51:30 Regarding linear vs exponential: the reason for those differences is that human hearing perceives loudness in an exponential scale, i.e., if we double a signal we hear it twice as loud as the original, if we double it again we hear it three times as loud, and so on... So for audio signals we use exponential controls which compensate for that in order to have a linear scale where we travel the same amount of distance in order to have the same perceived increase in loudness. On the other hand we use linear controls for other types of signals which are expected to be modified in a linear way, like the cutoff frequency of a filter. For this reason we use exponential potentiometers for the volume controls on guitars and linear potentiometers for tone (filter) controls.
We should also consider that there is also the topic linear control signal versus exponential/logarithmic control signal. ("logarithmic" is basically the same as "exponential", but only seen under a different mathematical aspect). LFOs (for simplicity: triangle or saw) provide a linearily changing control voltage. Analogue envelopes provide a exponentially/logarithmically changing control voltage. This means for the use with VCAs: If your control voltage changes linearily (like a LFO), then use a exponential VCA for audio. If your control voltage is changing exponential/logarithmic then use a linear VCA. For example: velocity control - which is linear - on an audio signal should be done with an exp. VCA. velocity control on a control voltage (e.g velocity to filter envelope) should be done with a linear VCA. Amplitude modulation of an audio signal from a LFO (or another VCO) should be done with an exp. VCA. The usual envelope modulation of the audio-VCA should be done with a linear(!) VCA.
@@florian-anwander Right, good point. Basically we need one exponential (logarithmic in reality, as you pointed out) control somewhere in the line chain between multiple linear controls if we are controlling audio in order to compensate for the non-linear human audio level perception.
@@florian-anwander I general agree with you. But... There are some exceptions like the LPG where you modulate frequency and amplitude at the same time or in the Buchla 259 where you can select linear or exponential FM. Some times you explicitly look to break the rules in the sound landscape.
many filter architectures react in an exponential/logarithmic way to a linear voltage or resistance change, so we expect to hear a logarithmic change, but a linear control (be it voltage or resistance) achieves that.
Protip: If you like the challenge, go fully DIY. I learned to solder, build PCB's, design panels, alter circuits. Plus my rack has paid itself back in selling off modules I designed.
Hours of RU-vid condensed into 59 meaningful minutes! I missed one of your sentences that I quote to myself (or maybe even on other occasions) whenever I look for modules, along the lines of: "A modular without a purpose is a money incinerator." :) Thank you for making great content! :)
I started without a goal. I just wanted to experiment and learn sound design, see where it took me. I started with a 6u pre-packaged Doepfer system. It was a great learning platform and introduced things I would not have got on my own such as trigger delays and switches. I also packaged a set of interface modules (external effects loop, envelope follower, MIDI>CV, Signal out, etc.) in a small case to see where that would take me. For someone like me who was utterly mystified by modular, "Raul's world of Synths" YT channel is still a good comfrotable "Slow Roll" intro to modular.
As a plumber by trade for the last 16 years but also a art school grad that studied sculpture focused on sound art 20+ years ago I love hearing you drop “ the plumbing 🪠 “ of these systems. It’s so true! Only been at this eurorack jazz for a little over a year but those types of modules are totally my favorite!
Such a good and very needed video... Thanks so much for the mention :) I consider myself very lucky to have found VCV Rack, it helped me so much to get into the modular way of thinking and saved me many hours and nerves building my own "little" hardware setup. Anyway, thanks again :)
A great video that should be required viewing for newbies! Being a studio rat I’ve gotten a lot of mileage out of my DAW with eurorack. It’s a great pairing. Over the years, I developed a severe case of software synth fatigue. For me, being involved with the studio and synths prior to midi, I foolishly got rid of all hardware synths and went in the box. Huge mistake. I almost gave up on creating music (I’m in my later 60’s) due to lack of inspiration. Discovering eurorack has reignited my enthusiasm. Thanks so much for your time putting this together.
