Hey all, I recently purchased a modular synth that has most of the modules in my rack - some patch suggestions would be nice :)
The rack is option no.2
Appears to be a duplicate of this one:
In addition, neither module image reflects the current image on FSFX's website:
So I am unsure if first two module above are V1's with third module listed as V2. Or, is third module an entirely new product though it shares FSFX 101 module name with second module above. If second module is same as third module but simply needs revised image as displayed on FXFX site, I'd be happy to execute that.
Module images for Club of the Knobs CP8 (link below) is displaying too much white space in grid view which also appears on its module page when you click to enlarge panel image. I downloaded a new image from CotK's official site, properly cropped/converted/exported, then uploaded a new image but it's still displaying that extra white space. I tried this process twice different ways to no avail.
A bug perhaps?
CotK CP2 seems to be having the same white space issue. I didn't work on that image though.
A little (literally!) something...two Frap 42hp rows + vertical cab ends. I sorta felt that a vocoder should be a separate device so that it can go inline with most anything. Bottom row is Frap's new Fumana module. Top row...ok, the mic preamp/envelope follower on the left gets its audio patched to the VCA, while the gate from the envelope follower goes to the AHDSR...this enables some shaped noise gating, allows only the proper level signals from the mic to pass to the Fumana. Mono limiter to even out the inputted carrier input signal, EQ before the output to tweak timbre a little before the line-out. This way, the device can easily be patched into anything from a modular rig to line-level I/O signals for both the modulator (with its own mic/line in) and the carrier.
Not too shabby! Hopefully a few folks will get some ideas from this, because that Fumana module looks to be extremely cool, almost a competitor for an EMS 5000 with the fully routable analysis-to-synthesis patching. And at gazillion$ less!
Oh, yeah...it definitely needs some sort of stereo output module. Even just putting the Clouds (or something like it) last in the signal chain screams 'stereo output'. Get something with a ganged stereo level pot, though; I've been a bit enthralled lately with this one Olitronik output...1/4" balanced outs, metering, headphone preamp, and only 6 hp. Not spendy, either, and the ganged stereo control lets you easily maintain the spatialization coming out of the system. Happy Nerding also has a nifty and inexpensive output, this time with transformer-balanced outs, and having some nice iron in your audio path is always a help, as transformers tend to emphasize even harmonics, making signals processed that way a bit more 'euphonious'.
Yeah, that thing was a bitch to patch; the dope sheet for the patch for the ARP 2600 and Digisound tandemmed was 2 1/2 pages long. How it worked, though, was brilliant: the piece depended on a continuum of non-repeating, dynamically-shifting voltage curves that then got fed back out in all directions, with differing polarities and phases. Key to it was two things:
1) Eight attenuverters on the Digisound. These were the 'steering' controls. All of the various modulation signals fed into these and they functioned as a sort of 'network', in which incremental, small changes would knock the whole system out of, and back into, equilibrium. But that process had a lot of 'lag' built into it, so a change of one pot would perhaps take 10-20 seconds to make the resulting change sonically. That, plus the point that the modular system was fed into a long processor cascade, made any change done manually take a LONG time to finally reach a new stable state.
2) A shortwave receiver fed into three different audio frequency bands. This is the 'not under control' part. I used a fairly broad bandpass filter to rein in the sonics, and this was fed into the audio of the modular system at a very low level. Then out of that, two other 1/10th octave passband filters took 'slices' of that audio spectra and these were sent to the envelope followers on the ARP and Digisound, where their levels were converted into CVs and fed into the modulation 'network'. Since shortwave signals constantly fluctuate in phase, level, etc, there was no controlling what any of this would do at all. And, of course, it too is constantly dis-aligning the modulation curves.
The only other things on the track are an MS-20, which stays constant to provide a 'pivot sound' around which the rest of the sonic architecture moves, and a theremin which appears at points. When that happens, also, the keyboard controller gets used to 'dive' the modular's general pitch downward to 'window' the theremin solos. As for how I got the theremin to 'feed back' at that one solo's end...well, some things must remain a secret, heh, heh, heh...
