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This module is excellent. 8 channels with every modulation possibility imaginable. Clockable. Thanls MD

i try to keep myself away from modules with displays so disting and o&c is not a option im afraid. though im thinking to add a Filter 8 or a generate 3 but idk..

EDITED Feb 29th, 08:38

I would find it difficult not to fill that space with a Disting EX or an Ornament and Crime if I were you.

Do you do DIY modules at all? If not, maybe get some supplies and a kit for building a mult or something. If you get some practice with it, you can get other cool cheap DIY stuff like the AI Synthesis Matrix mixer (a great choice for a rack like yours that relies on tried and true modulation and oscillators patched creatively). That'd fill the space for cheap and potentially give you a new skill set.

hi, what would you fill the rest HP with? thinking of maybe a generate 3 or a filter 8, maybe some utility ?

whats your suggestions?

thx in advance

Too kind @the-erc for classic Hardfloor it needs Toms.

Why so much external sequencers and grooveboes at a time?

I think the oxi is enough and perfect to sequence evetything e.g. your modular + syntakt and more devices

Or do you want to build several different setups?

I mean, it might could be to much and confusing to keep your eyes on all the stuff, to control it and even learn it all at the same time.
I may be wrong.

EDITED Feb 28th, 15:00

I like ! but if you care about fx I would remove beads and nautilus and put a desmodus versio + mimeophone

Were you planning on running all these voices simultaneously, or did you just want to try them? This is a lot of voices for one time - it's probably enough modulation for one or two synth voices and maybe one drum voice.

There seems to be a lack of envelopes/function generators here. Maths can do a ton of stuff, but not necessarily all at once, and you'll probably want more traditional envelopes to do that job rather than tie it up with basic stuff.

The best way to get creative with your modular is to take one or two sounds and throttle them with modulation to create unique movements and timbres. Using oscillators for modulation is totally possible as well and leads to good stuff, but it's probably better to build your setup one piece at a time so you learn to maximize each piece. Think about semi-modular synths and how almost none of them let you make more than two voices, as well as how many of them dedicate most of their panel space and patch points to elements that are not the oscillators, like the filter or the modulation.

Also, 6 VCAs is pretty good so far, but I feel like, especially with the Dixie and the Pizza, a proper filter is missing here. Maybe that's not your style and I appreciate that, but it's worth thinking about.

I would give some thought to the Ghost pedal instead of the module if I were you. You may need that space for practical stuff. Or no Ghost effects unit at all, but I'm not going to tell you how to run your effects - just that it's good when you're working on your case to ask "is there anything in here that I can do outside the rack so I can add in more of what can only be done in modular"?

Channelling Hardfloor there - total banger! Big thumbs up :-)

I just upgraded modules on this rack build and I need some potential help with patches. I also bought some external sequencers such as the 0-CTRL, Oxi One, Arturia Beatstep pro and PO-12. I also got some grroveboxes such as the Syntakt, Polyend Play. It's a lot to purchase and a super deep learning curve. My biggest thing is how I can get really creative with this setup. Any help or advice would be great!

EDITED Feb 28th, 11:13

Cheers @Sweelinck :)

The video interface is intended for displaying the interface on an hdmi monitor, and it does that really well.
The video output is clean and records well. I wish that more/every manufacturer would provide that functionallity.

The video-art mode is low-res, unsupported, unfinished, and mostly undocumented (as of firmware v2.0).
I think Xor just thought it was an interesting hack, and kept what he had in the release, but it's sort of borked.
I got it to do some "things" but I was dissapointed I couldn't do basic drawing with it (draw a pixel/line at XY with this color).
It has a some potential, but also is limited by what the embedded video controller hardware is capable of.
Graphics mode also eats up one of the precious few tracks when using it for visuals.
Video synthesis it ain't, so don't buy it for that, but some audiences might enjoy seeing the tracker interface.
-- lumpytapioca

I did just mean the tracker interface. It fits the older aesthetic of the video sources (and even the old Edirol video mixer) we have.

Nice jam again... Thanks for sharing!

Right... "We're all playing together now, children." Just sayin' it does sound straightforward but, in practice, not so much for some. Requires more listening, as opposed to playing. I know I can struggle with that sometimes.

These two guys (El Ten Eleven) definitely seem to have some sort of click or guide track in their earpieces. You can see how they check in with eachother before starting the song.

Of course, neither of them is playing a modular. They are each sampling and looping while playing their respective instruments. I would also venture to say that neither of them is leading the tempo. They both seem to be following the guide track. Yeah... they're practiced.

I've also only recently gotten into NS with plans to use it live, but I've only barely scratched the surface of what it can do.

