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Had a chill Friday evening in the studio, starting with a DPO drone session followed by a couple of jams on Telharmonic, Odessa, and the Mother 32’s.

Hope you enjoy today’s little jam session!

-mowse

Case size for what you want to do...uhhh, no. Also, mixing Intellijel and Pulplogic tiles on the same row...also no. Hmmmmm......

Ah...that graphic isn't a link. However, I looked at the other builds you've got, and I've got a pretty good idea as to how to make this work...let's see now...

(Later): Hot damn...OK, here's what I cooked up. Notice the absence of the Mordax...if you're going to use this as a teaching tool, it makes far more sense to use an external dual-trace scope so that everyone can clearly see what's going on. The Mordax screen is just too small to do this effectively; been there, done that.

OK...this got upped by me into a 7U Intellijel Performance cab, because trying to do what you wanted here definitely requires more space. I put the "utility bar" in, also, so you can see the adders and buffered mults while sorting out what this will do.

Tile row: Stereo input (and output, also) comes in via the 1/4" jacks, of which there's four. Intellijel's input and output tiles all come with cables to internally connect those to the 1/4" jacks, so 1 and 2 could be your inputs, and 3 and 4 your stereo outs. The MIDI module goes after that, internally connected to the USB port. Then I put in a Noise Tools for noise, master clocking, slewing and sample and hold. QuadrATT is next for attenuverting, submixing, and the like. Then a Stereo VCA allows you to control the amplitude of an incoming stereo signal that would be patched to the Output Mixer's 1st pair, with a second (effects?) stereo in for a final "return" tap over the stereo mix, with the VCA controlling that return level.

First row: Now there's FOUR VCOs here...a pair of Klavis Twin Waves mkii dual oscillators, with internal quantizing and multiple methods of sound generation. Each VCO gets a Veils channel, then there's a digital complex VCO from Neutron Sound which gets two more Veils-topology VCAs. After all of that, there's a six channel stereo panning module for spatializing your oscillators. The stereo VCF is a Supercritical Neutron Flux, offering numerous filter topologies in one module. This is followed by a pair of LPGs, then we're into the effects with a Frequency Central Stasis Leak, which goes from a mono in to a stereo out for reverb, chorus, and a tap delay. After this is a Happy Nerding FX Aid, which is stereo in and out. The Stasis Leak is specifically intended for the Toppobrillo Stereomix2, as it also has (under CV control) a mono send and stereo return. You have CV over panning and level as well, making this your final set of audio path VCAs.

Second row: Rene with Tempi, hence no Pam's. Tempi and the mkii Rene have a backplane connection that makes them behave more like a single module while still allowing extra clock outs and the like. After the Rene is a Frequency Central Logic Bomb, which has CV-controlled Boolean gates. LFOs are via a 4ms Quad Pingable LFO, which is capable of working over a range from low-end audio down to crazy-long periods (as in 71 MINUTES)...that'll be super-useful in generative configurations. The Roti Pola and the second dual VCA provide mixing, inversion, and amplitude control over modulation signals. After that, we have the Quadrax + Qx combo, a Doepfer Dual ADSR, then a small clone of Clouds that can ALSO be patched into the audio path above.

This makes a lot more sense, I think. The bases are all present here, which you want in a teaching system. Plus the signal paths are a lot more sensible, with the separate row functions and the left-right flow. Not exactly the same design as before...but I think I managed to majorly improve on the first attempt.

EDITED Nov 27th 2021, 06:53

Cool beanz! Yeah, there had to be ONE out there somewhere!

I don't get the multiple buffered multiples, either. Or the need for two Pam's, as there's more potent methods for manipulating clocks and deriving Boolean gate sources to REALLY complicate the clock functionality.

As for the power question...yeah, this will be OK in that aspect. Note also that Eurorack uses three separate power rails: the + and -12V and the 5V rail which doesn't often come into play but is still necessary for certain digital modules. The only time the 12V rails MIGHT come together would be at a common P/S groundpoint, but they have different supplies on the "hot" side. But the rule of thumb for dealing with current inrush is that the P/S should be capable of supplying 20-25% MORE current than the module complement (roughly) requires, as getting too close to the current limit carries with it the danger that an inrush on switch-on could cause component damage.

