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Those of you who have the Mannequins W/ and are unaware of this just like I was: there's a totally new beta fw out there which transforms the module into something completely different: there are 3 different engines - W/Tape (most of the original tape functions are available), W/Syn (a polyphonic 2-op, 4-voice FM synth) and W/Del (vari-speed delay+looper with modulation).
I, for one like the new engines a lot better than the original (and very obscure) tape engine, though I have yet to figure W/Tape out as I couldn't get it work (I may have a corrupted micro SD card or do something wrong...). However, both W/Syn and W/Del are amazing and seem to work as described. The delay is very lo-fi and sounds crazier, in a very good way, than any delay I've worked with before. The FM-synth is also pretty wild and harsh, noisy and metallic, I like it a lot. Now W/, so far used intermittently, has become so much more than it originally was.
Another controller I'd suggest, but which isn't cheap, would be the Verbos MiniHorse. Basically, it's a massive update of the original Buchla 100 touchplates, but with way more functionality already set up in the module. You get 12 plates, on which you have pressure, position on plate, gate, an assignable variable CV as well as fixed CV values. The ability to make full use of the pressure and position are super-useful...just use the fixed CV for your pitch, then assign the pressure to VCA level and position to VCF cutoff, and you can play pitch, dynamic, AND timbral parameters with each touch.
mine either go in a cardboard box or on the floor in a heap by the modular (note my modular is also on the floor not a desk - due to position of TV - for video synthesis)
as for the optimum number of cables - to start with count the number of sockets in your modules and divide by 2... get a selection of lengths - up to a bit bigger than you think you need so there's some slack when patching
as you get more modules the ratio of cables to sockets will reduce - you probably won't patch every socket of every module every time you patch
I tend to buy cables in batches - 15 to 20 at a time - when I notice I am getting low at the end of a big patch (especially if I am planning on getting more modules soon) and possibly a couple of stackcables when I buy a module - especially if i need to add a few € to get free shipping
currently I'm really liking PolarNoise for 90-150cm braided cables and befaco for some very long cables (3m) - I also like the Black Market Modular cables
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Hi Garfield, thanks. I'm glad you like the introductions. I'm never sure whether to include them so it is good to have some feedback. The churchy drone is from Plaits. I love the chord setting, and find it easier to manage than the Telharmonic, which I had for a while. All the rest comes from Animoog, which I've 'discovered' and really love. I'm thinking it's going to have a permanent place in my tiny modular setup. I just need to find a way to get it to keep still!
And yes, that's Pippin. We had her for a short while and the field in the film is where we used to take her for walks most days. The final clip, where she is running through the white wild garlic, was her last ever walk! To be honest, I wasn't really keen on having a dog but once we got her she got under my skin. Still miss her, especially when we go for a walk...
Thanks again for listening from your Listening Chair :)
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Nice video, even if you didn't manage to match it with the performance ;-) I like the introductions of your videos, nice and informative!
The sound is pretty special, isn't it? Kind of church-organ in b-minor? ;-) And then that how to call it... moaning sound around 9:00 minutes? Beautifully done!
At around 11:00 and the dog at the staircase, is that the same dog? Yours? It looks funny and cute! Is that Pippin? Sorry that you lost him/her :-(
This is how a weekend should end, watching one of your interesting (partly funny too) videos! Thank you very much for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
In my opinion they are a bit (too) expensive, so I started to make cables myself but if you look for (real) good cables you might want to consider those. Kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Wow, this is great fun! You draw my attention and I landed in my listening chair with this track (the first one). You got some of the percussions nicely positioned in the stereo-field, really nice!
The bass has a real nice punch to it, love it!
