ModularGrid uses so-called cookies to ensure it's so-called functionality. We also use dubious tracking scripts. Find out more in the Privacy Policy. We use cookies and wanna let you know.
Hi, I'm in the process of building a small modular system to accompany my music production. Will be mainly used in a studio setting as an extra source of sounds for my music production. I'm not sure what kind of sounds I want to get out of it. I want to see it as playground for learning modular and experimenting.
I already own the PSU, the plonk and the befaco output. All the rest is open for discussion. I tried to assemble something that makes sense, but except for using VCV Rack, I don't have much experience and might have overlooked some things.
As I see it now, I have:
2 sound sources (plaits + plonk)
a small mixer/vca (joranalogue mix 3)
a complex clock source (pamela)
a quantizer (intellijel scales)
a sequencer (intellijes steppy)
a mutifunction module (disting ex)
I still feel there's maybe some things missing for generating some randomness (s&h?). Also maybe some of the modules here could be combined/compacted with another module (steppy and scales maybe?).
2 sound sources is 1 too many for this size rack, imo
steppy is a trigger sequencer - which is great if you want to trigger percussion etc, however not great for sequencing melodies, admittedly you could use the scales as I believe that has a small v/oct sequencer in it - but - pams will do random quantized sequences that you can loop and do most of the trigger sequencing that steppy would provide
so I would initially at least drop one of the sound sources and both steppy and scales
if you are planning on using this with other instruments how are you connecting them? keeping them in sync etc? would a midi or dc-coupled audio interface make sense?
advice:
a rough guide to building a decent modular in terms of ratio of modules:
why? because a single sound source can be copied and processed differently, a few simple modulation sources can be mixed and modified to become more modulation sources that are more complex
Personally I don't think that this rack is good from the point of learning modular synthesis
a good starting point for learning modular synthesis is a sound source (anything - a cheap used analog vco will do, as will plaits), a sound modifier (a low pass filter - if you want to spend more get a multi effect like fx aid too), a modulation source (I like maths as a starter modulation source - see below), a way to listen (I always suggest a quad cascading vca like veils 1st, but you have the outs) and a way to play it (pams will do fine but is a bit of a pita to program and I can't see the screen in certain lighting conditions) - really useful additions are a utility starter set (mults, unity mixers, basic logic sample and hold, a dc-coupled vca)
why maths? google the maths illustratted supplement - it is a guide to self-patching maths in 32 different ways to get it to do differnt things other than it's most basic and obvious functions - working your way through this multiple times is a fantastic primer for modular synthesis - as all the principles/thought processes learnt will transfer to bigger systems - other modules can be sustituted, but they don't have the same level of
why veils? better bet than the mixer/vca you have - it has more channels, it is dc-coupled so you can use it for cv as well as audio (which is a fundamental technique of modular synthesis) it can be split so that you can use a couple of channels as a vc mixer and still use other channels for other things, it has enough gain to be used as an input module for external instruments if needed
what starter utilities? I usually recommend links, kinks, shades and veils - but kinks is now discontinued - if you can find one buy it! wmd/ssf toolbox is a very capable replacment as it has a lot of the same functions plus a few more - the modules themselves are not important - it is what they do so substituting other modules that cover the same ground is a great idea - just do you research - read manuals etc etc
btw I wouldn't recommend stages as a first modulation source - it's great but complicated and a lot of people find it a bit confusing to use for anything other than simple envelopes despite it's myriad of other functions - including sample and hold - simpler single mode modules are probably better to start with
NB sample and hold is not random - you need to feed it a noise source or random cv signal or any other signal to get anything out of it
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
OK...first up, 3U x 84 is just not a good starter case size. It's small, as Jim notes...small enough that you'll be making compromises that you probably won't like. So, taking your intentions and mixing 'em up with Jim's notes, I cooked this up:
First of all, I jacked this on up to an Intellijel Palette 104. Instead of the previous cab, this gives you a utility tile row AND the power supply/header half-row. By doing this, you can then move some of your functions up into the tiles, plus the header gives you three buffered mults (usable as one HUGE buffered mult) and two adders. And a MIDI port. Oh, and four 1/4" jacks. We'll get to those in a bit...
