True and back then before modular became popular, bands like KMFDM, Skinny Puppy, Funker Voght and Front Line Assembly were using hardware synths like Roland SH-01, Korg MS-20, Nord and Access Virus.
True and back then before modular became popular, bands like KMFDM, Skinny Puppy, Funker Voght and Front Line Assembly were using hardware synths like Roland SH-01, Korg MS-20, Nord and Access Virus.
Thank you Lugia for the great explanation! I think getting an Akamie's Castle module for FM
and Waldorf Wave table oscillator with VCA and VCF works for wave table synthesis.
Regarding granular synthesis, is this even possible on modular gear or is it too complex and expensive?
Normally computers do this but I'd be curious if modular can do granular synthesis and how to do that as well.
The basic PPG signal chain is a digital wavetable oscillator into an analog VCF (lowpass) to an analog VCA, with analog control over the whole thing. Very simple. That right there would be more or less a PPG Wave Carrier, save that the bit depth/sample rate of a present-day wavetable oscillator would be a lot higher than the original, which was rather gritty and aliased like crazy at high frequencies (which, in truth, was an asset as you could work that aliasing into patches in interesting ways).
As for FM...that can be as complicated or as simple as you want. An Akemie's would work, or a couple of Doepfer's TZFM VCOs, or just combining basic sine VCOs with arrays of EGs and VCAs to build the operator chains yourself to get the classic Chowning methodology in analog. That can be a bitch to program, however. Plus, as Yamaha found, having some sort of filter after that generation section helps that sound out a lot.
The other 'got done a lot in digital' method is, of course, additive. But that's sort of nightmarish in analog: you'd need a sine VCO for each partial with the proper offsetting on each so that all of the VCOs track properly, then a VCA for each with its own DADSR (yes, you want a delayed envelope in all cases) to control the VCA amplitudes, with all VCAs summing into a mixer with individual level controls. On the other hand, doing additive this way allows a lot of inharmonic partial settings, possible phase-shifting of various partials...but also, a potential brain hemorrhage from trying to keep the whole mess programmed!
Yeah the Waldorf and Akamie's Castle would fit the bill for wave table and FM synthesis in a Eurorack! Do I need lots of VCAs and filters for those two modules? I think having FM, wave table and the few industrial niche modules plus utilities, power/case and some Erica Synth pico modules would make for a fun portable setup. I don't have 50k plus like our wealthy friend on here. Something like this might work?
Of course I would take out the Sputnik touchpad and have it separate to free up rack space for other modules.
Mind you, it uses that now...but if you wind the clock back to the inception of industrial, West Coast devices didn't enter into the game at all. Throbbing Gristle, for example, was one of the first 'major' artists to make major and consistent use of a Roland System 700, which is very Moog-like in its architecture. Daniel Miller started off with an early Korg monosynth. Cabaret Voltaire were very much into Roland and Yamaha stuff, along with Chris Watson's prominent use of a Vox Super Continental.
The first West Coast industrial user I can recall off the top of my head was Naut Humon, of both Rhythm & Noise and Tipsy (much later), who had some direct connections with SMS and Serge back in the late 1970s/early 1980s. And he, naturally, was on the West Coast, based in SF. It wasn't until considerably later, after the modular 'purge' starting in the mid-1980s up into the early 1990s, that you saw a lot of Buchla and Serge use by users outside of either academia or the segment of the pop industry that had bushels of cash necessary to spend on such things. But it was also that 'purge' that allowed that to happen, as prices on these things plummeted; I still kick myself over letting an 11-panel Serge 'blue panel' system plus modular video synth get away from me back in the early 1990s because I didn't have $3500 to drop on it. Of course, these days, you may as well add an extra zero to that figure along with a lot of other upward math.
I want to build a rack that has modules to use for exploring FM and wave table synthesis! Besides the industrial sound from modules like Subconscious Communications, Trogrotronic, and Metasonix, what would you recommend for such a rack and why?
