ModularGrid uses so-called cookies to ensure it's so-called functionality. We also use dubious tracking scripts. Find out more in the Privacy Policy. We use cookies and wanna let you know.
You can also use the Toolbox as a primitive envelope generator by patching your gate to the top input. The Time knob will control rise/fall. Can you can patch the output to the VCA CV and hear notes? If so, then it's back to the ADSR module. Is the cable connected the right way around? If so, you may need to talk to Pittsburgh Modular.
The only thing not working for me is the ADSR. The light is not on, and I am getting no changes from it or triggers. I will have to check the power cable is in, and that it is working.
-- cj18
Before busting out the M3 screwdriver, try this... Turn all of the ADSR controls to the left (ie: very short to zero envelope behavior), then feed a gate pulse into it. Then, slowly bring up the Sustain level and Release time; your Attack and Decay controls should function as VERY short parts of the modulation signal without touching them. At that point, you should see/hear some proper function from the ADSR when its output is patched to either a modulation input or a VCA although you'll have to patch up a basic audio signal and feed that to a VCA. It can make sounds, but only when being clocked by an audio oscillator to bring the activity up into the audio range (and by using short ADSR values!!!); normally, you wouldn't send an envelope gen's output to your overall mix, as the actual envelope function isn't in an audible range.
The key to interesting drones is in getting movement going inside the texture. There's a number of ways to do this...
1) Modulation. Adding a little bit of LFO to one VCO in the synth will create subtle detunings in the drone itself.
2) Effects processors. Adding delays and/or chorus to parts of the drone increases the timbral complexity and puts movement in.
3) Panning. Don't treat drones like mono sources; instead, using something to modulate the stereo field again increases complexity. Also, pan your internal sources so that you've already got some stereo field action going on.
4) Fade-ins/fade-outs. Set up parts of the drone so that parts can appear/disappear by modulating the VCOs' output via a VCA(s).
...and so on. There's loads more methods, but these are generally variations on the above four main techniques.
Very new to all of this still, so grateful for advice on what might be n00b questions...
I've only just got my first basic patch going, thanks to plragde, and I have noticed that my Pittsburgh Lifeforms ADSR doesn't seem to work. No red LED, and no effect when knobs are turned or keys pushed on my midi controller.
I am assuming that this is a bad sign...
I am comfortable that the right cables are plugged into the right jacks, so it shouldn't be that. I tried two other power ribbons, but got the same outcome.
Is there some way to test if this module is functional? I have a multimeter, but not an oscilloscope.
This module came out of 'display stock' for a store. This unit is also supposed to have reverse polarity protection, if that helps
First of all, put that Lifeforms synth back in its normal case. When you put something that's already cased and powered into a Eurorack cab, it's worth seeing what that costs. In this case, the Palette 104 costs $399, and the Lifeforms was $599 when it was around, and it takes up 48 hp. Ignoring the tile row in the Palette, this would mean that:
399/104 = $3.83 per 3U hp.
$3.83 x 48 = $183.84 This figure is how much it costs extra to house the Lifeforms, so add that to the Lifeforms' price. Ergo:
$599 + $183.84 = $782.84 This is the ACTUAL cost of the Lifeforms when in the current configuration. And even if you didn't get a case with the Lifeforms, that's still too damn expensive since the Lifeforms has a fixed control density, meaning that you're stuck with the density as specced by Pittsburgh...where if you did this in basic separate modules, you could easily reduce the panel space needed for the same module complement by quite a bit. And in a Pallete, space is at a premium! Hmmm...let's give this a shot...
(several minutes later) OK! This seems to be a lot more functional:
There's quite a few changes besides the Pittsburgh issue. A few functions were shifted into other modules, added a crossmod section for the modulation...
The top row, of course, is the Palette 104 bus module. Then the tiles were switched around quite a bit: Input on the left end, then the two modules that make up the Temps Utile...this is a multifunction thing, with several sequencers, clock outs and so on. I put in a QuadrATT, also...mainly for mixing and inverting mod sources. Next to that is a Pedal I/O, then the Stereo VCA, which can be useful for a number of things...controlling output levels, splitting as VCAs for your Pedal I/O's levels, etc. And then last is the stereo output on the right end. All of the I/Os use the onboard 1/4" jacks.
