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?
It's been a little over 30 years that I saw my fist modular synth up close and personal that took up a whole wall in a bedroom. I have had or been able to work with most of the synths from 70's/80's, semi-modular and non modular alike. I am now looking to build a system and have come up with this system as of now. I already own the DixieII+, duel ADSR, and TipTop power supply. My original thought was to build up around my Mother 32 and Ocoast, but now I just want to build a self standing synth. I was thinking about another VCO, but any thoughts or direction that I could/should take would be welcome. I'll house the system in two TipTop 19" rack system for now.
Also for the DIY kits, what company's should I look at for reliability, quality, and clean sound, if I choose to go down that rabbit hole?
Thanks in advance for any and all constructive comments.
Peace.
(Edit: I made a change to my rack, so I guess that one needs to click on rack image up top to see the changes.)
Lugia, me again......a new idea is coming.
Think to built up the System concrete from make noise is a good way to start and learn and get results:-) Bying the modules used is the other idea:-)
Thanks amethyst and special thanks to you Lugia.
Lugia, I know , me got a big lack of the necessary understanding of sound creating. Especially of having Oscillators, the gates and doing crossmodulation.
But to keep it simple in my way, I thought modulating the 352 with the batumi will bring up some space sounds. These should then be combined with the morphangene. So the 352 should bring up the slow involving and bubbling "background" sound overlaid with some bizarre sound from the morphangene. That was my intention for starting. Timbre etc. was still neglected in my way.
Don't know if this is the right way to start diving in this huge sound universe.......thought of it as a kind of learning by doing.
So Lugia, hope its understandable what Im trying to say. Maybe there is no other way of getting started then doing it with the understanding of crossmodulation etc.. But maybe there is a chance to dive in by having a few modules, playing with them and developing a deeper understanding of sound creation. For me its a search of sound but the difficulty is to know if the modular thing is just playable by understanding the basics of sound creation or if there is a way in the kind of try and error?
Or in germany we say....the money is thrown out of the window....means you spent a lot of money.....if not paying attention to the basics rules.
Maybe you have some explaining words for me, again:-) Thanks.
Starting with a minimally-sized rack isn't useful. Trust me. It's always better to have room to grow into, because what will invariably happen is that you'll realize something about your first build that could be improved on by the addition of a few other modules. But without open space for those to fit into...well, you'd be kinda stuck. If you come up with a build that fits into, say, one row of 104 hp, then have two rows of that space, because you'll find all sorts of ways to expand that first 104 hp row's capabilities and without a way to act on those ideas, you'll be shortchanging yourself creatively. Versteh?
And here, we're going to run headlong into that limitation...
OK, if the idea here is to work along West Coast lines, you need to keep in mind that that method entails crossmodulating things at audio frequencies to get very complex spectra. Don Buchla's methods involved taking really simple oscillators and providing a number of different ways that they could modulate each other. Have a look at some obviously West Coast oscillators, for example: the MakeNoise DPO, Sputnik's Dual Oscillator, Radical Frequencies' Dual Precision Oscillator, or Verbos' Complex Oscillator. In all cases, the module contains both the oscillators and a lot of options to crossmodulate these under differing types of control. While the Cloud Terrarium is an awesome oscillator, it's not exactly set up like that; that module is more of a wavetable-scanning type of oscillator, which is cool in of itself (just ask Wolfgang Palm and the folks at Waldorf) but not exactly suited to 'pure' West Coast. You could include it alongside that sort of synth architecture as an incoming source, but as the sole source in this sort of synth, it's not exactly right.
Next up, West Coast derives a lot of its sound from the use of low-pass gates to shape the final amplitude and timbre. These are circuits that combine a low-pass filter and a VCA under the same modulation control signal. The idea behind these was to create a circuit that behaved how an acoustic source did when a sound decays: higher partials fall out faster than lower, and by the use of a vactrol, the decay gets shaped in a similar way as a resonating object in which vibrations decay over time. In theory. But in actuality, there's loads of ways to make totally unnatural sounds with LPGs, especially more recent ones that offer some controls that Don Buchla didn't either consider or have access to back in his day.
