Get rid of the Mutamix since you have two u4xVCAs and replace it with the Happy Nerding PanMix. Now you have a stereo mixer with a headphone out built in. You can get rid of the Intellijel Headphone Out and the blank panel and pop in another Intellijel buffered mult or the Intellijel ZeroScope.
Also, you're 1HP over on your bottom row.
I re-organized some things in the rack based on your advice.
What do you think?
Also, about the doepfer's, could you elaborate a little? I understand how they work and what they do, but I'm not sure how to use them withing a modular setup. Many resources online explain their basic functions but don't explain what the advantages are of having them in a rack.
Thanks for the feedback! I was peripherally aware of the MScale. I've tuned by ear the few times I've wanted a harmonic relationship between the GM and Cursus Iteritas, but a precision bias could indeed be helpful down the road. In the meantime, you reminded me to check: there's a global setting to enable the GM to output 0v - +10v. Done.
Yeah, the EMW double adder seems like it'll have a good lifetime as a general utility, so I didn't feel bad about spending $66 on it.
Next steps that I'm considering:
I'm trying not to overthink the sequencer. At first I thought the Korg SQ-1 would be fine, but then the Arturia Beatstep Pro looks so much more capable for the money.
Already arriving:
Yeah...while the Time Wizard does contain some logic capabilities (albeit not on the same level as a full-on Boolean gate setup), for the most part the Pam's does what it does. The question would then be whether you'd get more mileage out of the additional functions the Time Wizard offers versus the extra two channels of trigs on the Pam's. But...also, have a look at the Pexp-1 and 2, which are expanders for the NEW Workout and which offer some functions that need to be considered.
My performance mixer fave as of late is different from Ronin's. Qu-bit's Mixology is a four-in, stereo-out...but offers CV control over per-channel level, AUX send, and pan, with a proper AUX mono send and stereo return, which means it plays nicely with reverbs, choruses, and most other FX that tend toward that routing. You also get manual solo and mute per channel as well, which can come in handy when programming complex patches.
As for the Veils, tho...again, Codex Modulex shrank that down to 8 hp and brought the price in cheaper. So ultimately, you could add a pair of those for a hair under $300, giving you eight VCAs with variable response curves, potential submix abilities, and a compliment of VCAs of that size would then easily allow you to CV level control both audio and CV, again upping the potential complexity.
Good moves thus far...the Moog bipolar DC thing is annoying, yep. I would've hoped that they'd learned from example that when there's a standard that's making the development of new things possible, you're supposed to follow that trend mainly for the sake of being constructive. My bet is that with the Moog gear's basis in Bob's older circuit designs, it sticks with their older voltage standards...hence the bipolar DC, the continuing presence of the (ugh) S-Trigs on their modular reissues, etc.
One thing you might look at, though, would be the Erica Pico MScale. That's specifically designed to solve the Moog bipolar DC issue, fits in a mere 3 hp, and only costs around $70. That way, you can just route your pitch CV direct to that and the problem's instantly solved in the first patching step outside the Grandmother. As for the EMW Offset Proc...that not only fixes your control issues, but it allows some extra craziness in that you can modulate offsets with it. So, say you have an incoming CV that controls your VCO pitches...by using a square wave as an offset modulator and a little poking around with the gain control, you can impose a trill of a specific interval onto the VCO CV with that module. And that's just one example of some of the fun you can have with it. My assumption is that EMW mashed an offset source plus an adder in there twice over...not a bad idea at all!
"Faders and mute switches"
That sounds like a job for the Roland 531 Mixer module. You get six channels with faders and pans. The pans are CV controllable. You also get mute switches, a preamp and a headphone output.
https://www.modulargrid.net/e/roland-system-500-531
Veils functions similar to the Quadratt EXCEPT you have CV control of each output volume. I wouldn't define either of these as a proper mixer, though you can use them as basic mixers or submixers. I would think about all of your outputs (drum modules, FX units, etc.) and figure out how many audio signals you might want to mix together at once. With eight "mixer" inputs (seven if you're cascading one unit into another), you're going to probably be short when it comes to a complicated patch.
