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@Ziqal any info on the Dimension MK3 now its September?

A bigger case is recommended since you want room for support utility modules. I use an MDLR 14u case that is portable even though heavy and use a hand cart for it when I travel. With 5 WMD percussion modules, WMD Mixer, WMD Metron sequencer and few support tools it still takes up two of my 14u rows easily.

Okay, took me a while before i got around to it but I actually checked out what was going on with the module. I found that the tuning was mostly on point, with one or two octaves slightly off, but the first octave was WAY off, playing something around an E when the module had 0V on the input.

Recalibrating the module seemed to fix the issue, but I'm thinking that it may have problems with losing data that should be in non-volatile memory given my issues with the module powering up with the slew rate set to the maximum value. Funnily enough that also happened when I booted it up in calibration mode, so I had to wait a bit for the oscillator to slide up to the new octave whenever I moved on to the next one.

I'm hoping it doesn't do this too much, it'll be annoying having to recalibrate it often. I'll probably reach out to Mosaic as well to see if they're aware of the issue.

ah that's good thinking!

Great little setup!

Wow, really nice to listen to this....enjoyed it very much. I love my Bitbox Micro, have been using it with my BeatStepPro actually using the eight drum triggers with it.

just create a big rack and throw everything in, including duplicates...

A bit ridiculous perhaps, but is there any fast/simple way to determine the total value of all the modules we have listed in our Modulargrid collection? For it to work properly, you'd also need a way to indicate the number of each module you had, if there are duplicates in your stash

sorry if this seems totally frivolous - it is, tbh. Just curious if it's a possibility

This track was my main production project for August. Worked on it a little too long, but I am happy with the final patch.

Patch Notes:

Boss DR-670 Kit: 16

BeatStep Pro BPM: 80 Key: C
Clock [Out] to Moog Mother 32 [Tempo]
SEQ 1
Pitch to Mutable Instruments Plaits [V/Oct]
SEQ 2
Pitch to Synthesis Technology Circuit Bent VCO [V/Oct]
Gate to Doepfer Dual ADSR [L Gate]
SEQ 3
MIDI to DR-670

Mother 32
VCA Out to Endorphin.es Milky Way [L In]
Assn to Moog DFAM [Adv/Clock]
Gate to M32 [Mult In]
Mult 1 to Rebel Technology Stoicheia [L In]
Mult 2 to Plaits [Trig]

DFAM: Kick & Bass
Pitch to [VCF Mod]
VCO EG to [Noise Level]

Rebel Technology Stoicheia
L Out to Make Noise Maths [Ch. 2]
R Out to Plaits [Harmo]

INSTRUō øchd
LFO 4 to Plaits [Morph]
LFO 5 to Maths [Ch. 3]
LFO7 to Mimeophon [Color]

Doepfer Dual ADSR
Env. 1 Out 1 to Maths [Ch. 1 Cycle]
Env. 1 Out 2 to A.I Synthesis Quad VCA [CV 2]
Env. 2 Out 1 to Maths [Ch. 4 Cycle]

Make Noise Maths
SUM to Plaits [Timbre]

Erica Synths Pico DSP
L Out to Endorphin.es Cockpit^2 [Ch. 3]

Mutable Instruments Plaits
Out to Make Noise Mimeophon [L In]
Aux to Mimeophon [R In]

WMD Triple Bipolar VCA
Mix Out to External Mixer [Ch. 1 Panned L]

A.I. Synthesis Quad VCA
Ch. 2 Out to Pico DSP [In]
Mix Out to External Mixer [Ch. 2 Panned R]

Moog DFAM
VCA to Cockpit^2 [Ch. 1]

Synthesis Technology Circuit Bent VCO
Audio to Quad VCA [Ch. 2]

Make Noise Mimeophon
L Out to TBVCA [Ch. 1]
R Out to Quad VCA [Ch. 1]

Endorphin.es Cockpit^2
Out to External Mixer [Ch. 3 Panned C]

Endorphin.es Milky Way
L Out to Triple Bipolar VCA [Ch. 2 In]
R Out to Quad VCA [Ch. 3 In]

400ma? That's 50 more than the full size Mk2? Crazy if accurate. It's a tenth of my entire power rail on TipTop Zeus. Verified on the 1010 site, and Modular Grid says Mk2 is 350ma, where 1010 says it's also 400. The Assimil8or is 250. ER-301 is 320. I suppose it's the monster touch screen.