New registrant to this site and first post so forgive if incorrect location or protocol.
Synthesis Technology is available in Eurorack manufacturer dropdown list but not MU where they are currently attributed as "other/unknown" for their respective modules in that format. Synth Tech have been quite legit for a while, I think. ;-)
Is there a way to rotate/flip individual modules, such as a Batumi where the CV patch points are on top rather than on bottom?
We've been discussing adding the option to flip a panel for while.
The future is now! I have added a 180° flip function. There is also the keyboard shortcut f available. I hope I did not break anything ... Thanks for reminding me, guys!
One idea would be to actually Edit the available module (if possible) and change the panel to the reverse. Users can scroll through available panels via the Panel option. Both normal and flip versions would be available on the same module.
The problem with that is a) not everyone knows it b) most people would get their panels flipped all of a sudden.
We've been discussing adding the option to flip a panel for while. It could/should be implemented in some in the future. In the meantime, if the module is not already available as upside-down you can add it yourself, but make sure to tag it as Unlisted. It's a bit of a pain to get duplicate modules just because someone wanted the panel flipped (my personal opinion anyhow). I have a few that I've uploaded myself (it's a fair request) but I tag them as Unlisted to avoid duplicates for others. :)
Is there a way to rotate/flip individual modules, such as a Batumi where the CV patch points are on top rather than on bottom?
I realize the writing and controls would be upside down, but people flip them in real life just the same.
Surely this has been asked and discussed before, did I miss the feature, or has it be omitted on purpose, or what?
Thanks. Amazingly useful site...
Hey, gang...this is for those of you submitting module data on items that come in both kit and prebuilt versions. If you could, please put the worst-case price on module listings. This will almost always be the prebuild price, not the kit, and the reason I'm making a note here about it is that I just got done reworking the Elby stuff, and a lot of the prices there were on kit versions, and I (like quite a few around here, I'll guess) tend to plan things as prebuilt. So when the rack of Euroserge stuff I had shot from $15k up to $24k...well, that's quite an inflation rate!
I think most people, when they get the bill on things, would like to see it was lower than they'd thought as opposed to "what do you mean I owe you another 9 grand!?". So, yeah...while I know there's a big DIY presence on here, I think everyone will agree that you're going to want the NICE surprise as opposed to the HOLY CRAP!! surprise. So, yeah...let's see the prebuilt pricing when there's a difference, please? Vielen dank!
Pretty excellent! You might reconsider the 1/4" outputs, though, and drop a mixer (possibly w/ VCAs) in instead. That way, you can mix/attenuate up in the RackBrute and send the resulting audio back down to the MB2s's audio in and final-mix in that box. Pairing the Drips w/ the DFAM is a brilliant move, also, but also pushes that need for a mixer.
I did a test layout along similar lines, myself...have a look at the DAMN YOU, ARTURIA thread under 'Racks' from a few weeks back. The sort of patchables we're starting to see now really encourages this sort of thing, and I think it was really prescient of Arturia to come up with a unitized design that pairs the MB2/2s with an attached Euro cab. Granted, that build is more extensive, but it's interesting.
I'd pair this with the Arturia MiniBrute 2S.
I've zero experience with Eurorack. The Arturia kit gives me an easy in so I don't have to worry about cases / power etc. I love the DFAM.
Does this look like a valid fun system?? This is primarily for beat making.
I want to be able to control it (midi) and record the output (audio) so I added modules for that.
Sounds right...just keep in mind that, musically, you're probably best putting the modular cab together in a way that it doesn't sound at all like the 0-Coasts so that you can get some contrast. It's sort of like orchestration: sure, you have five different string parts to an orchestra, but then you'll want the wind colors to contrast against the monolithic string timbres. At the same time, tho, those strings need to interconnect with the winds...and likewise, tandemming control patching between the 0-Coasts and the modular cab is a great idea.
