Thanks, everyone for all the links, module examples and for sharing your experiences. That MW forum thread especially is an excellent dive into the technical bits.
Star grounding is perhaps the best solution for persistent noise problems, IMHO. This consists of running separate grounding wires from your various chassis grounds (on a Eurorack, just attaching the wire to a front panel screw should suffice) and running them to a central ground point, usually on the mixing console. This has the effect of creating a single, unified groundplane across all of your gear, and this quite often is a suitable fix for noise and garbage signals lurking in other subsystems within your studio or rig. Note that it's not 100% necessary to run individual wires from each device; for example, if you have a rack of processors mounted on metal rackrails, attaching a single wire from one of the mounting screws to your grounding point is sufficient. The key is to unify all of your chassis grounds, which gets any electronic garbage to drain off to a single point which is designed for that purpose. If you check the backplane of your Crest desk, you should see a ground-post on there...that's where everything should be wired to to make this work.
Hi thanks for your response,
yes Mixer Analog and Eurorack have the same AC, no RF fields!
What you mean with star ground ? i found this one just for eurorack.
Coming from hardware synths with rather more predefined routing one of the appeals is the flexibility of a modular, yet that’s also daunting. Choice is great, but too much of it can be daunting. I mean the principles are clear, but do you guys/gals generally noodle around or do you go in with a clear vision of what you want patches to sound like?
I’ve just started playing around to see what I can do with each module, but I’m wondering if it makes more sense to start with a simple patch first when building a patch. That is, sequencer, sound generator, Envelope, filter, and VCA and adding modulators and attenuators sequentially. I could see how working systematically could work well. Noodling around to get unexpected sounds can be interesting, too. I’m doing the latter, as I am still exploring my new modular system.
Are all of these devices being fed from the same AC source? Also, have you investigated a star-ground of your various devices to the mixer? A third question would be whether or not you have any excessive RF fields where you're working, as these can also bleed into power circuits and cause various degrees of mayhem.
Hi
I have a problem and need your opinion. My NW2S - IO Unbalanced interface sends a noise on all 8 outputs, when I switch on my power supply the noise builds up to round about 500hz - 800hz.
I have a massive crosstalk from my Metropollis Seq. without any connections
I removed all modules from the rack.
connections:
power supply: ACL KAZU - NW2S - IO Unbalanced - avid db25 cable - crest analog desk
any ideas ??
Thank you
Not to pick a fight but this reads like the Frap CGM doesn't exist... It is the archetypal modular mixer and top quality, too!
[...]
The makers of the larger “performance mixer” modules have taken a slightly self-defeating approach: there is almost nothing “modular” about these units, and they make all sorts of assumptions about what users want to actually do. Even the makers of smaller “stereo mixers” such as Erica Synths—who I love I should say—have made some really curious assumptions about stereo placement. Why should only one channel be pannable and why only via CV?
To give you an example, my system is three voices. I don’t need four or even six channels, but I desperately want free panning and multiple stereo FX returns. I have no need for CV control over anything, and I prefer to mute CV rather than audio for cleanliness.
I prefer small modular solutions which are chainable or interact in some way to create the right solution for me. Intellijel’s Mixup was an excellent purchase for me because it gives me two mono channels and two stereo channels. I can rig up a dry mono voice (bass/kick), wet mono voice, dry stereo voice, and wet stereo voice in 6hp.
I really liked the look of Knob Farm’s Hyrlo and Ferry modules but was unable to purchase before they sold out. FX send in 6hp sounds right.
I would prefer to support small MODULAR solutions and create workarounds to the rest (ask me about my FX send woes some day lol) using attenuators, VCAs, mixers, and switches which are all stock eurorack components and always able to be repurposed, rather than invest in a massive thing that won’t always suit me. That was why I got into this.
Good luck and have fun!
-- nutritionalzero
Thanks Lugia, very much appreciated!
In fact swapped the peaks for the 2 micro adsr straight away.
Although Peaks had a couple of more tricks as KFOs etc so....a new 1U row took off...!!
Now , just to make sure this is going in the right direction, this is the idea:
a very "musical" synth capable of handling a few different voices and rhythm evolving with a controlled rate of randomness/repetitiveness and forced within scale/chord/beat/signature.
