Why did you make a second listing of Proton? One should be enough.
This is the only quadraphonic mixer in Eurorack format. You can have an external mixer that outputs in quad, but then the panning will be done in this external mixer and will not be CV controlled. This modules allows you to keep all the quad functions within your Eurorack. It feels to me this is the first building block of a quadraphonic modular synthesizer, but to use it fully, you will need another quadraphonic module like the Aeolus seeds. However with 2 stereo inputs, you can use it with a standard stereo mixer before adding other quadraphonic modules.
With many inputs and outputs close to each others, cable management may be a bit tight, so place this module carefully within your system.
I have 2 of them, so I can have up to 5 quadraphonic voices. This module is really a corner stone of my rack.
Good build, easy to understand, highly recommended.
I have a page listing all the quadraphonic modules on my site.
I think the morphagene is a bit big for the space. Add some tiptop drums, more mixer stuff, switched mult, you're gonna need an envelope generator, maybe a pico voice.
https://cdn.modulargrid.net/img/racks/modulargrid_1589119.jpg
Hello! I finally took the plunge and bought a used palette case off craigslist. It came with uO_C, plaits and some 1U utilities (stereo line-in, dual vca and headphone out).
Where should I go from here? I am trying to build a do-it-all studio tool that can make nice atmospheres, quantize bleeps/drums/loops, and process incoming audio. I figure that's probably a pretty ambitious plan given the limited space I'm working with, but am unsure if there's a secret way to get all these things into 1 tiny package.
I've thought of adding Pams and morphagene, but beyond that I'm lost.
I'd love to get some expert opinions before I start making decisions. Thanks so much!
I avoided Behringer products until recently I bought—and subsequently returned—two Neutrons that I'd hoped would fit in with my other Eurorack equipment. It's not that they were a bad concept, just that the execution was flawed. The first had too much crosstalk between the overdrive and VCA circuits, and the second was built so badly that it wobbled every time we pressed a button or tweaked a knob.
Behringer has always been the Walmart of music equipment. Their business model is selling cheap gear to consumers who can't afford, or won't pay, the higher prices that name brand manufacturers charge for their equipment. I don't buy Behringer gear for myself or for my studio not because they aren't "good enough" sounding, but because I don't have time to waste on all the extra cost and work one has to do with inferior equipment. I'd rather pay the higher front-end price for name brand gear because after the mix is printed, the cost will actually be lower.
It's not news that Behringer clones other designers' gear—they do it with all their products, not just synths—and I don't have a problem with that. It's just business and competition. I don't like how they go about doing it though, and that's about behavior rather than actual methodology. Many of their products are designed to look so close to the original that it's not even a joke anymore (review the Swing, for example, which is a nearly exact copy of Arturia's KeyStep 37, or the Pro-1 modeled after Moog's Pro One).
The thing is, Behringer is capable of designing and producing good equipment without having to resort to ripping off other designs. The DeepMind 12 is a major accomplishment. The Neutron, despite it's manufacturing flaws, is a cool piece of gear for the price, as can be said of the Crave. Why not focus on creating unique gear, or if you're going to clone, then make something that looks different enough to be unique, but make it better? Hard to say, but it doesn't matter now, because Behringer have a reputation for building inferior gear and stealing other designs. I feel they harm the industry and we musicians and engineers rather than they do for themselves sitting in the group as an equal.
The other reason is about ethics and personal responsibility. It's not always productive to discuss, but it cannot be overlooked:
I think what Uli did to Dave Smith and Peter Kirn, and tried to do to Tom Oberheim, were not just churlish and petty behaviors but an example of a fundamentally flawed human being. If someone is willing to beat up a total stranger—AND FOR NO ACTUAL PURPOSE OTHER THAN EGO—in the full view of the public, customers, vendors and professionals alike, then that person/company will not get my business. End of story, full stop. As of today, I own only one piece of Behringer gear: a rack EQ that was left in the studio by an engineer I hired. It stays where it is simply because I didn't pay for it and I don't even want to devote the energy to remove it from the gear rack. I can't actually recall when we used it on a track because even my dbx 231 is better, and that's not saying much.
Every industry needs a bratty nephew that is just a pest to everyone, and that's the role that Behringer has decided to play in our music equipment family.
