Swapped a drum and a mixer for the Sinc Iter. Needs some craziness.
Put a modDemix instead and added the Doepfer mixer.
Let's see if I can finish this without accidentally closing the wrong tab this time...
Anyway, it can be a help to have everything by the same company...except for that moment when you see something done by another firm that's improved on the functionality that's only dealt with in basic terms by your 'primary' firm. That's why the 'mix-n-match' method works and is so prevalent. But there's nothing wrong with keeping most of your modules under one firm's label. In fact, if you opt for companies that have long track records, extensive lines of products, and a big user base, that tends to be a good indicator of a firm that's suitable for being a 'primary'
But at the same time, there's also excellent companies that have small lines because they work along certain specialties. Take Shakmat Modular, for example; most of their very short line deals with clock-based issues, and that's a great indicator of a company that knows their stuff about that particular peculiarity of modular synthesis. Another example: Audio Damage, who concentrates mainly in audio processing modules...same idea. When you see a concentration like that, again, you tend to be dealing with a company that knows their stuff and which opts to specialize instead of going full-spectrum on their product line. Also, look for 'discontinued' modules that have been replaced with majorly-improved version; when you see a lot of that, again, that's a company that keeps pushing what they can accomplish with their products and also, a company that's both likely to be listening to its user base and striving to push the hardware envelope as components and technology improve. Mutable Instruments, with their discontinuation of the much-used Braids to give us the majorly upgraded and downsized/downpriced Plaits, is a great example of this in action.
As for Erica, they're truly the Latvian Voodoo Masters of the Black Art (hence the module color scheme? hmmmm...) of International Air Shipping. Their stuff is bang-up, especially their Pico 3 hp modules, the frequent tube models, and their powered cabs. MakeNoise's Tony Rolando's probably got Don Buchla tied up in his basement, too...the obituary was just a cover story, natch...because he's pushing many of those classic West Coast ideas off into wild zones. Either are kickass places to start with a prebuild, because you'll be getting something from firms with great support, and people running the show who know their stuff. But if I were going to go with a patchable...oh, wait, I probably AM...to match with a small modular expander cab, I'm gonna have to go with an Arturia rig. After all, they've got Yves Usson giving them a leg-up, and the form factor they cooked up with the Minibrute 2 + Rackbrute, with its portability...it's hard to argue against that! Plus, aside of the (cough, cough) Origin, Arturia gets things right and they're available at your local Circle-K (well...almost) like Roland, et al. The stuff I have from them gets used here, and it doesn't screw up. I like that.
It's close...but if it were me, I'd drop one of those Optomixes, because there's plenty LPG processing for audio in just two with this few audio sources. Instead, you really need an output module as well as some sort of final mixer to bring the drums in with the other signals. A mono mixer would work fine, but you're going to want a 2-channel output module so you can take advantage of the Pico DSP's ability to 'stereoize' your mixer signal. Otherwise, the compliment looks right; you can 'steal' the extra VCA on the Lifeforms if needed for CV work, because the Optimixes will work fine for that patchable's final VCA instead. Maybe a couple of qualms about the lack of 'proper' envelope gens here aside of the one ADSR, but if you tinker the Maths just the right way, that ought to work out.
Yeah I love the sounds of the Make Noise and Erica Synths gear. Plus Erika customer support is great they replied with answers to my questions on how to order gear as most of it is not even available in the USA since they are based in Latvia! I am leaning toward getting started with a MN 0coast, Dreadbox Erebus, or Moog Mother 32 table top semi modular to learn how patching works and avoid spending a small fortune to learn the basics. Then thinking of stepping up to a kit that has the basic modules from Erica Synths like their cool Fusion Drone or Black Polivoks modular system that has the case, power and core modules all ready to go. That would save me headaches learning as a newbie and not go broke. I priced out the Erica Synths package at about 2k USD and the Make Noise package also has one at 2k and a bigger setup the Black and Gold at 4500 so if I was to put a kit together as a newbie probably would go this route to make things easier. I read that having all the same type and brand of a setup as a beginner is wise in terms of troubleshooting issues and support.
Me @bobje did a good trade with @teamhobson
@bobje was the seller
@teamhobson was the buyer
thanks!
Works fine now had some wierd search setting limiting my view. Thanks!
How does this look? Am I missing anything crucial? Too many sound sources perhaps? Not enough utilities? Not sure. Thanks!
Looks excellent to me, too...and as someone who's worked with builds incorporating the MB2, damn convenient, too! Kudos!
-- Lugia
Thanks. I am glad it will be useful to you too.
I guess I won't worry about further adjustment to the image for now.
Mixxalot: Yep, when you're talking about a small build like this, put in a more complex source as the 'primary' generator and then something simpler as a 'secondary', so that it can both serve as an LF-thru-audio modulation source for the primary as well as a second source to mix with the primary to fatten up the signal. Interestingly, since the Titan outputs an appropriate waveform from both outputs for sync use, you could theoretically use it for both a signal source AND as a modulation component for the Plaits simultaneously. True, the Plaits doesn't have sync as such, but there are functions on it that can make use of that audio-frequency sharp-rise waveform for some interesting results. But another crazy-as-hell VCO that fits that slot and which CAN use sync is Doepfer's A-110-6, which is their full-featured TZFM VCO, and that would make for an excellent and purely analog 'primary' as well.
And yeah, this stuff costs real money. But at the same time, that money buys you the ability to step out of normal sound creation methods, which tends to be worth the cash outlay. When you start getting up into the bigger builds, also, you gradually enter into areas where prebuilt synths simply don't go...again, quite worth the money.