Totally agree - your journey sounds the same as mine! I, too, started with hardware synths for many years before selling them all and going totally software. Huge mistake indeed because a computer (full disclosure - I love computers and have used one all day, every day at work for 35 years!) are NOT musical instruments. I spent 12 years having my creativity stifled by trying to create music in the box. But, as soon as I got back into hardware synths (including, and especially, eurorack) my creativity was rediscovered because working with hardware is real, hands-on, tactile and requires you to engage with a real, musical instrument. I'm not overstating it when I say I created more in 12 hours on my eurorack than I did in 12 years on my PC. Such a shame eurorack is so expensive though :-)
@@8MoonsOfJupiter We are in the same boat. Back in the 80s Keyboard had a great article on the unique voices of hardware synths from Casio to the high end models and it’s importance in music. In earlier days of being in the box software literally stole the uniqueness of those individual voices and character. Cubase developed I think it was called Media Bay that put ALL the softsynths patches in one place. One day when auditioning patches in Media Bay, I was floored how patches sounded the same from synth to synth, flat and lifeless. It was the beginning of the end of my productivity and love of synthesis. There are some really fine software synths today but it didn’t heal my PTSD😳. I am completely with you regarding the productivity of eurorack compared to the box. There’s nothing like voltage going through those circuits. The cost has dipped into my retirement savings. I try not to think of it. I have what I think is a workable system for what I want to do, so my GAS is somewhat under control. Great to see someone who I can totally relate to. Eurorack has brought my music back to life.
@@8MoonsOfJupiter You hit the nail on the head here. Computers are not instruments but a DAW is. Such a shame that so much great software is accessed through what is essentially an office working machine.
The thing with the Doepfer modules ist not only that they tend to be on the deeper and more affordable side, but also that some of them are really fantastic. As one example: A-108 8-pole filter with a 60.6mm depth.
I totally agree. They look quite neutral, but Dieter is still the GOAT imho. After all these years, his ideas are still fresh and forward-oriented. The modules are well-made, too.
Loving these big picture videos discussing the nature of modular and your personal advice for system building. It’s always good to hear these things even if you already have a fully functional modular synth like I do. Love ya Mylar, ur one of the reasons I’m here with a crazy funky boxy synth today.
Might I proffer a small bit of advice? Whenever I rearrange a case once it's been planned on Modular Grid I generally put one module at a time in, then turn it on to check it's ok. Then power down, and add the next module. Time consuming, but I've never fried anything. Also, the uZeus lights can flash if there's something awry. That's saved me on a couple of occasions. Anyhow; nice vid, as ever. *Salutes*
That's a smart system - I get too excited rearranging/listening to whatever podcast/audiobook I have on and suddenly it's ready to go!! The worst is when you've actually screwed everything in and power it up and its dead, and you have to undo everything and troubleshoot (very first world problems I do realise)
Can never be too careful but that’s almost too cautious if you are very careful and consciously match up the power cable each time. And yes Knurlies should be mandatory. It’s crazy to see all the $500+ modules with rack rash because they couldn’t be bothered to spend an extra $1 on some Knurlies. Or at least use nylon washers.
Note: Chords, pads, and traditional keyboard playing are also better on non-modular gear! Polyphony is expensive and far more unwieldy than just getting a nice polysynth or Yamaha Reface.
So true! Which brings me to say having digital, stable tuned VCOs keeps it simple so everything is in tune. Choose a Make Noise if you wanna keep the hp to a minimum for the sounds they can create.
Sad but true! But you can still go with paraphony, if you have the minibrute 2s for instance you can have Up to 3 x paraphony, if you add f ex the behringer crave sequencer Up to 4 x paraphony. You cant play chords live pressing 4 notes on your keyboard in that sense but you are perfectly able to program paraphonic sequences, record them and enjoy the sound of your modular playing chords :) but if i need quick polyphony i just use a vst plugin..
It is amazing how complicated and expensive is just to make a pad play in a certain range of notes, now I have a small little modular set up but still sometimes I ask myself why why it’s like I’m taking the 4,000,000 mile route instead of taking a shortcut when you could literally walk right across the street
Haha, the whole “You can never have to many VCA” is a absolutely true you guys. When I started, I didn’t had enough VCA to control a lot of modulations. No matter what- rule of thumb- every voice needs a VCA.