Tiles: MIDI Interface. NOW you can connect this to your DAW's MIDI. This will give you a synced clock, also. Then the Intellijel Noise Tools provides a noise source, slew limiter, sample and hold, and another clock that can also spit out random pulses. Then there's a utility VCO that doubles as an LFO with CV and sync. The QuadrATT provides mixing, but also polarization, and a breakable summing bus. Then the first 1/4" jack thing: a Pedal I/O, which lets you drop in various FX processors or, if you like, you can use the return line as an audio input. This makes use of a pair of the 1/4" jacks for its own I/O. And last, the stereo output. No, the Befaco isn't in here, because NOW you can output from the build via the Stereo Out and its 1/4" jack pair...no need to rob 4 hp for the output.
Row: Pams first, then a Ladik dual pulse delay lets you offset two channels of pulses on the fly. I kept the Steppy because now, it makes a decent sequenced trigger for the Quadrax...or you can use the Quadrax's QX expander's EOR/EOF pulses to fire it in ways that can, if wanted, turn the entire Quadrax into a complex LFO. Hell, you could even clock a channel or two of the Quadrax at audio rates to use those function gens as extra oscillators WITH CV over the rise and fall values. And in the same vicinity, there's the Disting EX to provide all sorts of ancillary functions...quantizing makes sense, but there's OTHER weird things it's very capable of with the other modules in here.
Now, for the voice section, I opted for a more "proper" complex oscillator, as that'll give you your dual VCOs for fattening up the sound. But you don't have to do that with this; instead, you can FM one oscillator via the other, you can AM them by using the ring modulator, or you can entertain a bunch more weird routings, all of which gives you some really rich timbres before even hitting the VCF. Next, a quad VCA (Veils) lets you strum through various waveforms, which more or less gives you some simple timbral sequencing, or you can use one half of it for audio from the Gravitational Waves while reserving two more for modulation amplitude functions.
The next two modules actually work in tandem. First up is Doepfer's take on the MS-20 Sallen-Key VCF pair...which, strangely, includes an insert loop in the resonance path. And for that insert loop, I added that second module, Recovery's Bad Comrade mkiii, which is a delay line with many ways to cause glitches, freezes, etc etc, which the resonance path then takes back in...so, as each sound loops through the Bad Comrade, you have ample opportunities for seriously messing with it, then it all accumulates back in the VCF...and around you go again!
Last, some effects. First up is a Stasis Leak, which I find comes in very handy for "stereoizing" audio. It's a mono in-stereo out reverb/chorus/tap delay...and yes, you can use the Steppy to define/redefine that tap delay length as a sequenceable function. Then the end of the 3U stuff has a Warps clone, which lets you do a lot of pitch change, various other modulations, stereo ring mod, and so on.
Now THAT'S a serious and small production rig. Instead of the previous version, this has a lot of open-endedness to it that keeps it from being a "one-trick" build. Timbral variety is REALLY big in here, plus the Steppy has the ability to mess with certain other functions, AND you can offset it in time from the Pams with the Dual Pulse Delay. But by going a big bigger, adding the extra tile and header rows, NOW this is working at the right capability for a really diverse system that still fits nicely under one arm.
Just a note here, if the information about the Disting EX is correct, the module is too deep for the Palette. I even had to keep that in mind when putting it only at the Mantis's bottom row, not at the top.
Wow, thanks for the detailed replies! Really appreciate it. Something I didn't mention is that I will be building my modular in a 19" rack. So for one 3u row I'm limited to the 84HP, but I still have enough space in the 19" rack and eventually I will expand to a second row. The 1U modules are very practical and somehow space savers. I haven't seen a 19" 1u rack yet but I'm looking into that.
There's a lot of valuable information to process here. I'll take my time to go through, check the modules you refer to properly and reply here later on. I guess the best is to build up slowly, test with the modules I already own and see what makes the most sense to add.