As for interesting cabs out there that combine solid builds, good power supplies, and decent pricing, Arturia, MakeNoise, Tiptop and Erica are putting out cabs that're killing it on all fronts, IMHO. In fact, Erica's 126 hp cabs have become a recent fave for larger builds I'm speculating about, along with the Arturia Rackbrute 6U for tandemming with their revised Microbrutes. Either are super choices, with the Erica being awesome for standalone, and the Arturia combo really kicking ass if going with a patchable + modular. Either one seems to be a good choice, it just depends on where you want to go with this craziness! And actually, Velocipede808...you might benefit from something like the latter; have a look at the Minibrute 2S, then consider a Rackbrute 6U on top of that as a unitized and portable setup. It's cost-effective (the 2S is only $649 street!) and seems like it might be where you're aiming for.
Looks excellent to me, too...and as someone who's worked with builds incorporating the MB2, damn convenient, too! Kudos!
Actually, the Hermod might well be the better move. The Metropolis is based on the RYK-185 sequencer, which was originally designed for the Roland System-100m way back in the early 1980s. The idea behind it was primarily to allow sequencing that included ratcheting behavior, ala TD's late 1970s work, and while Intellijel did a lot of updating, it still has its roots in that older device. The Hermod, though, is an offshoot of the much more complicated Pyramid, Squarp's standalone sequencer, which was more of a 'ground-up' creation. It also helps that the Hermod can provide MIDI support, plus USB hosting, which would allow you to connect something like an Arturia Keystep directly to provide keyboard control (and an extra sequencer, too).
Still, consider that Bubblesound 8 hp quad VCA/mixer...it gives you back 4 hp, and would open that last space on the bottom tier to 8 hp, allowing that second Function to go in. And once the ONE goes back up top, you'd still have 2 hp, which is plenty for a little 4-in submixer after your source modules and before the VCF if you want to sum-down a couple of sources to a single signal. Overall, this is looking way-snazzier!
Yeah a simple tabletop modular unit like the Moog Mother 32, Erica Synths Pico II, or Make Noise 0-COAST Semi-modular Analog Synthesizer paired up with a Keystep would be the easiest low coast journey into modular to learn how to create patches before dropping large amounts of cash. Also try out Softube a good idea paired with VCV Rack. For me, since I am not independently wealthy will probably head down that route at first.
I know guys that have 20-50k in a few Eurorack modules! And I thought that Elektron gear was expensive.
Thanks, modulargrid.
Are you using a high DPI screen? I am not, so cannot confirm.
I will try a png later. What are the resolutions being used so I can set my file appropriately.
Okay. Tweaked a bit:
I left one of the Mixups in, since I think I'll still want to be able to sub-mix pre-Clouds or Magneto.
The TT-One should be on the top rack, but I have it on the bottom at the moment just to show potential available space (6hp).
Thanks for the feedback.
Now that I'm looking at it - you're right. I did have everything arbitrarily slotted into place without a thought for workflow, and it seems much better with that layout. Also, the addition of more envelope & VCA is a wiser choice in the end. I do have some personal thoughts on it though...
So I understand your removal of the uScale, since the Metropolis does it's own quantizing, but now I'm beginning to think I should forego the Metropolis altogether for something that's more of a brain / control centre, like a Hermod -- hear me out. What I enjoy and find most exciting about the uScale is using the shift function to switch between my pre-programmed scales and emulate 'chord' changes, and from what I've read, this is something the Metropolis doesn't do well without feeling clunky and rigid. Hermod might not be any better (I'm still reading about it), but my first impression tells me that it would facilitate those changes a lot easier.
Select and Copy Entire Row
Are there any plans to address and add this feature?
-- GRK_Astronomer
Currently you can only swap entire rows. Group select is on the list but won't come very soon.
so that we can have non-rackable modular items/accessories outside of the "modular grid case" (clean this mess up!).
-- Trinniti
It won't work well because outside of the rack, modules don't stay in place after a page reload.
The database is modules only. I see that it is a nice touch to track your cable hangers and such, but if we open up the db for things other than modules the database will be full of dreamcatchers, Lucha Libre action figures, japanese maneki-neko and what not.
Beep, Bopp, Bleep: info@modulargrid.net
ModularGrid serves the images in two resolutions depending if you have a "retina" high DPI screen or not.
All images are converted to png, maybe that is the step where loss in clarity occurs.
You can try to upload the image as png to prevent the conversion. Opacity will be preserved btw.
The module does not look too bad for me on my computer.
Beep, Bopp, Bleep: info@modulargrid.net
Plaits, Rings, René, DPO, Maths, Arpitecht, Pico Voice, PNW, HN VCF, Spore Generator, Mangrove, Batumi, Tallin, Roboto and TR-8 to be precise.
Lugia, that's a really useful explanation and reference system.
As a noob who is just thinking about starting modular, my approach will be to start with a semi-modular and then add modules as I develop ideas about what I want to do. After the semi-modular and the case/power supply, I expect that my first purchase will be an Expert Sleepers Disting because it can be used for so many functions.
I have also noticed that there are a lot of really cool sequencers for Eurorack, but initially I think it will be more practical (economical) to use a variety of apps on an iPad to send MIDI to a MIDI-CV converter in the system.
My other advice to fellow Eurocurious is to try the free VCV Rack on a computer to learn about modular.
Here is the module:
https://www.modulargrid.net/e/arturia-minibrute-2
Two templates that use it:
MiniBrute 2 with RackBrute 6U
...instead of a DIY kit, which means that you build the module yourself from directions, a bare PC board, individual electronic components, a panel and controls, and wire the whole mess up yourself with lots of soldering. Right. That's more what 'DIY' means 'round these parts, pilgrim.