I figure that I can have my one row of industrial special modules and one row for FM and one for wave table!
Wise man Lugia, same here. I used Elektron before and needed a hardware sampler/sequencer/synth that was light and portable and can handle modular gear and MIDI. The 0-coast is my baby step into the world of modular on a budget and so far a lot of fun.
I prefer west coast synthesis , FM and wave table synthesis to traditional east coast subtractive synthesis (eg: Moog) because of the unique approach of creating from a fresh scratch pad and building up a soundscape versus using filters to take away until the final product is developed. Also the industrial aggro music uses mostly FM and west coast synthesis eg) NIN and Ministry for crafting their sound.
I like this from square one. Possibly one of the more ominous-looking modules; would make a good control button for some Bond villain's death-ray. Don't even both translating the panel; the Cyrillic just makes it scarier. The ony question I have is: when and how much?
Yeah, that works! It's got a real loopy, goofy feel sort of like mu-Ziq's stuff circa 'In Pine Effect'. Love the nasty sound qualities, too...very Rephlex-ish. That's one you oughta shop around...
FYI, I initially misread the thread header as 'Disasterous peace and Wasps'. I actually think that's a better title.
The Bastl stuff seems to be better at processing/altering external signals than at their own signal generation. As for Dupont pins to 3.5mm, it's safe to the gear (as long as you have an established ground between the pinpatchable and the Eurorack gear, as well as between all pinpatchables), but perhaps not to your mind. The other Folktek stuff makes for an exceptional way to transit between formats, also, plus the Mescaline also has some adaptive patchpoints onboard.
As for a complete pinpatch rack, see http://tangiblewaves.weebly.com/ and hold on tightly to your credit cards. That's a work in progress, also; Robert is continuously developing new modules for the system, which also includes pin-to-3.5mm modules. These work 1:1 with Bastl as well.
Hm...came up with the same screenshot as before. Try this: paste the URL of the page you actually build the rack on into the next post. That should bring the image up in the post...but before doing this, do a refresh of that page and call up the screenshot and refresh it as well so that it matches the rack's work-page.
I've dropped sums like that before...but when I have, it was always preceded by extensive research, sometimes as much as years worth. Even back when choosing gear was simpler due to there being less to choose from, I would still expend a lot of care on checking and crosschecking as much info as possible before money ever entered into the equation. There's a saying: 'informed customers are better customers'...and this is true, because when you're dead-certain about where you want to go and how to get there, the expenditure process becomes effortless because all of the 'hard part' has been done already.
Right...it's what I call 'adaptive multitracking': assembling sources as discrete track sources, but not in a fixed linear form such as on a 2" reel. DAWs, especially ones like Ableton that blur the line between DAW and instrument, can be made to work like old-school multitracking, but you miss the whole point of having the temporal pliability that something like DAWs afford.
I still know how to cut to 2" (or any multitrack tape, really), and can even cut up 2" with a splicing block and tape (terrifying to do, actually...so much can go wrong), but I won't voluntarily go back to that working method. It's like apples and oranges when compared to working in digital.
I've switched Cwejman's & Twin Peaks for 2 rossum filters.
As for Mescaline - for now i'm gonna have her in the rack - when i fill everything up then ill surely think about the next steps.
Dupont to 3.5mm - is that considered safe ? That might open up Mescaline a LOT : ) . Curious.
I love folktek sound and will be sure to follow what they do, but Conduit as a standalone module is imo not enough, and i already have matter with 4 resists on "mental' module with custom breadboard so i'm kind of waiting for them to expand upon the lineup a bit more to maybe make a full folktek/dupont rack :). I've looked at bastl dupont things and while they seem like fun pieces, the sounds they make are kind of meh for me.
like the idea of the DMX module but as you say limited run so I'd need to be quick, the Moddemix was mainly for its ring-mod functionality so thank for the heads-up on the Wogglebug.
