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Hi Sacguy71,

So perhaps it's slowly time for you to think about the Erica Synths - Black Octasource? Crazy f*** nuts LFO but wow, what a module, I love that crazy bastard of a module ;-) You can really do weird things with it, so if that's your thing you might want to consider the Black Octasource.

Kind regards, Garfield.

Hi Zuggamasta,

Yes! That looks nice and tidy! Good luck with the DIY modules :-)

Enjoy modular and kind regards, Garfield.

The attenuator switches on the TAI-4 have nothing to do with the sort of attenuators I mentioned. In order to scale or alter CV and/or modulation signals, it's essential to have attenuator modules. Frequently, these also have the ability to repolarize signals...so if you want to send an inverted envelope to your VCF, and the EG has no inverted output, this would be what you needed. These also have mixer-type functions quite often, which then means you can mix different modulation signals to create bespoke composite modulation signals that can be quite complex.

Which gets us to mixers. You don't mix JUST audio signals in a synth. And, accordingly, there's two different types of mixers in modular (and most other) synths. One sort has a linear response, and this is what's needed for signals where scaling is important, such as with CVs and modulation signals. The other type (which you see often at the end of a signal path in a synth) are exponential mixers; since sound's apparent loudness (not signal level, but how WE perceive volume) follows an exponential scale, and these are pretty much solely for audio signal mixing. Plus, there's one other type of "mixer", and those are adders, which mathematically add signals together...so, if you wanted to transpose something up by an octave, you could have your CVs being fed via an adder, then use an offset DC source to add 1V to this...and there's the octave shift.

The 2hp VCA is fine for modulation level control. But since it's a linear VCA, it's not as useful for audio...unless you control it with an exponential-response EG. The real problem, though, is that far more VCAs than two are needed. You need two right off for controlling the output level and for any modulation uses, but since the rest of the synth is still very deficient, you can't see what the necessary VCA complement should be...but let me assure you, it's NOT two.

Stages is an envelope generator, true. But it has a lot more uses, and a lot of users use it as a CV sequencer of sorts. But in order to do that, you would need a proper envelope generator along with the Stages. Plus, envelopes are something that can be sent all over the place (along with LFO signals) to modulate other things; this gets us back into the "this build isn't complete" issue, since a proper build should have a lot more to it. But even with that, the Belgrad and the Verbos complex VCO are modulation-hungry things from square one, so having JUST the Stages isn't sufficient. Some proper AR and/or ADSR (better for filters and output VCAs) generators are sorely needed as well.

But the crux of the problem comes from the simple fact that this build is extremely incomplete. It's NOT a synthesizer yet. It's more akin to an incredibly expensive dub siren at this point. If that works, then fine, but I still believe you should build this out properly, especially after springing for some very expensive modules like you've done here. The difference would be like night and day.

Oh, and FYI...I'm a musician as well. But with 53 years of experience, 42 of which have seen me concentrating on electronics and electroacoustics, I might have a bit more perspective on this sort of thing. After all, they don't let you in the door to study with Stockhausen if you don't know what the hell you're doing...

I know exactly how that explosion in development happened. Originally, electronic music was viewed as a purely academic thing, and the majority of the R&D was being done by/for academic musicians and composers. One example that I can think of is the scanning polyphony method that E-Mu licensed to Sequential for the P5...the initial stab at that was done right across town in Urbana by Jim Beauchamp back in 1964. From that sort of research, it made its way to E-Mu in the early 1970s, was refined further, etc.

But what happened is that the focus for synthesizers changed from academia to pop. When it was obvious where the money was, synth companies changed their developmental paths from the academically-driven aspects to ones that were more aligned with working musicians. The annoying thing, though, is that while some academic studios were able to incorporate new developments alongside the older ones, many hide-bound academic music departments remained hopelessly stuck in their grant-writing cycles. This isn't where you want to be looking for new ideas if the objective is to create instruments for working stiffs, so by the mid-1970s, academia was just about DONE in terms of relevance.