Gotcha! No worries, I saw some folks online who build their cases, fabricate modules from scratch on bare PC boards but that is way beyond my technical ability I am more a music guy than an electronics engineer :-)
OK, enough John Wayne for one day there...basics for under $1000, if possible, and definitely sub-$2000. Can it be done? Mmmmaybe. The initial stumbling block there involves the case and power supply, and while you can 'Also, one neglected bit here are power distro boards. Having filtering on the distribution rails is critical, as it helps reduce induced crud and noise on the rails as well as potential crosstalk between modules connected to it.
Understand I will make sure the case and power supply are rock solid.
Right now, the best start-up case value is probably Arturia's Rackbrute 3U, which gives you a nice one-row cab with 88 hp (83 after their power supply goes in) and a consistently well-built power supply with ample amperage capacity for that single row. So, let's build with that.
Cool yeah these look nice as well as the 6U versions. Also looking at the Make Noise 3U 104HP Skiff case and power supply.
Next, you'll need sources. These are the various 'generators' that output raw audio signals at the head of the chain. One is OK...but two is better, because there's a lot that can be done by syncing, crossmodulating, and detuning them against each other to achieve useful results beyond what most single VCOs can do. However, what I suggest is a fairly complex VCO as one, and something simpler as the other; this gives you a 'voice' VCO and a 'modulation' VCO, which works well in the way I mentioned above. Follow this with a mixer to combine the signals, but also add in a ring modulator so that the VCOs can be combined to create complex sum-and-difference sideband FM, if desired (if? hell, you'll desire it, no doubt!). That's the 'generator' stage.
So at minimum 2 VCO modules, one basic and one multi functional like those from Make Noise and Doepfer right?
Then we head into 'modifiers', things which alter timbral complexity and impose amplitude changes. Namely, filters, waveshapers, and VCAs. For a starting cab, one VCF with some interesting tricks is fine, as is a simple waveshaper. As for VCAs, though...this will find you wanting multiple VCAs, because some of these have uses for controlling control amplitudes as well as audio. Plus, if you can throw in a mixer, bonus. All easily done, as you'll see...
Yeah my Eurorack buddy here told me you can never have enough VCAs so thinking 3-4 to start will be helpful.
Next comes modulation sources, the 'controllers': LFOs and envelopes, plus a few other bits of trickery. Not many of these are needed for something this simple, but they're definitely key to making this work. And after that, 'processors', which includes any effects and the final mixer and output stage.
A combo LFO envelop would save space and could work to start with.
Basically, that's the block arrangement for ANY synthesizer: generator feeds modifier, both controlled by >
Voila! Now, this is really basic, and while I couldn't bring it under $1000, it does come in at just under $2000 ($1923, to be exact, at normal retail prices).Cool beans! Thanks for the walk through. I am playing around different builds and also using the VCV Rack open source software to learn the basics on patching different modules together before spending cash.
If you look, this one-row synth is laid out exactly like the above example, with a couple of extra bits, those being a slew limiter This build here : 2 VCOs, ring mod, waveshaper, VCF, 4 VCAs, 2 LFOs, 2 envelope generators (loopable), an output and a slew limiter, plus necessary mixing and attenuation for manipulating signal combinatins and levels. All you'd need to play this would be a keyboard that outputs CV and gate/trigger, such as Arturia's $119 Keystep, which also gives you a sequencer.
Yeah I am planning to pickup a Keystep or BSP with Korg SQ-1 sequencer possibly for controlling the Eurorack gear. Also looking into Elektron Octatrack for helping sample the output of the Eurorack modules. Analog Rytm for the drum synth and also to help manage analog gear but need to do more research on this.
So, this is how a beginning one-row should look: these 'blocks', this sort of signal-flow (which happens when you follow a cohesive build pattern, instead of dropping modules in aimlessly), and so on.
Rad far out man thanks! I have some time working with my home analog Moog Sub 37 and MicroKorg synths so not completely lost on what these gears do but isolating them in purity will teach me way more about how to do real synthesis as a learning experience and addicting albeit expensive hobby!
Also...take your time. More time spent with a resource like MG will allow you to examine all possibilities and
-- Lugia
Thank you Lugia you are awesome and I do appreciate you patience in helping a complete noob like myself on this path. Agree- better to research, learn, test before dropping cash.
Whupped on it...
There was some stuff in there that was superfluous, I though; the Metropolis internally quantizes, there were a couple of unnecessary buffered mults, the Mixups seemed a bit much alongside the QuadrATT (they're not all that stereo...more like glorified TriATTs, really), and the layout was kinda hodge-podged.
The result I came up with is above, natch. The ordering is clearer now (audio on upper 3U row, control/modulation on the lower, and the output section and processing modules are now all together on the right). I also reoriented the Rings so that it can also be in position as a second 'filter', added a quad VCA/mixer (with switchable log/lin response), and jammed in more envelopes as there was only that single Function. Control section flows better, too...Pamela's left to act as the 'master clock/modulator', then the Marbles and Kinks as those pair nicely, and the Metropolis. Also, I tinkered with the tile row, reordering that so that the reverb is right by the I/O now, and the headphone jack is far-right to help keep the headphone cable out of the pile of patchcabling all over everything else.
The idea now is that you'd want to use the QuadrATT to submix as well as to split off individual attenuators as needed, plus the quad VCA module can be dealt with in the same way. The Magneto and Clouds are more or less reversable; they can be switched around to whatever order plays better, but at the same time this places them to output directly to the I/O, chaining one into the other; I like the 'mangle-then-delay' configuration, but you might find the other way around works better for you. Seems a bit more cohesive now, tho...
...instead of a DIY kit, which means that you build the module yourself from directions, a bare PC board, individual electronic components, a panel and controls, and wire the whole mess up yourself with lots of soldering. Right. That's more what 'DIY' means 'round these parts, pilgrim.
