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I am planing and hope to learn each of these modules well. I have a Digitakt (which got me into modular) I love it but find myself nitpicking over samples and then searching for new samples too much and wanted to start making those sounds myself. The wonderful thing right now is having a limited amount of modules is I really have to figure out what I can actually do and what each module is good at. (Where with the Digitakt...if I want to throw in a lfo...its a button and I move on) I'm sure I'll go throw some modules figuring out what works best for me. Will keep researching and decide on the right module...whether it be Maths or some version of it. Thanks everyone.
I know its a bit draconian but could you give users the option to enter a comma separated list in their account settings so they don't have to see Modules in searches or Racks of chosen manufacturers. A Mute-List.
For instance, I have no wish to see the Orange-Perma-Tan-Baby-Ex-President on Twitter so I Mute associated words.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
seems to me like the shop didn't do anything wrong, though - you were just too slow
if you see an email saying a module you want is back in stock then buy it immediately
do not wait do not pass go do not collect 200 of whatever major currency you use - just buy it
almost, if not all, production runs of eurorack modules are 'short runs' mostly in the hundreds or less, these then have to get distributed between retailers - so each retailer might get 10 or 20 modules - so selling out very quickly is not uncommon especially with corona added demand - it's not like white goods where they get delivered by the truckload
-- JimHowell1970
Not faulting the shop at all...more power to them if they can sell them out that quickly...just wishing one of them would have been to me :)
I literally got an email in my inbox late last night (11:49pm) and saw it first thing this morning...hopped on to their website at 7:30am this morning and gone...lol
I will definitely be upping my 'monopoly' game going forward and not passing go and collecting 200 ;)
seems to me like the shop didn't do anything wrong, though - you were just too slow
if you see an email saying a module you want is back in stock then buy it immediately
do not wait do not pass go do not collect 200 of whatever major currency you use - just buy it
almost, if not all, production runs of eurorack modules are 'short runs' mostly in the hundreds or less, these then have to get distributed between retailers - so each retailer might get 10 or 20 modules - so selling out very quickly is not uncommon especially with corona added demand - it's not like white goods where they get delivered by the truckload
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Being newer to modular, I wonder if what I experienced is just the nature of the beast that is modular that I should just get used to or more of an anomoly for an apparently popular module.
One of the modules I've been wanting to initially get added to my slowly growing rack is the Frap Tools 321. I put my name on notification lists for a couple stores so I would know when they were back in stock...apparently, that is not an efficient way to get something that is out of stock (and apparently wildly popular).
I recieved an email notification from a store last night that they had them back in stock...when I went to the storefront to get an order in this morning, it showed them as out of stock. My initial thought was that they just had not updated their inventory online but when I reached out to them, they said they had sold out of them already...so much for adding your name to a email notification when something is back in stock....LOL
just be aware the chances of getting a black maths are near 0 - they only come with the b&g shared system - the standard one is the one with white knobs
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
If you wanted to drop the daisy chains I've read Befaco’s bus board will fit in a NiftyCase, suspect EO Wave's might too (whether anyone has them it stock is whole another question though!)
Thanks for all these replies Guys, super helpful! Rene is out (might go into the 60HP addon to DFAM and the mother32 with pams as an intermediary between the two systems), and so is wogglebug- I figure the noise tools is probably a good enough source of random.
Added maths, the matrix mixer, the MUM M8 filter and the uFold down the bottom.
Oh wow, that sounds indeed much better than expected and indeed lucky that the brightness of the LEDs can be turned down without the eyes are being burned out by the bright LEDs ;-) I actually miss that LED brightness functionality on those Eurorack modules that use LEDs (or lights). By "Eurorack law" actually every module with LEDs/lights should have a small dimmer knob to lower down the brightness of LEDs (or lights) or even dim it so far that's just off. I sometimes like to have the LED lights but I usually like to have it pretty dim indeed.
I can't wait for the Blue Marvin, though I agree with you that the copy/paste behaviour (of existing currently available models) is one of disgusting :-(
So the B. 2600 can be used without any worries of getting any DC components to the speakers? Have you tested that already some way? I wouldn't like to fry my just acquired new monitors :-(
Thanks a lot for sharing your feedback on the B. 2600 and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
It actually was quite a bit of a shock. After reading a lot of the online noise about it, I was expecting a box of utter nonsense. Instead, what showed up acted exactly like a 3-4 year old "Orange" from ARP's late days that I used back in the early 1980s, especially when you switched the VCF to the 4072 setting. I've tried to patch things up on it that I know that the ARP was excellent at, and all of the settings are pretty much where they should be after accounting for the shorter throw on the faders. Uli even compensated for the thermal issues in the original by venting the cabinet to keep the electronics inside more stable.
