You don't have to revert modules if you just want to use former panel graphics.
Use the Panel Selector function in the rack planner.
https://www.modulargrid.net/e/forum/posts/index/1749
Beep, Bopp, Bleep: info@modulargrid.net
I reverted back to the previous revision. I hope that's ok!
https://www.modulargrid.net/e/versions/view/69943
Can someone change this back to silver? I have no idea why someone changed it to black.
huh - that's fascinating/fun - Safari doesn't see posts here, but chrome does ¯\_(ツ)_/¯
-- RDaneel
Looks good in Safari 12.1
solitud.de | YouTube | Soundcloud | Bandcamp
Thanks again for helping me!
I now realise that ”generative music” is a much more complicated issue than I thought. So I will not use that term anymore when I discuss my racks.
By the way, your explanation of ”generative” is the best I have read and I now think I understand it a little bit better.
I also realise that a fully generative rack for the moment is a bit to expensive for me. So I start slowly and try to maybe achieve the first two orders of control.
Is there any racks at Modulagrid that is tailor made for generative experimentation?
The tuner is intended for tuning some vco:s to chords and I thougt it would be handy to have it in the rack. But I have a couple of chromatic guitar tuners I can use instead.
So admittedly, I've already built this and it's fairly solid for drones, i.e.; does what it says on the tin. When I feel like doing something more rythmic I have an MFB Urzwerg Pro, Electro-Harmonix 8 Step Program and a TT-303 hence the lack of any sequencers. For effects I already had a bunch of guitar pedals with plenty of pitch shifting options and rack mount FX so the ADDAC200PI though I realise the drawback of those is a lack of CV. The primary focus of the rack is indeed drone and dark ambient, but I'm also interested in industrial, IDM, acid house and breakcore.
Most of the modules I chose for this I did so because they could do things I couldn't find a cost-effective way to do outside of modular (hence the E350, Morpheus, Warps etc.). A few of the modules here do synergise well and I feel like I have most bases covered including even sampling in a limited sense, but there just seems to be a certain something missing and I don't know what it is; I've considered going for a third row but actually finding it harder to come to a decision on what is most needed.
Here are some modules I've considered:
Serge triple waveshaper
ADDAC 207 quad intuitive quantizer - seems like a logical option for times when I need drones to mesh with other stuff outside of the modular tuning-wise
Mutable Instruments Shelves - a friend of mine once blew my mind with a certain sound when he modulated the frequency of an EQ at a high rate, this would give me the ability to do that on two channels and I could just use it as a conventional EQ & filter alongside it. It'd also make the ALM EQ obsolete though, most likely.
Zvex Instant Lofi Junky - A chorus which you couldn't come across too easily outside of modular. Sure there's also a version of it in pedal format but that doesn't have the CV control!
Expert Sleepers FH-1/2 or Endorphin.es Shuttle Control - obviously for MIDI to CV/Gate control, I'm really on the fence about whether either of these would be useful for me. I have a MIDI I/O PCI card so it would mean I could control the modular with software, which is potentially a big deal?
Intellijel Shifty - looks like there are some useful utilities on offer here, I do sometimes find that I wish I had more than the one channel of S&H from the Pittsburgh Mod Tools.
Zlob modular VnIcursal - You know what they say about how you can never have enough VCAs, and I can't get enough of the idea of combined VCAs and mixers. This is like Intellijel quad VCA only even more space-efficient to me, and if I need the features of the quad VCA I'd be keeping that.
2hp LFO - between the Batumi, Kamieniec, Mod Tools etc. I have a few LFOs, but a couple more couldn't hurt and might come in handy when there's 3 rows to work with?
I was thinking in addition to this, maybe a compressor, since modulating the E350 tends to cause volume spikes in certain waveforms, but I'm not sure how effective that would be?
Something else that might be useful is a slewer? On the other hand, I can't say I've ever felt a real need for one.
Would like to know what your thoughts are on these ideas for a third row. Feel free to roast me over the decisions on the two rows I've already got!
Oh and just a patch I loved on the IDM/breakcore side of things that might be worth trying for any of you: I have the Warps on the obligatory Parasite firmware, patched a Korg ES-1 into the ADDAC200PI then through the Warps on Comparator, then back out. Results in extremely aggressive sounding drums!