One module I would recommend considering adding to this setup now is some sort of effects...like the FX Aid Pro or XL (which unfortunately seem to be hard to find these days). Not sure what HP you have available but definitely something to consider for that "get off from work, get a patch going, and groove" jamming :)
-- jb61264

good call there - especially the pro version - much easier to use when you can see what you are doing!!

One module I would recommend considering adding to this setup now is some sort of effects...like the FX Aid Pro or XL (which unfortunately seem to be hard to find these days). Not sure what HP you have available but definitely something to consider for that "get off from work, get a patch going, and groove" jamming :)

Excellent dealing with @ rossominerale purchased a mutable ears.excellent packaging quick delivery. Nice person. Very happy thank you.

Hi Jim,

PAM clock is on 120 BPM. I am currently sending triggers to 3 sequencers (stepper acid, metropolix, cyrcadian ryhthm)

Output multipler are set a 1x.

The sequencers are running very very slow (30 bpm to my ears). If i want them to run at 120 BPM i need to set the PAM modifiers at 4x.

Thanks
Mat
-- abstractrhythms

it sounds like your sequencers have their ppqn set to 4 (or some other value) and not one then, which you are expecting... 'clock' is often set higher to maintain stability

it's the same as if you want stable triggers, use a faster clock & a divider and not slow clock and a multiplier...

EDITED Sep 2nd 2022, 13:24

120 bpm = 120 quarter notes per minute. you want to clock your sequencer with 16th notes, which is why you need to use the x4 outputs. it's doesn't matter how you multiply or divide the clock, it's all in 120 bpm.

EDITED Sep 2nd 2022, 12:51

Hi Jim,

PAM clock is on 120 BPM. I am currently sending triggers to 3 sequencers (stepper acid, metropolix, cyrcadian ryhthm)

Output multipler are set a 1x.

The sequencers are running very very slow (30 bpm to my ears). If i want them to run at 120 BPM i need to set the PAM modifiers at 4x.

Thanks
Mat

EDITED Sep 2nd 2022, 11:27

how do you mean exactly?

is this when clocking another (sequencer) module - in which case maybe the ppqn of that module is the issue...

or is it that you are trying to clock pams with 1/4 notes and the ppqn is set to 4 - try clocking with 16ths

or is it that you are expecting to trigger something like hats at 16ths?

remember bpm is 1/4 notes per minute not 16ths

Hi,

I don't quite understand why i have to set the modifiers at 4x to get the actual BPM. If i set the modifiers to 1x i just get the BPM/4.

PPQN looks ok.

What it could be? thanks

EDITED Sep 2nd 2022, 09:06

Hi,
I am looking to sell a few cases after reorganizing things. Is it ok to post here so that potential buyers will know about my listings on other sites? Does anyone have advice on selling gently used cases?
Thanks!
John

Thanks for the response!

I do have an audio interface, but having done some research, I think an output module would certainly help me.

HAHAHA - to some extent they are marketing snake oil - 1st try without at all (probably will work fine), if you experience clippping (unwanted distortion) then try some passive attenuators (always useful) - if still not satisfied then try an output module...

Feel free to tell me to just go reading, but do you have any advice on paring back? I'm having difficulty imagining that I'll enjoy making music with pretty much one voice. I guess there's always the option of building a single voice with a lot of modulation possibilities, and filling in the rest of things in the DAW itself.

I'd start with (from the modules you think you want) Pams, Maths**, the erica vco, a filter, a quad vca - add a buffered mult and a module that does - mixing, inverting, attenuation - something like a happy nerding 3mia, if you can find one get it... yes I know maths has that built in - but see the 'footnote' - you want this on top of what maths provides, trust me...

pams can generate random quantized pitch voltages as well as providing clock and envelopes

the idea is to slew (reduce the rate of change of) the learning curve so that you are not overwhelmed and can properly learn the modules that you have before buying anymore... once you feel that you know those modules inside and out and how they interact with each other then add one or 2 more modules and repeat the process and so on...

it's not that this is mandatory - it's just a tried and tested method... and it applies to modular synthesis (using basic building block modules to synthesize sounds***) and to what I call synthesis with modules (use complex modules to reach the same goal) or anywhere in between... which is probably where I have (and probably most people) end up

*no plan survives contact with the enemy - which is you, btw!!