"I'll just plug this in here and see what happens."
https://sokamiru.bandcamp.com/album/portals
Fully ambient on this one :)
Yes, they are often big. Yes, Uli can be…different. But for, say, the ARP 2500 stuff there is no alternative. The quality of all the B stuff I have is just fine, euro and other. (Queue smarmy laugh emoji’s - get a life,people)
I had a bad experience buying a module from @Zbigniew one month ago
“Mr. Hammond, after careful consideration, I’ve decided not to endorse your park.” (Dr. Alan Grant - Jurassic Park).
'On ne devrait jamais quitter Montauban' (Fernand Naudin).
Thanks, I updated (rounded) the price to ready-to-use assembled version.
Hi there! Despite the fact that some of their practices are bull****, i have to say most of the gear sounds pretty decent, at least to my ears. Model D is a great example. If i can´t find a Minimoog or a TR909 for less than 6000€ (or find them at all) and want to have those sounds, I don´t see why I shouldn´t use a B product. I know there is a TR8s and it is awesome (first hand experience) but maybe you prefer the simplicity of the original. Roland is refusing to reissue this, I see why and respect that but others maybe don´t. They want a copy, they buy a copy.
I worked in development myself and can understand that they safe tons of money by copying. And this is where it gets nasty. Using products that are actually in production like the Mother32 or Dfam, from a small company thats probably struggling due to corona, chip shortage, whatever... is an absolute sh**move. I don´t think this is helping the industry because we definitely need developers like moog. If they have to shut down operation, that would be a loss for all of us.
Anyway... let´s just have more fun wiggling and choose wisely what to buy.
cheers everybody
Hi folks,
I´m just trying to find some good companionship for my Generate 3. Purpose of the 2x104hp Case is a single voice source, Techno oriented Synth. I found this approach quite appealing since i built a DnB oriented case with the CS-L as the only sound source.
The basic idea was to use the output options of G3 to split out the sound to different signal paths. Maybe this will be tricky due to limited space (and wigglebility in mind). Verbos Multistage, Sequence Selector, Scan&Pan, Multi Envelope are sitting in the Case as well. The rest is more or less undefined.
Does anybody use G3 as a single voice system? If so, what are your suggestions?
What modules did you find work really nice with the G3? Any magical combinations? Something that didn´t work at all?
Whatever tips you can give me, I´m happy to hear it.
cheers
Hey Blobby! Good that you replied. I realise now that I forgot to let y'all know how it went so far. I have both the Metal-O-Tron and the Can I Kick It module. You are very right that it's not your standard kick. Fortunately, the large hp count was used very well indeed, on both modules. The maker has refrained from making everything CVable, which looks like a shame at first, but the choices he made work very well.
Here's a few sound examples. First, the basic sound of the Metal-O-Tron. You can hear it at the start of this track. I'm just CVing the filter cutoff here. You can also do decay modulation via CV, e.g. for an open/closed hat effect.
The Metal-O-Tron has an audio in (handy to run another sound through the built-in VCA) and an XOR in. I didn't really get what it did until I ran into the maker of the module by accident. I asked him why there wasn't a CV for the four OSC knobs at the bottom. We had an interesting back-and-forth about how useful that would be, as they are quite sensitive in the upper regions. So I said it'd be cool to change the pitch with it. He pointed out I could do that by sending a pitched OSC into the XOR in. That's what you hear in this one:
Both the long gong-like sound and the 'ta-ta-ta-tak' at the start of the track are the Metal-O-Tron. They are differently pitched. If you listen carefully, you'll hear that the 'ta-ta-ta-tak' also changes pitch. The XOR in takes the output of a bOSC CEM3340 sine output which I use to change that pitch. I'm sending the velocity of the Oxi sequencer to the delay CV to make the gong long and the others short.
The Can-I-Kick-It is fun as well. Mine has a defect where the output volume is around 10dB too low, but I'm getting another one in the mail soon. In the meantime, I have been sending it through Ruina Versio which has a handy trigger able +12dB boost. But of course, that's distorted, which is kind of the purpose of the Ruina in the first place...
The kick has a pitch input, but it doesn't track V/Oct. I work around that by attenuating a V/Oct by around 80%. It then does track reasonably well. It's a little bit fiddly (scale with the attenuator, offset with the pitch knob on the module) but it's good enough for some simple work. It's also got a nice decay mod, i.e. the sort of pitch decay you get on traditional sine based kick drums, and much more. Here's an example of the kick following the pitch of the bass line. It steps in around 0:42. As it's -10dB, use headphones for best effect! The metal sound that starts at 0:14 is the Metal-O-Tron. I played the decay by hand during recording.
Overall, I'm very happy with both modules. I wanted deeper drum modules and it's exactly what I got.
