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Clueless on how electricity works, let alone the cost of it....!

Just curious, below are the specs of my setup. Any idea what it would cost to leave running for 12 hours?
Total module power: 3,873 mA +12v / 1,749 mA -12v / 92 mA +5V
The case I have will take up to 8000/3200 mA
The average electricity rate in my area is 19.74¢ per kWh

Here’s a recording from a big Krell patch – using Audacity to take a section out of it, adding a simple fade in/out at either end and normalizing to make it a bit louder - that’s about all I’m capable of doing on Audacity.

I started off wanting to make a sound that felt like a mid-70s library record (used to collect those, then I had kids) used on an old wildlife documentary. It's supposed to tell a story of how birds migrate: first the gather, stage for the journey, then the long haul, then they're at their new home for the winter. Sound design-wise, the 70s library feel didn't happen!

Patch notes:
Core Krell (cycling A/D) has its EOC driving Pam’s and a 4MS rotating clock divider. Core Krell provides pitch (via quantized S/H) for main background voice, with another Krell (reversed modulation with longer A/D times set) nested within to modulate gain. Same approach for a ‘lead’ voice Krell and another set of Krells for a heavily reverb’d chord that follows the lead for panned background swells. Many of these Krells use their A/D times but take their pitch S/Hs from other Krell EOCs. A lot of the clock divider pulses determine things like a switch to spread mode on the Magneto delay and feedback triggers for its tape heads. Magneto’s own clock modulation drives a Telharmonic and some higher frequency pings and the bird-ish noises which in turn are manipulated by a Morphagene with its record and other settings modulated by clock divisions, S/H etc.

Everything crosses over into VCVRack for Supermassive reverbs, then into a big mixer with many of its channels modulated for fades, panning and gain. Clock divisions from the case also trigger lots of different sequential switches (some in the case, others in VCV) for turning on/off voices. This is also where the patch got recorded to PC.

I was trying to use slew limiters to make a more ‘glided’ switch for the middle section, but it screwed up the patch, so quickly pulled that out!

Here’s the track (headphones would be best, I don't have speakers nor know how to master)
https://drive.google.com/file/d/1JohJ6KdvwAmjS_la1U0AYv-4Z1PXh7iK/view?usp=sharing

EDITED Sep 12th 2022, 14:17

Btw today I mounted a new module inside the Skiff (Black Noise Sallen Key MS20 filter), and also some blank panel.

I got as many blanks to close all the holes inside this 104HP long case.... and big surprise... I'm left with exactly a 2hp gap at the end! does anybody else ever noticed this additional space on their Skiffs?
-- gila_crisis

I had the same experience with the 104 hp skiff - a gap was still there after filling up all the 104 hp, I am not sure though it was exactly 2 hp, never took any measurements. Btw, I am selling mine (104 hp, powered, original PSU, a pack of M2,5 screws, shipping to EU ), is there any way to list a eurorack case in the Marketplace here at the site? Thanks!

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.

as for sending the reset signal to multiple modules, a passive mult (or stackcables, or headphone splitters) should work perfectly, it's a bit of a waste using the buffered mult from links - better for pitch (and potentially if you are re-patching triggers on the fly)

thanks for this info...separately I have an Intelijel buffered mult (no passive mults in my setup) so i will just use that for any gate to Varigate 4+ and Bloom...but also need to get one sent to my separate 3-tier Moog setup...does the signal for a gate diminish in strength if you 'mult' it out too much?

I don't think so, most trigger/gate outputs are between 5V and 8V. It depends per module what the input threshold voltage is for a gate, from a quick Google search I found that some modules respond to a gate input of 1.4V.
Buffered mults are more stable in voltage, this is mostly used for sending pitch information. For triggers/gates, mult however you want them.

I only saw the mantis setup and thought: That's a nice rig to play with! Looks like a solid plan to follow.
Have fun creating and growing with this!

and those tiny gaps are great for ventilation...

It's good to see someone not only taking advice, but also seeing the reasoning behind it in action...

have fun!!

I got as many blanks to close all the holes inside this 104HP long case.... and big surprise... I'm left with exactly a 2hp gap at the end! does anybody else ever noticed this additional space on their Skiffs?
-- gila_crisis

I don't have this specific case but i've noticed in some others (including my big DIY cabinet) that if i squeeze everything tightly together i end up with an HP or two left that "shouldn't exist" compared to distributing that space into a tiny gap between each module. I prefer to keep the slight bit of space between for easier mid-rack swaps when i feel the need.

