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Great sounds once again. I swear the Serge stuff just sounds so natural. Woody and watery. Awesome.
-- farkas

Not surprising if you know the history...Serge Tcherepnin cooked up a set of basic modules with a lot of the sound based on Buchla gear. He came up with it because there was too much squabbling going on over CalArts' Buchla gear, so what he did was to set up an ad hoc "assembly line" that had builders setting up soldering stations on courtyard balconies there, passing the modules from one balcony to the next...builders paid for the boards and components, plus a prepunched panel full of holes which you then covered with a paper control panel layout then jammed the pot shafts and jacks through this.

Quite an interesting cast of characters were in the assembly line, too...two that I know of offhand were Kevin Braheny (best known for his Hearts of Space releases back in the 1980s/90s) and Chaz Smith (instrument builder and steel guitarist extraordinaire). But that Serge sound owes a lot to the Buchla 100 and the beginnings of the 200 systems.

Yeah...I don't recommend putting diagnostic gear into a functional synth build...but if you DO have a large setup, having a little "test pod" like this is damned useful. For one thing, it's small enough that you can move it around to where it's needed. And the O'Tool's functions are also pretty useful for checking calibration, etc on most ANY musical instrument, so this is set up so that it'll take any typical synth patchcable and you can still set up the 3.5mms on the pod to do any sort of test you'd normally do with a NON-modular synth. Plus, if you want to "relic" some calibration settings on a synth so that you've got a bit more of an "aged component" sound, you WILL need several instruments such as a frequency counter, voltmeter, o-scope and so on...or, just this pod.

Hi Mowse,

Wow, that's fantastic, congratulations on your album! Your above track is amazing... are you going to release this on CD and/or record, if yes, please let me know how/where to get this?

Thank you very much for sharing and kind regards, Garfield.

Nice patch!

EDITED Mar 8th 2021, 11:24

Hi Sacguy71,

Interesting post, I am about going the same path as you do, looking into a new studio setup with lots of things to consider... (lots of work and time)

For a board I am looking for a digital one, not much on the market though. I end up with either the PreSonus - StudioLive Series III or with the Allen & Heath - SQ series (the QU series is nice however not as flexible as the SQ series and just flat stiff compared to the very flexible PreSonus). Both are expensive however the Allen & Heath is topping that, not only with the mixers but with the Staging-boxes as well, kind of "forcing" me to end up most likely with a StudioLive board.

Pros and cons I see between those two, I focussed here on the main parameters however if I have overlooked an important one, anyone, please feel free to mention it:

• 48 channels on all models of Allen & Heath's SQ series, 32 channels on 32x StudioLive boards and 64 channels on 64S
• 24 DCAs for StudioLive and 8 DCAs (and 8 mute groups) for SQ
• 8 FX channels for SQ series, 4 FX channels for all StudioLive Series III models except 64S that has 8 too
• (Flexible) Mixes most StudioLive have 16, the 64S has 32, the SQ series have 12 mixes
• User definable keys, SQ has 16 of them and StudioLive has 8
• Allen & Heath SQ series SQ6 has 4 definable encoders and SQ7 has 8 definable encoders, the StudioLive mixers have none
• Allen & Heath stage boxes are quite expensive, PreSonus not only has cheaper stage boxes, rack mixers can be used as stage boxes as well
• Allen & Heath without extension card the board's USB can "only" handle 32x32 channels, PreSonus 64x64 standard
• Allen & Heath is very much oriented for right-handed persons (I am a left-handed person), PreSonus does that as well but less "heavy" as Allen & Heath
• Allen & Heath has the option to add a Dante optional card so one is ready for the (future) audio networking, PreSonus doesn't offer Dante at all (not onboard at least) and one has to use PreSonus' AVB networking. Just recently PreSonus came out with the AVB-D16 "Dante Bridge" as PreSonus calls it; in that way one can use StudioLive boards in a Dante audio network

Well there are tons of parameters more you can compare, I made quite a big spreadsheet for myself to compare the bigger models from SQ series and StudioLive and on some levels Allen & Heath seems to be better to me and on other levels the PreSonus seems to be better. What I feel interesting is that the PreSonus StudioLive Series III seems to be a lot more flexible then the SQ series from Allen & Heath. Allen & Heath SQ series managed to be much more flexible than the older QU series however to me it looks that it can't compete with the flexibility of the StudioLive series III. Flexibility seems to be important to me.

