Does anyone have any recommendations on voices with harmonic overtones, similar to what KGLW have in their current rig? https://youtu.be/IIHuPACQrsU?t=7206&is=ipkcdf7JgfkWD2TX

I know Braids or Plaits has a version but it’s a smoother transition between the overtones. The one in the rig above is more stepped which I really like.

Any guidance?

Hi there. been using Ableton since 2006 along with Wavosaur & audacity for simple sample editing and other utilities.

I want to find another DAW to use mostly for mixing and mastering. A lot of people have said and, have to somewhat agree, that Ableton doesn’t have the best summing and rendering algorithms. It has its own unique sound that many can recognize.

Recommendations?

I do not want ProTools. That’s about the only thing that I am not going to consider.

Logic, Reaper, Cubase…even would consider AUM on an iPad as a choice too

Appreciate the input!

I just came across the Bastl Waver and it's right up my alley. Unfortunately, they don't make them anymore. Does anyone make a module that does the same thing or am I destined to post up on Revetb and wait for one to surface?

been having a blast using the winter plankton zaps lately, here’s a small snippet from a jam. Was initially not being able to get the sounds i wanted from it but I spent some time and it’s super fun to play with live

According to the 0Coast manual, using MIDI CC 116, you should be able to setup a clock divider on the TEMPO input. However, when trying to change it from anything beyond 1 the clock just stops. Has anyone ever tried it successfully?

I don't have a logic operators module. But, hey, I got PAM Pro! Should be a breeze to make, say, a 'NOT'. Or at least that's what I thought.

What I wanted to achieve, exactly: I have a sequence coming from Steppy. I want to have the negative of that sequence: no trigger when there's a trigger on Steppy, and a trigger firing when no trigger is on Steppy. So that if I have an open hat that triggers on step 3, 7, 11 and 15 (from steppy) I get a closed hat triggering on 1, 2, 4, 5, 6, 8, 9, 10, 13 and 14 (from PAM).

Steppy is clocked from PAM from a time mult x4 channel.

The first thing I tried: connect the Steppy trigger out to PAM CV1, and use a channel (say channel 3) on PAM using the 'NOT' cross-op with CV1 as its source. That didn't work. I kept fiddling with the steppy gate length, with width/phase/level of my channel 3, with different cross-ops, without ever getting a clean result. Just approximations of what I really wanted.

What worked:

• setting PAM's channel 3 mult to 'Trigger', source CV1 (where the steppy is connected)
• setting PAM's channel 7 mult to x4 (same clock that clocks the Steppy), and its cross-op to 'Not' with Channel 3 as its source
• take my NOT out of channel_7

That works nicely, but it's not ideal as I have to give up 2 channels for a simple NOT.

Any way I can achieve my NOT using just 1 of PAM's channels?

Hi all,

I have an Intellijel Performance Case (2x104HP + 104HP 1U Row) as my primary modular system. As I'm slowly building it out (Rings / Plaits / Morphagene as my primary voices), I'm routing the audio out through my Eventide H90 and Microcosm for reverb/delay and any additional effects. I figured that effects would be the last purchase after I've finalized utilities, modulation, mixers, etc.

Are there any pros/cons to using actual effects modules VS routing everything to outboard gear?

Pro - The effects (reverb/delay/etc.) would be less static due to CV modulating parameters over time, thus making things sound more interesting and less stale.

Con - Less space available for additional modules that can solve actual problems such as utilities, modulation, envelope generators, VCAs.

My primary concern is that I would be "duplicating" gear in my home studio. For instance, I'm researching Intellijel's Swells and Make Noise Mimephone as my two primary effects modules in my rack.

Are there any pros/cons that I'm missing in purchasing effects modules for my Eurorack system? Or just sticking with my existing outboard gear for effects (reverb/delay) in order to free up space for other types of functions - utilities, modulation etc?

Thanks all!

I’m new at this and am seeking advice in the form of being absolutely torn to shreds.

Using this in a much larger studio with guitars, other synths, ableton, etc. I’m primarily a singer making downtempo and trip hop. Using it for everything from groove box to audio mangling. It’s my tool to get new ideas and add ear candy to tracks.

Thanks in advance.

Hi,

i got back into a small modular setup.

The last time I had a Maths Module.

I was thinking maybe replicating most of the functions with some doepfer modules?

https://cdn.modulargrid.net/img/racks/modulargrid_3238689.jpg

Would cost a bit more, but more freedom and I can build it over time?

Used the maths in the past mostly as an AD Envelope and some trigger mixing.