Modular playlist on SoundCloud
Is this a MuRF for Eurorack?! I just discovered this!
-- boe_dye
looks very, very similar...
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
I've taken advice here and added modulation sources and Erica PICO Mscale for Moogs....asking for a review again, suggestions. Remember I have Mother 32's Dfam, Subharmonicon in their own cases. Using Matriarch as keyboard. Would like to try the Metropolix....have not bought. Still making ambient and prog...still learning but having fun. Wish I had more time with the system.
I just got their can i kick it module. I like it. If you are looking for an easy 808 thump... not the thing. It's wild, weird glitchy and I use it for all kinds of bizarre percussion. As far as a kick, it's cool, but it does much more. Definitely requires tweaking, and the knobs have quite a range.
What else would you like to see in the system? Or are there any modules you would replace?
I'm would be curious to hear about modules I may have missed, or interesting alternatives. 😊
Finally, I could give much better feedback if this post were accompanied by a recording.
-- alerion
Hey alerion,
thx for your honest feedback!
You brought some good points I really have to think about, especially for the number of voices (maybe more modulation/Utility instead?) and of course the missing recording ;)
If you like to dive deeper into my idea, here some further information to make my intention a bit more clear:
The rack is not primarily built for improvisation or finding a sound "per accident" - therefore I'm using a smaller Rack with other modules: Steppy, Mimetic Digitalis, Kickain, etc...
I think of this big rack more like a kind of programmed machine where Improvisation comes in (or on top) while it is running a programmed schedule; kind of like the the song-mode on the octatrack / analog rytm.
Maybe 80% of the patch are still patched from 2021 and come from my experimentation and experience with the source-modules. Thats why some modules are combined in "blocks" (e. g. Shard + WASP-Filter + Electus Versio: love it) and other modules I like to use directly into Mixer (e. g. Manis).
The NerdSeq captures a few "basic-produced" tracks (all possible 176 patterns are used in the current file). No track uses all voices at the same time (except one I think), but every voice is playing a key-role for any of the tracks.
For example on BIA and Manis all CV Inputs are patched from the CV16 expanders and get controlled by Nerdseq => this way I can fully restore every ("sweet-spot") sound for a single track automatically and use voices only how I exactly want them. If I want to freak out, I use the knobs or pull/switch cables, but the modulations already kind of freak out, how I programmed them.
For backing tracks I could use Bitbox, but except the intro I don't need backing tracks at the moment. Other external gear like Octatrack oder Beatstep Pro is banished from this project (decision).
Some aspects I'm currently thinking about:
- using a CV-recorder instead of the PM Mutes (skimpy used because active elements are controlled by the patterns)
- changing a voice, e. g. throwing out BIA for another interesting thing with at least 6 CV inputs (doesn't necessarily need to be a voice, one of the tracks would need a new "hook" from one of the other voices)
- in terms of pushing further, starting a new file and make a completely new "schedule": with or without changing the patch?
Still the same problem, but when I remove the jumper and turn it on all lights turn on +12,-12,+5, as soon as I plug in the Kalyke, the light for +12v doesn't turn on and the Kalyke gets power but the others don't. I just don't get it... So I am trying all combinations that left now, but I am getting nowhere... I also double checked every connection, switched positions of the modules on the ribbon cables, divided them between them... Nothing.
This is actually the third time I am editing this post, I've now searched all of the internets and found out that the the power provided by the yZeus is only half of what it says, so I will need that booster adapter to get the power I need. The information was really hidden in the reviews for the booster adapter...
Now I just have to wait like 3 to 4 weeks till my favorite vendor has it back in store... But still this seems to be the problem, the person who wrote the review described exactly the same problem.
But still I am glad you helped me out here and provided me with your knowledge.
Thank you
Hello,
I would connect two usb female 5V ports to my A-100 PSU (or A-100 miniPSU in another rack).
Can I connect them directly to the two pin +5V of 16 pin connectors of bus board?
Intellijel PSU directly incorporated some 2 pin 5V ports for power usb so I think it isn't a problem to connect directly to one free eurorack 16 pin port. What do u think?
The idea would be to buy two usb female to powered Arturia beatstep pro and keystep 37 and embed them in my homemade racks without going to occupy slots in the rails.
Thanks
FB
You might find more compelling results by focusing on getting more out of one or two voices rather than ... looks like 9? I've found it instructional to compare LIFKA, Lady Starlight, Lucas Marchal, and Blawan's sets on the techno side, and Helen Vogelsinger and Caterina Barbieri on the melodic side. To me, the simpler setup typically produces the best results and allows the performer to be directly involved and more spontaneous.
