Depending on the kind of free improv you do, no rhythmic component may be necessary. Think "Topography of the Lungs" (or even Japanese noise, which was often synth based). I do this about once a month in town, and as long as you don't let any LFOs or function generators cycle unchecked when you don't want them to, you won't need to be too worried.
I'm not going to lie - I got a little confused here at first and thought your Clouds clone was the Marbles clone. That definitely changes my view of how playable this rack is at the moment. If you like ambient and techno and sound design and want to sync with an external drum machine but don't want a giant rack right away, a Marbles would be worth a look. It gives you random CVs and random gates that can be internally quantized to scales and rhythms, clocked externally, or set to be completely chaotic. It's about as practical as randomization gets, and it can be used, among other things, as a very flexible 3 track CV/gate sequencer for your voices. Clouds has a cool sound and goes great with a drum machine, but a voice/effect like that needs plenty of modulation to make it move and sound like it did when you decided to buy it. There is always the option of getting smaller versions of each, but I leave that to you, since they are nicely designed in the original format. And it will sell if you decide you want something different later on.
I'd also suggest a Mutable Veils clone or an Intellijel Quad VCA (or both). I'm not a Mutable obsessive or anything, but Emilie Gillet made several very efficient modules that cover a lot of ground in a small space and lend themselves well to real music making. Whatever you choose here, though, they will make what you already have even more fun.
You'll want to do as much of your own research as possible throughout all of this, though. Your modulation is just as much a way of getting your personality into your music as the sounds, if not more, and you'll want to tailor this to your needs as you go on. Once you have the Disting, you can run through that and it'll be a much more hands-on way of testing stuff. VCV Rack is also good for this - you can try free software versions of hardware tools and test the musical output of various systems to see if it's something you want to work with in hardware form. They even have ports of Mutable Instruments modules so you can test stuff alongside their version of Clouds and Marbles and Veils and Plaits or whatever else to see how it would work in your system.
I guess if you're already used to 2hp, their sample and hold module is pretty helpful. Sample and hold is one of those classic modulation sources that can do lots of stuff, from sequencing to random voltage generation to a sort of analog "bitcrush/downsampling" effect - and having two means you can do it in stereo. It pairs perfectly with a Pam's. to trigger it, or any of your VCOs if you want to do some audio rate stuff.
Are you using anything external to sequence/clock this? The Shuttle Control portion will definitely make this a good idea not to be wasted, and you can still use your Steppy and Mimetic for modulations/other fun stuff (or vice versa - controlling with the sequencers and modulating with MIDI).
Also, you probably want some more freeform modulation: LFOs, maybe a sample and hold (this doesn't have to be big and fancy), definitely envelopes or a function generator (if you have to pick one, this is a good one because it can be both LFO or envelope). As I said, the sequencers can handle some of this and that's a lot of fun, but a variety of modulations will get you results that will make you feel more like you're getting your money's worth here. Inevitably, you may have to put the Shuttle System back in its standalone case and fill that section with boring stuff to facilitate the other voices, though it will still be great accompaniment.
A Veils clone and an Os are probably good starting points for utilities. Usually people forget this and have more modulation. Not a horrible plan overall and if your goal is more percussive/pinged in nature, you'll probably be doing great for a while. Look up Richard Devine's live case to learn more of what I mean - I just saw him live and while his case would probably get some raised eyebrows on the forum here, he's been doing electronic music for decades and his setup absolutely works great for writing and performance. However, unless you know already why each piece is there (in which case you can just ignore me), it seems like a lot to take on in this amount of rack space without modulation, and you'll end up with relatively static sequences that won't feel worth the money spent.
Think about how much space and functionality is given to the Shuttle System, which is essentially a monosynth (I guess it is technically two voices). All that extra stuff is what makes it an instrument and more than just a Furtherrrr Generator and filter. Try and imagine what it would be like if this rack gave a similar amount of options and playing space to the Zaps and RO'VED (and the QPAS, which is almost more of a voice/sound source/effect than a filter/VCA, and can definitely contribute like a synth voice to a patch even while filtering). How much bigger would it be, or how much more of it would be basic modular plumbing rather than sequencing/clock stuff, voices, amd effects?
