The amplitude of Valmorification will follow the incoming gate/trigger level. You could use the TM to modulate gate levels going into Valmorification (and further down the patch a filter, vca or anything...). Mix it with some random with the A * B + C etc ect... I'd add another utility mixer like the Acid Rain Junction to this setup.
I see no value in making people feel idiotic. Enjoy the SBH: it's a wonderful instrument.
Argh! Of course it's as easy as turning down the mixer pots. What a noob I am! I guess I'm still not 100% certain of how the signal path of a semi modular system works yet. Thanks for the knowledge, and the decency of not making me feel like an idiot.
Cheers
-- x-minus-one
If you look at row 2 of the patchbay, you'll find outputs VCO1, VCO1 SUB1 and VCO1 SUB2 (same for VCO2 on row 4). These are pre-mixer, so straight from the oscillator and divider for the subs. From the SBH mixer, the signal goes into the filter and vca. This means you can patch those outputs, mix, modulate and filter them externally. If you don't wont VCO1 and SUBS to go into the SBH's own filter and vca: close the mixer pots so only VCO2 and SUBS go into the filter and have SBH's EG applied to the VCF and/or VCA.
Hi folks! I bought a Subharmonicon/ DFAM combo about a year ago and have been loving it, but one issue I have is that all of those oscillators share one ad generator. I was wondering if I had another dual envelope module, would I be able to use that for osc.1 while using the subharmonicons AD generator for osc.2 without it affecting osc.1, or would I have to send both osc.1 and 2 out to the other envelope for that to work. My hope is to be able to have a bass drone coming from osc.1 and something more plucky from osc.2. I would also like to do this with the DFAM to really open up the possibilities. I was thinking of getting the 4ms dual envvca to achieve this with both osc.2's from the sub and DFAM going to it and having my pachinko trigger them, but I want to make sure that this will work before I spend the money. I have scoured the internet and watched hours of videos on these two synths at this point and have yet to see anyone doing this, which makes me wonder if it can be done, and if I might be crazy for even considering it. Sorry if this question has an easy answer, but I am still relatively new to this. Any help on this would be much apprieciated.
Cheers
-- x-minus-one
It's an interesting question for sure!
Maybe you really should have a look at NLC Triple Sloth: it's a slow to very slow chaotic lfo module. The slowest cycle can be 30-40 minutes: very well suited for slower evolving pieces.
Similar modules that might be of interest: Joranalogue Orbit3, DivKid Ochd, SSF Ultra-Random... and many, many more.
A basic S&H module - Wogglebug Smooth, TipTop Buchla 266t... - into a channel of Maths. Apply offset and attenuation, mix with another Wogglebug voltage... can be a super nice signal to work with throughout the patch. Wiggle some controls from time to time, change the mix.
Seems like you have a nice selection of modules to work with. Ask yourself, which elements in the patch you'd like to modulate over longer periods of time. Look at what you have, then buy some more utilities.
Maybe a matrix mixer, a polarizng (ALA Monocle), a sequential switch like the Befaco Muxlicer, more litte mixers, mults, logic...
As a beginner in Modulars, i would have difficulties to define my system as you mentionned.
I own quite few (Math, Wogglebug, Cloaks, Beads & Strakal Orsel, Skorn Orsel) & Intellijels, Behringer modules.
Any patch i do works on its own and can/may modulate, surprising me. I bought modulars so to fill some free hours on our radio calendar, meaning it would be great if my patches would start with some modules which would modulate and Change the normal behaviour of the patches, as bringing some chaos in it. I am not searching at all for compositions, more to develop a kind of improvisation machine which would play by itself, developping and ever changing sequences on a long period of times. (direct English written, not my mother tongue!)-- Vikinge
NLC Triple Sloth and/or The Hypster: patch all outputs anywhere and hit rec...
Like Chromat1c wrote: there's an insane amount of options if you're not specific about your system.
tbh the SBH and midi just don't work together nicely when using (external) pitch and clock. Patching it with the patchbay however is a different story and really opens up the instrument. If I'm using an external pitch sequence (patched into f.i. VCO1 in), I like to use the internal sequencer to modulate that external sequence, add/subtract voltages on certain polymetric steps etc. This also works with midi sequences (using the internal sequencers to modulate your midi sequence).