Thank you very much for sharing and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
-- I got 2x tackle boxes to store / organize my cables in. In practice these are okay not great for modular cords, because the inner box divisions are somewhat small and can't be changed. I might try getting some bigger tackle boxes (or at least ones with bigger compartments) and repurpose the ones I have. The ones I have which work okay are: https://www.amazon.com/gp/product/B07R5SLQCW/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
-- for cables, I like the Ad Infinitum cables, which you can get direct or via retailers (may as well go direct, IMO): http://adinfinitummusic.com/. I like those because i) they seem to have a good reputation for build quality and my experience is good with them on quality ii) they have enough colors and sizes for me (I want all black in a number of sizes). Regarding # of cables I would say i) consider the longest cable length you would need given your setup ii) get a few lengths from smallest usable to medium to longest usable iii) get at least 5x of each length. For me, I got 15x cables in 6,12,18,24 &36 and that's about all I need for now. IMO for $50-70 you should be able to get a good set of cables which will cover a wide range of your immediate patching needs.
*Additions of more variation on the patterns from the TR-09 and a Bass note from the MakeNoise STO.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Been tinkering with this for a little bit. No, it's not a full synth; this is intended as an "expander" for my Digisound/B.2600/AE setup (with the AE being accessed by this via a Soundmachines Nanobridge) plus an interface for pedals and a translator for the MS-20 minis.
I opted for a Palette 104 here, as this allows for the utility row and tile row, which makes this work much better than if I'd done it as a tile-less cab build. The tile row offers two pairs of attenuverters which also function as utility mixers, four extra VCAs, Intellijel's MultiFX, and two of their Pedal I/Os which connect to pedals via the 1/4" jacks on the Palette's utility strip.
The module row has a KonstantLabs PWRchekr, 4ms QPLFO, Maths, and a Quadrax/Qx for modulation sources, with the MISO added for modulation transforms. Then the logic section has a Dovemans dual window comparator to pick gates off of modulation signals, an EMW Logic/Divider, a Bastl Kompas for probabilistic gate generation, a Ladik Derivator to pick gates off of CV direction changes, and a Mystic ANA for CV arithmetics. Last module is a G-Storm KVP for translating normal CVs and gates to the Korg MS-20 format (Hz/V CVs and inverse trigger/gates).
Not bad, I think...this hits all of the necessary bases to be a proper modulation expander, plus it offers logic and some stochastic functions for "complicating up" clock and/or gate/trigger behavior, and the FX interfacing. Should be a great fit...
The M32 doesn't belong in there, either. Consider how much space it takes up in the rack, and how much that space actually costs...then add it to what you paid for it. Put it back in its case as well and get a multi-tier bracket for the Moog stuff...that looks cooler, anyway.
As for the rest of the build...uhhh...OK, it's a bit apparent that you're OVERreliant on the Moogs for things such as VCAs, attenuverters/mixers, and so on. Plus, there's a lot of little 2 and 3 hp modules all over the place in between the "sexy" modules (and we'll get at that in a bit), sort of like shower-grout mold. Or something about as useful as that, because if you'd just return the 120 hp that the Moogs are stealing, you'd have room for PROPER versions of those modules, such as mixers where you can actually control your source levels (kindasorta important). And the layout is just...well, it's haphazard, very random, with no discernable order to the modules with respect to signal flow, function grouping, etc.
There's some decent modules in here...but it doesn't seem like there's any overall plan for this. Even with the Moogs in place, the remainder of the modules just don't seem to make a lot of sense. Then there's the plan to toss the Audio Damage delay...which I think is just plain nuts. For one thing, it's a pretty good dub-style delay...and if you're doing repetitive ambient work (ie: Berlin school type stuff), you NEED delays such as that to increase your sequencing density and to "canonically" shift parts of one line against each other...delay-line hocketing, basically. Plus, it has an INSERT in its feedback loop...which has massive abuse potential! Yes, I see the Chronoblob up above, and yes, it's a delay with that same sort of insert...and actually, it and the DubJr are some of the very few affordable and decently-sized delays that offer this. It's also discontinued...so if you toss it and then realize that that WAS a mistake, good luck finding another one!
"Additions" aren't the problem here. This is a build that's got some real systemic problems, in my opinion. You've got a cab here that's got the size necessary to house a KILLER module complement, but the whole thing's hamstrung by the Moogs. They're robbing over a third of your cab space which you clearly need for actual modules...as you're discovering. This would be MUCH better off if you pulled those and then worked at making a cohesive modular synthesizer build out of the odds and ends that currently occupy the rack. You can even keep some space open (which I'd suggest...3 x 104 SHOULD offer plenty of expansion room) to build beyond that. Then start regrouping modules, aiming for a layout that's way more cohesive that way. Once you do that, it should be considerably more apparent where the shortcomings are.