Yeah, I might've had some texts shoved up my ass during my undergrad conservatory-type training that I thought were sort of pointless (Piston's 'Harmony', f'rinstance), but Rimsky-Korsakov's text on orchestration wasn't one of those. I've found ideas from that orchestration textbook useful in multitrack and live mixing, studio equipping, arranging timbral structures in electronic media, and so on. Just proves that old adage about everything old being new again...(https://www.amazon.com/Principles-Orchestration-Nikolay-Rimsky-Korsakov/dp/1492248061 )
Answer #1: yes. Also, if you start speccing your own power supplies, you can find plenty of supplies that output lots more current than many OEM Eurorack supplies. This is especially useful when dealing with a large build. Or, alternately, you can go with a prebuilt larger case that has beefy amperage ratings...they've gotten a little more common, with the advent of cabs such as the larger Pittsburgh units (they're actually Monorocket designs, if I remember right) or the new (and cheap!) Arturia RackBrutes. Finding +12 only units might be a bit of a pain; you're better working out staying under the uZeus's requirements in its cab unless you toss it out and get something with more 'beef', like a 4ms Row Power 40 or a Koma Strom+.
Answer #2. I wouldn't try it. The issue there is that the -12 circuitry is going to expect to see a 'neutral' on its ground plane, not +12. This would be the only actual solution, as you would have a lot of trouble repolarizing that bus due to that issue. One module might be fine with it, but a couple of others might smoke. Again, the real solution (that avoids even the hint of a catastrophic possibility) is to either stay within the uZeus's limits or jettison it for a beefier supply.
That being said, though...the -12 rail on the Tiptop isn't as overtaxed as you might think. I like to spec current draws at 2/3rds of the rated maximum, which for .5A comes out to 333 mA, which is about where you are at present. So the ultimate answer here might be 'do nothing, it's just fine that way'.
One last thing: if you're planning to spec out your own power distro design for a new case, two things have to be kept in mind:
1) While linear supplies offer very quiet, no-ripple DC, they're spendy and weigh quite a bit. So this means you'd likely be using switching supplies...but in that case, you have to be concerned about noise on your DC rails. In bog-simple analog modules, this might not be a problem, but if we're talking about analog-controlled digital, the noise factor could creep in due to the switching noise interfering with the DSP clocking and such. These things can also radiate noise, so the potential for power supply garbage getting into other subsystems (think audio lines and devices here) goes up. Be VERY careful about noise factors on switchers.
2) You're always safer by using filtered busboards. Even with the quietest linear DC supplies, some modules can still send crud back down their own DC feeds which get back into the rails and spread out that way to cause all sorts of annoyance. Filtering reduces this problem, and can also be useful to reduce switching supply crud. If that's not enough, there's also various methods of isolating the DC supplies via filtering, noise chokes, etc that can get more garbage off the rails. The optimal thing you're looking for here is to drop the noise across your audio to as low a figure as is possible, as that will be the most obvious path for it to get heard...but just as much, reducing noise also helps with module stability, especially when tuning stability is critical. I would suggest putting a 'scope on your DC rail feeds during any such build to look for ripple (very bad) or switching noise to see what courses of action, if any, you might take.
Actually, both ideas there work...I keep forgetting that Quadnic module, and I ought not to. It's definitely a different character than the analog-source Doepfer, comes in considerably cheaper (by $200!) and saves 6 hp of space. Downside, though, is that you lose individual modulation and sync patchpoints. The other similar solution that seems to be viable gets more pricey, though: a pair of Klavis Twin Waves. $498 for two, but they fit in 16 hp and have way more features than either the Quadnic or the Doepfer combined. It's almost Braids-ish, given the algorithm feature set. If the price weren't a barrier, honestly, I'd go in that direction. As for the Pico DSP, yeah, that could work as well, but if you're going to use it for that insert trick make sure it can do a decent job on a mono output. Of course, that module also need not be a effect processor; you could do some twisted things with waveshaping in that Chronoblob feedback loop, so that every delay iteration keeps getting more distorted and bent out of shape. A ring modulator would be neat as well, but you'd need a carrier source...even so, consider a delay in which the iterations get more and more clangorous. Lots of possibilities exist...