One other point: this is really a rather small build, but there's a number of bigger modules in this. Naturally, this limits any further expansion in the case...but right now, it's locking you out of making adjustments to the module complement. This could be done a lot more effectively by trying to replicate the functions of those large modules in smaller ones...this should be possible. But also, some of this is simply redundant, like the thing with the Pams'.

Especially with the addition of the Tiptop-made Buchla stuff. Seriously, Don pretty much cooked up the idea of complex random signal generation/manipulation with the SoU, invented the LPG (back then, a wonderful and expressive mashup of a lowpass filter AND a VCA under optical control), and came up with the genesis of West Coast synthesis in general. Having those...plus the efforts to return the 100 series to use via Eurorack...majorly changes the Eurorack landscape.

Also, it's VERY possible here to break out "voices" from the top voicing row and then process them via the character filters alone, resulting in several more "voices" when you get to the mixer. And it's VERY oriented toward generative, if needed.

Wasps is a great filter value. I just got mine and it has a wild nature but can be tame. I’m using it with Acid lab chainsaw oscillator in my palette case and it’s really good.

I listened to the artists you're inspired by, very nice. I really think you're going to want a filter. For basic value it's hard to beat the Doepfer Wasp filter (I think it's A-124).

Using S&H with noise is common because it gives you a nice stepped-random, but you can use it on anything you like.

Here's a few ideas:
* Use S&H to sample a fast sequencer output slowly to produce a related slower sequence
* Use S&H to sample a LFO to get a stepped effect instead of smoothly sweeping whatever the LFO controls
* Use S&H on an audio signal triggered at audio rates (if the module can do so, not all can) for a "bit crush like" effect, except it's a crush in time resolution rather than amplitude resolution

Some noise modules will have S&H included (e.g. Doepfer A-118-2), but there are modules that provide S&H for arbitrary inputs (e.g. Joranalogue Select 2). Suppose you are generating pitch CV from an LFO or some complex combination of LFOs, maybe put through a quantizer. You want to hold the pitch for the duration of the envelope controlling amplitude. An S&H (triggered by the envelope's EOC output) can do that. The upcoming Joranalogue Step 8 is eight sample-and-hold circuits with various linking and control options. You can play a short sequence in by sampling at arbitrary points, and then play it back with a different rhythm entirely, and alter it on the fly.

@Lugia - I found a Hendrikson and bought since they are discontinued and I think the idea of using something like stompboxes in a live setting with my Minibrute2/Rackbrute3U setup is great...looking forward to 'expanding' the setup with some stompboxes...will probably go down that path of the Electro-Harmonix Tri Parallel Mixer as well :)

I'm a big fan of Klaus Schulze's "Body Love" soundtracks (the one with the white cover and a song called "Blanche" especially). Highly recommended.
-- farkas
I listened to the Body Love tracks today...really nice stuff! Enjoyed that alot

Wondering how many use sample and hold in their patches and how you use it...

Is it necessary to have a noise generating module in order to use sample and hold or can you use sample and hold with other things as well? Seems like the 2-3 videos I've watched always use it in conjunction with a noise signal, anybody use it with any other sort of signal? Is it that useful to have around in a smaller setup?

So, just to clarify, a VCA will replace the attenuator knob in a Quadratt channel with a CV input, so that one CV can control the amplitude of another signal. This is what you need to apply a volume envelope to an audio signal (the envelope "turning the knob"), but it is also useful for changing modulation signals in various ways. As stated above, some VCAs will amplify a signal beyond its original amplitude, which can be useful (for example, in bringing signals from other synths into Eurorack, which has different standard levels). The recent revision of Veils is currently unavailable (a worldwide chip shortage is affecting the industry and others as well), but fresh supplies are expected in the next few months. There are a number of alternates based on the older version available, notably the Intellijel Quad VCA, or you may get lucky on the used market.