EDITED Sep 11th 2022, 13:31

Btw today I mounted a new module inside the Skiff (Black Noise Sallen Key MS20 filter), and also some blank panel.

I got as many blanks to close all the holes inside this 104HP long case.... and big surprise... I'm left with exactly a 2hp gap at the end! does anybody else ever noticed this additional space on their Skiffs?

EDITED Sep 11th 2022, 12:12

Nice work, TumeniKnobs

How do you like working with the Stochastic Inspiration Generator? It looks amazing but it makes me feel nervous that it does too much, if you get what I mean. I do a lot of Krell type patches too and although the idea is to hand over the controls to the patch, for some reason I don't want to let one module figure it all out. I'm sure this makes no sense!

Thanks for sharing

Nick

I went ahead and took the advice on the Mantis and picked up one last week in black. I also added more utilities as you can see, the quad lfo, dual vca, a mixer, triplatt and the noise source, oh and the FEG (which is a really nice looping ADSR). And I splurged on the Data. I'm not going to add any more modules in the near future as I want to spend time using the ones I have and learning more about each. After that I have 64hp left. I don't plan on adding any more of the 4hp slim line modules as they are not as easy to use as the larger modules. Having these slim modules seems to work when they are space out, but definitely not right next to each other as knob turning then becomes a real challenge.

Again, thanks for the suggestions.

Designed to work in synergy with the Moog DFAM, Mother-32 and Subharmonicon, but can be its own jam machine like the other individual synths can be; just add a clock source.

Strong focus on modulation and generative changes.

I'm excited to try out the Looking Glass matrix mixer/switch from Frequency Central - especially the simultaneous inverted outputs. I like putting reverbs in the middle of chains and modulating them and with something like this mixer giving you two versions of the same modulation immediately, sounds like they'll be lots of dimension to be had. Not to mention the possibilities with modulating cycling A/Ds...
https://www.modulargrid.net/e/frequency-central-looking-glass

A new-to-me manufacturer, this is a VCO, VCA and wave multiplier with feedback.
One side of the unit is a mellow sounding sine wave. The other side is the wave multiplier with nice feedback.
A good build, a few surface mount capacitors but the rest is straightforward.
And it sounds great, really interesting sound and flexibility from the wave side.
I recommend this one.
Build

Thanks man,
I think I’ll probably follow your advice at some point
and who knows I probably will eventually.

All in good time

About your question on how to use resets on other modules, the easiest way is to send a clock signal every x divisions of the clock.
For example, let the clock run and on every 4 or 8 clock ticks you send a reset signal as well. Both clock and reset can are the same sort of signals, a trigger (short pulse) or gate (longer pulse) will do.

Wow, what a great answer...so much useful information in your reply, thank you very much!!

My favourite use so far is to send gates to resets on sequencers you might have , say you have an eight note sequence you might reset a few times in bar to get a role effect . Dreamt for drum sequencers and arp patterns to give some variation .
-- arkatun

interesting, will have to give this a try...so you mean send a gate to reset every or every other note?

as for sending the reset signal to multiple modules, a passive mult (or stackcables, or headphone splitters) should work perfectly, it's a bit of a waste using the buffered mult from links - better for pitch (and potentially if you are re-patching triggers on the fly)

thanks for this info...separately I have an Intelijel buffered mult (no passive mults in my setup) so i will just use that for any gate to Varigate 4+ and Bloom...but also need to get one sent to my separate 3-tier Moog setup...does the signal for a gate diminish in strength if you 'mult' it out too much?

(pams is set up to reset by logic not sending a clock for a while and then receiving one)

how does this work? receives one from BSP?

Certainly, but also anything with only audio out (guitars, many keyboards, etc). I have always found it odd that the XD (keyboard version) doesn't have CV/Gate out, only in.

I never thought of that. You mean as other sounds to manipulate? I have a Korg Minilogue XD which has CV and sync inputs so could presumably hook that up?

Perhaps a different Pico module: the Pico Input. Very useful to get line-level sources into the system.

