Ahhh, but since I insist on automatic convenience, the interior 'wiring' is designed so that you don't even need the extra switch. Just turn it on...and IT EXPLODES! Which, in a sense, is the answer to many synthesists' prayers: auto-programming in a modular. It's a technical innovation that is guaranteed to be groundbreaking...probably for your funeral if you're standing over it when you power it up, actually.

It's also auto-tuning and totally drift-free. I guarantee that whatever extremely momentary noise this emits will be perfectly cent-accurate compliant to some sort of scale in some way or another. Yet another horrible and long-vexing technical issue SOLVED!


Nice!


Looks cool- all that it needs is a detonator switch and wires and wick then you have an explosive synth!


One technical detail not visible in the build is a number of frayed, bare wires inside the skiff, which is also packed with quite a bit of gun-cotton.

I guarantee this will be the most excitement available in Eurorack today!

(insomnia. just say no.)


Agree in many ways extremely fortunate to have the power of what would cost MILLIONS of dollars years ago and require a large studio to use. The flip side today is that making a living off of music is nigh impossible due to the flood of cheap music gear and everyone is an instant DJ/musician online and music is free on most channels.

Then again, music to me is a hobby and way to explore and eventually create the soundtracks to my short stories, screenplays and novels that I one day hope to complete and spin into small films or animated features. It would cost me a fortune to pay a band like KMFDM or Metallica to use their music. BUT I can create my own takes with the gear widely available to me.

In fact I was producing some tracks the other day with my Elektron and Make Noise 0-coast that sounds very industrial KMFDM and Skinny Puppy/NIN in many ways. That brought smiles to me. Now I just a mike to record harsh lyrics and write some songs the record to Ableton or Cubase and remix/remaster.


That's because it kinda is.

I was just commenting in email to an old collaborator of mine that these days have blown the doors wide open. If you can imagine something, it can probably be realized somehow, and in the course of doing so, six more ideas are likely to appear. I would've never envisioned something like the electronic music environment that exists today; there were certainly indications of it decades ago, but the combination of inexpensive and powerful tech combined with decades of gear from which to pick and choose, and the ability to link it all up like is possible now...we'd never really envisioned that back when I was way back in undergrad studies and so much of this was unobtainable or didn't exist at all.

I can hardly believe what I can do now, sometimes.


Thread: My Eurorack

You'll notice that I changed a few things (as in most of it):
ModularGrid Rack
OK...only the Akemie's and M32 remain from the original. Everything else is different; here's why...

The Akemie's Castle is an algorithmic FM setup. As such, it wants envelopes. Lots. Chowning FM eats envelopes for breakfast, lunch, and dinner. So I fixed the modulation section to accomodate that. There's now ten AD envelopes, plus the two Doepfer VCS modules (each is more or less the same thing as half of the Maths, but this frees up 4 hp) and a triple VCA. All of this is supposed to be used together! This takes care of the complex modulation that will make the Akemie's really open up and go.

Lower tier had me removing the Endorphin Shuttle Control in favor of an Expert Sleepers FH-1. Same idea, but perhaps a bit more flexible and definitely smaller. You'll want to use two MIDI channels here: one feeds the FH-1 via USB, and the other goes to the Moog via the usual DIN.

The two VCFs after the Moog are for the Akemie's outputs. Optimally, you'd want to feed these to the L and R inputs on the Mixup (ie: 1 and 2), then you can feed the Moog to the L #3 input for mono. Result at the output: your Akemie's is in stereo with the Moog bringing up the background in mono.

Power was added, also, just in case this was an unpowered cab.

This should work a lot better. It gives you a true two-voice rig in stereo, with the ability to put the FM CVs and a lot of the triggering under the FH-1's control, with some clocking tie-in from the Moog (which can send its clock back down the FH-1 to lock up your main sync, allowing you master tempo control from the Moog's internal sequencer). The modulation is very capable, also; not only do you have the twelve mod generators, you also have three VCAs (summable) which can be used to obtain modulation amplitude control, which will make the FM programming really nuanced and complex-sounding. Definitely an improved version!


