Switch to the second image using the blue arrow buttons. The originals that I uploaded had a small border on the top and bottom so that the fit properly.
Weirdly it looks correct on my iPhone, but not on my iPad..
It's not that doing it with VCOs is costly...it's the whole concept itself. Full polyphony means that you have a fully-independent synth under the control of each voice signal, so you have to replicate the VCOs, VCF, VCAs, EGs, LFOs and so on over and over until you arrive at your final output mixer, where you'll mix the different voice signals together for a single mono or stereo output.
The next step down from this isn't actual polyphony. It's something referred to as 'paraphony'; each set of sound generators is controlled by a single voice signal, but instead of replicating the rest of the audio and control chains per voice, the mixdown to a single signal happens after the VCOs, then this goes through a single VCF, etc etc chain to the output. This method actually makes more sense in a modular context, since you can branch and recombine all sorts of paths along that post-VCO chain for sonic variation and arrive at a more controllable (and affordable!) system as a result. This is what I'd recommend as an approach, as a true polyphonic modular is, by default, going to be very spendy and also hell to patch and control. Think something along the lines of Junkie XL's MU 'wall' or Hans Zimmer's monster wall rig of Moog, PPG and Roland modules.
Hi everybody,
I need help building my first rack to act like a MIDI controlled poly synth for live & studio use.
I understand a poly with VCOs is a very expensive thing to consider, so I am considering wavetable.
Specifically considering the Flame 4osc which actually sounds really nice imo.
MIDI control would come from an Elektron sequencer but I'm not sure if, for example, I'd be needing a VCA or midi note length would take care of that. Yet, a VCF would be triggered from what?
I'm stuck with just the Flame module in my digital rack and don't know if I should just go for a Waldorf Microwave. But that would mean that maybe next time will be too late for eurorack.
I hope this all makes sense, thx to anyone that could provide some insight.
I’ll check with Danjel. I created the original images and had to add some extra blank space on the top and bottom for them to look right.
What happened to the photo? It used to be correct, but now the crop is wrong.
What happened to the photo? It used to be correct, but now the crop is wrong.
Was just coming to post the same thing. Yup, 1U euro modules (Intellijel in my case) are cropped short here too.
I’m on Safari, BTW.
Cheers
Mr Grassi is also a Rungler circuit,just FYI.
Yeah, it's spendy, but I also think it opens up some interesting random/generative process capabilities. I did pause a bit before adding that to this month's list because of the price, but I thought that the 'abuse potential' factors were way too great to ignore. Also, the only prebuilt version of something using the 'rungler' circuit that I could think of was Epoch's version of the Benjolin, and since that goes for about $85 more, I felt it was worth tossing into the July lineup.
That 'rungler' behavior is quite worth the price of admission, I should note. I have a Max for Live mappable rungler object in my Ableton setup, and the mayhem it can dole out all over the different aspects of a signal chain is amazing.
Greetings,
Just an observation, I've noticed that 1U modules are looking rather weird right now with either end of their graphic being cut off.
Please look into this!
Thanks!
The idea behind identical VCOs is that, if you're doing some slight detuned doubling, you'll want the VCOs to behave exactly the same way in terms of CV tracking, nonlinearities, and the like so that the end result actually seems to sound like a single source. Technically, it's not 100% necessary to do this these days, but it does assure users that if they want a specific sound that requires matched VCOs (such as emulating Minimoog bass, and so on), it'll be easy enough to do without having to make an excessive number of tweaks to deal with dissimilar hardware.
As can be read in this thread @Drazen is not accepting responsibility for his forgoing of mentioning problems with customs. He also does not react to messages of me requesting a full refund as I really don't feel like paying the customs office for his "mistake" of not mentioning that the Stuff he marks as EU come from outside the EU. As I said: "Full refund" + letting the package bounce from Austria back to Quatar would be totally fine for me but he wont react. I feel like this might be systematical. On the other hand I am sad that Quatar is not part of a customs union and it must be VERY hard to get modules there. But for everybody it would be soo much fairer to be transparent about the situation. @Drazen, if you read this: there is still time (they keep my package until the 10th) to step up and refund either partially or fully.