Just to clarify:
You said you wanted to be able to make ambient and also upbeat dance music. Will you be doing this alongside the TR-6S, or do you want to do everything in the rack? I just ask because you mentioned you want the rack to sequence itself.
Knowing this will make it a lot easier for me to make suggestions.
Beyond that, it's time to start looking at modulation and utilities. Three voices, even with two in 2hp format, is a lot to keep track of. Function generators/loopable envelopes are always nice because you can experiment with different kinds of events. Attenuverters and VCAs will also be really important, since it will allow you to control amounts/positions for modulation and give you more control. Maths is a good place to start and see how these kinds of simple but potent circuits can improve your system (this stuff is the heart of modular and makes the more feature-heavy/obviously cool stuff work), but you'll probably need more than that to service all the voices in your system. Hopefully you still have the standalone case for that West Pest - you'll need that space later on.
Also, I would suggest just running through every single function on the Disting. All of them. Just to get a sense of what they are and whether they can help you or if you need them in a standalone module with more control. If there's a mode you don't understand, learn it.
I've generally stuck to one of two strategies at any given time:
If you time it right, you can have both. One thing I like about the Polyend Tracker as a sequencer using MIDI to CV conversion (or a Nerdseq will do it) is you can program this behavior to happen at specific times and even program sequences that are non-timed.
I think the issue with a tempo-tap based system is you have to always have some rhythmic element that sends steady clock to stuff. You can maybe plan out sections with this, or even an envelope follower depending on what you're doing.
The only option for you I can think of is to think less in terms of melody and more in terms of percussion or just "triggering events". If you set the modular up to respond to drum triggers from you, or maybe some sort of Launchpad/other pad based finger drumming setup, then you'll be fine and you just have to worry about tuning and setting up the patching in advance (relatively speaking) so you can have at least one hand free to trigger stuff.
You could also try the Korg SQ-64, which has a play mode called "isomorphic" where the 64 pads roughly emulate the layout of a bass. The Korg SQ-64 has had a mixed reputation, but it is powerful on paper and may work for you here so you can apply your guitar/bass skills in this context.
Envelopes.
I really like the Tiptop Buchla 281t because it has 4 loopable envelopes with CV control over attack and decay plus a quadrature mode that kind of makes them all loop and interrelate in weird ways. You might like it in an ambient case as a sort of freeform brain/hub for modulation and clock - I tend to use it both as 4 individual envelopes and also as a weird freeform sequencer of sorts. It's a big module, but it looks like you already have some spots where you've got some cramped modules.
But whether or not you take my specific suggestion, I would just say look at envelopes that you can play around with by hand in contrast to the Zadar, which is awesome but not quite as hands-on, for some variety. I wouldn't put any more small little modules in there unless you find one that really speaks to you, and I'd probably even start looking at blank panels to put in between some of those things at the top.
All of this is sort of beside the point, though: what do you yourself feel is missing? Do you like how it feels so far? Is there anything you don't use as much as expected? Do you like the Forbidden Planet filter? There's always another filter to try out.
Not sure if this is the right place for this, but hopefully...
Hello. I have decided to become a Nerdseq guy. I've been recently playing/working in a group where I program songs and perform them live with a drummer using the Polyend Tracker somewhat fot samples but mostly as a MIDI sequencer/clock for a couple synths and effects I fiddle around with. Basically, I want to adapt this workflow to my existing modular setup as well, and I want to try it with the Nerdseq and all its CV outs rather than a MIDI to CV converter. If I like it, I will probably get the more CV and video expander, and maybe the one with the encoder if I'm feeling rich one day. I don't have enough things to trigger to need 16 triggers and I'm not on the hunt for new voices or anything, but I can't rule anything out.
I have the stuff I want to control with it already - a Moog Mavis, a Pico System III, a small Buchla Tiptop based system that is slightly cramped but a lot of fun, and I suppose my Dust Collector counts as well (though it mostly modulates itself, and I soend maybe half my time onstage playing with it anyway because it's my favorite). It all sounds pretty great to me, but I want to organize it a bit and have a repertoire of structures I can work through.
My question is: what would you add next to a Nerdseq to make it more "playable"? Like, to mess with basic sequences on the fly as they progress and evolve over an arrangement that I've considered in advance (at least in skeletal form). Basically things to make a single patch for a single show as flexible as possible.
