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The Modular Thread 2017 Modular Synthesizers
Old 29th May 2017
  #3841
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Derp's Avatar
Any other Dreamboat owners on here? Got mine in yesterday, and it feels like I'm really missing something with this. I get how chaotic attractors work (and I love my Sloths for them), but this doesn't really act the way I expected it to. Any pointers from you cats out there?
Old 29th May 2017
  #3842
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Derp's Avatar
Quote:
Originally Posted by justjools View Post
I just came across the Doepfer quad a-135-1 CV controlled mixer and I was thinking that could be interesting fading things in and out over time. What else could you do with this?
Are you referring to the first version or the second one? The second version has individual outs for each channel so it's a quad VCA as well as a mixer. I bought one early on along with a Morph Controller so I could build a cheap knock-off of a Segwencer (because that module is way too expensive for what it is.) Using the Morph Controller, a quadrature LFO, or a PDO, you can get some really awesome crossfades going on for weird evolving textures.
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Old 29th May 2017
  #3843
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justjools's Avatar
Quote:
Originally Posted by Derp View Post
Are you referring to the first version or the second one? The second version has individual outs for each channel so it's a quad VCA as well as a mixer. I bought one early on along with a Morph Controller so I could build a cheap knock-off of a Segwencer (because that module is way too expensive for what it is.) Using the Morph Controller, a quadrature LFO, or a PDO, you can get some really awesome crossfades going on for weird evolving textures.
That's what I started imagining but you communicated something much more. mmm... interesting (scratches beard and ponders)
Yes the second one with ind. outs.
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Old 29th May 2017
  #3844
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TMT75's Avatar
Quote:
Originally Posted by Derp View Post
The only one I can think of is the 1010 FXBox. There's lots of manglers out there, but most of them require sampling into them first. That alternative firmware for Clouds might be able to do it, but I haven't had a chance to try it out yet.
Ok not the same, but I saw this one 1 minute ago.
Looks nice! I have a Chronoblob that I really like. Alright devices
http://www.alrightdevices.com/product/t-wrex
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Old 29th May 2017
  #3845
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TMT75's Avatar
Quote:
Originally Posted by justjools View Post

And also... could you give some pointers using Pamelas. Since I bought it a couple of months ago, I've hardly used it. I have no reason to use it with drums as I use drum machines or samples. What I thought I would use it for is to re-trigger envelopes and LFO's. What else should I be using it for? Does it make toast
I ordered one yesterday. Not for the toast, but for the drumparts. But I'd like to know too what else Pamela can do for me and the modular......
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Old 29th May 2017
  #3846
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void23's Avatar
Quote:
Originally Posted by Derp View Post
Where did you find one that was in stock? This is one of those so cheap it's a no-brainer kind of modules and I totally want it.
Ordered from 2hp directly.
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Old 29th May 2017
  #3847
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the new pam does envelopes & lfo's. euclidian envelopes is really cool.
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Old 29th May 2017
  #3848
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ImNotDedyet's Avatar
Quote:
Originally Posted by justjools View Post
I just came across the Doepfer quad a-135-1 CV controlled mixer and I was thinking that could be interesting fading things in and out over time - I was thinking this assuming it's at the end of the chain but really it's a vca mixer that can be used anywhere. What else could you do with this?
It's actually a very flexible module. You could use it as a CV controlled mixer, as you mentioned, individual VCA channels along with a couple mixed channels, it's got gain control as well input level control. Essentially, you can use it the same as you would any VCA - voltage controlled signals, mixers, mixers + CV.
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Old 29th May 2017
  #3849
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void23's Avatar
Quote:
Originally Posted by Derp View Post
So the A-160-2 finally came in. Mine counts off on the up beat (1-2-3-4-1-2-3-4). I have no idea why yours and mine are counting off so differently.
Sorry if I mislead you ... That's why I went through the trouble of video'ing the damn thing.
Old 29th May 2017
  #3850
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void23's Avatar