The transport_on/off sysex files - there's also 16 sysex files to set the midi channel - will tell the SBH to listen to external midi clock (default is ON). If you send midi clock with your midi signal, this will override the internal and external analogue clock (if patched). ou can also filter out any midi clock related messages in your DAW or midi device.
To use the internal sequencers, the PLAY button must be enabled. With the EG button lit and only when the sequencers advance, it will fire a trigger and open the VCA. If you patch the CLOCK output into TRIGGER leaving midi clock running, it will trigger the EG on every 16th note. If you pull out the CLOCK patch cable, the EG returns to being triggered by the sequencers.
Default is OR logic, so it will trigger on any step SEQ1 or SEQ2 advances. There's also an optional XOR setting (midi cc113: 0-63 = OR, 64-127 = XOR).
If you want to use those sysex files: use something like sysex librarian. It's fairly straightforward: select the correct midi output, load the sysexfile and run it. The connected midi divice should automatically receive the incoming data.
Hello Subharmonicon wizards,
I prefer controlling the pitch of my Subharmonicon with external MIDI instead of the internal sequencers. While doing this, I hav , or else the envelopes won't trigger. However, now I feel like I'm wasting a pair of great 4-step sequencers here that I could use to control other parameters. Ideally, I would like to clock the sequencers with the MIDI clock or an external analog clock signal, but without the resulting trigger overriding or otherwise interfering with my MIDI sequence. Currently, when Play is lit, the internal sequencers advance, but my external sequence doesn't get through. When Play is unlit, the external sequence goes through, but the internal sequencers don't advance. Damned/mildly inconvenienced if I do it, damned/mildly inconvenienced if I don't.
Does anyone have a solution for this? There are two SysEx files at the Moog website, labeled subharmonicon_seq_transport_on / off, respectively, but the forum page with instructions or comments on their exact workings does not exist anymore. Does anyone know if these could help? Is there another way to hack it?
Regards
-- theneweuropa
I've had one on my bench two weeks ago for maintenance. It's easy to take it out of the case. Just unscrew the top screws, lift it out and remove the power cable. Be easy but firm so you don't strip out the screws. Make sure to use the correct size Philips head.
What do you mean with "FM doesn't go beyond audio rate"?
There's 3 oscillators, but those coarse tuning knobs have a different range.
Not easy to get it perfectly calibrated, but when it's set up correctly it's a very nice synth. There's trimmers to set the osc base frequency without altering the pitch tracking, so you can have all 3 at (nearly) the same frequency with all coarse tuning pots at noon.
I've had a play with it to fully test it and if definitely comes more alive when patched.
If I'd buy one myself, I'd add a couple of Acid Rain Junction and/or Navigator (or any other attenuverter/mixer), maybe some extra lfo's and maybe a dual function generator (Maths or whatever). Definitely needs a nice reverb.
I recently bought a Taiga (B-stock) at a great price and have been enjoying it immensely. The sound quality is fantastic! However, after spending some time with it, I've realized that it could benefit from being integrated into a eurorack setup where I have access to a variety of modulation sources.
I've noticed that it lacks an attenuator on the main LFO, and the FM doesn't go beyond audio rate. I think these issues could be addressed by incorporating it into my eurorack system.
I'm considering mounting the Taiga into my eurorack, but I'm a bit hesitant about unscrewing the panels and unsure about what I might be getting into. Has anyone here had experience with integrating the Taiga into a eurorack system? Any advice would be greatly appreciated!
-- damasio
You're absolutely correct, I was wrong. Octave offset and key/octave are shared by all voices.
I've had this one some time ago and thought it could do that independantly for all voices.
Hi both!
It´s not that clear ...
I´ve read the manual but doesn´t appear to allow independent octave transposition accross channels.
There is a octave offset, but it´s not per channel i guess, just an overall transpose of the octaves.-- redsquares
If you just take a look at the frontpanel, you'll have your answer.
Just a heads up, the black Maths is unobtanium at sane prices. I'd recommend looking at the standard silver panel if you are dead set on Maths.
-- farkasOr look into a nice, black replacement panel.
-- ambientvalent
Maths with a black panel is 100% the same all-but-rare module everybody has ever owned... IMO these prices are ridiculously laughable. Buy Maths used, some utilities (attenuvert/offset) and a good mixer for this case. Thank me later ;-)
So, this is how certain brands get harmed, myths are being spread about malfunctional modules. Mostly these problems seem to be due to user error.