Well, that are my 2 cents ;-) Good luck and please keep us updated with what you end up with. Kind regards, Garfield.

YEAH!!! Congrats!
I'll listen to this on my commute tomorrow. The first track sounds great.

Hi TumeniKnobs,

Hoooo-ooooh, that's a nice relaxed track and this touch with the birds is just lovely. It's already Sunday and the end of the weekend, asking the sandman soon to fill up my eyes, your track definitely will help me in a beautiful closure of this fantastic weekend, thanks to you! :-)

Thank you and kind regards, Garfield.

Thank you both.
I like the sort of Fluxus approach to creating a one-take, living, flowing sound with all of the dirt and ugliness left intact. @troux, the drone siren sound is a rare overdub from the Prophet. I'm usually super uninspired if I sit down with a plan and start overdubbing tracks, so I typically only record and share when I feel a certain energy. It feels naked and authentic for me to approach music that way (even if it demands patience on the part of the listener. Haha).
Thanks again, and have a great week.

Hi ModLifeCrisis,

Nice track and Plaits is indeed an interesting module, I use it most of the times as well, there is always a nice (unexpected) sound coming out of it.

Thank you very much for sharing this and kind regards, Garfield.

Six months in the making, my first modular synthesizer album: Reticulating Splines. This is collection of eight tracks explores vast spaces and distant points of light. I hope you enjoy it.

Hi Farkas,

He, he, yeah! Nice long track, bit dirty but still easily within the acceptable, I don't mind to hear more of that kind of dirt :-)

Well, thanks a lot for sharing "your dirt" ;-) and kind regards, Garfield.

Nice tune @farkas, I'm really appreciating the sound design in this one, that faint background howl/drone is a great icing on the cake to the gritty vibes here. You need to post more often!

I’m yet to buy a wavefolder but still deciding between tip top, Intellijel and Doepfer . Any suggestions?

I would recommend taking a look at the Joranalogue Fold 6. I'm very impressed with that one.
Do I need more vca’s I have two built into Braids and Plaits?

Yes. If you would like to modulate your modulators... fade LFOs in and out, etc.
Is there an advantage to buying a dedicated fx module, like fx aid xl?

I think so. Modular effects typically allow for CV control of multiple parameters. That's not something you get with pedals or most other hardware. You can automate things in your DAW, but that's not as fun. :)

I’m finding that a lot of my patches somehow end up using maths in the signal path and I end up messing with that thing for hours as soon as I see another flashing blinking light show up which as a jack near it. What else is like this?

Quadrax with the Qx expander, Stages, and Befaco Rampage come to mind. There are plenty of cool modulation sources that would benefit from the addition of logic modules and a small matrix mixer too.

-- greenfly

Have fun and good luck!

Hi Baltergeist,

Oh that are three lovely tracks. The tension and the atmosphere you build up there are just fantastic! For me that sounds like great sound tracks for a great movie :-) The "Murder Hornet Draft" is for me my favourite number one, lovely track!

Thanks a lot for sharing this and kind regards, Garfield.

Hi Brunomolteni,

That's an interesting jam you got there! He, he, the first few minutes when listening to your jam it somehow reminds me a bit of the older Dead Can Dance style of music ;-) Just a bit of Lisa's Gerrard voice and that's it mate :-)

Thanks a lot for sharing this and kind regards, Garfield.

Hi Lugia,

That's a very interesting idea indeed. Thank you very much for sharing this with us :-) Kind regards, Garfield.

Great sounds once again. I swear the Serge stuff just sounds so natural. Woody and watery. Awesome.

Hi Steve,

Oh, that's a great sound! Yummy :-)

Can't you do a bit more of that sound? It's a sound that begs for more! Thanks a lot and I hope to hearing more from your Serge style, kind regards, Garfield.

Opting for an Intellijel Shapeshifter but discovered two kinds of faceplates. Now I’m wondering if it’s only the faceplate that’s different or perhaps also the firmware. I see ones where there is only Shapeshifter mentioned on top (and one red marked output), others have Cyclonix Shapeshifter on top (with all black marked outputs).

Just had some fun recording this gritty thing.
Sound sources are mostly the FSS Gristleizer TG2, TG3, TG4 with some AJH. Plaits on kick, DrumF*ck for the noise clap, Crucible for ride. It's pretty dirty.