A Sunday night modular session ... Yet another, but completely different exercise in generative patching. It's so full of LFO's! Quantized Turing Machine is feeding Chord. The each output of Chord is going into the Quadra with envelopes cascading trough the EOC outputs. Attack and Decay on Quadra are modulated via Batumi. To mix things up, the SSM is randomly swtiching which output from Chord goes to each envelope. Mostly filtered through Morpheus with a side chain of Wasp. Other modules added for variety. 'Verb is Clouds since everything sounds better with reverb. Modules used include --

Turing Machine
Chord
Wogglebug
Yarns
Octocontroller
Batumi
Evolution
WMD MMF
A-160-1, A-160-2 and A-160-5 clock utilities
Erica Black Wavetable VCO
uScale II
Clouds
Streams
Veils
Blinds
Erica Black Stereo Mixer
EMW Alias
Doepfer WASP VCF
Ornament and Crime
Morpheus
WMD SSM
Arpitecht and Triads
Quadra with expander
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Old 29th May 2017
  #3851
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justjools's Avatar
Quote:
Originally Posted by oinkbanana View Post
the new pam does envelopes & lfo's. euclidian envelopes is really cool.
You got me excited there. Envelopes & lfo's, wow! I didn't know it did this but having a look I have the old version not the new one :( I could see how that would be really useful - 8 envelope or lfo's in such a small package.

I would like to explore the one I have though and see what it offers. My attempts at using it to trigger Braids only resulted in little clicks, even when slowed down. Are there any tutorials that aren't about triggering drums? I would appreciate some guidelines on using it to trigger envelopes n lfos and oscillators. I find it quite confusing.

I just realised this is also linked to another question I have about the A-141 VCADSR and similarly Maths for triggering CV inputs. What should I be triggering the CV's with? An LFO? Is this then what Pamelas is useful for?
Old 29th May 2017
  #3852
Lives for gear
Quote:
Originally Posted by justjools View Post
You got me excited there. Envelopes & lfo's, wow! I didn't know it did this but having a look I have the old version not the new one :( I could see how that would be really useful - 8 envelope or lfo's in such a small package.

I would like to explore the one I have though and see what it offers. My attempts at using it to trigger Braids only resulted in little clicks, even when slowed down. Are there any tutorials that aren't about triggering drums? I would appreciate some guidelines on using it to trigger envelopes n lfos and oscillators. I find it quite confusing.

I just realised this is also linked to another question I have about the A-141 VCADSR and similarly Maths for triggering CV inputs. What should I be triggering the CV's with? An LFO? Is this then what Pamelas is useful for?

Braids out->VCA in
Envelope/ADSR out-> VCA CV in
Pamela's trigger out-> Envelope Trigger in

You can pitch the braids with anything, even just a simple lfo for starters. If you have a sequencer, you might want to split the trigger out from pamela's to step the sequencer as well, but not always required - or clock divide it.... Or do that with a sample and hold. Can also use a filter instead of a VCA.
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Old 29th May 2017
  #3853
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cane creek's Avatar
 

If anybody is interested AMSynths have 6 x AM8019 ARP 2600P VCA's instock at their webshop, blink and they'll be gone.
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Old 29th May 2017
  #3854
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Derp's Avatar
Quote:
Originally Posted by void23 View Post
Ordered from 2hp directly.
Old 29th May 2017
  #3855
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Derp's Avatar
Quote:
Originally Posted by void23 View Post
Sorry if I mislead you ... That's why I went through the trouble of video'ing the damn thing.
Ah, no worries, dude! I was kinda hoping it would since my Zlob counts on the downbeat and the RCD can be switched back and forth. I'm just having trouble understanding why yours and mine are reacting differently. There's a jumper on it that makes it respond to the falling edge of a clock rather than the rising edge, but I didn't think it worked that way to switch it from upbeat to downbeat.

Old 29th May 2017
  #3856
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Derp's Avatar
Quote:
Originally Posted by void23 View Post
A Sunday night modular session ...
Damn, son! That's tickling my erogenous zones there!
Old 29th May 2017
  #3857
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Thought a bit about my last response and @justjools problem, and figured you (and a few others on this thread) might benefit from a bit of a signals 101.... sorry if it sounds a bit basic, but seems you might need a first principals approach that will hopefully help you get more out of your toybox in future too.