Sad - this is kind of my first not so good experience out of about 20 transactions on the marketplace...
Thanks @Drazen for the Sub6 mixer. Arrived quickly, and "like new" as described!
-- SpaceCowboyUnfortunately this guy @Drazen uses unacceptable selling practices.
The case: On all of his offers on marketplace (and there are many of them) he's marked his region as EU.
Having proceed transaction with him, buying a used Make Noise “Rene” for 360€ (shipping incl.),
i was very unpleasantly surprised when realised that according to DHL shipment tracking information
he provided, the true location dispatch was actually from DOHA / QATAR !!This means that (under the relevant laws of Greece, where I am based) now have to pay an extra fee of 70€
for customs clearance, plus an additional fee of about 50€-100€ (depending on weight, kind, etc.) for “used
electronics" tax, even if the package marked as "gift".During this misleading info tactic @Drazen obviously applies in order to find a broader list of potential
buyers, than on his true non EU region area, now i should pay no less than about 480€ for a used item while
on my local store (synthesizer.gr) a brand new "Rene" costs 499€!This is outrageous!
Even though cannot call this strait as a Fraud (as the extra money won't go in "Drazen’s" pocket), however it is
an extremely faulty practice and definitely a real Fraud in terms of buyers wallet.EU residents Beware of your transactions with "Drazen Saric" :(
CAVEAT EMPTOR!
-- dmgd3ar
I have a similar experience with @Drazen and I had the same feelings but on the other hand you can not list an item in Marketplace located Middle East or Central Asia ( Is this a technical limitation ? @modulargrid ). It would be adequate if @Drazen would have indicated in his Description
-- cereyanlimusiki
I feel sorry if this is how you feel. I have never ever tried to hide the location of my modules for sale, if only you would have asked.
If someone just asks for PayPal address and transfers money without making any inquiries apart from "rack rash" then I don't see any problems. I have been honest to all my buyers about the location of my modules and their condition. It is listed as EU as I do live in EU, but as someone who lives from music recording and production I do move a lot and have more than one base. Some modules are shipped from London, some from Berlin and some indeed from Doha, Qatar. If people would have been more inclined to leave feedback then I'm sure the rest of you would know the truth.Cheerio
-- Drazen
The Rung Divisions is super interesting but quite pricey. I'd be all over it otherwise!
You can favor modules if you are a Unicorn member. That way you get a tab with only the modules you've starred/favored and can browse through them at will. Super useful! I use that to see only modules that I actually own :)
When using the Module Finder (re: list of modules) one of the options is a small briefcase. Use it to add/remove modules from the My Modules tab. The tab can be found right on top of the Module Finder, right next to the All Modules. You can switch between browsing all the modules, or just the modules on My Modules.
Enjoy!
I would also love to have a feature of favoriting a module that you might want to buy in the future or that you just like without owning it. I guys the Notification on the marketplace is a bit like that but I would just like to have a favorite list without getting those notifications, to build fantasy future racks with my favorite modules etc.
A way to "star" (GitHub style) a module would be a great way to keep track of interesting modules.
-- ArkoI think we had similar requests in the thread on Muffs. A list for favorite or owned modules which is also accessible in the planner for quicker drag'n'drop. This might come.
-- modulargrid
that's some really great tips..
One thing I'm not sure about is the VCOs, i like the idea of having 2 identical oscillators but not sure how "necessary" that is..
I could achieve that goal by getting something like https://www.modulargrid.net/e/zlob-dual-vco
and then get something a little fancier like https://www.modulargrid.net/e/other-unknown-dannysound-en129
Oh, and one other maker with a line of full kits: Erica. Their DIY line is very Polivoks-inspired.
Why not the Befaco Rampage instead of the Make Noise Maths? They are a lot alike, the Rampage has some advantages; you can trigger it manually by hand once (cycle is optional), also you can modulate the exponential/logarithmic pot if I'm correct here (I own a Maths only) , I find that a huge plus. Certainly when you combine a Rampage and a Befaco Dual Attenuverter it will be at least as powerfull as a Maths if you ask me.
The drums are from the Arturia DrumBrute. When the first part of the tune switches to the second I actually changed the pattern on the DrumBrute. The sounds are the same but the rhythmical composition changes. I don't think anybody noticed yet.