The sole annoyance is, yep, the LEDs in the controls. But you can turn them down to a point where they're not quite so eye-shatteringly-bright. I also like the balanced 1/4" outs, as they appear to ensure ZERO passage of DC offsets to the outputs; this was a long-running issue with the originals, with the "thumpy" VCAs that weren't really "thumpy", but what people were hearing was the typical ARP 2600 DC offset creeping into the output. Get rid of it, and you lose the thump. Besides, DC + amp + speaker = some pretty ugly shit. Fire, even.
Granted, you hear plenty of noise on various forums about how the B.2600 isn't "quite like" the original. I would argue that that's somewhat wrong. It acts like a NEW ARP 2600...not one that's been in use (or worse, in storage) for a few decades, and the vast majority of synthesists these days have never heard a more-or-less new ARP 2600. For that set, well, here's your chance to check that out.
However, while I think this new version of the 2600 is pretty fantastic, I will admit that I still have some very strong feelings about Uli and how he chooses to conduct his business. I would feel a lot better about owning any of Behringer's equipment if he'd learn to moderate many of the more...ah...excessive aspects of his behavior and stop the various outbursts of nastiness that he's become known for.
You received already your (orange?) B. 2600? How is it? Up to your expectations?
I thought/remembered that you were interested in the Grey version? Please share your first impression about the B. 2600, I am quite curious, I am waiting for the Blue Marvin.
Thank you very much in advance and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Generative ambient patch.
Main sequence from Rene modulated&feeded by Rampage.
Rene sequence Rings on FM mode thru Prism and Beads.
Piano from Bitbox Micro thru Typhoon on looping delay mode. Bitbox sequenced on hermod.
Modulation from: ochd, function, rampage, kinks and PNW.
Or you could queue up and get one of Uli's ARP 2600 clones.
Sure that the ARP 2600 is a sexy synth. Do you refer to use it as a standalone synth or to interacting with your modular system?
-- baygiooday
Yes, and yes. The B.2600 is part of a larger "environment" in my studio for all of the modular and patchable gear, located especially so that it has ample access to the Digisound 80. I've used that 2600 + Digisound combination for literally decades, and given that Uli's version works just like an original "rev.4" (when new! one that's been sitting around since 1978 won't sound like a new one), the "fit" should be fine. I already know that the patching spec is identical to typical Eurorack norms (just like the original), so no concerns there.
As for the BSP, I have two, along with a basic Keystep and a Keystep Pro. Given that we're talking synth controller here, I've found that the KSP is super-useful with modular setups, since you have a manual keyboard, the usual mod controls (ribbons), but the clocking and multiple lanes of sequencing is stepped-up from prior efforts. More elaborate, more powerful. But the pair of BSPs also has some perks...such as being able to set up four different but harmonically-related MIDI structures that loop but never re-match, then merging that down and sending it to a single synth as an evolving backdrop across all four lanes sent by the pair.
However, I would still strongly suggest having a MIDI interface here. Even if you don't want to send MIDI note messages, you're still going to want to lock up the sequencing to the DAW's clock, and you'll need a basic interface to do that. Fact is, though, just get a proper one that can handle two voices or more...because you'll eventually want that AND then to be able to use other time-locked controllers along with it.
This one uses the Cre8audio NIFTY case but doesn't use it's power. It's powered by the 4MS Row Power 45 and the 4MS bus stick instead, in order to get 13 powered modules.
Shakmat Harlequin's Context can also do these complex presets.
If you just want to do modulator pitch a sequential switch (Doepfer!) and some offsets should be enough, though!
@nickgreenberg One way to accomplish this would be through a multi-input switch and a module that outputs static voltage/offsets (for instance, Noise Engineering's Lapsus Os, without any inputs plugged in). You could set each of the Lapsus Os channels to the correct voltages for your 4 sweet spots, route each of them to the switch, and then either trigger the switch using CV or by manually changing the channel.
Something like the Erica Synths Sequential Switch v2 would be nice for this, as you could select channels manually in "Piano" mode, or have it automatically sequence through the channels in one of it's many triggered modes (Forward, Backward, Random, etc.)