OK, enough John Wayne for one day there...basics for under $1000, if possible, and definitely sub-$2000. Can it be done? Mmmmaybe. The initial stumbling block there involves the case and power supply, and while you can 'low-ball' a case, trying to go cheap on power components is a BAD idea. Power components can cause lots of damage if they fail, depending on how they fail. And current capacity is important, because you want to exceed the draw caused by the modules by enough headroom to assure that the power supply isn't overtaxed, which can lead to component failure and such. Also, one neglected bit here are power distro boards. Having filtering on the distribution rails is critical, as it helps reduce induced crud and noise on the rails as well as potential crosstalk between modules connected to it.
Right now, the best start-up case value is probably Arturia's Rackbrute 3U, which gives you a nice one-row cab with 88 hp (83 after their power supply goes in) and a consistently well-built power supply with ample amperage capacity for that single row. So, let's build with that.
Next, you'll need sources. These are the various 'generators' that output raw audio signals at the head of the chain. One is OK...but two is better, because there's a lot that can be done by syncing, crossmodulating, and detuning them against each other to achieve useful results beyond what most single VCOs can do. However, what I suggest is a fairly complex VCO as one, and something simpler as the other; this gives you a 'voice' VCO and a 'modulation' VCO, which works well in the way I mentioned above. Follow this with a mixer to combine the signals, but also add in a ring modulator so that the VCOs can be combined to create complex sum-and-difference sideband FM, if desired (if? hell, you'll desire it, no doubt!). That's the 'generator' stage.
Then we head into 'modifiers', things which alter timbral complexity and impose amplitude changes. Namely, filters, waveshapers, and VCAs. For a starting cab, one VCF with some interesting tricks is fine, as is a simple waveshaper. As for VCAs, though...this will find you wanting multiple VCAs, because some of these have uses for controlling control amplitudes as well as audio. Plus, if you can throw in a mixer, bonus. All easily done, as you'll see...
Next comes modulation sources, the 'controllers': LFOs and envelopes, plus a few other bits of trickery. Not many of these are needed for something this simple, but they're definitely key to making this work. And after that, 'processors', which includes any effects and the final mixer and output stage.
Basically, that's the block arrangement for ANY synthesizer: generator feeds modifier, both controlled by controllers and the results sent to the final processor. Any synth built along the 'classic' lines follows this simple four-part scheme. Granted, there's variations...but at the most basic level, these are the four parts that makes a synth a synth. For now, I'm going to leave drums and sequencing (sources and controllers respectively, fyi) out of this little build just to make the point clear and give you a good basic suggestion that follows the above narrative...so bear with me whilst I put my builder hat on...
Voila! Now, this is really basic, and while I couldn't bring it under $1000, it does come in at just under $2000 ($1923, to be exact, at normal retail prices).
If you look, this one-row synth is laid out exactly like the above example, with a couple of extra bits, those being a slew limiter (to allow glide-type effects for the VCO, VCF, or whatever shifting voltage you might want to smooth. It also only has an output stage, since the intent of the Quad VCA is to split the unit up into a couple of individual VCAs for control purposes, and a couple of others as a 2-channel VCA mixer, which then feeds directly to the output at the far right. This build here is a prime example of a very simple monosynth in Eurorack form: 2 VCOs, ring mod, waveshaper, VCF, 4 VCAs, 2 LFOs, 2 envelope generators (loopable), an output and a slew limiter, plus necessary mixing and attenuation for manipulating signal combinatins and levels. All you'd need to play this would be a keyboard that outputs CV and gate/trigger, such as Arturia's $119 Keystep, which also gives you a sequencer.
So, this is how a beginning one-row should look: these 'blocks', this sort of signal-flow (which happens when you follow a cohesive build pattern, instead of dropping modules in aimlessly), and so on. Your results may vary, of course, likely depending on which case size you opt to go with and what power supply seems right for it. My suggestion with those, however, would be to not do what I did here, and jam the rack out tightly from end to end. Instead, you should start with a bigger rack, because as you accumulate modules, ideas will present themselves as to how to expand those modules' capabilities, and then you'll need that extra room to expand these new modules into, as suggested by those ideas.
Also...take your time. More time spent with a resource like MG will allow you to examine all possibilities and refine your build before spending a cent, and that'll help when it does come time to drop some cash. Study other users' racks. See what works...and what clearly doesn't. Get your idea clearly fixed before you take the plunge with the Magic Plastic.
Hello! Sorry that I didn't have time to read all of this thread. I was wondering if it is possible or already a feature to have an alpha channel for the panel uploads; .png or .gif or similar so that we can have non-rackable modular items/accessories outside of the "modular grid case" (clean this mess up!). As a euro manufacturer that doesn't make modules, we would love to be included on your site. Personally, I would like to be able to have a count of my cables koma kommander, 0HP brand etc..as well and I am sure there are many non-rackable things that would be handy to keep tabs on other than a spreadsheet. Thanks in advance for your consideration.
Hey! So I'm looking for some advice and feedback for my planned expansion to my current rig.
At the moment, I have an Intellijel 4U 104hp case and currently own the Batumi, Rings, Clouds, Overseer, Kinks, uScale, TT One, Function, a Varigate 4+ and a 2hp TM, but am planning to upgrade those last two with Metropolis and Marbles respectively.
My intention is to create generative ambient sounds using Marbles for random, Rings and Plaits as my sound sources, Clouds and the Magneto and Overseer for effect, with minimal percussion elements coming from the plonk, and everything else for cv / gate. The TT One I use to play longer field recordings.
I'm curious what you think I might be lacking with this current set up or how I can improve it.
