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Three of the most inspiring modules I've ever met - absolutely made for each other. A simple jam, just a little gentle tweaking. Usta is also sequencing the bassline on Rings (who knew?) and the Numeric Repetitor which is feeding the Squid Sample and Basimilus.

Here is what I came up with:

to start with please read through the recent thread 'this should not exist' for all the reasons not to buy either b-company or synthrotek products - only you and your conscience can decide... but note that at least some stores have stopped stocking synthrotek due to the fact that they are poor quality and do not have adequate product support not just because of Steve's online rape jokes...

the waldorf mod-1 modular is best described as huge and oversized for a rack this size (or any to be honest) Maths would be a better replacement - a bit smaller and if you search a bit online you will find the 'maths illustrated manual' - which is an excellent learning tool resource for modular synthesis in general; even if you do not buy the module - but it might make you buy it!!!

too many 2hp modules - they are horrible from an ergonomics point of view - especially when next to each other or between other modules that are densely populated!

most modular synthesists do not use eq - filters are more prevelant and do similar things - but with added benefits - resonance and possibly self-oscillation for example

other than that - m'eh, but each to their own in a way - I'd start slowly:

a sound source, a sound modulator, a modulation source, a way to listen and a way to play and add a few utility modules: I like links, kinks, shades, veils and a matrix mixer as a starter kit (kinks is discontinued - wmd/ssf toolbox is a good substitute) and you have veils and a 3*mia (which is a good substitute for shades) and then play with that for a while to get your head round what you are actually doing and what modules you actually need (as opposed to thinking you want now) and add to the rack slowly

I hope all this helps!!!

EDITED Oct 4th 2021, 16:12

A few days ago I realized the potential for modular, after being unexcited by current hardware synths. And realized I could make my dream synth, and a soundtrack machine for video games.

a lot of people spend many months if not years researching before buying - I spent at least 1.5 years myself between realising I wanted a modular (or in fact realising I had already got some parts of a modular with out knowing it in the form of moogerfooger, lovetone and frostwave pedals) and buying a case and any modules

I would strongly suggest doing much, much more research before spending a penny on this project

Some advice and recommendations would be fantastic!
Here is what I want to accomplish:

-Important stuff to fit into Arturia's 6u case so it will go along with my Minibrute 2 and have the feel of a complete musical instrument. (and so I will be less likely to get g.a.s.)

HAHHAHAHAHAHAHAHAHAHAHAHA - not going to happen... eurorack modular has so many new and potentially useful modules coming out constantly that - the only way to truely avoid gas in modular is once you have got a single case full and functional to never ever: watch you tube, go to a modular forum, go to a modular store or talk to anyone who has anything to do with modular - this is difficult if you have a modular!!!

FEATURES:
-Be similar to my most used vst's, Reaktor Prism and Kontour, but mixed with the Arp Odyssey, Dreadbox Nyx.
(I have seen Rings, Elements, Plaits and those kind of modules, but I would like to have more control over the creation and be more analogue. I am unsure of Rings. . .)

I think you are asking too much of 6u / 88hp here - maybe it would be better to think of modular as complimentary to your vst based system instead of trying to duplicate or replace it

--I like the usage of comb filters and feedback loops in those vst's, I want those features, and have various different routes available for those.

rings is very similar to a comb filter when used as an effect and not a sound source

--That Paradox dual VCO is interesting, similar to a feature in Kontour. (I like strange stuff like that)

patching together multiple simple vcos may actually be more interesting!!!! but if it's a must have also look at other complex oscillators - DPO, FurtherGenerator etc etc there are tonnes and they all sound a bit different and have slightly different features

-I prefer envelopes over LFO's for shaping a sound over time. Want more complex Envelopes, and or can be gate delayed. I think the three LFO's on the minibrute 2 would be enough for me.

there are envelopes and there are envelopes and there are lfos and lfos - all are good - a looping envelope generator is effectively a uni-polar lfo - sometimes you will want bi-polar too!!! - function generators are also very popular and interesting modules - really though mixing all of these together to get even more interesting modulation is the best policy - use a matric mixer

-I definitely want a spring reverb. Probably another reverb to finish off the sound. I want those to be able to go into feedback loops.

yes it's a good patching technique - a matrix mixer is really useful for feedback patching as well as modulation... I would consider a multi-effect such as fx aid xl as an end of chain reverb - maybe multiples of this module

-FM, ring modulation, waveshaping would be nice.

all widely available

-Definitely have multiples/multiplier? modules.

