Addendum: After a couple searches online, I can't find any hardware Eurorack modules that have an absolute value function. That seems weird―software modulars always have it.
As a substitute, you can square the feedback signal with a four-quadrant multiplier, but this is less effective. The square function further attenuates quiet signals (making the chaotic behaviour harder to initiate), and further amplifies loud ones (which tends to peg the filter to +10 volts) so the range of filter parameters that will produce noise becomes very narrow.
I've read the manual, having a bit of an issue following along though. When I hold down the bank button and press another gate button, the light changes while bank is held down and it appears to me that I'm in another bank. But the pattern is the same. If I save something there, that pattern follows me to each new bank.
If I change bank and delete the pattern, I can't find it by going back to the previous bank.
Maybe I'm doing something wrong, I asked support a few days ago and haven't heard from them. Do I need to save each track in a pattern individually by pressing save+Gate 1, save+Gate 2, etc?
Yesterday I found a surprising way to generate noise: Feed an HPF or BPF's input with the absolute value of its output at a high gain. Depending on the filter and parameters used, it will generate white noise, brown noise, narrowband noise, regular or random bursts of noise, crackly sounds, etc.
I did this in Softube Modular (it works with the Korgasmatron II and the Doepfer VCF-8), and was wondering if someone could try it IRL and let me know if it works. I don't own anything in hardware that has an absolute value function. The two above-mentioned filters have input gain knobs that go to clipping, which helps a lot.
Hey Everyone, fairly new here but really enjoying the ride so far!
After getting my feet wet with a Doepfer MC I‘m building out my first „real“ „System“. Already got the case built (2x60TE) and most of the upper row+some of the lower Row collected.
I‘m sticking to Doepfer modules for now as I wan‘t to avoid getting massive GAS and spending way to much money. The exeption is the disting mk4 here to avoid that Moment when you‘re missing a Bandpass Filter or a VCA or want something to trigger Sounds with while no Keyboard is around.
That being said the main goal here is to build a flexible but fairly straightforward Bass synth for riffing with an external sequencer or Keyboard. The BBD is fo trying out Karplus and general Sound-Design purposes (havent bought that one yet).
I‘m looking for any advice here to avoid frustrations with the finished system. I was going to go with dual Low Pass Gates but I really want to try the A101-6 as a second Filter/Phaser/Phaseshifter because it seems like a lot of fun.
PS: can I share the Case to the Thread from My Modular? if so then how? Otherwise I will make the System viewable publicly on my Page. [edit: figured that one out]
Pretty much all the algorithms are decent - they do what they say they do
I think the trick with it is to use the favourites function and not worry about using or even trying all the functions
Use it to fill in what you don't have (an extra filter/vca or whatever) and want to experiment with (wavetable vco for example)
Use it to determine the next module you get - if you have it stuck on tape delay as I have had - get a tape delay and use it for something else - I just bought a Magneto and haven't re-assigned my disting to anything else yet
Don't try flipping through all the algos to find out what they do - and have to constantly refer to the manual whilst you are doing it and then get frustrated and hate the module - this is what I've seen a lot of people doing - if you bought 100 modules or whatever it is at one go you wouldn't expect to learn them all inside out in an afternoon - or even in a year...
What things do you personally use Disting mk4 for ?. What do you think it does well or not so well ?.
I've had one for a little while and not really had the time to go through all the logarithms, so some of your thoughts would be welcome.
Instruo is indeed available in VCV, so I was already thinking of changing them. Good idea of having more (flexible) VCO's and Sequencer, also the Minibrute 2S has a sequencer and two VCO's. But I'm not sure if the sequencer can be used for the external VCO's. I doubt if they can. The difficulty for me is having the idea to both have a stand alone hardware modular system and a system that is enhanced by VCV. That is why I chose es9 to be able to have more connections with VCV.
The black output module could get a smaller alternative, but balanced out and phone out would be nice ;-).
Live works admirably here, as long as it's the FULL version with Max for Live. That one addition unlocks a lot of the hidden power under Ableton's hood, and since you can define LOTS of possible operations/routings/etc via Max, it's sort of a unique situation. But it's VERY easy to set up all sorts of "sneaky" send/return signal paths with M4L objects. With that, I can set up lots of actions that are basically nonrepeating, yet which follow clear musical patterns as a work plays.
OK, so I'm at this point now. How I arrived at my current setup is a long story of what I perceived as good deals at the time and GAS. I'm trying to complement my Moog Grandmother and Subharmonicon while keeping them OUT of the rack itself. One of my main concerns is I'd like to be able to mess with the rack by itself with a very small midi controller(in some cases theremin mostly keys) AND I'd like to have headphone out that comes out of both ears. I'm not concerned with stereo effects or anything with TWO different fields right now. I made decision I'll deal with stereo mixing/effects once I get it to the DAW.