It seems you could be approaching from the mindset of covering all the bases of a typical commercial techno track rather than really thinking and feeling through how to extract the most and do something unique with every component of the track. I've found this produces generic results. As sad as it may be, running part of your set as samples coming from an Octatrack is something nearly every performer lands on eventually—you might find it more efficient to 'fill out the track' that way than rather than building an Eurorack orchestra (I'm barely willing to admit this to myself).
In my own setup—which is perhaps extremely minimal—I use a single oscillator, kick, and hi-hat. Everything else—melody, other percussion, rumble, etc.—comes from running the mix through an LPG, filters, delay, and reverb. I've been surprised by how well this works.
From another perspective, I think your system seems totally fine as is, it's just overpowered and finding the sweet spots may take a lot of experimentation. It may also be perfect for you in ways I can't imagine!
Finally, I could give much better feedback if this post were accompanied by a recording.
More advanced than keystep pro?... uh, ok.
Advanced may not be the right word. 🤔 One limitation is the lack of channels/outputs when it comes to complete arrangements. Four channels with only one mod output per channel isn't quite enough for my case. Another limitation is that it's difficult to get an overview of the arrangement. Also, while patterns can be sequenced together, I don't think it's convenient to program entire songs on it. As things stand right now, I think the DAW is the best option for me when I get to this stage.
My thinking is that things like Keystep Pro, O-Ctrl and Marbles can inspire me and help me get started. The DAW can be a bit uninspiring to me, but when I get to the point where I'm hit with the limitations in Keystep Pro, I'm hoping it won't matter. 😊
I do have some experience with NerdSeq and I love it, because it makes a kind of Metal Gear Solid retro feeling to me.
It is capable of playing back loads of programmed information and modulation [...]
But NerdSeq really needs all of my patience, and it feels a bit like programming - I'm also attaching an external display and a computer-keyboard with the expander, haha!
I don't work with external midi-gear but there is a limited option for micro timings in Nerdseq => it affects a whole step in the pattern, not only one note.Maybe this information helps you.
BTW: whats your goal with the overall rack? Recording, live gigs, improvisation, playing with band...?
Thank you, it sure does!
I was eyeing that display and keyboard expander as well. 😊
My goal is to record songs that are more... organic than retro. Ambient soundscapes, but probably IDM and glitchy stuff as well. In that context, I'm suspecting NerdSEQ might be a bit too rigid.
I have been looking for more advanced sequencers than Keystep Pro. So far, the most interesting eurorack option has probably been the NerdSEQ, but I don't like how “grid-based” it is. I tried FH-2 with Squarp Pyramid (with an external keyboard), but I didn't jive with that UI either.
-- ecstatic_sutherland
More advanced than keystep pro?... uh, ok.
I do have some experience with NerdSeq and I love it, because it makes a kind of Metal Gear Solid retro feeling to me.
It is capable of playing back loads of programmed information and modulation (not my video):
But NerdSeq really needs all of my patience, and it feels a bit like programming - I'm also attaching an external display and a computer-keyboard with the expander, haha!
I don't work with external midi-gear but there is a limited option for micro timings in Nerdseq => it affects a whole step in the pattern, not only one note.
Maybe this information helps you.
BTW: whats your goal with the overall rack? Recording, live gigs, improvisation, playing with band...?
Have you thought about Bitbox or anything similar?
I have been looking for more advanced sequencers than Keystep Pro. So far, the most interesting eurorack option has probably been the NerdSEQ, but I don't like how “grid-based” it is. I tried FH-2 with Squarp Pyramid (with an external keyboard), but I didn't jive with that UI either.
Have you thought about Bitbox or anything similar?
By the way... I did try the Bluebox as well, with a similar experience. Sold that too. 😊
Hey dear community,
I totally am amazed by my MIX BX and SQUEEZE from Feedback Modules, so adding the supernice MIX mix to my system was a kind of logical progression. It's both a 4 channels stereo mixer and an output moule, and I love the meters too.
I like your setup and especially that you want to be able to work without external computer.
Have you thought about Bitbox or anything similar? It's of course not as direct as the DAW-link via ES-9, but works in some ways also without DAW.
After having tried and sold a Blackbox, I suspect the Bitbox isn't for me. I didn't like the experience of using the Blackbox, and I suspect Bitbox might be similar. Reading about it, I got the feeling that's it's a bit menu divy and unpolished. So I went for the Assimil8or instead. Assimil8or has a higher bitrate and so far seems like a better fit for me personally.