I'm leaning toward this,
though the mixer and VCA could be swapped as far as size and manufacturer. Again, thank for the help.
That was brilliant. I like different packages for the reason that they can be used together or stand alone in portable setting like if I had just the Buchla Skylab that can be my workstation at a club DJ type event. But yeah the wall of power as you discuss would be impressive indeed! I have a buddy with a wall similar to that but not quite as big. I was in awe when he showed me his setup.
BUT my budget is much smaller and realistic so I am happy to play in the small end of the fish pond before diving deep into Eurorack. Even if I won the 100 million dollar lotto tomorrow, I would probably never spend 50k at a pop on new gear. Probably get one system and master it then see about options. My experience being new to all this taught me to squeeze out drops from one module- the 0-coast which is amazing for that itself. I can only image what 10 modules would do for me!
Agree with you here Lugia, and I have Cubase and Ableton to do that software stuff. For me, it is fun to experiment and sketch out ideas on hardware whether it be modular or hardware synths and then import the samples into a computer for mixing and remastering into a final product. That is my goal to produce a soundtrack for a novel/screenplay and short film project. If you look at what the pros do like Hans Zimmer- he uses synths and modular gear and then samples into his custom computer workstation or his assistants do that work and he just plays around on the synths and modular.
The Cirklon, honestly, does nothing for me. At that price point, you're then getting into the range where you may as well be using a laptop + a decent MIDI-CV setup like an ES FH-1 + expanders. Sequencers have very real purposes, but that device starts to get beyond the real point behind them, and I think the better solution at that point is software-based.
Synth wall, eh? 50k budget or so, hm? Ooooooooookay...this build uses four Doepfer 9U Monster Cases and two Doepfer Monster Case Bases.
Now, the first thing you'll notice immediately is a lot of repetition in the modules. This is very deliberate. When you're building on THIS scale, what you want is to pick what would make sense in, say, a Pittsburgh EP-420, and then repeat this over and over so that you can generate a very massive, complex sound, but at the same time you don't wind up getting utterly lost on the patch panel. You know what all the devices are, and their location is all grouped so that each set of modules functions as a singular unit. This is why you also see a lot of 2hp Mixers interspersed throughout the VCOs and LFOs. Each brace of four devices can be easily summed-down into a much more complex signal. And where there are four devices in a module, these modules get their own mixer, allowing for extremely complex admixtures of waveforms. In other places, multiple modules exist to service other sets of multiple modules, such as you see on rows 3-5, right cabs.
So, the top two rows are 'voicing'. There are a total of forty-eight oscillators, although in the case of the VCOs in the Sputnik Duals, one of each will be used as an audio modulation source by default due to that module's architecture. Each oscillator section also has its own summing mixer. The top row (which also contains the buffered mults and passives for CV distro) is summed at a Quad VCA, so each submix group has VCA dynamic control. Row two, left cabs sums with an mixer that can split into either 8-1 or 4-2, with inversion possibilities. This section also contains four slew limiters, located near the CV mult/distro section above. Row two, right cabs is waveshaping: three ring mods, a subharmonic generator, harmonic multiplier, two Elby triple waveshapers, two Tiptop Folds, a Doepfer A-137-2 waveform animator, and four active Moog CP3 clones, which then sum down further via another Quad VCA.
The functions on row three are split. Left cabs is the LFO section, right is a SISM, two A-143-1s which can function as AD envelopes or as complex function generators. Two more sets of quad FGs are to the right of those, feeding a pair of quad LPGs. The Pan/Mix on the end allows summing of or crossfading between the main mix outputs of the quad LPGs if needed.
Rows four and five, left cabs are all complex modulation sources, with more SISMs, 16 linear VCAs (summable) and more 8-1/4-2 mixers as seen above for complex modulation source mixing. At the end of this section are four VC Polarizers for inversion/modulation of summed modulation signals.