In fact, I can cite a first-hand experience with this. Back during my undergrad, both I and my comp/theory prof "got it"...he was adamant that the future would be software-defined instruments, and I was working on adding relevant tech to the electronic music studio at MTSU (I opted to add a Memorymoog for starters...VERY smart move at that time). So when I got to Illinois and profs and grads were jizzing all over the creation of the hardware-dependent Kyma system...I knew in a flash that this was some VERY loud barking up the wrong tree! And while Symbolic Systems still puts out their DSP farm-reliant Kyma system for thousands and thousands of dollars, any one of us can go and buy an iteration of Arturia's spot-on Synclavier VST (no, really...it's PERFECT now that it has the resynthesis function), load it into the DAW of our choice, and wind up with what's essentially a bespoke Synclav Post-Pro system for a few hundred smackers! Would this have happened if, say, Michael Jackson hadn't made the original Synclav's sound an iconic part of "Thriller"? Probably not!

"TR-X0X Style drum / trigger sequencer based on the Behringer RD-9"
Looking at the picture: more like drum/trigger sequencer idea stolen from Erica Synths Drum Sequencer.
-- StrangeAttraction

Honestly, I kinda doubt it. This module was developed in direct response to people online asking Behringer about taking the sequencer from their RD-8 / RD-9 (which use basically the same sequencer) and using it in Eurorack.

I mean, is it possible they took inspiration from Erica Synths? Sure.

But honestly, I had no idea until just now that Erica Synths even made a drum sequencer.

Which means I certainly didn’t know anything about it back in August, when I suggested to Behringer that they create exactly this module. Admittedly, I only asked for 8 tracks, and I imagined 2 rows of 8 keys, not a 4x4 layout, but either layout could work equally well.

Does the Erica Synths sequencer include options for note repeat, and step repeat? How about the ability to mute or solo any of the individual tracks / sounds? Is it limited to 16 steps? Can you chain different patterns? Does it provide any auto-fill functionality (bouncing away from the current pattern, playing the auto-fill pattern, then bouncing back to the pre-auto-fill original pattern)?

"TR-X0X Style drum / trigger sequencer based on the Behringer RD-9"
Looking at the picture: more like drum/trigger sequencer idea stolen from Erica Synths Drum Sequencer.

Check if you have activated the Space Guide button.
-- modulargrid

Thank you! I don‘t know why I missed that..

Thanks everyone these are great details on one of my all time favorite bands, TD. I don't want to copy them but they are a source of inspiration along with industrial bands like KMFDM and NIN both use lots of synthesizers and samplers.

Ahoy!!

I have been thinking recently about how certain modules, that were once de rigour (at least for me and a few folk) are slipping away from us and are no longer available!

The Harvestman modules were the ones that first alerted me to this growing phenomenon, but since I have come aware of it, there are more... Make Noise - Mysteron, marked as retired on the MN website and only one or two instances in the wild that are for sale! I mean wow... what a a module, what a sound... is there anything else quite like it? I can't think of anything! It is by any reasonable definition of the word, dare I say it? Rare?

Can you think of other modules that are becoming rarities?

I was thinking of selling my Mysteron, for 'rack space reasons' it's been in it's box for a little while, but having realised that there might come a day in the not too distant future where it might not be easily replaced, or that I could end up with an instance that has been erm... lets say 'used' ... now I think I am going to keep it! It's mint!

Thoughts? Ideas? Concerns? What are you thinking?

Annnnnnnnd..... relax :D

That's much better!!! Good idea on the foam board, does the job nicely!

Hello Kel,

thank you for your reccomendation around FM synthesis. I also have the Rampage which can use one function generator to also do a lowpassfilter if it's free. The open case was scary as hell so I got a nice strong 3mm foam board to cut my own blank panels. It's not the 2mm like the panels, but close enough!
And thanks frank! I'm really grateful for all the post on here wich tought me to first understand what to do with just little things I I can then expand. I also did my mistakes already as I now see how the 2hp sine might have been a little weird of a choice instead of a basic 2hp vco which would have square saw triangle and FM input. But thats just how it goes.

here is a look at the barebones with the diy blanks

EDITED Feb 24th 2021, 14:48

Check out the blue Data Sheet link on the right just below your rack

I hope I don‘t request something somebody mentioned before but after doing some updates on my system recently I was thinking about this:

Wouldn‘t it be great if you had the possibility to set the firmware version running on the modules in your rack? In combination with additional information of the latest firmware in the module page there could be an (optional) message if there is an update available for one of your modules when you open the rack...