I'm looking at the Behringer 305 because of the headphone out, mixer and EQ capabilities. If I get that module do I still need a VCA module ? Ultimately I'll be sending what I want to record to my Focusrite sound interface to the DAW. I'm thinking with the two Oscillator modules (Erica Fusion VCO2 and Plaits) I can do certain things with the mixer in the grandmother(noise channel in) and the Grandmothers envelope to cut corners on cost. Is this stupid or what ?
I'm thinking the biggest thing I need in this setup is a VCA but I'm not sure why. Since the Grandmother has mixer envelope generator LFO high pass lo pass filter I was going to try and use those and beef up my oscillator options with the Plaits and Erica Fusion VCO2. Does this make any sense or do I get the Eurorack Beavis and Butthead award for the year for taking this path ?
In my own defense I stumbled into buying the Erica Fusion VCO2 thinking I was getting a good deal(after years of swearing off modular because of the cost) but didn't realize it started me on this never ending bank account draining path.
I got the Forbidden Planet filter because I thought it sounded really cool in a Grandmother related youtube video.
I got the Doepfer A-147-2 because I figured I needed an LFO and it was one of the few that had a SIN wave
I got Plaits because I've heard a lot of good things about it and needed digital VCO to complement analog Erica Fusion VCO2
I really need the HEADPHONE OUT to both ears but the Behringer 305 takes up a LOT of real estate. I could potentially forego this because I have a pretty decent Mackie VLZ Pro mixer that can push these signals into and it has a great headphone amp in it BUT it kills the portability of being able to move the rack around with a small midi controller and just plug the Headphones into for good fidelity.
Most likely I really need a good multi channel Envelope Generator at this point since the Grandmothers is pretty limited and strange. I'm going to leave the sequencing to the Grandmother and Subharmonicons pitch sequncers for now. And I need VCA module. Any suggestions to finishing this initial build will be greatly appreciated.
much easier for us to help you - click through etc...
aren't instruo modules available on vcvrack now? if you are using vcvrack then I'd be tempted to use those in there
the harmonaig in particular seems way over the top for such a small case and so few voices - I'd want at least 4 before getting a module such as this and a sequencer (probably more than 1) to control it - which would also mean I would want a bigger case if this is the
again the black output module, the sample drum and the es9 seem too big for the case
but all the pico modules seem too small - especially with them all next to each other
Ha, ha, interesting request you got there. So accordingly to Jim's above experiences it seems to be not very easy to push it that far. So in case really nothing goes well regarding blowing up your power supply then try a thick copper wire (well insulated at those parts where you hold it) and make a good shortcut somewhere on the power bus :-)
If that blows the fuse before something really can happen then remove the fuse, put something bare metal in there, make sure your house electrical circuit fuse works very well (otherwise you might get a serious problem) and then try again to short cut the bus. Be bloody careful okay because this might give you some serious effects, you have been warned! :-) If you are not sure about this then please don't do it! A test should stay fun and especially safe!
Would you mind to make a video of it, in case you decide to go ahead with blowing up your power supply? Might be interesting material to watch ;-)
Good luck with blowing up the power supply, stay safe though and kind regards, Garfield.
Yes you are back! :-) Nice video and you got a nice sequence going on throughout the track. It's interesting to watch (and of course listen) to your new module setup in your two Doepfer cases. I don't mind to see a few more videos coming from you!
Thank you very much for sharing and kind regards, Garfield.
the psu is supposed to be a direct clone of the one in the tiptop mantis - and that psu survives being overloaded at least by a bit - when turning on all the modules flash and then you turn it off, take something out and it works again
I even had one module in mine that would sometimes not turn on - I think it pushed the inrush on the -ve rail but I'm not certain - everything else would work, but not this one - turn the power off and on again and it would be fine - just started doing it one day
if you're going to try to blow the power supply up though, you could also destruction test the case! :D
Was curious what methods people could suggest to stress test a powered case (obviously, without just maxing it's power supply with modules)? Can you use a bench power supply to draw current? (never owned one). Are there devices made to do this? And if so, could you point me to an example device?
I'd really like to run an experiment on the Behringer Go and see once and for all whether this thing is likely to fry some modules and at what draw the whole system starts to become unstable.
Any advice would be greatly appreciated. My rack is filling out and, out of fear, I'm getting ready to upgrade from the GO to something more reputable/field-tested, and I figured it might be a useful, if anecdotal, experiment for the community to see how close to the spec'd power you can really push this thing.
Hi, I'm sketching my first layout and choosing modules for the Arturia Rack with a Minibrute 2S (no keyboard) and pairing with VCV-Rack as expansion or having the Arturia setup as a Stand-alone system...