Ranting on a forum is easy, getting personal after receiving some questions and leaving after is... questionable to say the least.
Calling out false claims is harmful to manufacturers when the person posting them isn't able to fully explain the problem or even worse: is causing the module to fail because of lack of knowledge and/or understanding.
OP has left Modulargrid
OP has left Modulargrid
Great transaction and communciation with @delay007. Highly recommended seller.
Great transaction with @born_a_kid. Recommended buyer.
@aleszylder: I personally know user @DirkB - he's a good friend of mine and a regular customer of my builds - and can tell you for sure he's NOT a fraud.
Did you contact these users yourself before posting or did you simply put these names up here?
I don't think this is the correct way of doing things... You might give good sellers a bad name because of posting like this.
Unfortunately I cannot vote the other users since I have not contacted them, but I suppose they are all frauds: @Kaneda87 @wrongdisplay @asdfqwer @dosko64 @DirkB @wolvero @tokkeherfst @pikseliahky (and a lot more since these users have their own positive votes)
Try my cap mod to open up the filter a bit: should be in the build guide. Also: I think these work so much better when varying incoming trig/gate/cv level. Absolutely love these: I've got 4 of them in my main case.
Creativity has nothing to do with gear. It's you that needs to be creative with the tools you've got. Completely re-think your system, make a smaller setup and focus on certain ideas or modules, read Allan Strange's book on synthesis techniques... For sure you'll get creative again.
Also: there's some modules being released that are completely new like f.i. Klavis Grainity, MN Spectraphon (maybe not completely new), phase modulation oscillators... I'd just stop looking at all those new things and record an album with the stuff you allready own. ;-)
With recent SuperBooth and the ever refreshing homempage of Thonk, I'm just not seeing anything creatively new or inspring being released in eurorack format.
Past creative modular players are now just using YouTube to sell the next module they are being paied to sell...
New setups are just techno or pinged etheral ambience, and no one is really thinking outside the box...
A thread to discuss if anyone else has picked up these vibes, or it's just me falling out of love with modular (I hope it's just a phase!)-- Timbres
Ethics? It's in the first place a legal discussion.
Modular Grid Terms & Conditions (Translated from German):
§5 Obligations of the user regarding posted content
5.1 The user must ensure that by posting content (text, images, photos, videos, names, trademarks, etc.) they do not infringe any third-party rights (e.g. infringement of copyrights, violations of personal rights, violations of competition).
5.2 The user indemnifies the provider against all claims by third parties that they assert against the provider in relation to an infringement of rights committed by him and for which he is responsible. The user assumes all necessary costs of legal defense in this regard.
5.3 The provider is entitled to delete or deactivate the content posted by the user if it infringes the rights of third parties or third parties assert claims due to an infringement, the merits of which cannot obviously be ruled out.
5.4 If the provider becomes aware of a possible violation of rights by the user's content, he will notify the user of this immediately in text form.
If ModularGrid admins want to play the ethics card, please think again or support manufacturers’ questionable business ethics. [2]
-- izzot
No, but he contacted me a couple of days ago to tell me he has this option for the Res EQ. Great builder (has learned me a lot and got me into DIY) and very nice guy to deal with.
For individual outputs of the Res EQ bands: talk to Pierpaolo Cimino (username RTFM).
Why? It's usually considered to be a waste of money re-housing semi-modulars in eurorack cases >
I've patched my Moog semi-modulars a lot more, using different applications and mostly better when they're inside my eurorack case. Yes you need to rack 'em, need the space and power... but it makes it a lot easier to integrate them in your setup. When you're ready to go fully modular, you can always put them back in the original case.
Great transaction with @andrea-man. Module as described, well packed. Recommended seller.
Also I highly suggest you to check VCV Rack.
-- gila_crisis
This, definitely! You can try Marbles and Clouds in VCV rack. There's also verbs and delays, filters, sequencing, S&H's... It'll give you instant feedback about how to build your modular. I think your idea is good, but don't forget about utilities and basics to control your patches if you want to be precise about the sound. Especially some dedicated attenuverters to mix and attenuate cv sources, lfo's (batumi, ochd...), some mults, vca's etc. Maybe also a clock source and/or divider. Last but not least: a good (stereo multimode) filter can go a long way.
I'd try a factory reset.