Don't forget about the 4 CV ins on the Nerdseq, which can be mapped to pretty much anything, including generating euclidean patterns on the fly (it used to require the trigger expander, but I think you can do it in a regular track as of the most recent firmware, haven't tested it yet). The Nerdseq isn't the most immediate or "playable" sequencer out of the box and requires some setting up, however, once you have some stuff going, the CV ins can be invaluable to mess with your patterns and evolve them on the fly. I'd consider a joystick or something like the Lapsus Os with several CV slider offsets to pair it with the NS.

The video interface is intended for displaying the interface on an hdmi monitor, and it does that really well.
The video output is clean and records well. I wish that more/every manufacturer would provide that functionallity.

The video-art mode is low-res, unsupported, unfinished, and mostly undocumented (as of firmware v2.0).
I think Xor just thought it was an interesting hack, and kept what he had in the release, but it's sort of borked.
I got it to do some "things" but I was dissapointed I couldn't do basic drawing with it (draw a pixel/line at XY with this color).
It has a some potential, but also is limited by what the embedded video controller hardware is capable of.
Graphics mode also eats up one of the precious few tracks when using it for visuals.
Video synthesis it ain't, so don't buy it for that, but some audiences might enjoy seeing the tracker interface.

EDITED Feb 27th, 02:55

Jojo Mayer also seems to be working with people who are practiced keyboard/piano players. In that case, what they're doing wouldn't be all that difficult to assemble (at least in terms of theory - obviously they still have to play it). You are the tempo, and you respond as needed, same issues as any other band.

Thanks everyone.

The precision adder feels like a good idea. I don't necessarily plan to obsess over melody and tuning in the modular, but it still seems like a nice simple way to change stuff. Joysticks and touch interface stuff are also cool - the latter is probably more practical and intuitive to me, but something about manipulating Nerdseq CV with a joystick feels appropriate.

I won't be rushing any of this auxiliary stuff anyway - for now, just getting the Nerdseq itself will give me plenty to do and play around with. Really, I have about 3-5 voices to mess around with here at any given time and they are all well-equipped with modulation for now, so I'll probably only need the expanders (except the MIDI one, which seems like a good call) if I become a die hard fan. The video one is almost more interesting to me since we've got some video elements to play live with as well and I think it'd be charming to include images from it as we play.

On Nerdseq, first get some patience because it's a bear to get a handle on 80% of the things it can do.
The company is just one (occasionally cranky) engineer, and the documentation is... challenging.

Instead of getting more modules to feed, I'd recommend getting a Doepfer A-185-2 Precision CV Adder.
It makes combining and tuning CVs from Nerdseq a lot easier than doing it in the Seq's interface.
Much fun to be had there adding CVs together.

NS does a lot with midi too, and I liked the price and footprint of Xor's 2hp midi in/out.
You get lot of utility for the 2hp of space it takes. I put it on a longer ribbon cable for ease of placement and it works great.
The Video/Keyboard works well if you think you need that, but it causes a bit of a ribbon cable rat's nest.
I have a CV-16 Expander, but it's very much a seperate device as far as programming it.
The high effort/reward ratio kept me from using it much and it's back on the shelf.

In all, NerdSeq is well made, reliable and if you need to spit out series of notes that you set up ahead of time,
it's a great choice, especially if you enjoy a tracker paradigm interface.

I just got a Frap Tools Usta today (so beautifully made) and I'm expecting that it and the NS will get along wonderfully.

http://noodlehut.bandcamp.com

EDITED Feb 27th, 02:00

Hello! I made a video about the new 1.10 Hermod+firmware update that turns the 16 pads of your Hermod+ into a chromatic keyboard. It's really great! If you own this module you should definitely check this out

I hadn't heard TOTL before. Thanks! I do like that kind of thing but, no disrespect, once a month is probably about right for me too, mate!

Watching vids of Nerve w Jojo Mayer, my guess is that they can simply read each other's minds. It looks like Jojo is leading the tempo but the synth player still gets all the arps, bleeps and bloops in just the right spots.

Depending on the kind of free improv you do, no rhythmic component may be necessary. Think "Topography of the Lungs" (or even Japanese noise, which was often synth based). I do this about once a month in town, and as long as you don't let any LFOs or function generators cycle unchecked when you don't want them to, you won't need to be too worried.

Those two approaches make sense. I imagine the free improve approach could be somewhat dependent on the types of sounds/effects being coaxed out of the modular. If the primary rhythmic component of the synth sound is just something like some mellow filter modulation, for example, it might be harder for the others to lock into it, compared to a more heavily sequenced groove. Or, if the synth part is more like an intro that fades as the band comes in, tempo sync might not even be a concern. Same if there are parts where the rest of the band drops out in places where the modular comes in.