Utilities (of which mults are but 1 type are incredibly useful and inexpensive tools in a modular which are almost definitely hidden or non-existant in fixed architecture and soft synths

_Clouds, Monsoon, is pretty interesting.

Beads is worth looking at instead

-It might be interesting to have the possibility to get a binaural stereo sound with a comb filter for each side.

until recently stereo and polyphony were out of scope (to a large extent) in modular as too expensive - this is not the case anymore - but in some cases it may be - possibly check out the raincatcher by

-Have various ways to alter or shape feedback loops.

covered by above - only limit is your patching ability and imagination (and wallet)

Some previous related ideas and thoughts:
-What if reverb was a sound source?

reverb does kind of need something to use as a seed - reverberated silence should (in a perfect world) be silence, but see no-input mixing

-Reaktor Prism but with analogue VCO's instead of noise.
-A pool of reverbed noise (which can my modified before being released), let out at specific frequencies corresponding to the note pressed, then sculpted with comb filter/s - then a juicy analogue filter on top of that - with a reverb on the end; various feedback loops to add more harmonics.

see also fixed filter bank

-How to make extreme feedback more musical?

with extreme difficulty - or just reappraise what you hear as musical!!

I like sounds whose origin is uncertain. Maybe surreal sounds.
For a sci-fi game, I want some sounds that are like the sound of the universe yelling out because its being eaten by a black hole. And sounds that have the same flavor or characteristics as a bowed gong.

all easily possible in eurorack - as are chirping bird sounds, beep and boops, drones etc etc

Here is what I came up with:

and I will probably eventually get a little expander case, for extra less important stuff, utilities, complex LFO, MIDI to CV for multi note playing. . .

yeah yeah I started with a 6u / 72 hp case and thought I'd only expand a bit from that - 4.5years later I have 1500hp of audio and video modular synthesizer

What do you think? Better modules out there? Better ways to go about it?

The Modor comb filter is stereo - so if I only plugged one cable out of it, I would only get half the signal?

generally if you plug a sound source into only say the left channel of a stereo effects module and take only one patch cable out of the left output - then you will get a mono signal... - sometimes depending on the module if the algorithm it is using converts mono->stereo then it's dependent on how the algorithm works - reading the actual manual of the module is the best way to actually understand what is going on and the only way to get a conclusive answer to your question for the specific module

Can I just take the audio out of a VCA and use a 1/8 to 1/4 jack converter to go to my audio interface?

-- vansting

a basic passive attenuator will do the job a lot of the time - if you have a 1/2 decent audio interface that has a pad on the inputs then you may not even need this - if you have a good audio interface that has balanced inputs then you may want to get an output module that has balanced outputs - the best way to find out is to start with less and if you have issues add more in this order

using 1/8" -> 1/4" cables (converters are bad as they put strain on jacks which may need replacing sooner if you put strain on them) whatever last modules is in audio path, add atttenuators (passive, cheap, always useful), add output module, add better output module

Still liking my NW1. One thing it isn't designed for, is audiorate FM. But if you're into glitchy sounds, embrace this bug, for being a feature ;)

random*source or elby for serge in eurorack... luke teaford on modwiggler is a bit of an expert - searching for his posts can glean a lot of information...

Dual Universal Slope Generator, Smooth and Stepped Generator, Resonant EQ, Variable Slope VCF, Variable Q VCF, Triple Waveshaper, Divide by N Comparator, New Timbral Oscillator and Wave Multiplier - would be the most interesting to add of those available from random*source - some maybe in multiples

Just a first test

When I click on your rack, I still see PNW in the 3rd row...
Now, the manual extract above should help you setting the BPM on Pam's.
Regardless, my advice is once again to read the manual in its entirety, it's actually pretty good and a must read for a module as "complex" as PNW, the range of functionality on offer is huge !
An alternative is watching the excellent DivKid video (however something as basic as setting BPM might not be touched on, I'm afraid):

Skipping the manual and the video, you risk missing out on things it can do that could help/inspire your next patch, so read up ;)

for some reason the rack picture isent the rack,i have the pams new workout

So you want to know how to set the BPM with PNW but you don't own that module yet since it's in your bottom row ? Just asking because setting the BPM with Pam's is litterally the module's default screen as well as the very first thing explained in the module's Getting Started section of its user manual...