Look into the Roland 531, Happy Nerding PanMix, Pittsburgh Modular Lifeforms System Interface, and Blue Lantern Stereo Sir Mix A Lot. All of them are 6 input mixers with pan capabilities on all/most channels depending on the unit. With exception to the Blue Lantern, they all have headphone outputs as well.
You probably won't need a decent mixer to begin with. The Quadratt and Veils will be enough to get you going. But as you start to flush out your case, you'll probably want one.
@Lugia: I'll definitly design a rack with the modifications as you suggested and see where that brings me. I'll post it here once it's done.
@Ronin1973: You're totally right, that's something I'll have to take into account. Although, the Veils also acts as a mixer. So wouldn't it be possible to take the mixed output from that and route it to one channel in the Quadratt, or am I misunderstanding how the Veils actually works? If it works this would give me 7 channels to play with.
Do you think it's also a good idea to have the shakmat time wizard and the pamela's new workout, seems there's quiet some overlapping in their functions?
Dec 2018:
I'm just starting out in Eurorack. This supplements the semi-modular Moog Grandmother. I've quickly learned the limitations of such a setup, and those limitations have informed most of the modules here, which in turn are putting the Grandmother on a path towards being supplanted completely.
How do you intend to mix your audio signals together? The Quadratt has four inputs and they are simply mono.
One thing that comes to mind: with as many clock signals as this will have going on, you should look into some logic modules to create more intricate behavior with the gates you'll be using. On a similar note, a couple of comparators would also come in handy for similar reasons...you can use those to derive gate on/offs from CV levels coming out of the Stillson Hammer, for example. Maybe take the Switch Matrix out for some of that, potentially adding a much smaller thing like a Doepfer A-151 to swap sequencer CV outs to create longer sequences. Maybe toss out the uScale, also, since the Stillson has some potent onboard quantization. You can also recover another 4 hp in your top row by swapping the Maths out for a pair of Doepfer A-171-2 VC Slope Gens (basically they're akin to half a Maths each, minus a few extra jacks that you can work around). Even more space can be regained by swapping the Rings and Tides for Codex Modulex's 8 hp versions of each. See how much space you can get back by doing things like this; empty space eventually = more modules, after all! ;)
I'd definitely start with more audio sources. Maybe a Plaits or two to pair with the Braids. An output module would be nice, and if you're thinking about adding FX, check out Happy Nerding for a great output stage that also contains a second stereo input with attenuator, which is super-handy for adding reverb, delays, etc to your stereo mix when you don't have a mixer with an AUX send/return.
MIDI/CV...IMHO, Expert Sleepers for the win there. You'll just have to sort out whether you want to use just MIDI or if addressing the modular with CV/gate/trig under control via Silent Way sounds right for you.
Other stuff...hm...better mixing would be nice. The 2hp MIX is a nice summer for somewhere within a patch, but nothing beats a dedicated stereo mixer with panning and all that stuff. Plus, finding one with an AUX bus would really make the best use of the limited space open for a decent FX module. A couple more EGs and VCAs, and that'd sort of nail it.
Hey,
This is the first concept for my eurorack synth. I plan to build the rack over the course of 2019. My plan is to gradually buy modules and getting to know them before buying more modules. Along the way there will be probably be many adjustment and changes. Nonetheless this is my first concept based on videos I saw on the net and some advice I got from people.
My aim is to be able to generate percussive and rhythmic sounds/loops as well as melodic synth sounds.
As you might notice from looking at the top 1u row, this is most likely going to be built into an intellijel 7u rack.
Any suggestions or changes needed? What do you think?
Upgrading to a 6u case and figuring what else I can add? I’m thinking a MIDI/CV module for sequencing externally and maybe FX?
Hi,
Thanks for the tips. I have an erebus 3 and a nyx that i was looking for more tempo synced modulation for (which they both lack a bit), as well as more modulation and attenuation for the shuttle system. I guess I'm looking to make the more complex "wubs" of bass house/dubstep. The mordax will help a lot with education/understanding the modulation as i'm using it.