There are essentially 3 types of signals in modular: Audio, CV and what I'm going to call "timers" for now.
(As they are all just voltages, the distinction is somewhat arbitrary and later you'll see that to an extent they can be used interchangeably, but keeping them separate conceptually will help to figure stuff out initially and understanding them properly will allow you to abuse them more sensibly later on)

- Audio
Fairly obvious, but just to be complete, this is a rapidly fluctuating voltage just like the recorded waveform you see in a DAW, in modular the difference is that the peaks and troughs are at a much higher level than you get in a typical audio signal. Typically you'll get this from an oscillator, but could also be an external input (boosted) or a filter or sampler. We'll come back to some other sources later.

- CV
This is what determines "how much". How much of anything. How much volume, how much cutoff, how much attack etc etc - everything you see with a CV in jack - and of course how much frequency being the obvious one that is specially calibrated to correspond to a change of one octave per volt. There are static voltages that you could get from e.g. a keyboard key, (unclocked) sequencer or constant voltage source module, but we often want the "quantity" to change over time which is where we come to envelopes, LFO's and other function generators.

- "Timers"
These are the "when" parts of the equation; gates, triggers and clocks. When the receiving module senses the incoming voltage crossing a certain threshold they spring into action. With gates, its also relevant when the voltage drops below the the threshold - triggers and clocks are otherwise the same, just that clocks tend to be regularlyion. spaced, while triggers are more arbitrarily timed. As there isn't a standard threshold, triggers and clocks tend to be quite high voltage pulses and are also quite short, both because their length doesn't matter, but also so that they can be repeated in quick succession. Gates tend to come from keyboards, sequencers (which also output CV) or manual gates; Clocks from surprise surprise clock modules (and multipliers and dividers) and triggers from trigger sequencers (that mostly don't alsp put out CV) and function generators that output triggers at the end of their cycles or stages thereof. Gates are largely used with ADSR envelopes - the start and end points being relevant to the various segments. ADSR's can also be triggered, but the "S" segment is non-existant because triggers are so short. Some LFO's can also be triggered or clocked which sometimes syncs them, but is more often just restarts their cycle. Clocks keep everything in regular time while triggers usually have some relation to the clocks and cause things to happen at certain timings, if you can see the distinction.

- They're all voltage [Bonus section]
Once you understand the concepts, as alluded to earlier, we often blur the lines - a square wave LFO is often used as a repeating gate signal for starters, some modulation of pulse width can give you varying note lengths or alternatively the same LFO could be a master clock for the whole system. A short audio percussion shot can be used as a trigger, or a high-frequency clocked trigger sequencer will produce an audio tone from all the short repeating pulses. Take a square audio wave out of your oscillator and use that to clock a note sequencer and you can "draw" a waveshape with the note values. Put an audio signal into the CV cutoff of a filter for some filter FM. Run your CV's through the audio in of a filter or wavefolder to generate funky shapes.

- Pamela's
Pamela's is primarily a trigger sequencer. From the above, you can see that you were putting a trigger into a V/Oct CV input, hence just getting clicks. The last section tells you there's nothing wrong with doing this of course, but only if you are wanting constant frequency clicks at certain intervals. Trigger sequencers send out triggers at algorithmic or programmed timings and are either internally or externally clocked. While they are primarily used for percussion, you could ping different envelopes to open filters or VCA's. You could also "clock" a sequencer irregularly, or maybe rhythmically would be a better way to put it, similarly a sample and hold module. Also if you have some kind of sampler module!
Not generally a lot of use for triggering an LFO, but depends of course what the LFO is controlling the "how much" of, but of course if you are sending a regular beat to a clockable LFO, it has some utility. As Pamela's is an "advanced" trigger sequencer, you can probably also set it to output gates rather than simple triggers too. Basically even if you're not exactly using it for percussion, its all about rhythm, you'll just have to figure out where that rhythm is best applied in your patch.
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Old 29th May 2017
  #3858
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justjools's Avatar
Quote:
Originally Posted by ImNotDedyet View Post
It's actually a very flexible module. You could use it as a CV controlled mixer, as you mentioned, individual VCA channels along with a couple mixed channels, it's got gain control as well input level control. Essentially, you can use it the same as you would any VCA - voltage controlled signals, mixers, mixers + CV.
Thanks. I nabbed it
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Old 29th May 2017
  #3859
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justjools's Avatar
Quote:
Originally Posted by butter View Post
Thought a bit about my last response and @justjools problem, and figured you (and a few others on this thread) might benefit from a bit of a signals 101.... sorry if it sounds a bit basic, but seems you might need a first principals approach that will hopefully help you get more out of your toybox in future too.