Rows four and five, right cabs contain the complex envelopes (four Stages, four Quad ADSRs) and SISMs for envelope mixing. Then the filters take up the rest of this section. Each filter subrow is duplicated, but filters can be broken out of this and/or interconnected as needed. A pair of formant filters is in place for the Doepfer A-106-1 resonance inserts, although it's possible to also use the EMW Multi Bandpasses for this as well. Note that the primary filters in this build are filter pairs, which can allow for further breakout of filtering functions as well as complex interpatching for elaborate timbral behavior.
Row six is where the architecture of the build starts changing. The first few modules are random sources; the HN EQ by the Sputnik random source is for VC noise coloration, so that the noise distribution can be modulated and changed for the WCRS's use. Four Shiftys are after this for arpeggiation of the WCRS's sample and hold or, just as easily, arpeggiation across any sampled source. Up to sixteen discrete stages of analog shift registers are available if all four Shiftys are patched in series. Four window comparators follow for complex gate/trigger extraction from modulation curves. After this, an ARC Artificial Neural Network handles complex logic functions over gate/trigger behavior for timing complication. The Bytom is a gate/trigger integrator. This is followed by more gate/trigger extraction modules, then CV manipulators (two Ladik minimum/maximums and two EMW manual CV folders). At the end of this section, four linear VCAs are in place, along with a CV adder and a triple DC offset source.
On the right cabs side of row six are, first, more CV processing (SISM, Quad VCA, and a Doepfer Morph Controller), but then the rest of the row is taken up with what could be termed 'master' filters for overall timbral processing. The last of these is a Frap Fumana, which allows complex vocoder processing of synth audio; a Thonk version of a Doepfer A-119 (not in production just yet) is next to the Fumana for inputting external audio as well as envelope following and gate extraction from signal dynamics.
Row seven is the angled row in the Monster Case Bases. On the left is the MIDI interface, an Expert Sleepers FH-1 plus two expanders for a total of 24 CV/gate outputs from this. This was chosen so that any USB-capable MIDI controller can be plugged directly into the system, but it is also possible to use an external MIDI box to send computer-sequenced MIDI into the system. The next several modules are all for the purpose of generating time modulation in various ways. Three different sequential switches are next, all of slightly different types and usages. Quantizing and similar functions are after this, with two o&C builds plus an Instruo Sinfonion for polyphonic quantizing and harmony generation. Naturally, all of these devices are intended to work either separately or in tandem functions.
The right cabs side of row seven is audio processing: dynamics, frequency-shifting, delays, a Doepfer A-101-3 modular phaser, a Juno-106 chorus clone and an Elby digital reverb, with these last two being mono-to-stereo capable. A Rainmaker delay and Jomox T-Rackonzier close this out with complex effect processing, and the output module is at the far right, keeping the external cable draping similar to that found on the left side.
Row eight is the MCBs' 'flat' row. A complex master clock is here, which can also take clocking from the FH-1 or can also be CV controlled for time modulation. Then sequencers: one traditional 'row' type, and two multichannel Eloquencers. Right side has controllers first: ribbon controller interface, three assignable CV fader controls, two joysticks. The ultimate 'controller', however, occupies the rest of the row; this is a full ADDAC VC mixer system, with three AUX busses, CV control over dynamics and panning as well as numerous other functions.
This system, as I noted, is intended for use with an external controller, with either CV/gate or USB being acceptable input methods for control signals. Controller should optimally be placed in proximity to the mixer and ancillary control modules.
Current needed for the whole system is 12051 mA on +12, 8066 mA on -12, and 181 mA on 5V, which should be within the distributed supply capacities of all six cabs with Doepfer PSU-3 supplies. Total module expenditure estimate by MG is $47,655.00.
That was fun...
Indeed and Elektron gear holds a special place in my heart even though some Eurorack snobs scoff at using it as being digital and not full of knobs and dials and wires. I have been having the time of my life mixing the modular world with the digital world of Elektron and Make Noise- they really do pair quite well together for those with tight small studios!