I will leave out rings for now and put a maths in there. Think i'll get rid of one of batumi or stages, probably batumi.
I appreciate your different viewpoints and thanks for the tips.
Christmas day here with the kiddies so i'll respond more tomorrow. Boxing day sale at moog audio here in Toronto.
Sure. Not proving universal facts here, just my thoughts as requested, (i´ve played synth of all kind since my first purchase in late 90s). I don´t say you need this or that for a certain purpose cause i´ve read this or that. It just happened that a Dx7 didn´t worked for me as the bass i wanted at the time, or that plaits which i have right here, isn´t really my first choice for the bass/lead track. It´s not rumours, nor the universal to-do list, simple personal experience on how things turned to be for me.
All cool ;)
so i've had the black magpie version of the z-dsp in my rack for a while. today i accidentally deleted it from my rack, and when i went to add it back, it is no where to be found. i reset my filters, and tried searching under both "z-dsp" and "magpie", and neither brings it up in the search results... also i noticed while searchnig for magpie, many of the magpie versions appear to not come up in search results anymore. how can i have something in my rack that seemingly doesn't exist anymore when searching?
OK...no. Let's dispel a few rumors here.
First of all, the killer bass sounds you hear in a lot of techno are NOT ALWAYS the result of analog synths. One of the more popular for this purpose in the Detroit end of things has actually, for some time, been the Yamaha DX100. Derrick May, in fact, is a real master of 4-op programming; Carl Craig's also made extensive use of the DX7. The idea that you MUSTMUSTMUST have analog for bass is, in fact, bullshit. Even I have a certain death-dealing bass patch on my long-beloved CZ-101 that has, through the proper amplification setups, caused actual physical damage due to it's subbass properties. So is the Plaits usable for bass? Sure...because in analog synthesis, the key to huge bass isn't the oscillator, it's the combination of the VCF and the right modulating EG for that, plus maybe a little nonlinearity in the VCA to do a touch of waveshaping. A sharp, percussive attack modulating a good 4-pole lowpass VCF fed with most anything will create hefty bass, depending on how you've set up the cutoff and resonance on it and the pitch class of the incoming audio. As for the 303...yeah, sure, it says "Bass" on the case, but most people using it, starting with Larry Heard, MISused the TB-303 to get all sorts of higher-range squelchy sounds, particularly in tandem with the "glide" control in the step sequencer.
Second of all, modulation. The Batumi and the Stages both have sliders. And that's where the resemblance stops. The Batumi is a great source of LFO curves. But the Stages is more akin to a sequencer in that you set your different stage levels and the module sweeps through these to create a user-defined modulation curve, or discrete modulation steps, plus a few other tricks. It's not an LFO or EG per se...but at the same time, it can be both and more besides.
Three, the Maths and the Quadra. The Maths is an interconnected and self-contained pair of what, for the most part, are a pair of Serge-type slope generators. It's more akin to a very simplified analog computer in how it creates both self-generated and externally-derived voltage curves. The Quadra, however, in its base form is just four AD envelope generators. To get it to work on an order of complexity more like the Maths, it's necessary to add the Quadra Expander, which contains the controls and patchpoints for more complex functions. But this also kills another 12 hp of space.
Lastly, why do this in modular? Consider for a minute that if you're simply trying to augment a Shuttle System, wouldn't it be easier, smaller, and cheaper to go with a small patchable or two? You could snag a MakeNoise 0-Coast for much less and make ample use of that (especially its LPG!) in tandem with what you have now. This would also be helpful if you were playing live, in that a handful of patchables, your sequencers, a drum machine to sync with those, and a mixer could easily fit in one decent-sized compartmented flight case. Modular may be sexy...but it's also spendy and, unless you have a very specific need for it, kind of impractical in live settings.
So, by "FM", I'm assuming you mean Chowning FM, also known as algorithmic FM. Now, yes, this is technically doable in a modular environment. There are several 2-op FM modules around, besides Akemie's Castle which is 4-op, using a NOS Yamaha 4-op chip, of which Yamaha made several variations over the years. All well and good...BUT...