The 3U row starts with something a bit beefier than a MIDI interface. It IS that...but it has two return channels for situations where you might want the synth to serve as the main clock, etc. And it's class-compliant, so all you need is a class-compliant controller (like a Keystep, etc) and there you are. Next are four "free run" LFOs, then Maths, and then a pair of modules for screwing around with modulation behavior: a Tenderfoot triple attenuverter/mixer and an After Later dual VCA, with the VCA topology based on the Mutable Veils. After this is a Zadar + Nin for your envelopes, then we get into the audio section.
For audio, I went with a pair of Klavis Twin Waves mkii, as these are actually rather complex AND they're quantized...which means you save money and space on not needing a quantizer module while getting a serious VCO complement. These FOUR (yep!) VCOs then feed the four inputs of the Veils, which allows you to either manually control the mix, or you can apply envelopes or other modulation sources for that purpose. Polivoks VCF is next (not a bad choice for a single VCF), then a Frequency Central Stasis Leak gives you your choice of tap delay, chorus, or reverb...and since this has mono-in and stereo-out, it provides your stereo signal via the effects. And last, a Doepfer A-138s is your stereo mixer, with manual level and panning. I would've liked to put in a couple of VCAs post-FX, but if that's really necessary, you can use the VCA tile above.
This is a really open-ended build, which is a bit surprising for a one-row cab, but the tile row really takes up a lot of slack, plus your bus row also gives you buffered mults and adders for a bit more tampering with the CV. Plus you now have a proper sequencer in there that can be used like the Steppy that was there, but also as a CV sequencer, which allows you to set up sequenced ostinati over which you can solo...ala Klaus Schulze, but all in one little cab. Not too shabby, I think!
This was my first time looking at the Dreadbox modules and their manuals, and I'm a little surprised at how sparse the documentation is. They're cheap and cheerful, but, for example, what exactly does the "Pulserizer" on the Utopia do? Perhaps the videos reveal all...
Ok, I did what you said before, and it seemed to work fine today. Clearly that was operator error.
The only thing not working for me is the ADSR. The light is not on, and I am getting no changes from it or triggers. I will have to check the power cable is in, and that it is working.
Thanks for all of your assistance. You've got me past that first hurdle :)
Hey...$4k for actual rubber in the form of an actual chicken WITH VOLTAGE CONTROL should be something that everyone'll want. I'll wait until Uli puts out a knockoff for $99, tho...
The big question I have to ask here is what did you have the resonances set to? It could be a problem...but at the same time, if the resonance controls on the VCFs is set too high, it can start to make a VCF behave like a VCO, which might explain the sweep sounds. Plus, if the ferrites are doing their jobs, that would tend to eliminate external sources as the cause. Try turning the resonance all the way down on those VCFs, then feeding them the sweeping LFO. You also might try feeding the VCFs' modulation via an attenuator between the LFO and VCF, as the incoming LFO might be a little too hot for the VCFs. Just use the attenuator to back down the LFO's level...this will result in a bit less span on the sweeps, but this may also keep the sweep sounds out of the VCFs.
The Focusrite is a good interface, but I wouldn't be surprised if it can't handle high levels. I have a 2i2, but I don't use it with my modular. I have output modules, which you no longer have space for (you might have to sacrifice one of the Dreadboxes for one if the problem persists). INST mode is off, right? I would be happier without the stereo adapter. I think you need to disconnect everything, and then see what combinations of connections and power on/off result in the buzzing. Is the interface connected to anything else besides the modular? Is it plugged into the same power strip as the modular, or a different power source?
I was trying to hear the VCO without anything else, as per your first step (I hadn't gotten to the second step yet). However, even with the AI (Focusrite 4i4) gain at zero, it still came in too hot. Hence, I ran it through the mixer first, as someone suggested to me before. I stopped at that point, as the buzzing was clearly a problem, and I didn't want to push on until it was rectified.