Maths is very popular, but certainly not required, especially if you have Quadrax. You can wait and see if you want it or one of the alternatives. I suspect most users don't demand more from Maths than Quadrax can provide. It's also quite wide.

.... Oh and before anyone says anything: yeah- there's no Maths. Get over it
-- rextable

ok, but why not? it's a fantastic learning tool for anyone interested in modular synthesis - or do you just want to connect some modules together to make some sounds? have you taken a look at the 'maths illustrated supplement'?

also would be really surprised if you need so many buffered mults - they're only really needed for v/oct signals anything else a tiny bit of voltage droop will be unnoticeable

Maths is really great and I bought another one for my larger case. I would add perhaps get an Ornament & Crime as it does tons of useful things in small formats.

As before, top five rows are my main 15Ux84hp rack, the last three are smaller racks I keep for screwing around with stuff like Orca, generative music, &c.

This rearrangement was best described in a comment on an r/modular hangout thread. The TL;DR is that instead of sticking sound sources at the top, modulation in the middle, and control at the bottom (as everyone else does and as I have done for some time), I varied it a bit based on an explicit signal routing plan. I made the plan away from the rack and from MG, just focusing on how I wanted the signals to go; then, I planned the rack in MG, and used the patch tool to assess how cable usage. (This one planning exercise on 420hp of stuff more than justifies paying for Unicorn status, for me anyway.)

As of now, I have everything wired up, except for the 2hp mult (4 jacks for clock, 4 for reset) and Pam's, both of which should be here early next week

For the sake of completeness, and to keep you from having to click through, here's the full explanation from r/modular:

I'm rearranging my rack to make room for a new PNW. Pam's looks to be so versatile with LFO options that I'm taking a chance on moving my Batumi to the portable case.

It's not just for the Pam's, though. Last night I was having frustration with signal routing and which voices went to which effects loops. Later, I happened upon a video of DivKid and Chris Meyer where Meyer talked about the "backbone patch" in his portable case. That lit a fire under me, so I grabbed a legal pad, packed a bowl, took an inventory of my voices, effects, VCAs, and mixers, and mapped everything out. (Lesson: I could use a few more VCAs. Just a few. And maybe a Befaco Hexmix with expander. Not that I have room in my main rack for any of it.)

After that, I spent way too long on ModularGrid sorting out a new layout that optimized for short connections within my new signal routing scheme, then virtually patching up my backbone patch. It still has compromises (like running a pitch & gate cable bus from Eloquencer to SWN), but overall I'm looking forward to setting up a partial plumbing patch that will stay patched and let me focus on sound design and music instead of playing Signal Routing Puzzle Hour™.

I have learned things through this exercise:

• Thinking it through in deeper detail than I have before, and understanding (through practice) how I want to use complex modules like the SWN, changed how I laid things out. I haven't completely broken away from the top-to-bottom sounds/filters/modulation/control paradigm, but I've done it a lot more thoughtfully, and in a way that makes the most of my rack.
• I have a more balanced proportion of voices, modulators, and VCAs than I thought.
• I now understand what the A-130-8 is for, and it's this. I was relegating it to CV mixing, but when I thought through my patch I saw how much I could do with the Octal VCA and a bucket of 3-inch patch cables next to a mixer, and then just leave it patched and forget about it. (I'll mix CV with Levit8, which is better for the purpose anyway.)
• I had to be at this over a year to cultivate the knowledge of my instrument that would make planning 420hp + an outboard a worthwhile exercise. If I'd have tried this at the outset, the plan would have been trash. Trial & error experiments were the right way to proceed before; this was the right time to take a swing at a master plan.

This layout has other little advantages as well. For example, I have four percussion voices going through my Intellijel Quad VCA. The 6db boost switch and the Quad's ability to distort and add a little grit is perfect for making drums a little punchier. Making better use of the Octal VCA let me move the A-135-2 - my "clean" VCA/mixer - into position as my final mixer before going out. That position used to be held by the VCA Matrix, which is now much happier in its role as signal router and effect loop send.

I'll post back here if I wind up adjusting it substantially after playing.

Edit: you're going to need VCAs if you want to use those envelopes to shape sounds.