Keep in mind, the solution above only really works for sequencing one set of voltages, unless you mult the output of the Switch and further mangle/scale/mix them downstream before inputting them into your sound source's timbre inputs
Okay, one more related idea on this end. I have a few shifting inverting scaling utilities like 4MS SISM. Let's say I take a DC output (like Instruo 2f Fader or anything else similar), I mult that 4x, and send the 4x DC signal to SISM's inputs. Then SISM lets me scale and shift those inputs at will, and send downstream to destinations like the timbre controls on my complex OSCs. Then my 2f Fader is the "macro control" and SISM manages all the CV ranges. That type of setup would let me get some "macro" control with the modules I have (without needing a dedicated controller like FSS Makrow or Addac306).
Folks, any other ideas to add to the above threat on control / sequencing / playing of timbre?
The Hydrasynth and the Microfreak complement all this.
-- Hikove
I have a Hydrasynth that I'm building my modular around...although to be honest, its being built around that and the use of my DAW/VSTs and an Artura Minibrute 2 as well. I have an Arturia Minibrute 2 which will be added into the mix eventually and that is why for me, I chose to buy the Rackbrute 6U (much to the chagrin of many on here :) ) I currently have Maths and Quadrax that I am working through and its quite a rabbit hole using those with the Mod 1 and Mod 2 inputs on the Hydrasynth (I have the desktop version). I also just figured out how to use the Ring Modulation to accept audio into the Hydrasynth from my DAW and yet now another rabbit hole. Good luck with your build...I can't imagine doing anything but a slooooooow build with modular systems to get used to all the possibilities that it presents.
I agree with Jim on a bigger case and a bigger mixer, whether matrix or end-of-chain. Personally, I think the layout is pretty good. It makes sense to me anyway.
If this were my case, I think I would keep Rene and eliminate Marbles to add an analog oscillator (like a Dixie or Rubicon) and wave folder. But everyone has different needs and ideas, so have fun with it!
layout is difficult - it's personal and there are patch cables of all sizes.. so no need to worry about that - find something that works for you - it may take a few goes over a few months
personally if you want all the modules in this case I would get an even bigger case to start with (or at the very least keep the case you have too), as you could almost definitely do with another row - mostly for imo utilities for manipulating CV - plus the most important Make Noise module of all: Maths
because you can send the same sound source to multiple sound modifiers, you need a lot of modulation in order to support the sound modifiers and sources and you need plenty of utilities, for controlling, mixing, modifying and mult'ing with and without voltage control all the voltages running through the synthesizer - unless of course you want to 'perform' with the case - even then I prefer the use lots of modulation - adjust modulation and re-route it method of performance as opposed to the frenetic micro tweaking you often find on youtube
things that could be cut back - sequencing - there's a lot of sequencing in there for not that many voices - I would remove rene for now - keep it for case 2 or row 3 or whatever - and I'd probably think long and hard about replacing one or all of the make noise effects modules and beads with smaller modules that will do similar things in less space - 2 or 3 fx aid xls and optionally a disting ex will give you something similar but take up about a third the space - leaving room for more utilities - or just use the old case
the major shortage I think is mixing - yes there are quite a few mixers in there already, but I'd want a matrix mixer in there - mostly for mixing modulation sources - possibly more vcas and definitely more filters and a wave folder
I'd also look at upgrading mixup as an end of chain mixer - you have x number of audio outs from modules and x-y mixer channels - and think about the difference between mono and stereo and how you deal with that/need to be able to mix mono (panning/stereo-izaton) and stereo sources together etc
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
I got more or less what I want running on track now.
I haven't read a lot about all this as I'd like to do, but I am doing it slowly.
I am learning about he modules and reading some manuals and stuff, I am more the type to read big books and manuals instead of watching videos.
OK. I will summarize a little what external devices I have so you could make an idea why important and relevant modules are missing.
Korg SQ-64
Roland TR-8S (I don't need drums on the rack, the SQ-64 will move the drum machine)
Behringer Model D (Bassline here)
The Hydrasynth and the Microfreak complement all this.
Now, I won't be buying like crazy these modules, I will get a small desktop modular synth first.