I’m not too keen to order separate components. I’ve done it before but for several reasons, including just the time and hassle, I’d rather just buy full kits. That not to say “without exception”, and if someone made an amazing module and called it numberwang, that might be enough, is the mitchell and Webb reference common knowledge?... I’ll check it out..
July ain't much for modular, normally. The only big show around is Summer NAMM, which as I've noted before is known also as 'Guitar NAMM'. Not smart, actually, since the show's in Nashville and while some people tend to stereotype Nashville as a 'guitar town', the real fact is that the city's been neck-deep in all sorts of tech for many, many years, some of it even in prototypical form. Anyone here ever lay hands on a McLeyvier, for example? I have...and yep, it was in Nashville. How about a Quantec Room Simulator? Yep, that too. First Roland 100m, or Moog IIIc, Chroma (ARP-badged, mind you!), or ARP 2600? Nashville, for me. The synth crowd needs to get on top of Summer NAMM, really...Nashville isn't all pointy boots and twangy gee-tars. Anyway, that being said, it's...
KICK ASS!!! for July 2018.
In which I root around in MG's seemingly-endless Eurorack listings for stuff that looks and sounds interesting, abuseable, and otherwise the sort of stuff that modularheads might want pointed out to them so they might not miss it in amongst the Eurorack deluge. So....to begin:
1) Patching Panda VIBRAZUM. It's a triple resonator. Or it's three bandpass filters. Or it's three filters pretending they're a mixer. Or, or, or...lots of 'or' here. This module is actually all of those things, and potentially a few more. Full CV over three 2-pole bandpasses, each with the option of a direct VCF out or the ability to mix to a single output. It's pretty bonkers, and sounds quite nuts in PP's video example. One thing I like, also, is the size: 14 hp, which for a triple-resonator-type device is rather convenient. About the only thing I'm missing here are individual VCF-ins, but hey...this is impressive enough as-is. $231, also kit @ $175-ish via Thonk.
2) Eowave Swing. This is a pretty nifty thing to jam into all of 5 hp. You get, count 'em, four clock delays under the same incoming pulse, with the extras of an onboard reset function, and three delay modes: absolute, probability (no info whether that's over a timing variation or a skipping function), and burst mode. This one's kind of a “you need a peek at this”-sort of thing for anyone doing a drumkit or sequencer-heavy build, as this has some nice timing mojo capabilities, and it's easy to squeeze in. $111.
3) G-Force Audio 101-VCF. Ohhhhh, yeahhh...this gets my attention right off the bat! Had a 101 for a long while, then later an MC-202 (about the same thing, soundwise), still semi-regretting not having either. Why? That beefy, intense sound...and that sound's key is this filter. G-Force says this is damn close to an exact replication, right down to the OTA chip wherein lies the magic. But they also add a two-channel mixing input and separate, attenuated CV inputs for cutoff and resonance. And it's blue...perhaps because some SH-101s were, too? Who knows? $210 is well spent here.
4) Recovery Effects and Devices Bleeding Hearts. Really, the video for this does much more explaining by example than I might be able to do, but here goes...it's a bit-crusher/waveshaper/distorter...but it has its own onboard 8-step sequencer for controlling the mayhem, in addition to external CV/gate control. Sound-wise, it's sweet...while I'm sure it can be pushed in the direction of digital mangleage, aliasing, and the like, what I heard was super-excellent analogish low-end gritty fatness derived from a...sine wave? OK, I'm impressed! Those seeking beefy crunchiness should have a look-see. $229.
5) Fancyyyyyy Rung Divisions. An unholy cross between the main bits of the infamous Benjolin and a clock divider, this thing is kinda nuts! It uses the chaotic aspects of Rob Hordijk's random-synth module plus some math/logic voodoo to create a core that allows the user to, well, “Benjolinize” (hey, i inventd a werd! kewl!) pretty much anything you opt to connect up to it. So instead of simply having the Benjolin's rungler circuit doing the usual thing within that module, it's possible to take that same chaotic behavior and have it do...well, anything you want, anywhere you can think of it. Again, too complex to explain in a blurb like this; check the actual module page for an extensive (and scaaaaary!) list of some possibilities, although this thing is so deep in the abuse potential zone that that list only scratches the surface. $314.