I had Veils in here but I pulled it out thinking the 1U Quadratt up top would handle things. Am I misunderstanding? Guessing that would be the justification for the bigger case.
-- new_moon

quadratt is a quad attenuator - not a vca - veils is an excellent choice btw - not only is it actually a voltage controlled amplifier - most vcas are technically voltage controlled attenuators (in that their maximum gain is 1) - it has so much potential gain that it can be used to amplify external signals up to modular levels - it also has 4 of them and they cascade so can be used as mixer (or mixers) - plus it has the ability to add an offset voltage on each channel, is dc-coupled in that it can be used for both audio and (just as importantly) modulation and is variable between linear (more useful for cv) and exponential (more useful for audio

I'll second get the bigger case - personally I would recommend a tiptop Mantis - 1u is seriously overrated imo

I'd also suggest Maths, if you can find one, as it has one of the best learning resources of any module - the 'maths illustrated supplement' which is probably the best primer for patch programming and modular patching in general

I try to think (loosely):

sound sources < sound modifiers < modulation sources < utilities

this generally gives the most variety for money invested - at least in my opinion

hope this helps

Data has a lot of added features, but you can only use one of them at a time (with the exception of fixed voltages, which you can use with other modes). So if you're using it as a clock, you have to stop doing that to use the oscilloscope, and then what you want to look at might be gone.

I somehow have not come upon this information. Really helpful to know, thank you.

Quadrax is a newer version of Quadra and is also very useful, though it takes some study to grasp the added features. You can pretty much use it like Quadra soon after installation, ignoring the more complicated stuff. That's also true for a more complicated oscillator (and I don't think Dixie II+ is much more complicated than STO). You don't have to use FM or flip sync until you want to. (And Data helps when you do.)

Super helpful as well. I'll read some more on these.

With a larger case you can get both Pam's and Data, but either way, get Pam's first (or at the same time). It's really useful and usable. Data has a lot of added features, but you can only use one of them at a time (with the exception of fixed voltages, which you can use with other modes). So if you're using it as a clock, you have to stop doing that to use the oscilloscope, and then what you want to look at might be gone.

Quadrax is a newer version of Quadra and is also very useful, though it takes some study to grasp the added features. You can pretty much use it like Quadra soon after installation, ignoring the more complicated stuff. That's also true for a more complicated oscillator (and I don't think Dixie II+ is much more complicated than STO). You don't have to use FM or flip sync until you want to. (And Data helps when you do.)

Appreciate the reply. It's nice to have feedback as I'm kind of making this up based on youtube videos and a history of signal processing in JavaScript.

Couple of followups, if you don't mind:

I agree that Data is educational and useful (I have one myself for those reasons) but you can't really afford the space. I would suggest Pam's New Workout, which gives you clocks and a whole lot more.

If I were to upgrade to a larger case, would you still suggest Pam's New Workout instead of Data? I've been under the impression that I would need to buy a clock - probably PNW - eventually but thought for my early explorations Data would get me where I'm going.

Quadrax instead of Quadra.

Is this a functionality suggestion, or am I misunderstanding what I'm going to get out of the Quadra?

I wouldn't choose Plaits and STO but you know the sound you're looking for. Maybe consider Dixie II+ instead of STO.

My thought is to have a fairly basic oscillator just so I can better understand what I'm doing. Would a Dixie II+ accomplish that? (What I really want Akemie's Castle but think I need to earn my way to that...)

Edit: you're going to need VCAs if you want to use those envelopes to shape sounds.

I had Veils in here but I pulled it out thinking the 1U Quadratt up top would handle things. Am I misunderstanding? Guessing that would be the justification for the bigger case.

Thanks!

EDITED Nov 26th 2021, 22:55

Let me be the first to tell you to get a bigger case and take your time populating it.