I need to choose 2 out of these 4 units:
-Pittsburgh Lifeforms SV-1b
-Erica System Pico III
-Make Noise 0-Coast (But, as at the moment I want those Make Noise modules present on my rack, I will most likely ignore the 0-coast)
-Moog Subharmonicon
So, the rack is most likely to complement those devices, not mean to be stand-alone.
After I play around with them and learn more about modular and voltage stuff, I will start building the rack.
As I said before, I want lot of potential options of sound modifications and experimentation for main leads and crazy stuff.
I would love to have the Qu-bit chord module on the rack, but I can't find where I can fit it (physically)
Now to business, how does it looks?
I got rid of the Z8000, it won't help for my purpose after reading the manual, so I got more LFOs. Isn't it a bad idea to have lot of LFOs, right? or there is a better practice instead of wanting lot of modulation sources?
I got rid of the FXs modules (The Distings are safe, that isn't their main purpose on my rack anyway) I will be using my external pedal and FXs units. (FX2000, NTS-1 and Collider)
I got rid of the mixer, I will assign one of my mixers to this rack (VLZ4)
This is most likely all I wanted to say right now; ohhh BTW I have my doubts with the Pulsar, I'd love to have that module on my rack, but I am having a hard time trying to figure out the real purpose for it on my rack, so meanwhile I just put it beside Pamela.
and especially work your way through the 'maths illustrated supplement' a good few times - possibly each. time you get a new module
-- JimHowell1970
+1 on the maths illustrated supplement...i have been going through at least one of the lessons each day since I got Maths to try to understand all that it can do...and in some cases had to go back over one or two of them to really grasp on to what was happening...more so because I'm very new to modular in general.
maths being 'underused' is due to the user not the module
to prevent this:
rtfm
and rtf 'maths illustrated supplement'
and especially work your way through the 'maths illustrated supplement' a good few times - possibly each. time you get a new module
BUT this does raise a philosophical question - if you have a module and you don't use everything it can do, but use it constantly for what you do use it for, are you under using the module? personally I think no - & it's more important to know what the module can do and be able to access any relevant information easily (pdf on phone or laptop is easy enough) for the times when you do want to use it for something else rather than know every single thing the module can do inside and out
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Currently using a DFAM/Mother32 and marbles/plaits/pams/zadar combo and having a decent time but it's time to find a bigger case! (and more effects modules)
I've put together this system using mostly modules from the manufacturers that I think are doing the most interesting stuff in the space: Mutable Instruments and Make Noise. Paired with the intellijel 1U stuff, I think this is going to do what I want it to do (make stuff to go over external drum sequences) and be flexible enough to stay interesting for a long time.
I'm mostly wondering whether the layout works well enough (tried to order it left to right going clock sources --> sequencing/utilities --> voices --> effects --> mix out), and if I have a good enough mix of sound sources, effects and utilities.
I think I will start off with some Doepfer modules to get some basic learning and ideas. I will also have to learn more about vcas and utilities to help building up this system through time.
For more deeper learning, I will definitely get a Maths for sure.
What are your thoughts about the Beatstep Pro? Is it a good sequencer to control my modular system since I dont want to use the computer to control the system?
Or you could queue up and get one of Uli's ARP 2600 clones.
Sure that the ARP 2600 is a sexy synth. Do you refer to use it as a standalone synth or to interacting with your modular system?
Oh this is so cool! You get straight away started in a great way and then that Moog moaning sound that starts around the first half minute, wow! That gave me goosebumps, nice :-)
A lovely, playful track, thank you very much for sharing this and kind regards, Garfield.
-- GarfieldModular
Thank you, Garfield :)
I am inspired by birth, death and the events inbetween.
My bet is that it's either a custom module or, given that it's a render, it might not exist at all.
The link on one of the other "Renierra" module goes to their portfolio website, where there's zero information about any of these modules. Plus, no prices.
Or you could queue up and get one of Uli's ARP 2600 clones. As opposed to some of Behringer's other knockoffs, they actually managed to nail this one; mine works as if it were a much cleaner "rev.4", having used a "rev.4" "orange" ARP 2600 back in the early 1980s when it was still relatively new. I suppose that the large number of eyes on Uli kept him on point on this reissue, since Korg's lunch was his for the stealing after Korg's repetitive screwups with the "same" instrument. $600-ish for what I would say is the best "teaching instrument" (I actually learned on MTSU's "rev.2", many years ago) in synthesis is a pretty decent deal.