So, Pamela should be able to both:
- "harmonically and melodically" sequence:
Pico Voice for some fine tuned melodies/chords; Pluck for melodies/percussive textures; Micròn for basslines/chords
- trigger Bastl Tea Kick, 2hp Hats and Pico drums such to create polyrhythms and groovy beats
To achieve this it can also count on a few dedicated modulation sources. Plus a couple of Distig
Again, am i missing something?
"Structural" modules have been moved to the 1Urow - mixer, multi, in/out, power...
https://cdn.modulargrid.net/img/racks/modulargrid_819195.jpg
Thanks for your help!!
Should be OK for now, but the best option is always to get some sort of output module, especially with proper isolated balanced outs. As for a basic input preamp with envelope follower, the trusty Doepfer A-119 has been the go-to for a long time now. There are certainly others, but Dieter's module is time-tested and pretty cost-effective.
Any suggestions for such a pre-amp?
Also, I take it that my current setup with the passive summing mixer would be fine for now?
Or, those voltage variations could be seen as a ‘flavor’ to the sound.
There's a precision adder in the Disting. Joranalogue also makes one that's pretty tasty.
With buffered mults, in an ideal world, you want multiple copies of EXACTLY what you've fed into it. Being able to attenuate or boost the outputs would defeat the purpose of a well made mult. Your buffered mults will serve you well when you're trying to split the same control voltages... especially those controlling the pitch of two or more oscillators. Passive mults or simply splitting (like with a stackable cable) can cause voltage drops. A drop in voltage means you're not getting the exact CV that you've put into it.
Had to click on it, but did have a look...yeah, that's getting better. If you can get the Noise Reap stuff, it's likely worth it...typically, the Bermuda has a 'dirtier' audio profile, so that will add some bite to the bass. But if you can do two of them, that's even better, because mixing together a pair of very slightly detuned VCOs sounds quite huge when compared to just a single VCO by itself. And driving those into self-oscillation (which is the Bermuda's 'special trick') the waveforms get even crazier, which is something you can tweak live to good effect, not unlike screwing with the resonance on a TB-303 to get it to do the trademarked "acid squelch". But this would be more distortional and crazy...a very nasty, overdriven sound which you could really work in the bass ranges. Hopefully they'll be available, and given the size, not at all a difficult thing to ship from Portland, OR to the UK.
That's a helluva smart use of a really tiny space! Given what it'll be interfacing with, that should add a lot of bang to your rig. The Peaks is discontinued, so if that's a priority you'll have to source a used one or find a third-party version in 8 hp...but also, you might consider putting a Doepfer A-140-2 MicroADSR in instead to give you two envelopes, but with individual controls per each. Doepfer's got a few other 8 hp modulation source solutions, as well, like a VCS (the A-171-2), quad decay (schmitt trigger, basically), a quad ADSR (with a few control compromises, but still very viable) and the like.
A lot, actually...let's see...there's no modulation sources, for starters. If you want punchy basslines, you're going to have to have some way to modulate that VCF with an envelope. Otherwise, it just goes 'oooooooooo' instead of the 'pwom!' you're hoping for. There's also no LFO or any other sort of periodic modulation, so there's not going to be any variation to the sound that changes back and forth over time intervals.
Secondly, that VCO/RM will prove totally useless without a second VCO. Ring modulators require two inputted signals to produce their sum/difference spectra. The Analogue Solutions VCO/RM's also not a very cost effective choice; if you want two seriously wild VCOs for about the same price as one VCO/RM, check Noise Reap's Bermuda, a rather nasty VCO with a self-modulation feedback-type capability. For good, in-your-face bass, dirtier signals work really well.
That sequencer won't work the way you're expecting. The Ladik S-180 is a trigger sequencer only...which means it doesn't send any CVs with which to make the VCOs change pitch. You would have to use the S-183 or S-184 expanders with that S-180 to get pitches, plus the addition of a quantizer would probably be necessary to keep the sequencer steps in a proper scale.
About the only things you have right here are the use of that Polivoks VCF (great, nasty filter) and the Optodist to get your levels punchy. My advice would be to stop building for the time being, and instead spend some time studying other builds, looking up articles in the MG forum and elsewhere online on what proper synth architecture should be, studying "the greats" in synth design over the past 50+ years, and the like. Get a better idea of what needs to be in a build first, then come back to MG once you've gotten a better idea of what to do. Otherwise, you're just going to wind up wasting your time and, potentially, your money should you try to realize a MG build before understanding what makes up a proper synthesizer.