I have an 84hp rack and an endorphin.es 2hp power supply for the Nerdseq and whatever else when I get it, and I plan to build this up slowly as and carefully as money becomes available, buy while I have this set up as an 84hp setup, I'm not married to that amount of space for this task. These were my thoughts so far, though:
Maybe a sequential switch as well? I know this isn't an exact science, but I'm trying to see if there's any other cool utilities for this task I haven't thought of yet (I already have a mixer that handles Eurorack). Any help would be greatly appreciated.
You can also use a floating ring cable to connect pedals to your modular, or just buy a pedal/effects unit with CV inputs/outputs (there are some really good ones - I have a Finegear Dust Collector that I use on everything, and it even came with LFOs for extra modulation). You don't necessarily need a special module in the rack to interface with pedals.
(Edit: this next part is now irrelevant, apparently. I was incorrect.) Honestly, I wasn't going to comment on oscillators (or the Behringer thing) since it's so personal, but if Brains can't have the new firmware, I also agree that a different Plaits clone that can do the new DX7 patch thing would notably expand your sonic palette in this rack.
I'm not going to necessarily disagree with the person above, since your open-ended goal will almost undoubtedly lead you to think about more stuff. A Mantis case is not a bad idea for an ambient situation, and even if you don't fill it completely, throwing some blanks in there and calling it a day will make it nice and spacious so things are easier to access.
However, I am a believer in small setups if they are focused, and I did not go the large interwoven case route (yet). There can be advantages to different smaller systems if you're organized about it.
My main suggestion is to not bother with in-rack effects in a synth setup this small. Save that space for LFOs, maybe a Sample and Hold, and an attenuverter/polarizer. Maybe another VCA that's more for CV. Focus on the stuff that makes modular modular for now and then just get outside effects. If a pedal or something has an expression or tempo input, you may even be able to modulate the pedal with CV if you're careful and look up the proper methods.
My other suggestion is to go all out on your filter. If you love the Forbidden Planet, go for it, but it's a bit workmanlike for an ambient setup, where texture makes a huge difference.
I can give you specific suggestions, though I hope you'll also keep looking at other stuff to make it your own.
Sample and Hold: Divkid RND STEP is a good one that offers a lot of function in a small amount of space. You can easily just get the 2hp one as well - this doesn't need to be a complicated circuit to be cool - but then you always need outside modulation.
Envelope/Function Generator: Most of my favorite modules like this are big (Buchla 281t, Maths, Doepfer A-143-1 and 143-2). If you can spare the space, modules like this can make your system really come alive. However, Vostok (the Atlas company) makes an envelope generator that is smaller but gives you tons of loopable envelopes for modulation.
VCA/Attenuators: This is a category where you should do your own research and find out what works best. However, the various clones of Mutable Veils, such as After Later Audio's Cloaks, are popular and have lots of options. I have a Frap Tools 321, an attenuverter, which is very different but works great for me. Learning the differences between these two will help you better understand what works best, but they're both well-liked and popular, and that reliability is a good sign you can use them to learn about this stuff.
Multiple: Definitely get a mult or two. If you want to multiply audio or pitch CV, get a buffered mult (whichever's most popular). If you don't want to do that - and with this many oscillators, I don't know if you would - I'd just say look at 0hp options like the Qu-bit Splitter or the Intellijel Hub. Cheap and easy.
You have a lot of effects in this rack. It is nice to have effects that talk to your modular stuff, but it does take up space for stuff that can be done outside the rack pretty easily. I do think the Versio modules are interesting because of all the different firmwares, though, and keeping one (or both if you're set on them) might be a good way to explore a lot of stuff in one module.
Honestly, you may also want to think about something like a 1010 Music Bluebox standalone (or another mixer that can handle eurorack levels as well). You're going to have a hard time getting a module in that rack to handle 7 audio sources gracefully and ergonomically (especially for techno, where you'll be happier if you can mute stuff and do effects sends). Plus it frees up your Doepfer Quad VCA for more experimental purposes. I don't really understand the way you have it currently with separate mixers for drums and oscillators and then a single stereo out. If you have a reason for it being that way, then that's different, of course, but I think mixing is just one of those things that's hard to do in the rack without a whole new row for this stuff.