6) Ladik L-124/125 Harmonics LFOs. Oh, yeah...now this is sweet. Two different LFOs, two different methods. The L-124 is a sine LFO with taps for the fundamental (300+ secs – 20 Hz) plus four harmonics of that fundamental. Additive-ish...but we're way on down in the modulation zone here, even though you could conceivably get audio out of the harmonics taps at the upper range. The L-125 is a different critter, tho...fundamental, plus two user-settable harmonic taps that can be ranged between the 2nd and 12th partials, plus the ability to jumper-select some additional phase-angle fun on each tap. Both mix their composite signals down to a single output for a nicely-complex modulation signal, and both go for the stoopid-cheap price of $62 each!
7) Retro Mechanical Labs GPI. Effects pedal send/return done right. This module gives you two mono channels of send and return, with trimmable levels to the pedal send outputs, and dual multed outputs on the return. Very simple, very nicely-done, and very open-ended, since you have no worries about how to deal with the channel differences between mono and stereo pedals. The price, also, is killer...$89. A great price, one low enough that one might not be enough!
8) Takaab 2LPG. And last, with the least in the price department, is Siam Modular's passive low-pass gate pair. Yes, passive...no power needed! I wish these had a demo, but judging from the description, these seem to have some tonal similarities to the old Buchla 100 LPGs. Also some behavioral ones, since lower cutoff frequencies appear to give shorter decay times, which I seem to recall being a 'quirk' of the early Buchla LPGs. But they're nowhere as big; the duo takes up only 3 hp. Being passive, though, a bit of signal gain after these would be a good idea, since they're apt to be a bit lossy in terms of gain structure. But...holy cats, they're only $32!? Someone get me a spatula...my jaw's on the floor!!
So, yeah...that's it for July. August will be interesting, though, as that month is a big ramp-up to Knobcon, with the AES show about a month later. Time for those synth module makers to get big busy!
Genius as always Lugia- you really need to write a book on synths and the modular world- I would want an early adopter copy and review it.
I love my Elektron Analog 4 MK2 synth- it has great capabilities for CV routing and sequencing. I use it with my Make Noise 0-coast as stepping stone into the rat hole of modular gear. What I love about it is to layer the FX such as reverb and delay on top of the modular stuff for extra flavor. In and of itself, the Analog 4 is just an awesome analog synth with great sound and one of the best sequencers on the planet. You can create entire songs alone with it.
I dig the MS-20 that thing is mean and great value. Very dirty and playful character and finally got time on one this week.
I wanted a cheap sequencer for modular besides my Analog 4 and the Korg SQ-1 delivers for value. In some ways I like it better to sequence my Make Noise 0-c0ast because it has some tricks up its sleeve missing from the Elektron like more CV control options and so forth. Plus it connects to my Korg Volca Beats easily as a master controller device.
Seconded, Nonlinear Circuits looks like a greaf place to start! One of thesr days I WILL make that B0ng0
Nonlinearcircuits! I've built a Numberwang, and just finished a Hypester. I love the Hypester! if you're down to source your own parts from BOMs, that is—but then it really will be cheaper than a kit, and you learn a lot.
Huh, yeah.. most of my research so far has been from YouTube and muffwiggler and other various “diy” posts, tbh I have not come across much discussion of ELBY, I will give it a better look, thank you.
Ok, thanks for all your input @Lugia! I will give the LxD another chance, it's not really all that bad just as a VCA, maybe I will just use the 12db channel strike for hats and clicks. I will hold off on judging too critically till I get my power supply cleaned up better.
BTW Did you see all the linked pictures I posted of the finished box in cherry? There are some additional touches to do when the rest of my power supply parts arrive, but until then it is packed with modules (and maxing out my uZeus :-( yikes! ).
Not a problem. Just compare how many I have to how many you have. If I have 2 distings, and you have 52, then we have only 2 modules in common, not 52 in common.
If I have one Disting and 50 other modules, my rack isn’t much like a rack with only 50 Disting though. But that’s how it’s calculated.
