Yes, learning the basics is in my roadmap, I'll check it out. Thanks!
a-116, a-136, a-137-1, a-137-2 are the ones I have
the maths illustrated guide is a collection of 32 self-patches for maths
this introduces patch programming of a single module (maths obviously) and will massively help in terms of how you think about patching overall - especially in terms of constructing complex functions from simple building blocks - this is a key skill for modular synthesis - which is why I always recommend maths as the first modulation source - even if you have lfos and envelope generators, mixers and attenuverters - get maths!!! there is nothing wrong with overlap of functionality, especially when it comes to modulation and utilities
matrix mixer:
mix copies of modulation sources to increase the number of modulation sources you have
feedback mixing - mix 3 inputs with an output - possibly filtering or otherwise modifying the output before mixing it back in
use to set up send/returns for effects - ie stereo signal in to 1 & 2 output of 1 & 2 to effect effect back into 3 & 4 inputs - mix 1 & 3 and 2 & 4 to outputs 3 & 4 (or similar with mono signals, more effects etc etc)
and whatever else you would use a mixer for...
the main disadvantage of the Doepfer Matrix Mixer is size (takes a lot of hp - 20!)
the main advantage of the Doefper Matrix Mixer is size (ergonomics)
Currently I have 3 matrix mixers - a pusherman, a york modular and a reverse landfill video matrix, I can see myself adding the doepfer, as well, at some point in the future!
VCAs - 2 for audio & 2 for modulation per voice - is a good starting point...
1 vca for basic note on/off
1 vca for overall volume - so you can bring the voice in/out
1 vca for modulation
1 vca for modulating the modulation
OR just 2 for modulation
not all voices will need 4 vcas, but some may need 10 - depemnding on hoow much modulation/modulation the modulation you do!
once you get into the technique of modulating modulation - you use a lot of vcas!!!!!
Veils is a great VCA - I don't have the new version but I do have 3 of the older version (I haven't counted, but I think I have over 40 vcas including those embedded in plaits, for example)
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
This version has interresting patch notes. A lot of information in this muff thread.
Thankyou Farkas, Lugia, troux, 33PO, Jim for the responses.
Ok so for VCA's, I am pretty set on the new veils, which gives me 4 of them ( is this a good choice?), The means with the two built into Braids and Plaits, I have 8 of them. ( Eudemonia and Behringer)... but honestly on the modulation front, I like doing all this kind of stuff in Bitwig and it's what I specifically bought the ES-8 for :)
FX Aid XL for fx which Lugia suggested to me before. It's leading me down the path of having the track pretty much ready on each channel with the only extra bit required being general mixing tasks in the DAW. I have a whole heap of UAD plugins and pretty much everything from Plugin Alliance as these serve me well on that front and is why I am inclined on wanting to carry on using these as I am competent with doing stuff inside DAWS.
I have the Quadrax on my wish list as again Lugia suggested this but on other threads I have seen Jim mention the illustrated manual for Maths an so bought that ( this was a good decision ) and although I said I don't want to know everything, I still need to know/understand the why a little bit better.
Jim- Which ones are the others please? I was including this one in my list A136, which I can get for £60. Lugia, I think the HP is putting me off on the Tip Top one and if I want to generate sub, the new BASS Mint plugin from Unfiltered Audio is excellent for this side. I also like the effect of wavefolding when its not extreme, so I think for the price and from what I have heard on demos, this A136 looks like it will be the one, but I'm curious about the other 3 Doepfer ones now. I have kinks and it's reading yours and Jim's posts that made me look into both of these so I'm glad I bought them.
Please someone tell me what I am able to do with a matrix mixer? ....and is the Doepfer one a good one to have? Again fairly inexpensive so I think I'd go for this.
I may have to park my drum rack and just use the Digitakt for this side which I'm enjoying. Parameter locks baby :)
Many thanks for the above comments. In another forum someone has said I shouldn't be using a sequencer for a true Krell patch, which is probably true. I need to go back to Todd Barton's video tutorial and study it.
Thank you Garfield! Glad you enjoyed them. :)
Inscrumental music for prickly pears.