-- Lugia
Hey Lugia...firstly than you so much for taking the time to offer these suggestions, I really appreciate it. I also recognise I need to do a lot of learning...I just wanted to get something going, and see where I should be heading. It's quite a learning curve and like to be hands on too, so maybe rushing in lol. I have the opportunity to get the sequencer [and i does come with the S-183 expander] - I forgot to add it to the box!
I updated the box now with your recommendations and wondered if this was more what you were saying? I may struggle to get the Noise Reap Bermuda as I'm in the UK. So would need something instead of this. Not sure if the rack has updated for you to see?
Thanks again
You've just been lucky...inasmuch as the Morgasmatron has that input gain control and the passive mixer attenuated the output signal. Here's what happens when you feed line-level directly into a modular without a input preamp or some other sort of gain control...line level is actually extremely low when compared to synth levels. Typical line levels are .775V (-10) or 1.2V (+4) (although the actual peak-to-peak levels are different due to a bunch of impedence matching, math, and other forms of voodoo), whereas synth audio signals within a modular system can run at 8 to 10V peak-to-peak. So, without some sort of input preamp, the incoming line level signal is going to be far lower in amplitude than everything else going on.
Now, feeding a line level input with a synth directly...that's a little bit different. The most likely thing you'll run into is a majorly overloaded input on your line input device. Some devices, though, actually have enough headroom to deal with the higher synth levels and you can just attenuate as needed on those. But every once in a while, you'll run into something that really DOES NOT like anything too much hotter than a professional +4 dB line signal. Depending on what that device might be, you'll get a result ranging from massive distorted overloading to component-go-POP, which isn't fun. These days, there's not many things out there that can go pop when overloaded, but that doesn't mean they don't exist. Case in point: we were running a guitar through an overdrive into my Biamp MR/140 spring on a session many years ago. Sounded AWESOME...for a couple of minutes. Then it didn't sound like anything. Turned out the spring transducer couldn't handle that much drive and it gave out, and that was that until I could get it serviced.
So, yeah...the best thing to do is to be ready for incoming and outgoing line levels by having some sort of input preamp (preferably with an envelope follower...very useful combo) for line-level inputs, and output modules (preferably with isolation and balanced line outs to quash possible noise/hum issues before they start) to step your synth level signals down to where they belong.
Modulatable buffered mults? Sure....look around for "adders", which is pretty much a buffered mult that can take other CVs in to create a composite CV signal. Tubbutec makes a 2 hp module called the Sumtiple, and it offers a three-input adder normalized to a 3 (technically 4) output buffered mult. Sounds like the very thing you're looking for.
A bit late, but did a good deal with @sid001, thanks!
G'day everyone!
So...after years of research&indecision here I am with my first attempt into the modular world.
If some wise noodler could have a quick look and tell me if I am missing out something fundamental, that would be of great help!
Please consider that the same modules will be cv'ed to some external gear too. So with a Minitaur, a chimera synth BC16 and a Soundmachines NS1 Nanosynth I already have a few basic VCOs and VCFs to add to the rack and play with.
(And an alternative too to be sure to bother enough...cheers guys! ;)
https://cdn.modulargrid.net/img/racks/modulargrid_819011.jpg
I’ve read on several occasions that it’s not a good idea to directly route line level into rack modules or proceed the other way around. Now, I have been doing just that and didn’t notice any issues. Granted, the VCA out went into a passive summing mixer that considerably attenuates Signal and from there into a pre-Amp (ART TPS-II), so perhaps that was why I didn’t encounter any issues. But, I have fed line level directly into a Morgasmatron and that one has an input gain adjustment.
Have I just been lucky?
Funny how you picked a very similar looking set of modules to those in my “starter” rack:
I can relate to your questions. I considered the EricaSynths Pico DSP as a basic effects option and would’ve added it if I didn’t have the ability to run it through my Octatrack.
I would like to add Erbeverb, Phonogene, and Rainmaker to the setup, but that’s a whole rack right there.
Since you’re going for an ambient sound, perhaps get a good reverb first, so replace the Morphagene with an Erbeverb. Not that the Morphagene is bad, but it’s a grain pitch shifting sampler, which isn’t necessarily ambient focused. I think you might want to explore some additive synth options, such as the Audiospektri HG-16. You need a delay module, too.
Regarding filters, have you considered the uJove by System 80?
Yeah, it occurred to me that a BuffMult would be important.