The problem with Chowning FM in the analog domain is that, to get the full advantage of it, you need a buttload of modulator sources. Envelopes (looping and otherwise), LFOs, function generators, etc etc are the real 'meat' behind FM. The Akemie's just allows you to control the different operator and oscillator functions via continuous CVs. But that's where the trouble starts...
Go back over to ALM's site and watch the video on this module. Now, when the user starts adding envelopes to control the operators, listen carefully to what's really going on. Notice that 'stepped' bllggn-ingg-eeng-ingg-type sound as the voltage curve sweeps the operator(s)? This is happening because no matter how smooth you make the incoming voltage changes, the Yamaha YM-series chip is going to reinterpret that in discrete steps. And there's not really any workaround for that; it's simply how the Yamaha digital chips were designed to be used, with what's going on in the Akemie's Castle being a bit of a kludge to get one to 'recognize' CVs...but not necessarily take full advantage of the continuous change in the CVs. Sure, you can get some really complex sounds that way, and the Akemie's makes it easy to get a simulacrum of FM under analog control...but you're still only dealing with a simulation. To see what's really supposed to be going on (and does under the proper digital control in Yamaha's FM implementation), see here: https://en.wikipedia.org/wiki/Frequency_modulation_synthesis (NB: the forum mangled this URL slightly...insert underscores between the last three words). Note the little block diagram in the upper right corner; that shows how each "operator" is configured, as a combination of an oscillator, an envelope generator, and a linear VCA which allows the EG to modulate the outgoing level of the oscillator. This result then passes on to modulate a second, identically-configured operator, and so on.
BUT...reading further in this Wikipedia entry, we find some notes about how Don Buchla's complex oscillators also were designed to make use of FM sound generation techniques. Now, this is where it gets interesting. Assume that, instead of having the Yamaha NOS chip in the Akemie's with its digital translation of analog CV curves, you were to build up the operators as discrete modules. There's actually no reason why you can't...and in fact, doing FM synthesis THIS way eliminates that stepped bllggn-ingg-eeng-ingg, replacing that with the beautiful sweeps of truly analog-controlled FM. And hey, look at what Happy Nerding's got...a discrete module that has the necessary VCA configuration, all ready to go. Just add a VCO and modulator, and there you are!
Naturally, though...there's a downside. Or a few, actually. First of all, such a setup will be a bitch-and-a-half to program and control. You'll be in constant tweak mode until all of the many controls in such a setup are exactly where they should be. And if anything gets knocked ever so slightly out of whack...there goes your sound. So you'd have to take a certain degree of unpredictability into account. Then there's the cost. To do six-op FM (like a DX7, more complex than a 4-op but more nuanced), you would need six VCOs, six envelope generators, and six properly configured linear VCAs, plus the ancillary modules needed to control those and alter their routings (if you want to get that complicated). And that's going to get spendy. Plus, that's also going to get sizable unless you're OK with doing much of this on smaller modules.
Soooooo...if the Akemie's Castle is a bit of a 'kludge' and the real analog implementation is insanely complex, what do you do? There's a few options...
1) Get the Akemie's Castle...knowing that, to take advantage of it to its best potential, you're also going to need a pile of modulation sources...mostly EGs, but some LFOs as well, possibly. Result: modular FM, but not exactly as it could be, with a goodly amount of programming and knob-juggling.
2) DON'T get the Akemie's Castle, but try and implement this purely in the analog domain with VCOs, VCAs, and modulators. Result: real, fully-realized FM in the same sort of modality as Chowning FM, but with the sacrifice of easy control and higher cost. It'll also potentially result in a rather large build.
or, 3) Have a look at Yamaha's new MODX synths. No, they're not modular, I know...but for what this modular build will cost, you can instead get an MODX6 (possibly for less, even), which then gives you 8-op FM (like the FS1R, as well as the FM implementation in the Synclavier). The programming gets much easier since it's then under the synth's microprocessor control. Also, programming one of these is NOT the brain-wrenching chore that programming the early DX and related Yamaha models was back in their day, when you had minimal display feedback and one crappy data slider. Since the MODX is an FM-centric offshoot of the Montage, you now get a full touchscreen and ample real-time controls.