**download the 'maths illustrated supplement' work your way through it a few times - it'll take a while - a few weeks or months probably - work out why, what and how it is doing what it does for each patch... and then use this as a jumping off point for your own experiments

***for example use a cascading vca, an lfo and a handful of basic utilities to patch up a vc crossfader or a vc panner or a compressor, instead of buying a crossfader module, a panning module or a compressor - as you don't necessarily need these al the time, but you might want them now and then - in other words always ask can I patch that with what I've got without compromising anything else, before buying a new module - which might end up with you then buying another set of cascading vca, lfo, various utilities instead of the dedicated module as it's more versatile

I appreciate the reminder to go slow--so long as I get a decent case, I'll always have room to grow
-- vandewhatering

indeed, and there's always another case - I have 8!!

tiptop mantis is a great starter rack!! best bang for buck hp/cost/decent power/manufacturer reputation!!!

btw - the quantizer is superfluous - varigate can output quantized sequenced pitch and pams can do quantized loopable random pitch... and you may find you don't really need an adsr - a large proportion of modular users just use ad or ar envelopes

Thanks for the response!

I do have an audio interface, but having done some research, I think an output module would certainly help me.

Feel free to tell me to just go reading, but do you have any advice on paring back? I'm having difficulty imagining that I'll enjoy making music with pretty much one voice. I guess there's always the option of building a single voice with a lot of modulation possibilities, and filling in the rest of things in the DAW itself.

I appreciate the reminder to go slow--so long as I get a decent case, I'll always have room to grow

Hi folks!

After watching a lot of demos, I've come up with the following rack, and I'm wondering if it'll do what I hope it will.

My goal is to be able to get off from work, get a patch going, and groove. I'm shooting for EDM sorts of sounds--a few drum sounds, a couple standard-ish synth voices, and the option for simple chord progressions if I really want to. I'd also like to be able to record my jams into a DAW.

do you have an audio interface? can it handle modular levels? if no to either question consider an expert sleepers es9

Personally I think you are trying to do too much in too small a rack - there is not really the space for the support modules that are really needed to make the most of the number of voices (including percussion) that you are trying to cram into such a small rack - it's often said 1 voice per row - although, just like "you can never have too many vcas", this should be taken lightly

you might also want to look at "controller" modules

I understand some of the joy of modular is going nuts and leaving more traditional synthesis, but for now, I'm just looking to get the hang of the modular workflow in general.

I'm also wondering how "playable" I might find this. What I mean is, are there enough immediate ways for me to directly influence the sound outside of patching to feel like I'm changing the music as it happens. Examples would include varying sequences, dropping an element that's playing, and otherwise keeping things fresh/building tension and release.

maybe, maybe not - probably tending towards probably not, tbh...

mutes. switched multiples and trigger combiners, possibly trigger delays etc - more mixing - I really like matrix mixers - doepfer do a nice inexpensive ergonomic one...

stay away from micro modules (there may be some actual mutable plaits still available)

I'm sure something like this has been posted a hundred times before, but I didn't have much finding what I wanted with the search function.

there are lots and lots of newbie rack questions - they're almost all applicable to you - you are not especially different in any way than any other newbie - read a load of those threads and learn!!!

take a look at my signature - it's a rough guide to getting the most out of a modular synthesizer, for the least amount of cash

I'd take your goal and set it aside as a more mid- to long- term goal - start with a minimum viable synth and learn how to use it properly before adding more voices and percussion

EDITED Sep 2nd 2022, 00:53

and the link - jpgs really suck!!!

@Jim: "I think the biggest challenge is finding what works for you and not what works for other people - experimentation is the key - not 'specific techniques for patching modulation + utilities in Eurorack patches" --> nicely said. Modular has taught me a lot about "groping and listening my way through" sound design; in fact a great boon of modular is that it absolutely forces experimentation. A lot of my earlier VST time was cursed with "nail that patch I'm hearing somewhere" vs. playfully getting to know the ins, outs and quirks of a particular instrument. Howard Scarr can nail patches, do the Batman scores, write the Virus programming handbook and the Bazille Cookbook, but I still have to grub my way around hearing and understanding the building blocks of sound design (though Rob Papen's fabulous "4 Element Synth" helped get me past ground zero).

yeah I kind of understand this - I've got a virus kb and apart from randomly twiddling knobs to 'change' presets I never really understood it - building some REs for Reason (which I never ended up releasing) kind of helped - as did, to some extent, reading the sound on sound synth secrets series of articles (these might help you too - easily findable online)- but nothing helped like physically patching a modular - not that I try to create synthesized versions of any real instruments in any way (other than using things like rings - which kind of do it for you)

@Garfield, good question, yes I have a bunch of filters (and waveshapers) but I'm probably underutilizing those too. The more of this thread I write and read, the more it occurs to me a lot of my time on modular is focused on really exploring 1-2 modules at a time (which is all well and good), and pretty rarely am I focussed on building a robust signal chain that has a chance of having good sonic depth, interest, movement, etc., while still being a good "role player" and fitting into a reasonable mix.