Maths definitely fits the West Coast scheme as a modulation source. It's actually a derivation of a Serge module, the Dual Universal Slope Generator; the Serge was a follow-on to Buchla's 100 and 200 series ideas, with a lot of rethinking of how signal flow should work and a stronger reliance on filtering for spectral shaping than in Don's earlier systems. In a way, the Buchla is the 'San Francisco' synth and the Serge is the 'Los Angeles' synth: similar, but definitely different. The Batumi, though...that's more akin to a typical LFO, albeit in a four-pack module. To get closer to a West Coast method for envelopes and modulators, you'll want a bunch of AD, AR, or ASR-type envelopes in which you can vary the 'rise' and 'fall' times, plus have a lot of triggering and cycling options. By combining these with the low-pass gates I mentioned above, then you get right into that West Coast 'pocket', sound-wise.
As for the Erbe-verb...the key to a lot of the early Buchla sounds, especially in the 100 series, was reverb. Back then, Don used a spring, because that's what fit into the space of the 100 cabs of the day. The Erbe-verb is actually an extremely complex digital device, but not at all out of line for the sound in a modern-day context. It allows the modulation schemes found in West Coast methods to also affect the reverb parameters to the same sort of complexity as other devices in a typical West Coast signal chain.
The Morphagene, though...that's a whole different thing. With that and the Phonogene, Tony Rolando is offering a modular take on concrete-type sound manipulation, either of sounds in the synth or ones coming in from outside. It's neither East nor West, but more like Paris, where Pierre Schaeffer first envisioned his Phonogene device for altering sounds as they travelled along a tape loop, to allow a more 'playable' aspect to tape methods, which are normally anything BUT playable. As for the Morphagene, it combines ideas from that plus granular methods from digital source manipulation, so it's a bit less Schaeffer and more Francois Bayle or Jean-Claude Risset in that aspect. It's not really West Coast, therefore, but it fits really well into the experimentally-oriented sound of the West Coast methods.
So...how to proceed? I suggest taking a bit of a stop to study the different modules on MG, but also having a look at Buchla's present-day website (https://buchla.com) as well as the outside-maintained site for Serge (http://serge-fans.com) so you can get a better handle on the contexts behind the whole West Coast thing. Eventually, you'll see the connection between the 'originals' and the Eurorack derivations of those, and that should result in a better-informed position from where to start.
Then start with a bigger case.
Select and Copy Entire Row
I eventually invested in a Unicorn Account so that I could create/plan single rows (3u/104hp a majority of the time) with the hopes of easily being able to combine all three rows (9u/104hp) after I was do evwith the planning. ModularGrid does not appear to be able to group a set of designated rack rows/skiffs into a single group; however. It also does not seem to be able tonselect an entire group of modules in a row and paste them into a rack in another browser window as opposed to one module at a time.
Originally the row-by-row ssemed easier in looking at layout and power supply requirements; but, now to combine things together it appears I have shot myself in the foot and created a lot of extra work.
Are there any plans to address and add this feature?
Hi just a heads up, you mention modulargrid and youtube so maybe you are not aware of muffwiggler forums, there you will find probably the biggest source of eurorack info and advices.
Hello from Nobone,
another totally beginner in this huge world of modular. So Im here to get some info from you to make my first steps in this world or better universe. Like many others here Im into drones and dark ambient. Doing it by using the west coast style.
But the first steps are difficult. Must confess to understand this universe is not so easy for me. But today modular grid is there and youtube:-) So here Im with my first ideas and a lot of questions.
For the beginning I just want to sources ...the 352 (or the Honda piston) and morphagene (or clouds?). My fresh thoughts are....triggering/modulating the 352 via Batumi and the Doepfer. And triggering/modulating the morphagene via Maths. The output then from both to the Erbe verb.
And now the problems begin. Erbe verb has a lot of functions. So maybe its to "big" for just being used as a normal reverb because of the many cvs for size etc.. So should the Erbe also be triggered by Math or the batumi? And Im a fan of delays. But the space in the rack. I know....then a bigger rack. But wanted at first to start bit smaller. Useful?