I am connecting to the AI via a 1/8 mono cable with a stereo 1/4 adapter on the end - it has been a drama getting a 1/8 to 1/4 mono cable from my supplier. Might that be part/all of my buzzing problem? I am not used to using 1/8 mono... This is connected into the front 1/8 jack with the adjustable gain.
I will ignore the buzzing for now, and push on with what you wrote before (and not plug outputs into outputs...)
A Brunswick synth from Future Sound. Not a eurorack, a general purpose synth with some good sonic characteristics and a excellent way to get started with modular synths. A but pricey, but still a good deal.
The pulse jack on Hysteria is an output, not an input. Look at the manual. That's why I told you to use the gate to trigger the ADSR envelope, and then use that envelope to control a VCA.
In the earlier thread, you were told to turn down everything as much as possible, either using a VCA from the modular or the input gain control on your audio interface. Eurorack voltages are higher than line audio, and some devices will have trouble with it. What audio interface are you using, how are the cables connected, and how is the power supplied to everything? What happens if you unplug the switched-off modular?
Ok, I tried putting the Hysteria directly into the AI, and it went crazy and reset.
So I put the VCO into the mixer on the Eudemonia, and plugged the CV gate into the 'pulse' jack on the Hysteria. The pitch was still in the 1V/Oct jack on the Hysteria.
For the first time I heard something from pressing the keys, but there is still that buzz that is FAR louder than the notes. The notes were barely perceptible, but at least they were there!!
I'm guessing the buzz is some sort of ground loop or something? Either way, it is there even when the modular synth is switched off, but the mixer (Eudemonia) out is still connected to the AI.
I use my modular mostly for techno, just drop a kick and almost everything goes. But when I try to create drones all I get is dull and absolutely boring tracks. I just don't know how to approach droning and I realised I really don't know what makes a good drone.
So, what makes a good drone? how many VCOs do you use? how do you tune or detune them, what about filters and effects? what are your patching tips and tricks? can you share some drones, made by you or other artists, that can be used as examples/inspiration?
Hello,
Has anyone used Befaco VCMC to trigger samples and instruments in Kontakt? I have a Varigate 8 and a few modulation modules and would like to use them to trigger samples in kontakt and to trigger and modulate Kontakt instruments such as Spitfire and Sound dust. Would the VCMC be a good option?
Thank you,
Ezra
First of all, patch the out of Hysteria into whatever you are using to listen. See if you can get a drone that changes pitch when you play the KL. If not, pull the connection from that, and tune with the Oct slider.
When you can get a reasonable tone out of that, patch the out of Hysteria into the 1 input of Eudemonia. Turn the knob below it fully clockwise (up), and all the other knobs fully counterclockwise (down). The LP slider should be all the way up, the other sliders all the way down. Patch the out of Eudemonia to what you're listening to, and push the VCA slider up and down, and see if you hear that previous tone rise and fall in volume.
Next, patch the out of the ADSR into the VCA CV in of Eudemonia, and see if you can get the envelope (triggered by the KL) to do what you were doing with your fingers on the VCA slider. There you have a basic patch. Now you can play with the filter sliders on Eudemonia, the envelope settings on the ADSR, and the root pitch and waveforms on Hysteria. After that, you can start bringing in modulation.
I only really started playing with it a few days ago, but I am not having any luck getting sound out of it.
I understand much of the theory of what I am trying to do, but cannot get it to work in practice.
Part of the issue is that I am having trouble with the Dreadbox modules. Being multifunction, I am not entirely sure how to get the single function that I want to work, and all videos on how to use them are about more elaborate patches/sounds - not how to simply get them to work!
Amongst other attempts, I've been trying to run the Hysteria (VCO) output into the Lifeforms (ADSR) input, then this output into the Eudomonia (Mixer), but I am not sure how to get the VCA part engaged.