Agreed with the sizing tip. Especially the part buy as big as you can afford at the moment. In reality the The small cases are really for the people who already have had big system and want to have a compact alternative. I started with good sized 6u 104hp Erica synths case and it took me personally a year to move to huge 21U 104hp case. I found out I enjoy having a lot of options. I started using my system like a DAW outside the computer and I have absolutely loved it.
Great video, I made some pretty bad mistakes when I first started using modular.... I got excited by the possibilities and did a ton of research over a few months before I decided “yes, I want to build a small system”. First thing I did was get an Intellijel Palette case and the Expert Sleepers General CV, which is way too deep for the case, so yeah. So much to be aware of a lot of easy mistakes can be made but after 6 almost a year I’m happy that I’ve stumbled in to a great world of sound that is very inspiring and makes me happy, after the last 18 months it’s all I could really ask for.
Sorry if you have mentioned this but vcv rack is extremely useful for getting into eurorack if you are very new and dont know what you want to do in eurorack. When i first learned about eurorack i was extremely lost, and using vcv rack helped me learn how modular works, and what id want in a future system. Along with you being able to pair it up with a physical rack
Wonderful video, wish I had this before I took the plunge. Totally agree - Plaits is the first sound source I would recommend to anyone I want to get hooked on modular.
That's interesting. I would recommend folk to stick with analogue modules as much as possible to start with. Digital can sound great, but you can get exactly the same results in your laptop. Analogue responds differently in patching situation, particularly in the context of feedback. That kind of approach is one of the harder things to get a grasp of when starting out, and starting with digital modules makes it easy to miss out - you don't need to 'work' the system so much to get an ok sound, so that learning opportunity can be missed.
So helpful, having found myself unexpected become a father of some modules and a 6U Rackbrute after making a silly low offer and being accepted I’m now binding up. Thank you
@@mylarmelodies Not OP, but I’d suggest making a “modulation master class” video covering various kinds of modulation, potentially with audio examples as you go. I know you’ve covered things like S&H and switches and whatnot in various videos, but having a one-stop-shop video on all kinds of modulation and their musical uses could be super helpful. I see questions on Modwiggler, r/modular, etc. so often asking about utilities, what someone might want or need, *why* they need X modulation source in terms of musicality, etc. In building out my own system it’s been a question on my own mind, for example how to get macro control over a patch using basic utilities (sequential switches and whatnot are great for this for example), etc. etc. Idk, food for thought!
I am relatively certain that the reason for the exponential vs linear CV/envelope/mixer is in how we perceive volume. A signal with half the voltage will not sound half has loud going to a speaker. In other words, if you turn an audio taper pot half way down, it will be half as loud, but not half the voltage. This is also why the decibel (dB) scale is used to measure output audio levels. Good advice all around. As I have been building my system this last year, I keep hearing your voice remind me to have an actual intention for buying a new module rather than just oh shiny.
Thank you so much! This is exactly what I was looking for: a comprehensive guide for beginners, all in one video. I've not "taken the plunge" at this point because of budget restrictions, but if I have more cash available one day I definitely want to get into this stuff. If that happens, I'll be coming back here first for a refresher!
Amazing video this. I have watched it a few times over the last couple of years and always find something new to consider. I have been building my rack for about 3, maybe 4 years. It all started when I got a Model D and was fascinated by the idea of expanding it via the patch points. Since then it has transformed into more of a standalone groovebox in it's own right. Something I can just plug in and play with without any other gear. I have made a LOT of mistakes along the way. I have bought (and replaced) so many modules I just didnt get on with. This is where I think question 3 is key. You need to know what you are trying to achieve. I also feel this is where most beginners struggle. Even knowing what I wanted to achieve and having (an at the time) basic knowledge of the basic building blocks of a synth I often found until I actually got my hands on the bits I didn't really understand what I needed/wanted. Your VCV rack recommendation is spot on. These days it is often my starting point for upgrades. If I think "my rack would be better with an X" I then head to VCV find (or design from various VCV modules) something equivalent to what I am thinking of adding, see if it works for me (and my workflow) before spending large amounts of cash on the physical. My other tip for this is the Disting. I have added a lot of modules for things I may not have even considered had I not come across them on the Disting and realised how useful (or just fun!) they are. I have two Disting in there right now (might replace them both with a ex at some point) and they always find a place in every patch. So my conclusion? Erm not sure. You covered this far better than my rambling comment did but...... Don't start until you have an idea of what you want to achieve. Don't buy things until you actually know what you need and actually know what you are buying does actually do what you need/want. Never underestimate the need for utility modules and never underestimate the value of modules that do multiple tasks well (my favourites that seem to end up in every patch : Pam's, Maths, Mixwitch, Disting). Again amazing video I wish it had been around when I started building.