Thanks for your thoughts!
you mentioned a "hiss problem", when working with ES-9 and Morphagene or Mimeophon... what exactly is the problem there? Do you know, where it is coming from?
It's actually not related to the ES-9. The hiss problem has been discussed at length on Mod Wiggler, for example in the main Mimeophon thread. I'm not sure if the cause of the hiss has been identified.
Ok, didn't know about this, thx.
Skimmed over, but seems to remain unsolved by make noise.
I like your setup and especially that you want to be able to work without external computer.
Have you thought about Bitbox or anything similar? It's of course not as direct as the DAW-link via ES-9, but works in some ways also without DAW.
you mentioned a "hiss problem", when working with ES-9 and Morphagene or Mimeophon... what exactly is the problem there? Do you know, where it is coming from?
It's actually not related to the ES-9. The hiss problem has been discussed at length on Mod Wiggler, for example in the main Mimeophon thread. I'm not sure if the cause of the hiss has been identified.
You can hear the hiss at 00:54 here (not my video):
I have tried the modules in both an Erica Synths 6U Monster Case and a 4MS 40X Pod, and the problem has been present in both configurations. I will soon try with a Meanwell 120W PSU and Konstant Lab HammerPWR with a filtered bus board. I'm in Europe.
Hey folks,
I want to share some ideas with you that I figured out in the last year, building this Rack/Patch.
I'm dying to hear your ideas for optimizing or pushing it further in any interesting kind of way.
I've limited myself to this 4 rows of 104 TE (MDLR-Case, Performer Series) and want to achieve:
a Techno-Live-Gig-Rack without external gear, but with both: sound and visual output.
The rack started in march '21 and the setup is now in version 3 - I'm nearly where I wanted to be with it. The Setup could (can) run the Kick-drum and most of the voices in a technically "danceable" way for 60 min. on its own (NerdSeq, of course).
I want to focus on mostly changing the modulations, give completely new Input (e.g. microphone) or interrupt / change the whole schedule / procedure.... live... for the sound and for the visuals.
I think of it in "blocks":
**Control block:
- NerdSeq
- 2x CV16 expander
- Trigger 16 expander
- More Video I/O expander
- QSlider
- PM Mutes
- Genki Wavefront + Ring (on my right hand)
- special DIY microphone (connected to X1L3 Shard Input via "t.bone Sync1")
NerdSeq is controlling nearly all the voices via outputs and expanders. NerdSeq channels programmed:
- on channel 1 is the Trigger 16, running drums and some specials
- channels 2 - 5 are for all the controlled voices
- channel 6 is for special modulations and video CV-controlling
- channel 7 runs samples from NerdSeq directly into PMixer
- channel 8 is the video programming channel, where mostly Text and full picture colours / strobes are going out through the More Video I/O => CVBS
**Kickdrum block:
- ModBase 09 MkII
- Ghost
- Kick + rumble; Ghost as send fx (100% wet), mixed again in PMixer. For some tracks I layer a "small" Queen of Pentacles Kick (from the separated output) additionally into PMixers Kick-channel... Presets of ModBase are controlled by NerdSeq CV.
**Voice blocks:
- BIA => Pico VCF1 => PMixer
- Manis Iteritas => PMixer
- Loquelic Iteritas => Quad VCA => PMixer
- NanoRings => PMixer
- 2hp Play => PMixer
- Queen of Pentacles => PMixer
- Bitbox Micro => PMixer
Everything obvious. Bitbox Micro is playing an intro (triggered by NerdSeq via CV-Thing) and some fx-samples. Otherwise I shoot some fx-samples via touch display or (not live) record stuff from the ambient-voice going through Bitbox.
**Ambient block:
- X1L3 Shard => WASP Filter => Electus Versio => Quad VCA => Bitbox Micro (only tru) => PMixer
The Quad VCA recieves a Kick-sidechaining-signal from Roti Pola: Envelopes from Messor + Ghost are mixed. Ambient block can "pump".
**Mix/Master block:
- PMixer main out => Prism => Messor => HN Out (main input)
- PMixer cue out => FX Aid as a "big room" Reverb => back to PMixer
- PMixer aux 1 out => Imitor Versio (running Electus Versio firmware) => HN Out (2nd input)
Prism acts like a Master-HiPass-Filter with special short-delay-FX, controlled by the Q-Slider. Pressing the button on Genki-Ring opens signal path coming from PMixer cue out via Quad VCA, so selecting the send-elements works with cue buttons. Via PMixer aux 1 I send a small amount of elements to create a general atmosphere in the background.