Hi all, to cut a long story short(er), I bought a complete rack on Reverb for a very good price and have it in my posession. Its basically a Stepper Acid sequencer with Behringer System 100 minus the Sys 100 Sequencer and Portamento modules. I love it already and have only just scratched the surface. Takes me back to the Maplin 5600 I built in 1981 but no longer have (sigh!)
It has a 3HP gap top right and I have been wondering what to squeeze in. It sounds great with the Stepper Acid running just 1 voice so have another voice to play with. I asked the seller (a Eurorack enthusiast) what it needed next and he said more modulation.
I was debating whether to add some effects or another sequencer, hence why I put the Erica Pico Seq in but it could easily be the DSP or what...?
I have a keystep so could use that instead of another Eurorack sequencer and have a Digitakt so dont need percussion in the rack just yet.
I like musical sequences, arpeggios, syncopated rhythms.
I will be adding another Rackbrute case in due course but not ready yet! Suggestions very much appreciated for the 3HP top right gap anyway.

Hi J-Lo,

I'm relatively new to modular too, so I can't give you too much advice on specifics. But I'd recommend starting with a larger case. Like you, my modular system needs to play nice with my other synths and samplers, but even then I've nearly filled up 176hp pretty quickly. Even if you think your modular will just be a extension of your other gear, having more space will give you a lot more freedom in your options.

Here are some other EGs that I would recommend looking into if you cannot find a Quadrax:

https://www.modulargrid.net/e/make-noise-maths-white-knobs
https://www.modulargrid.net/e/tiptop-audio-buchla-281t
https://www.modulargrid.net/e/4ms-company-pingable-envelope-generator
https://www.modulargrid.net/e/befaco-rampage
https://www.modulargrid.net/e/xaoc-devices-zadar
https://www.modulargrid.net/e/klavis-quadigy

@Tchnondz

Yes, absolutely! The Voltage Block will definitely get the 510 moving! But I would still highly recommend getting some envelope generators (EGs) in the near future though, as they will give you dynamic movement for your voice that will be be hard to achieve with the Voltage Block alone. I would want EGs as the primary modulator of the filter and VCA, and then use the Voltage Block as the excessive frosting and sprinkles on top of that.

EDITED Sep 9th 2022, 10:55

@Chace
Thank you for your reply ! I dont have traditional envelope or LFO but i just bought Malekko Voltage Block so i can send the 1v/oct from the MeloDICEr to the Roland 510 oscillator Key input and Modulate other parameters of the Roland with Voltage Block ?

Hello @Tchnondz,

Roland 510: https://www.modulargrid.net/e/roland-system-500-510
Vermona meloDICER: https://www.modulargrid.net/e/vermona-melodicer

It looks like 510 doesn't have its own envelope generator built in, so you will need a separate module for that if you are going for a more traditional subtractive synth voice. You can still send the meloDICER's gate out to the mod inputs on the 510's filter and VCA, but it will be very abrupt sounding. You will probably want a couple of envelope generators (and maybe an LFO or two) to really get things moving in the 510. That'll give you a lot more sound shaping ability and variety of sounds out of the 510. Something like Intellijel's Quadrax would be a great option for this, in my opinion.

Intellijel Quadrax: https://www.modulargrid.net/e/intellijel-quadrax-

I hope some of that helps!
- Chace

Hi guys,
Just bought the Roland 510 Synth voice, and would like to use it with my Vermona MeloDICEr, but the Roland 510 have just a key input (1v/oct) but no gate input. CAN you help me ?
Thank you :)
Kevin

Excellent JOY, I'm enJOY

I really want to thank you all for you advice.

The way my synths have fallen into place thus far is
Moog GrandMa for Bass lines,
K-2 for leads and melody
B-2600 for percussion, stabs, melody and evolving textures

In my mind I was replacing the ms-20/k-2

i.e. two Osc, dual filter (hp/lp), two eg with sample and hold and lfo

To be used in conjunction with grandMa and b-2600
I really like the 2600 and grandma but I wanted to get them wild.
This small rack I’ve laid out is really my expansion to my preexisting synths.
It’s gotta do double duty not just speak for itself.
Hence all the modules.

What I find myself always wanting with my patches are more random, more evolving
More beautiful melody expansive sounds that are intriguing and surprising.

Really seems like that’s modular in a nutshell.

EDITED Sep 9th 2022, 01:46

About your question on how to use resets on other modules, the easiest way is to send a clock signal every x divisions of the clock.
For example, let the clock run and on every 4 or 8 clock ticks you send a reset signal as well. Both clock and reset can are the same sort of signals, a trigger (short pulse) or gate (longer pulse) will do.