Net net, this is helping me shift mindsets a bit from "OMG there's still stuff I don't know about this module I've got to focus on it more" to "make sure to spend a good chunk of making a nice and full sounding patched instrument, and enjoy getting to know modules a bit better along the way."

... AND while we're talking filters, I have to give a shout out to my latest addition, Jolin Agogo (Octal LPG). Sounds really good and it's great to have 8 LPGs in a small package!

Happily, all this leaves me really jonesing to get back in front of my modular rig -- need to wrap up my work for the day and leave some patching time before bed!

sounds like a plan!!!

Hi folks!

After watching a lot of demos, I've come up with the following rack, and I'm wondering if it'll do what I hope it will.

My goal is to be able to get off from work, get a patch going, and groove. I'm shooting for EDM sorts of sounds--a few drum sounds, a couple standard-ish synth voices, and the option for simple chord progressions if I really want to. I'd also like to be able to record my jams into a DAW.

I understand some of the joy of modular is going nuts and leaving more traditional synthesis, but for now, I'm just looking to get the hang of the modular workflow in general.

I'm also wondering how "playable" I might find this. What I mean is, are there enough immediate ways for me to directly influence the sound outside of patching to feel like I'm changing the music as it happens. Examples would include varying sequences, dropping an element that's playing, and otherwise keeping things fresh/building tension and release.

I'm sure something like this has been posted a hundred times before, but I didn't have much finding what I wanted with the search function.

Thanks!

The things I feel like i miss the most are a good deep Bass sound. I am gonna sell the doepfer oscillator because i just don't really like it. Thinking about getting a Dixie II.

what exactly do you not like about the doepfer vco? - it's a fine vco and should be good for any use (I have the basic version and it works fine for bass lines) - you may find that you actually want 2 identical vcos, slightly detune them* and mix the waveforms before filtering them - you may find exactly the same issue with the dixie II

note you might actually want to tune the vcos (including plaits) if you aren't already doing this - this will set the pitch response to 0v - you can almost definitely download a tuner onto your phone for free

a simple clock divider is also a good inexpensive idea - send the square wave from the vco to it - /2 = -1 8ve, /4 = -2 8ves etc etc (but remember for a good bass sound to actually cut through properly you'll also want some higher frequency information)

you might also find a different filter really helps - doepfer wasp adds a nice bit of grit, for example!

*this is often what gives a 'phat' bass sound

But than again I am not sure how i am going to sequence the bass sound yet. any tips on this?
-- QkelleQ

the metropolix has 2 pitch sequencing channels - would you not use one of those? it may also help if you got a simple adsr - possibly a vcadsr - doepfer make a perfectly good one

remember to use a buffered multiple to copy the pitch voltages

more mixers is probably a good idea - submixers and a matrix mixer - again doepfer work well for a reasonable price!!

see my signature for a basic guide to getting the most versatility in your modular synthesizer for the least cash

EDITED Sep 1st 2022, 23:44

and here's the actual link - jpgs are useless!!!

Q1: do modular cables differ meaningfully in quality?

They can. But for the most part, they don't. You can get hi-tweak patchcables with all sorts of voodoo to 'em, but those are somewhat pointless; using silver Mogami cables or some such makes far more sense on LONG cable runs, and not little 1m or less lengths.
-- Lugia

Hi Lugia,

Don't we all have at least a ballroom size studio of at least 60 feet/20 metres long wall with our Euroracks against it, hence we need (very) long cables? ;-)

Kind regards, Garfield.