If you want to learn instead of hiring out, then...

I took mix & master classes from a strong engineer (Friedemann Tischmeyer) at https://www.mastering-academy.com/ I would HIGHLY recommend this training if it is of interest and in budget. It greatly advanced my mix & master abilities.

Alternatively (and cheaper) IMO the mix videos on SonicAcademy.com are quite useful for EDM style genres. PureMix.com has great stuff for rock, pop, etc. Steven Slate's training videos and sessions (with CLA, etc.) are also very strong. So there's good stuff now available in video format.

Hi, congrats on your new home and studio space. IMO a comfortable sized studio with room to change / grow / breath is great!

Responses to 2 of your questions:

MONITORS: I have Adam Audio SH3 monitors. It was a big investment for me BUT is a great step forward for my studio, mixing, mastering, etc. I had previously used very good "hi-fi" speakers for my studio. The Adam monitors make my prior ones sound like trash. The Adams are like "x-ray" hearing into a mix, it is CRAZY what I can hear in a mix with good monitors vs. with lesser monitors. So what should you get? I DO like the Adam Audio line a lot and would suggest you check out something in that line that fits your budget and space. If not the Adam Audio, then I recommend finding another solution that is well used and well loved among studio professionals (e.g. mixers, producers, etc.). A call to a good "sales engineer" at Sweetwater or Vintage Audio King can help you find a good candidate set of monitors--they know what monitors are well used and loved in studios of different sizes & budgets.

ROOM ACOUSTICS: Room acoustics are a real problem, not easily solved, and depends quite a lot on the specific room, monitors, and your objectives. There are some basic "no regrets" moves to do with setting up a room, like getting your monitors far enough from walls and other reflective surfaces. Also, bass is typically a big problem if not the worst problem in a studio; getting bass managed will help wrangle in the other issues. I have learned a lot from https://www.acousticfields.com/ and the text / videos they post. I HUGELY recommend the Reference 4 system (software plus calibrated mic); measuring your room with that AND physically measuring your room's dimensions will go a long way to identifying your problems and potential fixes. Once the Ref4 has identified some problems, IMO better to fix those with room treatments (instead of custom equalization) BUT the EQ curves actually sound pretty good these days. I would say don't expect to find a "set and forget" solution for the room, but rather some solutions and approaches which help you get better results with solutions you're willing to pay for. Example: my best guess is my current room needs $4-8k of bass treatment with units weighing over 200lbs each; I'm not willing to do that now, so I'll use Ref4 etc. to get the best out of my near-term setup.

Good luck!

EDITED Mar 7th 2021, 21:22

Ha, I think this has do go down as one of my favourite threads on here. :)

What a great read!

As the title implies, more fun with my Ciat-Lonbarde and Lorre-Mill instruments, Mother-32, along with some Monsoon and Beads and various pedals.

Pretty sure these will end up on the next release, but with some tweaks and edits.

Patch Notes:
XODES TP8 as finger-controlled mixer, mixing 4 different waveforms from Eowave titan and Instruo Ts-l as lead/bassline, going into Serpens Sirius to filter into a Takaab LPG and into Dreadbox Splash to get reverb.
Calsynth Rangoon as stringed instrument going into Mimeophon for real-time delay and beat-repeat.
Erica Pico Drums as bass drum.
XODES LB5 as logic noise into LPG as snare.
Mutable Instruments Stages as envelope generator and LFOs
Doboz XIIO as arpeggiator and note controller.
Robaux LL8 as gate sequencer
Super Vcas as vca and mixer.
Synthrotek MIXIV as mixer
Music Thing Startup as mixer and clock generator.
ADDAC Floor Control for Expression Pedal control.

Sunday March 7 - OK OK I know this is a cliche, but I just wanted to do it... At about 8:15 this morning I dropped my Zoom H4N out in my backyard and recorded the many birds that hang out in my garden. I then sat at my modular rig, made this patch and hit record. I bring in voices and modulation progressively to the midway point then dial them back again. I probably heard about 15-20 different kinds of birds while it was recording, and had a few close fly-bys so you will hear wings flapping. This recording is about as raw as it gets - I didn't really edit anything - I just added some shimmer verb to the birds - that's it.