Yeah old SP was fun- hard to listen too as they were quite experimental for the time but very insightful use of synthesizers. I also like the old New Order stuff back when they were Joy Division. KMFDM had the best lyrics and overall package and made use of samples quite a bit on their old stuff. BUT my favorite is Wumpscut that one man show Rudy had some harsh industrial grade cuts. Sad that he gave it up after admit he could not make a living out of music.


That would be fun to have all the different tools for exploring all fields of synthesis: subtractive, west coast, FM, wave table, and granular. Hope I land gig and can score discounts to fund these ventures as it is not cheap! But will see if contenders like Behringer over time can lower entry costs as the Neutron looks promising for a 3 oscillator modular desktop with patching options. That and the Plankton Ants are quite affordable steps. I am blown away at how much I can get by on just with my tiny Make Noise 0-coast device. It sounds like a mini Buchla in many ways.


Note that I didn't mention 'voltage' as a control method. It's probably something more insidious.


Those first two were actually sort of in a transitional period in synths. KMFDM used both analog but also quite a bit of digital. SP, however, seemed to use anything you could plug into a wall socket as long as it spat noise out the other end. I still have fond memories of grad study back at the University of TN, cruising up to Gatlinburg on my downtime and blasting Puppy's early racket (ie: 'Bites', 'Remission', 'Mind') out of the car to the apparent dismay of tourists. "Why...that doesn't sound like mountain music..." Heh...no sh*t, Sherlock.


Not only possible, but there's competing devices:
https://www.percussa.com/
https://www.tastychips.nl/?page_id=2182

The Percussa SSP can also be found on here, while the GR-1 is more of a stand-alone instrument. Also, the Percussa SSP appears to be part of a larger system that Percussa has further parts of, such as the SoundCubes, etc.



I doubt it, because everyone knows that nothing can leave Omsk, even the voltage.


Thread: My Eurorack

What do do you think about this configuration?


True and back then before modular became popular, bands like KMFDM, Skinny Puppy, Funker Voght and Front Line Assembly were using hardware synths like Roland SH-01, Korg MS-20, Nord and Access Virus.


Thank you Lugia for the great explanation! I think getting an Akamie's Castle module for FM
and Waldorf Wave table oscillator with VCA and VCF works for wave table synthesis.

Regarding granular synthesis, is this even possible on modular gear or is it too complex and expensive?
Normally computers do this but I'd be curious if modular can do granular synthesis and how to do that as well.


The basic PPG signal chain is a digital wavetable oscillator into an analog VCF (lowpass) to an analog VCA, with analog control over the whole thing. Very simple. That right there would be more or less a PPG Wave Carrier, save that the bit depth/sample rate of a present-day wavetable oscillator would be a lot higher than the original, which was rather gritty and aliased like crazy at high frequencies (which, in truth, was an asset as you could work that aliasing into patches in interesting ways).

As for FM...that can be as complicated or as simple as you want. An Akemie's would work, or a couple of Doepfer's TZFM VCOs, or just combining basic sine VCOs with arrays of EGs and VCAs to build the operator chains yourself to get the classic Chowning methodology in analog. That can be a bitch to program, however. Plus, as Yamaha found, having some sort of filter after that generation section helps that sound out a lot.

The other 'got done a lot in digital' method is, of course, additive. But that's sort of nightmarish in analog: you'd need a sine VCO for each partial with the proper offsetting on each so that all of the VCOs track properly, then a VCA for each with its own DADSR (yes, you want a delayed envelope in all cases) to control the VCA amplitudes, with all VCAs summing into a mixer with individual level controls. On the other hand, doing additive this way allows a lot of inharmonic partial settings, possible phase-shifting of various partials...but also, a potential brain hemorrhage from trying to keep the whole mess programmed!