When initially powered on, Pamela’s NEW Workout’s display shows the current clock tempo setting in beats per minute (BPM). Clicking and then twisting the main blue program knob highlights and then adjusts this BPM value between its maximum and minimum values when turned. Clicking again deselects.

btw i dont have the modules in the bottom row(thats modules i need to check out

Can anyone point me in the right direction about setting up clock(bpm to 90bpm in my rack

im making mostly Dark Ambientish Music

here is my rack in work

It's on me for the "B-company" questions above...

Focusing back on this rack, I'd be curious to hear people say:

1. what's the best of this rack, e.g. the coolest aspects of bringing back these various classic designs in Eurorack and into a single case?

2. are there other killer classic adds to consider for (a bigger version of) this rack, maybe some Serge-type modules?

A few days ago I realized the potential for modular, after being unexcited by current hardware synths. And realized I could make my dream synth, and a soundtrack machine for video games.

Some advice and recommendations would be fantastic!
Here is what I want to accomplish:

-Important stuff to fit into Arturia's 6u case so it will go along with my Minibrute 2 and have the feel of a complete musical instrument. (and so I will be less likely to get g.a.s.)

FEATURES:
-Be similar to my most used vst's, Reaktor Prism and Kontour, but mixed with the Arp Odyssey, Dreadbox Nyx.
(I have seen Rings, Elements, Plaits and those kind of modules, but I would like to have more control over the creation and be more analogue. I am unsure of Rings. . .)
--I like the usage of comb filters and feedback loops in those vst's, I want those features, and have various different routes available for those.
--That Paradox dual VCO is interesting, similar to a feature in Kontour. (I like strange stuff like that)
-I prefer envelopes over LFO's for shaping a sound over time. Want more complex Envelopes, and or can be gate delayed. I think the three LFO's on the minibrute 2 would be enough for me.
-I definitely want a spring reverb. Probably another reverb to finish off the sound. I want those to be able to go into feedback loops.
-FM, ring modulation, waveshaping would be nice.
-Definitely have multiples/multiplier? modules.
_Clouds, Monsoon, is pretty interesting.
-It might be interesting to have the possibility to get a binaural stereo sound with a comb filter for each side.
-Have various ways to alter or shape feedback loops.

Some previous related ideas and thoughts:
-What if reverb was a sound source?
-Reaktor Prism but with analogue VCO's instead of noise.
-A pool of reverbed noise (which can my modified before being released), let out at specific frequencies corresponding to the note pressed, then sculpted with comb filter/s - then a juicy analogue filter on top of that - with a reverb on the end; various feedback loops to add more harmonics.
-How to make extreme feedback more musical?

Here are some similar sounds to what I would like this synth to achieve:
(That smooth bass, feedback sound; starts right at 9:05)

(The more cinematic sounds in this:

(especially the bass sound 22:14

I like sounds whose origin is uncertain. Maybe surreal sounds.
For a sci-fi game, I want some sounds that are like the sound of the universe yelling out because its being eaten by a black hole. And sounds that have the same flavor or characteristics as a bowed gong.

Here is what I came up with:

and I will probably eventually get a little expander case, for extra less important stuff, utilities, complex LFO, MIDI to CV for multi note playing. . .

What do you think? Better modules out there? Better ways to go about it?

The Modor comb filter is stereo - so if I only plugged one cable out of it, I would only get half the signal?
Can I just take the audio out of a VCA and use a 1/8 to 1/4 jack converter to go to my audio interface?

Hi Farkas,

Oh that's great, I am glad I could be of some help. I hope you will like the SEM filter from Doepfer and I look forward in hearing a demo from you about it :-) Kind regards, Garfield.

Edit: Removed typo.

EDITED Oct 3rd 2021, 22:42

Hi Bleepadelic,

It's indeed a very nice result, the old historic recordings with your modular, a nice thought, a nice memory, a nice result! :-)

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

Hi Anubiz,

Great, another nice MIDI file realised in modular :-)

Thanks a lot for sharing with us and kind regards, Garfield.

Indeed I’m a big fan of Schlappi modules. I’m looking forward to Three Eye and Boundary when these come out. Along with IME/Harvestman and Noise Engineering modules, I have my industrial and techno needs met.

Dug out an old Sony Walkman from the 80s and plugged it into my rack. Ran it into my interface at first just to see if it would even turn on and was surprised to find that a lot of the FM radio stations were still there and still playing the same music they would have been playing the last time I used it. That is where I got the title for this piece. These stations are ensconced in amber, stuck in place and perfectly preserved history. In a way I was dismayed that they seem kind of stuck in place for 30 plus years, on the other hand I am glad that all that music wasn't just thrown away and forgotten.