Ultimately, the last option makes the most sense to me. In fact, I'll be picking up one of those MODX6s this coming spring, because even if I have a modular setup, it does what IT does best, and the MODX will do what IT does best, avoiding the headaches of the synth programming equivalent of cramming a square peg in a round hole. And, having used the DX series (and I still have two FB-01s, in fact) and grown to HATEHATEHATE programming them, I can safely say that the MODX kills the crappy interface argument against their FM implementation. It's a very different creature. And that leaves my modular for doing things it's happier with...and that I'm happier with, also!
Plonk and rings do similar sounds, i would pick one first and other if i really loved it.
Plaits is great for dronning and ambient, maybe not for usual bass and lead works.
Batumi is a great modulation source, dunno if you still need stages, i would pick one and then see how much you need more modulation later. Maybe save the space for some Evenlope generator, like Intellijel dual ADSR, or someone who does envelopes and modulation like maths or Intellijel Quadra.
Maybe uZeus+Tiptop 1000ma would be enough for this system and save one power supply.
Unless you really need oscilloscope, maybe Pamela´s wourkout would save more space instead of mordax.
Also i would probably look into more tecnho oriented modules, like Intellijel atlantis(sh101 techno goodness), acidlab m303, or some more traditional stuff for bass?
Hi all,
Can anyone give me some tips on what to add or subtract from this setup. It's for house and techno mostly. Bass, leads and atmospheric/weird sounds. I have a couple sequencers (digitakt and deluge) as well as an endorphines shuttle system. I guess I'm looking for a few modules to add to the shuttle system as well as being usable standalone. Any advice or thoughts would be appreciated.
That I think is great advice.
I have had some experience with a mother 32 before and the Moog sound but the flexibility of the grandmother I like combined with the Digitakt which I already have.
I am looking to add fm synthesis in the form of a modular system with effects. That is the basis of my search. I am a novice in modular and finding it hard to get going but having stumbled on akemies castle and it’s reviews it is exactly what I am looking for but am unsure what else I need to go with it if indeed I go with that option.
Thanks for your advice though
Popefloyd
Why? It's not a module. And Bastl makes the GrandPA + expander for this purpose in the Eurorack environment.
Yup...the ES-8 (and do think about maybe including an expander for it if you're crosslinking it to VCV via Silent Way...opens up loads of extra CV/gate possibilities) and Silent Way are pretty much the 'power-user' way to go these days. Putting the computer in direct contact with the modular's functions will blow the doors off of anything with a basic MIDI converter. Plus, you can also work with other software packages to realize even wilder notions; using Max as an initial control source would allow you to create your own control paradigms from scratch. Plus, keep in mind that the ES-8's return channels also allow functions in the modular to work as "control feedback" for your software environment, neatly closing that cybernetic loop!
You're wanting to build up a system around a Moog Grandmother. All well and good...but to do what, exactly? Don't ask what modules are the ones you should have based on generalizations like that, because the methods for a build is created should always take the MUSICAL requirements in mind FIRST. For example, if you want to direct your musical efforts more toward something rhythmic and danceable, that gamut of modules isn't going to be the same as what you'd need if you were doing industrial/noise, or ambient, or sound design work, or...well, you get the idea.
Creating a modular system for your specific needs is not a simple process. If done correctly, it's not on the order of simplicity of going to the grocery and getting ingredients for a recipe. It requires you to really understand what your music is now, and where you want to go with it in the long-term as long as you want to avoid a pointless outlay of piles of cash on modules that you find aren't ones that work for your purposes. Plus, how well do you know that Moog? That's not been out that long...so have you fully explored its own potential to a suitable limit where you really understand what functions it has that you want to expand upon?