Maybe this is more complicated to integrate than I imagine but it could be a neat feature

Cheers and thanks to the team for managing this amazing site!

Christian

Here is a great story about TD from 1982 covering their equipment and much more:
http://www.muzines.co.uk/articles/the-new-tangerine-dream/3669

Another modulartsy piece with 1950s 8mm film clips (source: archive.org). Basic patch details in the video description.

Check if you have activated the Space Guide button.

Hi Zuggamasta, nice start. I think that build with our hands is very good to understand what using and where put the hands for future experimentations.

Just some small notes:

You don't always need filters, although they have a habit of creeping in everywhere, FM synthesis is perfectly capable of creating sounds that sound like they are filtered.

You patch 01 sounds great, I like the huygge reverb too!

Please consider using something for blank panels, all it would take is one errant cable and you could create a short and be very unhappy with the result! Even some cardboard will do!

Hey Garfield,

this is my trusty Reverberation Machine ;) TC Electronic ARENA. I'm not using this for my Guitars too often but I enjoy the diffrent reverb types and colors for all other sound mangling. In the Patch I use the "Mod" color, where there is also some chorus/lfo modulation in the Reverb.
There is also a programmable Slot where you can create a Custom Reverberation Profile. I'm using one that can takes all the attack from your signal and you can build a fat drone from an electric bass for example.

Current diy-build status:
Muxlicer 80% done - but I'm waiting for a missing thonkiconn jack
Rampage 40% done - the mainboard is complete but now there is the control board on the list.

Thanks Lugia,

Indeed, I have watched the TD live shows online and they use impressive array of hardware, modular, live instruments and computer soft VSTs with division of labor. I agree- we can achieve a lot with less gear now. I will probably invest in a new computer this year to use for music production and use Ableton Live with modular and my synths. Now that I figured out how to integrate modular via the cursed Doepfer A190-4 USB/MIDI to CV module in my setup with the hardware synths and Ableton, I can do it moving forward.

Regarding VCV Rack, is there a way to use that with modular via a MIDI CV interface? I will have to do some digging to see how that works. Love VCV Rack it helped me get into modular after the 0-coast.
-- sacguy71

Back in the 1980s I was doing a live radio show and got to see Tangerine Dream twice. I saw their 1986 tour Underwater Sunlight, and in 1988 Optical Race. The band line up included Edgar Froese, Chris Franke and Paul Haslinger. I also got to meet the band backstage to hangout and even record some radio station IDs. I also got to record and interview with Edgar over the telephone ( I should try to find that tape, eh?). In 1986 and 1988 they had huge roll around floor racks of tons of MIDI synths then. You need to focus on the overall sound you want to replicate or go for, then select equipment to helps you create that sound. Keep in mind that a different sequencer, or synth will force you to think differently, and will help you explore new territory.

Hi folks,

I really want an ambient build for Tangerine Dream soundscapes. Any ideas on what modules to get and so forth? I did read that they use a lot of sequencers from the Patch & Tweak book. I already have industrial techno covered so really digging a Tangerine Dream setup.
-- sacguy71