For me, I imagine having another OSC in the mix to add sub-bass elements (maybe a Dixie2) would be beneficial, and think I could remove the Metropolis to gain space, but keeping my Varigate4+ doesn't seem to appealing to me. I've read it doesn't work well with Pam's, and although I like the ability to output multiple gate or cv combinations, I find it uninspiring. If I do go that route, perhaps removing the Magneto instead for another OSC and a few dedicated effects is another option.
Anyway, let me know what you think!
Thanks.
Sorry pardon my ignorance as a noob- I mean using a full kit with individual components such as VCO, VCAs, etc versus buying one that is pre packaged from one company.
And you definitely know how to express your thoughts in words and wrap it in an interesting story:-)
Im still struggling with getting around only with a few modules. But over and over there comes the border and how you told.....more space is necessary. Ill keep on getting my brain twisted and if Im done....Ill show you the result hoping that you have a comment again.
Till that, find some sleep and rest the brain:-)
Here is afternoon and time for breakfast.
Many thanks for replying, Lugia.
Hmm...a question: by DIY, if you don't mean a full kit (PCB, parts, panel), are you just looking for the PC boards themselves, or...? Or not DIY at all?
Hey, kids...insomnia is fun! It probably played a part in this piece of crazy:
Basically, I got thinking about the above and, coupled with the general inability to sleep that's been something of a plague over the past few months, I got inspired. This build is sort of 'West Coast gone horribly wrong'...the architecture is similar, but this incorporates the core idea you had about cross-wiring the Morphagene and Telharmonic. The notion proved too attractive to not play with.
So, yeah...there's an external in with an envelope follower, so you can derive CVs from amplitude. Then there's this composite oscillator-fiasco-thing: a TZFM VCO, a Mysterion (MakeNoise's waveguide modeler), and a Telharmonic. And between each, a DC-coupled mixer and a VCable dual polarizer, which allows both attenuation and inversion under voltage control. The idea here is to interconnect all of these things and create a composite not-exactly-oscillator-device, a sound source way more complex, crazed, and full of potential than any typical Buchla or Serge complex oscillator setup. Madness!
Triple VCA/mixer after this 'generator' section gets us into 'modifier' territory. And first up is Happy Nerding's utterly-bonkers FM Aid, a diabolical little thing that allows something akin to through-zero modulation with any audio source, which is simply nuts! The Doepfer uVCO next to it is there to provide a carrier signal for the FM Aid and can be used in either VCO or LFO mode. Then there's this filter-atrocity...a Doepfer A-106-1 (Sallen-Key Korg MS-20-style pair), which has an insert point in its resonance loop. Then there's a Chronoblob. Now, that thing is for the A-106-1's insert, to add a 'time lag' into the resonance path. BUT WAIT! There's MORE...the state-variable filter next to that is for the Chronoblob's insert point, this time allowing a VCF into the delay's feedback path. So these three modules are actually intended, in this very irresponsible and totally mad build, to work as a single unit, just like the whole 'generator' section. Again, this is way beyond normal West Coast, even though the cross-modulation idea is present here, too...albeit in a very insane way! Last up is very West Coast, though: a MakeNoise Optomix, two low-pass gates which mix the top row's voicing results together into one very out-there mono signal.
Then the bottom row. A noise gen and sample-and-hold sit next to Mutable Instruments newest chaotic device, the Marbles...you'll just have to read up on this one; it makes the Buchla Source of Uncertainty seem as predictable as DB's train schedule! Three VC Slope gens next, for sort of a Maths-and-a-half of that sort of thing, and then the quad LFOs of the Batumi. A Dual VCA rounds the 'modulator' section out, allowing modulation sources to alter other modulation signals' amplitudes.
And the 'processor' stage. Now, this has MakeNoise's triumvirate of processors, in a specific order. First, the Phonogene allows weird loop/screw-with/delay/sample behavior in mono. This gets handed off to the Erbe-verb, which not only allows addition of reverb (and a lot of tinkering with it!), it also provides a stereo image from the Phonogene's mono signal, so that the Morphagene has a full stereo signal to chew up and spit out through its granular/scrambly methods. I put these all down below the latter half of the voicing row so that that part's signal can go directly in, and having them up front means you have a better ability to play the processors (and modulators) manually without having to address the voice row specifically to alter things...but at the same time, the key VCF controls are directly above this, and these would be the most likely-to-be-messed-with controls besides the processors'. The whole thing goes directly to a stereo out, which provides a convenient headphone amp and also a second stereo input in case you want/need to parallel the Erbe-verb and Morphagene and mix one in and out of the other.
No, no multiples. I went jam-packed on this mutha, so my suggestion there would be to make use of either inline mults, stackable 3.5mm cables, or both when you need to multiple off of an output. Naturally, never mult outs together. Very bad. May make module go boom. Spendy. Bad burnt electronic smell. Ick. Also, no power supply on the panel; this was done with an Erica 126 x 6U cab in mind, which has built-in serious power, plus even with that and the big size, still only comes in at 480 EUR.
The idea? Make an instrument specific to that initial idea of yours. Not merely a modular synth; this build/bit of craziness contains segments intended to work as integral elements in four specific blocks, as I mentioned. I tried here to optimize the initial concept, throw together some crucial West Coast architecture concepts along with a little graveyard dust and black cat bones for the hoodoo factor, and see what emerged. And this was it, and damned if it doesn't seem like a SERIOUSLY interesting concept. Frankly, this was one of those things that I wouldn't mind building one of for myself...and I think I could guarantee that what I did with it would be totally personal and unlike anyone else's music realized on it.