I like all the doepfer wavefolders - I have all 4 - but I use them for video
They can be picked up very cheaply used - so are worth a try - even if you resell them
for audio I'd pick one of the other ones though - or a Befaco Chopping Kinky
I'd also want more basic utilities for modulation purposes - kinks and a matrix mixer would go a long way, possibly a sequential switch
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
Yes @Lugia, the Random*Source Wave Multiplier is topnotch, big vote from me for that one.
my tunes: https://stevehand.bandcamp.com/
I got a new desk last year...or rather, a new "vintage" desk: a 54-frame Soundcraft FIVE. Most people would tend to think this is a live desk, but the truth is that it ALSO makes for a fantastic studio console with a lot of flexible routing trickery...pair this with an ample patchbay setup, and you can go BONKERS on all of the AUX routing possibilities, the inserts on pretty much everything, the capabilities of the VCA groupings, and on and on...
But the kicker was the price: $1500. Why that cheap? Well...in live sound right now, there's a trend toward digital desks. They're lighter, easier to set up in a high-pressure live situation, and can store loads of settings. Great for live work, but kinda meh for studio. But the FIVE has epic amounts of analog knobs and such, not touchscreens and assignable controls that can get in the way in studio work. Yeah, sure...it weighs about 400 lbs (out of its road case...IN the road case, it's closer to 600), has a couple of big (albeit much quieter than I'd expected) power supplies (one is "hot", the other is normally in "standby" in case the other poops out, which is something you need for live work to keep from cancelling gigs), took TWO moving crews to get into my studio, and it requires a super-hefty stand to support its weight. Even with these hassles and what seem like shortcomings, though, this is probably the very best thing I've EVER mixed on...and that includes classic Sphere and Auditronics desks, Jeep Harned's Woodland Sound "arch-top" prototype, lots of more recent things (including a VERY hateful Yamaha automated desk as well as a very nice Neotek w/ "flying faders")...it even kicks the crap out of MTSU's venerable old Harrison quad desk, which I thought was killer UNTIL THIS.
As a result, I'd strongly suggest looking into some large-format live desks along the lines of the FIVE. Hell, you can find grand old pre-Uli Midas Heritage desks for under $5k if you really dig hard enough. F'rinstance, here's a 48-in Heritage 3000 for only $4k: https://reverb.com/item/38395868-midas-heritage-3000-2012-purple If you buy something like this, do make sure that it was properly taken care of; if it looks banged-up, knobs and fader caps missing, etc etc...give that a pass. But if you really dig hard on eBay, Reverb, and a few gear broker sites, and if you know the sort of configuration you need, you can make out like a bandit right now!
Well, on the waveshaper thing...I'm not quite so jazzed by the Doepfer stuff here. It's basic, inexpensive...but rather simplistic when compared to a lot of other possibilities. The Tiptop has the ability to throw two waveforms at each other via its dual inputs, plus you also get a suboscillator divider...this is similar to Antimatter's Crossfold, albeit considerably cheaper. Also, that new Intellijel Bifold is pretty attractive...it's similar to the Tiptop in some ways, but it offers a CVable crossfader to shift between timbres.
But don't neglect a few others if you can cram 'em in...most notably Random*Source's Eurorack clones of the Serge TWS and VCM, Dannysound's DIY clone of the Buchla 259's timbre section, Bastl's Waver which offers wavefolding AND VCO mixing, or Circuit Abbey's Gravity Well, which does what they refer to as "asymmetrical" wavefolding. Nice stuff...just depends on what space you've got plus which sort of "school of thought" you'd like to follow as far as the circuit's concerned.
wow, thanks. i have a lot of things to ponder now. i am definitely going to make some changes. i appreciate everyone's input and i think i have a much better idea about things now. I'll probably post again once i have a 'final' setup.
Great sounds once again. I swear the Serge stuff just sounds so natural. Woody and watery. Awesome.
-- farkas
Not surprising if you know the history...Serge Tcherepnin cooked up a set of basic modules with a lot of the sound based on Buchla gear. He came up with it because there was too much squabbling going on over CalArts' Buchla gear, so what he did was to set up an ad hoc "assembly line" that had builders setting up soldering stations on courtyard balconies there, passing the modules from one balcony to the next...builders paid for the boards and components, plus a prepunched panel full of holes which you then covered with a paper control panel layout then jammed the pot shafts and jacks through this.
Quite an interesting cast of characters were in the assembly line, too...two that I know of offhand were Kevin Braheny (best known for his Hearts of Space releases back in the 1980s/90s) and Chaz Smith (instrument builder and steel guitarist extraordinaire). But that Serge sound owes a lot to the Buchla 100 and the beginnings of the 200 systems.