Man I literally just built my first 6u 104 HP case, and I grabbed a Plaits module without really even researching it, and I was incredibly happy to hear you point that oscillator out! The speech mode on there is incredibly awesome, that thing was blowing my mind just the other day!
Thank you for this! Your videos on how to correctly connect power without shrouded connectors and why sample and hold modules are great creative tools were monumental in starting me off. I will be sharing this with all my friends and students. Well done!!
Output module: my personal cost/benefit analysis of this issue is that money is best spent on nice recorder (~Zoom H6, etc.). This give you plenty of gain control PLUS usb audio-interface, mixer, mic, some compression, etc. Grok: I love Stranger in a Strange Land. Great book.
stage mixers in particular have a huge input gain range on purpose so if you're doing a hybrid setup with rack FX units on the sends and all that then you can think of the whole mixer as your output module.
That was terrific!! Although I built my system a little while ago, I would've loved to have been able to watch this video back then as it answered so many of the basic questions that I had at the time I was starting out on my modular journey. I've always enjoyed your clear explanations delivrered in a laid-back style with a dash of humour as well - great work!
So true. I've had the pleasure recently of talking to Sean at Mazzatron and wow what a nice guy and so helpful. I've had similar experiences with the people at ADDAC, Bastl, and Dnipro.
My advice is to control your modular with a sampling Drum machine sequencer like the akai MPC series. That way you can make special drum patches, sample them, and use those modular sampled drum sets to accompany your live noodling on your modular.
I really appreciate that you always praise Doepfer modules just like what they are: solid, cheap, affordable, doing their thing, awesome (if you think Doepfer is kind of boring and dull, "U need to learn how to patch better, dude!") . I started almost exclusively with Doepfer before hitting all the crazy stuff...
With the intention of saving my finances and marriage, I do have to admit a few things. First, I have not anywhere near exhausted all the things my DAW can do. I'm just now getting into the various plugins, vsts, and software synths for sound design. Although people tend to disparage presets, I have heard a few good sounds out of those and more that would be good with a little processing. Second, there seems to be at least 6 major software modular synths available at a fraction of the cost of even a small system. That being said, there are a lot of people out there making good music with their hardware systems, some of which are not too huge. And some of my musical heroes do use their "wall of stuff" a lot. The takeaway for me is that I'm not in a hurry to wreck my credit card balance for sure. But, this was very helpful, thanks for putting it up.
The Mantis is my first ever euro case and has been really good with the power especially, seems to have protected me from blowing a few things up for sure
I'm so excited! I have the bulk of my planned build coming in by this weekend. I've preordered practically every module Bheringer has to offer for the Arp 2500 series, built a few MST utility modules, and have a Model D on standby for bass sequences. All to be controlled by the Arturia Keystep Pro, talk about a powerhouse of sequencing! This video is exactly what I needed to refresh on what I'm about to be diving into. Cheers!
Really is a lovely case. I have a rackbrute 3u and plan to buy a TipTop Mantis this year. I love how my 2x104 rack looks on modulargrid.. will then have the rackbrute spare for any extra little indulgences!
As someone who is fairly new to modular since jumping into eurorack last year, your videos are super inspiring and helpful! I found a great need for support modules more than a bunch of fancy shiny oscillators. Mixers and sequencers also have been key to my setup. My focus is for ambient techno and modular is great platform for that style of sound design. Besides super fun! Bigger case is best advice- I started a year ago with a Doepfer 6u Basic System and quickly outgrew. Now I have Doepfer Monster 12u with monster base case and that is favorite size for me as it lets me grow over time and not run out of HP for modules.