Edit: And some more modules I have considered:
Befaco Rampage
NerdSeq - It would be nice to be able to play this portably if I don't use a FH-1/2 or Shuttle Control. my primary DAW software is a tracker so the interface is familiar to me and it has enough channels.
I'm open to ideas of different modules than the ones I've mentioned and prepared to accept I may have some ideas which don't make sense here. I haven't felt like there's a particular module I've got that was a mistake (though I don't find I use the Dreadbox WL Divider much) but if there's any I should really get rid of I could accept that too.
One of the main jokes amongst Mac users when Safari was introduced was that its primary use was to connect to Firefox's site to download a REAL browser. Nice to see that Apple's not bothered to change that... :p
Oh...and you can't mix Intellijel and "original" format tiles in the same 1U row. They're not exactly the same, despite what they might look like.
The A-135-2 isn't a bad choice, although if you go with Codex Modulex's u4xVCA, you get the ability to change the VCA response from linear (which is all the A-135-2 does) to exponential, which is better for audio. Linear VCAs are much better for CV and modulation level control, where you want something with linear proportions in your level changes for scalability.
Tuner: lose it. It occupies space in the cab with a function that's better left OUTside the cab. Plus, you can do better; this L-1 module costs $95, and while it's a Eurorack module, what it really is is a remounted guitar tuner...which you can easily see from the description: "Momentary press select tunning item: Chromatic, Guitar, Bass, Violin, Ukulele. Default position is Chromatic." This isn't the right tool for electronic music instruments. Instead, spend $45 more and get this: https://www.sweetwater.com/store/detail/StroboPlusHD--peterson-sp-1-stroboplus-hd-chromatic-handheld-strobe-tuner Strobetuners have the ability to more clearly indicate tuning for microtones, they inherently function as chromatic tuners and in other temperaments (this Peterson model has 90 different tuning tables onboard). And it'll deal with a Concert A that can range from 390 - 490 Hz, as opposed to the 430 - 450 range of the L-1. I've used Strobetuners since back in my old middle school band days in the mid-1970s...they're definitely the right tool for the job here.
Now, let's actually consider how generative process composition works...
In order for this method to work well, you need to look at nested control sources. Basically, if you have some LFOs controlling pitches, then perhaps another LFO that slowly alters their rates would add to the complexity and self-regulatory aspect. And if you have that other LFO, why not add a couple of comparators to read its voltage curve levels, then the gates from those being tripped on or off can then allow other functions to be regulated...perhaps you can fire envelopes with them, or switch mixer mutes on or off, etc. We call these layers "orders of control"...the above example would actually have two orders of control, with the first being the basic LFO, then the second being both the other LFOs and comparators which then directly affect the sound production aspect of a patch.
When you start getting into third and fourth orders, especially when some of the control signals are recursive and can feed back into the lower layers, this is when you start developing a self-regulating patch. But mind you, that's A patch...not the whole thing, but just one voice. You'll want several. And some of these patches can affect others, or operate independently. When you get into this zone, then you're creating generative music. There would be no mathematical method for causing all of the layers to coincide at their respective start-points again, no matter how long the system runs. But at the same time, all of these processes are sufficiently constrained at the sound production layer so that any outcome has a specific desired sound, pitch center, mode, timbral gamut, etc.
What both Ronin and wiggler55550 appear to be getting at above is that this seems like it's a bit underequipped for serious, hardcore generative work. Trying to cram all of these self-regulated structures into a 6U RackBrute is not merely a challenge...it may in fact be nearly impossible to achieve the control density in that small a build to create these necessary orders of control. I won't say 100% impossible because there's always a way to do SOMETHING in Eurorack...but the panel density you'd have to approach would then make the whole thing a bitch-and-a-half to patch and control. You might be able to manage 1-2 of these control structures between the cab and the MB 2s, but then you'd probably have to deal with deficiencies in your sound production layer.
Ultimately, to do really effective self-regulating work like this, you need space. 2 x 88 hp just doesn't seem like enough.
I'm in the middle of re-arranging everything and figuring out what I do/don't want. My main cases are a pair of Pod 48x's - and are represented in the first two rows here.
The first one is my "learn pressure points/brains" kit - it has a clock, pressure points and brains, and plaits, as well as giving me some output.