- Put the module in global mode: hold channel button for 3 sec. until channel led is white.
- Then, hold shift + reset until leds flash.
- Hold channel button to go out of global mode.-- geusensdriesmusic
Thanks, appreciate the response
I tired that & didn't work at 1st but when then changed the trigger on PAMs from gate to Triangle & bam, seems to be working using that ...
-- Traxam
Ok, cool. It was my first sequencer, got it about 4 years ago. Really nice module.
I'd try a factory reset.
- Put the module in global mode: hold channel button for 3 sec. until channel led is white.
- Then, hold shift + reset until leds flash.
- Hold channel button to go out of global mode.
Start from a blank patch, nothing patched. Then patch your initial idea: what do you want to try or learn, what module do you want to explore? This could be something obvious like a basic technique, it could also be something complex or abstract. Stay with that initial thought.
When you think you're finished, record the patch, power off your system and unplug everything. Next session: do the same. Not only will you be able to learn your system better, you'll also have a collection of your own recordings.
Don't know if you're using PNW, but the expander has midi clock out. I'm using a Blokas MidiHub to route clocks etc to pedals, drumboxes, sometimes a DAW... You can filter out anything you don't need your pedals to receive, merge incoming midi messages, use clock dividers, manage midi channels etc. Really powerful little box!
Hi friends,
I'm looking for a eurorack module (or any simple thing) that would allow me to send through midi a CV master clock (from my euroracks modules) to some guitar pedals (Meris, Hologram etc) to sync. In other words, I don't need to send CC messages – only the start, stop and tempo info of a master clock.
Does that exist ? I seem to see all the modules allowing a complete transfer of CC messages, but I have not found anything that can just produce a master clock from CV to midi (TRS or DIN). Thanks for your help!
-- patchable
Yeah, I think it'll work nicely. Like Pusha said, you'll need to try out differently shaped envelopes (exp/lin/log) to see what works best.
Thanks for helping, @geusensdriesmusic. Yeah, after watching the few available videos about the module, I think it can do what I need.
-- klngvrhltnss
Pretty sure it does. I've built one for a customer and checked with lfo's, manual cv, triggers and gates. Due to the nature of a vactrol, it'll need the incoming cv to rise above a certain treshold. The higher the incoming CV gets, the more it'll open the LPG. And of course: you can use a channel to process your envelope instead of audio, and use that output as cv for your audio channel.
Does anyone know, if the Jolin Agogo's LPGs responses follow incoming enevlopes? I ask, because using envelopes as CV on the Takaab 2LPG, for example, does not work that way. Here, a longer attack only delays the opening of the vactrol: the vactrol opens and closes, when a certain threshold is passed, which can be done using an envelope (you trigger/strike the vactrol with the envelope, basically), while filter and volume responses are solely determined by that vactrol's characteristics. So, can I shape the response of the Agogo LPGs to have a longer attack and/or decay time, using an envelope as CV, like I can using the Ctrl input on the Make Noise Optomix?
-- klngvrhltnss
Shout out to @ak47exe. Bought his Verbos Multistage and Sequence Selector. All very well packaged, everything as described. Recommended seller.
@RTFM: highly recommended. Bought a Turing Machine with expanders. Since then, he's helped me a lot with DIY. Great guy to deal with.
I ordered a NONLINEARCIRCUITS Dual LFO/VCO to @RTFM and everything went perfectly.
Well packaged and a fast delivery.
Highly recommended seller.
-- ferranadsr
Pams has a clock and run/reset input. I understand that you slave it to the Beatstep Pro but not sync them in any way (so you're not telling pams to restart when the BSP does). To do this, I'd suggest to set BSP's clock out to a rate of 24 pulses per quarter note (or PPQN) in the MIDI Control Centre. Faster clock rates between time-synched devices leads to a more stable clock down the line.
A quick look at the BSP manual says that since an update you can use a TRS to dual TS cable to get both a clock signal and a run signal out of the clock output (section 7.2). I haven't tested this, so do that at your own risk, but if I understand correctly, it'd sync out of the box with Pams (make sure to set run input to be assigned to run on Pams). Cable to use is not a standard stereo splitter but stereo to dual mono, like the Hosa YMM261.