Anyway, to answer that question above: no, not a founder. Just a long-time user of electronics for musical purposes. Of the around 50 years I've been involved in music in my lifetime, 40 of those have involved electronic or electroacoustic devices of some sort or another, sort of in conjunction with my time spent as a composer. It's...well, kinda what I do. Except while asleep...which, as I noted, I'm not right now.
Thanks, Lugia.
Your advice has helped me improve the image. In addition to reducing the dpi, I cut the overall dimensions of the image 75%.
It is still blurry, but it is similar to other module images and may be close to the best the site can provide. Ideally, I would like all labels to appear clearly, but the necessary bandwidth might require a lot more unicorns.
Would be nice if there was simple guide about the number of pixels per hp/U for uploading.
Thanks again Lugia for your expert opinion:-)
Im happy that you take some time to bring a new one like me to the basics.
Certainly this is the way of creation right from the basic level. But like I wrote it before me think to take a two sources: a morphagene / phonogene and a Telharmonic. Both get modulated with random voltage (Chance), a filter and maybe the batumi to bring some randomness to the random voltage:-)
So far Im understanding the universe of modular by now this should me get crazy stuff out for experimenting some time.
Parallel I will keep on learning the functionality like you have written before.
For me a new universe has opened it gates:-) And its a bit like Humboldt.....feeling like a researcher out in new territory. But Im glad, Im not alone because there are some guides like you.
By the way are you a founder or moderator of this side?
Thanks and greetings from Essen a city in the so called "Ruhrgebiet" in the middle of germany:-)
Hi all,
Been looking to explore the world of modular on a budget that is portable for live events. I just want bare basics of VCO, VCA, VCF, synth, drums and what is needed without breaking the bank. I sketched out a few ideas here on my setups and these cost under 2k but if I can get it to 1k or less that would be even better! Room for add-ons and expansion would be a bonus. I don't want a prefab kit as I want to learn as much as possible on DIY process.
Here's an idea: take out the SSF noise source and replace it with a Ladik A-530 dual line input preamp. Then remove the 2hp sample and hold and replace it with a Zlob Entropy, which gives you a S&H circuit plus three noise colors in just 2 hp. Nails it! You definitely want an output module; the signal levels coming out of the modular need to be stepped down to line level from the higher levels in the synth itself. Plus that Ladik output has the plus feature of MOAR BLINKKY LITEZ!!!
As for the power starvation...no, don't do that. The idea behind it is that the lower voltage level (such as from a worn-out battery) will result in some interesting sound characteristics, and while that works well with more robust circuitry like stompboxes (especially fuzz, overdrive and the like), my concern would be that the more twiddly circuitry of a typical Eurorack module might not be too happy with the lowered voltages, and the results could potentially be tragic. Some modules, obviously, would be a good candidate for this, but pretty much nothing in my version of the build would fall into that category. In fact, even in your version, only the Optodist comes to mind as something that the ADDAC 300 would play nice with.
Basically, if the power specs say +12 and -12, make sure you're feeding those voltages to your modules. They (and you) will be happier in the long run if you give them what they want.
Hell yea! Good tip on the exponential VCAs. I wasn't sure how big the difference was, but I do love that ripping and tearing sound. I think the only thing I'd want to work in somehow is an external input, to do some weird things with the ringmod especially. Is it bad to swap the Ladik Line Out with something like a Gozinta? The sub ring is a great idea, extra evil. Sidenote: do you have any experience with the ADDAC power starvation? Looks interesting. Thanks for the help!
Actually, think about it a LOT more. Even back in the days when you'd only have a couple dozen modules from the manufacturer you'd opted to build a system from, getting that end-result right tended to take a lot of time, study, crumpled-up paper wads, hair-pulling, and confusing e.e.-type considerations that most musicians were ill-prepared for. Now, in the wild and wacky days of Eurorack, there's about 6,000 modules, it doesn't matter who made them because they all work together, and you have an unlimited choice of cabs from tiny to room-filling. Technically, that should make matters MORE confusing, but since you also have the awesomeness of a huge user-base, resources like MG here, and firms making stuff that's light-years improved from the bad ol' days of early analog, the confusion level seems about the same (if not a little less, actually). But there's no substitute for putting an initial version together, then whittling the hell out of it to come up with a well-optimized result!
Also, I really suggest looking closely at the great monosynths of history, and seeing why it is, exactly, that they're still coveted items. People crave things like ARP 2600s and Odysseys, Minimoogs, Pro-Ones and the like not merely for their sound; these synths also 'got it right'...their ergonomics, playability, rational layouts and so forth are a big part of why users still pay big bucks for them.
Take your time. Research things. The care you put into creating any instrument will reward you years on after you finally assemble it.
I took it out back 'n' beat 'er with an ugly stick!
OK, this seems better. All of the voicing is up top, control and modulation is down. I yanked a few things you didn't have already for some improvements:
The Sub Ring. This thing gives you a few more options for mixing, plus it can provide suboctaves and act as a second ring mod source. The suboctaves are the important part, though; if you're doing heavy bass work, nothing punches the crap out of it like an octave-down or two.
VCAs. Yep, there they are. Your problem with them was kind of obvious: no exponential VCAs, plus no actual envelopes. Put those two together, and that's what gives you that 'THWACK' that only a good, snappy attack thru an exponential VCA can get. Why? Well, a linear VCA changes gain based on a linear mathematical relationship with the control signal. But an exponential works on a 'law of squares'-type model, resulting in more abrupt dynamic changes. So a typical sharp envelope attack into a linear VCA is sort of 'sound turns on', but into an exponential it's more like 'sound punches WAY UP'. The Quad VCA has the extra plus of being able to vary its VCAs behaviors between these two, so with a little creativity you can have a whole continuum of 'smooth' to 'OW!'