I was looking at an Arcus Audio or the CVP-1 or, better, the MVP by Manhattan Analog.
Are there no CV modulated BuffMults?
Cool! Nice set-up BTW. Also, be sure to invest in enough patch cables. You'll want some stackables as well. ALSO, Kona makes some cables with built in passive attenuators. They are handy in a pinch.
Oh, do you have any buffered mults? You may want some if you can squeeze 2HP somewhere.
Erbeverb's a good idea, yep...but I do see a problem with that Metropolis + Shifty call. For instance, you really need to have four signal sources to send the shift registers in the Shifty to, otherwise you're spending about $190 on something you won't get the full use of. And given that the Metropolis is pretty much a monophonic sequencer (albeit a very good one), that alone won't address the possible multiple voice use. Better idea: The Harvestman's Stillson Hammer mkII. This gives you four channels of easily-usable sequencing, plus per-channel quantization and a whole pile of other features for less than the cost of the Metropolis + Shifty combined. Plus, you get 8 hp back for some other use in the bargain!
A lot, actually...let's see...there's no modulation sources, for starters. If you want punchy basslines, you're going to have to have some way to modulate that VCF with an envelope. Otherwise, it just goes 'oooooooooo' instead of the 'pwom!' you're hoping for. There's also no LFO or any other sort of periodic modulation, so there's not going to be any variation to the sound that changes back and forth over time intervals.
Secondly, that VCO/RM will prove totally useless without a second VCO. Ring modulators require two inputted signals to produce their sum/difference spectra. The Analogue Solutions VCO/RM's also not a very cost effective choice; if you want two seriously wild VCOs for about the same price as one VCO/RM, check Noise Reap's Bermuda, a rather nasty VCO with a self-modulation feedback-type capability. For good, in-your-face bass, dirtier signals work really well.
That sequencer won't work the way you're expecting. The Ladik S-180 is a trigger sequencer only...which means it doesn't send any CVs with which to make the VCOs change pitch. You would have to use the S-183 or S-184 expanders with that S-180 to get pitches, plus the addition of a quantizer would probably be necessary to keep the sequencer steps in a proper scale.
About the only things you have right here are the use of that Polivoks VCF (great, nasty filter) and the Optodist to get your levels punchy. My advice would be to stop building for the time being, and instead spend some time studying other builds, looking up articles in the MG forum and elsewhere online on what proper synth architecture should be, studying "the greats" in synth design over the past 50+ years, and the like. Get a better idea of what needs to be in a build first, then come back to MG once you've gotten a better idea of what to do. Otherwise, you're just going to wind up wasting your time and, potentially, your money should you try to realize a MG build before understanding what makes up a proper synthesizer.
@Lugia: thanks very much for providing helpful feedback! Even for gearhead synth nerds stepping into modular can be a bit tricky. Fortunately, this site makes it really easy to plan and there’s experienced modular users like yourself willing to help. I feel this smallish system already offers vastly different sonic possibilities than the rest of my setup. Very glad I got to add this modular synth.
http://i.postimg.cc/2SvmFQqm/1-D59-B6-E5-E1-DA-42-A3-BC45-B54-BCAB61-F33.jpg
Just bought a module from @ideo. Shipment was super fast. He was very responsive and helpful, and overall I couldn't have asked for a better service! Highly recommended seller
Still waiting for a few modules (Three Sisters, Ataraxic Iteritas, Z4000 NS, Poti), but it’s all wired up with MIDI, CV, and audio cables to connect to the rest of the show. This is going to take a while to explore, but it’s clear that this is where I will be getting my strange and wild sounds from.
https://i.postimg.cc/2SvmFQqm/1-D59-B6-E5-E1-DA-42-A3-BC45-B54-BCAB61-F33.jpg
Got a Doepfer joystick* from @magneteyez, it travelled well packaged from the netherlands to germany. Thanx a lot!
*out of production!
I've bought Michigan Synth Works before. They are good builds and available from retailers. You can also get your micro units commissioned by private builders; but check around before you send off your money. I had a couple made from someone on Modular Grid and he did a great job and delivered as promised (actually a couple of days early).
Using an envelope inside PNW, Disting, or another module like Ornaments & Crime will definitely work. But the flip-side to that is that the envelopes are readily available for tweaking. Menu diving sucks. Envelopes tend to take a lot of back and forth depending on what you're trying to achieve (like getting that perfect pitch and decay envelope on an 808 style kick). The two envelopes in the Neutron would be okay. But it's pretty inconvenient using them and they are pretty basic. Trying using what you have at first. But keep in the back of your mind that you might want space for the dedicated envelopes. Envelopes can do more than control VCA and filter cutoffs. You'll probably want more and a few different types.