Depending on the module, the reset input can cause different behavior. This is in my experience often not documented and up to you to figure out.

Some modules like Mutable Instruments Grids (which is a drum sequencer) have the reset input tell the module that the NEXT clock pulse is going to be back on the first step. A typical use-case will be that you send a reset signal when you stop your Beatstep Pro. When it starts again, the module starts on the first step as well. You can also send a reset signal while the clock is running, it will always play nice with the clock as it will tell the module to wait for the next clock and then go back to the first step. I hope this explanation makes sense.

Another way that modules, for example the TipTop Z8000 (a CV sequencer), interpret a reset signal is that the reset input tells the module to set back to the first step AS SOON as the reset gets a signal. This means that if you use the above use-case (send a reset signal when you stop your Beatstep and then start the Beatstep again), the "stop" reset signal will move the module to the first step, and the first hit of the started clock will advance the module to the second step. This basically skips the first step.
Let's say you have a 8-step CV sequencer module (like the sequencer on the DFAM) that uses this type of implementation for the reset in. You don't want a sequence of 8 steps, but instead 4. So you send it a clock and as a reset every 4 clock ticks. What could happen is that it resets to step 1, but because the clock is hitting as the same time as the reset, it will immediately move to step two on the same clock tick.
Your 4-step sequence will not run from step 1 till step 4, but from step 2 to step 5. Highly frustrating.

To test what reset implementation your module has, send a very slow clock and reset to it and see if it skips steps. If it does, Pams has a solution built in to fix this. Head over to the channel that sends the clock to the module, and go the logic option. Select the ^ symbol (stands for Exclusive OR) of the Pams channel that sends out the reset. This will create a clock output that gets muted when the clock channel puts out a signal, effectively skipping the step that hits on the reset.

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)

I started out with a small case and a collection of small modules. If I had my time again, I would quite possibly buy a small case, but I wouldn't get the same modules. I thought having more smaller modules would mean more variety, but in the end I found it frustrating and a little unfulfilling. If I could start again, I think my first modules for an 84HP case would be:

A Wogglebug, or equivalent
A Maths, or equivalent
A DPO, or equivalent
An Optomix, or equivalent
A Mimeophon, or equivalent

I feel that those modules could keep me happy for months, if not years, and would be a good basis to build up to a larger modular system.

https://cdn.modulargrid.net/img/racks/modulargrid_1453324.jpg

EDITED Sep 8th 2022, 14:09

It does what it does.. the module is relatively cheap cos I never really had much additional dev work with it.
While a (Pitch-)CV/GATE mode would be possible: I'd need to develop a way for customers to calibrate their modules themselves.
That takes time and I rather work on other projects. Doesn't mean it will never happen.

My favourite use so far is to send gates to resets on sequencers you might have , say you have an eight note sequence you might reset a few times in bar to get a role effect . Dreamt for drum sequencers and arp patterns to give some variation .

Hey all

Been riding the modular train for about 3 years now and about to upgrade my case to something more vertical from which will de-clutter my desk space whilst giving me a bit more HP.

I’m super into complex Krell patches that I leave on for hours. Here's a clip from the latest patch (still tying to iron out the glitches from recording in VCV).
https://drive.google.com/file/d/1TAPBLGgQ0GxVKGyzRHlH8tkktUtLcjfr/view?usp=sharing

By complex Krell, I mean nested Krells modulating gain/filters/effects of other Krells, Krells that compliment a ‘master Krell’ for bass type duties, counterpoint, chord Krells – it’s one big Krell party over here…

Looking for any feedback on layout/workflow, other choices of modules, other ideas/opportunities (I’ll list the modules I don’t yet own, but open to selling off things, since it’s so quick/easy to do so).