The modules are in hand since yesterday! My first steps into racks! Nothing's 'playing nice' yet but I hear 'magic' from time to time. I don't know -yet- how to set the Morphagene to the Eloquencer other than basic triggers, and you mention a trigger sequencer. Could you explain why I need a trigger and what type: big, small, I don't know what you mean? Sorry... Thanks for your very valued feedback!
Problem is, though, that sometimes having a pile of the same thing is legit. Sure, umpty-leven Distings is dumb as hell...but someone building a large cab with, say, 16 of the same VCOs...potentially not so, especially if they're putting together a modular polysynth or some sort of major additive rig. The question would then be: 'where does one put that quantity cutoff limit?'.
Not a bad idea, that last bit. As for the LxD, the top channel is supposed to be a 12 dB, 'mildly resonant' gate. But what that sounds like is either that the gate is miscalibrated or outright faulty. I'd check with Make Noise about that, actually.
Weird...you're in Australia, you want to do DIY, and not an Elby module in sight...?
The Morphagene should 'play nice' with the Eloquencer's CV outputs as well as the gating. As to exactly how to do it, that's best answered by yourself once the modules are in hand, as your best method might not be the same as mine. So...what I would suggest is to add a trigger sequencer, potentially clocked by Pamela's, to deal with dedicated drum triggers as well as triggering any envelopes, etc. The Pamela's should probably be locked to an incoming MIDI clock via that interface, which you can either pass from the Pamela's to the Eloquencer, or you can mult the MIDI interface's master clock to both. Eloquencer is also excellent for the Noise Eng. module.
As for which drums...hmm...that's more a matter of what sort of music you're trying to do. I'd suggest spending a good bit of time researching the drum modules on here, particularly if the listings have links to video/audio material where you can get a good idea of what sounds you're going to get. Also, you'll want a few more submix channels as the amount of drum modules grows; I'm also not sure that the Mixup is the right device for the job here, as something with actual pan controls would make more sense for your final stereo mixer.
I'd really find the "similar racks" function interesting if I didn't get tons of these types of "hits": 
Would it be possible to remove racks with many of the same module from the similar list? Or perhaps only count each module once even if there are several in the rack?
@Lugia Cool, I went for the Filter8.
I am playing with a new LxD now and I have mixed feelings about it, the bottom channel is really nice and rings out long but the top channel is just so sharp and it pops like I'm plugging in a hot mic! The strike input is also not quite sensitive enough for me, I need to put my triggers through a VCA first to get it to ping loud enough to hear. I am very tempted to return it and swap it with a Kinks (to put next to Batumi).
With the rest of the build I finally reached a decision point on what VCA to get:
After fiddling around with the Batumi I realized that many of my modules (like doepfer quantizer, and NE modules) only take +0-5V, I was getting really frustrated at having to use up 2 of my attenuverters just to do a +5V offset, (or use 3 channels to do an offset+scale). That was when I had an AH-HA moment, and decided to swap the Intellijel QuadVCA with a MI Blinds in my modulargrid and the stars aligned! This must be a match made in heaven, CV offset/scale in every channel plus mixing, I can't imagine a better pair.
Artists throughout history have inspired billions with their music. I am one of those billions, and my dream is to do the very same; but, how? The musicians that awe-struck my mind always had a certain tone and feeling in their music. These musicians used analog synthesizers. So, I sought out to use the same kind of instruments with a specific taste in mind: play something different, create something inspiring, make something incredible. At the same time, I am someone with an imaginative and creatively structured mind; so, what did I do? I spent time researching the instruments these musician used and pondered around modular synthesis. I was dumbfounded by the immense amount of opportunities that came along with this technique of making music. I then took to the "drawing board" --per say-- and started to create my own synthesizers.