Those are things you need to start on before starting in on slapping together hardware...even in a virtual form such as on MG. Spend some time in things such as VCV Rack (a modular emulator...very useful for exploring module functions and combinations). Spend time on here alongside that, looking into which modules are for what best purpose, alone and in combinations with other modules. Spend time looking at important 'historical' instruments, and find out why they were assembled with the module/circuit complements they have. And expect this to TAKE time; I know people are enamored with instant gratification these days, and ample Magic Plastic + synth retailers galore might seem to make that possible, but the plain fact is that rushing into that situation without ample preparation is a recipe for massive annoyance and fiscal ugliness...and certainly NOT any sort of gratification, unless you're a masochist.
Step 1: remove everything that's already in its own case from this case. Putting these into a Eurorack cab is a major waste of rather-costly space that should be allocated for modules that aren't cased already.
Step 2: remove any discontinued modules...Clouds, for example.
Step 3: if this is an Intellijel powered case (the layout looks like it might be), eliminate the uZeus, since you don't need to put a power supply in a powered case.
Step 4: start over. Do a lot of research on what modules do which functions before building the next attempt. Watch videos and listen to examples of modules from various manufacturers and other users. Study existing builds here on MG by experienced synthesists, also, as well as classic systems to see how they're built up. Expect to spend A LOT of time doing this, as even those who have a lot of time and experience with synthesizers know that you can't nail a modular build on attempt #1. Or even attempt #10, or #20, etc etc. This is a PROCESS of creating an instrument; simply because you can buy a lot of this off the rack with ease and ample cash these days doesn't mean that creating an optimal build is equally easy. The more likely thing that would happen without proper research and prep is that you'd be doing the same thing as putting your money in your backyard grill and setting it on fire.
Also, ask yourself if you know your musical output well enough to predict what an appropriate instrument for it would consist of. And not merely at this moment in time, but in five years...or ten...or twenty. These things COST, and it's best to have figured out that your money is being well spent in advance!
So, I managed to piece together an A-100 Mini System used with a 9u case. Feel pretty good about it as a start. I won't rack the Boog. LOL. I figured my next module would be the Expert Sleepers ES-8 so I can incorporate VCV.
Hey Forum,
I’m new to modular but I want to build a modular system around my Grandmother. That only modular I know I want is ALM Akemies Castle. I am looking at upto a 7u rack in size so open to suggestions and certainly considering Maths and the Strymon unit for effects (although it takes up a lot of space). So open to suggestions and in terms of sequencing I was thing of Intellijel Metropolis.
Anyway please do leave me your thoughts on this one.
Thanks
Popefloyd
I'm looking for feedback while planning my first eurorack. Experimental and sounds, I receive all kinds of advice, or instruments that I could add or change
Thanks !
I'm not affiliated with any of the players mentioned. BUT... there's a bundle now for MiniBrutes plus Rackbrute 6U for $800US (Minibrute 2 or Minibrute 2S).
It includes patch cables and a travel bag. At Perfect Circuit, you can also get 10% off for the holidays (have not confirmed that it works on the bundle... just enter the code from the banner and see).
So for $720US, you get a great Eurorack starter set. I think that's a FANTASTIC deal, personally.
https://www.perfectcircuit.com/arturia-minibrute-2s-bundle.html
Expert sleepers FH-2 is a beast. I use it with my Digitakt.
No real reason, actually...Plaits should also work nicely given that it can sweep through changes in a generative system. Its predecessor, Braids, didn't exactly have that ability. It's also worth noting that I put this together about a day or so before Codex Modulex dropped their 8 hp version of the Plaits...given that, I'd suggest that if you go with Plaits, use theirs, which would allow you TWO of them in the Rubicon2's space with 4 hp left over.
Thanks, I'm completely new to modular, so I appreciate the input. If I may ask, what is the advantage of Rubicon over Plaits? surely the modal selection input of plaits makes it more suitable for chaotic/generative, Is there something I'm missing here? Wouldn't it also provide a little more space? not questioning your judgment, I just want to know the reasoning
There's nothing wrong with buying a pre-built system. The Doepfer A-100 looks pretty tasty. There are quite a few manufacturers who make a pre-built system: Make-Noise, Roland, etc. Generally they come in a rack that's either full or mostly full. So to expand, you'll need to purchase another rack or replace existing modules. You can always keep the pulled modules until your ready to add another case.