Power. Try the Row Power 40 instead. Having more current headroom is a good thing, because the farther you can get from maximum load capacity on your p/s, the less thermal wear you'll have. Result: more reliability over time. Never use a supply where your supply capacity is anywhere near the current draw on any rail. ALWAYS leave plenty of headroom for unexpected current issues, such as switch-on inrush loads, etc. The uZeus is great for single skiff builds, but if you've got something more on this size, go big or go home is the rule of the day.
Yes, envelopes. Erica's kickass dual EG/LFO gives you a pair of ADSRs (which you'll want for audio and filter cutoffs, to be sure), plus if needed, these envelope curves can cycle, giving you two more modulation sources in addition to the Maths. And in order to make that fit better, I scrunched the output down to a 4 hp Ladik that also gives you metering on your output level. You'll need to watch your input level to that, as it has no attenuation, but if you need that feature, Ladik has other output modules (as do other makers) that fit the slot that provide an attenuator.
Flow now makes loads more sense. Left to right on audio chain, control/modulation upwards into that. Power next to MIDI, to avoid placement near any audio hardware, in case (not likely, but still...) of any power-line crud that might try and creep into your audio. All input and output is on the bottom, at the ends. Looks more playable as an instrument now. Howzzat?
m1sterlurk & Lugia,
Thank you both for your input and knowledge.
Yes to start I was thinking of a nice mono synth that I could build upon when needed. m1sterlurk thank you for the updated system layout and additions, very helpful. Lugia thank you for the information on the DIY company's and suggestions for additional modules. I still need to think about this rabbit hole a bit more, but will up dates later.
Finishing up my first rack. I'm trying to do some experimental club, like a sort of freeform techno or broken, disjointed sci-fi and bass. Influence from Objekt, Jesse Osborne-Lanthier, Rabit, etc. I own the top row, plus the midi, umod, grandpa, and buffmult. Lots of people saying you should have more VCAs than voices, but I've only found marginal use for them. As far as generative stuff, I'd only be looking to farm out 8 bars at a time. I'm wondering if I should sacrifice anything for more VCAs and filters, or if I'd benefit from a gate generator (I like the 4ms SCM.) Been hashing this out for a few months now and I'm wondering if any experienced users have an idea to improve efficiency or functionality. Much appreciated, thanks.
Actually, when loading images I always use what might seem to be a crappy format: 72 dpi .jpg. However, you have to remember that MG processes the image itself to fit whichever rack format and width it needs, so large files could actually be more problematic for MG itself, resulting in the rescaled image looking off while the module page looks better. Try giving the site something smaller to chew on and see if that works.
Counter-intuitive, yeah...but it seems to do the trick.
Nice work there...as for that final 18hp hole, my suggestion would be a Chronoblob delay and, provided it fits, a Doepfer A-199 spring reverb. And, of course, you can tie those two together by patching the reverb into the Chronoblob's insert in its feedback path, yielding some interesting results.
But also, I'd chop up that output into two other possibilities, both from Erica: their DSP, which is a mono-in/stereo-out effects processor to 'stereoize' your overall sound, and their Out, because you (of course) need that output stage to step your levels down. Doesn't have the nifty dual 1/4" jacks, but still does the job.
As for reliable, top-shelf kitwork, several firms come to mind: Elby, Synthrotek, Random*Source, and Erica again. It's also worth a plunge into Synthcube to see what's in there, as a lot of tiny DIY firms work through them.
Yep...the 'no price' stuff comes first. Next is modules which have a price derived from currency conversion. And the last are ones which have a 'solid' price depending on which currency you're using.
Is there an optimal upload resolution/format for modules?
I uploaded a high-resolution proportionally-cropped png image of a module, but it appears very blurry when placed in a rack.
It appears less blurry when the image is opened on its info page, but is still not ideal.
Some similarly-sized modules appear less blurry in racks.
Hmmm...OK, the idea of modulating with the Batumi would work if the Batumi could tune to the whole audio range. But I don't think that's the case; it's definitely more of a quad LFO. I'm gonna tinker with something here...hang on...
Classic West Coast architecture. I used a 126 hp Erica skiff which has a depth of only 60mm (45, effectively), so a couple of these exceed the depth spec. Basically, this is just for example purposes...
Left: this is the random/noise/sample and hold part. Don Buchla came up with this amazing randomness-redistribution module called the 'Source of Uncertainty', and the Doepfer A-149-1 is a Eurorack version of this. It allows stochastic distribution of randomness, instead of the unweighted sort you get from noise alone. Of course, we also have noise (a few different 'colors') and a normal S&H as well to interact with this and create a fairly comprehensive random function source altogether.
VCOs next. Now, the two main ones, as you can see, have a polarizing mixer between them. This can also output offset voltages, and it's key to how to make the two main VCOs interact. By combining modulating signals between the VCOs at either audio OR low frequencies (which all of these oscillators can do), you arrive at the complex sound spectra that's key to Buchla and other West Coast-type sound. A dual VCA plus a third oscillator is there, also, in order to intertwine those devices into the crossmod functionality, plus the third, simpler VCO can serve as a third modulation source when needed.
After that, of course, a waveshaper. This does the final spectral shaping prior to the low-pass gates. The next few modules are all transient generators. There's three of the classic Serge-derived A-171-2s; these are CVable slope generators, and can act as slews, oscillators, LFOs, or EGs, depending on how they're programmed and being used. After that, four AD envelopes. Buchla actually didn't utilize the now-common ADSR envelopes, preferring to rely on the LPG's vactrols (or, back in the early days, lamps-and-photocells) to create the release response. The harder the LPG would get 'hit', the longer the release, and also the higher the low-pass filter's cutoff would go upon attack. And natch, after those comes the lowpass gates...two Optomixes, MakeNoise's take on Don's classic circuit. A CVable panner/mixer follows to merge the two Optomixes into a mono signal, or to take one Optomix and CV-pan it between two stereo channels.