There are essentially 3 types of signals in modular: Audio, CV and what I'm going to call "timers" for now.
(As they are all just voltages, the distinction is somewhat arbitrary and later you'll see that to an extent they can be used interchangeably, but keeping them separate conceptually will help to figure stuff out initially and understanding them properly will allow you to abuse them more sensibly later on)

- Audio
Fairly obvious, but just to be complete, this is a rapidly fluctuating voltage just like the recorded waveform you see in a DAW, in modular the difference is that the peaks and troughs are at a much higher level than you get in a typical audio signal. Typically you'll get this from an oscillator, but could also be an external input (boosted) or a filter or sampler. We'll come back to some other sources later.

- CV
This is what determines "how much". How much of anything. How much volume, how much cutoff, how much attack etc etc - everything you see with a CV in jack - and of course how much frequency being the obvious one that is specially calibrated to correspond to a change of one octave per volt. There are static voltages that you could get from e.g. a keyboard key, (unclocked) sequencer or constant voltage source module, but we often want the "quantity" to change over time which is where we come to envelopes, LFO's and other function generators.

- "Timers"
These are the "when" parts of the equation; gates, triggers and clocks. When the receiving module senses the incoming voltage crossing a certain threshold they spring into action. With gates, its also relevant when the voltage drops below the the threshold - triggers and clocks are otherwise the same, just that clocks tend to be regularlyion. spaced, while triggers are more arbitrarily timed. As there isn't a standard threshold, triggers and clocks tend to be quite high voltage pulses and are also quite short, both because their length doesn't matter, but also so that they can be repeated in quick succession. Gates tend to come from keyboards, sequencers (which also output CV) or manual gates; Clocks from surprise surprise clock modules (and multipliers and dividers) and triggers from trigger sequencers (that mostly don't alsp put out CV) and function generators that output triggers at the end of their cycles or stages thereof. Gates are largely used with ADSR envelopes - the start and end points being relevant to the various segments. ADSR's can also be triggered, but the "S" segment is non-existant because triggers are so short. Some LFO's can also be triggered or clocked which sometimes syncs them, but is more often just restarts their cycle. Clocks keep everything in regular time while triggers usually have some relation to the clocks and cause things to happen at certain timings, if you can see the distinction.

- They're all voltage [Bonus section]
Once you understand the concepts, as alluded to earlier, we often blur the lines - a square wave LFO is often used as a repeating gate signal for starters, some modulation of pulse width can give you varying note lengths or alternatively the same LFO could be a master clock for the whole system. A short audio percussion shot can be used as a trigger, or a high-frequency clocked trigger sequencer will produce an audio tone from all the short repeating pulses. Take a square audio wave out of your oscillator and use that to clock a note sequencer and you can "draw" a waveshape with the note values. Put an audio signal into the CV cutoff of a filter for some filter FM. Run your CV's through the audio in of a filter or wavefolder to generate funky shapes.