I've used stompboxes that have tap tempo with limited success when playing bass or guitar. My approach was to give the tap tempo button a few taps every several measures or so, to try to keep the modulation in sync as the drummer's tempo fluctuated. Definitely requires some practice. I can imagine tapping a button with your finger might be a bit easier to coordinate than repeatedly tapping with your foot while playing guitar.

Ideally, it seems like the easiest, most effective situation would be if everyone in the band is capable of playing along to the same (click) master clock as the modular. But, I'd still be interested to hear some others' ways of doing it.

I'm not going to lie - I got a little confused here at first and thought your Clouds clone was the Marbles clone. That definitely changes my view of how playable this rack is at the moment. If you like ambient and techno and sound design and want to sync with an external drum machine but don't want a giant rack right away, a Marbles would be worth a look. It gives you random CVs and random gates that can be internally quantized to scales and rhythms, clocked externally, or set to be completely chaotic. It's about as practical as randomization gets, and it can be used, among other things, as a very flexible 3 track CV/gate sequencer for your voices. Clouds has a cool sound and goes great with a drum machine, but a voice/effect like that needs plenty of modulation to make it move and sound like it did when you decided to buy it. There is always the option of getting smaller versions of each, but I leave that to you, since they are nicely designed in the original format. And it will sell if you decide you want something different later on.

I'd also suggest a Mutable Veils clone or an Intellijel Quad VCA (or both). I'm not a Mutable obsessive or anything, but Emilie Gillet made several very efficient modules that cover a lot of ground in a small space and lend themselves well to real music making. Whatever you choose here, though, they will make what you already have even more fun.

You'll want to do as much of your own research as possible throughout all of this, though. Your modulation is just as much a way of getting your personality into your music as the sounds, if not more, and you'll want to tailor this to your needs as you go on. Once you have the Disting, you can run through that and it'll be a much more hands-on way of testing stuff. VCV Rack is also good for this - you can try free software versions of hardware tools and test the musical output of various systems to see if it's something you want to work with in hardware form. They even have ports of Mutable Instruments modules so you can test stuff alongside their version of Clouds and Marbles and Veils and Plaits or whatever else to see how it would work in your system.

I guess if you're already used to 2hp, their sample and hold module is pretty helpful. Sample and hold is one of those classic modulation sources that can do lots of stuff, from sequencing to random voltage generation to a sort of analog "bitcrush/downsampling" effect - and having two means you can do it in stereo. It pairs perfectly with a Pam's. to trigger it, or any of your VCOs if you want to do some audio rate stuff.

Thanks for your reply.

I will be using the tr6s synced to Pams as my main drums, then sync everything else in the rack, alongside the keystep to generate patterns.

I still have the case for the West pest but I do find it very useful in the rack ie for midi cv conversion, but when the times comes for more modules it will have to go back to the case.

The disting mk 4 is the only module in the rack I'm yet to purchase, I think would be a great starting point for learning all the functions and modulations.

Do you have any more recommendations for modulation and utilities please that will compliment this rack?

Thanks again

I was looking for content about the Weston products but there is only a few here and there. After a few minutes spent with the 2V2, I was conviced. I did a 5 patches video for those who want to here the dual osc. module in some classic squetching..

Cheers @Cem79

Nice jam. Your track is dancing.

Sometimes I can play about making weird abstract noises but then you realise you have been neglecting a row of modules, so here's a bit of fun.
I probably need to get a 909 Ride Cymbal just to top this off...

Yes, the Nerdseq is not initially designed to be the most 'playable' sequencer. But it frees your hands to act on the other modules! So, alongside its own powerful CV programming, you can be very active by tweaking the knobs: the cutoff of a filter, the attack of an envelope, the intensity of a folder, of an attenuator / attenuverter, etc. You can also act to open or mute a signal, switch a control...

This advice. I think you should include controller modules: joystick, touch-sensitive surface, ribbon controller, Theremin and so on. For my part, I use and particularly appreciate modules like Planar2 and Tetrapad.

I don't own the Soundmachines LP1lightplane (power hungry) but it's obviously a great module.
I have already had the opportunity to present this video here. One of Luis Codera Puzo's mottos is (and I quote from memory): 'We don't need more modules, we need more discipline'.

Nice story.

It's been a while since I posted here.
So here is something different from me.
My recent special performance for a charity noise event in Kyiv.
Musique concrète / noise / lowercase / dark ambient / drone.