(the manual only talks about a clock and run signal when BSP is used as slave, but on the Muffwiggler topic people say it also works when using BSP as main and Pams as slave https://modwiggler.com/forum/viewtopic.php?t=193133)
-- dubstepjoris
Sync outputs a clock (set to 24 ppqn for PNW) and a "run gate". I'm using Befaco Y-splitters to sync my Keystep Pro or OXI to Pams: it has dedicated inputs for these sync signals. Or the other way around with the pexp-1: Pams as a master (clock and gate) to sync in of KSP, OXI or even a DAW (by using an audio input for clock and run). There's no risk in using this type of clock: I actually prefer it over midi clock.
I use the pair of joranalogue modules for anything out just to be safe. Would they serve the purpose well? I just wasn't sure how much limiting was going on.
-- EatTrumpet
I'm using the Joranalogue Transmit and Receive. There's no limiting in those modules, but there's good built-in metering and headphones out on the Transmit with volume control .
I also have a pair of Bubblesound Booster and Reducer to give me extra in/out when needed. Not as hifi as the Joranalogues, but they do what they're supposed to do and can give some extra drive when you want that.
I'm always recording in my DAW at 24 bit. It's good practice to set your peaks at -6 dB in your DAW and - when needed - add some gain, EQ and compression/limiter in the mixing or mastering stage of your tracks. I never use a limiter on my tracks when recording : better reduce your gain so it's not clipping when recording. If you work in 24 bit, there's more than enough room to add gain after recording.
Hi Garfield, thanks for such a nice compliment. Highly appreciated! Dries
Sakura is the Japanese name for the cherry blossoms: from the first rays of sunlight that melt the ice, the first leaves that appear and grow into colourful blossoms on all the trees, birds singing and nesting... until the end of spring and a new life cycle begins.
A modular synthesizer allows me to freely and creatively translate and shape my inspiration into a melody, harmony and counterpoint, rhythm and sounds.
This piece was composed during two days in August 22 in my studio and recorded in one take as a live performance.
Take some time, sit back and enjoy this piece of music.
Thanks for listening,
Dries
Not too shabby, nope. One recommendation I'd suggest for augmenting the CV/mod manipulation would be, when it finally hits the stores, the Tiptop/Buchla 257t. Loads of abuse potential for this...
-- Lugia
Thanks. At the moment I'm gravitating more towards a Maestro - I've got Sapel in my Frap case - and the new Constellation: that combo would replace some modules I've bought when I started building my system (Muxlicer, Rampage, EC etc). But: the TipTop 200 series are intriguing, to say the least...
Hey everyone,
Here's my current system: 3 cases. I wanted to keep the Frap Tools together in one case, all mutable in one row and I also think the EC and BIA (Noise Engineering) combo works well together.
Upper 2 rows are my Frap Tools system. Middle 3 rows are for audio & CV procerssing. Bottom two rows are for my drums (midi out to Digitakt), bass and further processing.
As always this setup changes a lot, but the main concepts stay roughly the same.
I'm also adding the Oxi One when it arrives. Looking forward to integrate it with my setup.
Let me know what you think about the configuration, what could be better, wat you like or don't like.
I'm looking at building a case, going the Peli cases (or alternatives) route, buying a case (Doepfer, MDLR...). I agree on spending time on research before spending a lot of money, but I gig on a regular basis and won't my gear to be protected in a roadworhty case. Anyhow: thanks for your advice and inspiration!
Hi Lugia, thank you for your answer! I'm aware of the four-tier rack (I own a two tier) but IMO that's not portable and/or secure for touring: it's simply huge, because of the form factor when having the 3 Moogs in a tier rack with an extra skiff on top. That's the main reason I'm looking for a case: to put them flat with a lid (with the added possibility to keep 'm patched in the case).
I'll have a look into Clouds and other options, but I think the Arbhar is just the next step in granular processing. I don't really mind having bigger modules, but I get your point...
The Catoff looks perfect for my needs, with built in balanced line outs and expandability. It's also great to have two aux sends (for extra delay etc). Thanks for your advice.
First attempt at building my three Moogs in a portable rack format for live use and touring.
The Arbhar would be on the aux send from the mixer, which should make it easy to route anything to the Arbhar at any given moment. The two Disting EX's offer a lot of flexibility and open up many options for the Moogs, Arbhar and mixer.
Still some room left with blanks. Do you think this will be a practical setup for using live with the mixer, Arbhar and Distings above eachother? Thanks for having a look.