The second one will be my "learn mimetic sequent & clouds" kit -- this one isn't a powered 48x, and I'm really kicking myself for that - it's tempting to get another 48x that is powered, so that with freed up 4hp from the power supply I can put in the mutable ears (I've been playing with putting a case with ears on a piano, and letting ears's contact mic pickup feed into clouds -- I've built a small board that lets me use a standard sustain pedal to control freeze on clouds).
The fourth row is a set of 1U bits that I'm pulling together, I'm playing with making a custom 4U 60hp case - and these are going to be the feeder for that. The 4 hole "blank tile" is my sustain pedal -> gate adapter board I've made.
The third row is my "leftovers" - many of which aren't racked at the moment. These are the modules that I still need to figure out what to do with. I'm not sure I'm going to keep the TSNM - it's a fun controller to play with, but Pressure Points works better for my brain. Ditto the racked PO-32, especially now that I'm figuring out other ways to get rhythm stuff with the equipment in the first two rows. The rest of the modules are things that I may work back into the main cases at some point, but I'm really a fan of keeping the two small cases and working as much as I can out of that.
Future things that I think I want to add to my setup (once I come to terms with the fact that I might not be able to keep living in a pair of 48hp cases):
(Also - throwing this here as much as a memo to myself as anything - I'm curious whether or not this will end up as a public post - here's to finding out!)
I think I could use A-135-2 Quad VCA / VC Mixer for mixing. The Swamp and Maths is intended for random cv with maybe a litte help from the Turing machine TM. Even the sequencer in Minibrute 2s can produce random cv.
My Minibrute 2s has three LFOs and two separate step sequencer tracks that I guessed was a good start. I even intend to use the Minibrutes VCF, but two filters are maybe not enough?
Another filter would be nice. Maybe a QPAS or Joranalogue?
You could use a Pamela's New Workout or Temps Utile to generate some gate/trigger patterns. Speaking of which, smaller sequencers can be wonderful for modulating sounds; not just generating note information.
Consider getting clones of the Mutable stuff. They are smaller so not as convenient if you're using them live... but the savings in HP are well worth it if you've not purchased yet.
-- Ronin1973
Hi,
I though that with Ripples and the Erica Synth pico VCF1 could be enough Filters for now... But struggled a bit as I preferred a Doepfer Wasp instead (of the pico one). The half solution is to get it anyway and keep changing modules as they are needed.
Pamela's is in my list (not in the rack, but definitely willing to try it in the near future) :)
MI's are already here... would only change them if the setup feels too weak in other functions.
Thanks for your response.
Hi Everyone,
I need advice on my first Eurorack setup. It would be sequenced by a Novation Circuit, mostly I'd feed in drum loops from a sampler that I would enrich with modulated effects inside the Eurorack config, but I also want to have some sound sources that are created inside the setup.
You'll notice I can't decide between Batumi quad LFO and Maths, I'm worried I won't have enough modulation sources as I would want to modulate everything, the distortion units, QPAS, etc - this is where Vector Space comes in. And what do you think of QPAS? Has so many outputs and have stereo modulation capabilities.
What I'm making is very distortion heavy so I wouldn't take out the Plasma Drive (and possibly Geiger Counter too) that were selected specifically.
Let me know what you think, if I'm missing something. I'd acquire the modules in at least three phases not at once, that would also leave room for me to change the planned combination.
Another filter would be nice. Maybe a QPAS or Joranalogue?
You could use a Pamela's New Workout or Temps Utile to generate some gate/trigger patterns. Speaking of which, smaller sequencers can be wonderful for modulating sounds; not just generating note information.
Consider getting clones of the Mutable stuff. They are smaller so not as convenient if you're using them live... but the savings in HP are well worth it if you've not purchased yet.
I see multiple oscillators. How do you intend on mixing them together? I see one device for generating random CV. I don't see any LFOs or step sequencers.
You're creating generative sounds and you only have one filter. So how will your sounds evolve over time? I realize you also have the Mini-Brute... but that's not going to get you very far.
You left some space - good idea!
What's the Tuner for?
Where are the cv generators to drive your generative patches?
Are sellers notified via e-mail when they are contacted about a module they are selling?
-- jdelorean
yes
Are sellers notified via e-mail when they are contacted about a module they are selling?