- Pamela's
Pamela's is primarily a trigger sequencer. From the above, you can see that you were putting a trigger into a V/Oct CV input, hence just getting clicks. The last section tells you there's nothing wrong with doing this of course, but only if you are wanting constant frequency clicks at certain intervals. Trigger sequencers send out triggers at algorithmic or programmed timings and are either internally or externally clocked. While they are primarily used for percussion, you could ping different envelopes to open filters or VCA's. You could also "clock" a sequencer irregularly, or maybe rhythmically would be a better way to put it, similarly a sample and hold module. Also if you have some kind of sampler module!
Not generally a lot of use for triggering an LFO, but depends of course what the LFO is controlling the "how much" of, but of course if you are sending a regular beat to a clockable LFO, it has some utility. As Pamela's is an "advanced" trigger sequencer, you can probably also set it to output gates rather than simple triggers too. Basically even if you're not exactly using it for percussion, its all about rhythm, you'll just have to figure out where that rhythm is best applied in your patch.
Thanks. That's made it a lot clearer. I guess I just need to play with Pam's and find out if I have a use for it, if I'm not using for drums.
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Old 29th May 2017
  #3860
Gear Addict
 
TMT75's Avatar
Quote:
Originally Posted by butter View Post
Thought a bit about my last response and @justjools problem, and figured you (and a few others on this thread) might benefit from a bit of a signals 101.... sorry if it sounds a bit basic, but seems you might need a first principals approach that will hopefully help you get more out of your toybox in future too.

There are essentially 3 types of signals in modular: Audio, CV and what I'm going to call "timers" for now.
(As they are all just voltages, the distinction is somewhat arbitrary and later you'll see that to an extent they can be used interchangeably, but keeping them separate conceptually will help to figure stuff out initially and understanding them properly will allow you to abuse them more sensibly later on)

- Audio
Fairly obvious, but just to be complete, this is a rapidly fluctuating voltage just like the recorded waveform you see in a DAW, in modular the difference is that the peaks and troughs are at a much higher level than you get in a typical audio signal. Typically you'll get this from an oscillator, but could also be an external input (boosted) or a filter or sampler. We'll come back to some other sources later.

- CV
This is what determines "how much". How much of anything. How much volume, how much cutoff, how much attack etc etc - everything you see with a CV in jack - and of course how much frequency being the obvious one that is specially calibrated to correspond to a change of one octave per volt. There are static voltages that you could get from e.g. a keyboard key, (unclocked) sequencer or constant voltage source module, but we often want the "quantity" to change over time which is where we come to envelopes, LFO's and other function generators.

- "Timers"
These are the "when" parts of the equation; gates, triggers and clocks. When the receiving module senses the incoming voltage crossing a certain threshold they spring into action. With gates, its also relevant when the voltage drops below the the threshold - triggers and clocks are otherwise the same, just that clocks tend to be regularlyion. spaced, while triggers are more arbitrarily timed. As there isn't a standard threshold, triggers and clocks tend to be quite high voltage pulses and are also quite short, both because their length doesn't matter, but also so that they can be repeated in quick succession. Gates tend to come from keyboards, sequencers (which also output CV) or manual gates; Clocks from surprise surprise clock modules (and multipliers and dividers) and triggers from trigger sequencers (that mostly don't alsp put out CV) and function generators that output triggers at the end of their cycles or stages thereof. Gates are largely used with ADSR envelopes - the start and end points being relevant to the various segments. ADSR's can also be triggered, but the "S" segment is non-existant because triggers are so short. Some LFO's can also be triggered or clocked which sometimes syncs them, but is more often just restarts their cycle. Clocks keep everything in regular time while triggers usually have some relation to the clocks and cause things to happen at certain timings, if you can see the distinction.

- They're all voltage [Bonus section]
Once you understand the concepts, as alluded to earlier, we often blur the lines - a square wave LFO is often used as a repeating gate signal for starters, some modulation of pulse width can give you varying note lengths or alternatively the same LFO could be a master clock for the whole system. A short audio percussion shot can be used as a trigger, or a high-frequency clocked trigger sequencer will produce an audio tone from all the short repeating pulses. Take a square audio wave out of your oscillator and use that to clock a note sequencer and you can "draw" a waveshape with the note values. Put an audio signal into the CV cutoff of a filter for some filter FM. Run your CV's through the audio in of a filter or wavefolder to generate funky shapes.