Smooth Random from the 2hp RND and two speeds of LFO from Divkid Instruo Ochd going into the Ai Synthesis Matrix Mixer and splitting different amounts off around the system. This is mainly for tweaking the Danny Sound Timbre which I'm really enjoying, tone is controlled simply by the 2hp Tune being plugged into the Befaco EvenVCO and one of the blended outputs from the Matrix mixer is sort of fluttering the Bias knob on the 2hp Tune. There is also some non-Timbre sound split off from the Even VCO that goes through the Omsonic FLF filter. Effects are Monsoon Clouds just for Reverb on the Timbre feed then 2hp Verb on the filter output.
Percussion from Roboux LL8 / DNi Pro DOT, ADDAC103, Patching Panda Hatz and claps and snares from Roland TR09.
Cheers for listening :)
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Right now, the go-to mixer I'm pointing people at when they need as much CV control as possible in the most convenient space would be Toppobrillo's Stereomix2. Not only does this give you CV over level, pan and AUX sends, you also have mutes on your inputs and you get a "strip to cue" function that sends your audio to the headphone jack from a selected input strip...which is INVALUABLE for live work, tuning purposes, and a bunch of other things. You could even use it as a second (manual) AUX. Plus, this is their rev.2 version, which means it's already debugged and tweaked for optimal performance. It's sort of like the Mixology...on 'roids!
-- Lugia
I put my MOOG DFAM back into its own case due to SRSR (Sudden Rack Space Restrictions) after purchasing QU-BIT DATA BENDER and SQUARP RAMPLE. I now have some 22-28 HP left in row 2 of my 3x 104 Moog 3-Tier Stand rack (depending on my sale of the AUDIO DAMAGE DUB JR MK II).
Any advise on what might be a good addition?
My Rack is accompanied by
- a ROLAND TR6s Drum Machine and the MOOG DFAM, so there is no need for additional Drum modules.
- an ERIKA DB-01 Bassline synth
- a ROLAND JU06a Poly-Synth
- a Fender Rhodes `73 MK II staging all the gear mentioned above
I've been having fun with Morphagene again, this time teaming it up with the Animoog app, along with Maths and an SQ-1. My two discoveries for the week are: 1) I can modulate the Morphagene with just the moisture in my fingers and 2) what an amazing app the Animoog is. Thanks for watching. :)
Right now, the go-to mixer I'm pointing people at when they need as much CV control as possible in the most convenient space would be Toppobrillo's Stereomix2. Not only does this give you CV over level, pan and AUX sends, you also have mutes on your inputs and you get a "strip to cue" function that sends your audio to the headphone jack from a selected input strip...which is INVALUABLE for live work, tuning purposes, and a bunch of other things. You could even use it as a second (manual) AUX. Plus, this is their rev.2 version, which means it's already debugged and tweaked for optimal performance. It's sort of like the Mixology...on 'roids!
Hmmmm...well, echoing Jim here, take the Neutron OUT of the cab. It already has its own cab and power, so when you take something that has those and put it into another case with power, you'll need to factor in the price of the space/power you're now taking up in your main cab. Seems convenient to do, but in the end it's majorly wasteful of your Eurorack case space and power...especially at 80 hp. Remember: treat your more expensive Eurorack case space as a commodity...because, at the cost of Eurorack cabs AND the necessity for that space for UNhoused modules, that space should ONLY be for devices that require it. The Neutron doesn't.
There's some other things I could suggest, but with that one synth taking up 80 hp that it shouldn't, it's hard to determine what the ACTUAL layout of this (and additional modules) should be.
Yep...if you've got tools that work, then work with 'em! The other point to going with outboard effects is that you save hp in your build...and that means more potential sound generation capabilities. Grab a small portable rack case, jam the outboard gear and patchbay in there, and there you go...AND it's still relatively portable, so if you wanted to gig with the setup, that wouldn't be much of a hassle.