Updated with new version of the recording. It is exactly the same patch, but I made a lot of subtle changes.

Modular Ambient with Birds, March 7, 2021 Patch Notes

Master Clock from PNW

Voice 1 Routing
• Keystep Sequence Pitch Out into Erica Black VCO 2 1v/Oct
• Saw out into QPAS Left
• Pulse out into QPAS Right
• QPAS LPF Left and Right into Quad VCA
• Envelopes from Quadrax
• Envelope Trig from PNW Euclidean trig
• Quad VCA into Mixer
• Mixer channels panned hard left and right
• Mixer into Mimeophon
• Mimeophon to Main Outs

Voice 1 Modulation:
• VCO internal modulation LFO on both saw and pulse
• PNW LFO into QPAS Frequency
• PNW LFO into QPAS Radiate Left
• Maths Ch 1 Unity Out into QPAS Resonance
• Quadrax LFO into QPAS Radiate Right

Voice 2 Routing
• PNW Euclidean trig into M32 Tempo CV in
• Mother 32 Sequencer to internal saw wave
• M32 VCO Pulse out into External input
• Mix at 50% but modulated
• M32 VCA Out into Mixer
• Mixer to Mimeophon
• Mimeophon to Main Outs

Voice 2 Modulation:
• M32 Internal LFO triangle on PWM and Cutoff
• PNW LFO into M32 VCF Cutoff
• PNW LFO into M32 LFO Rate
• PNW LFO into M32 Mix CV
• Maths Ch 1 into VCF Resonance
• Maths Ch 4 Unity Out into Mixer Pan CV in

Voice 3 Routing
• Plaits Wavetable tuned up a 4th
• Plaits into Ripples
• Ripples Bandpass Out into Quad VCA 3
• Ripples Lowpass Out into Quad VCA 4
• Envelopes from Quadrax
• PNW Euclidean trig into Quadrax CV in
• Quad VCA into Mixer
• Mixer into Mimeophon
• Mimeophon to Main Outs

Voice 3 Modulation:
• PNW LFO into Plaits Timbre
• PNW LFO into Plaits Morph
• PNW LFO into Ripples Frequency
• PNW LFO into Mixer Pan CV in x2

Mimeophon Tempo sync from PNW

EDITED Mar 9th 2021, 13:50

Ok this is what I have so far. The bottom row is a 84hp Nifty case and I want to turn that into a dedicated drum rack, the top 2 rows will serve as synth voices and are 121 hp.

So I will be moving things like the BIA to the drum rack but what else would you move/add? I’m quite liking the Vpme.de module

I have had previous advice from Lugia who has been wonderful and I took on board many of his ideas and suggestions. I’m yet to buy a wavefolder but still deciding between tip top, Intellijel and Doepfer . Any suggestions? For now I have that kind of idea on the rubicon 2 and I have an algorithm in Braids. I like the intellijel Wavefolder one though as I use it all the time in Softubes modular and was the reason I bought the hardware version of the rubicon too. For his logic module suggestion I have these in the distings and I think I need to learn how to harness these better before I buy a dedicated module.

Do I need more vca’s I have two built into Braids and Plaits?

Is there an advantage to buying a dedicated fx module, like fx aid xl?

I’m finding that a lot of my patches somehow end up using maths in the signal path and I end up messing with that thing for hours as soon as I see another flashing blinking light show up which as a jack near it. What else is like this?

Please don’t ask about my chipz and cellsz from cre8audio. The less said about them the better. If you are a newbie reading this stay away from their cheap as chipz(sic) products and invest in something like the BIA instead who account for drawing 5v power from 12v rails and also give you the option of using dedicated 5v If required. They will blame everybody else even you if you try to contact them and not take any accountability for poor design.

I’m in two minds about fx and a better mixer as I’m probably more inclined to record into Ableton/Bitwig And so the Es8 is really great for that side. I don’t plan on live shows lol..I’m not mylarmelodies but he is a constant source of inspiration.

Is there anything essential I am missing?

The Hermod is going to be paired with a Digitakt.

I know all this sounds mad and erratic and I know maybe the advice maybe to learn what I have but this is taking me back to what I loved before I became very DAW focused, it’s not knowing and making music that has awakened my passions and I just want to keep wiring jacks without really knowing fully what the desired effect will be. I hope some of you may be able to relate?