On the ribbon cable thing, I went onto Amazon and bought all the cable, connectors and tools for under $150 and I’ll never have to buy another! Way worth it!😮 I would also like to suggest the route I took, this will all be RU-vid soon by the way. I have semimodular Behringer, with a WIDI BT box all my modules which isn’t a ton but two almost full 104 hp, then Deepmind 12 (has CV) keystep pro (CV), Kieth McMillan mini keyboard (CV) Korg nano controller and keys (midi only) Behringer XTouch (can control anything) then number one, IPads I one main pro then one smaller pro and a mini. This way I can keep everything connected with as many apps as I need for modular, DAW, and video editing. Way cheaper than buying every module you ever dreamed of and I’m working on configuring the gates in the multigate on the Behringer Neutron (hence everything I, or you need plus way more!) thank you for your videos and most importantly sharing your knowledge and experience! You’ll see me up pretty soon once I get the Neutron behaving! Lol
This is just about 100% great advice for beginners IMHO. When I first started, I just wanted to explore sounds in modular that I wasn't getting from plugins. So that was really open-ended and I tried and traded a LOT of modules. On the plus side, I learned a lot! Over time I got to where I zeroed in on the stuff that I liked, and even honed my musical style. On linear vs. expo, I mostly prefer linear VCAs, but envelopes where you can control the curvature (like Maths, Stages, or Just Friends) . Every once in a while I'll use the expo CV input on Tallin to get an even snappier response, but it's pretty rare. (Linear vs. exponential FM is a whole other ball of wax. More of an intermediate to ludicrously advanced topic. I love FM myself, and after a few years my understanding of it is enough to patch a lot of fun things but grinds to a halt where the calculus begins.)
But none of the other you tubers have such a relaxing voice as yours 😁. But seriously this video is perfect and I've been adding all suggestions in my shopping wish list. This is the bible of Eurorack information. And for that I thank you 🙏
The resale value is something I think a lot of people don't mention. Buying used you often won't save much money, but resell that module 2 years later you'll probably get 90% of it all back, and if a module got discontinued in the meantime you might actually profit (or loss if a rev2 came out). I owned a Morphagene for over 2 years and sold it for only $25 less than I paid for it. Factoring in Reverb transaction fees I basically spent $60 to rent a module for 2+ years. I owned a Voltage Block for over 2 years and sold it for more than I paid for it because I bought it on a discount and sold during a time where nobody had them available. Eurorack may be expensive to get into but once you're in it you can pretty much just fund new purchases with old modules you're bored with.
I have been following Surgeon’s thought process (without knowing it…) for my case for about 6 months. One in, one out. Sometimes it’s maddening, but it does lead to more experimenting with the modules I have in the case at any given time.
Thank you sir, for the answer i was seeking about the cases. I decided to go modular and im looking out for a case.Also surgeons philosophy makes sense.
Behringer has made it possible for all budget ranges to get a nice module setup! Just realized how appealing this type of setup is! I sort of look at this differently than what you are describing though. I see that each horizontal row would be a complete music part. One row for drum, next bass, and then multi rows of single voicing seq. Synths. Each row will it's own fx mod. The traditional layouts look like chaos 😳.
That will require more than one soul to acquire the modules and make those single columns. Especially drums But I agree with the behringer part. But there are modules that are very reasonably priced. But the availability and region is the real deal. I’m from India and I got addicted to synths (always liked 8-bit sounds from video games and similar sounds, speaking from sound design perspective and not as music production) During college days one of my mates introduced me to trance, and personally I gravitated towards both angry techno & ambient mellow sounds. But getting the modules without robbing a bank is quite impossible here 😂 as the custom taxes on these are tear bringer. Behringer has some products here but not everything, And if people like me wants something like a module from Erica, make noise, endorphin.es etc then it makes us cry harder. Kinda envy you guys from US & EU when it comes to modules 😅 and about the drums, I think having a separate drum unit like TR-8S, digitekt or RD-8/9 suits and works better. But if I ever want to rack a drum sound on, I would definitely choose Queen of pentacles by endorphin.