So maybe some of you got some time to get me on the "technical" useful way.
Feel free to comment. By the way Im from Germany so you can answer in german, too. Thanks a lot. Nobone
https://cdn.modulargrid.net/img/racks/modulargrid_626989.jpg?1522493522
Yerwelcome! For me, this is working from experience; having been working with different types of electronic instrumentation for about 40 years now, ranging from cobbled-together breadboards and bits up to drool-worthy modular systems, I'm just real used to how these things should work. But there's a few things I routinely do:
1) Cluster the functions. I always try to get the different module functions in the same general areas. That way, you know where the thing you're looking for in general is going to be, and you can move around and patch very rapidly once the layout's learned...which, again, this clustering makes easy.
2) Follow a model that works. As a rule, my overall layouts follow a distinct order of function placement, which is actually based on a still-coveted classic that I've used off and on since 1980: the ARP 2600. When you get a chance, have a look at one, then compare this build to that. The ARP 2600 is such a desirable synth because not only does it sound great, it has an easily-navigable layout. You know where the VCOs are (upper left), the filter is (dead-center), and the VCA and reverb is (right end), with various modifying things on the lower tier of submodules. I recall a quote in Mark Vail's 'Vintage Synthesizers' book: "It's the only synth I can play when I'm drunk."...and there's very good reasons for that! Also, I find it a bit telling that two companies that built huge modular systems (namely, Moog and ARP) first then wound up going with much the same layout in their first portables (Minimoog and 2600, respectively): VCO->VCF->VCA, left to right, and control placed convenient to all of these.
3) Build to scale. These days, it's possible to get teensy modules with massive functions, and they're great when you're building in a tight space. On the other hand, if you're doing a big studio rig, go big with the modules. But make sure your form factors always fit the cab they're being chosen for. You want as much function as you can jam into the space you've specced out.
It also helps, probably, that ambient is what I've concentrated on musically in one way or another since the early 1980s. So I have a good idea of what'll function properly for that, and can choose accordingly.
As for the mixers in the tile row: yep, you got it. The Mix-A is DC-coupled, and a linear DC-coupled VCA is next to it. But the Mix-B is AC-coupled, and needed an exponential, AC-coupled VCA for its audio-only path. But that being said, you can easily use the two different VCAs as percussive amplitude control for differently-weighted noise types off of that Zlob module, with the linear one giving you a softer transient response and the exponential being perfect for hard, fast 'snaps'. And then, you just play the FSR's like teensy-weensy bongos!
Tinkered with it a little:
The original had pretty much everything necessary, mission-wise, but there were a few issues, which I tried to clear up here. The layout was...confusing. Made my head hurt. Everything was all over the place and it looked downright confusing as to signal paths, patch flow, etc, so I reordered everything with a few things getting changed in the course. All of the synth voicing is on top now (with the needed buffered mult), then the next row has the modulation sources and playable effects, plus a stereo 6-channel VCA mixer, giving you ten total VCAs. Note also that I kinda 'shrunk' the Linix into a Doepfer A-132-2, which does much the same thing but which saved a good chunk of space. The mult got changed, too; this SSSR passive can be switched between 2x4 and 1x8, which is actually a handy function if you're doing a lot of sequencing and bouncing around a lot of modulation for which you need a 1x8, but can be changed back to a more typical 2x4 with a switch-flip instead of losing a pair of mult points when you need the whole thing on one signal. Also, the Clouds went away because, unless you've already got one, it's not gettable except either used or as a third-party build, plus there's plenty of playable FX there to go nuts with already.
Sequencing and drums on the bottom, clustered appropriately. The drums now also have a submixer, which can be inputted to the second stereo in on the HN output module. And the power supplies are now contiguous, to allow an easy jumper from the lower to the upper. Definitely makes more sense now; you can easily see how the patch flow should work, which is a real plus if you're going to gig out with this build. Buttloads of VCAs now, too...aside of the onboards on the Atlantis and M303, the system now has ten, with four being purely for CVs under a tandemmed CV control (like the Linix) and six more on the stereo mixer for audio. Makes this a doable build for both studio AND live now!