Yeah...I don't recommend putting diagnostic gear into a functional synth build...but if you DO have a large setup, having a little "test pod" like this is damned useful. For one thing, it's small enough that you can move it around to where it's needed. And the O'Tool's functions are also pretty useful for checking calibration, etc on most ANY musical instrument, so this is set up so that it'll take any typical synth patchcable and you can still set up the 3.5mms on the pod to do any sort of test you'd normally do with a NON-modular synth. Plus, if you want to "relic" some calibration settings on a synth so that you've got a bit more of an "aged component" sound, you WILL need several instruments such as a frequency counter, voltmeter, o-scope and so on...or, just this pod.
Hi Mowse,
Wow, that's fantastic, congratulations on your album! Your above track is amazing... are you going to release this on CD and/or record, if yes, please let me know how/where to get this?
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 Sacguy71,
Interesting post, I am about going the same path as you do, looking into a new studio setup with lots of things to consider... (lots of work and time)
For a board I am looking for a digital one, not much on the market though. I end up with either the PreSonus - StudioLive Series III or with the Allen & Heath - SQ series (the QU series is nice however not as flexible as the SQ series and just flat stiff compared to the very flexible PreSonus). Both are expensive however the Allen & Heath is topping that, not only with the mixers but with the Staging-boxes as well, kind of "forcing" me to end up most likely with a StudioLive board.
Pros and cons I see between those two, I focussed here on the main parameters however if I have overlooked an important one, anyone, please feel free to mention it:
Well there are tons of parameters more you can compare, I made quite a big spreadsheet for myself to compare the bigger models from SQ series and StudioLive and on some levels Allen & Heath seems to be better to me and on other levels the PreSonus seems to be better. What I feel interesting is that the PreSonus StudioLive Series III seems to be a lot more flexible then the SQ series from Allen & Heath. Allen & Heath SQ series managed to be much more flexible than the older QU series however to me it looks that it can't compete with the flexibility of the StudioLive series III. Flexibility seems to be important to me.
Well, that are my 2 cents ;-) Good luck and please keep us updated with what you end up with. Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
YEAH!!! Congrats!
I'll listen to this on my commute tomorrow. The first track sounds great.
Hi TumeniKnobs,
Hoooo-ooooh, that's a nice relaxed track and this touch with the birds is just lovely. It's already Sunday and the end of the weekend, asking the sandman soon to fill up my eyes, your track definitely will help me in a beautiful closure of this fantastic weekend, thanks to you! :-)
Thank you and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Thank you both.
I like the sort of Fluxus approach to creating a one-take, living, flowing sound with all of the dirt and ugliness left intact. @troux, the drone siren sound is a rare overdub from the Prophet. I'm usually super uninspired if I sit down with a plan and start overdubbing tracks, so I typically only record and share when I feel a certain energy. It feels naked and authentic for me to approach music that way (even if it demands patience on the part of the listener. Haha).
Thanks again, and have a great week.
Hi ModLifeCrisis,
Nice track and Plaits is indeed an interesting module, I use it most of the times as well, there is always a nice (unexpected) sound coming out of it.
Thank you very much for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Six months in the making, my first modular synthesizer album: Reticulating Splines. This is collection of eight tracks explores vast spaces and distant points of light. I hope you enjoy it.
Hi Farkas,
He, he, yeah! Nice long track, bit dirty but still easily within the acceptable, I don't mind to hear more of that kind of dirt :-)
Well, thanks a lot for sharing "your dirt" ;-) and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Nice tune @farkas, I'm really appreciating the sound design in this one, that faint background howl/drone is a great icing on the cake to the gritty vibes here. You need to post more often!
my tunes: https://stevehand.bandcamp.com/
I’m yet to buy a wavefolder but still deciding between tip top, Intellijel and Doepfer . Any suggestions?
I would recommend taking a look at the Joranalogue Fold 6. I'm very impressed with that one.
Do I need more vca’s I have two built into Braids and Plaits?Yes. If you would like to modulate your modulators... fade LFOs in and out, etc.
Is there an advantage to buying a dedicated fx module, like fx aid xl?I think so. Modular effects typically allow for CV control of multiple parameters. That's not something you get with pedals or most other hardware. You can automate things in your DAW, but that's not as fun. :)
I’m finding that a lot of my patches somehow end up using maths in the signal path and I end up messing with that thing for hours as soon as I see another flashing blinking light show up which as a jack near it. What else is like this?