Few things of note:
- I use an ES-9 & A-119 Ext input in a tiny case to the side, so I can interface with VCVRack – mostly for vc-controlled mixers, end chain filters and the Valhalla Supermassive plugin - which is why there’s not too many filters and not much by way of a mixer in the case.
- The vision is to feed sets of A/D modulation into the matrix mixer/switch and route/mix/invert them to various function generators, as well as experiment with mixing in other sequenced CV via the seq switch, Voltage Block, Marbles, etc
- All the A/Ds usually cycle with various EOCs - even the Zadar, thanks to The Ladik Derivator.
- I love using the Befaco A+B*C to modulate two LFOs for modulating attack/decay on a Krell channel - for some reason I get along best with that module, so I plan to add another.
- The Doepfer trigger modifier in the top row is there to help stimulate the TelHarmonic in shift register mode
- I like to use a main Krell EOC as a clock to run Pam’s and the other time modulators

Modules I don’t own
TipTop/Buchla 281t (quad function generator)
Erogenous Tones Levite (8x Atten/Gain/Offset)
Frequency Control Looking Glass (matrix mixer/switch)
2nd A+B*C (Atten/Gain/Offset/Invert)
2nd DivKid RND STEP (3x S/H)
2nd Veils
Toppobrillo MiniMix (Mixer with headphone out, which could be nice if I want to sometimes use the case, no computer)

Thanks all

EDITED Sep 8th 2022, 14:42

I wouldn't worry about selling modules too much - often it's difficult to work out exactly what modules are right for you until you actually try them with your other modules...

as for multi-track recording probably the easiest way is to use a es3/8/9 or bored brain optx depending on the audio interface that you already have - as these are designed to work with modular levels, although quite a lot of regular audio interfaces will work perfectly well with just attenuated (possibly in the audio interface itself) signals

Akemie's Taiko can't be that good...

EDITED Sep 7th 2022, 17:17

I finally got my first modular system a few months ago after spending years playing with software synths on Ableton and VCV rack. I started with the Pittsburgh lifeforms and a 2x84 case and I've added several modules in the meantime. But as I've filled up my case I've made a few missteps (the SCM and 160-2 together do not have the functionality I want from a clock generator and I stupidly bought a Doepfer ADSR that's too deep for my current case) and I want to be very intentional going forward about my gear acquisitions and generally avoid buying stuff that I'll have to sell later.

I like dense, textured techno (Blawan, Shed, Kangding Ray, etc.) but I'm especially inspired by how artists like Barker, Caterina Barbieri and Lorenzo Senni use little-to-no percussion in their compositions, and that's the direction that I want to take my own music. I might eventually complement this system with a DFAM for minimal percussive lines and/or a full-featured drum machine if I decide to go back to 4/4 techno, but I'm not super concerned about that right now.

I don't really anticipate playing live, but I'd like to be able to work on tracks at home with as little overdubbing as possible. Ideally, I'd be able to compose something that is relatively complete without opening my computer and then record it into Ableton to arrange and add final touches. That being said, delay and reverb are crucial to my sound and I think I'll have to rely on VSTs for those until I get a bigger case. I use a beatstep pro as a controller, but I might switch to/add a qunexus for better arpeggios.

Finally, I find software to be frustrating, which is why I made the jump to modular. I can deal with digital controllers like the beatstep and qunexus, but I would strongly prefer to avoid any module with screens/menus/memory/etc.

This is my current case:

This is my plan to fill up my current case:

I realized that the QCD does everything I want in a clock (should have got it the first time...) so I'm trying to sell my current clock generators/modulators. Otherwise, this is just filling in the empty space in the case.

This is my ideal setup for my current case:

I really like the Pittsburgh Lifeforms, but there are several parameters that I wish were CV-controllable and its hard to really dial in a sound without relying a ton on external offset and attenuation. I think this setup keeps everything I like from the lifeforms, strips away the parts I don't use, and adds a really wide sonic palette.

This is my dream case:

I'm not totally set on any of the additional modules here, but when I get a bigger case I think I generally want to add a complex oscillator, a sequencer, reverb and delay, a looper, and the utilities to tie them all together. I will probably get this case custom made and could, theoretically, get an even larger one, but that starts to feel hard to transport. I kind of wish there was space for a Mordax, but I plan to get a Korg NTS-2, so the Mordax seems extraneous. I'm also not totally satisfied with the outputs; I think it would be really useful to have multiple line outs for multitrack recording, but I'm not sure the best way to do that.

Any and all advice and comments would be appreciated! Thanks much!