About the expense I certainly agree ;)
What do you use as an output module to run the rack into the amp?
-- nlscelli
Intellijel 1U Audio I/O module. With the 1U 1/4 jacks installed on the right side of my rack.
Here is a cheap tuner module:
https://www.modulargrid.net/e/l-1-digital-tuner
About the expense I certainly agree ;)
What do you use as an output module to run the rack into the amp?
Interesting... Do you run your rig into the pa or into your amp?
-- nlscelli
I run it into my amp, and also split the signal into a USB audio input for recording, and I use monitor speakers. I don't have a PA since I don't gig, just mess around in the studio for now.
Overall my opinion on eurorack as a guitar effects is that standard pedals are probably better and more powerful (and loads cheaper)... However, having all the patching options will let you make different and interesting sounds.
More VCAs. You have plenty of modulation sources, but you only have VCAs that seem to be for your audio. Being able to put your LFOs, looping EGs, and so forth under VCA level control will add a lot of nuance to your modulation use. But go smaller, something along the lines of Happy Nerding's 3xVCA or Intellijel's uVCA II (half of a Quad VCA, basically) would work wonders in limited space...both are just 6 hp.
DO add the Zadar's expander module, the Nin. Given that the Zadar is intended for modulation uses, the Nin adds some basic functions that make it work nicer for that sort of thing.
So...that leaves 5 hp. Given that you've got loads of stompboxes at hand, perhaps a send/return module would be useful in that space. And with 5 hp, Bastl's Hendrikson seems like the right choice. It also gives you CV over your wet/dry mix level, can function as a feedback controller, has clip indicators for your I/O signals, and your external loop I/O points are proper 1/4" jacks for directly connecting typical guitar cables...no messing with fiddly 3.5mm adaptors here!
-- Lugia
Wow, thanks for the suggestions. I was trying to convince myself to live without the NIN (to save that little space), but yes, I'll end with one soon (hating the odd hp modules, pico DSP was there to make it even again ).
Also, I've been reading about a Intellijel little 1U 8hp VCA coming soon ( https://www.modulargrid.net/e/intellijel-1u-dual-stereo-vca-module ) that little module could be worth the sacrifice of the 2xUSB 1U power plugs.
Finally the other option is to just use the pedals+guitar with the 1/4" jacks on the top of the case and audio I/O 1U and take another big VCA module instead (but not sure wich one for 11hp).
P.D.: My wife says that you are a mystical beast
More VCAs. You have plenty of modulation sources, but you only have VCAs that seem to be for your audio. Being able to put your LFOs, looping EGs, and so forth under VCA level control will add a lot of nuance to your modulation use. But go smaller, something along the lines of Happy Nerding's 3xVCA or Intellijel's uVCA II (half of a Quad VCA, basically) would work wonders in limited space...both are just 6 hp.
DO add the Zadar's expander module, the Nin. Given that the Zadar is intended for modulation uses, the Nin adds some basic functions that make it work nicer for that sort of thing.
So...that leaves 5 hp. Given that you've got loads of stompboxes at hand, perhaps a send/return module would be useful in that space. And with 5 hp, Bastl's Hendrikson seems like the right choice. It also gives you CV over your wet/dry mix level, can function as a feedback controller, has clip indicators for your I/O signals, and your external loop I/O points are proper 1/4" jacks for directly connecting typical guitar cables...no messing with fiddly 3.5mm adaptors here!
Output modules are yet another set of collective victims of "Sexy Module Syndrome". Frankly, they're just not sexy, as a rule. But they're pretty essential, IMHO. It's convenient to have your level step-down inside your cab, for one thing. And if the module has ganged attenuation for stereo level control...well, bonus! But the critical thing with these is to find ones that have isolation and/or balancing transformers. For one thing, these help you avoid ground loop hum and "dirty" power noise. But also, transformer isolation is a sure-fire avoidance for passing DC through your audio output...because transformers don't pass DC, period. And as an extra benefit, you can overdrive and saturate output transformers to add a little warm crunchiness to your sound.
Like anything else that doesn't fit into Sexy Module Syndrome...they're not sexy, but that doesn't mean they're useless!
Put a few VCAs back in. Right now, you have sort of 4 1/2-ish, and while these deal with the audio aspects nicely, you have no VCAs for dealing with modulation and/or CVs.