I agree that Data is educational and useful (I have one myself for those reasons) but you can't really afford the space. I would suggest Pam's New Workout, which gives you clocks and a whole lot more. Either Pam's or Data can do the clock divisions of the A-160 on their regular clocks. If you have an irregular gate sequence you want divided, that's another matter. You should go for the A-160-2 instead of the A-160, and Quadrax instead of Quadra. Pam's can do basic logic, so hold off on the 1U logic tiles, maybe. I wouldn't choose Plaits and STO but you know the sound you're looking for. Maybe consider Dixie II+ instead of STO. Just Friends and W/ are unobtainable and probably will be for a while, and René is pretty hard to get hold of.

Edit: you're going to need VCAs if you want to use those envelopes to shape sounds.

EDITED Nov 26th 2021, 22:35

I'm curious about getting into modular and want to build a beginner system that allows me to make simple, melodic loops in the style of Gia Margaret or Green-House; if I were really lucky, I'd also be able to layer some drone-y textures underneath.

I'm set on Make Noise's René for its pattern generation and Mordax's Data for its educational aspects, but the rest of my system is basically a question mark. Picture below, but to explain my rationale:

Likely Want
Clock Div | Create interesting timings out of the Data's clock
Plaits | Catchall digital oscillator for melodic patterns
STO | Analog oscillator for exploring drones and getting a better understanding of wave construction
Quadra | Build envelops for Plaits and STO
1U Logic Gates | Add some interesting probabilistic stuff
Quadratt | Mixing down sources

Maybe
Just Friends | Possible envelope builder and filter to add texture to STO output
W/ | Basic tape loop

Does this accomplish what I'm hoping to? Are there some super useful functions I'm not thinking about? I suspect I'll need to move to a larger system eventually, but to begin I want to really understand my tools and this seems like a minimal setup that allows me to do that?

Thanks!

EDITED Nov 26th 2021, 22:14

Thanks a bunch for taking the time to do this, Lugia. Very inspirational. A lot of exciting ideas!

The +12V and -12V rails are separate power busses, they dont' add together - you should be okay with those numbers as stated, though the common advice is to leave some headroom between your usage numbers and the PSU's capacity numbers, so you don't want to push it all the way to 3A on either.

You can't directly daisy-chain modules, but you can either make custom multi-drop power cables yourself or buy some "flying bus" cables which plug into one socket and have more sockets on them for individual cables. In my rack I made a few custom multi-cables just to simplify the cable mess inside! You don't want to chain power-heavy modules this way though, only the "small" ones, my biggest grouped cable is 4 modules totaling ~600ma on the +12v.

A Question about power:

Not since my design technology GCSE have I had to think about power requirements for things.

I'm unclear as to the power capabilities of the Intellijel 7U travel case this design is intended for. The specs for the case are:

Output + 12 V (mA): 3000
Output - 12 V (mA): 3000

The power requirements for this design are: 1998 mA +12V | 1046 mA -12V |

These two numbers are both lower the maximum stated "+" or "-" sides of the case PSU. However, I have a sneaking feeling that these two number added together cannot be higher than 3000. Is that right or am I miles off? Hopefully I'm wrong :-P

Also: the built-in bus board on the Intellijel case has 28 sockets. This design has 34 modules - all of which draw power according to their given Modular Grid specs. Assuming the built-in PSU has the capacity, is is possible to daisy-chain a handful of modules (the mults for example) to one socket on the bus board?

.... Oh and before anyone says anything: yeah- there's no Maths. Get over it

EDITED Nov 26th 2021, 13:42

Soundmachines actually offers good modules for control (LS1lightstrip, LP1lightplane, Arches, etc.). There are many others from many brands (including Intellijel, Make Noise, Doepfer, WMD, Verbos, Pittsburgh, Xodes...). But we must not forget that owning several pianos will never replace our work for the mastery of only one of these instruments.

I'm a big fan of Klaus Schulze's "Body Love" soundtracks (the one with the white cover and a song called "Blanche" especially). Highly recommended.

So looked at some options and updated my mobile support rig for use with my Endorphin.es Shuttle System:

I put O&C plus for support tools to complement the Apex module for plenty of modulation, envelopes and so forth plus it has a quantizer and other goodies. Plum Audio has a sale so I saved 10% and free shipping. I may swap that out with Disting EX in my other case and Ladik dual trigger delay when it arrives or just put these in my Doepfer 6u case for a second support case with the Shuttle System. So now I have two good travel cases one that lies flat and can use 1u modules for sequencers, mixers and support modules to use for jams and what not.