Are you using anything external to sequence/clock this? The Shuttle Control portion will definitely make this a good idea not to be wasted, and you can still use your Steppy and Mimetic for modulations/other fun stuff (or vice versa - controlling with the sequencers and modulating with MIDI).

Also, you probably want some more freeform modulation: LFOs, maybe a sample and hold (this doesn't have to be big and fancy), definitely envelopes or a function generator (if you have to pick one, this is a good one because it can be both LFO or envelope). As I said, the sequencers can handle some of this and that's a lot of fun, but a variety of modulations will get you results that will make you feel more like you're getting your money's worth here. Inevitably, you may have to put the Shuttle System back in its standalone case and fill that section with boring stuff to facilitate the other voices, though it will still be great accompaniment.

A Veils clone and an Os are probably good starting points for utilities. Usually people forget this and have more modulation. Not a horrible plan overall and if your goal is more percussive/pinged in nature, you'll probably be doing great for a while. Look up Richard Devine's live case to learn more of what I mean - I just saw him live and while his case would probably get some raised eyebrows on the forum here, he's been doing electronic music for decades and his setup absolutely works great for writing and performance. However, unless you know already why each piece is there (in which case you can just ignore me), it seems like a lot to take on in this amount of rack space without modulation, and you'll end up with relatively static sequences that won't feel worth the money spent.

Think about how much space and functionality is given to the Shuttle System, which is essentially a monosynth (I guess it is technically two voices). All that extra stuff is what makes it an instrument and more than just a Furtherrrr Generator and filter. Try and imagine what it would be like if this rack gave a similar amount of options and playing space to the Zaps and RO'VED (and the QPAS, which is almost more of a voice/sound source/effect than a filter/VCA, and can definitely contribute like a synth voice to a patch even while filtering). How much bigger would it be, or how much more of it would be basic modular plumbing rather than sequencing/clock stuff, voices, amd effects?

get it together!!

Just to clarify:

You said you wanted to be able to make ambient and also upbeat dance music. Will you be doing this alongside the TR-6S, or do you want to do everything in the rack? I just ask because you mentioned you want the rack to sequence itself.

Knowing this will make it a lot easier for me to make suggestions.

Beyond that, it's time to start looking at modulation and utilities. Three voices, even with two in 2hp format, is a lot to keep track of. Function generators/loopable envelopes are always nice because you can experiment with different kinds of events. Attenuverters and VCAs will also be really important, since it will allow you to control amounts/positions for modulation and give you more control. Maths is a good place to start and see how these kinds of simple but potent circuits can improve your system (this stuff is the heart of modular and makes the more feature-heavy/obviously cool stuff work), but you'll probably need more than that to service all the voices in your system. Hopefully you still have the standalone case for that West Pest - you'll need that space later on.

Also, I would suggest just running through every single function on the Disting. All of them. Just to get a sense of what they are and whether they can help you or if you need them in a standalone module with more control. If there's a mode you don't understand, learn it.

EDITED Feb 25th, 04:39

I've generally stuck to one of two strategies at any given time:

1. We agree I set the tempo. They can be any tempo at any time. I have to turn a knob or plan a change in advance. Therefore, they have the flexibility and I do not. So, when I start, they go from there. In a sense, the song becomes the click track.
2. Free improv: No one bothers with tempo too much and we just make cool sounds.

If you time it right, you can have both. One thing I like about the Polyend Tracker as a sequencer using MIDI to CV conversion (or a Nerdseq will do it) is you can program this behavior to happen at specific times and even program sequences that are non-timed.

I think the issue with a tempo-tap based system is you have to always have some rhythmic element that sends steady clock to stuff. You can maybe plan out sections with this, or even an envelope follower depending on what you're doing.

The only option for you I can think of is to think less in terms of melody and more in terms of percussion or just "triggering events". If you set the modular up to respond to drum triggers from you, or maybe some sort of Launchpad/other pad based finger drumming setup, then you'll be fine and you just have to worry about tuning and setting up the patching in advance (relatively speaking) so you can have at least one hand free to trigger stuff.

You could also try the Korg SQ-64, which has a play mode called "isomorphic" where the 64 pads roughly emulate the layout of a bass. The Korg SQ-64 has had a mixed reputation, but it is powerful on paper and may work for you here so you can apply your guitar/bass skills in this context.

EDITED Feb 25th, 04:20

OK scrap all that, have a new plan!

Hi,

I love modular grid, use it all the time.

One thing that kills me is that when I go visit a module info page, then click the back button, I lose the current search and filters.

For example, let's say I'm searching for a 2hp utility module, sorted by popularity, and click on the info for a module I'm interested in. After viewing the page, I want to go back to my search, and click the back button. Now I need to re-fetch the search results by clicking "search" and changing the sort order to "popular".