My music would be ambient / textures / rhythmic experimental. So I hope to get some advise or ideas to swap modules, or missing components in my system setup. I've been experimenting a bit with VCV-Rack, and now I'm looking into a hardware system and using VCV-Rack for a system I'm not capable of buying ;-).
This still might be a very vague or big question to ask... but I wanna try to begin somewhere. Your thoughts might solidify my ideas. Thanks for your advise!
Thanks for your kind words @GarfieldModular! I'm pleased that the music didn't out stay it's welcome. I've just read through a couple of your Doepfer Review Reports - great job! You have obviously put in a huge amount of time and energy into these and they are really informative. Nice :)
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I should clarify, I'm not just looking to make octave sound dissonant, I'm looking to synthesize sounds that will sound good in any tuning, which means it would be best to synthesize them at the Spectra level. Other than this Harmonic Shift Oscillator, I assume that an appropriate module would probably be an FM or Additive synth/oscillator.
Hi, I'd like to work with a module that has inharmonic (Non integer) partials. So far it looks like a module close to what I'm looking for is the Harmonic Shift Oscillator by New System Instruments. I'm not sure if it does exactly what I want, but if I understand the module correctly It has a Harmonic Shift knob that alters how spread the partials are. I'm trying to replicate the results in this video (which are in turn from the book Tuning Timbre Spectrum Scales)
Also fun bonus fact: The idea that consonance is based on simple integer ratios is a pure misconception! That's exciting if you ask me (see video).
Hey all, really excited to be getting into analog and modular after many years working in largely in DAWs as an experimental music hobbyist, because like many, all my initial experiences fiddling around with music and noise-making were analog. Feels great to get back to manipulating sound so directly. I finally have my first skiff set up, but I figured this might also be a place to share my compilation "Sorceress" of my past work, which has been free for a while in both truncated and extended versions on my website. Over the past year I compiled about 235 tracks I had laying around -- some on old cassettes, some on various PC hard-drives, some on CDRs -- for personal archival. Then I put together I think 50 of them for the purposes of a compilation called Sorceress and made it available on my website's blog, with a roughly 20 track version you can stream directly from the site. Been meaning to upload it to one of my Soundcloud accounts, where I have other unrelated material from recent years, but I don't think I ever got around to that.
The content is a pretty wide gamut, with tracks recorded in 1996 all the way up to 2020. Here's the original blurb about it from the blogpost:
Edward Ewald . Sorceress
(Selected Tracks, 1996-2020)
In 1996, when I was 17, I began fiddling around with a Radio Shack 4-channel mixer, a boombox stereo, a Sony dual cassette deck, a microphone, and a cheap Yamaha keyboard. I had no idea what I was doing and no real musical ability, but I was getting into experimental and electronic music of various kinds, and the desire to do something creative with sound was absolutely overwhelming. So I patched together the little equipment I had on a large table in my family's basement, and set to making a variety of music and noise. The first real "track" I recorded (retroactively titled "FM/AM" and appearing as track #47 on this comp) was basically just a meditative blend of FM and AM radio noise I'd taped, layered with some gentle keyboard drones. I received some positive feedback on the effort from a friend who was into ambient music, and I pressed on with more ambition.
By '97 I was listening to a lot of Aphex Twin and Squarepusher, and I wanted to make something with the rapid, chaotic percussion they tended to employ. I had no idea how to use computers to make music yet, no drum machine, no FX machines -- nothing that would be of any real use to emulating their style of music. So I improvised by simply recording very, very slowly played layers of percussion, and layering them atop each other (via cassette) piece by piece, with layers of melody woven in every other pass or so. I liked things to sound a bit strange, so I did a lot of ... creative EQ-ing, let's say ... and when I felt I had enough, I would dub the resulting, intentionally super-slow mix from one cassette to another at double-speed on the dual cassette deck, while recording the output to a third cassette. This double-speed recording would either become the final mix, or a pre-final mix that I would then mix together with another layer or two of non-sped-up material.
The results were certainly not what I would call objectively good -- I wasn't even using a metronome, and I have a terrible sense of rhythm -- but they were certainly interesting, and I still enjoy some of these wonky little homespun efforts to this day. There is a 2x album on Bandcamp called "Mother's Basement," somewhere, and that is the most comprehensive collection of this specific early period of music-making that I have organized. But a few tracks from that initial era appear here also -- primarily "Falcons" (track 33), and "The Mack" (track 24). "Pac-Man," "Energy Theme," "My Ghetto Bitch, Yo," "Bryan Was a Warm Sun," and of course "FM/AM" are also from this same general very early period. ("Keyboard Music Demo Track 1," while created much later, was also recorded using the same lo-fi, cassette-based mixing method I'd used in '96, as well as the same keyboard -- it was part of a nostalgic attempt to revisit that early process).