**Modulation block:
- Quadrax
- Zadar
- CV Thing
- Genki Wavefront + Ring
- Muta Jovis
Quadrax for envelopes and modulations, Zadar only for modulations. CV ThingUSB out => Structure USB in; this makes presets of structure available to be controlled via CV from NerdSeq. CV Things TRS-Midi-out is connected to Bitbox Micro, so theres another option to control Bitbox via CV. I use three channels of CV Thing to only display the current value of Genki Wavefront's outputs. This way I've got the WASP-filter for ambient-sweeps and/or e. g. main voice's envelope length "in one finger". The ring can of course temporary be de/activated and Muta Jovis can "kill" some modulation connections.
**Visual block:
- NerdSeq more Video I/O via CVBS => ET Structure => CVBS to HDMI => ext. display
The saved presets of Structure are controlled by USB-Midi-Signals, coming from CV-Thing.
Any opinions, suggestions or questions are welcome!
Hey,
you mentioned a "hiss problem", when working with ES-9 and Morphagene or Mimeophon... what exactly is the problem there? Do you know, where it is coming from?
best...
Hi!
What do you think of my setup?
My sound sources are Assimil8or, Morphagene, Akemie's Castle, DPO, STO, Stages (in harmonic oscillator mode) and Panharmonium. This gives me high-resolution sampling (Assimil8or), old-school digital FM (Akemie's Castle), an analog complex oscillator with FM (DPO) and additive synthesis (Stages and Panharmonium). The DPO adds some additional analog waveforms and a sub-oscillator.
Filters like Ripples/Popple, Shelves, Variable Q VCF and Resonant Equalizer provide warmth. Erbe-Verbe and Echophon provide digital effects that are a bit on the lo-fi/cold side. It may be a bit overkill, but I put three FX AID XL in there as well, for additional effects and utilities.
Speaking of potential overkill, I put three Mixups in there. I'm using ES-9 with Ableton Live, but I like to be able to work without a computer as well. (I'm having the hiss problem with both Mimeophon and Morphagene (when mix/SOS is not fully CW), so I'm planning to use the “IN 3L” and “IN 3R” Mixup channels to be able to adjust the levels related to those modules.)
A Keystep Pro is used for sequencing (if Ableton Live is not used for that). 0-Ctrl can sequence as well, and be quantized using Scales if desired. I'm planning to try to use Frames to extend the CV capabilities of the KeyStep Pro.
Dual VCDrive modules can add distortion to the stereo audio from Morphagene. Streams can act as a stereo LPG.
The second Stages can provide envelopes and LFOs for Akemie's Castle.
O'Tool+ can be used for tuning.
The WMD MSCL compressor can glue the mix together if desired.
Thanks!
Tried separating it from the rack and still had the same problem. Any clues as to what's going on?
The ready-to-use assembled version of this is $69. https://www.tindie.com/products/dhaillant/3to1-precision-adder/
Thanks man! Super helpful reply!
Hey,
Nice rack! There's a lot going on there. As you already thought about, you're probably going to want some VCOs as sources. You've got plenty of modulation in there. You can patch everything all over the place in circular routes, but at the end of the chain, you're only really changing whatever initial wave you start with, but you have to have it to start! The Piston Honda is a wavetable, which sounds great, but really isn't the same as an analog, or even a digital, VCO. With VCOs, you can patch back practically any single output into another VCO and FM the bajeezus out of it, run it through a filter or two and get the same result as a wall of filters, or even a wavetable module (almost). The point is that one doesn't need to have loads of modules to make good tracks. You just need the right modules for your music.
I use mostly analog VCOs, such as the Castor & Pollux, four Electrosmith 3340s, and a few of Doepfer's VCOs I've bought for my racks and tracks. Pick any of those and patch them back into themselves for some great sounding FM. If I need it to be more harsh, the Doepfer Wasp is an excellent filtering tool. I have two of them and they make it into a track whenever I need to brighten the sound up. Intellijel's Polaris is another excellent and versatile filter.
Envelopes and amps are your friends. The Zadar is great. I use the MI Blinds which I really like b/c its also a polarizer. I've never worked with the Quadigy so I can't comment. I will say that no two EGs are quite the same and you definitely want range and sensitivity when it comes to an EG. Doepfer's EGs aren't sensitive enough for me. Having good EGs is critically important.