And this is all set up (possibly incorrectly) using CV from my Arturia KeyLabs 88 Mk2, from which I am running the gate signal to the trigger on the Lifeforms and the pitch to the 1V/Oct on the Hysteria. The Eudomonia out goes to my AI.
I only get a buzzing noise out of it, which I am sure is not from the synth itself. After a few minutes buzzing, it starts making some weird alien noises, but they go away as soon as I press a key on the Keylab.
As I said, I am just trying to find a basic patch that will make a noise, so that I can learn SOMETHING that actually works (and experiment from there), and whether my modules are working/if it is my fault. I assume that it is probably me.
You've been working with this configuration for a month, right? What have you tried that did something you want to expand on? What have you tried that didn't work?
I am very new to modular, and I have a bit of a weird system. As such, I am having some difficulty working out basic patches.
I'd really appreciate it if someone could show me some really basic patches for my system so that I can get started (also, so I can tell if it is 'operator error', or if something is not working properly).
Happened to me one time and it was a dodgy Erica synths mixer. The way I identified it was buy putting my modules in one by one and then turning the power on and off to see if a particular module was causing the issue.
I'm so glad I put in the extra money and bought the Intellijel’s 84 hp 7u case which gives you 3000mA on the +12v compared to arturia's 1600mA (I think), I know people rave about Arturia products but I personally have never been lucky with that company. I had power issues with a beat step pro too and when I took it apart the usb power was unsoldered from the board - really poor and cheap design choices.
I'm new here and new to Eurorack. Would love to get some thoughts on what to add to this build.
Have purchased thus far: the case / Pittsburgh lifeforms / erica synths polivoks / maths. Others in the case I have not purchased yet but am leaning towards.
Interested at least for this rack in subtractive synthesis. Interested in melodic composition.
Have Moog DFAM and Matriarch as well as Arturia Drum Brute Impact with which to play.
Plan to sequence from DAW.
Plan to utilize pedal effects ( Strymon Big Sky / Erica Synths Zen Delay / Animal Factory God Eater / Empress Delay ) in addition to the BBD within Matriarch.
Conversations I have with myself include: a) quad LFO ? ( Batumi vs ? ) b) VCA options: tube VCA such as Erica Synths versus quad options versus something like Talin ?
The same thing happened to me -- it went on but shortly after went off and the led on the power brick was off. Luckily I realized that the cable at the back of the power brick just loosened over time. So if you are panicking right now if you trashed your rack, make sure the cable (into the power brick) is properly inserted. (I needed a good amount of force to get it in, even if it looks plugged, it might not be).
I am trying to understand which is the right card for flangers/phasers on the tiptop z-dsp series. it could be me but i can't really understand which one is the right one. Do they have a card with flangers/phaser? is the time-fabric the only one with pitch-shifter?
Supposedly the noise goes away if you put a dummy load on the 5V line, but you'll never get a straight answer from anyone online as to how to go about that (don't ask me, nobody would tell me, either) because everyone assumes you'll kill yourself.
-- milkmilklemonade
I don't have one of these supplies so I can't speak to specifics of the noise problem, but a dummy load is just a big resistor from power to ground to ensure there's a minimum load on that rail by wasting a little energy as heat. As a wild ass guess based on that supply's specs (https://www.meanwell.com/productPdf.aspx?i=484 - 5V rail 5A, and they want 20%->1A minimum load) I'd probably start with a 10 ohm 50 watt (like https://www.amazon.com/LM-YN-Wirewound-Electronic-Industrial/dp/B071Z8B9FN) which will be a 0.5A load, and experiment from there with a second/third in parallel. The actual amount "required" will depend on the other 5V load in the system, and if it does help you'll want the smallest load that solves the problem, to minimize the wasted power/generated heat.
In my experience, that's how Meanwell power supplies are. Supposedly the noise goes away if you put a dummy load on the 5V line, but you'll never get a straight answer from anyone online as to how to go about that (don't ask me, nobody would tell me, either) because everyone assumes you'll kill yourself. These power supplies are not designed for powering modular synthesizers and can't really be relied on to be stable voltage sources. They're primarily intended to be used as 5V power supplies. You're paying for what you get. I used to have one in a small case and you could hear the pitch drift in the oscillators, they were never totally stable. I switched to an Endorphin.es 2hp power supply for that case and it cleared everything up.