- Pamela's
Pamela's is primarily a trigger sequencer. From the above, you can see that you were putting a trigger into a V/Oct CV input, hence just getting clicks. The last section tells you there's nothing wrong with doing this of course, but only if you are wanting constant frequency clicks at certain intervals. Trigger sequencers send out triggers at algorithmic or programmed timings and are either internally or externally clocked. While they are primarily used for percussion, you could ping different envelopes to open filters or VCA's. You could also "clock" a sequencer irregularly, or maybe rhythmically would be a better way to put it, similarly a sample and hold module. Also if you have some kind of sampler module!
Not generally a lot of use for triggering an LFO, but depends of course what the LFO is controlling the "how much" of, but of course if you are sending a regular beat to a clockable LFO, it has some utility. As Pamela's is an "advanced" trigger sequencer, you can probably also set it to output gates rather than simple triggers too. Basically even if you're not exactly using it for percussion, its all about rhythm, you'll just have to figure out where that rhythm is best applied in your patch.

Can't wait for my new Pam. Within 2 days and it's mine...
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Old 30th May 2017
  #3861
Gear Maniac
 
baethku's Avatar
Took advantage of Memorial Day sales to purchase 1010 Music fxbox and Expert Sleepers ES-8. Now my case is nearly full! Have to buy a larger case.
Old 30th May 2017
  #3862
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void23's Avatar
Quote:
Originally Posted by Derp View Post
Damn, son! That's tickling my erogenous zones there!
Thanks. I've been going to these modular meetups out here and finally picked up something I could use. Also, this reminded me that maybe I shouldn't sell the Chord quite yet. Played with that patch again today adding a few more things until I ran out of patch cables.

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Old 30th May 2017
  #3863
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Just to follow up on my previous post, I don't think I'm going to get out of modular, but I think I might just hold back for a few months and work with what I have, other than maybe getting an MI Ears because it would be useful with this potentially upcoming project with a drummer/multi-instrumentalist friend, as well as my own interests with using external sources. Modular is but one component of my studio, and I've always viewed it as something I'd pursue for the rest of my life, so I can maybe just hold off on filling the rest of my Mantis case for a few months while I spend my time on other things and make the most of what I have (which honestly is quite a bit with a nearly full Mantis, a few semi-modulars, and Reaktor at my fingertips)...GAS could easily get the best of me, but right now I think I'll be best served with a hiatus to grok what I have and what I want to do.
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Old 30th May 2017
  #3864
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Kubase's Avatar
Quote:
Originally Posted by Accent View Post
Just to follow up on my previous post, I don't think I'm going to get out of modular, but I think I might just hold back for a few months and work with what I have, other than maybe getting an MI Ears because it would be useful with this potentially upcoming project with a drummer/multi-instrumentalist friend, as well as my own interests with using external sources. Modular is but one component of my studio, and I've always viewed it as something I'd pursue for the rest of my life, so I can maybe just hold off on filling the rest of my Mantis case for a few months while I spend my time on other things and make the most of what I have (which honestly is quite a bit with a nearly full Mantis, a few semi-modulars, and Reaktor at my fingertips)...GAS could easily get the best of me, but right now I think I'll be best served with a hiatus to grok what I have and what I want to do.
Sensible. I still haven't filled my first case despite being totally blown away by modular. I have so much to learn, and my future purchases will be for specific reasons after the initial splurge.

I can't see me buying any non-modular gear from this point onwards, however. It is most certainly my future. For whatever reason I am far more productive now, which is unexpected and awesome.
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Old 30th May 2017
  #3865
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Quote:
Originally Posted by Kubase View Post
Sensible. I still haven't filled my first case despite being totally blown away by modular. I have so much to learn, and my future purchases will be for specific reasons after the initial splurge.

I can't see me buying any non-modular gear from this point onwards, however. It is most certainly my future. For whatever reason I am far more productive now, which is unexpected and awesome.
FWIW, this is what I'm working with, along with a Mother-32, MS-20 Mini, and Dreadbox Hades, with further audio/CV out from Ableton Live/Reaktor 6:

Beyond that, I've got plenty of well-chosen "fixed" architecture synths and am not anti-software like a lot of folks. The year I've spent patching in modular has made a huge impact in how I program more fixed synths...and I'm not feeling the compulsion to fill out my rack right now when there's so much I can still learn without spending another dime. So, maybe I'll spend 6 months woodshedding with what I have, and drop another $2K in 6 months...maybe not. I already feel like there's a lifetime of learning in my incomplete 6U as it stands. Certainly more in my little studio than most of the albums I love were made with.