The DREAVisual synthesizers were made in order to accomplish one mission: make incredible music. To accomplish this task, I envisioned a modular synth with features likewise to a conventional synthesizer. These features would include: a keyboard, a crisp and analog sound, and an ergonomic design. So, I sought out to design the first model of the DREAVisual Synthesizer, the DREAVisual-tMK1. The name of the model can be broken down fairly simply; "DREAVisual" stood for the Synthesizer's name, "t" stood for touch, and "MK1" stood for the mocked up generation. I chose to label this mock-up with "t" as I wanted the name to reflect it's true, tactile, and immersive feeling the user has when playing the synthesizer. The design was quirky at first, and did not fully meet the expectations I set; however, with long hours spent researching, I pulled together and finalized the "tMck1". There were 3 rows to the synth, all of which had 90 HP to hold carefully selected modules. The case that held these rows was the Pittsburgh Modular Structure EP-270, and when laid on its back and facing the user top rack to bottom, the design could be used in an uncommon fashion. This peculiar layout expressed a feeling likewise to an ordinary synth; the keyboard on the bottom and lower than the knobs, sliders, and I/O's that overshadowed the entire synth. These modules that over-swept the synthesizer included the names of Anushri, Tetrapad, Polaris, Maths, Metropolis, A-124 SE, Braids, and many others. Altogether, this electronic instrument could blow your ears with astonishingly beautiful sounds. The DREAVisual-tMck1 was complete; however, the mission I sought out for did not feel over just yet. This is when I expanded the DREAVisual line-up with the Mck2 signature models: the "tMck2d" and "tMck2lp". These synths were a perfect and expansive combination of the Mck1 and split the synth into 2 separate instruments. The DREAVisual-tMck2d --"d" is for desktop-- pulled the twisting and turning of the modules into one rack, better known as a module-man's playground; whereas, the DREAVisual-tMck2lp --"lp" is for lap-- took the handheld and tactile feeling from the keyboard and formed it into one rack. Together, these 2 racks made a perfect combination for even more crisp and organic musical opportunities. They both entailed an Anushri, Tetrapad, Polaris, Maths, Metropolis, A-124 SE, and Braids -- likewise to the previous mock-up; however, there were many more modules to expand upon: the MMG, Circadian Rhythms, Rotating Clock Divider (R.C.D), R.C.D Breakout, A-111-5 Mini Synth Voice, ZERO Baseline MkII, Function, Atlantis, A-146, and many more. These modules inside of a Pittsburgh Modular Structure EP-270 in a traditional set-up and a Vermona Modular Case 104 were two tickets to modular heaven (for the everyday consumer); yet, I still felt that my job was not finished. I needed to make one final addition to the DREAVisual line-up: the DREAVisual-tMk3m and DREAVisual-tMk3s. These module racks were created to be the final destination for any synth enthusiast. The DREAVisual-tMk3m --"m" is for, yes you heard me right, mega-- held a plethora of modules: a Modified 0-Coast, Ricther Wogglebug, Chronoblob, ALM005 - Dinky's Taiko, Pamela's NEW Workout, Pexp-2, Echophon, Morphagene, Tempi, DPO, Erbe-Verb, Shuffling Clock Multiplier (SCM), SCM Breakout V2, Quad Clock Dustributor (QCD), QCD Expander, Pingable Envelope Generator, Spectral Multiband Resonant Filter, Akeie's Taiko, Rainmaker, Pulse Tornado, Planar, Plog, Rubicon II, uFold II, 2 STOs, and many, many others. Not to mention, all whopping 34 modules were held inside a 4 row, 104 HP, MDLR Performer Series Pro Case. This rack was ready to hit the road; however, the design could not be complete without the 3 row, 140 HP, Pittsburgh Modular Structure EP-420 with the case being used on it's back and setup reversed from top to bottom. The modules inside this monstrosity were an Anushri, Tetrapad, Polaris, Maths, Metropolis, A-124 SE, and Braids --similarly with both previous mock-ups; yet, there were still so many modules to cover. There was also a Sputnik Touch Keyboard: a 29 key keyboard 15 keys larger than the original KB-1. There were also modules like the Atlantis, Circadian Rythms, RCD, RCD Breakout, and others; all of which were seen previously on the "Mck2" models. Altogether, these expansive lists of modules made up the towering, musical masterpiece all derived from a simple goal: make incredible music. Finally, that goal has been accomplished.
Now, I can proudly say that I have the "tools" to create music just like the musicians that inspired the billions of people that included myself and maybe you too. Now that I have taken and accomplished my call to action, it's your turn. Please, consider taking a look at any of the 5 models from Mock 1 to the Mock 3's and maybe you will be just as inspired to make something out of the ordinary.