Hey, I have 2x meanwell rt 65 b P/S. (9u case NANO BUS BORDS)
I have really bad noise problems. I puted 2 ferrites on wires before they go in bus board but it didint help.
Am looking on NKP (noise killer plugs), but not shure will it help.
I have noise only on filter modules. I user erica synth vcf1 and wasp filter.
If I put lfo in filter cv input then filter out to mixer (no audio input in filter)
I can hear lfo sweeping noise when audio is at 30%+ I need put my Volume at 20-29% so there is no noise.
If Only Filter module in case noise is there to.
Hey Lugia. I have 2x meanwell rt 65 b P/S.
I have really bad noise problems. I puted 2 ferrites on wires before they go in bus board but it didint help.
Am looking on NKP (noise killer plugs), but not shure will it help.
I have noise only on filter modules. I user erica synth vcf1 and wasp filter.
If I put lfo in filter cv input then filter out to mixer (no audio input in filter)
I can hear lfo sweeping noise when audio is at 30%+ I need put my Volume at 20-29% so there is no noise.
Marbles is playing the 2hp Bell (starts on 2hp Pluck, then I swap), that goes into Mimeophon, Marbles is being clocked by Mimeophon ;-)
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.
@modnico What are you going for? Do you have a budget? Do you want a big case eventually to do other stuff and grow into? Do you want generated sequences, do you want to program sequences? Lots of questions before could recommend something to fit your needs.
-- obscuremachines
@modnico What are you going for?
-- obscuremachines
The general idea is to set up a rack to create kicks and bass. I would like to integrate such rack with other gears that I have in my "studio" (bedroom) and be my DAW (Ableton installed in my Macbook ) as the center of the musical pruduction.
So, in other words, with Ableton I would like to arrange a song taking the kick and bass from the rack, and other synths sounds from other gears.
To connect the gears to my computer I'm using via USB a Fireface UCX connected via adat to a Beringher Ultragain PRO-8 digital (to have more inputs)
Do you have a budget?
-- obscuremachines
I don't know the budget. I'm not rich so I can't spend a lot of money on it. Let's see all the possibilities that will come out and I will make a decision based on what I can spend on it.
Do you want a big case eventually to do other stuff and grow into?
-- obscuremachines
More than a case (which I could make it by myself) maybe I prefer to have a good power source in case I would expand the rack in the future.
Do you want generated sequences, do you want to program sequences?
-- obscuremachines
I would like to be able to program sequence either via Ableton or with a controller MIDI connected to the rack
A few things come to mind as I have actually built such a rack. One- a much larger case at least 6U and the bigger the better.
Two- you need a decent sequencer. I have great experience with ones like Winter Modular Eloquencer it can let you program sequences for recall later to use as preset templates plus view all 8 trigger and cv tracks on one screen- very handy for live use.
-- sacguy71
Hi @sacguy71
the sequencer that you have suggested is very interesting, above all in combination with the EME module (MIDI expansion). If I understood correctly I could connect a MIDI device (like a MIDI pad controller) and play the Jomox with it. Right?
FIRST ROW
- first module “the trigger sequencer” for the Jomox. I don’t know if I want to go just with a knob to assign steps to the sequence. I would prefer to do it with pads. Maybe even through a kind of MIDI controller (or keyboard)
- same for the synth part. I own an Arturia Keystep and I could use it to play and sequence the Bouchla 258t.
- the Antimatter Audio Crossfold seems cool (watching some Youtube videos) and the Dual Borg filter sounds amazing.
For a sequencer with pads checkout the new TrigSec-1 from Tenderfoot Electronics. He is also coming out with a new clock with some great features. It is tempting me to reconfigure the reconfiguration of my drum pod...
I've been into Eurorack for a year or so now, and have finally got a rack which can start doing some things (allowing me to move away from VCV). I'd be interested in advice on expanding the rack with the intention of creating generative ambient.