I'll sum up what I have already. I now realize that I maybe should have waited for your replies to make better choices, but heck, at least it got me started (I have a tendency to put things off when I start thinking too much about it :-) ). So here's the current list:
1 behringer 19" 84hp rack (possibility to add a second one + 1u row)
1 pamela's new workout (on order)
1 joranalogue mix 3 (on order) (veils might have been the better choice as you both suggested, but I think it will do fine for now, I can always replace it later + I checked and it's DC coupled.
1 plonk (probably not the best to have as sole sound source, because it's more percussion oriented, so I will definitely add a proper VCO, although I wonder if the plonk can output regular waveforms?)
1 kinks (on order)
1 links (on order)
1 befaco output V3
As for the next batch of things I think to buy, it will probably be a:
a VCO (Gravitational Waves sounds really good)
a tool like Maths or Quadra. Or maybe both?
a filter
fx
sequencer (steppy?)
I'm thinking of a tighter integration with my DAW (midi, CV) in a follow-up phase. For now I'll be happy just playing with the thing and record the audio into my DAW.
I still have a lot of questions but two things I'd like to know more about for now (and sorry for the newbie questions):
why? because a single sound source can be copied and processed differently, a few simple modulation sources can be mixed and >modified to become more modulation sources that are more complex
Could you explain a little bit more on how to achieve this? The part of the copied sound source I mean. To what degree can one sound source be copied and modified ?
By doing this, you can then move some of your functions up into the tiles, plus the header gives you three buffered mults (usable as one HUGE buffered mult)
What's the advantage to have many buffered multipliers, is it related to previous question where you would duplicate one sound source/cv signal to multiple outputs?
The 1U modules are very practical and somehow space savers.
I'd disagree with this - if you can fit an extra 3u instead of a 1u then go for the 3u - I really don't see the appeal of 1u tiles - except in extremely small cases - and I rarely see the point of them, tbh
a tool like Maths or Quadra. Or maybe both?
I would get one and then think about what best complements that for you - personally I would go maths first because of the illustrated manual
sequencer (steppy?)
what are you trying to sequence?? - if it's plonk then I would just use Pams for now
why? because a single sound source can be copied and processed differently, a few simple modulation sources can be mixed and >modified to become more modulation sources that are more complex
Could you explain a little bit more on how to achieve this? The part of the copied sound source I mean. To what degree can one sound source be copied and modified ?
output of sound source -> multiple -> outputs of multiple to different filters, delays, reverbs, vcas etc etc etc
By doing this, you can then move some of your functions up into the tiles, plus the header gives you three buffered mults (usable as one HUGE buffered mult)
What's the advantage to have many buffered multipliers, is it related to previous question where you would duplicate one sound source/cv signal to multiple outputs?
-- codecks
no a simple passive mult is adequate for most signals within the modular with the exception of v/oct - this needs to be precise if you want to play in tune, especially with other people - once a v/oct signal is quantized you want to use a buffered mult to guarantee that any copy is exact when delivered to the vcos inputs - say you have three vcos and tune them to specific intervals to play chords - you want each one to receive exactly the same pitch information (the root note, usually) so that the chord is in tune - with other signals audio, modulation, gates etc a tiny variation will not make any noticeable difference
as you only have a single vco I would not worry too much about buffered mults - unless you want to modulate filter cutoff with the v/oct - in which case you would need a single buffered mult - you already have 2 on order in links
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Tiles are space-savers...but only with certain modules. For example, I deleted the Joranalogue mixer from the original build because Intellijel's got their QuadrATT, which gives you one more mixing input/attenuverter for cheaper ($179-ish vs $79). And the Noise Tools solves the noise source and sample and hold issues. But when there's no need for tiles, then yes, Jim's right on that. However, for portable rigs and definitely for one-row skiffs, tiles make a good bit of sense for shifting the basic utilities out of the "expensive" row.