The first thing that I did was started adding plugins on top and made a really cool piece that I was thinking of posting here, but it isn't at all modular. I'm not sure if anyone would want a Walkman + Ableton plugins track posted here. Then I ran it into my rack and had fun for hours. This is a little bit of that.

Wow, seriously so cool...just beautiful all the way around man.

That 3U was just about there, but there was a signal discontinuity between the mono VCO and the stereo VCF. Fixed that with the Minsk, which lets the user adjust a mono signal into stereo...and natch, it's post-VCA and pre-VCF. Also, I went with the Veils due to the convenient "breakable" mixbus, as I wasn't sure that the Erica had that. But now, this lets the user use one of the Veils VCAs for signal-to-Minsk levels and then there's plenty left for the stereo output and that STILL leaves a VCA free for modulation level control. So here it is...
-- Lugia

Well, I'll take this as a sign of my learning progress to be 'almost there' :) Its interesting that the discontinuity comes between modules made by the same manufacturer. So, with the Neutron Flux being 'stereo' does that mean I could route the mono out from the demon core osc and use just 'half' of it and technically i could route another mono vco to the other half? If I had my 6U and 3U sitting next to each other, I could take the out from the Ts-L into the other half of the filter? (I think my Sirius' Veil allows me to do that)?
To be honest, I was looking at Veils for this too but for different (dumber) reason which was just to have something different to use but it sounds like Veils is the way to go here for sure. When yo usay 'breakable' mixbus, do you mean that each channel can be used independently?

I have looked into the Erica Dual VCF. Sounds great. Finally just ordered a Doepfer SEM. Thanks again!

That 3U was just about there, but there was a signal discontinuity between the mono VCO and the stereo VCF. Fixed that with the Minsk, which lets the user adjust a mono signal into stereo...and natch, it's post-VCA and pre-VCF. Also, I went with the Veils due to the convenient "breakable" mixbus, as I wasn't sure that the Erica had that. But now, this lets the user use one of the Veils VCAs for signal-to-Minsk levels and then there's plenty left for the stereo output and that STILL leaves a VCA free for modulation level control. So here it is...

Surprises me not! Ever since Schlappi put their first offerings out, they've excelled in putting out modules that sound like they're going to explode or jump out of the cab and kill you! I'd have to say that their modules are a MUST for industrial, hard techno, harsh noise, and the like.

me too!

I think the customers will do the right thing, but Uli's got to do something else extremely stupid to get that to happen. When the Board of the Music Tribe picks up on the notion that their founder's mouth is losing them money, that'll kick something loose.

And yeah, the synths are the items that'll change this. Beforehand, B.'s gear was mainly used by studios...and not too many, as a lot of their early stuff WAS nicked from other firms, most notably Mackie and dbx. But yr.avg musician doesn't know what those firms are or what they make. Thankfully, it doesn't take much of a scratch on Tribe's surface to find the "ick factor" lurking just under it, and if Uli does another "Kirn", THIS time it'll likely backfire on an epic scale.

And when that happens, to quote Ren Hoek: "I'm gonna stand there...and I'm gonna LAUGH!"

Yeah, I agree with Garfield, a lovely relaxed piece :)

Hi

Hehe i have my cables military dicipline with color setup and have done my own cable hanger. But om going to do new cable hangers that so all lengths have their own hanger with 12 rows where 6 of the rows are braided and the other 6 are regular. and 12 cables in each row. It should be 30 cm wide. so I can hang the cables i use infront of me:) thought to make 10 of them so for other cables such as splitters ect that may have their own hangers :) and all my cables from keystep pro im going to buy cable stripes so every chanel going to be like one, and i will buy cable orginicer like this and have it infront of my eurorack ready to patch :)
https://www.amazon.se/kabelhållare-kabelhanteringssladd-organiseringsklämmor-självhäftande-USB-laddningskabel/dp/B07T72KRVX/ref=asc_df_B07T72KRVX/?tag=shpngadsglede-21&linkCode=df0&hvadid=476539110227&hvpos=&hvnetw=g&hvrand=15570446477426598186&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9062357&hvtargid=pla-779698939660&psc=1
And from controller to eurorack i Will gather with Self-closing cable sock.