So I was on a mission to get an ADSR (four in total) with an Amp CV input to scale the level of the envelope, mainly to use this input for velocity control without having to use additional VCAs or deal with messy patching. This turned out to be harder than I expected. One of the best options was the Intellijel Tangrams/Dual ADSR, but I kept on browsing anyway, trying to find something with more features and cv options.

I thought the WMD Javelin could be perfect since I love the other features. I didn't look into it too much and got a good deal on a unit. When I got it, however, I realized that the envelope gets decoupled from the VCA as soon as I plug something into the AMP CV, meaning it's either the envelope OR the AMP CV. Am I missing something, or did I really just misunderstand the feature initially? Honestly, it would be a perfect ADSR for me if the AMP CV could somehow be used to scale the envelope itself.

Anyway, I ended up with two Tobinski/Dannysound Looping VC-ADSRs, and I really dig them.

EDIT: Yeah, the manual says "The envelope is normalled to AMP CV", which I probably misinterpreted.

EDIT 2: My idea isn't to replace VCAs in general ofc, it's just thougts on the env level control.

This is my first rack after years of planning, doubting and keeping busy with other hobbies. Its a year in the making and it took off because I decided to practice soldering (alot). Im at the point where Im comfortable with any THT project.

The idea for this rack is basically a supercharged mono synth for bass and leads. I'll be making mostly electro and acid. Its gonna be a hybrid setup because Im still looking for a "brain"/sequencer+quant.

Some modules not pictured are:

- Behringer Quad VCA

- Maneco Labs 8 step sequencer

- Erica Synths Swamp (not working, need to troubleshoot)

- DIY patchbay/power distribution for the top half of the case. This is a lil project im working on for when the modules spill over to the top half of the case. Im gonna use a DSub9 connector for power and HDMI ports for about 20-30 patch points.

For now all my effects are done through a pedal board. And I have a Behringer 303 clone on the board as well.

Let me have it, ya'll 🫰

I’m going down a bit of a rabbit hole, with these modules. I’m looking for a filter bank/ EQ module that will be suited to the treatment of acoustic instruments. I use a lot of feedback/ KS delay/ spring reverb. Im drawn to very human sounds with lots of varying transients.

However, I’m most interested in how a filter bank can sculpt a dry sound into something less recognisable, but maintaining the character of that instrument. EG: a hard plucked double bass, valve sounds, mallets.

I’ve looked at a few different options- Serge EQ/ zlob f3db. I want to ask for some advice from those with experience with filter banks. Particularly those who use them for acoustic instruments.

Cheers

Dear community. I was planning to get a Just Friends for pads. As an alternative, I’ve already created some great pad sounds with Saich in VCV.

It always frustrates me to read that you have to tune Saich over and over again. Although I don’t think I need to do that at all, since I actually like the detuning anyway.

The question is, does Just Friends actually play good pad sounds in Plume mode? Or is the AI just feeding me more nonsense again?

Many thanks to everyone.

I’ve had this module for a long time. It’s my favorite filter. I used to have two. I’ve only recently started to realize that I’m getting an annoying amount of signal noise from it. It’s because I’m running more drums through it and once that audio hits my drum bus the noise floor is extremely noticeable. I’m doing the same with my QPAS with no issues. Has anyone else experienced this? I sent this module in for servicing once before and now that they are based in California I’m not thrilled at the idea of doing it again.

Immediately after the news of the Mutable Instruments Beads source code drop, I was certain I could get Codex to build Beads as a module into Beebo/Hector and get Beads working. It’s amazing, though it still needs a lot of work and cleanup. Once I reach a comfortable point, I’ll post it on GitHub.

In this episode the Pack chats with musician, producer, music educator, and content creator Sarah Belle Reid. The conversation hits how to improvise with electronic instruments, what it means to listen, and how Sarah approached her most recent project, an electro-acoustic opera that took seven years to make! We struggle with the usual modular existential questions like whether to go big or to go small, and how to embrace our mistakes, even the ones made while podcasting.

Sarah Belle Reid's "Times Undoing and Progress" is available for preorder at bandcamp:
https://sarahbellereid.bandcamp.com/a...

Sign up for her course on sound and synthesis here:
https://www.soundandsynthesis.com

Sarah's website:
https://www.sarahbellereid.com/

Thoughts?

Finding I really like time with Röntgen. One small movement and something entirely unexpected emerges. I love instruments that reward curiosity, invite exploration, and make me lose all sense of time. Every time I think I understand this one, it shows me something new. #experimentalmusic #modularsynth #synth #generativemusic #synthesizer