what are you trying to sequence?? - if it's plonk then I would just use Pams for now
Initially I plan to use Pams as 'the brains' of my rack, but doesn't it make sense to add a sequencer at some point? Or formulated differently, at what stage would it make sense for me to add a sequencer to my setup? I used steppy initially but I'm not fixed on that one specifically, could be anything else.
depending on what you want from a rack then a trigger sequencer like steppy may be useful immediately - if the track is predominantly percussion, for example
in a general purpose rack of this size where I would advise keeping to a single (melodic) voice, pams can adequately cover trigger sequencing - as there is not that much to trigger, as well as envelopes, unipolar lfos and looped quantized random cv for generating melodies
at some point you may want to have more control over over melody - and I would expect this to be before wanting a trigger sequencer - in which case a melodic sequencer not a trigger sequencer is what you would want
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
I'm currently testing Plaits in VCV Rack, going through the manual at the same time. Am I wrong or is this a fantastic sound source? I mean there are so many sonic possibilities just with this alone. Any ideas on what the advantage would be to go with a more classic VCO over the Plaits? I'm thinking that with a classic (Dual) VCO one would perhaps be more inclined towards finding interesting ways of modifying and shaping the sound source as opposed to a tool that has it all premade?
No real advantage, per se...the main part of that issue really stems from which synthesis approach you want to work in. Digital sources like the Plaits do "pre-make" the sound in a sense, but you can warp their preprogrammed waveforms all the same.
The real thing I was aiming at in the build above isn't so much a choice between oscillator topologies, but about the point of oscillator doubling. You can have one VCO (of any sort, really) and it'll sound good...but TWO of the same, with the same waveform and a slightly different tuning yields more than the sum of the parts. By using slight detunings, the result is that the sound has more presence...low end stuff hits harder, mids sound bigger, and so on. With the VOID Modular dual VCO, you've got those two VCOs...but the module offers more than just two oscillators inasmuch as you've got the ring mod (probably a 4-quadrant design in there) for amplitude modulation, you can drive one with the other at audio frequencies for FM, etc. However, you can accomplish the same sort of idea with two Plaits and the addition of a ring mod module.
But the big difference is actually in price. The Gravitational Waves is $250; a single Plaits runs $259. So while you could do a dual Plaits setup, just the two oscillators alone are more than DOUBLE the VOID's price. And yes, you definitely need to keep cost-vs-benefit in mind here...
Current state of affairs:
I will get a second 84hp row.
I already own:
Pams New workout
Plonk
Links & Kinks
Joranalogue Mix 3
Befaco out V3
I already played with this setup and it's really nice. I like both the plonk and the pams although it made me realise I don't want to have too much devices with menu diving. They're both very easy to operate but it's a lot of turning and clicking with that main encoder button. I think it's ok for a few modules but it's better to keep it limited.
I'm about to order:
Marbles
Plaits
Maths
FX aid (massive banks of effects)
Also a filter but not sure which one yet. Lugia's idea of taking the A-106-1 xtreme in combo with the bad comrade seems like a good idea but I'm not sure I can get my hands on the bad comrade. I might just go with the Doepfer A-106-5 for starts and maybe upgrade later (or maybe the wasp, but as for now I like the sound of the A-106-5 better)
Second 19" 84hp rack
What I'm about to order is open for debate, but I think it's all modules I can't really go wrong with. Let me know if you think the opposite.
At one point I might get the Disting EX for its multifunctionality. And the ES-9 as an interface (although might go with something simpler not sure yet to what degree I want to integrate my rack with my daw/vcv-rack).
So apart from the Plonk and the Doefper filter and if you remove the currently optional modules on the right side of the second row, there is still around 60HP left that can be used there:
At one point I might want to get a proper (pair?) of oscillators the work in combo (or separatly) but I'm not sure which ones yet. I reached out for the gravitational waves but it's kinda difficult and expensive to get in Europe due to import taxes. So I'm thinking maybe two smaller ones instead of a dual or another dual (from Instruo maybe?) ?
Should I add some simple ADSR generator (maybe with a looping function?) or is this somhow covered with the maths?
A sequencer?
Are there other major things missing or that could be optimized?