Wow, one long nice track + video! Nice goody for the weekend :-) I love that sound you make with the harmonica, subtle yet beautifully done! What kind of microphone or device you use to receive an electronic input from the harmonica towards a mixer?
Thank you very much for sharing this and kind regards, Garfield Modular.
-- GarfieldModular
Garfield! thanks!
For the Harmonica I use a "geneic overseas" elektret microphone. No brand, masivley made. Cost me $15. Its elektret so its really sensitive and Full range. Uses a AA alkaline battery as its pre-amp. Sounds really clear and its very comfortable to hold in the hand and play the harmonica at the same time, way better than when I used dynamic microhones. The Battery is attached to the other end of the system.
The harmonica is plugged to a mini system which consist of VFE Klein bottle. In one channel there is a TC Electronic Flashback, in 100% wet, 7 seconds digital delay. In another channel there is a Strymon Blue Sky reverb. With each indivual channel´s "send" I choss if I want to "solo"/play notes separetely when I send it just to the reverb. Or send it also to the Flashback and "add it" to the feedback of the Delay creating a Drone. If the Fedback of the delay is at 100% the drone just adds and adds and never fades out. If i lower the Feedback then it strats to fade away. This technique is an advace way of "Frippertronics".
Also, there is another way of doing a similar thing without the Klein Bottle and with comercially available gear, since the Klein Bottle its Ultra Rare, if anyone is interesieted I could also share the information, just ask.
I replied already to your jam in the "Modules" section of this Forum. Perhaps a good idea to keep all your jams and videos in this "You" section and not duplicating it elsewhere. See below for my reaction in the "Modules" section.
Kind regards, Garfield.
Hi Dadodetres,
Wow, one long nice track + video! Nice goody for the weekend :-) I love that sound you make with the harmonica, subtle yet beautifully done! What kind of microphone or device you use to receive an electronic input from the harmonica towards a mixer?
Thank you very much for sharing this and kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Ah, OK. I'm not that familiar with the Bitbox or the Robaux, but they look fairly powerful.
For ambient sounds, I would probably be looking at adding more random modulation like a Triple Sloths and a sample and hold, or something similar. Marbles may be another good addition, but Bloom might achieve some of the same things as Marbles. A way to mix CV signals, like the Happy Nerding 3xMIA, would probably be a fun addition.
I also like low pass gates a lot for plucky percussive sounds. They can be fairly inexpensive and can act sort of like a filtered VCA. A nice wavfeolder could give you a new range of tones too.
I also live in a place where there aren't many people interested in synths. Not even my friends... haha.
Welcome to MG! Have fun and good luck.
Wow, one long nice track + video! Nice goody for the weekend :-) I love that sound you make with the harmonica, subtle yet beautifully done! What kind of microphone or device you use to receive an electronic input from the harmonica towards a mixer?
Thank you very much for sharing this and kind regards, Garfield Modular.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
The heart of the system is the bitbox.. Which has reverb and delay, adsr, vcas, mixer, a ton of sounds (v. Per octave) plus drum sounds build in, the bitbox was my first module from which I build around.. The stereo mixer in the case was used mostly for submixes for the effects..
I often patch things up, sample those and do percussion.. I also own a punch of soma labaratory gear which is fed into the 4ms input (generates trigger, envelopes..) and then I experiment a lot..
I live in a place where nobody is interested in synths.. So I really enjoi this conversation 😉
I mostly do ambient stuff, but not only..
I like to trigger drums via the robaux on the bitbox then filter up stuff via belgrad, clock for the sequencers (Pam, robaux) is Coming from Pam's (which is also do much timesynced modulation)
For ambient stuff I use rings and 4ms resonator into clouds and the tapo delay (stereo),percussion triggered via robaux on bitbox.. Modulation from the xaoc zadar and batumi and my 6 vcas..
The neutron is my lead synth.. I often use it to bring a bass Melodie idea in and build up..
OK.. Thanks!
The hel expander was a mistake.. On its place there is the xaoc poti..
There are both, mono and stereo processing..