I can now sketch out ideas quickly in an organic way with hardware versus a computer DAW. Then upload and remix/remaster in the DAW like Cubase for consumption and send to my Elektron Octatrack for live performances.
Off topic but related to sequencers/samplers-
Why the heck is the Cirklon sequencer so darn expensive and in demand? It is sold out now and twice as much as Elektron gear. Same for the Social Entropy modular sequencer!
Right...and remember, the real use of a piece of equipment is what YOU get out of it. There's a few things in my studio that people puzzle over and wonder why I have them alongside some seemingly-more-capable gear. But these also have their uses; my CZ-101 is far more capable than its toy-like appearance suggests. The Kawai K1ii normally sucks...unless you have Kawai's MM16 MIDI mixer/faderbox, which I do and which allows me to get at the K1ii's insides very easily and in real-time. And the Yamaha VSS-30...well, technically, it's a toy. An evil toy, as its crap-fi sampler has all sorts of sound-modification tricks for gritty, screwed-up noisemaking possibilities, particularly after running it through both sides of my dual ProCo RAT rack.
Most 'pro users' would scoff at these things (except maybe the CZ-101...some people do 'get' that synth). But it's a case of putting the 'wrong' gear in the 'right' hands. It reminds me a lot of the Discordian principle of the 'Law of Fives', which states: "Anything can ultimately be related to the number 5, given the ingenuity of the person doing the relating". Same principle applies here; it's just straight-up thinking outside the box at work.
Also takes a degree of fearlessness. Going out on stage, surrounded with high-end synths, but twiddling around with a Nintendo DS that just happens to be making surreal layers of sound...yes, that looks very odd. But the results bear out the oddness.
I had a better idea, I think. Since the purpose of this skiff is to integrate it within your DAW's environment, I figured why not take that all the way? Hence:
Certain things may seem to be missing. Trust me, they're not. The idea here is to put part of the skiff in the computer, which also simplifies your patch recall issues.
The key to this is the three Expert Sleepers modules. On the left is an ES-8 DC-coupled USB audio interface and an expander for it. The right end has a ES-4 CV-ADAT interface, which is basically a six-channel DC-coupled Lightpipe audio input. These all work together with Logic and a piece of software called 'Silent Way', although you could also use MOTU's Volta and a few other. The idea is this: the ES-8 and its expander can output both CVs and audio, which can go through the skiff's modules for control and audio processing purposes. There's 16 channels for all of this, plus the ES-8 also has four inputs. Signal flow goes through the skiff's various possible signal paths, down to the ES-4, where audio can be converted to ADAT format, sent back to the ES-8's Lightpipe input and potentially added to the ES-8's four inputs, and the whole mess connects to the computer for all of this I/O work through a single USB cable.
In between: six envelopes (4 AR, 2 ADSR with normal and inverted outs), five VCOs (the four Klavis VCOs also have internal quantizing), wavefolder, ring modulator, Quad VCA for summing VCOs and so forth. Then a formant-based Mannequins Sisters VCF (which has two input possibilities). This feeds two Lxd lowpass gates, which are 'rung' by a Doepfer Quad Decay. Your Lxd outs go directly into the ES-4 from there, and back to the DAW.
It's an odd implementation, and while it seems to lack sequencing, LFOs, and a lot of other things...well, that's what the ES-8 and the CV control software (Silent Way or some other) are for. That way, you can have loads of modulation sources, control voltages, etc in the DAW itself (and therefore easily stored and recalled) while your audio signal path remains analog and very tweakable in between the Expert Sleepers devices. In short, very tight DAW integration, and partial patch storage to boot!
I suggest taking a very careful look at Expert Sleepers' website (http://www.expert-sleepers.co.uk) to get a better feel for how this should work. But the concept is quite solid.