As for the MAX situation...there might be a solution in MAX that can emulate the additional Monome modules. MAX is so open-ended that if you're deep into it, there'll almost certainly be a way around any hardware limit. Or, explore some of the Expert Sleepers stuff to get the MAX patterns over USB (or even ADAT optical) to their hardware, piping the MAX patterns through Silent Way. At the very least, ES's stuff saves space and is equally open-ended as Monome's modules.
Hey all! I've finally assembled enough components to have a functioning rack with some good possibilities. I'm pretty much out of space in my first case. When I look at the calculated power consumption, I see this:
633 mA +12V | 346 mA -12V | 0 mA 5V
I'm using the uZeus power supply from Tiptop Audio, meaning I have at my disposal:
It seems like I'm quickly approaching the end of the -12v space. However, it looks like I still have a good deal of +12v and all of my +5v.
Now, please forgive my ignorance of electrical engineering - I have two questions:
What do you think of the Quadnic in place of the Doepfer Quad VCO?
Also, what about the Erica Synths Pico DSP in place of the verb module?
Some people are also recommending I ditch the Monome White Whale and Meadow Physics b/c the Ansible has similar functionality, and it would free some space for more mixers, but my thought was running multiple concurrent patterns on the 4 monome modules. I currently run 6 patterns or more simultaneously in MaxMSP...
First small rack? Don't you mean first small BIZZARO rack? MUA-HAH-HAH-HAAAAA!
OK, let's make it bizzaro...
Keep the MATHS where it is. I assume you're using a self-contained 84 hp rack, such as a Doepfer A-100LC3; this will have internal power with a built-in DC 'brick' input. If that's the case, this build should work.
Next, add the Batumi and the Poti expander. You will likely want the extra flexibility. So...ok, this gives us the Batumi for modulation, and the MATHS can do a lot of the envelop-ish and slewing behavior.
Then...BIZZARO oscillator! The Harvestman's Hertz Donut mk II should be perfect to compliment the analog oscillators in the two 0-Coasts. This is a very strange but extremely capable dual digital oscillator with internal modulation paths and TZFM capability. The spacing on this also takes care of the odd offset from the Poti, bringing us back into even hp turf. So, what better to go with a BIZZARO oscillator than...yeah, you guessed it...
BIZZARO filter! This thing is brilliant for strange timbres and filter modulations: the Limaflo Motomouth (https://www.modulargrid.net/e/other-unknown-limaflo-motomouth). It's a multiband formant filter based not on typical cutoff and resonance models, but emulating vocal vowel formants and morphing. Put together with the Hertz Donut, you then get into this very strange, alien voice-but-not-voice territory.
Next, not BIZZARO...just a dual VCA from Doepfer, their A-132-3. These VCAs can be switched between linear and exponential behavior, so while one can handle audio dynamics (f'rinstance), the other can deal with controlling a modulation signal's levels being fed...well, most anywhere. Since this is sort of a monosynth (ok, yes, a BIZZARO monosynth), there's really only a single signal path for audio at this point, so having two VCAs like this is pretty optimal.
Next...more BIZZARO! Right next to each other, a Synthrotek VERB, which is a CVable mono reverb, and a Feedback 106 Chorus, which not only modulates the timbre, but spreads the mono VERB signal into stereo in a few different, manually-controllable ways, so that its output goes right to a Malekko Output which gives you a ganged stereo level and steps your signal down to regular ol' line level. Not BIZZARO line level, mind you...just the usual.