@@Door_dash11 You know your stuff! Nice! Solution is easy. Get your arse over the states! LOL. I haven't played in a while. So much new analog hitting the market each year. I see what you mean though. Behringer is the best option for cheap gear still. That said, you can also look at just doing boutique synths. Korg and many others have been pumping out new options. The volca stuff always seemed interesting. I've had two different full home studios. Neither had module synths. Honestly, I never really liked how unorganized patching could be. I get the appeal of endless creativity. However, you have to really have an affinity for wires, LOL. There's enough wires on the back end of the studio already IMHO. If you are on a budget, you really can't beat just going with free VSTs. Plenty of virtual modules out there. NO, they aren't the same, but on a budget? Pretty hard to beat free or cheap. I switched over to VSTs a while back. Honestly, if I'm not going to produce tracks with some fantasy of going pro, why not just use VST. I have a nice aftertouch controller and a couple yamaha H5's. PLenty to keep me busy. Good luck in your ventures into music!
Yes, if you reach out to Doepfer you get a reply from Dieter, who will be (based on my experience) extremely helpful and go the extra mile to solve the issue! Stellar support! At no cost! Incredible!
Also now a proud owner of deliberately small ambient rig! Thanks to the lovely guys at elevator in Bristol. Have rings clouds plaits clones plus doepfer dual envelope and an 8 way lfo. Now just need to fill 18hp in the 3u section of my intellijel! Ha ha
My golden ratio is a couple of rackbrutes so 12u @ 84hp. I’m never getting more modular unless it’s following the one in, one out policy. It gives me tonnes of options having that space. Took about 4 years of saving, swapping, selling etc to get here but very happy with where I’m at. I’d agree what you say about releasing music, I tend to just make music for my own pleasure these days. Release the odd RU-vid vid but otherwise don’t really bother with making albums anymore; I enjoy just playing too much. One thing I’d say is for every ‘exciting ‘ module you need all the utility and modulation and to ignore it is missing the point of modular. I have lots of vcas, LPG’s, LFOs, filters, envelopes and mixers and a ‘few’ voices and effect processors. Finding that balance is key.
great job outlining the reasons behind the cost of modular. personally i think the question shouldn't be "why is modular so expensive" but "why are most people stuck in a position where they can't afford to buy high-quality, small-scale goods from artists and craftspeople" lol
talking about modular + other gear, compressors and whatnot, i've been having an extremely good time running my modular out into the digitakt and using the compressor on that to squidge everything together.
The question of the output module was so helpful for me in particular. I have an old mixer that can be pretty scratchy. I initially tried running my sound sources through that for finer mixing but found it easier to put everything through the output module to my soundcard. There is a sort of commitment in that when recording that i enjoy. Though, in the interest of freeing up space and having more flexibility i think i will have to save for another mixer. I also found the bit about having gear that supports your modular to be extremely helpful. Ive been toying with the idea of getting a digitakt for some time, and i think this might have put me over the edge. Having sampling and looping capability in a case is nice but freeing up more space in the case itself for more complex modulation or voices is hugely important too. All this is to say, even though i think im past the point of being a beginner sort of, these videos youve put out have remained the most helpful of anyones in designing a live performance based workflow. Thank u mister melodies
Great video! - I also very much appreciate that you always take care to reference anything you say in the description and provide links - this makes your videos amazing resources. I didn't catch one thing: Could you mention again (I have trouble hearing) who's the guy considering the all-envelope synth?