Any help would be appreciated? tia

When get is high, LFO passes through to VCO FM input, when it is low, S&H freezes and sends out LFO CV value at the time of the gate change.

When gate is high, 5v goes to switch, letting signal straight from LFO to go through. When gate is low, switch instead outputs signal from S&H to FM in of VCO.

Gate to S&H control in first is inverted so becomes -5v when high, 0v when low. Then it is run into a +5v offset so that when it is high, the control signal going to the S&H is 0v but when it is low, it goes to and stays at +5v so the S&H samples only then and holds that value.

To reverse (value held when gate high, LFO passes through when gate is low) just swap that A & B inputs into the switch and send the normal gate into the S&H control input with no inversion or offset.

EDITED Mar 7th 2021, 18:46

Oh I wasn't trolling you @syntasis! Your rack is certainly very small by the standards of the MG faithful.

Hi all,

I have finally moved into a much larger house with tons of new extra studio space for my modular gear! Looking for ideas and tips for the following:

1. Desks what large comfy desks work great for massive eurorack rigs that don't cost a fortune or require lot of custom building
2. Monitors- what studio speakers do you like and why?
3. Sound proofing for acoustic treatment. I want to sound treat for ideal recording situations for my new Youtube channel that I plan to setup in the future.

Thought I'd take a Serge crack at this one too and see how they compare, check it out:

https://stevehand.bandcamp.com/track/tuesday-acid-serge

I have had a first go at creating a Krell patch with MI Plaits, Maths and the 2HP RND, plus a few other bits and bobs.

I continue to be interested in the Buchla format and was very surprised to learn that much of the 200e series is digital. Learning how the 25e Buchla oscillator works made me take a closer look at my Plaits module and I have come back to it with increased respect and a desire to see what I can coax out of it. It's not like a Buchla module, I realise that, but I am finding that the more I learn about Don Buchla's work and designs, the more I learn about synthesis and patching in general. I have also been watching Todd Barton's videos over at his Patreon site. This is a great resource, especially if you are new to modular like myself.

Hope you enjoy my video. If you do happen to like it, please can you click the 'thumbs up'. It makes me so happy! :)

Great ideas! Thank you for sharing.

There is an expansion port on the back to add more features. There will be at least one expansion in the future. Can't make any promises on what the features will be at this point.

The module does normalize inputs to their ascending outputs. For example, if you plugged a signal into input 1, that signal would be copied to all of the outputs 1-9. If you then plugged another signal into input 3, input 1 would be copied to outputs 1-2, and input 3 would be copied to outputs 3-9.

The module does not sum all inputs to one output. That is a function I am looking into for the expansion. You could use a summing mixer to accomplish this.

EDITED Mar 7th 2021, 17:35

Great idea. I've recently found myself in need of several of these functions. Will put the O'Tool and Test 3 on the list.

Thanks guys :)
I plan to add a Prok Clap module to my rack at some point, but then Claps and extra hats come from the Roland TR-09.
I prefer a Clap over a Snare.

@the-erc N0 plans for a CD at the moment but I'll make it available digitally when the last few cassettes are gone. I guess using size as an adjective for a rack isn't the best as it's all relative! I was comparing to some of the impressively big racks that I see here and other places :)

Nice work! Love it when the claps come in towards the end.

It would be cool to also have the option (jumper on the back maybe?) for the outputs to be normalized to the next allowing for manual playing of multiple modulation sources (LFO at different subdivisions, etc) on-off to be fed to one destination, etc.

Just a suggestion. :)

I've been super impressed by my O'Tool Plus so far, I'll have to check these other modules out. Thanks @Lugia.

Built up a little something...this is a test bench build for Eurorack.

This uses a powered 4ms Pod 48X cab. From left to right:

A CG Products PCV3 and a Mazzatron Testy allows you to test ANY synth patchcable...1/4", banana, and 3.5mm.
The Animodule TrAniModule gives you a 1 watt output amplifier and speaker to check audio outs.
The Joranalogue TEST 3 lets you check individual module current draws and other important DC level checks.
A 2hp DC gives you three possible fixed voltages...very useful for checking CV scaling and tracking.
The big draw here, of course, is Jones's O'Tool's latest revision, offering frequency measurement, an o-scope, voltmeter, and a pile of other test functions.
And last, a Metro Modular Test Eagle Option 10 gives you four dual bananas for connecting external test gear, with appropriate impedance and level settings for typical devices of that sort.