Lose the '07 Mult. If the O&C's quantizing is driving the VCOs across all four channels, you don't have enough modules on each channel to require the buffering.
The flow on this build is sort of odd, actually...there's things up near the VCOs that would probably work better by the mixer, and vice-versa. For example, the Mir...it seems like it would be optimal for controlling and summing levels from your four VCOs, but it's not located in a row that's convenient to the VCOs themselves. Whenever possible, try and keep your patchcord lengths short as longer ones can pick up electronic crud more easily.
As for filters...you might look at G-Storm's stuff, most notably his ARP 2600 4012 VCF clone. G-Storm's VCFs also usually have the convenience of dual input mixing...very convenient!
Ears is mainly a contact mic module. Its main point is its built-in contact mic for creating bonks, scrapes, etc. As an external input module, it's missing lower impedence settings (1 Mohm only), and requires jumper changes to change its preset attack/release times and input sensitivity level. Contrast that with something such as Doepfer's venerable A-119: variable levels and thresholds on the front panel with no presets, and two different inputs for either line-level signals or low-level instruments or microphones on appropriate jacks. As someone who prefers my contact mics on the other end of a cable, this seems to be the convenient option.
As for ES-3 vs ES-8...yes, you want USB and you definitely want the four return channels. USB is much easier to deal with in many settings, whereas a lightpipe-only interface like the ES-3 largely anchors your modular to a fixed position that has an ADAT lightpipe I/O somewhere. And those four returns aren't just for recording your system's output; they can also serve functions such as allowing the modular to work as your session clock, sending triggering signals from the modular back into the DAW to allow the synth to determine actions in software, sending modulation from the modular back into the software for use there, etc.
Last, cables. Get them. Get LOTS of them. If you think you have enough cables, you probably don't have enough cables. And use inline mults; 126 hp x 2 is still small enough that I'd recommend not using passive mult modules in the case in order to squeeze a little more function in. And buffered mults really serve their purpose when you've got to spread a CV/gate/trig out across 5, 6 etc modules; just splitting a CV between 2-3 VCOs, for example...that doesn't need a buffered mult with the vast majority of VCO modules these days.
I recommend @jonjonjon well and fast shipped modules
Thanks for all the feedback. I'd always see small output modules on the edges of most cases ad found them a bit lacking. I like the idea of using a mixer to properly EQ and blend signals together, it's why I liked the cross fader from the Rosie. Now, I'd like something a bit more involved with the rest of the case that instead allows me to push a few signals out while also letting me to route effects, filters, and modulation.
Thanks for all the suggestions; definitely have something to think over now.
Hello there, I need suggestions to fill the last 14 hp of a 7U Intellijel case. Probably the modulation section is already overcrowded
For now, the modules with their primary functions are:
-Maths, Kinks, Links, Disting Mk4: Multitools
-Stages: Main ADSR
-Zadar: Meta-modulator
-Batumi: Main LFO
-Plaits + Braids clone: Main Oscillators
-Branches: Main Filter
I was thinking about a Intellijel Planar 2 as controller / more random functions as MI Branches / Intellijell scales for some independent quantize / Another VCA (Veils maybe?) / Another turing machine.
But at this point I'm not really sure what to add (I don't want a FX module... already got a lot of pedals for that) and need recommendations.
Thanks in advance.
Oh, I just noticed that there is a CV Envelope Follower in CV Tools:
https://www.ableton.com/en/blog/cv-tools-live-coming-soon/
Besides the convenience of Ears (the tactile surface, the possibility of not having to go through the computer, the hands-on experience), what are its benefits? Will the analog/digital conversions of going through the computer have a negative effect in this regard as well?
I'm a few modules away from a new milestone in a completed 4 row 84 hp case. In the top hole I want a XAOC Odessa once it's released. Maybe an ES-8 on the left. But I wanted to get your opinions on what, if anything I might be missing. I like doing mostly bass/sound design (lazers especially), simple techno beats, and some light melodic stuff. In the sketches the bottom rows were filled mostly with more VCAs and Filters. If you have any ideas or input I'd love some feedback. Thank you.
As always, thanks for all your valuable ideas!