Yeah the Waldorf and Akamie's Castle would fit the bill for wave table and FM synthesis in a Eurorack! Do I need lots of VCAs and filters for those two modules? I think having FM, wave table and the few industrial niche modules plus utilities, power/case and some Erica Synth pico modules would make for a fun portable setup. I don't have 50k plus like our wealthy friend on here. Something like this might work?

ModularGrid Rack

Of course I would take out the Sputnik touchpad and have it separate to free up rack space for other modules.


All Eurorack modules use the same bus. If there's enough current from the power supply present on the supply rails to support both, then the answer would be yes.


Waldorf NW1! Basically, a monophonic baby PPG generator, with your computer doing the 'Waveterm' part via USB.


My guess is that it doesn't need it. It's actually controlled by the FSB remotely from a bunker under Omsk.


Mind you, it uses that now...but if you wind the clock back to the inception of industrial, West Coast devices didn't enter into the game at all. Throbbing Gristle, for example, was one of the first 'major' artists to make major and consistent use of a Roland System 700, which is very Moog-like in its architecture. Daniel Miller started off with an early Korg monosynth. Cabaret Voltaire were very much into Roland and Yamaha stuff, along with Chris Watson's prominent use of a Vox Super Continental.

The first West Coast industrial user I can recall off the top of my head was Naut Humon, of both Rhythm & Noise and Tipsy (much later), who had some direct connections with SMS and Serge back in the late 1970s/early 1980s. And he, naturally, was on the West Coast, based in SF. It wasn't until considerably later, after the modular 'purge' starting in the mid-1980s up into the early 1990s, that you saw a lot of Buchla and Serge use by users outside of either academia or the segment of the pop industry that had bushels of cash necessary to spend on such things. But it was also that 'purge' that allowed that to happen, as prices on these things plummeted; I still kick myself over letting an 11-panel Serge 'blue panel' system plus modular video synth get away from me back in the early 1990s because I didn't have $3500 to drop on it. Of course, these days, you may as well add an extra zero to that figure along with a lot of other upward math.


does anyone know if the "ALM PAMELA'S NEW WORKOUT" module can be used on the same power bus to which a "MUTABLE YARNS INSTRUMENTS" is already connected?
thanks a lot for your help


Nice references! Thanks!


Hi all,

I want to build a rack that has modules to use for exploring FM and wave table synthesis! Besides the industrial sound from modules like Subconscious Communications, Trogrotronic, and Metasonix, what would you recommend for such a rack and why?

I figure that I can have my one row of industrial special modules and one row for FM and one for wave table!


Where's CV???7??7


is it approved by putin?


blyat


Wise man Lugia, same here. I used Elektron before and needed a hardware sampler/sequencer/synth that was light and portable and can handle modular gear and MIDI. The 0-coast is my baby step into the world of modular on a budget and so far a lot of fun.

I prefer west coast synthesis , FM and wave table synthesis to traditional east coast subtractive synthesis (eg: Moog) because of the unique approach of creating from a fresh scratch pad and building up a soundscape versus using filters to take away until the final product is developed. Also the industrial aggro music uses mostly FM and west coast synthesis eg) NIN and Ministry for crafting their sound.


I like this from square one. Possibly one of the more ominous-looking modules; would make a good control button for some Bond villain's death-ray. Don't even both translating the panel; the Cyrillic just makes it scarier. The ony question I have is: when and how much?


Yeah, that works! It's got a real loopy, goofy feel sort of like mu-Ziq's stuff circa 'In Pine Effect'. Love the nasty sound qualities, too...very Rephlex-ish. That's one you oughta shop around...

FYI, I initially misread the thread header as 'Disasterous peace and Wasps'. I actually think that's a better title.


The Bastl stuff seems to be better at processing/altering external signals than at their own signal generation. As for Dupont pins to 3.5mm, it's safe to the gear (as long as you have an established ground between the pinpatchable and the Eurorack gear, as well as between all pinpatchables), but perhaps not to your mind. The other Folktek stuff makes for an exceptional way to transit between formats, also, plus the Mescaline also has some adaptive patchpoints onboard.