@Ronin1973: Thanks for the pointers! The Poti is now on order. I wish I had known earlier about the micro versions. Is it all from Michigan Synth Works? I have the uBurst on my radar. For Tides, wondering if the MKII or the u-Version would be better.
I honestly thought I might be ok on ENV using Pamela’s New Workout, the two ADSRs from the Neutron, Disting, and the CV envelopes from the Analog Four. I don’t anticipate this rig to deliver more than 1-2 voices.
https://cdn.modulargrid.net/img/racks/modulargrid_813718.jpg
This is what I came up with without suggestions. I through Mixup in so I could get a stereo mixer for little HP. And ended up picking the Metropolis over the Rene and paired it with Shifty so I can sequence multiple voices. Am I making the right choice with this? Also ended up going with the Erb Verb. Am I missing anything? Anything else that would be beneficial to the synth?
Thanks. :)
What am I missing from my simple setup [budget to begin with] to make some sounds...I'm very knew to this. I would like to make some interesting basslines, maybe acid noises to begin with.
Thanks
What am I missing from my simple setup [budget to begin with] to make some sounds...I'm very knew to this. I would live to make some interesting basslines, maybe acid noises to begin with.
Thanks
Looks good. I see three HP of empty space. If you could squeeze in a Poti (3HP) for the Batumi, that would be advantageous. You can change the waveshapes of the Batumi on the fly as well as its behavior regarding sync vs. restarting.
You may also want to check out the micro versions of Clouds and Tides. They'll save you some rack space and give you a little more HP room to play with.
As far as your MIDI to CV converter, you may want to review Expert Sleepers FH2. You'll have more outputs and save some rack space there too.
I don't see any standard envelope generators. You have the Maths and Stages. But you might want something a little more traditional as well like a Tip Top Z4000NS. Each stage of the envelope can be modulated independently as well.
Also, the Erica tube gear uses up a lot of amps when you first turn the system on. Considering that you have a full-boat of modules, CAREFULLY go over the total number of amps you're going to draw per power supply. I believe that you have two.
That shouldn't be a problem. The 'sleeve' connector on patchcables handles the common groundplane amongst anything connected with them. One bit of advice, though...feed both the Befaco and TipTop power supplies from a common AC source to avoid potential ground loops over the patchcables. If you use power strips or conditioners such as the Furman rackmount variety, feed both cabs' AC from the same one.
Sometimes its cache, sometimes its not. I've often noted a problem in embedding a rack into a forum post where, if the rack wasn't previously recognized properly by the screenshot mode, it won't come up with the proper layout in the forum post. As a result, I've gotten used to always making sure that screenshot shows the right build iteration prior to embedding the rack's URL in the forum post. That always works.
Yep, that's exactly what I meant...and this layout looks quite good, indeed. It follows what I call the "up-left/down-right" pattern, where control signals move upward on the left side toward the voicing row(s) at the top, from where the audio flows back downward on the right side through mixers, modifiers, processing and then the final mix. It's a really intuitive type of layout, making it easy to sort out where a problem with a patch might be located, aside of simply making the whole mess easier to control in general. And in between the "control-in" on the bottom left and the "audio-out" on the bottom right is the perfect place for a controller, as it's a simple reach from that in either direction to make changes to your major global functions. Nicely done!
I have arranged the modules in the rack I’m building today in a manner that seemed logical from a workflow perspective:
Not shown is a T-Rex Replicator, which will be housed in a separate 104 hp cab.
I’m going to use Rene, Pamela’s New Workout, a Social Entropy Engine, and an Analog Four as CV based sequencers. Additionally, a Neutron and 0-Coast will be integrated.
I’d be really interested in getting your thoughts on the arrangement of modules. My thoughts here were as follows; keep the sound sources on top and the key mixer modules within easy reach. Alls LFOs, envelope generators, attenuverters, and modulators are occupying the middle rows. Clock and sequencer on the bottom left (also the Lapsus Os, as it can function as a “master attenuator”. Filters and FX on the right with a top to bottom signal flow and the Fusion VCA as main out.