I don't know how you like to play this stuff, so you may choose modules that have different sizes or interfaces to these ones to highlight what you like more. Even that big Vermona module could be very useful if you thought you'd get a lot out of having big luxurious knobs and lots of space/options for your LFOs - it just depends on where you want your hands to spend the most time and what parts of your music you want to have control over in the moment. These suggestions are just me trying to add simple functions to what you already have and not change your original vision too much.
Too many voices and not enough modulation - at least for a setup this size. I would consider taking a look at more envelopes or even a nice function generator, as well as another VCA/attenuator to specifically facilitate modulations of modulation. A module like the Zadar really shines with a VCA or attenuverter alongside it to have more hands-on control of the voltage amounts.
You have a few particularly huge modules in here, and while I think that's actually a good idea ergonomically, it hasn't left you with much room for more modulation with all the voices in there as well. Nevertheless, things like sample and hold or other simple modulation sources will do you a lot of good (and you can get a small sample and hold without much trouble, since they don't really need controls right on the module).
How many voices do you see yourself patching together at one time (drums included)? If it's only 3 or 4, you should be a bit better off, but might still need a couple amenities like what I mentioned above. If you want to run them all at once and really work them, you probably want a fair bit more modulation.
Do you have the standalone case thing for the Ground Control? That extra space could be great for modulation, and it probably makes the sequencer/keyboard more accessible. I understand if you're keen on having it in the rack, but if not, that's valuable real estate.
In terms of voices and sound sources, you definitely want the stuff that speaks to you, but with modulation, it's honestly the stuff that sounds boring, overly technical, or obvious in modular that ends up being the most fun and unique. I would take a look at some Serge and Buchla modules if I were you - not so much to buy them, but just to see how the basic plumbing of modular can help your techno stand out from more rigid and standardized DAW creations (I would also watch some tutorials on Maths, which is not only a great module but a great teaching tool for showing how flexible basic circuits can be). They really illustrate how dense the simple stuff can get and demonstrate how to use one or two voices to make a full and compelling arrangement. Modular techno doesn't have to be minimalist, but it's a lot more fun if it's efficient and all the parts are being pushed.
I kind of like it. It's like a WWII relic. It has an oddly warm, nostalgic look.
It repeats some of the more conventional functionality of Maths, yes, but this frees your Maths up to do other interesting tasks like envelope generator, slew limiter, (low or high frequency) oscillator, subharmonics generator, envelope follower, filter (or just gives you more of the vital functions they share to control your modulations). You aren't really missing functions and tools in this setup - it's more about plumbing to ensure what you have does what you need.
Looking at this system, another idea is one of those 2hp passive low pass gate modules like the Meng Qi DPLPG or the Takaab 2LPG (which is almost better because it has a switch to change between no filter, some filter, and more filter, making it good for transitions or CV). I know you have the Optomix, and that one is great, but I have a 266t and those noise sources are great for percussion or weird sounds to send to resonant filters. It's an ungodly cheap and compact way to add more signal paths into your setup.
Frankly, blanks could also work at this point to create space between some of the smaller and denser modules for ergonomic purposes. Like all of my suggestions, really, this is based on the fact that what you have is already a very deep and powerful system that, supplemented with computer material, can provide you anything from drums and percussion to 60s art noise to pretty twinkly melodies and be very productive. I wouldn't add anything much more complicated to this and a computer (and whatever else you use, I guess) before stopping to practice, record (ABR - always be recording), make some songs with it, assess, and see how much progress you've made so far. Ultimately, you and your responses to what it does will be the best guide.
Intellijel Quad VCA and Tiptop MISO. Boring on paper but super fun in practice. I also have a little Buchla based setup and modulation/expression/movement is key here.
If you have a DAW and some money to spend, though, you might also look at the Expert Sleepers ES-8 or ES-9 interfaces for interfacing your DAW and modular. Especially in tandem with VCV Rack. It has DC-coupled inputs and outputs so you can sent control voltage to and from your computer, thus allowing you to use software and hardware modules in the same context. This means your setup can expand indefinitely without you spending much money at all, relatively speaking.
Even if you do this, though, I still recommend some kind of hardware attenuation or VCA just to make things playable. The Doepfer A-133-2 is a good small option. 2hp has the Avert and VCA modules, but be careful with these - you have to make sure you have a place for them where they won't get buried and inaccessible.