I actually think the use of the Little Nerd in v.2 of the rack makes more sense. It has a lot of the Pamelas' capabilities, plus a few extra tricks, but occupies less space and it's more cost-effective. If this version of the rack is the direction to go in, the only change I'd think might be in order is to remove the Moddemix (the Wogglebug has a ring-mod mode, and the Erica mixer takes care of summing), then drop in a 4 hp multi-drum module that does more conventional rhythmic station-keeping while using the NE Pilobolus Vomitorium Excelsior as the source for screwy percussives to contrast with the more normal ones. In that 4 hp range, janost has a number of short-run clones of 4-8 voices of classic stuff, like 606 and 808 modules, an Oberheim DMX-based module, and a few other bits of trickery. Plus, by going with a 4 hp drum module of that type, you have 2 hp left...which is perfect for dropping in a 2hp dual VCA module, which you really need. VCAs are sorely lacking in this build, but that may well solve the issue and give you a final version of the skiff.
Just make sure to have a few good sequencers and samplers! You can get Eurorack modular samplers/sequencers- I like the ones made by Make Noise. Also look at the Kilpatrick Audio Carbon sequencer and Squarp Pyramid. Lot of folks overlook this area in passion of fancy VCO and LFO modules and synthesizers!
I would get a Buchla Skylab, Elby Serge, Make Noise Shared Black and Gold System, Doepfer A100 system
and Moog Model 15 modular for that wall of Eurorack sound and have plenty of cash left over for custom add on modules.
See what Buchla can do:
See what Serge can do
ANY modular can do arpegiators that is basic thing anything can do that has a sequencer. You also want a good sampler.
Oh and don't forget to get a keyboard controller while you are at it. I like the Korg MS 20.
The Serge, Buchla, Make Noise, and Moog modular will have all that you need. I think it would be wise to find a modular store to visit and try gear out before spending cash. Join a local music group and make friends with modular gear. That helped me a lot and I am still treading cautiously since I don't have tons to blow on the wrong gear.
Also are you planning to play live at all? You probably also want a lunchbox portable setup as well.
Here is what you can do JUST with the MS-20 and Make Noise Shared System:
It can make some killer drums without a drum module too.
Thank you for making that a finnished build for the tip top mantis case.
You have helped me to understand a little more now, I see now that the sequenser i chose is mostly used for drums and maby a base line. and i have too little room to do much more, I will build this and learn how to use it, you gave me alot of good information that will help me to grow.
I understand the signal path a little better now, thanks to you. I will keep the audio interface for future build, i know i will need another bigger case soon. The module for adding fx, i will keep just for that bigger case too.
But if i get hold of all the modules you added i will make it so. This will give me a good box for making analog groove.
Thanks for the mixer ideas. Will order them for this build.
The Roland TR-8S is nice, i can get that one, but i also want to check out the kicks in euro-rack format, i have never seen a eurorack wall in real life. so i dont know the sound yet. but i hope it will amaze me.
If you got time to tell me more about what i can do to make another more insane system, another more interesting system with another more interesting Sequenser, and what other option i have with the eurorack format, I dont mind if there is 300 cables to manage. I want to dive in on the deep end. I am able to spend 50k on this over time, and then some more, but i will invest in getting more understanding first so i dont end up with to many modules i dont need. I will make one step at a time. I dont mind if the modules are complicated with many menus.
So if you want to build a Pittsburgh Modular Structure EP-420 Desktop kabinett size system on this site and explain it to me more in depth i would be forever happy! And thank you again for taking time to enlightening me!
I find all of these interesting :D Verbos Electronics , Rossum electro- music modules, Gatestorm Steady state fate, Pitsburg modular, Endorphin.es, Orthogonal devices! ER-301 makes me drool.
And to have functions for making vocal changed in any way shape and form, to resample them.
I might be asking alot haha. But music is what i use my life on. I am not taking money with me in heaven, so i might as well use them for sound creation now that i am here.