I mix my things up via a 1010 bluebox which I own.. Enough mono and stereo channels..
I have 6 vcas which should be enough I think?
I have 4 lfos, 4 envelope generators, the Pam's new workout, envelope followers for modulation...do you think this isn't enough??
I have a Buffered mults, and a passive one plus 2 passive ones on neutron..
I have 2 sequencer channels (bloom), I trigger drums and envelopes via the robaux.. A tuner is still in (zeroscope)..
The behringer gives me some modules I don't have in the case.. (noise, random, slew limiter, 2 more adsr, 1 lfo, oscillators, overdrive...)
I don't think it's to bad?
Looking out for math in the future..
Please let me know if I have make thinks clear?
I don't think I thr is a random collection.. Best reinhard
Yeah, without knowing what kind of music you are doing, or if you have any other gear, it's going to be hard to guide you on anything too specific. I'm in agreement with Jim that this doesn't look like much research was conducted prior to building a playable instrument.
Fill us in with more details on what you are trying to accomplish with this. How do you see Eurorack solving a problem?
Hello!
I uploaded my 1rst video on a youtube account from a Hardware Live Ambient Drone Generative track.
Its far from 100% Eurorack, actually just 3 modules modulating the Hardware synth, so feel free to delete this thread if unappropriated. I thought you might like it and there are more modules on their way so music will be more Eurorack as time passes.
it looks like you threw a random collection of modules that generate and process audio and some that might trigger them, for the size of the case a poor showing of both modulation sources and utilities and what there is is not enough - not a lot of research - and misunderstanding of what modules actually do - you'll have a hell of a time using hel without odessa
try counting the number of each type of module you have - you have sound sources, sound modifiers, modulation sources, sequencers, trigger sources and utilities
are the sound sources stereo or mono?
will the effects stereoize mono signals?
have a think about the ratio of them and what they are used for and particularly how you would use them when patching
think about how you will listen to this - do you have enough mixer channels, do you have enough vcas, do you have attenuators (or any other tools for sculpting modulation)?
how many sequencer channels do you have? how many voices that use v/oct? how many buffered mults? do you own tuner? do you have on on your phone?
take the neutron out of the case - it's a waste of space and money - the neutron already has a case and power supply
this will free enough space for ample utilities and modulation sources to support the shiny feature modules that you have in your case
there's no point buying lots of sound sources and sound modifiers and ways to play them, if you can't listen to them for starters
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
no idea about Befaco Percall - although I have a few of their modules and power supplies this is not one of them - they are usually pretty decent - all mine are diy - I think SynthDIYGuy does a good youtube demo of this module (he often builds them and then demos them sometimes in separate videos)
modulation? big topic and I see you asking about utilities too, here's my take:
in my opinion:
you are better off with fewer sound sources than sound modifiers
you are better off with fewer sound sources than modulation sources
you are better off with fewer modulation sources than utilities
where modulation sources and utilities are at least 50% - possibly more if sequencers and any output modules are to be considered utilities
this is because:
you can mult (utility) a sound source and send it to multiple sound modifiers through separate vcas (utility) opened and closed by different envelope generators (modulation)
you can mult (utility) a sound modifier and send it to multiple mixer (utility) or vca (utility) channels
sound sources and sound modifiers usually have quite a few modulation inputs each some of which may need attenuators (utility) before them
you can mult (utility), modify (utility) and mix (utility) modulation sources and send them to many modulation inputs
etc etc - see how often the word utility pops up
but a sound source could be a trio of VCOs, or a complex oscillator, or a complete voice or have 3 outputs and get counted as 3, or also be an lfo and get counted as modulation too or a modulation source could be a quad in which case it probably counts as more than one
what it boils down to is in all probability you will need more mixers of various types and cascading vcas and other utilities than you think you do now
but take all this with a pinch of salt - but - it depends on you and how you patch - for example you might need only one or 2 vcas per voice, you might need 10, you might want 16 you might not want any
buy modules as you feel you need them.. if you think you could use another XYZ module then pick that up - that's why it's useful to have a swiss army knife module such as disting - you can immediately grab that extra vca or delay or whatever that you need and if you keep needing it replace it with an actual module and then disting is free to plug whatever gap comes up next
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Hello!