EDITED Sep 7th 2022, 16:57

yeah just a gate at the start of a sequence should do the job..

as for sending the reset signal to multiple modules, a passive mult (or stackcables, or headphone splitters) should work perfectly, it's a bit of a waste using the buffered mult from links - better for pitch (and potentially if you are re-patching triggers on the fly)

I generally only reset at the start of a track, especially when layering multitrack recording - so manually stop/arm things - black sequencer, BSP, sinfonion and logic (pams is set up to reset by logic not sending a clock for a while and then receiving one)

No Problem

I think you'd be much happier with a bigger case and bigger modules - plus it'll give you some space to expand into, which is always incredibly useful

small cramped modules with trimmers instead of bigger modules with (mostly) regular sized knobs are fine for set and forget but a real pain for wiggling - especially as what you already have is predominantly normal knobs!!!

I'd grab a tiptop mantis and look for bigger modules if I were you...

Thanks for the advice man

Totally get that she’s cramped
I was planning on using the extra modules to manipulate patches on the b2600/grandma
And I wanted to replicate the good things that an ms20/k-2 does have

I do have an ssl six as well as several preamps that can handle synths

I recently acquired a Moog DFAM/M32/SubH three tier setup. In the past I have just clocked everything in my modular setup with PAMs via BeatStepPro (BSP is USB connected to sync with Ableton Live so I can either clock with Live or if I don't want to use Live just use BSP to clock everything). To date I haven't really used "reset" inputs on anything and with the acquisition of the Moog components I'm thinking its about time to learn :)

I also have Varigate 4+ and Bloom in my modular setup and would also like to reset those when needed.

What is used to send a 'reset' signal...is it just a gate on step one from a primary sequencer?
How do you send a reset to multiple devices? I have Links...just send signal to Links 1 in 3 out section?

Very interested in hearing how others use 'reset' and what is driving your use of 'reset'

to me it looks very cramped and I think you are trying to do too much in too small a space...

an external mixer that can handle different levels would be a good idea... I have a Yamaha MG series mixer I bought 15 years ago or so - inexpensive and handles eurorack level and line level easily

EDITED Sep 7th 2022, 12:28

I'd start with a bigger case - there is no room here to expand into - & you will almost definitely need that - get a tiptop mantis - best bang for buck (hp/cost/decent power/manufacturer reputation) and save yourself some cash in the long run - buying 2 small cases is a lot more expensive than a single mantis!

I'd also seriously consider a pachinko (mutable marbles clone) over the Turing Machine - it's similar to having 3 turing machines in a single module + random + 3 gates - which are all very handy + it has an internal clock - which iirc tm doesn't - so stops you using up one of the EoR/EoC trigger outs from maths as a clock

I'd generally agree with dubstepjoris about mutable instruments modules - when you could still buy them easily - buy the real thing (so Emilie gets paid), but now that they are almost impossible to buy new then clones are almost all that's available - there may be a few Plaits in the wild - so buy one if you can - same for veils over the uVCA - you will almost definitely need more than 2 vcas!!!

There are also manufacturers that make full size Mutable clones - personally I would go for these - as the ergonomics of mutable instruments modules are near perfect

Good rack to start with I think. Are you planning to create specific types of music with this or mostly experiment? Does it fill a specific need soundwise that you are missing right now? (this is not to judge, do what you want, but purely to see what you want to achieve with this rack).

I have a feeling that some of these modules are selected because people refer to them as good starting points. This is definitely true, plaits is very versatile as well as maths. But considering your current rack size (again, depending if your're planning to expand it in the future) the modules are quite big. This enhances the comfort (especially when playing live) but can be a limiting factor in 84HP. These are just my thoughts, it's up to you to decide if you prefer comfort/playability/hands-on controls or you want more versatility.

• Plaits seems to be a great choice because it offers a lot of different sounds. Mutable Instruments have made their modules open-source, meaning there a quite a few modules out there that behave like Plaits but have different (and often smaller) layout. There's quite some discussion on these forums if it's morally okay to buy clone modules vs. the original Mutable Instrument ones, I don't say one is better than the other BUT given that they are less HP, it might be worth to consider. Obviously less HP means smaller/cramped knobs, especially a smaller "Frequency" knob makes it harder to tune the module.

• The Behringer filter has two independent filters and can be used as a stereo 3 channel mixer. This might be needed for what you want to accomplish, but given that you only have one main sound source I find 16HP for a mixer/dual filter quite a lot. Ask yourself if you need two separate filters AND two separate mixers? Maybe a stereo filter (which you can also use to filter two separate sound sources with the same filter) is smaller and better suited. Although the Behringer filter is nicely priced of course.