MODEL SAMPLES:
puede tener:

-plato 2 (sample)
-VOCAL (o sonidos largos) (sample)
-VOCAL 2 (o rumble sample)
-plonk (trig y cv notes)
-dfam (trig de su clock y notas)
-bombo (trig) (en realidad es el clock de la malekko) (vease el archivo word, y la cuestion de esquivar el NTS para enviar midi clock a la case)
manda su midi a Yarns

DUAL FILTRO BEH:
-Una parte va entre la salida del mixer a fx, y la entrada a FX AID. Osea que puede filtrar (o no) antes de que se procesen los fx
-Otra parte sirve para el side chain del bombo:
-Bombo sale, y se divide la señal.
-Una parte a limpia al mezclador (p.ej.)
-Otra parte de la señal va a PICO DSP, donde al salir va al filtro beh.
-Hay un Envelope Generator (ADSR) (trigado por el bombo) manda su adsr al filtro beh, y así se consigue la curva de ese bombo con reverb.
-Supongo, que se podría mandar a un atenuador y directamente al main mix

PICO DSP:
para darle fx al bombo y luego al sidechain

ADSR: POSIBILIDAD
crea un adsr
es trigado por el bombo
manda la señal al dual filter beh.

PICO DRUMS 2
Es la caja (y otras posibilidades)
es trigado por LADIK

MUTA JOVIS
Mutea: plonk, caja, plato1, bombo

MALEKKO
podrá tener 3 lfos.
Sin el ADSR, malekko podría ser el que hace el side chain, subiendo y bajando el Filtro BEH, con el sonido del fx del bombo... (quizás poniendo "slide" en malekko para que la curva sea más lineal)
un triger para plato1

HAT:
es trigado por la model samples

MIXER:
-Tenemos: (de arriba a abajo) dfam, plonk, caja (pico drum2) y plato1
El bombo tendrá su control de volumen con un atenuador

BOMBO:
Saca su señal y se duplica.
Se controla su volulem por un atenuador
Una señal va limpia afuera
Otra señal va pico dsp (con atenuador) o afuera como korg nts
Otra posibilidad es la señal va a pico dsp, de ahí elijo si es dry/wet, y de ahí va al atenuador como volumen

EDITED Sep 4th 2022, 17:43

Hi Gabor,

Ha, ha, yeah, quite a bit mental track ;-) But fun to listen at and especially in combination with your video. I always appreciate your creativity of the your combination of: audio & video.

Yet another nice creative creation by you, thanks a lot for sharing this with us! :-) Kind regards, Garfield.
-- GarfieldModular

Thanks, Garfield! :)

https://cdn.modulargrid.net/img/racks/modulargrid_1937039.jpg

I started with Eurorack approximately 2 months ago. My goal is to make a live techno rack. I want to be able to maybe do my first live gig within now and 6 months. I'm still learning a lot about modular, and this is the first post im making on the forum!

My 'problem' is that i feel like I subconsciously bought my first couple of modules in a way where I wanted to move as much as possible towards what I could already do in a DAW. At the moment i have 176 HP of free space and I am curious what experienced modular friends think I should add to this case to make it feel even more powerful.

The things I feel like i miss the most are a good deep Bass sound. I am gonna sell the doepfer oscillator because i just don't really like it. Thinking about getting a Dixie II. But than again I am not sure how i am going to sequence the bass sound yet. any tips on this?

For the rest I am open to hear all your suggestions on what you guys would think that my Live (deep)Techno Rack would need!

Greetings,
QkelleQ

After some consideration my mind wandered off from moar modules, to... playing.
Twisting knobs and playing theremin won't go together very... um... melodically, right?

Yes and no. It's true that the OG theremins had minimal timbral control. But in the present day, you've got Peter Blasser making his post-West Coast devices which sometimes house multiple theremin circuits, with the ability to mess with those to use them for all sorts of purposes. The Deerhorn Organ (https://ciat-lonbarde.net/ciat-lonbarde/deerhorn/index.html) actually has three different theremin controllers, with the ability to patch them into all sorts of configurations.

Is an expression pedal module worth consideration?

Can be, sure. But you can just as easily use a passive expression pedal between patchpoints with no need for an external pedal module, or an active one as long as it outputs a 0V to +5V voltage range. I like some of the smaller pedals coming out of China these days, such as https://www.amazon.com/Sonicake-Vexpress-Passive-Expression-Effects/dp/B077PVVC38/ref=sr_1_14?crid=2UEUU3PEQ1ANY&keywords=expression+pedal&qid=1662014966&sprefix=expression+pedal%2Caps%2C92&sr=8-14 They're sturdy, small, and inexpensive so that if you wanted to use a few of them, all you'd need is the long 3.5mm to 1/4" cables to go to and from the modules. I have a few of those Sonicakes, btw...got one some time back, and it was a real "convincer".