I thing some kind of delay is a necessity (I'm thinking the Befaco Lich), and I'm not really in love with Plaits (so maybe I need some kind of filter or wave folder to get more interesting noises out of it).
I LOVE Palette challenges! This is a rig I did and yeah it's for techno, but there's a way to set up Pam's so that you can use the CV in to change the loop length and you effectively end up with Turing Machine style generative patterns. Couple that with Euclidean for some fun. Add a Ladik Dual Probability Skipper for even more variation. You can also use Pam's in the same way to generate quantized CV patterns!
Also, for 1U take a look at the Mosaic 1U drums...they are really good. I use the Bass Drum and their Low Pass as a sub bass sometimes in addition to normal drum duties.
@modnico What are you going for? Do you have a budget? Do you want a big case eventually to do other stuff and grow into? Do you want generated sequences, do you want to program sequences? Lots of questions before could recommend something to fit your needs.
@modnico - the compressor will be useful but bear in mind that you could make a side chain easily in Lugia's build with a spare envelope from the quadrax which will need to be inverted and a spare vca. If you are only using the rack for kick and bass this is what I would do
Yeah, there's a lot missing here. For one thing, if this is to do all of those things you want, well...it's doable, but not in that cab. Gonna poke at this and get 'er set up right...
(a few minutes later)
OK...kick and bass. This has those in spades! I rebuilt the whole thing in an A-100 2x84 cab, for starters...and that's important, as the Jomox module you want is pretty deep. Given that the whole draw is nowhere near a Doepfer A-100P6's current load limit, plus the roadcase build on the cab itself, means that this is pretty much a goof-proof rig that'll work for both studio AND live use. Here's what's in there...
TOP: First up is an EMW trigger sequencer, with 8 steps for each of 8 memories. This is for the Jomox, right next to it. Then a Bastl Popcorn handles your pitch sequencing (and it's internally quantized!) for the thing next to it...a Buchla 258t from Tiptop's collab line with Buchla USA. This oscillator is the grandpa of most complex VCOs out there, because it can internally modulate VCO1 against VCO2, or you can use one as a modulating suboscillator to get huge subbass notes. Or a lot of other things, for that matter. And to help do that, there's an Intellijel uVCA that'll allow you to impose modulation onto the output levels of each 258t VCO, so you could have VCO1 sounding, and then let VCO2 fade in its audio modulation to modulate it. Loads of possibilities...and if that's not interesting enough, the Antimatter Audio Crossfold wave processor allows you to create a composite waveshaped signal by having inputs for both 258t VCOs. Last up is the classic Wiard Dual Borg Filter, which is actually not merely a filter pair, but the individual filters can be switched into lowpass gate mode. This means you can use VCF1 there for timbral shaping, then set VCF2 to the lowpass gate mode and send it some fast envelopes for PUNCH.
BOTTOM: Pam's. You've got two sequencers, so you'll probably find it useful for those as well as other clocking/sequencing duties. The uMotion is a clone of the Mutable Tides; I'd have rather put in the actual thing, but the space dictated otherwise. Then a Mutable Shades and another uVCA handle the modulation treatments. An Intellijel Quadrax/Qx provides envelopes as well as further looped envelopes in case more LFOs come into play. And with the Qx, you can "cascade" envelope triggers and turn the whole thing into a really complex modulation source. Then we get into FX...the Stasis Leak gives you a tap-tempo delay, plus stereo reverb and/or stereo chorus, and the Messor is the stereo compressor with sidechain that you need to get that French House "pump" going. Branch off a signal from the kick, and there you go! For mixing, I went with a Tesseract Tex-Mix, so there's four mono inputs (with VCAs...these are your final audio chain VCAs), and the master module for that contains two AUX send/returns, your headphone preamp, a monitor/cue output, and pretty much a partridge in a damn pear tree! And last, a Happy Nerding Isolator...which you'll be very glad of if you take this to live gigs, with their typical janky AC. The Isolator does two things: 1) - it kills DC, and you want DC killed as excessive DC in your output will kill things like amps, speakers, etc. But it also 2) - prevents crud from getting into the modular via the outputs (ie: everyone's fave - ground loops).