Here is another draft. The modules in the top row are candidates for what to get initially, and the rest (including the modules below the case) are potential alternatives to modules in the top row, or things that I'm simply interested in for later.
Any feedback would be greatly appreciated. :)
Here are some specific questions:
Also, if anyone knows whether or not I can emulate Ears (including the envelope follower) using software, that would be interesting to know. :)
Cheers!
Wow thanks. really given me something to think about.
I think, for now, I will go with what I know and go from there.
So an MI Marbles in the rack, which I am familiar with from using in VCV rack and possibly an Arturia Keystep or Beatstep for stand alone.
Once again many thanks to all. Think I can finally get 1st row finished now.
Interesting... Do you run your rig into the pa or into your amp?
I'd swap Braids for Plaits, Linix for two Happy Nerding VCAs, Z-DSP for Strymon Magnetto. All these would make more versatility system. You definitely need much more than one vca for nice ambient with multiple layers. And maybe I'd swap micro Elements and Belgrad for original Elements, because I hate that tiny knobs :) and also you already have nice stereo/dual filter from MN.
hello , here is my eurorack case for know, for the moment im thinking to sell braids to have more space, what do you change or what do you add in that little 4hp spaces? about the sequencer, will do with an akai force or in the future with other case, using a polyend seq and eurorack module.(love the polyend seq )
thanks in advance
Hello VolatileReaction and Lugia,
Lugia, why you didn't show me straight away that video about DC level blowing a speaker? ;-) Ha, ha, very clear demonstration.
By the way, why not using Doepfer A-138o & A-138p, that's only 20 HP, also 4 channel mixer, extendable with yet another 4 channels (or even more if you like), it has Aux & Panning too however it's less than half the money and you save a bit rackspace too?
VolatileReaction, I went through that DC part of output signals too, see the discussion at the Modular Discussions section and the thread ACL & Waldorf modules, then scroll below till after about two-third of the discussion, where I started to worry about DC signals, there also Lugia and Wiggler55550 provided useful information about this matter.
If you want to save rackspace, why don't start with Doepfer A-138o & p set, it saves you 8 HP (so that's one module for something else! :-) ) and it's less than half of the price of the Mixology. If you need more channels in the future and if you have more rackspace in the future then you can add one or more A-138p modules to increase the number of channels since that module setup is chainable (one A-138p module has 4 channels).
Good luck with your rack planning, it looks very interesting too me!
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
I have been experimenting trying to get my guitar to work with eurorack, and I have to agree that it's quite difficult.
Essentially it requires setting up the patch first, and cleverly, so that you can control the rack with minimal effort when it's time to record. I use the Planar2 to switch between settings, as I can bump the joystick very easily. I also use Ears as an envelope follower, and the CV from that gets patched into Felix (which is a buffered-mult with attenuvertors on each outputs), which sends the expression basically to all the parts of my rack.
Well so far I've not made anything musical out of it yet... basically setting up takes too much farting around with the sound design and tuning and things. Tuning your guitar with the eurorack is a PITA. At this stage, I'm learning this totally new workflow of doing all the knob-twiddling first, fine tuning the range, and then linking it up to controllers so I can use my feet to control the synth.
@Ronin1973 Very cool rack! Lots of tasty stuff there, I like that set of filters. 14U, with 2 Intellijel rows and a TON of Quadratts, that's nice. Although I'm not sure I could hang with that crowded BL Mixer.
@ecstatic I recently installed the 1U Audio I/O on my rack, and I'll never look back. Having proper 1/4" jacks makes using the modular much less awkward. If you want to input sounds from a guitar or other instrument frequently this is a good thing to have on your rack. I also have Mutable Ears, and I also really LOVE it. The piezo output from my acoustic guitar is much lower than line level, so I need both the input +20db and the Ears +18db to bring the piezo pickup fully up to modular levels. I started out with Ears as my only input (with a mic), and yes, you can just patch that straight into Rings, or other resonators/filters, and get great sounding effects that way! The envelope follower on Ears is perfect for getting interesting expression CV out of your acoustic instruments, I highly recommend this module if you want to mic acoustic things or control your modular with sound.
Regarding VCAs:
That Intellijel QuadVCA is a good choice overall, Ronin1972 even has 2 because VCAs are so useful, but the max gain is only +6db (with the boost switch). Those Exp/Lin continuous knobs are more useful in practice than I had expected they would be, very good for fine-tuning how punchy things are.