I talk to Graham alot last was yesterday. I will do my cable hangers first then im going to start to build my case. Will se how it ends hehe.

If you have hinton busbars already sorted out I'd send them an email to ask! they'll almost definitely be able to point you in the right direction - good luck!!!

I've got 300+ patch cables myself - an assortment of all sorts including mutable, polar noise (braided - for very long ones), a few doepfer etc and 80 or so stackcables! they are currently living in a pile on the floor

Thanks. This morning I did the FX automation and have uploaded a "final" version.

https://dspkills.bandcamp.com/track/thermilon

EDITED Oct 12th 2021, 23:56

So I have my Rackbrute 6U build finally complete ().
For me, it is a great complimentary piece to use with my Hydrasynth desktop and BSP.

I also have a Minibrute 2 and now looking to create a little complimentary Rackbrute 3U to use with it. I could also see myself letting my son borrow this one as well to use with his Moog Mother-32 and DFAM (maybe...lol) or just swap between this 3U and my 6U to use interchangeably with the Hydrasynth and Minibrute 2

Have envelopes, modulation, clock VCO/VCF and VCAs covered...mixer and Ciao output (which I think would let me mix the two Rackbrutes together if I ever wanted to) also a swiss army knife module (MK4) and buffered mult.

What am I missing? Seem like a good mix to compliment a Minibrute 2 and/or swap out with my Hydrasynth and/or Moog Mother-32?

I have a few hundred cables in total, and the ones I use and have most of are actually polar noise cables, the braided cables are really good but if you have a compact patch, I use braided to 45 cm and up and regular cables under it to get more place. other cables I dark that I use a lot of are also Hosa patch cables because you get up from the modules and they are nice to work with.

I will have hinton and acopian power system with bus bar as I know what my big system will look like. I like over kill ;)

I am looking and searching for mouser and elfa to find the right cables and connectors for both ribbon and hinton / modular addict. but I'm still unsure because I have some knowledge before I buy bulk. so is there anyone who has a list of materials and tools and a good multimeter and how to set it up, I'm super happy. i find no video online that says what is the top notch of this ,. if I do it myself, I can buy as good as the absolute best cables and connectors for the purpose.

I'm stuck atm as the firmware downloads as a zipped .bin file, and I can find nothing to unzip it.

If anyone has succeeded and can send me Usta.bin file for v152 I would be grateful.

I've tried the latest version of stuffit expander but that does not work either.

Thanks

ok
yes I know that eurorack is small in Scandinavia (I nearly moved to Norway - long story)
but you should also realise that it is small everywhere
I would seriously look into buying the ribbon cables and idc connectors and making your own power cables - not only is it significantly cheaper - less than 0,5€ per cable they literally take 2 minutes to make - so even factoring in your time (and the 5 mins you have to spend watching a video to learn how to - they work still work out cheaper than the 2€+ a bought one costs...

patch cables on the other hand are really fiddly and basically a pain in the ass - so I would buy these... if you want cheaper try to find somewhere that sells in bulk - there was a place in the us where you could get 100 for $120 or so... or just add a few every time you get a new module... I like PolarNoise cables - they should have free shipping to EU countries if you spend over 60€ (20 or so cables)

as for DIY power supplies - I really like the Befaco Excalibus power supplies - again I think you'll probably get free shipping if you buy direct - maybe add a tshirt or a few cables if you need to bump the price up to get free shipping

whilst they're not the most powerful supplies, they are exceptionally quiet - I use them for video synthesis and I see no difference between them and my tiptop mantis - which is effectively the studio bus (ie not uZeus - they are noisy) which is also very quiet and has been recommended as a video synthesis power supply - any ripple can be seen on screen so there is no ripple up to video rates which is considerably higher than audio (audio is KHz, video is MHz) they are also reverse and over power protected (which is always handy) and they are available as DIY - not quick as there are a lot of solder joints (26 * 16 just for the idc headers) but are a good way of practicing your soldering skills - they also tend to run of old laptop power bricks - I've got 1 running on an old IBM Thinkpad power supply (which must be over 25 years old)

More gritty stuff

You should also check out Tl3ss. He's my main inspiration and really an incredible artist https://www.youtube.com/c/tl3ss/videos

Hello

thanks for your answer, this is my case now and I have modules to fill 2 more cases.

and this is a bit how I think about my new case, but the case will probably be 6U lower and will be wider, as I want to reach other hardware that I will put on the case.

http://www.hinton-instruments.co.uk/paprod/gallery/index.htm, i have ny drawings, but i could not paste it on here.:(

I know that cables are cheaper to make yourself, but if i include time and work, it is almost more expensive, eurorack is extremely small in Sweden so i need almost buy everything abroad, and that extra money i pay for that i want to have to my eurorack inspelad. I have good contact with escape from noise ect.