The Quadrantid Swarm can be purchased in standalone or Eurorack format, so you don't have to spend rack space on it.
Don't be afraid to put things in odd orders so the setup is more ergonomic. What may seem intuitive or natural as a design could be keeping you from playing the thing better. I have two passive low pass gates in 2hp (Meng Qi and Takaab) and I like them a lot, but they sort of form a wall between two sides of your modular when fully patched, and trying to keep a 2hp MMF or Mix next to that and still use them was a challenge. Thankfully, all the other modules in that row are big and very accessible no matter how aggressively I patch them up. Is there a specific area on your setup that's hard to access? I imagine the Doepfer side is doing good since everything is nicely separated into patch points and knobs and you can just sneak in behind the cables, but I could be wrong.
Right angled cables can also help here. There are special "low profile" ones, but even the regular ones help keep the wire mess on the sides of your rack rather than on top of it.
This seems so much more doable now, but it would definitely need to be bigger.
You could just get a 1010 Bluebox (standalone version) and use the space on more goodies.
Thanks for the in depth response dude I'll will read into it more and think about rearranging some modules for more envelops.. Do you recommend more vca? Or is the divkid/dopfeer and mixsix enough.. I think I will sell the grenadel drone commander
-- dougie834
No problem. Yes, I would recommend more VCAs. A module like the Intellijel Quad VCA is a great start - 4 different ones with lots of options to try your VCA in many different applications. It's good for CV or audio. Plus it's normalized so you can mix outputs together (though it is notably different from the 6x Mix, which I recommend keeping).
Maybe take a look at other ones as well and see what works best for you and whether or not you might also want a separate attenuation/offset/polarization module like a Happy Nerding 3x MIA or a Tiptop Audio MISO. It's good to just look up the popular modules in these categories and read the manuals, look at the descriptions, and also check out the panels to see what they do or don't have - this will tell you more about how to use them and what's available than just the category they're sold under. Even the ones you don't buy will help you understand the concepts clearer.
However, for now the Quad VCA is a good one for now that is considered reliable and can adapt to your needs as you progress. That's my personal suggestion. Currently, I have a Frap Tools 321, but that's not voltage controlled and I might have the Intellijel module or a MISO myself if I could spare the extra 4 HP.
[https://cdn.modulargrid.net/img/racks/modulargrid_1802754.jpg
I have built the rack up without any real thought to create techno beats what would I need to change as in get rid of and replace
be ruthless if you like..thanks for the in depth resonce I really appretiate it..I do most of what you have suggested vco/ filter/mixer but looking at your post I think I have problems useing envolopes ! im unsure where to use them and when ? can you advise me cheers
-- dougie834
As stated above by Jim, envelopes commonly open VCAs (as well as filters) to articulate sounds - this is what makes a sound start and stop on its own. When you use the Moskwa on an oscillator, the "gate out" goes to the "gate" input on the envelope, and the envelope goes to the filter/vca. With the filter cutoff or VCA gain turned all the way down, this should make the envelope control when, how, and for how long the sound coming through plays.
I assume you bought three drone devices because you love drones, but for now I feel like selling one or two of them to finance some basic useful stuff might help (even if you have the money to throw at this, I would at least recommend focusing on fewer sound sources for now). As stated above by Jim, VCAs and attenuators/attenuverters are big here. They basically let you control amounts of stuff (modulation or audio) and make your system more fun by giving you more knobs and more control. Make sure to look up the difference between VCAs, attenuators, attenuverters, and all that so you're not amplifying stuff too loud or not enough. I use a Frap Tools 321 and I like it a lot, but there are a ton of these (including a great cost-effective one from the company who makes your mixer and FX, Happy Nerding.
You might also consider a big function generator like Maths or the Tiptop Buchla 281t. These modules provide a bunch of simple envelopes that can loop as LFOs, be used as triggers and other sort of interlinking functions (hence the name) and can help animate your system more and give you options that work together. Pamela's New Workout is a great source of modulation/clock/sequencing for a techno setup, but having something more hands-on and less buried in menus will complement that nicely and allow you to get more freeform in switching between types and shapes of modulation.