I'm new to modular, but have been doing analog hardware live sets (actually playing live regularly) for 3 years, the last year I´ve been live streaming over the internet regularly.
I'm a multi-instrumental musician and Audio Engineer, so everything modular seems to be in a steady learning curve so far.
I want to create an ambient / generative / drone system, with many musical elements that come and go, takeing "turns''.
So far I have a XOAC Devices Butami and Doepfter Quad LFO. My idea is to have each of the 4 segments of the LFO (using either module) to modulate the Level and effect send of each element. As the level of each element drops, the effect send goes up into a reverb, and the sensation would be that each sound disappears into the background. So far i've been doing this manually with the mixer level and effect send, but with modular I know it can be modulated in sync automatically.
The LFO`s rate I am considering are between 4 and 8 minutes, so each element fades in and out really slowly.
I dont have the Mixer/VCA yet, which I can assume is the key element for this.
For what I can imagine, I need a mixer with CV over Level, and Aux send.
Also, since I mix in mono, I thought that maybe PAN could be used as "dry vs effect" instead of "L vs R", modulating the Pan of each channel and having L be Dry and R master output into the Reverb (with 100% wet mix) and then having for signals summed into the sound system in mono to both channels. So instead of panning from left to right, panning from near to far.
A 2nd aux send (or 1 if pan is used) is needed to as a second effect send for sonic manipulation. Though having CV would be great, it's not necessary for the 2nd one, I can do this manually.
So far I found these:
-XOAC Devices Praga: CV over level and pan, 1 extras manually controlled effect send.
-Qu-Bit Electronics Mixology: CV over level, pan, and send, looks like a candidate.
-Intellijel Dubmix: DISCONTINUED, CV over pan, aux send, each track master level manually controlled.
*with AUX Expander I can have a 2nd and 3rd AUX send both with CV control.
Also, I found these modules that maybe can do the job, but i'm not sure of what they actually do, so im might be wrong:
-4ms VCA Matrix
-Non Linear Circuits Clump or Cluster
-Grayscale VCAM
Thanks so much for any information, confirmation, feedback, or any other semi-off topic discussion.
I just started a youtube channel for uploading the live sets, I just uploaded the first one, if you want to hear what this is all about.
In this live set I have the Quad LFO into some of the elements Level, having a simpler version of the system im planning.
Here is the link with the first video, though other videos will probably appear as time goes by:
I forgot to mention, I find that the Moffenzeef modulation and utility modules are really interesting and unique if you can still find them somewhere. His voices and noise sources are a little more limited in my book. I have the Moffenmix, Mito, and Deviant and love them. I got rid of the Muskrat though. It was one of those things that I just couldn't fit in anywhere. All of his stuff is weird, but not always in the most useful way. YMMV.
Alright, here's my take. I left your modulation sources alone for the most part and concentrated on voices and mixing. I've been researching similar rack ideas and noise sources myself.
I replaced Manis with BIA. BIA is so powerful and Manis ultimately seems a little limited and same-y to me. It's just not quite as versatile to me.
The MCO seems like a completely overlooked oscillator. It's got PWM, digital noise, and a sub-octave out in 6hp and under $200. I would use this and the Patching Panda Shuby linear feedback shift register to create your own percussion with the Patching Panda Punch v3. That could negate the need for the Crater.
You already have a PLL with the Interstellar Radio (the only module I regret selling), so the Doepfer PLL might be a bit redundant. I added the 100 Grit filter and Dark Matter feedback mixer just because they are so gnarly. You could probably eliminate the 100 Grit if you want to just use the Serge for filtering. You could probably also eliminate the 3xVCA and add a Bastl Waver for gnarly wavefolding since you have the VCAs in the Patching Panda, Befaco, and Dark Matter. Always a consideration with noise racks should be the X1L3 modules (Shard, Underwurlde, Wreckage). I've got the Shard and it's impossible to tame.
I would have a lot of fun with this rack. Let me know what you think.