I just want to lean how to make stuff and how stuff is made, so i have more money to my gear, i have started to learn to solder and im going to train my self untill i can solder correctly and can solder my patch cables correct, and be able to replace potentiometers and a little lighter details if somethings breaks. I have great respect for those who can solder, it is an art form. And it take time to learn.

and you learn a lot about electricity when you talk a lot with electrical engineers and it's fun, it's quick to learn but it takes a long time to understand.

Eurorack is a cheap hobby compared to going out and partying every weekend;)

Oh, and Jim...yes, I still think Uli's a prime example of "appalling". But now, his actions are so transparent and evident that everyone knows the story...which is part of why Sweetwater trolled B. when they came out with the "Swing" (aka the Arturia Keystep) and at present, their Four Play VCA (ie: the Intellijel Quad VCA or Mutable's Veils) and the Brains (a blatant Mutable Plaits rip). Back then, they were rerouting search inquiries to the REAL modules, but these days searches for these just drop you into the midst of ALL Behringer listings, which is pretty much like getting tossed into the deep end of the proverbial pool.

Also, consider: now that Uli's making instruments, his visibility has increased, and continues to increase as Tribe keeps putting out more visible gear (as opposed to mixers, rack processors, etc). Might be great for sales, but if Uli goes off in some weird direction again (the Kirn debacle instantly comes to mind), that public coverage will potentially be his downfall. I'd be good with that, and I think lots of others would be as well.

-- Lugia

Well I'm all for shutting up about it as I'm a bit sick of it to be honest unless asked - as I was above...

I really didn't mean to derail your thread with 'anti-b-company propganda'

But I really think that the history of the b-company is not well known at all outside a small part of the recording/musical instrument market - and given that a lot of the influx of people into eurorack in the last couple of years has been through their marketing - and often from outside the traditional musical community that not that many people know about it or they wouldn't be selling so many - or maybe that's just wishful thinking on my part that a majority of people will do the right thing when choosing who to buy things of, which is most likely the case...

EDITED Oct 2nd 2021, 08:48

Surely the four play is under some sort of legal injunction as I haven't seen it in stock anywhere since they announced it?

I understand the replies above and I have a lot of time on this forum for Jim, Lugia and Farkas as I've previously said if it wasn't for your previous postings and help, I wouldn't have invested as much into the Eurorack idea. That being said, it was also the purchase of a couple of Behringer Neutrons and playing around with the patch bay that something clicked about idea of rerouting signal flows and changing the behaviour and sound of these synths that I decided to explore the concept of eurorack further. I remember at that time just randomly patching inputs to outputs and not knowing why the sound was changing but a key factor around that time was affordability.

I recently posted all my racks and they are not heavily inspired by Behringer, if anything Intellijel won as my racks have predominantly Intellijel modules so if anything it was the other manufacturers that have benefited financially from my investment in this field of music creation.

I don't normally talk about this but I was going through a really tough time in my personal life and mentally I think I was shot. I think the idea of being able to patch things in different ways and then thinking about why that worked really helped me mentally as I realised at some deep subconscious level that this was also rewiring my brain and making me realise that other paths in life were also possible and its always possible to start again.

EDITED Oct 2nd 2021, 08:45

I can't help you with that much of this, as a lot of it is related to electircals (ground etc which any electrician should be able to help you with) but:

for smaller cases such as 7u and 4u - hinton style busbars are almost definitely massive over kill - for a 60u 168hp + wide case then they are probably a good idea...

for eurorack power cables - which won't work with hinton style busbars anyway (you need all custom cables for this) they're alnost definitely just standard ribbon cable and 10 and 16 pin idc connectors which can be bought from most electrical suppliers - I'm sure there's one in Sweden, but otherwise Tayda, Mouser, RME, Reichelt etc carry them

if you already have long cables that you want to make significantly shorter - then it's easier to just cut them and add the appropriate header

you can either get a specialized crimper (I got one for 8€ from Reichelt) or use a vice or a heavy book - there's a video on YouTube using a bible for example

Hope this gives some insight!
FF

Absolutely does...thanks for the description. I really need to spend more time learning the BSP more in-depth.