One other utility I might suggest for you is some kind of quantizer. This will allow you to use essentially anything to sequence notes in your system, from LFOs to envelopes to whatever. Especially when it comes to improvising techno, this can help you a lot in terms of variations.
One last tip: sample and hold modules are not only a classic source of modulation that I recommend researching, but if you get one with CV and trigger inputs, you can run your mix or a single sound through it and send something at audio rate to the trigger to create an analog version of a "bitcrush/downsampling" effect. I love bitcrushers, but unless the Doepfer one has a specific sound you love, you could get a decenr sample and hold somewhere and basically have two modules in one. Modular is full of instances like this where something boring and technical is actually a simpler and more efficient way of doing something than a module built for one purpose.
I see three standard(ish) VCOs with two filters, three drone machines that may not need a filter/vca, and the Pico Drum and Tiptop Audio One for samples. Are you plugging them all into the mixer at once? I'm sorry if I'm missing something, but it seems like even if you trigger a kick on the Pico/One and then plug a couple drone machines into the 6x Mix and just let them run without even worrying about envelopes/filters/etc for them, that would already be doing a fair bit.
What do you do when you patch the MCO or Loquelic? Do you just do a standard subtractive patch (VCO into filter being opened by an envelope?) I think if you did that with a VCO for a bassline or lead, sequenced it with the Moskwa, and then just plugged that in the 6x Mix with one or two of the drone machines and one of the samplers (being triggered by the Pam's), you could run all this stuff at once pretty easily, clocking it with Pam's for consistency.
Once you break each voice down to its essential parts, I think it'll be clearer to you that you have a lot going here (and probably at least one too many drone machines - or maybe too many things that aren't drone machines). I would start by trying to patch each voice using as few elements as possible and see what you have left each time. Focus on one simple thing at a time and build the layers that way.
If you want a bunch of other stuff in there and are considering a 321, you might also look at a small dual LPG like the Takaab or Meng Qi ones. I have both. I particularly recommend the Takaab one for the mode switches and how ungodly cheap it is, but the Meng Qi one is popular and sounds great. I use them with a 321 for some control and it's a great dual LPG setup for cheap that can open up some new signal paths for your modules with a specific character you can't get from the 130-8.
Also, instead of an oscillator (or alongside it), I might recommend a humble noise source. In combination with the LPG/VCA and the Wogglebug audio sources you could get some great percussion going in a small space with stuff you already have. The Verbos Noise & Filter is a unique device for this purpose - you could use the filter bank with the noise or any other sound source.
I mean, you can make techno with a single monosynth. It's not really a system issue, I'd say - all the pieces are here, and any extras may just be your personal taste.
Have you noticed any problems while playing it, or does it just not get you as inspired as you expected? Do you play it much.
A filter bank is always nice. The Serge ResEQ is popular and has a lot of character and charm.
A simple ring modulator is also a good investment.
As for filters, definitely get one with enough room to have fun - this is one of those things you'll always fiddle with and it needs to be accessible. Personally, I'd look at a dual/stereo one or even one with more resonant peaks (like the QPAS or the Vostok Atlas), but go with your heart on this one - listen to tons of examples and do absolutely play some at stores. Another option is the Instruo Traigh, which isn't necessarily cheap but features a three input mixer and a nice classic ladder filter sound. A used one will probably be a decent price.
One thing I like to use a lot for effects is a Moog Mavis synthesizer, which can be taken out of its enclosure and mounted in a Eurorack case. For a fairly decent price you get an iconic filter, a wavefolder, a sample and hold that can be used for a bitcrushing/downsampling effect, an oscillator/LFO combo with crazy range that can be used for either thingfor built in normalized FM and other cool modulation (or just running some nice Moog voices under what you do), as well as built in mixing, multing, and an attenuator. The keyboard isn't ideal for playing, but the CV from it can be routed to other sources so it can be used to trigger events in your modular system apart from regular notes. If you had specifically asked for a synth I may not have recommended it specificslly, but it's a great package for this specific purpose as well as being a very good synth if you decide you want to fold that in as well.
My advice if you want the full experience but don't want to expand too much? Get a semi-modular synth and then just buy modules to augment it. A Pico System III is a great one because it has so many pieces that can be used in different ways. The Quadrantid Swarm is a good one if you want something less traditional but still very musical. There are plenty of good options, and they can save you space in your rack.