In 1998 I'd finally transition to making music on a computer, using a very cheap off-brand DAW called Digital Orchestrator. It crashed often, my grasp of MIDI and mixing principles were poor, and it was years before I realized something as simple as the fact that I could set the sample rate to something higher than 22,500. Many tracks from this era are rather tedious; some have been lost, some I keep ambivalently shelved; but, there are nevertheless more than a few tracks from this era that I still enjoy, too. Of this compilation, tracks from that period would include "Nighthawk," "Leap Frog," "Gloomy Firecracker," "In the Beginning," "Ghost of Memory," "Ghost of Hydrogen," and a personal favorite, "Your Heart is Also Here," which for me subjectively captures the emotional atmosphere of my early twenties in a very personal way. The rest of the tracks range from the mid-aughts all the way up to 2019. I think the most recent track in this compilation is probably "Water Spirit (2nd movement)" from an abandoned ambient EP I was working on a little in 2019. The songs featuring the slightly sped-up/pitch-shifted vocals -- "Princess," "Bill & Sue," "Phantoms," "Pitchforks" and "Magic Trick" -- were supposed to be tracks for a demo album I was putting together called "Suicide Songs," sometime around 2015. "Shortcuts," "Like Magic," "Slice of Night," and the partial "Lady in Red" cover are also from this general period. I know I have a lousy singing voice -- for some reason speeding it up makes it slightly more palatable for me. It gives me permission to not take it very seriously, I suppose, and I've always just enjoyed the slightly weird effect of it (cf. the much, much older "Bryan Was a Warm Sun," which was made with a microcassette recorder microphone only).
Anyway -- recently I set to organizing and revisiting some of my large, disheveled archive, and managed to compile 235 tracks. This was by no means an exhaustive count, just the ones I was able to easily identify and catalog with the time I had. Of those 235, I've winnowed it down to a selection of 50 for the purposes of this 3 hour compilation.
I was listening at your track and "suddenly" I was... I was... disturbed and... didn't know what was going on?! What happened? Your track ended and I missed it, this track of yours is so great, so joyful to listen at, this could be double length for me and I still would feel it's too short.
I really enjoyed listening at your music, it's relaxing as well as it inspires me while I was writing and being busy with one of my review reports :-) So thank you very much for this joyful moment and kind regards, Garfield.
P.S.: Hitting the play button again, I want this again, again, and again ;-)
Lovely video as always, I still love the river where you live nearby, beautiful to watch your videos. At about 1:30+ what happened with that road that seems to disappear in the river? Or is that on purpose?
Nice AE system music accomplishes the video, great! :-) Thank you very much for sharing this and kind regards, Garfield.
-- Hence if you haven't already committed to a case, I suggest you view more other small to mid-size builds to try to zero in on sizing that gives the right balance of small yet inspiring for you.
Thanks for the good points. This actually hit the nail on the head. I've been mulling over a suitable case for a while and going between this palette or a 6U Frap Tools plus -setup and haven't made a solid decision yet.
It's difficult, for instance 6U 84hp system would open a lot of possibilities to have an additional envelope/LFO and VCA. In this current plan if I want to use Just Friends as a voice I'm lacking an envelope (thus there are a couple 1U LPGs to control voices with just triggers, but it's less flexible). But I'm kind of worried to open the floodgates with a bigger system and hoarding too much everything to keep the system coherent and mobile.
-- the "big rack / small rack" setup IMO works really well. Big rack gives big possibilities; small rack is portable and helps focus. I've heard a bunch of other people (incl. working musicians) take a similar approach. So you have a lot of company in this line of thinking.
-- that said, the 104hp setup above MAY be too confining? For me a 9U 84HP setup (Deopfer case) is very portable, small enough to be focused, but big enough to give some room for a variety of modules. Your question about Sarajewo and "hard to justify the space in such a tight setup" may indicate your build would be better served with a bigger case? Hence if you haven't already committed to a case, I suggest you view more other small to mid-size builds to try to zero in on sizing that gives the right balance of small yet inspiring for you.
I've read the manual and I can save patterns no problem, but I can't seem to change bank. It's possible that there's an issue with my module, but I get the feeling like I might just be doing something wrong.
Let's say I've programmed gates 1, 2, and 3 to trigger drum samples. To save that whole pattern (is that the right term for the series of sequences being sent by multiple gates?), do I need to save each track/gate individually? Or is there a way to save the entire pattern by selecting Save and Gate 1 only?
When I hold down the bank button and press another gate button, the light changes while bank is held down and it appears to me that I'm in another bank. But the pattern is the same. If I save something there, it follows me to each new bank. if I change bank and delete the pattern, I can't find it by going back to the previous bank.
I think I'm just making a silly mistake somewhere, I know that this is a dumb question and people typically figure this out from the manual, but I'm just having trouble getting it. If anyone could help me out I'd really appreciate it!