Do not look to copy what someone else is doing. Seek to create your own music. We are all inspired by others. The best thing to do is for your to decided which era of Tangerine Dream you want to emulate or are inspired by the most. TDream and their sound evolved as time went on, and who was in the band at the time. In the early 1970s on into the early 1980s the synths they were using were what was available - mostly all analog, and larger systems were modular analog like Moog (Look at the rig that Chris Franke had in the video someone else’s shared on this thread. As the 1980s to 1990s goes on, synth companies like ARP and Moog began to fade, and MIDI was only created in 1983 by Dave Smith. MIDI allowed the evolution of synths from most manufacturers to be connected and work. In the 1970s to 1980s synth voice polyphony was monophonic, because that was all the technology of the time permitted. As the 1980s progressed, digital synths came into being, and voice polyphony increased. Now, in 2020 you need to decide what types of sounds you want to work with. Analog? Digital? Monophonic? Polyphonic? Then work on building your studio including what you like, because you like the way it sounds.we now have the technology to create, or emulate the sounds of everything in high resolution, like never before. Each tool will add to your pallet in ways you may not even imagine right now. By playing with the various tools you will developed your our sound. If you are in Eurorack, most of us know you are talking about analog synths, but there are so many synths in EuroRack that are digital. For me I got a few of the the Roland System-1m because I like the sounds, they offer several plug-out vintage synth engines, and the System-1m has the CV and trigger connections to go deep in EuroRack. The System-1m is also 4 note polyphonic, where the plug-outs are only monophonic. You get explore EuroRack and get deep, and have 64 patch memories on the System-1m engine, and another 64 patch memories for whatever plug-out you install (I like the System-100 plug-out, but I have them all). Get some sequencers like the Arturia BeatStep Pro and you get to trigger 2 different synth tracks, and a percussion track. EuroRack has opened so very many doors for us all to explore and play. There really is no one TDream rig to copy, as their equipment library evolved over the many decades and incarnations of the band from their inception. No one list of equipment make you create what they did at any point in time. Get gear of your own and play!

EDITED Nov 16th 2020, 09:12

I don’t see available hp anymore when moving a module around in a rack. Has this been removed?
I’m using Safari on iOS and OSX.

By looking at the rack?

17 mins... Got it!!

:)

Cheers

Perhaps there was a misunderstanding. I used a wrong case in MG because I didn't understand how to modify the row in MG but is not a real problem. I'm using this modulars on a doepfer a100 (obviously powered) for now but I'm building a two row 84hp case.
I know "look mum" and other guys of YT that you mention, I'm a musician.
About the shopping list:
- Attenuators are required by having the attenuation switch on the Vermona tai-4?
- Mixer is required if I have many vco right? For now I have only one (complex right), with two row I could add other simple and a mixer. Is a first build. My idea is to start with a maximum of two vco mixed. I need to play with a keyboard and other stuff. I'm using also comined with a werstatt-01.
- vca and eg, why is not properly the 2hp and stages? Le inputs are enough for now.
- effects are the next step that I had already considered. Mimeophon for example.
I decided to start step by step. Maybe can became big or not I don't know now. Could be a bad idea but I need to use for my music now. You could tell me that it was better to buy a ready-made synth (already done several times) but I wanted to understand how it works and there is nothing better than "getting your hands dirty". Must also make a mistake at the beginning. Example I advance a doepfer filter because I could not find the belgrad but I did it.
Thanks for the advices. VCV Rack is really useful.
FB

EDITED Nov 16th 2020, 08:06

Indeed remind me of a lot of the 90s German industrial bands. Good stuff and I love making these types of dark tones on my modular system. I find that feeding my Kermit/Bionic Lester dirty oscillators, Richter Anti-Oscillator/Dual Borg filter and Cursus Iteritas into Mimeophon get me close to that territory with lots of distortion and drums from BIA, Plaits and Plonk.

Thanks for the input. I'm trying to decide between the Falistri and the Maths. The Falistri seems powerful, but it would probably be a while before I grow into it.
-- isolatediguana

Here is a good thread on Falistri with some comparisons to Maths
https://www.muffwiggler.com/forum/viewtopic.php?t=200710

Thanks for the input. I'm trying to decide between the Falistri and the Maths. The Falistri seems powerful, but it would probably be a while before I grow into it.

Lugia, Many of the systems that you mentioned, i.e. 360 systems, the very famous DX-1 definitely ring a bell here. The Vako Orchestron, Wow! That one made even more famous by Patrick Moraz.At the time I thought that one was going to sweep the world but for some reason, it kinda ended up being a flash in the pan though. Digital was where it was all going at that time but I remember when Vako came out with that beast articulating sound using laser optics on a disc. Very much state of the art technology for that period and it supposedly was to blow the Mellotron away. Yes, Nashville is quite THE place for anybody with aspirations that fall under any of the many facets of music production/performance for sure. What I find uncanny is how monophonic and duophonic analog technology gave way to super polyphonic devices with massive storage and easy programming interfaces, digital and wavetable as well as FM synthesis technology and it just kept getting better every release of gear at NAMM. Now it seems that folks are realizing the merits of the deep analog and want to return to the retro or vintage thing, hence the reentrance of the modular systems by the newly reformed and rebuilt company, Moog Music, Inc. as well as companies like Behringer that are resurrecting the good old classic dinosaur rigs like the Moog modulars, ARP Odyssey and 2600 as well as some of the early Korg stuff. Seems like its going full circle and I like it.