Had a great transaction for a Rainmaker with @yufo
Very communicative, very nicely packaged/shipped. This was my first transaction through MG, and I was hesitant, but I couldn't have asked for better.
WUT!? This is enormously helpful! I'm going to need a while to digest all of this, but the possibilities you've suggested are really exciting. That the model D and Digitakt are so easily incorporated into this rig makes it extra exciting. I'm far from being in a position to purchase all of these modules at once, but I like the idea of getting a single Plaits and A111-3, power supply, usb-midi interface, etc--basically everything for a single voice--and then slowly building it up from there. The Pulp Logic tiles are reasonably priced, too, so incorporating them shouldn't be too bad I forgot to mention earlier, but the case I picked up also included a Mix A and a Mix B (which, I gather, is for mixing audio and CV respectively?)
I also like the incorporation of the Bautumi. I've been eyeing it for a while and I think the long, slowly-morphing sounds that I've got in mind will more easily come to life with a quad LFO. The demos online are really inspiring. Videos for the Disting are also pretty exciting. Tons of functionality in a very small space, for sure.
Lugia, for real, I've spent so many hours watching videos and trying to assemble a rig on my own, but your thoughtful comments have seriously helped to steer me in the right direction. Big thanks again!
Yuppers...ALL rails need to be inside whatever safety window you choose, not just the +12 or whatever. The triple-output supplies used in Eurorack aren't capable of pulling the 'extra' from another rail that's not being used. Treat a Eurorack supply as three discrete supplies, and it makes more sense. In fact, some large-scale builders will actually use just that: three separate supplies dedicated to each rail, each one massively overspecced for the current draws found in really large systems.
OK, back to modules...we've got 7U x 84 to play with here, and the Magneto and Lo-Fi are 'givens'. Lemme screw around with this for a hot minute...
Easy-peasy. Now, this thing is set up for two discrete voices, both with the same general signal chain: Plaits + Doepfer A-111-3, so two VCOs per voice. The Quad VCA allows you to mix/amplitude control them by splitting the module by outputting from Out 2 and Out 4. Waveshaper and ring mod after that, then two Ripples to match the VCO compliment with identical VCFs. Then we have a 3xVCA and a 3xMIA for various expanded mixing/control methods. The 3xMIA also can serve as an inverter, offset source, and so on.
Next row. I put in the FH-1 I'd mentioned before as a USB host module for the Digitakt, but it can also work with other devices needing a USB host, or a computer with an adapter that allows that to connect to the FH-1. Also from Expert Sleepers is the Disting mk4, a fantastic Swiss Army Knife device, great in a small build for multifunctions. The little blue thing is a Zlob module that contains a noise source as well as the always-useful sample and hold. Then modulation sources: Batumi (4 LFOs in 10 hp) and a Quadra (4 AD or AR envelopes with looping). You know the next two, of course, and then a Mixup for a stereo out (to make proper use of the Magneto's stereo capabilities). And, oh yeah...the Row Power 40, which gives you 300 mA of extra current headroom on the +12v rail and 250 mA on the -12. A little tight for my tastes, but quite within m1sterlurk's suggested current tolerances.
The tile row is where I got artful, tho...first up is an insert module, like I'd talked about above for putting a stompbox into the signal chain, but it can also be used as an external preamp for outside signals. Then there's the neat stuff. You'll note the mixer tiles, first up...CV on left, audio on right. Now, beside those I placed the appropriate VCA, then FSRs, and last, an AR envelope.
How that works is that it gives you a force-sensor-controlled VCA for a group of summed control voltages on the left, and for the same in audio signals on the right. BUT WAIT! There's MORE...since the FSRs also output a gate, I added the AR envelopes so that you can also trigger those from the FSR's gate to send elsewhere...or even to the VCAs along with the FSRs, since the VCA tiles have dual CV inputs. This gives you an interesting control option that wasn't there before, but there was very much a hint at in the original build, and it also provides a tactile percussion interface, since you can also use the FSR/VCA/AR combo with a very short envelope and some noise, etc to tap out little noise-burst percussion bits.