What modules is good for making Arpeggiators and simmilar task´s like that ?
Best Regards from Exigen.
Sure thing Exigen! I am sure that our resident expert Lugia will chime in as well with his thoughts. Have you considered getting the Microbrute 2s package that has the Arturia Microbrute plus case/power supply? That would be great way to go and you can add a few modules slowly and see what works for you. Modular drums are EXPENSIVE!
The Phenol and other kits are nice and affordable before launch into a full 50k setup. My buddy has such a wall but it set him back a small fortune! Plus he has tons of other gear that he bought that he never uses now.
Hello Mixxalot, thank you for the advices, The Tanzabar looks nice. and been considering a packaged modular system.
I have now taken a look at the Modulor 114 and Phenol systems. I am sure they are nice for a start. But i am 100% sure this is something i want to do, to build a big system. The Mantis case from tip top i feel already is too small, but i will keep it for portable use. I am thinking to build a case on the size of, Pittsburgh Modular Structure EP-420 Desktop kabinett, and i like the Doepfer 100 monster cases.
I want to have a full wall. so i have more options in the future for designing unique sounds, regardless of cost.
I intend to go all in, and expand for the next 40 years or more, as long as i live and are able to be creative.
I allready want more Sequenser options.
Thank you for answering me :D
i did not know about the machines you mentioned.
Idea is (for now at least) to be integrated into Logic X for texture building and melodic stuff.
Aiming for sound design flexibility and also on the simpler side since a decent piece of my composing work is having to do rewrites...I know it'll be a task to recall stuff, but I don't want it to be a complete nightmare.
So, specific questions would be, is the 2hp midi enough to run a basic rack through Logic and have some flexibility annnnnnd are there any other modules you might throw in there that are a little left field that would be fun sound design tools with whats already in there.
General suggestions on anything else welcome as well
I would get an MS-20 and SH-01a both great synths even today. For the price of a few Eurorack modules or one expensive synth Eurorack modules you get two kick ass synths.
First of dude thanks for the input. Nail on head as far as space, as far as room I had thought of 2 rows.
What would you do with the free 4hp. one of those 2hp strum and a utility?
Møffenzeef Dialup looks cool and your right about the mixer.
live tool, effect are ok, add some distortion think you can get some character its a cool little mixer, Aux's are a bit noisey but to me thats not a problem. I had thought of replacing the pam with aLittle nerdy? gota wait for one.
whats your thoughts on digital mixers?
The Lyra-8 is a pure joy. I send it straight through a wobbly Waldorf 2-pole so I can gate/or mod the env/cut/gate of the 2-pole. Lyra as I'm sure you know has 2 envelopes. slow and slowerr..
Dude thanks for the thoughts, nothing is set yet apart from the skiff and the Jomox.
This could be another possibility
Brilliant design, this...concept is very sound, you have a really clear idea of how this should work for your purposes. Pretty cool, pretty neat.
About the only things that nag at me are:
1) The Cwejman VCF. Spendy and large. You might want to do a bit more looking around to reduce the size and certainly the cost. There's a lot of interestingly fubar filter concepts and topologies out right now, so it's sort of a smorgasbrod, but yeah, this could be a bit better.
2) Putting the Mescaline in the rack with everything else. I kinda like this instrument as the unitized control-surface/generator/mangler it is in of itself, both in functional terms and looks. Plus, there's the possibility of more space to play with in the cab...and at the very least, you'll want to add some other Folktek stuff to tandem with the Mescaline as well as to augment it, plus go from Dupont pins to 3.5mms. My instinct would be to put the reassembled Mescaline to the right of the cab, then run your other Folktek stuff in the right end of the cab on rows 2 and 3 to get some easy patching and interchange between everything pin-patchable. That sort of exchange might also come in handy for adding one or two other pin-patchables, such as Bastl's Softpop or bitRanger.
Otherwise...yeah. This is damn solid.