Fills all 84 hp neatly. And there's way more than ample room for exploration there...plus it's going to sound NOTHING like the 0-Coasts or, really, most any other monosynth, because this is a...yep...BIZZARO monosynth! Also, you can patch the 0-Coasts in and out of this really nicely in oodles of ways. The SQ-1 could, say, sequence only one half of the Hertz Donut, leaving the other oscillator fixed to create lots of Conrad Schnitzler-esque clangers, or...well, you get the BIZZARO idea here, I presume.
(Last damn time I watch that 'Sealab 2021' episode before trying to get something done! And NO, not something BIZZARO done!)
I am putting together my first (small) rack.
I will be using this with two 0-Coasts , a multicassa and an SQ-1.
I know I want a Maths and pretty sure I want the Batumi.
I am mostly interested in dark, drones, ambient and weirdness.
I've been loving my 0-Coasts but really want to explore more sounds!
Any & all suggestions & opinions welcomed!
To get your image to refresh, try this: go into View Screenshot and if you see something that wasn't what you selected, then refresh that window. Should clear that up.
Anyway...had at it a bit myself. Started with flipping the case, and then...well, have a look:
There's definitely some changes. The Quad VCO is paired with the Quad VCA, for starters. This lets you do a lot of CVable mixing of the VCOs, creating morphing-like structures, or really most anything. Mangroves next, then a CVable wavefolder, which not only lets you morph the formants, but also the timbral quality of the Mangroves. Two attenuators to control their levels going into the Sisters VCF...and this is key, because I looked at that filter and noted that it has this extra input, CENTRE, that allows a 'lead' part to get 3db out front and be timbrally altered against the other sounds coming in via the ALL, LO, or HI inputs. The dual attenuator lets you have more control over that lead/back balance.
Then there's a Doepfer A-106-1 filter. This is actually a filter pair, based on the Korg MS-20's Sallen-Key pair, but with the sick and twisted addition of an insert in its resonance path. Hence the stuff below: a Chronoblob delay and a VERB digital reverb. Now, what came to my diseased mind was this: put the Chronoblob into the A-106-1's insert. Now, the Chronoblob ALSO has an insert...this time, in the feedback path. So the CVable VERB goes into THAT...allowing clocked delay pulsations with the added strangeness of constantly-shifting 'room' depths, with all of this being constantly inline to alter the dual filter's behavior. Tres ambient! Of course, there's plenty of other ways to (ab)use those, too...
ER-301 is above the other set of VCAs, next to a little 4-in stereo mixer, which is next to the Clouds. This puts the Clouds in place to easily process/mangle incoming audio OR the synth's sounds themselves, and all of this can be sent up and thru the ER-301 for more processing mayhem. The I/O is right below in the tile row, also, so the right end of the build can do a lot of 'spiderwebbing' amongst all of these for pretty infinite possibilities of subpatching for sonic alteration.
Bottom (now) tile row. Added the uMIDI 1U because the Intellijel cab's USB port (on the backplane) directly links to that for MIDI-over-USB use. Above this are your Monome modules, and this puts all incoming control signals at the lower left...nice and cohesive. Modulation/clocking is next to this, with the corresponding tile below the Tides and MATHS so everything's all in place to work as a modulation subpatch team. The row went to the bottom, also, to get your external cable runs below and away from your patchwork to avoid confusion. It also puts the tile controls close at hand to your controller for fast 'nuance' adjustment.
Sole flaw here is that I wound up being forced to drop the multiple. However, you might find that using stackable cables and/or inline mult modules work even better in this small a rig.
Downside of all of this: $5,668, modules alone. Definitely above the $2500 line, but it gives you something of a point to aim for, money-wise, even if the module compliment might change. But this isn't a bad aiming point, IMHO...definitely feels like an ambient 'instrument'.
Awesome, thanks so much for the detailed comments! I'm still wrapping my head around all of this and it's so valuable to hear your input. I love your idea about having two cabs for each input device, but that will take some time for me to work towards financially... I'm thinking for the time being use the laptop for the seaboard and focus on the modular for the monome?