You can never have too many VCAs. The MI Veils are fine, but I think there are better ones available. The Xaoc Tallin is one of my favs. Lots of gain that can be pushed to clip in a nice toasty and pleasing way. I have two and they get used a lot. I wish they were less wide. VCAs can be used everywhere for many different applications. I always find I'm short a VCA when things start getting super involved!
Lastly, I will say that simper is better, especially when (if) you're performing. You're probably never going to use every module every patch and after buying tens of thousands of dollars worth of modules, I find that I use only a handful on any track. There are some that are always used and some that I really should sell because they rarely if ever get used. Anyway, nice work. Get some VCOs is my only advice.
-- frankdog
I'll second the idea that having a Pro really complements the smaller versions. Because you can audition effects on the Pro, and then just upload your favorites to the XL or the 4 HP version.
Customize your algorithms, group them by bank, and the world will open up for you. I thought the same way about it until I found out how easy it is to upload whatever algos you want, and in what ever order you want. I still have to use my ears and see what sounds best, but I now know my first 2 banks are reverb, my 3rd bank is delays, and the 4th bank is any algo that caught my interest while browsing. It's not a perfect system but it gives you more control, without relying on a list, and you still get to be in the moment and have fun with it.
Thanks to your help I found this in the manual:
Zeus Series: microZEUS with Flying Bus Boards
Using the –12V Rail:
The –12V rail uses a switching regulator. This switching regulator needs to
have a minimum load of 100mA (out of 500mA) at any given time. The
uZeus has a factory setting to self consume this current. If your uZeus is
powering more than four (4) analog modules you can then disable this
setting if desired to make this 100mA available for use by your modules.
With the uZeus powered o , look for header J7 (located below the blue
resistor) and remove the jumper. Re-insert the jumper such that it comes in
contact with only one pin. Once reinstalled in the system, the uZeus will
provide the full 500mA of –12V power for your modules.
It's exactly the fifth module 🤣 and the rack would need 250mA on the - 12V rail. I hope this will do trick. If not I might ask again 🐒
Hello @Homunkulus,
The first thing I would do is double-check that all power connections in the system are attached securely (no loose connections between each module and its power cable, each power cable's connection to the power supply ribbons, the ribbon cables' connections to the power supply, and the external power connection to the power supply) and oriented the correct way at those connections (if the ribbons don't have shrouded headers, then make sure that the red stripe is on the same side as -12V).
The second thing I would check is the power specs of the specific power supply you have (mA available on each of the +12, -12, and +5V rails) and compare that to the total load that all of the modules you have connected to it in your case. The load of all of your modules together needs to be below what your power supply can provide with some extra headroom. The amounts I hear people mention most often for this excess headroom is 20 - 30% of your power supply's maximum output. For example, if your power supply can provide a maximum of 1000 mA on each of the three power rails (1000mA @ +12V/1000 mA @ -12V/1000mA @ +5V) then you should only connect modules that need 700 - 800 mA total on each of those rails. To my understanding, this is because many modules draw more mA when first powered on than what they need to function after being powered on (which is likely what the specs provided for most modules are). Also, if your power supply relies on using an external power brick, make sure it has the appropriate wattage/voltage/amperage specs for the power supply. If the power supply accepts a range of voltages, you can try a power brick with a lower voltage within that range to get a higher amperage output (but the wattage must remain the same) Amps x Volts = Watts. It can also be useful to know if the power supply you are using splits up its power output in any way. For example, if there are two headers for ribbon cables on your supply, it is possible that the power supply's total output is divided between those two headers, so you may need to redistribute which modules are connected to each of the ribbons for a more even distribution of power draw. All of these specs should be available in the manual for your power supply.
I hope some of that helps!
Chace
Great fx unit. Only downside is not being able to tell what fx algorithms are in the firmware because of no display. If you don't memorize it you have to use a saved algorithm list to see the fx parameters.
-- VerifiedPersonae
or you could get a pro to put beside it and have the 1st 32 algos identical to those on the xl
or just use your ears!!!