This is probably a matter of updating the browser routing logic so that when you click on search, the URL gets updated with your search parameters, so that when you click back it automatically syncs to the prior search.

Let me know if you want help. If there's a github repo for the site, I'm happy to take a look and contribute.

EDIT ---

I noticed that this doesn't happen all the time. Sometimes the search is saved, but other times it's not.

To reproduce:

Go to a rack view. Ensure the search is cleared. Then add some search filters, change the sort order. Now click the "info" button on a module in the search results. Finally click the back button. You should see the default module view (no search terms).

EDITED Feb 24th, 20:16

Hi. I have a little less than two years experience with eurorack, so far. Still learning. Still consider myself a newbie. Just collecting modules and making wild sounds at home in my basement. But, I would really like to be able to jam with other musicians.

So, I am curious to learn how other eurorack players approach playing with a band or just jamming with other musicians. Of course, you can just plug in a keyboard. But my background is more guitar, bass, percussion. I'm not much of a keyboard player, but I can get down with a sequencer, for example. Generative sequences, pulsating drones, rhythmic modulation, random sequencing, etc... all being driven by a master clock, it all still fits together... as long as you are not trying to be in time with other players.

So, for those with experience, how do you make it work within a live band setting (i.e. drums, bass, guitar)? I've heard of bands that work with a click track. Seems like that could be rather challenging. Tap tempo could be used to adjust the modular's clock tempo relative to what the drummer and other players are doing. But I can imagine that becoming tedious and troublesome, too.

Of course, I will admit that I haven't been brave enough to try any of these ideas, yet. I am still at the 'advice-seeking' stage. But, before I stick my neck out, I would love to hear how others have dealt with this. Is it possible to use a sequencer and still keep the band's timing toghether? Is it a matter of playing with talented musicians who know how to listen and follow the synth player instead of the drummer? What have others tried? Things that either did or didn't work? Please share your experiences. Thx!

keep the tips coming

Really nice work, kinda glitchy. Liking it.

It's important you challenge yourself musically as a musician. This video is a result of me challenging myself. One of the most defining sound shapers in modular and ambient music is reverb. We like to douse our synth sounds in luscious reverbs to create depth and space. So I thought, what would happen if I force myself to create a patch with no reverb at all. I loved the result so I decided to record it and post it for you to see and hear. Enjoy!

Glad that worked! It's such a deep module that can do so much. I owned three DUSGs at one point before trimming down my rack.

Thank you! I actually manage to figure it out after some time owning the module by using the pulse instead of end, wich was indeed really unstable/narrow.

It can! Simply engage one side to cycle (central switch between rise and fall attenuverters) and you get a cycling LFO/slope. The clock aspect can be used from the left side if you take the "Pulse" output. You can also clock things using the "End" output of either side, but that can tend to be a very narrow trigger. Depending on what you are clocking with that trigger, you could have missed or skipped beats. I had a hard time using the "End" output with a Doepfer clock divider, but never had an issue using the "Pulse" output.

Hi,

I am new to modular and slowly building up my rack. I Started out with a small 2hp lunchbox case and I am now enjoying expanding into a Rackbrute 6u. I'm Interested in ambient but also want to make upbeat dance. I also have a TR6S and a Keystep. I would like the rack to be playable/sequenced on its own and also used for sound design.

Any advice pls on where to go moving forward as there are so many modules to choose from and I already have some areas covered.

Thanks

if youre gonna get a disting maks sure youre prepared to have the manual open everytime you use it

Hello!

So I have a shuttle system and am looking at getting a Beface case and starting to fill that.

Have a look at what I'm thinking and let me know your opinions!

EDITED Feb 24th, 20:20

Rack DI Box for Gökhan Türkmen Stage

The Rack DI Box designed by VAEMI is specially crafted for Gökhan Türkmen’s stage performances. It can accommodate all digital or analog equipment, synthesizers, and drum machines, ranging from line-level devices to high-voltage synthesizer levels. This allows you to input the unbalanced audio signals of your equipment into the microphone preamp in a balanced manner through an XLR connector. The Rack DI Box is designed in a 2U rack format and features 8 channels.

Key features include:
- Balanced XLR Output
- Neutrik XLR connectors
- Enables the transmission of audio signals over long distances
- Clean and transparent sound
- 0 degree phase shift
- Accurate isolation from electrical noise in the audio signal
- -12dB Pad available for each channel
- 180 degree phase switch for each channel
- GND Lift switch for each channel
-
https://en.vaemi.net/rackdibox

Thanks will check out the tiptop buchla