Starting over would be a good idea at this point. This isn't even functional as a synthesizer. Just like there's not much point in trying to resuscitate someone who drowned 8 hours previously, this isn't close to being at a "fixable" point. Plus, you've bought this stuff...so you've got your initial modules bought already, and this will force how you can build from this point...and that's always a BAD IDEA.

OK, so this build here is missing...

Attenuators
Mixers
A host of modulation sources
Proper envelope generators
Any effects
Sufficient VCAs
Power (unless you're using a powered cab here...at any rate, you can't jam 3U height modules into a 1U tile case)
Sequencing
Random sources/noise
Sample and Hold
Clock generator and modifiers
Logic

...and the modules you DID get are ones that are generally large, so this will force your hand on a proper build. And most notably, a SMALL build...you're not in the range where large modules sit comfortably throughout the entire build. That happens once you start into the range of cabs beyond 2 rows and beyond 104 hp per row. So if you're keeping those expensive modules, you're going to be pushed into a situation where they dictate the build...and NOT YOU. At least, not in ways you want.

This goes for everyone reading this post...and I do mean EVERYONE:

Just because you see some hotshot on YouTube building a small build DOES NOT MEAN that you can do this, too! Invariably, the synthesists doing this are experienced, and they're putting together mission-specific builds...NOT general-purpose synths that fit into 1 x 84 hp (and even that form factor is a PITA to work with). Unless you're trying to do what they're ACTUALLY doing...DON'T DO IT!!!! If you're starting in modular, build a proper all-purpose system FIRST. Leave the tricky stunt builds for LATER...once you've learned everything the general purpose build does!

Also, there's a lot of YouTube synth channels that I don't recommend...EVER. I've seen equipment being misused, false/inaccurate information being passed on, module demos where you can't see the module being demoed due to the patchcords or, very often, the YouTuber's hands, and sometimes just absolute, outright LIES because the YouTuber's doing their gig for the free swag and gear, and NOT as impartial information. YouTube's accurate info really only seems to come from a small handful of YT users, but moreso from the manufacturers themselves...and you SHOULD be watching THOSE. But that'll wind up excluding maybe...hm...at least 2/3rds of what's on the platform, if not significantly more.

If you want to sort this out before another rather expensive mishap, my suggestions would be as follows:

1) Ignore YouTube's various synth guys, for the most part. I would suggest Loopop as being useful, plus Hainbach, Sam Battle's "Look Mum No Computer" channel, Simon the Magpie (especially for interesting, envelope-pushing ideas), and one or two others...aside of the manufacturer clips, of course.

2) Get your info from users in the trenches. MG is a great resource, as are Muff Wiggler and Gearslutz, although some judicious "noise filtering" is necessary there.

3) Get a copy of THIS: https://vcvrack.com/ Get familiar with it. You'll see why almost immediately.

4) Make a zillion prospective builds on MG. Try doing this for a few MONTHS, carefully fine-tuning and critically ripping into builds on your own and with users of the forum here. Don't even THINK about further purchases until you've come up with something that includes what you already have AND which you can intuitively sense is THE build. Believe me, you'll know when that happens.

One last thing to consider: this isn't a video game. You don't get points for nailing your build on the first shot...because NO ONE can nail a build on the first shot. ModularGrid is here so that you have a resource for doing this over and over and over and over and...well, you get the idea. Get things right here...THEN pull out the Magic Plastic. BUT NOT UNTIL THEN!

Yep, that's a very serious overloading issue there. You don't want those indicators doing anything other than being on.