And of course, your stereo output tile pair closes it out. Lots of possible patch-in for the Model-D here, plays nice with the Digitakt, and loads of sound potential in an itsy-bitsy cab. Works?
hey man, how are you? i am trying to re upload the Shift Line Force, would you mind deleting it so i can update the current size? Thanks!
sequencers are octatrack to hermod, beatstep pro for drums and Dr.660, varigate 8 for whatever type stuff, maybe a digitak and or second octatrack for sampling modular and for other midi controlled devices.
Remember that your system as currently configured is also over the 80% safe zone on the -12V rail, though if you were to swap out the uZeus with a 4ms Row Power 40 you'd be well in the safe zone.
Also I had to have fun with the spam poster...I really can't help myself.
whoa, that spam post got weird really fast...
First, enormous thanks, Lugia, for the thoughtful response. I agree that using the Model D on its own would be the best bet. Unfortunately (but also kinda fortunately), I was lucky enough to pick up some pieces to start assembling my set up, and they were the ones you recommended I rethink. So far I've got the synthrotek case, a lo-fi, and a magneto. I've got a microbrute that will allow me to use the effects, but I'd like to expand the rack to contain full synth voices and effects that I can control via a midi sequencer. Eventually, my goal is to expand into something capable of more complex and generative patches. Thanks, too, to m1sterlurk, for the input on the power supply. I think keeping the Model D on it's own will allow me to stay in the safe zone of 80% consumption.
@EmilAxing
You can search in your collection like in the ModularGrid database. If you reset the search form, you should see all modules you have added.
You can also add all modules in a rack automatically with the Edit-> Add all to my modules drop down.
Beep, Bopp, Bleep: info@modulargrid.net
I just purchased Unicorn to have my collection there but it seems only one module from my collection is visible there?
Pretty sucky to flesh out €20 for one function that doesn't work. Is the fault on my end?
Well, we've just about reached the end of March and I'm killing time waiting for Ableton to get done munching on a huge multitrack set. Soooo...you know what it's time for: KICK ASS! March 2018 edition, in which I round up the best of the promising new modules on ModularGrid. So let's jump right into the fray, shall we?
1) Schlappi Engineering Interstellar Radio. The name's a little misleading; for those of you expecting something like the Radio Music or Evaton's shortwave receiver...nope, this ain't that. What it is, though, is this hideous, sound-ruining monstrosity that should be a must-have for anyone doing harsh noise, power electronics, old-school industrial, glitch or no-fi, and anything else musically harmful along those lines! I saw all of the demos of this, and it is apparently totally incapable of behaving nicely. It's 14 hp of sonic HATE...and if you're the sort that loves to attack listeners' hearing and sensibilities, you have GOT TO have one of these. “Merzbow, the home game version” in a module? Spot-frickin-ON! Strap one of these onto a chain of Gristleizer modules, and expect Homeland Security to come knockin' PDQ.
2) Mutable Instruments Plaits. Braids is back...and BETTER! More functions, smaller size, and cheaper to boot. Olivier Gillet has given us what he feels is the 'perfected' version of Mutable's much-loved digital VCO. I'm not disagreeing! A total redesign of the original, adding new operation modes and 100% LFO capability. Not much explaining necessary here; you all know what this is. Give 'em your money NOW!
3) Alchemical Audio Touch Plate Controller. Presumably designed for Moog's Eurorack offerings, this control surface clearly has more possible uses than that. And it has its own 12V input, too, meaning you can use it separately in a specially-designed case. Not a lot of info, either on MG or their Facebook page, but the functionality appears pretty obvious, and for only $150. Yeah, touch controllers on this scale are usually spendy things, but this blows that trend. Knowing the general inventiveness of the Eurorack crowd, I just know that some of you are going to latch onto one of these and take it off in a whole new direction. And it even OUTPUTS MIDI...which, to me, feels like an excuse to bust out Max for Live and build something interesting for it.