Also consider something like an Empress Zoia or a Poly Hector (or even the non-Eurorack versions, which have MIDI outs and can interfave with the controls on your Sub37 in deep ways). One of those and some attenuation/mixing for hands-on control might scratch the itch for a long time. The Hector is also full of Mutable Instruments modules because they're open source, so you get a lot of classic modular in there.
There's also stuff like Ornament and Crime or the Disting modules, with lots of different tools in them that you can try. Not super hands on, but you don't always need that (or you can use attenuators to change this). If a function in there makes you want to go deeper, you can get a module from there.
Have you tried VCV Rack? I find it good for planning systems in addition to making music on it. You can get a sense of how things will sound and decide what you want more or less control over.
No one would buy a Buchla 281t or other version of that if they wanted a Maths and understood how both worked. The DUSG and the Maths and the 281 and all the other function generators are not similar experiences even if they have similar elements. They don't directly compete with another product in a way that makes the other one. Behringer changed whatever they needed to change to make the price lower, but they're still selling the same experience. Illegal or not, it's still a choice whether that's the kind of business you want to support if you're already buying a boutique niche product.
Making silly joke entries on Modulargrid probably isn't the best way to go after Behringer. It's not evil, but meh. Informing people that they're casually antisemitic liars who partially fund their douchiness by trying to undercut and drown out beloved manufacturers/designers, however, is not a bad thing. I've owned their stuff and not all their products (or even all their ripoffs) are bad. However, once people are told what Behringer is, they cannot claim not to support them by giving them their money - you choose something, you choose the consequences if you're informed on them. "Looking down on them" is just a bad faith interpretation of holding someone accountable for their actions, which isn't even an inherently exclusionary act. But goofy stuff just undermines the point. The throttling of market participation by big douche companies has become so traditional by now that there are people here denouncing criticism of these practices because others partake in them as well. As long as those people and the people they're talking to can trick themselves into feeling reasonable, the problem isn't going anywhere.
Currently I don't honestly own any "opinionated" hardware unless you count the Moog Mavis. However, I did buy a Poly Beebo just to use the Marbles port on my samplers/synths, and I also use it a lot in VCV Rack. Despite all the options available with computers and other modules, Marbles is just a nice, simple, organized, yet highly distinct way to randomize stuff gently or intensely, and I'm not sick of it it.
looks like quite a decent start to me...
personally I'd want some more utilities... as they add more patching options... so versatility
& some modulation - envelope generators/function generators & lfos
and I'd probably go for a bigger case (mantis would be my choice - bigger/quieter/cheaper per hp etc) - sooner or later you'll inevitably need it & you're a bit close to the power specs for the uZeus - at least with the regular psu - & with the higher powered option there's no improvement on the -12v rail - remember to leave at least 20% headroom on all rails (& if you add more modules you'll probably want to change the jumper for the -12v to get the extra 100mA out of it...
-- JimHowell1970
Thank you for your help, particularly with the envelope/function generator and power/case aspects. These are areas I was hoping to cheap out on, but I think I won't for now, even if it means holding off on a purchase for longer.
I'm sort of tempted to just go with an updated version of this (should be visible if you click the image) and then see what other utilities I need as I go along. I also have a Bluebox mixer, so I'm at least ok for figuring out how to collect my various audio signals from the modular and send them to the rest of the world.
What I'm working on is basically a "randomized" sampler to play live. One of my favorite things about the Microfreak is that you can modulate the arpeggiator/sequencer rate and get really off the grid in a tactile way. I want to do this in a sampler and sort of create like an instrumental hip hop version of free jazz. If there is a hardware sampler that does this (or a MIDI controller like the Torso T1), I haven't found it yet, so my plan is to go modular make the setup posted above. I think this a good simple starting point for the concept. In addition to this stuff, I already own a Moog Mavis, Microfreak, Keystep, and SQ-1, as well as a couple more normal samplers that cover me well in terms of regular usage, so I'm pretty much just focusing on this specific function.
I guess I just thought I'd run it by people here to see if there's anything missing here in order to pull off the bare minimum version of this (or any repeated functionality that I don't need). I tested a version of it in VCV Rack and this seems fine, but hardware is obviously different. Any help would be greatly appreciated.