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
suggestions:
bigger case - you'll want to expand almost immediately as this is already nearly full and is very very limiting and in a lot of cases overly cramped
whilst I don't normally like the words redundancy or overlap in relation to modular synthesis - because in (even slightly) larger systems it is to be encouraged to a great extent - I would dump either steppy or numeric repetitor - pams and one of these will be more than enough
get the quadrattor instead of the duatt - or add some vcas in the 1u row
consider bigger fx unit - fx aid xl - or preferably pro - instead of the pico - ergonomics are important - 3hp is very small and fiddly
same for a mixer - ergonomics are important - 3hp is very small and fiddly
add another filter - or an lpg that can be used as a filter or an lpg
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
sound sources < sound modifiers < modulation sources < utilities
Each voice you have has its own envelope, so imo I don't think you need an LPG, unless you want to use it to deal with some noise source you have.
Maybe a quantized CV source. Maybe you could change your sequencer to Euclidean circles for example, or Maleko Varigate 4+.
Imo you have a lot of gate sources to feed two voices.
But hey, I'm a beginner, there are people here with much more experience who will surely be able to help you better than me.
Just putting together a hypothetical performance oriented case. I have one 6 hp slot left, not sure what to add there. Was thinking octave switcher but Steppy already has 4 channels so it might be redundant. I’m also considering a logic/bernouli gate or a lpg?
Looking for suggestions!
Just make sure it's type A and I'm onboard. Being able to take advantage of the full polyphony is important.
-- ParanormalPatroler
I just received a v3 module and it does have TRS midi included via the trigger input. The cable is also included. I haven’t had time to try midi yet but everything about the module is quality so far: beautiful screen, menu system is easy to interpret, the sound is impressive, build quality is decent.
There is no manual though - anyone from Ziqal planning on this? Also almost no videos. This is my first WT module and it’s pretty intuitive so I think I’m getting it already. But I would appreciate a manual, even a short one that briefly explains each function.
I’ll start a discussion thread on MW and add a few videos when I have time.
Great fx unit. Only downside is not being able to tell what fx algorithms are in the firmware because of no display. If you don't memorize it you have to use a saved algorithm list to see the fx parameters.
He fellow users,
I just got the io instruments Kalyke and wanted to put it in my rack, I have the tip-top audio power supply with two ribbon cables. But when I plug in the Kalyke all the other modules don't get any power, except for the Kalyke and the other way around. So what's the problem here? I am quite new in to eurorack, so maybe this seems like a really dumb question, but I would cheer for an answer /solving
Smart contact and fine transaction with @Thingue
Recommended Trader.
Thx for all !
Hey,
Nice rack! There's a lot going on there. As you already thought about, you're probably going to want some VCOs as sources. You've got plenty of modulation in there. You can patch everything all over the place in circular routes, but at the end of the chain, you're only really changing whatever initial wave you start with, but you have to have it to start! The Piston Honda is a wavetable, which sounds great, but really isn't the same as an analog, or even a digital, VCO. With VCOs, you can patch back practically any single output into another VCO and FM the bajeezus out of it, run it through a filter or two and get the same result as a wall of filters, or even a wavetable module (almost). The point is that one doesn't need to have loads of modules to make good tracks. You just need the right modules for your music.
I use mostly analog VCOs, such as the Castor & Pollux, four Electrosmith 3340s, and a few of Doepfer's VCOs I've bought for my racks and tracks. Pick any of those and patch them back into themselves for some great sounding FM. If I need it to be more harsh, the Doepfer Wasp is an excellent filtering tool. I have two of them and they make it into a track whenever I need to brighten the sound up. Intellijel's Polaris is another excellent and versatile filter.
Envelopes and amps are your friends. The Zadar is great. I use the MI Blinds which I really like b/c its also a polarizer. I've never worked with the Quadigy so I can't comment. I will say that no two EGs are quite the same and you definitely want range and sensitivity when it comes to an EG. Doepfer's EGs aren't sensitive enough for me. Having good EGs is critically important.
You can never have too many VCAs. The MI Veils are fine, but I think there are better ones available. The Xaoc Tallin is one of my favs. Lots of gain that can be pushed to clip in a nice toasty and pleasing way. I have two and they get used a lot. I wish they were less wide. VCAs can be used everywhere for many different applications. I always find I'm short a VCA when things start getting super involved!
Lastly, I will say that simper is better, especially when (if) you're performing. You're probably never going to use every module every patch and after buying tens of thousands of dollars worth of modules, I find that I use only a handful on any track. There are some that are always used and some that I really should sell because they rarely if ever get used. Anyway, nice work. Get some VCOs is my only advice.
"I'll just plug this in here and see what happens."
700 State mk 2 Filter kit from Frequency Central
A filter reminiscent of a Roland filter from Frequency Central.
Very straightforward build. Great sounding unit.
Recommended
Build