This isn't a synthesizer, of course...but if you have a sizable Eurorack (or other) modular rig, a little skiff like this with these sorts of modules definitely gives you 95% of the key test functions you need to keep that synth operating to spec.

Not really...if you compare it to the Maths, for example, you realize that the Contour 1 is a bit more like a Serge USG, so you can define the attack and release of the envelope follower function with it. But at the same time, it won't be an exact envelope follower, as this will tend to slow down the response to changes in amplitude, and a real envelope follower should track those changes a bit more "precisely". So while this might work for a sustained signal source, it won't work so well for something expressive...say, for example, if you wanted to play lead guitar through the synth, you'd WANT the exacting envelope follower output values so that you can continue to capture the guitar's true dynamics.

Daaaamn...that's a serious blue cat there! Awesome eating!

Seriously, funbun, you need to get up to Nashville and try out the rockfish thing down below Percy Priest dam during generation. Won't need a boat...just find a good bank spot and when they sound the siren, get something in the water! Those rocks go BONKERS!

Along Jim's lines about filters...yeah, having two different filter characteristics on hand is VERY useful. My take on the "character" VCF would be to go with a Steiner-Parker Synthacon filter...having had a Synthacon and gotten to appreciate the level of "yowl and shriek" that that design can do, it has always struck me as one of the best choices for a "lead voice" out there. Check Tiptop's Forbidden Planet VCF...probably one of the best versions out now in terms of space (8 hp) and super-simplicity. Another great is Doepfer's MS-20 Sallen-Key version, the A-106-1. Not only is it capable of a lot of different timbral colorations, its resonance path has an INSERT point in it...which allows you to mess with the filter with some non-filter things, like delays, wavefolders, distorters, and the like.

MIDI, though...since you want to use a keyboard controller, you may as well have a MIDI interface that knows what a "class compliant" controller is instead of going thru some other MIDI interface from some other synth, etc. So for that sort of thing, plus expandability (up to 64 assignable CV/gate/trig outs), have a look at Expert Sleepers' FH-2.

Lastly, probably one of the best values in modulation signal screwery has to be Tiptop's MISO. $99 for a tool that can make your mod signals do backflips is 100% worth the price of admission! Either it, or 4ms's SISM...either are ultra-useful.

Yeah, it's a bit of a problem...but according to Perfect Circuit's specs, the 2 x 140 has 3A on the +12V rail and 1A on the -12 and +5V rails. But this only seems to be an issue on the -12V rail, since the build I specced was 887 mA on that. Everything else is within tolerances. Plus, the only ones on that -12V rail that do concern me (Braids clone, SWN, Zadar, Timizoara) don't appear to have significant -12V draws in of themselves, or they don't draw from that at all (BitBox). The big thing to watch, IMHO, would be dealing with B.'s "zone" configuration, as that master output gets split up sort of like how the Arturia Rackbrutes deal with the same issue.

EDIT: Saw this in another post of Jim's: https://www.perfectcircuit.com/wmd-soft-start.html A handful of these on your worst start-up draw culprits should smooth out that -12V rail at startup.

EDITED Mar 7th 2021, 02:10

Hi Funbun,

Great video, I love it! Beautiful environment and river, so jealous :-) Of course nice sounds from your AE system that goes along with the video too!

Ha, ha, so bad luck the first time just before 02:00. Better at 04:00+ :-) Oh come on... at just before 06:00 you are making me hungry with that beautiful piece of fish in the pan! ;-)

Good video and nice entertainment, thank you very much for sharing this with us and kind regards, Garfield.

Hi Mowse,

He, he, that's a nice fun jam. I love the playfulness of this jam. It's a great enjoy to listen at it.

Thanks a lot for sharing this with us and kind regards, Garfield.

I think the deadline is early April @the-erc.

I really love the WMD C4RBN, analog, multi mode, 4hp and with wave folding and saturation options.

EDITED Mar 7th 2021, 00:43

This: https://www.modulargrid.net/e/g-storm-electro-delta-vcf-8hp
-- Lugia

Watched the demo. I see why you like it!

Track sent.
Flying Species - Hypnotic Flight in Psychedelia (7:51 - 140 bpm)