As for a complete pinpatch rack, see http://tangiblewaves.weebly.com/ and hold on tightly to your credit cards. That's a work in progress, also; Robert is continuously developing new modules for the system, which also includes pin-to-3.5mm modules. These work 1:1 with Bastl as well.


Hm...came up with the same screenshot as before. Try this: paste the URL of the page you actually build the rack on into the next post. That should bring the image up in the post...but before doing this, do a refresh of that page and call up the screenshot and refresh it as well so that it matches the rack's work-page.


I've dropped sums like that before...but when I have, it was always preceded by extensive research, sometimes as much as years worth. Even back when choosing gear was simpler due to there being less to choose from, I would still expend a lot of care on checking and crosschecking as much info as possible before money ever entered into the equation. There's a saying: 'informed customers are better customers'...and this is true, because when you're dead-certain about where you want to go and how to get there, the expenditure process becomes effortless because all of the 'hard part' has been done already.


Right...it's what I call 'adaptive multitracking': assembling sources as discrete track sources, but not in a fixed linear form such as on a 2" reel. DAWs, especially ones like Ableton that blur the line between DAW and instrument, can be made to work like old-school multitracking, but you miss the whole point of having the temporal pliability that something like DAWs afford.

I still know how to cut to 2" (or any multitrack tape, really), and can even cut up 2" with a splicing block and tape (terrifying to do, actually...so much can go wrong), but I won't voluntarily go back to that working method. It's like apples and oranges when compared to working in digital.


2 x Joysticks
3 x VCLFO
1 x Sample & Hold + Noise
2 x CV Processors
2 x VCA


Thanks.

I've switched Cwejman's & Twin Peaks for 2 rossum filters.
As for Mescaline - for now i'm gonna have her in the rack - when i fill everything up then ill surely think about the next steps.
Dupont to 3.5mm - is that considered safe ? That might open up Mescaline a LOT : ) . Curious.

I love folktek sound and will be sure to follow what they do, but Conduit as a standalone module is imo not enough, and i already have matter with 4 resists on "mental' module with custom breadboard so i'm kind of waiting for them to expand upon the lineup a bit more to maybe make a full folktek/dupont rack :). I've looked at bastl dupont things and while they seem like fun pieces, the sounds they make are kind of meh for me.


Thread: Change Log

Nice! Just saw that. Looks cool and I like the purple colour on the button.

All rights reserved, all wrongs reversed.

like the idea of the DMX module but as you say limited run so I'd need to be quick, the Moddemix was mainly for its ring-mod functionality so thank for the heads-up on the Wogglebug.
I'm leaning toward this,
https://cdn.modulargrid.net/img/racks/modulargrid_650962.jpg
though the mixer and VCA could be swapped as far as size and manufacturer. Again, thank for the help.


Slightly reminiscent of the (Chris) Clark track "Lord of the Dance", if anybody remembers that?


Wowzer Lugia.

That was brilliant. I like different packages for the reason that they can be used together or stand alone in portable setting like if I had just the Buchla Skylab that can be my workstation at a club DJ type event. But yeah the wall of power as you discuss would be impressive indeed! I have a buddy with a wall similar to that but not quite as big. I was in awe when he showed me his setup.

BUT my budget is much smaller and realistic so I am happy to play in the small end of the fish pond before diving deep into Eurorack. Even if I won the 100 million dollar lotto tomorrow, I would probably never spend 50k at a pop on new gear. Probably get one system and master it then see about options. My experience being new to all this taught me to squeeze out drops from one module- the 0-coast which is amazing for that itself. I can only image what 10 modules would do for me!


Agree with you here Lugia, and I have Cubase and Ableton to do that software stuff. For me, it is fun to experiment and sketch out ideas on hardware whether it be modular or hardware synths and then import the samples into a computer for mixing and remastering into a final product. That is my goal to produce a soundtrack for a novel/screenplay and short film project. If you look at what the pros do like Hans Zimmer- he uses synths and modular gear and then samples into his custom computer workstation or his assistants do that work and he just plays around on the synths and modular.