The problem I see here is that this is all happening in a pretty small space. The Phonogene swap: good. The Jomox addition: also good. But then, there's the issue of how to cram in enough percussives into the remaining space. One thing I would do is to yank the mult as well, and rely on inline mults and/or stackable cables to split outputs. That gets 4 hp back, but the result still only leaves 14 hp for this, and the Pamela's can deal with eight trigger-ins. True, a few of these can go to the 0-Coast and Pitt, but you still need something percussive and, presumably, glitchy to get things moving.
Instead of just the Noise Eng. Fettucinius Marsala Lorem Ipso, I suggest adding one other nasty percussive in the same realm: a Møffenzeef Dialup. When you see the desc on it, you'll get the point. Fits nice with the NE Colosseum Autostrada Eruptum.
One other thing that is a little itchy for me, also, is the mixer. That little A&H is getting pretty close to being overrun, sounds like. If you get a wild hair to go to a larger mixer, I would suggest also trying to find something without onboard effects. There's a couple of reasons for this: first, those onboards are not very tweakable, so not only are they not too finely-adjustable, you can't play them...your Lyra-8 should explain what I mean there. Second, they're not exactly the best things; they tend to not be the best quality in sonic terms, plus they lack a lot of character, since they're designed to please a wide user base and not merely electronic music types who will also want the processing to be part of the overall creative process. And last, they muck up one or two AUX sends in terms of the mixer being built to use them, instead of being structured to deal with external processors.
Have a look at eBay at some point, and you'll find that there's a lot of very suitable, higher-quality, and bigger mixing desks on the used market right now, while people are jumping the analog ship for digital. This was dumb with synths, as we know, and it's just as dumb with most anything else. Take advantage of this and get some sweet dimes-on-the-dollar action!
I bought a Erica Synths Midi Clock v2 from @Phaelam and have nothing but good things to say:
-Shipped damn near immediately, arrived 2 days after payment
-Timely and responsive communication
-Great packaging- Double boxed, double bubble-wrapped
-Module in exceptional condition, like new
Don't hesitate - 5 stars. Top marks. Top gear. 10/10. Gets the stamp. Approved.
Hello folks; just want to confirm if this will work how i think it will work ;) Already started collectin'.
There are basically 3 main sections of this -
Soundscape - Mescaline + OB + rainmaker + Alters - this will be my soundscape pads/background progressing drones etc.
Drums - NE modules + Mescaline's matter driven via pair of 101-102 (for main perc stuff) + Sapel/Turing in controlled random percentage.
Melody/Music - Sinfonion as global control of pitches/progressions. Mangroves into natural gates with quad modcan envelope into chord progression of sinfonion. 2x 301 in stereo 4 individual voices. Sequenced via 2nd pair of 101-102.
Modulation - 16 outs from ipad with lemur via shuttle control, 12 from 2x cv trinity, 8 from 2x o_c.
Control - frames, planar, sinfonion, ipad, channel, and NE corssfader are all playable live.
Pam's the master clock.
Why no VCAs? - 301 has integrated vca. Mangrove Air is a VCA, Natural Gate is a VCA. I'll mostly run my modulation as automations/Lfos/FM and for some crucial stuff i can push it out of Lemur.
Mixer will be external. Did i miss anything super crucial :) ?
New to the site and was seeking some feedback on a Make noise skiff I have been planning. Its based on the the system Concrète, replacing the Phonogene with a Morphagene, the MMG with the Jomox T-Rackonizer and adding the Loquelic Iteritas + Pamela's NEW Workout for mostly rhythmic percussive noise elements.
My current home set-up consists of a 0-coast, Pittsburgh modular sv-1 Blackbox, Digitakt, Lyra-8, which all travel through a
Allen & Heath ZED10FX Mixer.
I'm thinking of the new rack as a standalone sound design tool but also integration with my current semi-mod gear.
Any feedback would be greatly appreciated.