I don't like Uli's behavior. I don't like him trying to copy shit he's not entitled to (Arturia Keystep, Mutable Plaits, Intellijel's Quad VCA and a much longer list of pro audio gear dating way on back to dbx and Mackie in the early 1990s), and I don't at all approve of his antics with people who have an issue with his behavior (Peter Kirn, the forum users connected with Sequential that Uli threatened to sue without grounds, et al). As long as he copies devices that are either unobtainable or which can benefit from a smaller/more convenient form factor, that's cool. But he doesn't seem to like staying in that lane. Pretty unfortunate, really.
+1 on removing all of the drums and going with an external drum machine. Just looking at the cost of the drum-centric modules here in the build, you're at $2090 on just those alone. That there would actually buy you just under SIX RD-9s.
Drum modules also don't tend to require the same degree of modulation sources as other modules, but still take up space that those other modules could use for their mod sources.
What I would strongly suggest is to remove ALL of the drum modules. Instead, add a stereo input preamp to your modular so that you can mix the drum machine with the onboard FX, and this would still keep the basic sound control all going through the modular. Given that you've got a WMD Performance Mixer in there, you're fixed for that level of mixing complexity if desired. While the current state of the art in modular is at an incredible level, the drum modules just haven't kept pace with the vast majority of other modules, so this makes much more sense.
Also, having the MIDI interface dead-center in row #2 is an interesting choice; I can guarantee that the first time you accidentally yank the mini-USB cable, it will be a succinct explanation of why external interfaces shouldn't go into the vast tangle of the patch panel, but stay out on the edges to give easy access to any incoming/outgoing cables from the modular. In short, you probably don't want the MIDI interface there, or for that matter, your main mixer outputs. There's a number of 'flow issues' of that sort here, in fact. Try and find a method of organization that puts specific functions in specific areas; this might seem like it would cause more confusion, but if you hear a tuning error, you immediately know to check the VCOs and you can go right to them with ease, and so on. Trying to build a "voice per row" in this sort of build really just leads to four underfeatured voices.
But yeah, lots to pull out here. I'd even go as far as saying that the Pitt SV-1 should go back in its own case, if you bought it with one. And if you haven't, try rebuilding what it does with "normal" modules...you're likely to find that you can squash the SV-1's functionality into a smaller space than it covers itself. And THAT is the key to Eurorack: maximizing function in a tight space while maintaining user ergonomics.
Oh this is so cool! You get straight away started in a great way and then that Moog moaning sound that starts around the first half minute, wow! That gave me goosebumps, nice :-)
A lovely, playful track, thank you very much for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
They're OK, sure...although I think the choice of the Brains module would be better-fit by using the actual Plaits oscillator that Uli ripped off. Costs more, but it's a more ethical choice. As for the FX modules, it's a decent complement, but you might also look at some smaller modules with more capabilities (the FX Aid XL comes to mind here) as keeping things small but playable is one of the keys to making this work. This will involve going to smaller modules, but at the same time you want to establish a point at which things get TOO dense for playability to work for your methods.
Another possibility would be to go with a complex oscillator, something a bit more Buchla-ish. With many of these, you get a continuum of variable timbres instead of the fixed wavetables of the Plaits. Bigger, yep, and more expensive...but more versatile in terms of the timbral variety. You also don't necessarily need a second oscillator for detuning and FM with one of those, since the "second oscillator" is already part of the module.
And while working out the build, try and aim for modules that offer multiple functions. For instance, while it's possible to get separate VCAs in modules, you want VCA modules that can also mix, preferably with a "breakable" mixbus like the Veils or Intellijel's Quad VCA. Or if you want something that distorts, look for devices that get tagged as "character" mixers, etc, that let you submix signals while, at the same time, offering a distortion/waveshaping capability. That sort of thing also helps economize space in a small cab such as the Rackbrute 6U.
-- Lugia
Dude, thank you so much for your comments! I didn’t really know the ethical dilemmas with Behringer, so thank you for putting me onto that. I’ll swap out the Brains for the Plaits and just spend the extra $100. As for getting too dense to playability, that’s for sure a concern. I saw the Dreadbox modules in a video and was impressed with the sound for the price point, and I also like having my delay and reverbs in separate units. But with that said, I’ll shop around a little more.
Just made some changes to my rack up there. Let me know whatcha think. Also, any suggestions for great, smaller effects modules on the cheaper end would be wonderful!