So I put together another setup here (not sure why, but the image is wrong, click on the link to see the real setup):
It basically adds and tweaks things per your suggestions... At current I'd like to stay around $2000-2500 USD, and then fill things out as I go. In this case, what would you sacrifice to get the best sounding solution?
It's actually looking sort of underpowered, to be honest. I'm pretty sure that only one VCF is going to hamper you in getting lots of different timbres in your rhythmic patterns, and that factor is pretty essential to make effective patterns that both pound AND hold attention. I'd almost think that losing the Quad VCLFO would be in order and going with something more akin to a multicolor noise source, in addition to several small 'ringing' filters (such as either 2hp ones or some Erica Picos) would make more sense for what you want. These can also be pitchable via the sequencer but have a more percussive sound. You also need a bunch of AD envelopes for this to work, and Erogenous Tones makes an octal module with these, the RADAR. Consider a bit of processing, too...a short reverb will actually make things sound really huge and spacious without making the whole rhythm track sound like it's coming from some huge dumpster.
Keep the Tides. Slow changes across a track also make for interesting qualities in electronic percussion, and the Tides can be mixed in with some of the incoming sequencer CVs to make that happen. The STO is good, as well, for a bass source...but you really need a deep 4-pole LP VCF plus an ADSR envelope to get your bass voice working. That way, you get a solid, rubbery bassline plus you can squelch it up wite the VCF's resonance manually for a more acid-y tone.
Ultimately, if I were doing this build, tho, I'd have started with a larger rack for it. It's always better, when starting out, to go larger than you think you need...because in the end, you realize that you DO need it! Not suggesting a 12U Monster case here, mind you, but going to a 6U x 104 will give you more room, then if you find you need to, you can easily scale back down to something a bit smaller when refining the build.
Well, first up, Intellijel's Noise Tools would also be a good contender for that tile row; you might consider dropping the USB for that, as you have a backside USB on the Intellijel 7U case. Also, I'd invert the rack...put the utility tiles + your I/O on the bottom row to get the external cables out of the way. Consider, also, finding a way to squeeze either a Digiverb or a Pedal I/O in there.
Ambient, from my experience, requires quite a bit of heavy-duty processing to get the right flavor. The Orthagonal ER-301 would be a good multi-possibility choice there and would likely allow you to take out the Clouds, which Mutable discontinued recently (someone needs to edit its listing). If you have to have the Clouds, your best bet (space saving, too) would be an 8 hp third-party version of the module, for which there's several sources right now.
Nothing here in terms of modulation sources, especially slow-duration ones. The MATHS is a good choice, plus adding a Mutable Tides would give you plenty of slow-duration modulation change with good control capabilities. And VCAs...got to have those. Intellijel's Quad VCA would play nicely in here, plus give you a 4-channel mixer for either CVs or audio in the process. You might actually consider two of those, one for each.
Two VCOs, also...not really enough. The modular I currently use for this sort of thing has three VCOs plus a VCDO, Digisound's steppable fixed-wavetable oscillator. You're going to want some spectral complexity that you're clearly moving toward, but still a good ways away from at this point. You might get closer by yanking the Just Friends and looking instead at Doepfer's Quad VCO, which just came out a bit ago; I would definitely keep the Mangroves, however, because it would provide a nice timbral contrast to the Doepfer VCOs.
Keep in mind that with ambient work, complexity is key...you want slow change with lots of possibilities. You might even consider going to a second cab here so you can have more sonic possibility while staying with the Intellijel format tiles. With the simultaneous use of a Seaboard + Monome setup, something this small-scale might actually wind up limiting the full capabilities of those controllers in tandem. But with a dual-cab rig, you can use the Monome with one for functions that're optimized for it in case #1, and the Seaboard in a likewise manner for case #2, sort of like a dual-manual for an organ...but not an organ. Means more monetary outlay, sure, but you get that back in terms of being able to make more complex, subtile, nuanced music with the instrument. Sure, it opens another can of worms, but it's a can with more potential.