, samples, etc, that's my style since the 90s.
I own the following external devices for reference:
-NI Maschine....a bunch of Volcas.......a bunch of Pocket Operators....a Drumbrute Impact.....a Microgranny, Thyme, Kastle, 60 Knobs, and Trinity modules....an LXR Drum Machine.....miscellaneous digital rackmount effects....a Monologue......four turn tables and a microphone.....and a BEATSTEP PRO.
What i'm trying to do is expand my sound repertoire for more Industrial Hip Hop. I prefer to call it Digital Hard Hop but whatever. Any modular rack system is incorporated to my toolkit above, i'm looking for sounds the others don't offer.
Here's the modules i have already purchased(most purchased in kit form still need assembly):
RACK............108 HP ghetto rack
DRUMS.......Qty 3 Synthrotek DS-M drum modules (bassdrum, snare, hihats)
VCO.............Atari Punk Console (square wave, it was cheap)
VCO.............Rat King Modular - TONE - (triangle, saw, pulse, AS3340 chip)
VCO/LFO....Bastl Tromso (triangle, LFO, sample and hold, distortion)
ADSR...........Blue Lantern ADSR (linear and exponential, loop mode)
FUNC GEN...Joranalogue Contour 1 (env generator, LFO, VCO, everyone else has Maths)
FOLDER.......Bastl Timber(wavefolder, VCA, feedback, overdrive)
FILTER.........Bastl Cinnamon (hp,bp,lp, can be used as oscillator)
FILTER.........Synthrotek 308 Distortion
FILTER.........Synthrotek Dirt Filter (sounded cool, supposed to be effects filter, low pass)
SEQUENCER... Division 6 Business Card Sequencer (may use BEATSTEP PRO instead)
Last thing i think i need is VCAs. Was looking to buy the following:
VCA .............Doepfer A-135-2 (Quad VCA and MIXER but not exponential(!))
VCA.............Bastl SKIS II (VCA, Env generator, but also linear)
Is there FUNCTIONAL aspect of SYNTHESIS that i am MISSING here?
Do i really need exponential VCA's? If i buy the two listed above, i have 10HP left.
Any recommendations?
Thanks guys! hate to be anther NOOB haha.
TomM
Thanks for taking the time to comment. My idea was the following: not to compete with an Elektron box, I do not have one but I like them. The Nerdseq tracker interface is like an Amiga Protracker plus it can hold samples itself, The Squid Sample is in a certain way in this rack like an Akai sampler without the weight. The Array is a simple no fuss step secuencer if I dont want to go with the nerdseq. Plaits would be a synth line that is not sampled. The Mum8 as it is based on the s950, so its a must, then the mixer and pamelas for clocked modulation. It is like a portable "classic" jungle setup where you would have the tracker, the samplers, some synth for bass maybe and the filter as it is an importat sound.
It is not cheaper than an octatrack mk2, but it works in a certain way like that old setup would work, just smaller and with spaghetti cable mess on it.
prem
What are you looking to accomplish with this? How would you set up a patch in order to get what you want? Physically, what would you connect in this rack to produce your drum and bass? From my prospective it's severely lacking. Will it produce sound? Yes. Will its functionality beat a stand alone beat box from Akai or Elektron? No. But you'll be paying A LOT more for this.
I've been looking at demos and asked for opinions on the 1U reverb but it wasn't really what I needed. I would definitely recommend to make sure it suits your needs, I would personally not consider it as a sort of end of chain module. Again, that's just based on the small demo on Youtube and forum talk so to take with a grain of salt. I myself settled for a 2hp Verb for now, limited as well but at least it sounds decent and has that long tailed reverb I need. Now looking forward to real demos of the new FX modules by TipTop Audio. The ones I often see recommended are the Erbe-Verb by Make Noise (if only I had more cash and more rack space for it lol, demos sound incredible) and the Mutable Instruments Clouds (although a lot of people seem to use it as a reverb, it's wayyy more than that, again, wish I had the space for it).
For the sampling part, I haven't really reached a point where I'm ready to do that in my rack, I use an Octatrack in conjunction with the modular so I can't really comment further on that other than repeating that I would certainly try to decide exactly what needs to be achieved before looking at any module. There are a few options that are doing very different things so make sure you watch all the videos you can about those devices and also read their manuals before deciding.
For your pitch cv offset issue, I'm no expert so definitely check that out with someone else before making any purchase but I think a precision adder could solve your tracking issue. From what I understand, it is made to solve the problem you encountered and some modules have an offset built-in which could free up the Quadratt channel you are using now.
Discussing modular sequencers is worth its own thread (probably has several already tbh) but I'll just say that there are many many options, ranging from single modules to combinations of utilities, from immediate and/or random to pre-prepared sequences, some only cv, some only gate/triggers, some both. To illustrate, I was surprised to learn that you could have a lot of flexibility by having pitch and gate information being sequenced from 2 separate modules, or how it is possible to sequence a voice using a turing machine module in combination with a quantizer because those 2 aspects of sequencing are not really present in the "groovebox" world I was used to. Most options I know of in Eurorack take up a lot of rack space (because I need them to sequence more than 1 voice) so to sequence a single track, I can't really recommend any specific option.
All this being said, what are you using your O&C for ? From what I read in the manual (I don't own one yet, my 1U O&C is in the mail), the Quantermain app has a turing machine built-in so you could use that so sequence your other voice, and it has other options for pitch sequencing as well.
I hope this at least gave you more ideas and options to research :)
This thread has a link to my rack and a track I have on Youtube: https://www.modulargrid.net/e/forum/posts/index/8260
D.
--- Voltage control all the things ---