A better idea: get an adder module. These look like 2-4 hp mults, but what they actually do is to add two signals together. So you could send the signal and an offset voltage into one and get the composite signal you're looking for. Also, another mixer that you might have a look at is Erogenous Tones' LEVIT8, which can either be configured as an eight channel mixer/attenuator or two four-in mixers. To use this in that 8x1 configuration, you'd want to first route one signal each through something like this: https://www.modulargrid.net/e/shakmat-modular-sumdif to put offsets on. At that point, you'd have a pair of adders with that Shakmat module, so if you also wanted to use the 2x4 config, that would be similarly doable. And if there's nothing you can use for the offset source, put one of these in: https://www.modulargrid.net/e/2hp-dc and there you go!

The fun thing with "Blackdance", though, is that Klaus went TOO FAR with the Compact A. There was so much out of phase signal that, if you summed the tracks down to mono, the lead line would completely disappear. Horrible engineering error...but Brain had this idea that they could put a bit on the jacket saying that you could listen in mono to "hear an interesting effect." Ha!

BTW, if "Blackdance" didn't click with you, check "X". That double set is astonishing...save for the fact that the CD reissue includes a really ugly live mangling of his "Ludwig II von Bayern" by a pickup orchestra that's no fun after you've heard the REAL version. Easily avoidable, thankfully.

Just go listen to Klaus's "Blackdance" album, where you can hear the Compact "A" in all its glory. That's ALSO sort of the reason the Hendrickson's in there, tbh...500 lbs of 100% groovy Kraut sound, but available and AFFORDABLE. And no, you can't have mine.
-- Lugia
@Lugia - had about an hour of travel time in the car today for Thanksgiving and listened to the Blackdance album...it was interesting and I did listen to it all but will have to admit it wasn't quite my cup of tea...but I did give Klaus another shot and listened to 'Silhouettes' on my hour drive home and I really enjoyed that album.

NB Hendrickson is discontinued (& has been for a while) - maybe a few left in shops though
-- JimHowell1970

Easily fixable, though...just drop a Strymon AA.1 or Malekko SND/RTN into the Hendrickson's slot. 1 hp smaller in both cases, but that only takes $3 to fix with a blank.

fx aid has decent bit reduction - with the xl there's a dedicated cv input for it and it's available over all algorithms - some of which are distortion type things - personally I'd go with that and beads - leaves more space for important things like utilities then
-- JimHowell1970

Thank you very much for that. I had no idea that the FX Aid XL had bit reduction functionality. It looks like a very good option.

I will keep that in mind.

All the best

Hi Garfield,

Thanks yeah it is really a great modular system and pairs up well with the Make Noise Shared System and ALM Super Coupe. I will create a video on jam with it and the Make Noise Shared System. I like using tempi and rene to sequence the Furthrrrr Generator on the Endorphin.es Shuttle Control with it.

Hi Sacguy71,

Nice to see the Endorphin.es Shuttle System in action! :-) Yeah that Furthrrrr Generator module is a great one, I had tested it at my local dealer, still on my wish list :-)

So what's next? A jam with the Shuttle System together with the Shared System? :-) Thanks a lot for sharing this with us, enjoy your Shuttle System and kind regards, Garfield.

Hi Garfield,
Thanks, I appreciate your feedback.
Glad you listen some kind of jazzy-ambient stuff as I'd pretended in this patch :).
Regards!

the only module that can do both attenuation and offset per channel, that I know of, is the happy nerding 3*MIA - but you'd need 3 if you want a channel per ochd output

Had fun experimenting with my new Endorphin.es Shuttle System and love the sounds

Furthrrrr Generator and Grand Terminal are pure awesomeness. I also just received Queen of Pentacles and Ground Control to pair with it in a palette case. It will be my mobile eurorack setup moving forward.

the 4th sentence (separated out for convenience) is the relevant one - but even looking at the controls it's kind of obvious that a single channel cannot do both attenuation and offset - only 1 knob, no switch
-- JimHowell1970