The problem here is that you're trying to run the power supply right up against (and over...we'll get to that) the current limits of those uZeuses. NEVER, EVER do this! First of all, heavy loading on a power supply leads to heat, and heat leads to a bunch of problems, such as component damage in the P/S, excess heat throwing settings and patches off, and potentially module damage if the P/S fails in a few specific ways.

Your rule of thumb with current loading in a synthesizer is to make sure that the P/S (the module's DC bus outputs, not the wallwart or power brick) exceeds the amperage load from the modules by at least 1/4th...if not more (I prefer 1/3rd excess amperage headroom)! This lowers the heat on the supply, which makes it work easier, but it also fixes a very sneaky issue that you've apparently seen first-hand here: inrush loading.

Inrush loading is a simple fact of the physics of introducing power to a circuit. In the first milliseconds at power-up, circuits can draw more than their rated amperage draw, and this inrush can exceed this by quite a bit if the circuit in question contains things such as tubes, major inductors, etc. Sure, it stops doing this in a tiny fraction of a second, but that's enough time to trash a compromised component, and the best way to get THOSE is to keep pushing the P/S too hard! And this is precisely why those uZeus indicators are yelling at you...it's trying to get you to STOP trying to blow it up!

Another way to push things too hard is to take something with a big current draw and stick it in a cab with OTHER things that ALSO have a huge current draw. These often tend to be patchables that fit the Eurorack standard, but which don't belong in a system cab...such as the Subby and the VRL. If those have cabs of their own...USE THEM. Eurorack cabs need to be used for things which DON'T have their own housings and power, because there's a whole lot of those, and it's infinitely easier to have something like a Subharmonicon out of the main cab and in its OEM powered cab than it would to have a few VCO modules or whatever laying loose on your workspace with a flying bus attached. It's also cheaper, since you're not paying TWICE to house and power those devices. You should probably step back, take a deep breath, and rethink what you're doing here. Try and define what the Eurorack cab should be used for in your workflow, your music, etc. What should go in there? What is that system supposed to do? Is this something that you'll change your mind on in a month's time, or are you good with this for a matter of several YEARS time? All of these and more are questions you should be asking before spending any more money WITHOUT a game plan for this...and you DO need to be sorting this out before you wind up damaging equipment or, for that matter, winding up with gear you thought you needed when you potentially DIDN'T need it!

Hi All,

Here is a first impression of the Erica Synths - Drum Sequencer. I am still discovering this device so no big deal here, just wanted to share with you the first results. Using only one pattern, 32 steps for the 11 instruments controlled in this track of which 2 are samples (triggering the Sample Drum of Erica Synths). For a little bit of variation I have added one voice, the kind of tone that gets down and up --> once getting up in tone I slowly mute it.

Thank you very much for listening and kind regards, Garfield.

Check out in the You section of this Forum for a first, quick and dirty demo of the Erica Synths - Drum Sequencer.

Cool story! Much of my synth background comes from having grown up around music tech in Nashville. That's actually a hotbed of prototype development, because Nashville's studios are sufficiently laid-back that engineers and producers love to screw around with these things. So I got to see and/or use some crazy things, such as...

An ARP-badged Chroma (only 50 of those came out prior to the CBS buyout)
A DX-1
Peabody College's big Moog system (the one Gil Trythall used)
A McLeyvier (no shit! Valley People were a dealer for those!)
A 360 Systems synth that was actually the rebadged Basyn Minstrel (also at Valley People)
A few Vako Orchestrons (mainly because Vako was in Nashville...explaining Kraftwerk's own Music City connection!)
An Alpha Syntauri (I implemented that thing when it was in MTSU's electronic studio, added a Soundchaser later)
Woodland's prototype Jeep Harned pre-MCI archtop fader desk (it was at a different studio by then)
Monument's bespoke Flickinger desk
The prototype 1U version of the Quantech Room Simulator

And several devices that had been cooked up by engineers there. One that I learned much from was Jim Gilmore, who actually built his own desk from scratch in the early 1980s because he couldn't get a desk that would fit his workflow (advertising and voiceover work). Lots of gear was also modified, with Scully decks being prime devices for that. Definitely a very strange environment for a young musician to grow up in!