The Cirklon, honestly, does nothing for me. At that price point, you're then getting into the range where you may as well be using a laptop + a decent MIDI-CV setup like an ES FH-1 + expanders. Sequencers have very real purposes, but that device starts to get beyond the real point behind them, and I think the better solution at that point is software-based.


Synth wall, eh? 50k budget or so, hm? Ooooooooookay...this build uses four Doepfer 9U Monster Cases and two Doepfer Monster Case Bases.
ModularGrid Rack
Now, the first thing you'll notice immediately is a lot of repetition in the modules. This is very deliberate. When you're building on THIS scale, what you want is to pick what would make sense in, say, a Pittsburgh EP-420, and then repeat this over and over so that you can generate a very massive, complex sound, but at the same time you don't wind up getting utterly lost on the patch panel. You know what all the devices are, and their location is all grouped so that each set of modules functions as a singular unit. This is why you also see a lot of 2hp Mixers interspersed throughout the VCOs and LFOs. Each brace of four devices can be easily summed-down into a much more complex signal. And where there are four devices in a module, these modules get their own mixer, allowing for extremely complex admixtures of waveforms. In other places, multiple modules exist to service other sets of multiple modules, such as you see on rows 3-5, right cabs.

So, the top two rows are 'voicing'. There are a total of forty-eight oscillators, although in the case of the VCOs in the Sputnik Duals, one of each will be used as an audio modulation source by default due to that module's architecture. Each oscillator section also has its own summing mixer. The top row (which also contains the buffered mults and passives for CV distro) is summed at a Quad VCA, so each submix group has VCA dynamic control. Row two, left cabs sums with an mixer that can split into either 8-1 or 4-2, with inversion possibilities. This section also contains four slew limiters, located near the CV mult/distro section above. Row two, right cabs is waveshaping: three ring mods, a subharmonic generator, harmonic multiplier, two Elby triple waveshapers, two Tiptop Folds, a Doepfer A-137-2 waveform animator, and four active Moog CP3 clones, which then sum down further via another Quad VCA.

The functions on row three are split. Left cabs is the LFO section, right is a SISM, two A-143-1s which can function as AD envelopes or as complex function generators. Two more sets of quad FGs are to the right of those, feeding a pair of quad LPGs. The Pan/Mix on the end allows summing of or crossfading between the main mix outputs of the quad LPGs if needed.

Rows four and five, left cabs are all complex modulation sources, with more SISMs, 16 linear VCAs (summable) and more 8-1/4-2 mixers as seen above for complex modulation source mixing. At the end of this section are four VC Polarizers for inversion/modulation of summed modulation signals.

Rows four and five, right cabs contain the complex envelopes (four Stages, four Quad ADSRs) and SISMs for envelope mixing. Then the filters take up the rest of this section. Each filter subrow is duplicated, but filters can be broken out of this and/or interconnected as needed. A pair of formant filters is in place for the Doepfer A-106-1 resonance inserts, although it's possible to also use the EMW Multi Bandpasses for this as well. Note that the primary filters in this build are filter pairs, which can allow for further breakout of filtering functions as well as complex interpatching for elaborate timbral behavior.

Row six is where the architecture of the build starts changing. The first few modules are random sources; the HN EQ by the Sputnik random source is for VC noise coloration, so that the noise distribution can be modulated and changed for the WCRS's use. Four Shiftys are after this for arpeggiation of the WCRS's sample and hold or, just as easily, arpeggiation across any sampled source. Up to sixteen discrete stages of analog shift registers are available if all four Shiftys are patched in series. Four window comparators follow for complex gate/trigger extraction from modulation curves. After this, an ARC Artificial Neural Network handles complex logic functions over gate/trigger behavior for timing complication. The Bytom is a gate/trigger integrator. This is followed by more gate/trigger extraction modules, then CV manipulators (two Ladik minimum/maximums and two EMW manual CV folders). At the end of this section, four linear VCAs are in place, along with a CV adder and a triple DC offset source.