However, also take a look at the Mutable Veils, which is a very similar quadVCA. Veils has much more gain than the QuadVCA, up to +20db in Exp mode, and so you can use Veils as a line-level input - or 4!
Most definitely, Lugia. I like letting my modular take the reigns when figuring out the rhythm. The results are often much more complex and inspiring than programming in my own gates. I'll use a logic module two blend two sets of gates together. I have also found that summing gates offers lots of variation. Instead of running the two signals through a logic module, I pass them through my Intelligel VCA. If you keep each signal under the trigger threshold, you get an "AND" quality when they are summed together. By controlling the VCAs with another sequencer you can choose between 1, 2 or the sum if you're careful about your levels (some experimentation as to how hot of a gate is needed for the module being addressed), you get tons of variation.
Good points, Ronin...let me add that having a gate sequencer (determinate, random, etc) plus some things to tamper with timing opens up a whole new set of possibilities when paired with logic-type modules such as Boolean logic, comparators, discriminators and so forth. Like the above examples of pairing different sequencers, this is a gateway into a different sort of sequential control...this time, with the capability of complex rhythmic and timing results spiking up. So, yeah...the point about what you pair the sequencer(s) with is very important.
To get external audio into your Eurorack case, it's best to have something to boost the levels to synth level. There are several modules with this amplifying feature. Most manufacturers with a full product line offer a product that will do the job: Intellijel, Roland, etc.
My general VCA is an Intellijel Quad VCA (two of them actually). The module is very flexible and offers a lot of control over shaping of the CV inputs. It also functions as a mono mixer and has a boost feature on every VCA if you need a bit more volume or want a little overdrive.
My path through modular was this in a nutshell:
Download a copy of VCV rack and begin getting familiar with the nuts and bolts of patching the basic modules.
Put together my first rack on modular grid.
Go through SEVERAL virtual set-ups, tweak, research (lots of Youtube videos and manual reading), tweak again, start over, tweak, read... etc.
Break down two cases worth of modules I'd like to one case of modules that would work as a starting point.
Hold breath and order first round of modules. Then order additional modules planned for case one. Between each order I played with what I had for some hands-on experience and then made a qualitative judgment if things were going to plan. I adjusted what to order next based on observations with previous order and some assumptions/errors that I made.
I bought an Expert Sleepers FH2 early on. I'm not sure if it was a good decision. I found trying to flow between Ableton and Eurorack to be a bit clunky. The FH2 has to be configured before loading Ableton. So if you want to change the set-up as you're jamming, you have to stop, quit out of everything, change, then reload. If you never change your set-up then you're good to go. But if you're trying to take advantage of envelopes, LFOs, etc in the FH2... it's rather clunky. I found keeping everything inside of the case to be better for my workflow. I'd hope to save a few dollars by relying on the DAW... but I just didn't like it. I still have the FH2 as the firmware is constantly being upgraded.
The biggest compromise is budget. There's a ton of stuff I want...there's only budget enough for a fraction of it. :)
This is my current set-up. There's a Pittsburgh microsequencer that I pulled out because I wasn't using it and didn't like it. There is also a Behringer Neutron and Behringer Model D that float as they don't need to be in the rack.
I'll probably add a third case within the next year. The 2HP reverb and delay are okay. But I want stronger modules with more modulation options. I'd like a 1010 Music BitBox, more modulation sources including a Zulu trigger sequencer, some switches, faders, a pair of matching Dixie II+ oscillators, and possibly another full sequencer as the Toolbox is great but not great for chaining sequences into songs.
If you really want to do outboard mixing, you don't necessarily need a whole lot of VCAs as was being suggested here.. that'd be a horrendous waste of useful VCAs in your limited rack IMO. Especially when you can just use passive attenuators to turn the levels down from your 10V modular to ~1V mixer levels.
Look into getting some attenuator adaptor cables like this:
https://www.perfectcircuit.com/koma-elektronik-attenuator-cable-5-pk.html
The attenuator is built into the cable so you don't have to use any rack space to go from your modules straight to the mixer.
Or if you don't want a bunch of dongles, then you can use a module like the Levit8 that would have many attenuators packed in a small space. There are quite a lot of options for you to consider.