That’s Jas Shaw from Simian Mobile Disco, here’s our podcast together, which is a top one I think: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4SvPbtBVChA.html
I just started building a rack (well two, one diy 104ph and a used Pittsburgh Mod structure 360 case) and your video on the Expert Sleepers ES-3 and 6 (and 7?) ADAT interfaces were very helpful on where and how I wanted to start building my system. In my opinion/view, I see everything as modular and I want to utilize as many mediums and formats together. Watching your video on those modules really opened my eyes on the power of eurorack. It's also nice to know that they are compatible with VCV Rack, so if you want a module that you want to buy but can't afford you can "demo" it in VCV (provided that module is in the VCV ecosystem or a clone/copy). Going along with that, investing in an audio interface with ADAT IO and especially with DC coupled outputs is a very good idea in my opinion. Having the option of using your audio interface as a CV source is good if you are starting out and it seems like a popular trend too since other popular DAW's are implementing tools to utilize these features. Another small tip and completely optional is to try out diy options, both with modules and cases. Building a eurorack case can be very simple and cheaper than pre-built ones and there are a number of resources, guides, and plans online on how to build one. Nonlinearcircuits has a number of laser cut case designs in many sizes and configurations available to the public on their site. With modular kits, if you already have soldering experience go for it! Or start off slow with simple kits and work your way up to advanced ones. If you are new to soldering, there are many great soldering tips/guides on youtube and Mylar also has another great video talking about this subject while building a Radio Music module. Anyway this comment turned out longer than expected. Like I said I'm pretty new to eurorack stuff but I just wanted to offer my thoughts and things I've learned so far.
I’ve commented on many of your videos, and love them all. Super informative and inspiring. And I appreciate you always tend to reply surprisingly quickly. I wasn’t sure which video this comment would make the most sense on so I just randomly picked one- I would like to request, if at all possible, for you to “sound test” for me the Future Sound Systems TG modules all together (or at minimum TG2, 3 and 4) combined with the Turing machine, Voltages, and a Maths module. Seems like it would make for some sick sounds. Anyway, just a “wishlist” thing for me.
Thanks - I only have the TG4 and the FIL4 - it would defo make some sick sounds for sure! That might have to be an adventure you take on faith - everything FSS do is great👌
Very useful introduction to Eurorack modular. I haven't decided to go that route yet but I'm studying the possibility. I don't have any room in my studio for a standalone case but I may be able to make room in my NEMA racks. There are powered Eurorack cases that fit in a 6U rack space. Of course they could be stacked to create a 12U Eurorack installation, etc. It would be interesting for you to specifically discuss all the modules in the case shown in the video, what they are and how you use them.
For the drums, I'd go for Kick, snare and hats (open and closed). A clock divider is helpful (no need for a drum sequencer), as well as a mixer (Delptronics LDB2e has 6 analog percussions AND a mixer in 6HP!). And, if you want to go generative, a couple of Mutable Instruments BRANCHES are a must.
Great vid man. I’ve been toying with the modular idea for some time now, having dipped my toe in, so to speak, with a few semi modulars… After some careful consideration, I’ve sacked the modular idea and instead bought a Moog Matriarch because it truly is a semi modular beast and, as I’ve discovered since getting it, has the most playable synth keybed I’ve ever experienced. For the price of that synth and the ‘modules’ it has, I couldn’t price up a modular set up for around £2k that came close! I bought less than a week ago and have barely slept since! As an aside, I kept eying up that fine bottle and thinking I could use a dram and also, you used the word “Grok”, not many people do so I’m assuming you’re a man who’s read Stranger in a Strange Land… Cheers man, peace ✌️
I dunno why I'm rewatching this, I'm long past the point of no return :) but it's still chock full of excellent info even for a seasoned modular addict and it's well worth a rewatch several times it's funny when you mention contacting modular companies and getting the guy in charge. I made a passing remark on twitter to OS from expert sleepers about how it would be cool if the name of midi files scrolled continuously as they play on the disting MK4. within a day he had a beta firmware for me to test. that setting has been standard on all disting firmwares since for anybody that wants to use it. there's customer service then there's eurorack customer service :) there's really no other thing I've ever been involved in where you have such a personal connection to the people you are buying stuff from nor such a helpful community of people willing to answer even the dumbest questions. you sir have been instrumental ;) in getting my system where it is today.