4) Aemit EVC Filter. EVC stands for 'Everything Voltage Controlled'. They ain't lyin'! Plus, this is kind of unusual in that it's a 4-pole state-variable; you usually see 2-pole versions of this, so that one detail ups the sonic game. Plus, two of these can be tandem-controlled by Aemit's EVC+ expander, making the possible uses and results even wilder. This demands a second look from anyone looking to get a really new filter sound from their build. A little spendy, perhaps, but I get the impression that you'd be getting what you're paying for here.
5) Klavis Mixwitch. This is a strange one. Is it a mixer? Yes. Is it a signal switch? Yes again. Is it a CV processor? Yup. Is it a randomizer? Yeah, it's that as well. Basically, if you do a lot of tinkering with elaborate modulation schemes, you're going to want one of these puppies. It's another one of those 'Swiss Army Knives', this time for tampering with loads of control applications. Also, those into the generative sequencing thing will find oodles of uses for this, due to its random control signal switching ability. So odd, but so brilliant!
6) Gibbon Digital ALAK. One of the stranger and smaller pattern sequencers I've seen. The ALAK uses geometrical shapes across four tracks, rotating the shapes in a circular pattern on its circular sequencing matrix to get the triggers to fire. Plus, you can alter the shapes on the fly via a phase-change adjustment to skew the geometrically-based behavior. It looks simple enough...but it's got functionality hidden in it in spades! Again, the generative-school folks should have a look into this one!
7) SOMA Synths LYRA-8 FX. OK, stop right here. Go and find a demo video for the LYRA-8. Watch what the effect section does to/for the sound. Amazing, right? The LYRA-8 is one of the very best drone synths around right now, and this module is the 'voodoo' behind it, now for use anywhere in a Eurorack system. If you watched the LYRA-8's videos, I really shouldn't have to explain much more what this module's capable of. Downright amazing...a 'gotta-get' for the drone or ambient crowds, or anyone else who likes the lo-fi delay-warp sound of the LYRA-8.
8) Tinrs Wobbler. Good lord...the tricks this thing has up its sleeve! Calling this just an LFO really doesn't scratch the surface of the modulation mojo this thing's about. There's some modulation models in this that people are going to drool over, such as the 'twang' curves, the double-pendulum mode, and all of the other trickery that it's capable of using to create modulation behavior, some of which would take several modules to pull off otherwise. And it also does random functions, too...and way more. The real shock, though, is that this all fits in only 12 hp! What...the...HELL!? So, basically, if you're designing something small and portable, this might well be THE complex modulation source, but it's got abuse potential in a large rig, too. Another 'you gotta see it to believe it' module, this.
9) 2hp Pluck. OK, we all know that the point of 2hp's stuff is that it fits into...well, 2 hp. But many of their devices work nicely in large-scale builds, too, to add a dash of extra capabilities in a teensy space. This, however, is way beyond anything I'd expect in 2 hp: a Karplus-Strong modeled voice in, yep, 2 hp. Totally amazing, really. Most physical modelers are much larger affairs, but this tiny little thing pulls it off in the absolute minimum (OK, yeah, it's not 1 hp, but what do you seriously expect?) of space and makes exploring this synthesis mode a 'why not?' sort of situation. So...why not?
10) G-Storm Electro DC571. Brilliant! A two-channel, 80s-style compressor in just 8 hp. The modular drum crowd's going to eat these up, I should think, because it's a small-space solution for making drum sounds really pound, adding both some distortion (if you overdrive it) and 'glue' for whatever it's used on to punch the dynamics way up. No pricing yet (they promise 'soon' on that), but even though this is a limited run device (sadly!), I'm gonna bet that it'll be worth the ca$h for those doing live work who need sounds that cut thru the mix, or, again, the drum module userbase.
OK...that's pretty much it for March. Kind of a short list, but that's expected with Superbooth coming up soon. We should see a veritable deluge of mind-boggling stuff in the weeks following that event. Definitely going to be worth the wait to see what pops up if this is what we see in an 'off' month!
great transaction with @saywordsahn
SUPER fast shipping and great communication.