On the right cabs side of row six are, first, more CV processing (SISM, Quad VCA, and a Doepfer Morph Controller), but then the rest of the row is taken up with what could be termed 'master' filters for overall timbral processing. The last of these is a Frap Fumana, which allows complex vocoder processing of synth audio; a Thonk version of a Doepfer A-119 (not in production just yet) is next to the Fumana for inputting external audio as well as envelope following and gate extraction from signal dynamics.

Row seven is the angled row in the Monster Case Bases. On the left is the MIDI interface, an Expert Sleepers FH-1 plus two expanders for a total of 24 CV/gate outputs from this. This was chosen so that any USB-capable MIDI controller can be plugged directly into the system, but it is also possible to use an external MIDI box to send computer-sequenced MIDI into the system. The next several modules are all for the purpose of generating time modulation in various ways. Three different sequential switches are next, all of slightly different types and usages. Quantizing and similar functions are after this, with two o&C builds plus an Instruo Sinfonion for polyphonic quantizing and harmony generation. Naturally, all of these devices are intended to work either separately or in tandem functions.

The right cabs side of row seven is audio processing: dynamics, frequency-shifting, delays, a Doepfer A-101-3 modular phaser, a Juno-106 chorus clone and an Elby digital reverb, with these last two being mono-to-stereo capable. A Rainmaker delay and Jomox T-Rackonzier close this out with complex effect processing, and the output module is at the far right, keeping the external cable draping similar to that found on the left side.

Row eight is the MCBs' 'flat' row. A complex master clock is here, which can also take clocking from the FH-1 or can also be CV controlled for time modulation. Then sequencers: one traditional 'row' type, and two multichannel Eloquencers. Right side has controllers first: ribbon controller interface, three assignable CV fader controls, two joysticks. The ultimate 'controller', however, occupies the rest of the row; this is a full ADDAC VC mixer system, with three AUX busses, CV control over dynamics and panning as well as numerous other functions.

This system, as I noted, is intended for use with an external controller, with either CV/gate or USB being acceptable input methods for control signals. Controller should optimally be placed in proximity to the mixer and ancillary control modules.

Current needed for the whole system is 12051 mA on +12, 8066 mA on -12, and 181 mA on 5V, which should be within the distributed supply capacities of all six cabs with Doepfer PSU-3 supplies. Total module expenditure estimate by MG is $47,655.00.

That was fun...


Indeed and Elektron gear holds a special place in my heart even though some Eurorack snobs scoff at using it as being digital and not full of knobs and dials and wires. I have been having the time of my life mixing the modular world with the digital world of Elektron and Make Noise- they really do pair quite well together for those with tight small studios!

I can now sketch out ideas quickly in an organic way with hardware versus a computer DAW. Then upload and remix/remaster in the DAW like Cubase for consumption and send to my Elektron Octatrack for live performances.

Off topic but related to sequencers/samplers-

Why the heck is the Cirklon sequencer so darn expensive and in demand? It is sold out now and twice as much as Elektron gear. Same for the Social Entropy modular sequencer!


Right...and remember, the real use of a piece of equipment is what YOU get out of it. There's a few things in my studio that people puzzle over and wonder why I have them alongside some seemingly-more-capable gear. But these also have their uses; my CZ-101 is far more capable than its toy-like appearance suggests. The Kawai K1ii normally sucks...unless you have Kawai's MM16 MIDI mixer/faderbox, which I do and which allows me to get at the K1ii's insides very easily and in real-time. And the Yamaha VSS-30...well, technically, it's a toy. An evil toy, as its crap-fi sampler has all sorts of sound-modification tricks for gritty, screwed-up noisemaking possibilities, particularly after running it through both sides of my dual ProCo RAT rack.