I'm still GASsing for modules of course, but it mostly seems like gravy to me now. Wants, not needs. Blasphemy, I know.
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Old 30th May 2017
  #3866
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Kubase's Avatar
Quote:
Originally Posted by Accent View Post
FWIW, this is what I'm working with, along with a Mother-32, MS-20 Mini, and Dreadbox Hades, with further audio/CV out from Ableton Live/Reaktor 6:

Beyond that, I've got plenty of well-chosen "fixed" architecture synths and am not anti-software like a lot of folks. The year I've spent patching in modular has made a huge impact in how I program more fixed synths...and I'm not feeling the compulsion to fill out my rack right now when there's so much I can still learn without spending another dime. So, maybe I'll spend 6 months woodshedding with what I have, and drop another $2K in 6 months...maybe not. I already feel like there's a lifetime of learning in my incomplete 6U as it stands. Certainly more in my little studio than most of the albums I love were made with.

I'm still GASsing for modules of course, but it mostly seems like gravy to me now. Wants, not needs. Blasphemy, I know.
Very similar to me. I use the DAW a lot and it is always my master clock. I have a Rytm, Dom 1 and Mother 32. I'm so pleased I have gotten over the hump that is incorporating the DAW with my hardware. Bitwig, Reaktor and ES are to thank for that. The possibilities are virtually infinite and yet I never feel overwhelmed. Derps post above resonated with me - with modular I never feel I am struggling with "too much gear" syndrome, I'm assuming because everything sits in a case and individual modules are small. At one point I had a Pro 2 as well as the Dom 1 and it kinda freaked me out.

I'll probably expand from 9 to 12u at some point, mainly to get my mother back in the rack for ergonomic reasons, but no rush. I think using the DAW helps here, it can fill in the holes. For example, Bitwig is a beast for complex modulations - they're really easy to set up and route to my case.
Old 30th May 2017
  #3867
Gear Guru
 
fiddlestickz's Avatar
my system has also come to saturation point, 4 cases, only looking at 3/4 more modules to complete the entire rig, to compliment it I've 2 poly synths..( 1xVA 1xAnalog) , 1 analog mono and DAW, a very small studio compared to some I've seen but I seriously couldn't deal with much more, it's way too distracting. I'm just waiting for my system8 to drop and I'm digging in deep and making an album using everything I've got..
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Old 30th May 2017
  #3868
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cane creek's Avatar
 

Im thinking sampling the modular and sequencing the audio in a elektron digitakt would be fun.

I think elektron have missed a trick by pricing it just a bit too high, £489 would of been ideal but £649 is just too much.
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Old 30th May 2017
  #3869
Gear Guru
 
fiddlestickz's Avatar
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Originally Posted by cane creek View Post
Im thinking sampling the modular and sequencing the audio in a elektron digitakt would be fun.

I think elektron have missed a trick by pricing it just a bit too high, £489 would of been ideal but £649 is just too much.

agree, they always overprice their gear by $300/400 imo..the digikat is $1200 here which really puts a lot of players out of action.. the idea of that box is great but the ergonomics again are rubbish, small flat black box with small screen and cramped knob farm.. it could be made to work and look much nicer..
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Old 30th May 2017
  #3870
Lives for gear
 
ngarjuna's Avatar
Quote:
Originally Posted by cane creek View Post
If anybody is interested AMSynths have 6 x AM8019 ARP 2600P VCA's instock at their webshop, blink and they'll be gone.
You can get an oustanding ARP 2600 VCA clone from Krisp1 (the Oakley Classic VCA) pretty much anytime. Rarer would be their 2600 filters (particularly the pre-lawsuit filter as they make one of the few clones of that) and the VCO is rarest of all (I don't know of any other module manufacturer with a 2600 VCO other than some random DIY projects).
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