I do all my mixing in-rack, however, as I like how streamlined that is. But this is also the most expensive possible option.
You're thinking in terms of "main sequencer." That's fairly okay.
Where sequencing gets juicy (in my opinion) is combining different types of sequencers to perform different roles. I often combine stand alone trigger/gate sequencers with stand alone pitch sequencers to create something complicated. The sequencer might control an aspect other than pitch and the main volume VCA. It will run in tandem with my "main" sequencer using resets triggered from the main sequencer.
For example, I might have a Noise Engineering Mimetic Digitalis modifying my filter's resonance with a Temps Utile running a Euclidean pattern that triggers the Mimetic and another Euclidean firing off an envelope controlling the FM of the filter cutoff. Both Temps and Mimetic are reset by the main sequencer (usually a 1010 Music Toolbox). The main sequencer is still controlling the oscillator's pitch and the main VCA via another envelope.
You can substitute many different modules but the point is to get out of the idea that one sequencer of one type is going to get you interesting results. It's always good to have other sequencers in your set-up as they can really add some polish or interesting modulation to whatever you have going.
Thanks. Good comments.
I have got several incarnations of a final build, with more vcos and modulation and resonance. this is just what I have sourced so far and love the sound of.
just a bit stuck as to whether or not to go for sequencer inside the rack or not.
maybe i will go for random inside and step outside.
looking for recommendations.
I have considered the Rene/Tempi combo but takes up a lot of hp. Marbles has had the most positive comments. I also looked at, as an interim, the pico seq. might even attempt to diy a turing!
That's a bit concerning. Considering the fact that I would have to remove some other modules to make room for a built in mixer like from WMD or Qu-bit. I like the idea of Bastl's Ciao! being the EOC module to make sure the signals that pass through are set for other devices to handle: appropriate level and appropriate signal type.
I like the idea of Qu-bit's mixer since the externel one I have can be used to EQ it along with my other peripherals and instruments. Speaking of, I do have a skiff from before. I use it for controllers, like Pittsburgh Modular's KB-1 and pressure points for a more hands on touch to they system, but, admittedly, I rarely use since I just prefer to clock Maths and Just Friends and allow the patch to run off of them.
I wouldn't have an issue replacing those controllers with these mixing tools, and I help keep the 9U case as is while also freeing up space for some more modules in it. Would that be a good plan to start?
The AS Generator isn't something I'd choose. Sure, it LOOKS great and I do think it's an improvement over the Oberkorn. But it comes in its own cab (and you should NEVER put something that already has power into a case that's intended for things that DON'T), and I just think it's less business, more show. Rather, go smaller and cheaper...and you find more capable things such as Pittsburgh's Sequencer Designer 128, Make Noise's Rene mkii (which tandems with their Tempi), The Harvestman's Stillson Hammer mkii, Squarp's Hermod, Zetaohm's FLXS1, or the 1010 Music Toolbox. The Generator has that "sexy module syndrome" issue...great looks, lots of lights and colors, but there's boring-looking stuff that can kick the crap out of it in less space and for less money.
Go with the Batumi + Poti expander. Frankly, ANY signal with a vertical leading edge will function as a clock signal, and it doesn't really matter what happens after that leading edge. Where longer pulses matter is if you're trying to trigger sustains on envelopes, or if you're trying to create patterns with logic, which require proper pulses for combinatorial/exclusionary purposes. The only example above where I think that having a clock gen is critical would be in going with the Rene mkii, since it and Make Noise's Tempi are designed to work in tandem with some backplane connectivity. And in several others of these, they HAVE clocks already. Always try to add as much functionality as you can in single modules in a small build like this; if you can make the same 20 hp do 8 different things, why would you fill up that same space with something that can only do 2-3?
I would add a second (or even a third) VCO (something more "normal") to put against the Wavetable VCO to fatten up the sound somewhat. And then after these, use a mixer. Also, consider a proper stereo mixer and an output stage.
Don't build with just this one voice in mind, also. Work out a full-on final build first with the intention that you could land at that build's end-point and be happy, then if you have to make any adjustments, make those to conform with the ideal final build. Otherwise, you're just tossing modules into a box at this point, and that's not a good way to go at this. It's not "futureproof", so to speak.