Then reverb, of course. Have to have that. It was key to the Buchla 100 sound, in fact. And then into an output stage, which also has a pair of AUX outs to allow something from the final part of the audio chain to be sent back to some other point to, yep, use as a modulation source. All of these modulation possibilities are key to the whole idea behind Buchla's sound, especially in the 100 series and the beginnings of the 200 series.
Now, if you notice something missing here...yep, you're right, there's several things missing! Most glaringly, no VCF! That's also a Buchla thing; Don really didn't want to do the subtractive method of synthesis that VCFs are key to. Instead, his idea...and the underpinning of West Coast methods...was to create complex spectra by crossmodulation and then shape that result into a final signal. If this were a proper West Coast synth, in fact, you wouldn't even have the audio connectable to the control signal path. This was only really a thing on the early Buchla 100 modules, and Don abandoned this gradually so that he could keep audio at normal line levels and have only the control signals at the higher, synth-level voltages.
No mults, either. After Buchla went over to banana connections, these weren't necessary. And on the Serge, they never existed at all, because the whole thing used stackable bananas, with all paths at the same signal levels.
If this seems...odd, well, you're right. It is, compared to the more common 'East Coast' subtractive method, which relies on many mixers, VCFs, loads of control devices such as dedicated LFOs or complex envelope generators to gradually 'pare down' sounds to the desired result. But these days, thankfully, Eurorack gives us ways to combine both ideas; Tony Rolando certainly nailed it when he called MakeNoise's patchable the '0-coast', because once you start combining these two working paradigms, you really do get this 'not exactly either one' result that's, well, really interesting.
But yeah...that thing at the top of this post is pretty much classic West Coast, albeit built with a lot of modules that don't connect together like yr.typ. West Coast stuff. But that's how it should work, basically.
I'll start by saying I REALLY don't like the uZeus power supply. It only supplies 500mA to -12V, and your system as specified is already in the danger zone for crapping the supply out (you need to keep the utilization at least under 80%, if not going so far as under 66%, of the rated). Upgrade to a 4ms Row Power 40 which supplies significantly more juice to the -12V rail.
Second, you only need a buffered multiple for primary pitch CV. You can totally use a passive multiple for Gate/Trig, as well as use one for modulation that doesn't need to be dead-on accurate. I'd replace two of your three buffered mults with passive mults and save yourself some money and some power connectors.
As for module selection, it ultimately comes down to how you're going to use the synth. My guesses based on your proposed layout and your statement of "self-standing modular" is that you're looking for something that would be like a "super ARP-2600"...something that has all the bells and whistles associated with a traditional monosynth with the benefits of patching. If this is the case, I'd pop in another Dixie II+ to have three audio-rate oscillators (with the ability to drop two of those oscillators to LFOs) and a Make Noise ModDemix to have a ring modulator (well, two). In addition, I'd substitute the big Pittsburgh Modular mixer for three 2hp MIX modules; one to the right of each oscillator.
I rearranged the system to have a left-to-right, sound sources over modulators flow to it.
You still have 18hp remaining in the bottom row that you could use to add another filter or an effects module or two.
Would it be possible to export the entire module database to a CSV or Excel compatible file? Sometimes I'd like to run a more complex search or filter than the website enables.
It's not a bad idea, except that some of the databases change so rapidly that by the time you'd got done with the offline work, there's a possibility that the export file might be obsolete. One thing I've noticed from doing the past two 'Kick Ass' reviews of selected Eurorack modules is that that pool of modules can grow by several dozen new entries a month...which makes it easy for me to highlight a dozen or so for the review bits, but the rapid degree of accumulation could be a problem for offline use. Especially around certain points in the year, such as NAMMs, Musik Messe/Superbooth, etc. Some of the new 'drops' at other times can be pretty significant, too; just the other day, Mutable pitched out the new iteration of their 'macro oscillator' and successor to Braids, the Plaits module.
Frankly, I'd also be curious if there were some spreadsheet export functions as well...but not anywhere near that magnitude.
-- Lugia
Okay, so they change rapidly. I'd still find it quite useful.
It would also be useful to filter out the modules with "no price" info, in the sort by price mode.
Does anyone know why this "sort by price" mode has at least two groups of sort by price, i.e. high to low, then another group of high to low?
Would it be possible to export the entire module database to a CSV or Excel compatible file? Sometimes I'd like to run a more complex search or filter than the website enables.
It's not a bad idea, except that some of the databases change so rapidly that by the time you'd got done with the offline work, there's a possibility that the export file might be obsolete. One thing I've noticed from doing the past two 'Kick Ass' reviews of selected Eurorack modules is that that pool of modules can grow by several dozen new entries a month...which makes it easy for me to highlight a dozen or so for the review bits, but the rapid degree of accumulation could be a problem for offline use. Especially around certain points in the year, such as NAMMs, Musik Messe/Superbooth, etc. Some of the new 'drops' at other times can be pretty significant, too; just the other day, Mutable pitched out the new iteration of their 'macro oscillator' and successor to Braids, the Plaits module.
Frankly, I'd also be curious if there were some spreadsheet export functions as well...but not anywhere near that magnitude.
-- Lugia
Okay, so they change rapidly. I'd still find it quite useful.
It would also be useful to filter out the modules with "no price" info, in the sort by price mode.
Does anyone know why this "sort by price" mode has at least two groups of sort by price, i.e. high to low, then another group of high to low?
