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I just wanted to share with you guys the case I've been planning (and I'm still planning) for the last year.
I don't even have half of the modules here but I'd like to know your opinion in the system.
Do you think is consistent enough? Does it lack on some module? Are some modules repetitive or redundant?
What would you change?
I'm actually struggling about the MIXING / AUDIO OUT part. Still haven't figured.
One of my ideas is to use Ableton as my main sequencer or lead. My idea is to have all the MIDI clips compiled in a session and CV them to the system. I guess that is possible with the ES-8, right?
That's All. I'd really apreciate your help, sugestions or whatever you wanna say.
I think there are two sides to your question. The first is how to get the acid sound (aka the sounds design) how to create evolving melodies (specific patches/modules). I'm by no means an expert, I've also stared my full modular journey in 2020.
Of course the synth that introduced acid is the Roland TB-303. I don't have one myself so I cannot give you all the details about this. If you want an exact replication of this sound then there are some modules that are basically 303 eurorack clones like the Open Music Labs x0x heart (https://www.modulargrid.net/e/grayscale-x0x-heart-eurorack-module). If you want to build it out of a oscillator/VCA/filter/envelope combination, know that the main characteristic of the sound is the filter and its resonance, for the other parts like osc and envelope you can use whatever modules you prefer. There are plenty of filters that "scream" in the same way a 303 filter does.
The original 303 has a slide option as well. You can achieve this by adding slew to your pitch CV. You have dedicated modules for this in a small package, like the WMD Time Warp that nickgreenberg mentioned, but you could actieve the same thing with a gate/drum sequencer or something else that produces gates, an attenuator and a slew limiter. I believe you have everything in your rack to achieve this as well, but like mentioned it takes up a few modules vs. WMD's one-in-all solution.
Let me know if you want more detailed info on these above topics.
For evolving acid patterns/melodies, there are a million ways to achieve this. What I think you want is a pre-programmed or random set pattern to slowly change rhythm, notes or velocity over time. Everything that generates CV can be patched into a quantizer to generate pitch information in a specific musical scale. I've seen people use LFO's, multiple mixed LFO's, noise, envelopes, you name it.
What you might want to look into is called "Shift Register" or "Turing Machine". It has a list of random, generated or input voltages. This list is looped and moves (or shifts, hence the name shift register) with every clock input received, over and over. With knobs or CV input you can determine what the probability is the current voltage will stay the same. If its set to 100%, every voltage will stay the same, thus looping it. If it's set to 0%, the voltages are all random again. Divkid has a good video about the Music Thing Modular Turing Machine, which I think the most popular module in this category:
You can achieve similar results with the gear you already have I think. Some examples:
- I believe the Eloquencer has a few ways to throw randomization into pre-made patterns, you could look into that.
- Disting Mk4 has a Shift Register built-in as well as described above, F-6 Shift Register Random Quantized CVs (check the manual).
- Disting MK4 has a quantizer as well, which can be used to turn other CV sources into pitch information. As input you could use anything you want, such as:
- Create a complex envelope on XAOC Zadar, trigger (or loop it that's possible, don't know this module) it from somewhere. This is your looped melody. Patch other LFO's like the XAOC Batumi or Instro Ochd into a bunch of attenuators and use the attentuators' output to control multiple parameters on the Zadar. The more you turn the attenuators, the more you change the envelope aka your melody.
- You could go the other way around as well, so not Batumi modulating Zadar, but Zadar modulating Batumi. Use a mixer to mix all Batumi's LFO's (or patch the output of one LFO into anothers input).
- You could expand on this idea by not using attentuators to evolve the melody, but replace the attenuator with a VCA and use a gate as CV input to evolve the melody on specific steps with a gate/step sequencer.
- Pamela's New Workout has a random stepped voltage output type. In the same menu, you have an option to loop the output for a number of steps. This value can be CV controlled. Use something that creates an offset voltage (like the Befaco A+B*C with nothing patched in) to set the desired amount of looping steps. If you then briefly set the CV input back to 0V, the output starts randomnizing again, until it receives the offset voltage again. Sending it 0V and the offset voltage every few bars evolves the melody, the amount of evolvement can be controlled.
A little after dinner Moog jam. Two Moog Mother 32’s played over a DFAM kick. Modulation and VCA’s played by hand. A fun way to play these semi-modulars.
This time a bit more experimental from you! Pretty interesting, I finished the fourth stage and now started at the beginning of your album with the first stage. I will continue listening to your ever-interesting music! Great guitar play here too.
Thank you very much for sharing this with us and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Yeah! Great track. Some consider their modular setup as an "instrument" but this is a great example of it being much much more than an instrument. All the various pieces coming together like this form and entire orchestra. This is the real power of modular. Only a workstation type "synth" can do this kind of thing, but no workstation I've owned comes close to the hands on experience I get putting together whole tracks on my modular rack. Thanks for sharing. Cheers!
Thanks for this suggestion. I think that its definitely an element that I am missing. I had been looking at pitch shifters and precision adders but couldn't quite piece it together. I ordered one this morning. Such a shame about WMD. Hopefully they'll be back...
Five viscous experimental/ambient pieces made with modular/granular synthesizers and acoustic/electric guitars and recorded to a tape. Devoted to the permanent regeneration of the personality and the whole world throughout existence.
Suggest you grab a wmd time warp before wmd goes away. The ability to pitch slew on demand with ease and full control will come in very useful for acid.
If you follow that thread you'll find a bunch of first principles and ur-patches for perc synthesis. It is one I should revisit too. A key takeaway: you can make perc out of lots of things.
Found this old thread after Hexinverter emailed their list to announce upcoming closure. In sadness and greed I went and bought a bunch of Mutant drums.
I built my synth for drones and generative ambient music but I have an acid techno itch that needs to be scratched. I was hoping to get some patch ideas from the community so that I could break away from repetition and maybe learn something new. I'm still relatively noob (started building in 2020). What are your favorite patches to generate acid bass lines? Would you add or ditch any modules from this rig?
Many thanks Garfield and MBPNick. Much appreciated.
Re SIG - It has become my favorite module. I am using it in almost every patch these days. It does a lot, but it is very easy to learn and very versatile. I really like it for performing cool solos over sequenced tracks from Rene or Metrolopolix, but I have used it to drive drum beats - four channel gate outs to the gate ins on VPMEQD for example. It's also a great CV source for modulation. For me, if I want to have a quantized krell, then why bother with S/H and a quantizer? It's much easier to just drive the notes with SIG and adjust it on the fly. I can't recommend it enough. Cheers!
To calculate the power outlet you have to multiply your current value with the voltage value (you can ignore the minus sign since that's only a polarity specification) and add everything up. Your case consumes about 67.66Watts. I'll round that up to say about 70W just for ease. To know how long you can run your system until you reach 1kWh you take 1000Wh/70W and you come up with about 14.3hours. So you have to invest about 20¢ every 14.3 hours.
To calculate the price of 12 hours simply take 12h*70W=840Wh. And multiply that with the price of one Wh which is 0.01974¢ so you have to pay about 16.6¢ every 12 hours you run your synth.
Hope that helps :)
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!
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!
I am inspired by birth, death and the events inbetween.
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 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.
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?
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!
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.
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
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)
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?
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.
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.
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.
@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 ?
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.
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
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.
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.