Most 'pro users' would scoff at these things (except maybe the CZ-101...some people do 'get' that synth). But it's a case of putting the 'wrong' gear in the 'right' hands. It reminds me a lot of the Discordian principle of the 'Law of Fives', which states: "Anything can ultimately be related to the number 5, given the ingenuity of the person doing the relating". Same principle applies here; it's just straight-up thinking outside the box at work.

Also takes a degree of fearlessness. Going out on stage, surrounded with high-end synths, but twiddling around with a Nintendo DS that just happens to be making surreal layers of sound...yes, that looks very odd. But the results bear out the oddness.


I had a better idea, I think. Since the purpose of this skiff is to integrate it within your DAW's environment, I figured why not take that all the way? Hence:
ModularGrid Rack
Certain things may seem to be missing. Trust me, they're not. The idea here is to put part of the skiff in the computer, which also simplifies your patch recall issues.

The key to this is the three Expert Sleepers modules. On the left is an ES-8 DC-coupled USB audio interface and an expander for it. The right end has a ES-4 CV-ADAT interface, which is basically a six-channel DC-coupled Lightpipe audio input. These all work together with Logic and a piece of software called 'Silent Way', although you could also use MOTU's Volta and a few other. The idea is this: the ES-8 and its expander can output both CVs and audio, which can go through the skiff's modules for control and audio processing purposes. There's 16 channels for all of this, plus the ES-8 also has four inputs. Signal flow goes through the skiff's various possible signal paths, down to the ES-4, where audio can be converted to ADAT format, sent back to the ES-8's Lightpipe input and potentially added to the ES-8's four inputs, and the whole mess connects to the computer for all of this I/O work through a single USB cable.

In between: six envelopes (4 AR, 2 ADSR with normal and inverted outs), five VCOs (the four Klavis VCOs also have internal quantizing), wavefolder, ring modulator, Quad VCA for summing VCOs and so forth. Then a formant-based Mannequins Sisters VCF (which has two input possibilities). This feeds two Lxd lowpass gates, which are 'rung' by a Doepfer Quad Decay. Your Lxd outs go directly into the ES-4 from there, and back to the DAW.

It's an odd implementation, and while it seems to lack sequencing, LFOs, and a lot of other things...well, that's what the ES-8 and the CV control software (Silent Way or some other) are for. That way, you can have loads of modulation sources, control voltages, etc in the DAW itself (and therefore easily stored and recalled) while your audio signal path remains analog and very tweakable in between the Expert Sleepers devices. In short, very tight DAW integration, and partial patch storage to boot!

I suggest taking a very careful look at Expert Sleepers' website (http://www.expert-sleepers.co.uk) to get a better feel for how this should work. But the concept is quite solid.


I actually think the use of the Little Nerd in v.2 of the rack makes more sense. It has a lot of the Pamelas' capabilities, plus a few extra tricks, but occupies less space and it's more cost-effective. If this version of the rack is the direction to go in, the only change I'd think might be in order is to remove the Moddemix (the Wogglebug has a ring-mod mode, and the Erica mixer takes care of summing), then drop in a 4 hp multi-drum module that does more conventional rhythmic station-keeping while using the NE Pilobolus Vomitorium Excelsior as the source for screwy percussives to contrast with the more normal ones. In that 4 hp range, janost has a number of short-run clones of 4-8 voices of classic stuff, like 606 and 808 modules, an Oberheim DMX-based module, and a few other bits of trickery. Plus, by going with a 4 hp drum module of that type, you have 2 hp left...which is perfect for dropping in a 2hp dual VCA module, which you really need. VCAs are sorely lacking in this build, but that may well solve the issue and give you a final version of the skiff.


Just make sure to have a few good sequencers and samplers! You can get Eurorack modular samplers/sequencers- I like the ones made by Make Noise. Also look at the Kilpatrick Audio Carbon sequencer and Squarp Pyramid. Lot of folks overlook this area in passion of fancy VCO and LFO modules and synthesizers!