May I ask why you choose the 960 Sequential Controler? From the "half million" ;-) sequencers/controllers, why this one, was there for you a particular reason to choose this module? I am usually not so much concerned about HP usage however this one is huge.

Simple: I know it already. Since B. replicated all of the Moog spec (including the ultra-annoying S-Trig busses), I have no reason to suspect that it would work any differently from ones I've used. Also, the 100M and Buchla sequencers can either alter the behavior of the 960, or vice-versa.

Do you know perhaps when the TipAudio Buchla modules start to become available?

The last thing I was told (by Tiptop) is that we can expect the first ones around Xmas this year.

Beautiful designed rack that, I agree indeed, should not exist, it should not be allowed, far too great ;-) You make me think of selling my house and replicate that rack! :-)
-- GarfieldModular

Actually...all of that, with the B. cabs, just cracks the $4k barrier. Mind you, there's some module prices missing at present on a few of these, but not so many that I would think the build is improbable.

Oh, and Jim...yes, I still think Uli's a prime example of "appalling". But now, his actions are so transparent and evident that everyone knows the story...which is part of why Sweetwater trolled B. when they came out with the "Swing" (aka the Arturia Keystep) and at present, their Four Play VCA (ie: the Intellijel Quad VCA or Mutable's Veils) and the Brains (a blatant Mutable Plaits rip). Back then, they were rerouting search inquiries to the REAL modules, but these days searches for these just drop you into the midst of ALL Behringer listings, which is pretty much like getting tossed into the deep end of the proverbial pool.

Also, consider: now that Uli's making instruments, his visibility has increased, and continues to increase as Tribe keeps putting out more visible gear (as opposed to mixers, rack processors, etc). Might be great for sales, but if Uli goes off in some weird direction again (the Kirn debacle instantly comes to mind), that public coverage will potentially be his downfall. I'd be good with that, and I think lots of others would be as well.

I am curious as to what cameras you use and how many? How do you handle camera switching during your performance?
-- mog00

Thanks for your kind remarks. When streaming live I usually use an app called OBS and fit all my camera stuff on one frame because I don't want to be distracted by having to switch cameras, though I'll often have two cameras and switch between them in OBS manually. For streaming I usually just have two cameras, one (my MacBook camera) to capture me playing from a few feet away and then a GoPro knock off to fisheye on the modular rig. When just recording, I'll also use my iPhone and then import all the video and edit it. This gives me full control over video dynamics to feature the camera image that it doing the most interesting things at the moment. But this editing take a lot of time. Sometimes I think it is worth it. So, long story short, I do not have an automated switch like so many rad acts do.

Cheers
FF

Hi Polyterative,

Oh my goodness, what a sound! That's great stuff you are demoing here with the Plasma drive. Your demo makes me to reconsider the Erica Synths tube modules :-) This is just bizarre good!

Thanks a lot for pointing out to us, that we actually should buy this module ;-) Kind regards, Garfield.

Coming back to the rack of Lugia... ;-)

A fantastic rack design Lugia!

May I ask why you choose the 960 Sequential Controler? From the "half million" ;-) sequencers/controllers, why this one, was there for you a particular reason to choose this module? I am usually not so much concerned about HP usage however this one is huge.

Do you know perhaps when the TipAudio Buchla modules start to become available?

Beautiful designed rack that, I agree indeed, should not exist, it should not be allowed, far too great ;-) You make me think of selling my house and replicate that rack! :-) Thank you very much for sharing this rack with us and kind regards, Garfield.

Hi Liquidcolor,

I completely understand you that you don't want to spend too much time to create videos. The reason why I don't make videos (yet), it would take me too much time and I agree, we rather use that time to create great music :-)

Thank you very much for the detailed background information, enjoy your weekend, hopefully with some time left to make some great music and kind regards, Garfield.

Nice,

I am just getting back to recording, after a major move (still have at least 2 more coming). I am curious as to what cameras you use and how many? How do you handle camera switching during your performance. I would like to start recording live performances as I am staying out of the box to focus more on all the hardware I have acquired over the years, but don't have a good handle on all the gear to pull off a good sounding performance that captures what I happening.

Thanks again I enjoyed listening this.

Net out so far is AJH Wave Swarm is likely the most suitable hardware option. Any other ideas on this? @Lugia, any ideas / comments?

Excellent stuff :)