Quadrax with the Qx expander, Stages, and Befaco Rampage come to mind. There are plenty of cool modulation sources that would benefit from the addition of logic modules and a small matrix mixer too.
-- greenfly
Have fun and good luck!
Hi Baltergeist,
Oh that are three lovely tracks. The tension and the atmosphere you build up there are just fantastic! For me that sounds like great sound tracks for a great movie :-) The "Murder Hornet Draft" is for me my favourite number one, lovely track!
Thanks a lot for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Brunomolteni,
That's an interesting jam you got there! He, he, the first few minutes when listening to your jam it somehow reminds me a bit of the older Dead Can Dance style of music ;-) Just a bit of Lisa's Gerrard voice and that's it mate :-)
Thanks a lot for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Hi Lugia,
That's a very interesting idea indeed. Thank you very much for sharing this with us :-) Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Great sounds once again. I swear the Serge stuff just sounds so natural. Woody and watery. Awesome.
Hi Steve,
Oh, that's a great sound! Yummy :-)
Can't you do a bit more of that sound? It's a sound that begs for more! Thanks a lot and I hope to hearing more from your Serge style, kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Opting for an Intellijel Shapeshifter but discovered two kinds of faceplates. Now I’m wondering if it’s only the faceplate that’s different or perhaps also the firmware. I see ones where there is only Shapeshifter mentioned on top (and one red marked output), others have Cyclonix Shapeshifter on top (with all black marked outputs).
Just had some fun recording this gritty thing.
Sound sources are mostly the FSS Gristleizer TG2, TG3, TG4 with some AJH. Plaits on kick, DrumF*ck for the noise clap, Crucible for ride. It's pretty dirty.
If you want to learn instead of hiring out, then...
I took mix & master classes from a strong engineer (Friedemann Tischmeyer) at https://www.mastering-academy.com/ I would HIGHLY recommend this training if it is of interest and in budget. It greatly advanced my mix & master abilities.
Alternatively (and cheaper) IMO the mix videos on SonicAcademy.com are quite useful for EDM style genres. PureMix.com has great stuff for rock, pop, etc. Steven Slate's training videos and sessions (with CLA, etc.) are also very strong. So there's good stuff now available in video format.
Hi, congrats on your new home and studio space. IMO a comfortable sized studio with room to change / grow / breath is great!
Responses to 2 of your questions:
MONITORS: I have Adam Audio SH3 monitors. It was a big investment for me BUT is a great step forward for my studio, mixing, mastering, etc. I had previously used very good "hi-fi" speakers for my studio. The Adam monitors make my prior ones sound like trash. The Adams are like "x-ray" hearing into a mix, it is CRAZY what I can hear in a mix with good monitors vs. with lesser monitors. So what should you get? I DO like the Adam Audio line a lot and would suggest you check out something in that line that fits your budget and space. If not the Adam Audio, then I recommend finding another solution that is well used and well loved among studio professionals (e.g. mixers, producers, etc.). A call to a good "sales engineer" at Sweetwater or Vintage Audio King can help you find a good candidate set of monitors--they know what monitors are well used and loved in studios of different sizes & budgets.
ROOM ACOUSTICS: Room acoustics are a real problem, not easily solved, and depends quite a lot on the specific room, monitors, and your objectives. There are some basic "no regrets" moves to do with setting up a room, like getting your monitors far enough from walls and other reflective surfaces. Also, bass is typically a big problem if not the worst problem in a studio; getting bass managed will help wrangle in the other issues. I have learned a lot from https://www.acousticfields.com/ and the text / videos they post. I HUGELY recommend the Reference 4 system (software plus calibrated mic); measuring your room with that AND physically measuring your room's dimensions will go a long way to identifying your problems and potential fixes. Once the Ref4 has identified some problems, IMO better to fix those with room treatments (instead of custom equalization) BUT the EQ curves actually sound pretty good these days. I would say don't expect to find a "set and forget" solution for the room, but rather some solutions and approaches which help you get better results with solutions you're willing to pay for. Example: my best guess is my current room needs $4-8k of bass treatment with units weighing over 200lbs each; I'm not willing to do that now, so I'll use Ref4 etc. to get the best out of my near-term setup.
Good luck!
Ha, I think this has do go down as one of my favourite threads on here. :)
What a great read!