If you have the funds up front to go that way, it's a pretty good idea.
+1
A unique and inspiring exploration synth, no other modules required. Never heard before music is guaranteed.
Oh okay, that makes sense! Thanks again for those tipps. Sounds like a ton of fun. Can't wait to try it out myself and hear the result!
Highlights: 3 Things
1) Many firsts including:
i. first patch with Polyend Seq+Poly
ii. first implementation of multi-tracking
iii. first time using ADM10 as a VCA for just one voice (Kick)
2) Seq felt very intuitive and fun to use
Things to Improve: 3 Things
1) Take more time with patching to improve Intentionality (perhaps setup the patch one night then finish, document and record with it on night number 2)
2) Try to use more modulation from within the rack (did not use Synthrotek ADSR, Maths, either Disting, Tempi, Planar 2, or much of the internal ASD envelope in Mother 32) (used a lot of effects and sidechaining within Ableton to compensate, which hurt the audio quality)
3) Rings still feels cumbersome, not sure yet how it fits in the overall sound of the instrument
Octavian
Audio Routing - First Implementation of multi-tracking in a patch of mine
Quad VCA
OUT 1 -> Focusrite Input 1
OUT 2 -> Focusrite Input 2
OUT 3 -> Focusrite Input 3
OUT 4 -> Focusrite Input 4
ADM10 (Kick)
OUT -> Focusrite Input 5 (Back)
Mother 32
VCA OUT -> Focusrite Input 6 (Back)
Octavian
Colour Scheme
Track 1: Rings
- Long Red out from Poly (Gate & Pitch)
- Short Red out from ODD and EVEN to Quad VCA Inputs 1 & 2
Track 2: Mother 32
- Long Green out from Poly (Gate, Pitch, & Velocity)
- Medium Black from Dixie II to M32 LFO Rate
Track 3: Bastl Cinnamon
- Long Blue out from Poly (Gate)
- Short Blue out from Lowpass Out to Quad VCA Input 3
Track 4: Hi-Hat (Plaits)
- Long Black out from Poly (Gate)
- Short Black out to Quad VCA Input 4
Track 5: Snare (Peaks OUT2)
- Long Yellow out from Poly (Gate)
- Short Yellow out from Peaks OUT2 to MIX3 Signal Input A
Track 6: Kick (Peaks OUT1)
- Long Stackcable (Purple) out from Poly (Gate)
- Short White out from OUT1 to Audio Damage ADM10 Kompressor
Octavian
This is the first patch involving Polyend Seq & Polyend Poly, where MIDI Out 1 from Seq goes to Poly, which transmits 6 Tracks on 6 MIDI Channels to various destinations around the Modular.
Seq Parameters
- Initially, 6 Tracks at full 32-step length (Tracks 7 and 8 OFF for visual convenience)
- Pattern 1-1 with all Tracks routed to Out1
- Tracks are arranged as follows:
1) Rings
2) Mother32
3) Bastl Cinnamon Cutoff CV
4) Hi-Hat from Plaits
5) Snare from Peaks
6) Kick from Peaks
Variation
- Since little is known about Seq (will study it in 2 months' time), achieved variation mostly by changing individual track lengths by odd and even values (should attempt Steevio's Primes approach as an exercise)
- Changing pitches for Rings and M32
- Velocity values for Track 3 Bastl Cinnamon Cutoff CV
- Varied Gate Lengths and Velocities for Mother 32
Octavian
84 hp cabs are very common, but with the wealth of stuff out there these days, it makes more sense to go bigger, such as 104 or 126 hp. Back when you just had a handful of Eurorack firms, cooking up something basic in 2 x 84 made sense, but these days it seems to me to be a better idea to go bigger. And after all, if your MG build uses a 126 hp cab but you find you can cram what you need into 104, you can always edit the cab size back down.
A 104 hp cab would work. Also, have a look at Erica's 126 hp offerings...they do a single row 126 hp case with a serious power supply (1.25A on both 12V rails) for not a helluva lot of money. Then you can add a few more widgets...bonus! ;)
Also, the reason I put the Model D in there is because thats the only unit I own.