• Music Thing Modular's Turing Machine is an amazing module, but if you want to randomly generate melodies with this, you probably want a quantizer (which "forces" the TM's voltage output to a musical scale, such as C minor). However you could also go for a micro Ornament & Crime, which are made by several manufacturers. Most of them come loaded with an alternate firmware called "Hemispheres", which has all kinds to CV utility modules build into it, of which you can load two separate on each half of the module. For example, you can have to ADSR envelopes on one half and a quantizer on the other half, or a slew limiter on one half and two LFO's on the other. It also has asort of Turing Machine built in, but with less hands-on controls.

• I'm not familiar with the Noise Engineering Desmodus Versio, but it seems like a fully featured reverb module with a user-flashable DSP Platform. If you want to modulate your reverb to do all sorts of crazy stuff, this is definitely the module for you. If you want a reverb as something to make the overall sound more pleasant, this again is quite a big module for just that. Maybe you can look into the Disting MK4 or Disting EX, which have a lot of different functionalities including reverb, delay, but also filter, VCA, envelope etc. (sort of like the micro Ornament & Crime but with a less informative screen and more suited for audio processing). Also you can get a Mutable Instruments Clouds clone which has a custom firmware called "parasites", this also includes a reverb, delay, granular, and pitch shifter.

After typing this all out, it seems that I can summarize this into: you have a great start rack with lots of comfortable, hands-on control. There are quite a few modules that have more features in less HP, but this comes with the cost of smaller knobs and less hands-on control, aka less knobs that only do one thing or more menu-scrolling. Consider what is best suited for your needs. Also, if you want to use the Turing Machine to generate random melodies, consider a one-channel quantizer.

Cheers!

EDITED Sep 7th 2022, 12:14

La modulación de plato2 la recive de la salida pitch de dfam

SQ1
va dentro de la caja
triger y cv para plonk y dfam

RADIO - O TAMBIEN EL GRANDPA
recive su trig de picotrig (1 trig, cada 2 compases)
El cv viene de maleko: se moviendo el start, con el cv. Cargas archivos largos de una conversación, p.ej. así cada vez que buscas 2 o 3 starts siempre serán diferentes.
Para bajarle volumen, hay que hacerlo manualmente en el mixer doepfer

BOMBO y HAT
sacan su audio al 2HP MIXER,
aquí se acaba de mitigar el plato.
De aquí van para pico dsp y de ahí para afuera

hat:
tienes 2 trig posibles:
-malekko que va a semicorcheas
-picotrig que va a corcheas
en live, puedo switch de uno a otro, cuando cambio de cancion

Pico trig:
Va la mitad de lento (debido a que sq-1 envía la mitad)
Da sus trigers para bombo,plato,caja,radio

MIXER DOEPFER
aquí estan: plonk, dfam, caja, radio

MALEKKO
2 LFOs lento para DFAM, plonk (quizas algun lfo rápido 7x4 en algun preset)
1 cv para radio (con 2, 3 o 4 steps) que se mueve muy lento
1 cv: que sirve de trig a semicorcheas para hat

ENCIMA DE SQ1:
podría haber algo con 6hp (4+2 hp) o algo con 5hp (3+2hp)

ATENUADORES
van debajo (dentro) de la caja

SI el alimentador, está muy cerca de sq1, se le puede poner una tablita o algo, para que no se junten y se recaliente...
A ver si con el case, se puede separar un milímetro de sq1...

DFAM:
recibe su trig de sq1
manda un lfo rápido a hat, (la salida pitch) que cambia el decay de hat

EDITED Oct 16th 2022, 15:29

ALIMENTACION:
el alimentador de eowave

Case:
quizás pongo la SH en la case grande de 60hpx2

CIRCUIT:
-tiene los percs, incluido bombo, saca una de sus lineas (Izq, p.ej) por el pedal griego para ganar más punch en el bombo
-controlo SH

DX: manda midi notes a circuit

VOZ:
va a pico input--> fx aid --> pico mix

VOLCA DRUM (aunque en la foto salga otra volca)
(la tengo con un solo layer, para poder editar mejor en directo)
--> pico mix

PICO MIX
entran dx, SH, y voz
pico mix--> pico input --> filtro

quizas saco todo esto, lo meto por circuit y le pongo reverb (una salida de circuit que no vaya al pedal griego)
o quizas saco todo esto por 2hp reverb...

EDITED May 6th 2023, 01:10

NP!