So, yeah...it's bigger and it costs more. But it's now COMPLETE...and as low-end instruments go, this one might have what it takes to give ME and my top-secret CZ-101 subsine bass patch (has been known to cause structural damage! really!) a real run for the money. Plus, this is no sonic one-trick box...the bass voice architecture is loaded with modification tricks, the sequencers let you do set-n-forget setups, there's ample modulation and modifiers for that, and you get a true performance mixer on top of that that can be expanded with more Tex-Mix expansion modules when "M0AR" happens.
-- Lugia
Hi @Lugia
Thank you for your amazing and very informative answer. It goes beyond my expertise in modular field (which is close to zero), I had to read it more than once and I’m still reading it, again and again, to try to get it fully.
For now, are coming to my mind these questions:
FIRST ROW
- first module “the trigger sequencer” for the Jomox. I don’t know if I want to go just with a knob to assign steps to the sequence. I would prefer to do it with pads. Maybe even through a kind of MIDI controller (or keyboard)
- same for the synth part. I own an Arturia Keystep and I could use it to play and sequence the Bouchla 258t.
- the Antimatter Audio Crossfold seems cool (watching some Youtube videos) and the Dual Borg filter sounds amazing.
SECOND ROW
- not sure what to do with the PAM. It seems to be an impressive clock/sequencer. Should I use it to control the other two sequencers?
- why do I need another uVCA for envelopes? (noob question)
- Sidechain: watching Youtube videos I noted that side-chain effect can be achieved without compression. That’s why I added a Maths module in my rack. I don’t know which way is better though.
- With Tesseract can I connect the rack to my DAO via Fireface UCX and make a kind of hybrid system?
I have a few gears and I use Ableton. I would like to integrate the rack to the DAO.
So the rack will be my kick and bass ext module, the other gears (various synths) as .. synths, and the DAO my post-production point.
Keeping this thread alive by dropping some more heavily lit jams.
I like some bits and pieces of this and dislike a whole lot. Next would be something this full and distorted but with more control over pitch and more variation detail in the drum voices. Any suggestions and patch ideas are more than welcome.
Before I forget: This is not using my tiny ORCA midi sequencer form the last post, but for the curious I made a tiny guide and put it on the ModWiggler DIY section as it's not a eurorack only thing: https://www.modwiggler.com/forum/viewtopic.php?t=257717
Great video! I've subscribed...was a particular video that you watched on Beads that inspired you for doing this in Morphagene? Would you share if it was one in particular? What is the module sandwiched between Maths and Plaits? Also learned a new technique to try out with my Maths (looping envelopes to create a drone) :)
I have my drums setup in a 64hp 4ms Pod. Currently it looks like this...
But I am not super happy with it. It requires external clock input and while Kompass is pretty great it only has three triggers out and I need more than that so I am still pulling more triggers and gates from Pams in my main case.
This is the dream that will eventually be reality.
The Shakmat Clock O Pawn is awesome and the Time Wizard is great too and provides all the triggers I would need and is super playable. I have really liked what I have heard/seen from the Prok drums and I have one Disting mk4 for samples and one for effects. The vortices mixer is overkill, but the feedback looping you can do with it is crazy. Ochd is just there to modulate things. The only thing I am missing is a way to sidechain the kick.
I bought a 1010Music BitBox. It responds on up to 16 triggers, or I can avoid the mess using MIDI (some sequencers output MIDI as well as CV). There are four outputs so it's decent for separating my outs if I need that. I can add new samples to the SD card, and with a little bit of XML editing on NotePad++, I can quickly put together whatever I need and avoid doing things slowly on the front panel.
I have some other stuff capable of percussion like the BIA... but sample playback seems to offer the most bang for the buck. There are plenty of samplers and ROMplers out there. You don't have to go with BitBox. But I would just rather sink resources into other areas besides percussion.