I would rather not look too much into guitar pedals as an fx alternative (researching modular is enough).

Oh, yeah...I've got a good "library" of them, and thanks to Ryan over at 60 Cycle Hum on YT making his jaw-dropping clip about the Cuvave fuzz , I got deep into the Chinese stompboxes. And the "why" there gets explained by that YT clip...these Chinese pedals are really more like little boxes of sonic surprises. Yes, a huge number of them are supposed to be clones of existing models from other manufacturers, but note that "supposed to be" part. Given differences in component tolerance, the reverse engineering processes they use, and on and on...they never exactly behave like their counterparts. So when, for example, I hooked up a Joyo "Classic Flanger" and expected basic plain-jane flanging but instead got something like MXR's wall-powered tripout-monster (not in production these days) from the 1970s...yeah, that's why I get these things. Just check all of the YT demos by bunches of YT creators and see how things sound in various hands, and you'll see what I'm talking about here.

One I will suggest, though, is Aural Dream's "Breath Delay". Basic analog delay...except for this one little switch marked "NO" and "GH". And what THAT does is to let you build up layers of stuff on the delay tails when it's set to "GH" (for "GHost", with "NO" for "NOrmal" operation). It's a little bit like Clouds, minus the ability to directly manipulate what's in its signal path like the synth module. Unlike Clouds, though, the pedal costs less than $30.

Do you use your theremini as an cv source?
-- krmk

Oh, yeah...and that can get fun when I start messing with the CV once it's out of the Theremini. Using one to "control" a Wavetek function generator is simply NUTS due to the different CV standards, for example, but it can do things that you can't get to with just the knobs on that device.

EDITED Sep 1st 2022, 07:12

Q1: do modular cables differ meaningfully in quality?

They can. But for the most part, they don't. You can get hi-tweak patchcables with all sorts of voodoo to 'em, but those are somewhat pointless; using silver Mogami cables or some such makes far more sense on LONG cable runs, and not little 1m or less lengths.

At the same time, my skepticism about audio cables still stands. The only place I use something like that are the OFC lines from the amps to the monitors, and there it's mainly due to the fact that those big 12 - 14ga lines pass amplified audio much better and don't pose a resistive load like, say, cheapo speaker 2-conductor lines from Menard's. But at the same time, I have used that low-rent speaker wire for things such as a few amateur radio antennas...and even with the 10 watt signals I put out (I like low power operation...more of a challenge), I can still hang with other stations running ten times that...or more.

The one point where they DO differ, though, is in build quality. Some cheap patchcords really do feel like they're about to fall apart in your hands, either due to using a flimsy cable stock, or janky soldering work on the plugs. That was the scary bit, but I opted to make the leap with these AliExpress ones because I didn't see anything about them that indicated that. And sure enough...really well-done molded plugs with molded-on strain reliefs at the plugs, and they use a bit thicker cable stock which is the sort that has plenty of flex to them...but which can also be easily manipulated to stay out of the way of things and stay there, kind of like what you'd get in the box with an ARP 2600 back in the day. So...

Q2: Lugia, you think these are as good or better than most modular cables?

Bet! After I had a close look, messed around with them and such, I was very pleased. Zero buyers remorse here. And like I mention above, I really like the feel on the cable stock. It's got plenty of flex...but it's not limp, as you can shove it all around and it'll largely retain the position you leave it in. And those prices are really the cherry on the cake here, tbh...the cables are pleasing enough, but the money saved on them? Daaaaaaaaaamn...

A harmonic mixer from AI Synthesis. Straightforward and simple (a mixer doesn’t do a lot, after all), with the addition of some harmonic grit if you want it.
Would be a very good first or second kit, and you do need a mixer….

Build

@Jim: "I think the biggest challenge is finding what works for you and not what works for other people - experimentation is the key - not 'specific techniques for patching modulation + utilities in Eurorack patches" --> nicely said. Modular has taught me a lot about "groping and listening my way through" sound design; in fact a great boon of modular is that it absolutely forces experimentation. A lot of my earlier VST time was cursed with "nail that patch I'm hearing somewhere" vs. playfully getting to know the ins, outs and quirks of a particular instrument. Howard Scarr can nail patches, do the Batman scores, write the Virus programming handbook and the Bazille Cookbook, but I still have to grub my way around hearing and understanding the building blocks of sound design (though Rob Papen's fabulous "4 Element Synth" helped get me past ground zero).