Thank you :)
THE LINE-UP
tMk1 - 
tMk2lp - 
tMk2d - 
tMk3s - 
tMk3m - 
It has been in the back of my mind for a long time to build a modular synth, i might have some spare time and money soon so thought it would be a good idea to start doing the research. I am not new to synths or DIY.
My goal is to use exclusively DIY and only full kits. I am in Australia so our selection is more limited and prices tend to be quite high and I'm not interested in sourcing parts myself.
There is one exception to the DIY rule and that is maths. I am very interested in getting this module, but it might wait until after I have the rest done. I am planning to start with the doepfer a100 diy kit. I have a rack road case already and will make some rack ears.
Here's my sketch so far, would love any comments or suggestions.
The rack here below in my post only has 2 oscillators, i'm not sure why, when i click it loads the correct one, not sure if that's just an issue with what I'm seeing..
Thanks to @440adcd for very good packaging and fast shipping!
I'm very happy for the reply Lugia!
I think I know what I want to do, but putting it into a cohesive paragraph was always going to be a problem! I want to create melodic percussion incorporating Eloquencer/LIP being live-sampled by Morphagene, random rhythms with Pico Drums and Pam. I now understand that more mods are needed to play with the Eloquencer. What drum mods do you suggest? You are right though; how do I sequence the Morphagene?
Had a look at the 8NU8R specs. Is the hum occuring when you have your output plugged in, but no input into the 8NU8R? If so, then what you're running into is normal for the module, since it's designed to output an offset DC voltage when no input is present. Headphones might not pick up on the humming, but with something active such as a preamp stage (as in the Focusrite box), it's going to be brought up to audio levels...and then some. Plus, running DC offset directly into a preamp, depending on the type of preamp, might not be a good idea.
Really, that module isn't designed to be a proper output, upon closer examination. A proper output is something more like this: https://www.modulargrid.net/e/pittsburgh-modular-lifeforms-outs where you have a ganged stereo attenuator and 1/4" outs, possibly also a separate headphone amp, and the like. While the point about the star ground I made earlier is also valid here, using a proper output module is probably what's actually needed.
Depends. The two main issues I see here are 1) what exactly do you intend to do with the sampler and 2) is this more drum-centered or sampler-centered.
For the first point, is the idea that you want to live-sample and manipulate that flow (in which case the Morphagene is perfect) or to have a large amount of triggerable samples onhand in various banks?
As for the second, the real issue will be the sequencer. If you plan on doing a lot of pitched-type electronic percussion, then the Eloquencer is excellent. But if the idea is to use 'fixed' drum sounds, then something simpler and more trigger-oriented might be better. Plus, whichever choice is the primary idea, you'll still need to control a sampler. The Morphagene can work fine with something simple, but if you want a lot of samples and such under the sequencer's control, then something more complex such as a Squarp Hermod might be a better idea.
The thing w the wire touching the lip of the jack is not really doable on both sides because one side is an XLR (if I as non-native speaker understand the meaning of 'lip' right then there is no lip :D). The humming stops if I carefully wiggle the cable and then take care not to change its position/not to wiggle it any more.
What surprises me: it really sounds like a ground loop issue, but today I tried a 100USD hum eliminator and this had just no effect.
There is no humming if I plug in a headphone into teh 8NU8R, the humming only occurs with my active speakers.
https://cdn.modulargrid.net/img/racks/modulargrid_712881.jpg
Need some help guys...Trying to set up a drum and sampling rig but a bit stuck on where to go next?
Thanks
Hi,
I've finally dipped my big toe into Eurorack! I want a drum/sampler core and put this together. Do I need more being a newbie?
https://cdn.modulargrid.net/img/racks/modulargrid_712881.jpg
Umm -- reminds me of times when I dumped samples from my S612 to my Atari ST via mid cable. Those mini Akai disks were just too expensive and the drive was a ridiculously large 19" unit. That one was 12 bit and gave your samples a noisy decay but good fun nevertheless. All the more for its analog velocity sensitive filter. Used to play my own percussuion samples with it by way of a first gen Octapad that had terribly laggy midi processing and made you play behind the beat. Those were the days.