Audio will go into a Unit Audio Microunit (passive summing mixer, requires pre-amp post sum out), through an ART TPS-II, and into an Octatrack for FX and other mangling.
Just got a uCloud from @PinPinKula
Really fast, well built product, bulletproof packaging and polite & clear transaction.
Perfect.
www storlon.net
Pardon my ignorance, but how does the output of a modular setup differ from the output of a normal hardware monosynth? People have been plugging those straight into audio interfaces in home studios for as long as digital conversion has been with us, and you just watch your levels since its obviously much hotter than other sources (like a dynamic microphone or a bass guitar).
Some electronic artists even run their synths thru outboard preamps just for punch / warmth / grit in the studio, even though amplification is not needed and that could probably compound the problem of a really hot signal.
You need both for different purposes. I have a bunch of different mixers/VCAs for both cv and audio in my modular, and I have a Tascam Model 24 on the way that will allow me to fine tune final outs, and record many different outs into an SD card all on their own track to then put into Logic later. People who think you can just plug modular stuff straight into an audio interface without any drawbacks are smoking something; even audio out interfaces within eurorack can be quite different--my Vermona TAI-4 has transformers for both in and out that make a sort of pleasing saturation that make the exact same sound source sound better when I output it compared to more generic output modules (or none at all).
I’m between worlds. I love my Mackie for general studio context but I really want to be able to take a balanced 1/4” stereo output straight into some other system and show up armed with only an Intellijel performance case...
The issue, as I see it, is upstream. Eurorack went from 1) being an implied monosynth to 2) being an awkward groovebox with clunky, expensive panning/mixing/sequencing/FX and some units like Clouds which are fully stereo, to 3) being an implied multi-voice studio-in-a-box but still struggling with the basics for a variety of reasons (some of them market-driven and not easily solvable).
The makers of the larger “performance mixer” modules have taken a slightly self-defeating approach: there is almost nothing “modular” about these units, and they make all sorts of assumptions about what users want to actually do. Even the makers of smaller “stereo mixers” such as Erica Synths—who I love I should say—have made some really curious assumptions about stereo placement. Why should only one channel be pannable and why only via CV?
To give you an example, my system is three voices. I don’t need four or even six channels, but I desperately want free panning and multiple stereo FX returns. I have no need for CV control over anything, and I prefer to mute CV rather than audio for cleanliness.
I prefer small modular solutions which are chainable or interact in some way to create the right solution for me. Intellijel’s Mixup was an excellent purchase for me because it gives me two mono channels and two stereo channels. I can rig up a dry mono voice (bass/kick), wet mono voice, dry stereo voice, and wet stereo voice in 6hp.
I really liked the look of Knob Farm’s Hyrlo and Ferry modules but was unable to purchase before they sold out. FX send in 6hp sounds right.
I would prefer to support small MODULAR solutions and create workarounds to the rest (ask me about my FX send woes some day lol) using attenuators, VCAs, mixers, and switches which are all stock eurorack components and always able to be repurposed, rather than invest in a massive thing that won’t always suit me. That was why I got into this.
Good luck and have fun!
I have a question:
I have an (as yet unused) Befaco regulated power bus (https://www.befaco.org/en/fuente-alimentacion/)
I would like to use it in a separate rack from the one with my other daisy-chained power busses.
I also have spare a TipTop Zeus Access (with a Universal Power Supply) (http://tiptopaudio.com/zeus-access/)- this only has connections for +15v and GND, though.
Can they be used together?
Thanks
Michael
So MI has re-launched the Tides module with some subtle changes / updates, the biggest change are the 4 outputs. Anyone have any hands on experience with the new one, or potentially BOTH versions to comment on it?
From just reading descriptions and watching a couple Youtube videos - I am having trouble understanding what is possible with the 4 outputs now that was not possible before. Its also hard to tell if the expanded output capability really just applies when using it as a sound source, or also when used as a modulation source.
I was considering adding a Tides to my small but growing rack for super slow, evolving type modulation, but now I am torn on if I should hold out for a new one or buy the original used for $100 less.
I just bought @sergiobrick 's Pittsburgh Lifeforms System Interface (in short, Pittsburgh's mixer ;-)) and it works great.
Request again for narrower racks please! ;-)
-- JohnLRiceO.k. 20HP min it is.
Working themes are Pittsburgh Cell Style and Geeklapeeno Cluster.
Everything else looks like an impossible Escher theme.
-- modulargrid
Thank you sir!