@Garfield, good question, yes I have a bunch of filters (and waveshapers) but I'm probably underutilizing those too. The more of this thread I write and read, the more it occurs to me a lot of my time on modular is focused on really exploring 1-2 modules at a time (which is all well and good), and pretty rarely am I focussed on building a robust signal chain that has a chance of having good sonic depth, interest, movement, etc., while still being a good "role player" and fitting into a reasonable mix.

Net net, this is helping me shift mindsets a bit from "OMG there's still stuff I don't know about this module I've got to focus on it more" to "make sure to spend a good chunk of making a nice and full sounding patched instrument, and enjoy getting to know modules a bit better along the way."

... AND while we're talking filters, I have to give a shout out to my latest addition, Jolin Agogo (Octal LPG). Sounds really good and it's great to have 8 LPGs in a small package!

Happily, all this leaves me really jonesing to get back in front of my modular rig -- need to wrap up my work for the day and leave some patching time before bed!

Thanks for the ideas and encouragement guys, cheers!

Hi Lugia,

Thanks a lot for your great article on this matter. You mention several valid & good points. I totally agree here with you.

So let's focus back on having fun with Eurorack :-) Kind regards, Garfield.

Hi Nickgreenberg,

Regarding your point i) Are you using filters or do you have enough variation of filters you can choose from when using your oscillators? I couldn't live without a bunch of filters to choose from when I do a patch.

Good luck and kind regards, Garfield.

Hi Nickgreenberg,

Regarding your first question: Yes, there is a huge difference in quality regarding patch cables. For example take Vermona's patch cables or those from Cordial the CPI ZZ series whereby is the length in metres; these two are great patch cables but bloody expensive. Then on the other scale there is for example those patch cables from Endorphin.es, which I expected would be good patch cables but I had to return them, extremely thin cables and also very thin moulded mini-jacks. And of course then there is anything in between from fair till good. Endorphin.es is just an example there are more bad examples (like those cables that come with some of the Behringer equipment, those cables are also not top-notch stuff, but to my surprise at least a slightly bit better than those from Endorphin.es). I am using quite a bit of Make Noise patch cables, those have moulded mini-jacks too however their cables are a bit thicker and if I am too lazy to make myself the cables I usually buy those from Make Noise, kind of fair quality I guess.

Making yourself patch cables is here perhaps the best option. I am using a rather thick instrument cable from Cordial and using Neutrik mini-jacks for my CV cables (I use blue to differentiate) and I am using even a bit thicker black cable from Cordial in combination with gold-mini-jacks from Amphenol for my audio patch cables. But it's a lot of work to DIY, so if I am lazy I buy those from Make Noise :-)

That are my 2 cents, kind regards, Garfield.

Edit: removed a typo.

EDITED Aug 31st 2022, 23:01

Hi Lugia,

Nice to hear that you like your 100 new patch cables! :-) Let's hope they hold for several years and don't cause any issues.

To be honest, I am not so much a fan of moulded mini-jacks but of course for this price, who wouldn't like it? :-)

At least you don't have to worry about not having enough patch cables for a while, enjoy that luxury :-) Kind regards, Garfield.

Hi Gabor,

Ha, ha, yeah, quite a bit mental track ;-) But fun to listen at and especially in combination with your video. I always appreciate your creativity of the your combination of: audio & video.

Yet another nice creative creation by you, thanks a lot for sharing this with us! :-) Kind regards, Garfield.

thank you gompa108, good to know!

Thanks Lugia,
from what I understand the rackbrute cases are aluminum with a bit of wood on the sides (amazing vintage optics?).
After some consideration my mind wandered off from moar modules, to... playing.
Twisting knobs and playing theremin won't go together very... um... melodically, right?
Is an expression pedal module worth consideration?
I would rather not look too much into guitar pedals as an fx alternative (researching modular is enough).
Do you use your theremini as an cv source?

EDITED Aug 31st 2022, 17:11

Hi Jim, thanks for the note.

NP

In my big studio rig, I do have a bunch of relevant scale/offset/mix utilities: Maths, Sum*Diff, SISM, Levit8, Doepfer A 1-38m Matrix Mixer, and 12 lanes of VCA (3 quads). I also have plenty of CV sources from standard envelopes, LFOs and sequencers through chaos and random. Your tagline of "sound sources < sound modifiers < modulation sources < utilities" I've tried to keep in mind for my modules --> but I probably haven't kept it in mind for all my actual patches!