As the title implies, more fun with my Ciat-Lonbarde and Lorre-Mill instruments, Mother-32, along with some Monsoon and Beads and various pedals.
Pretty sure these will end up on the next release, but with some tweaks and edits.
Inscrumental music for prickly pears.
Patch Notes:
XODES TP8 as finger-controlled mixer, mixing 4 different waveforms from Eowave titan and Instruo Ts-l as lead/bassline, going into Serpens Sirius to filter into a Takaab LPG and into Dreadbox Splash to get reverb.
Calsynth Rangoon as stringed instrument going into Mimeophon for real-time delay and beat-repeat.
Erica Pico Drums as bass drum.
XODES LB5 as logic noise into LPG as snare.
Mutable Instruments Stages as envelope generator and LFOs
Doboz XIIO as arpeggiator and note controller.
Robaux LL8 as gate sequencer
Super Vcas as vca and mixer.
Synthrotek MIXIV as mixer
Music Thing Startup as mixer and clock generator.
ADDAC Floor Control for Expression Pedal control.
Sunday March 7 - OK OK I know this is a cliche, but I just wanted to do it... At about 8:15 this morning I dropped my Zoom H4N out in my backyard and recorded the many birds that hang out in my garden. I then sat at my modular rig, made this patch and hit record. I bring in voices and modulation progressively to the midway point then dial them back again. I probably heard about 15-20 different kinds of birds while it was recording, and had a few close fly-bys so you will hear wings flapping. This recording is about as raw as it gets - I didn't really edit anything - I just added some shimmer verb to the birds - that's it.
Updated with new version of the recording. It is exactly the same patch, but I made a lot of subtle changes.
Modular Ambient with Birds, March 7, 2021 Patch Notes
Master Clock from PNW
Voice 1 Routing
• Keystep Sequence Pitch Out into Erica Black VCO 2 1v/Oct
• Saw out into QPAS Left
• Pulse out into QPAS Right
• QPAS LPF Left and Right into Quad VCA
• Envelopes from Quadrax
• Envelope Trig from PNW Euclidean trig
• Quad VCA into Mixer
• Mixer channels panned hard left and right
• Mixer into Mimeophon
• Mimeophon to Main Outs
Voice 1 Modulation:
• VCO internal modulation LFO on both saw and pulse
• PNW LFO into QPAS Frequency
• PNW LFO into QPAS Radiate Left
• Maths Ch 1 Unity Out into QPAS Resonance
• Quadrax LFO into QPAS Radiate Right
Voice 2 Routing
• PNW Euclidean trig into M32 Tempo CV in
• Mother 32 Sequencer to internal saw wave
• M32 VCO Pulse out into External input
• Mix at 50% but modulated
• M32 VCA Out into Mixer
• Mixer to Mimeophon
• Mimeophon to Main Outs
Voice 2 Modulation:
• M32 Internal LFO triangle on PWM and Cutoff
• PNW LFO into M32 VCF Cutoff
• PNW LFO into M32 LFO Rate
• PNW LFO into M32 Mix CV
• Maths Ch 1 into VCF Resonance
• Maths Ch 4 Unity Out into Mixer Pan CV in
Voice 3 Routing
• Plaits Wavetable tuned up a 4th
• Plaits into Ripples
• Ripples Bandpass Out into Quad VCA 3
• Ripples Lowpass Out into Quad VCA 4
• Envelopes from Quadrax
• PNW Euclidean trig into Quadrax CV in
• Quad VCA into Mixer
• Mixer into Mimeophon
• Mimeophon to Main Outs
Voice 3 Modulation:
• PNW LFO into Plaits Timbre
• PNW LFO into Plaits Morph
• PNW LFO into Ripples Frequency
• PNW LFO into Mixer Pan CV in x2
Mimeophon Tempo sync from PNW
Ok this is what I have so far. The bottom row is a 84hp Nifty case and I want to turn that into a dedicated drum rack, the top 2 rows will serve as synth voices and are 121 hp.
So I will be moving things like the BIA to the drum rack but what else would you move/add? I’m quite liking the Vpme.de module
I have had previous advice from Lugia who has been wonderful and I took on board many of his ideas and suggestions. I’m yet to buy a wavefolder but still deciding between tip top, Intellijel and Doepfer . Any suggestions? For now I have that kind of idea on the rubicon 2 and I have an algorithm in Braids. I like the intellijel Wavefolder one though as I use it all the time in Softubes modular and was the reason I bought the hardware version of the rubicon too. For his logic module suggestion I have these in the distings and I think I need to learn how to harness these better before I buy a dedicated module.