I agree

NB Hendrickson is discontinued (& has been for a while) - maybe a few left in shops though

fx aid has decent bit reduction - with the xl there's a dedicated cv input for it and it's available over all algorithms - some of which are distortion type things - personally I'd go with that and beads - leaves more space for important things like utilities then

this is the modulargrid product page and Pusherman description

"ATN8 is an eight channel signal processor. It can be used as an attenuator, attenuverter, offset generator, mixer and CV source. A bicolor LED accompanies each channel to provide visual feedback of the output level. Each channel is normaled to the next one so it can be used as a mixer as well.

If there's no input on a channel, a selectable 5 or 10V is normaled to the input, these can be selected in two groups of four with the switches on top.

There are switches for each channel to select between unipolar or bipolar modes."

the 4th sentence (separated out for convenience) is the relevant one - but even looking at the controls it's kind of obvious that a single channel cannot do both attenuation and offset - only 1 knob, no switch

why don't you get the es-8 instead of the mixer? That way you can multitrack your set up.

I bought this module myself last year in november or december. At that time, user documentation was very limited and hard to understand. The module was being discussed on the modwiggler forum though. IIRC build documentation was pretty good.

The current manual dates from february of this year.

If you need the voltage offset, this module requires the channel above the channel to be offset to provide the voltage. So in effect it's 8 channels, but only 4 can provide offset. I got it to provide offset to OCHD, so this was a disappointment. This could be better documented.
-- mntbighker

seems perfectly well documented to me - I just did a quick scan of the 1 paragraph of documentation and understood perfectly how it works - I think the issue you have is in comprehension NOT documentation

maybe you will learn next time to ask questions about things you don't understand fully, before buying!

EDITED Nov 25th 2021, 13:10

great functionality but using it (at least for me) is pain, pots are too small and too close to each other and to jack inputs

Hi all.

I am building a small 3u rack with Beads as a core component. Recently, the Data Bender has been reeling me in with its bit reduction and general grit. There seems to be a sonic overlap with Beads and the Data Bender.

Is it overkill to include both in a small FX focused rig?

The following video is similar to what I have in mind.

https://m.

Thank you.

Thank you TumeniKnobs and GarfieldModular for taking your time to listen and your kind remarks!

could I somehow integrate my TR-8S with this setup? say using the Hendrickson? and then in turn somehow use the external IN on the TR-8S for the stompbox world?
-- jb61264

Hell, yeah! That's definitely one of the reasons for the Hendrickson...you can get anything you want OUT, and it'll come right back IN at the same place. An even CRAZIER device for stompboxes that you might dig is this little monstrosity from Electro-Harmonix: https://www.sweetwater.com/store/detail/TriParMix--electro-harmonix-tri-parallel-mixer Yep...three PARALLEL channels of stompers, with controllable routings, all fed from and going to the same mono I/O. To me, this is the REAL thing to use there, as you can put three different boxes on its send/returns and just go utterly NUTS. Not only do I have one and dig the hell out of it, it inspired me to create a LARGER and stereo parallel setup for my outboard effects, employing a Studio Technologies stereo 1-8 stereo distro amp for send splitting, and a Rane SM-26B stereo splitter/mixer to mix returns.

And if you don't have one, get one of these for the FX chain: aJkAAOSw5YFgr78b" target="_blank">https://www.ebay.com/itm/324774960630?hash=item4b9e189df6aJkAAOSw5YFgr78b That monstrosity was a collab between E-H and the guy who founded Mutron way back in the early 1970s. It's a semi-clone of Mutron's Bi-Phase...of which I can guarantee you that you'll either never find one or you don't have the credit rating necessary to afford one. But also, this E-H phaser is about the only semi-available thing that can get into the utterly unobtainable Schulte Compact "A" turf. Just go listen to Klaus's "Blackdance" album, where you can hear the Compact "A" in all its glory. That's ALSO sort of the reason the Hendrickson's in there, tbh...500 lbs of 100% groovy Kraut sound, but available and AFFORDABLE. And no, you can't have mine.