Cheers
The right time I will ever have that won't stop? Gee...I hardly think you could make that work. After all, Robert Fripp has to change the tape reels on his Revoxes eventually, plus he's going to get really tired of playing that Les Paul of his for weeks on end.
Do your russian escorts dress up as bananas and tell fairy tales? I'm totally into that.
Hi, just to reiterate this - looks like the resizing doesn't function exactly as intended (or there's something i'm doing wrong) -
https://www.modulargrid.net/p/pedalboards/view/634641
Here are 2 sets of pedals with similar/the same dimensions that aren't scaled how they should be
Should still be possible to do a load-in in one shot...look into some cases/bags that'll allow all of the gear to be in one package. In theory, you're still in a size range that would still work as a carry-on, if we're talking a Digitakt, Model D, modular, and a mixer and laptop. The whole mess should more or less fit something in that size, depending on what you find and how creative you get with it. A good friend and colleague of mine gigs with about the same amount of gear (perhaps a little more, actually) and he's still able to fit the whole live rig into a carry-on.
Also, do pay attention to m1sterlurk's notes about the current draw above. That Model D alone draws a full amp on the +12 V rail...and the same span of panel (70 hp), with typical modules, really shouldn't draw much more than a couple hundred mA, at the very worst. Yet another reason for leaving the Model D in its own cab, I think. My rule of thumb says that as long as I can keep the current draw below 2/3rds of the maximum rating for the power supply, I'm pretty much assured that no operational state (such as power-ups, which can sometimes be more than the operating current load for tiny intervals) can jump beyond the supply's rated capacity.
Clocking...hm...there's several ways to do that. First method would be what you'd suspected: using the MIDI interface's clock out and clocking everything off of either a laptop or the Digitakt. Annoying that the Digitakt doesn't have a dedicated clock out, tho. Method #2 would be to clock everything from something a little...different. Have a look at Expert Sleepers' FH-1. Now, that would allow hosting of the Digitakt directly to/from the modular, and it can do the same thing for anything else that requires a MIDI host. It's much more complex than a regular MIDI interface as well, allowing a lot of user-definable functions to be implemented along with the MIDI conversion. DO, however, power the Digitakt via its own adapter; while the FH-1 can technically supply power via USB, you don't want to be right back in the same mess as having the Model-D in there with respect to current draw.
As for the tiles: good move. There's a lot of stuff in 1U out there from several makers that won't/can't fit in an Intellijel case, and sticking with the 'normal' tile format seems wiser. And yes, that includes a nice audio interface from Pulplogic, plus gobs of other toys.
Now for the modules themselves. I advise you to think small. ANYTHING that can be reduced in size should be if we're talking about a small travelling rig like this. Take stock of the functions you already have there (excepting the Model D, of course) and see just how small you can go with the same/similar/better functions. Take the Magneto, for example. Awesome delay. Frickin' huge, though...great for a large-scale rig, a real space-hog in this. But...consider what you'd get if you used a Chronoblob, and then used that delay's insert point to drop a few little 2hp processors into the delay feedback circuit. Quite entertaining...and smaller, too. Or the Quad VCA, which is good, but the 1U tile row lets you add a couple more VCAs, potentially for controlling mixer output dynamics, ergo no need for a second one (and VCAs for CVs can be very useful things! consider mixing a bunch of CVs, then controlling their summed level via a VCA at the Mix-A's output...nuts!).
Last thing: effects in a modular that can also be done by a stompbox should probably be done with a stompbox to save space. But this doesn't mean you have to be conventional about that, either. F'rinstance...the Zvex module could be replaced with two other I/O modules for send/return work to outboard FX boxes, one of which could be the selfsame box, or even a better/crazier lo-fi looper. And by replacing that with typical I/Os, which tend to be 4 hp, you get back 2 hp to use for something else (like half of yet another FX I/O, maybe?). And given that stompboxes are small things, they're easily jammed into the aforementioned gig bag with everything else.
Anyway, that should give you a bit to think about for a hot minute or two...