“ This user rating is intended to make transactions on the marketplace more trustworthy. If you had a positive or negative experience either as a buyer or seller you can give... a thumbs up or down.”

While I agree, @kaskonauta ‘s post deletion makes this more difficult, nonetheless, rating people who you haven’t done a transaction with isn’t the point of the feature. All around.

They're pretty sick @sacguy71, here's one of my favs

Post deletion is a problem in my opinion, that should be a good user rating option

Thanks Garfield,

Pamela is great. I thought that it was just a clock module until I started digging deeper into it can do LFO, random waves, logic, and Euclidian sequences for 8 gates plus CV inputs. Quite powerful for small module and easy to use not too menu heavy.

@Troux,

Cool as I had never heard of this band Wolf Eyes before. This is interesting album called Burned Mind

They remind me a lot of Wumpscut. Yeah I aim for dark ambient/industrial music. I am a fan of KMFDM as well but find getting their tone and types of sounds difficult in modular without more drum and bass modules and a proper sequencer.

Hi Garfield,

Well right now I have plenty to keep me busy and also waiting for Doepfer monster base cases to arrive back in stock anyways. Will see if the new sequencers show up. Thus far, both Vector and Erica Synths Black sequencer look cool like Cirklon style which is nice.

Hi Sacguy71,

Indeed (regarding Launchpad).

Ha, ha, I waited since early Summer 2019 for both, the Ground Control (Endorphin.es) as well as the Black Sequencer (Erica Synths) but as mentioned Endorphin.es is not showing up till mid Feb. 2021 (and that's only if it's not then delayed yet again), though the Black Sequencer suppose to come by end of this month, so let's see...

Meanwhile, I wish you good luck with the waiting ;-) I waited for about 1.5 years and only then I gave up on the waiting part.

Kind regards, Garfield.

You are welcome, Garfield,

I found that tip from modular artist R0bin Rimbaud aka Scanner from the book Patch & Tweak interview using Plaits.

Definitely an incredible module. Almost could have 3-4 of these along with another BIA for ambient/percussion sounds.

Hi Sacguy71 and Troux,

Sacguy71: Interesting stuff you made there. So how do you like the Pamela? Looking at your videos I guess you like it quite a bit? The right choice of clock module for you?

Troux: Interesting those Wolf Eyes, didn't heard from them before. They make quite "scary" music ;-)

Have a nice Sunday evening and kind regards, Garfield.

Hello Garfield,
Many thanks for your positive feedback!
We have not toured Europe yet, we still focused within the Pacifica islands.
Please check out our Bandcamp page for more cosmic modular synth electronica
https://cyberneticohm.bandcamp.com/
Regards from cyberneticOhm

Thanks, what do you suggest me to integrate to make it more functional?

Thanks Garfield,

Yeah Cursus Iteritas is the lesser known member of the Noise Engineering family. Not even sure why I picked this by accident over Loquelic Iteritas but its a weird module and good for wide tones in wave shaper land. I still want a Manis Iteritas and Loquelic Iteritas Percido in my next case to complete the Noise Engineering collection along with a Harvestman Piston Honda and Hertz Donut.

Hi Sacguy71,

He, he, you are still having a lot of fun with your Cursus Iteritas! I perhaps really should consider to test this module at my local dealer. I wrote it down in my list of "devices to test" :-)

Thank you very much for sharing this and kind regards, Garfield.

I would suggest doing a LOT more homework before you do anything. This is not close to being a functional system, and 8hp isn't going to fix that (you'll be able to make sounds with it, of course, but with very little variety).

Hi Mowse,

Wow, that's a beautiful track, so nicely, slowly, done. This is how a weekend should end... perfectly :-)

Thank you very much for sharing this and kind regards, Garfield.

^^ I can't speak to the case you're planning to use, since I have no experience with it or the Intellijel interface. But XAOC modules are fantastic, and Sewastopol is roughly the same price as the Intellijel module, with less depth.

Hi Garfield,

Yeah the Launchpad is not expensive either so a great combo with Vector. But I am waiting for Erica Synths Black Sequencer and Ground Control to be released next year.