Do I need more vca’s I have two built into Braids and Plaits?
Is there an advantage to buying a dedicated fx module, like fx aid xl?
I’m finding that a lot of my patches somehow end up using maths in the signal path and I end up messing with that thing for hours as soon as I see another flashing blinking light show up which as a jack near it. What else is like this?
Please don’t ask about my chipz and cellsz from cre8audio. The less said about them the better. If you are a newbie reading this stay away from their cheap as chipz(sic) products and invest in something like the BIA instead who account for drawing 5v power from 12v rails and also give you the option of using dedicated 5v If required. They will blame everybody else even you if you try to contact them and not take any accountability for poor design.
I’m in two minds about fx and a better mixer as I’m probably more inclined to record into Ableton/Bitwig And so the Es8 is really great for that side. I don’t plan on live shows lol..I’m not mylarmelodies but he is a constant source of inspiration.
Is there anything essential I am missing?
The Hermod is going to be paired with a Digitakt.
I know all this sounds mad and erratic and I know maybe the advice maybe to learn what I have but this is taking me back to what I loved before I became very DAW focused, it’s not knowing and making music that has awakened my passions and I just want to keep wiring jacks without really knowing fully what the desired effect will be. I hope some of you may be able to relate?
Any help would be appreciated? tia
When get is high, LFO passes through to VCO FM input, when it is low, S&H freezes and sends out LFO CV value at the time of the gate change.
When gate is high, 5v goes to switch, letting signal straight from LFO to go through. When gate is low, switch instead outputs signal from S&H to FM in of VCO.
Gate to S&H control in first is inverted so becomes -5v when high, 0v when low. Then it is run into a +5v offset so that when it is high, the control signal going to the S&H is 0v but when it is low, it goes to and stays at +5v so the S&H samples only then and holds that value.
To reverse (value held when gate high, LFO passes through when gate is low) just swap that A & B inputs into the switch and send the normal gate into the S&H control input with no inversion or offset.
Oh I wasn't trolling you @syntasis! Your rack is certainly very small by the standards of the MG faithful.
Latest stuff : https://soundcloud.com/user-352590333
Hi all,
I have finally moved into a much larger house with tons of new extra studio space for my modular gear! Looking for ideas and tips for the following:
Thought I'd take a Serge crack at this one too and see how they compare, check it out:
https://stevehand.bandcamp.com/track/tuesday-acid-serge
my tunes: https://stevehand.bandcamp.com/
I have had a first go at creating a Krell patch with MI Plaits, Maths and the 2HP RND, plus a few other bits and bobs.
I continue to be interested in the Buchla format and was very surprised to learn that much of the 200e series is digital. Learning how the 25e Buchla oscillator works made me take a closer look at my Plaits module and I have come back to it with increased respect and a desire to see what I can coax out of it. It's not like a Buchla module, I realise that, but I am finding that the more I learn about Don Buchla's work and designs, the more I learn about synthesis and patching in general. I have also been watching Todd Barton's videos over at his Patreon site. This is a great resource, especially if you are new to modular like myself.
Hope you enjoy my video. If you do happen to like it, please can you click the 'thumbs up'. It makes me so happy! :)
Great ideas! Thank you for sharing.
There is an expansion port on the back to add more features. There will be at least one expansion in the future. Can't make any promises on what the features will be at this point.
The module does normalize inputs to their ascending outputs. For example, if you plugged a signal into input 1, that signal would be copied to all of the outputs 1-9. If you then plugged another signal into input 3, input 1 would be copied to outputs 1-2, and input 3 would be copied to outputs 3-9.
The module does not sum all inputs to one output. That is a function I am looking into for the expansion. You could use a summing mixer to accomplish this.
Great idea. I've recently found myself in need of several of these functions. Will put the O'Tool and Test 3 on the list.
Thanks guys :)
I plan to add a Prok Clap module to my rack at some point, but then Claps and extra hats come from the Roland TR-09.
I prefer a Clap over a Snare.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
@the-erc N0 plans for a CD at the moment but I'll make it available digitally when the last few cassettes are gone. I guess using size as an adjective for a rack isn't the best as it's all relative! I was comparing to some of the impressively big racks that I see here and other places :)