It's more important to have them there for when you need them as opposed to using them all the time... I have loads of modules I don't use in every patch...

So I'm probably vastly under-utilizing my existing scale/offset/mix utilities --> my current guess I should press my upcoming patching to have i) a lot more modulation targets and ii) nearly all mod signals "dialed in" or restrained via attenuate / offset / mix.

sounds like a plan!!

I think one challenge I've had on this point so far is not having a great sense "what good looks / sounds like" in terms of #s, balance and specific patching techniques for modulators + utilities in Eurorack patches.

I think the biggest challenge is finding what works for you and not what works for other people - experimentation is the key - not 'specific techniques for patching modulation + utilities in Eurorack patches'

Hi Jim, thanks for the note.

In my big studio rig, I do have a bunch of relevant scale/offset/mix utilities: Maths, Sum*Diff, SISM, Levit8, Doepfer A 1-38m Matrix Mixer, and 12 lanes of VCA (3 quads). I also have plenty of CV sources from standard envelopes, LFOs and sequencers through chaos and random. Your tagline of "sound sources < sound modifiers < modulation sources < utilities" I've tried to keep in mind for my modules --> but I probably haven't kept it in mind for all my actual patches!

So I'm probably vastly under-utilizing my existing scale/offset/mix utilities --> my current guess I should press my upcoming patching to have i) a lot more modulation targets and ii) nearly all mod signals "dialed in" or restrained via attenuate / offset / mix.

I think one challenge I've had on this point so far is not having a great sense "what good looks / sounds like" in terms of #s, balance and specific patching techniques for modulators + utilities in Eurorack patches.

Thanks for the ideas folks!

Nicholas

Maybe they need a "bottom Draw" feature.

Just an area to dump modules without pissing off the cat :P

-- Keean

just add an extra row at the bottom of the rack...

so Nick, the answer is - better patching technique AND more modules!!

it's all there in my signature

sound sources < sound modifiers < modulation sources < utilities

how to get the most out of your modular for the least cash - plain to see and easy to understand, but unfortunately also often ignored...

a matrix mixer is a great addition to any modular system - relatively inexpensive, if you buy something like the doepfer - which will take 4 modulation sources as inputs and spit out 4 more related (and possibly/hopefully attenuated) more modulation sources

a bank of attenuators (and/or attenuverters) is a near necessity to reduce the travel of modulation sources

lots of vcas are useful to modulate those modulation sources

for those extra modulation sources to be useful you need modulation inputs (both on sound sources and sound modifiers)

I don't own a TD3 but route external hardware instruments like Nord Drum, OP-1 directly into VCAs in my rack on a regular basis - no problems detected.
-- aphew_goodman

Thanks

Thanks

... returning a few hours later, after managing to get in a good session on the modular rig tonight, here are a few reflections:

I) I often have a pretty short device chain, not a lot between OSC and line out. Partly this is because I love OSCs and like to focus on exploring the depth of the ones I have.
II) BUT as a result of (I), I often don't have a lot of modulation destinations. I can see how adding more devices post OSC then adds more mod destinations and adds dimension to the "wavespace" I'm creating gestures through.
III) net net, I'm probably "chronically undermodulating," and when I do apply modulation, maybe I'm using too many sources with too much gain. Maybe more mod destinations, fewer mod sources, more carefully trimmed mod settings would be a good rule of thumb for my patches for the near future.

Reminds me of earlier times doing sound design on VSTs or fixed hardware, I thought "I should look at patches I really like, count the # of modulation sources, # of modulation destinations, and get a sense of the median modulation depth..." something like that. Probably would still be a useful exercise for me to spend a bit of time on.

Reflections above notwithstanding, I'll be interested to hear any suggestions (in response to the original post above) that you might have, thanks!

humbly request an option to hide the clean up the mess cat or at least fix the CSS so it doesn't make the rack jump down in the viewport when the cat appears. a lot of us use that space as a staging area.
-- scragz

Maybe they need a "bottom Draw" feature.

Just an area to dump modules without pissing off the cat :P

One feature i'd love to see is the ability to lock a position of a module or group a number of modules.

it would be awesome when you have to move your drum rack over 1hp :P