I bit my fingernails down to the quick when you lifted that module out and pointed at the busboard WHILE THE SYSTEM WAS ON. Don't try that at home, kids. This man is a professional. I would want to tell beginners that it's a fine exercise to design a system with signal flow in mind, but your brilliant, clever, and completely rational panel layout that looked so good on ModularGrid will probably not survive after you start actually installing modules in your rack. Some modules won't sit next to each other because of the way the power cable sticks out, or the circuit board is too close to the edge, or the mounting holes were drilled funny. You also must leave yourself space to get your fingers in there to pull cables and turn knobs, and if you have a case with angled tiers you must make sure that cables plugged into jacks on the bottom row aren't going to block access to jacks in the second row (and vice versa). My system wound up scattered pell-mell with very little signal logic at all, which I had to do to avoid "crowding." We also need to tell them there are three different kinds of screws. The majority of cases use metric screws, the same ones Doepfer uses .. is it M3? But I have a Pulp Logic case that uses M2.5, and Pittsburgh cases use American 4-40 screws. Whatever kind your case takes, you should buy a bag of extras slightly (about 2mm) longer because some modules have thick panels and I've actually had screws not reach the threads in the rail because they weren't long enough.
Agree with all of that! Also here’s something that may horrify you as it did me - When I was in Schneidersbuero once, I saw a staff member reach into a live system and plug in a module when it was powered on.
Its really helpful to develop some influences, in terms of established composers. An excellent resource is "Composing Electronic Music", by Curtis Roads. Then pick the modules you feel would best address the kind of music you want to make.
Really great job! I have a giant system and agree that 2 rows of 104 is the best first case (I think the 7u Intellijel is great if you can get your hands on the 1u midi and audio I/O modules). The Digitakt stuff is right on, when I invested in modular drums it grew my system by 50% (probably ~336HP) and I honestly still perform mostly on the Digi. That being said I think in 208hp there is an argument for a kick drum module (TipTop One, 2hp Kick, WMD Crater if you're fancy) which can get even the smallest systems into "deep house" territory and if nothing else is a great metronome while patching. I have a portable 3x86hp ambient case and a kick drum makes it performable without always needing to bring along the Digitakt + cables.
I definitely agree - especially with maybe having a kick drum and just a hihat module, it’s maybe all you need to get proto minimal jams going, which are satisfying and make it instantly feel like music is actually happening, rather than sonic noodles
agree on number 1 for sure, I make a system specifically for whatever music project i have going on, maybe im playing synth in a band, or doing sound design for a movie, etc however i would agree, a lot of people in the modular game does it more for fun than anything, which is totally cool, just saying, lots of great stuff, lots of control
Well, Doepfer actually does modules that do "fifty things", like the A-147-2 VCLFO, which (unfortunately) replaced the plain old A-147 VCLFO, instead of simply being side by side produced. I mean, if I buy a VCLFO, I do not need it to be also a (linear only) VCA and a decay module as well. I want a SIMPLE thing to use, not something which requires a rocket science graduation to use it!
"weirdly based on a server racking standard". nicely put. dieter doepfer used the eurorack standard when he started building his modules because that format was what he was used to as an engineer. then somehow that whole eurorack-thing took off.
The case question is the most important of all. I ended up buying a 4u 104hp and now I regret not buying the 7u. I thought about constraint so I didn’t burn all my money. The other consideration I thought about was portability. If I move from my current home for any reason, I didn’t want to pack a wall of eurorack. So yeah, the case choice is tough.
Strongly agree - there's that argument that 1 x 6U row can be a bit more easel-like and 'instrumenty' for want of a better term, with control served by things like the KeyStep, etc. Definitely 7U 104 is a lovely way to push it, only fear is it would be beyond the airline carry on restriction (which is the reason we have 6U 104 I believe!), though that's not a problem for most of us who don't fly anywhere anyway!!
@@mylarmelodies keystep pro is the answer for when you want a great sequencer that won’t take valuable space in your case. It has about the same dimensions of a 4u 104 intellijel palette so you could put it in the same travel bag. The max weight for carry on could be an issue but you are right, who travels nowadays?
Amazing video. One of my issues is that i don't have a personal sonic goal nor a musical objective as of now. If i start buying these things will be just because i like the blinking lights and the knobs, and that is a very slippery slope :D
On the topic of 'musical goals' I'd like to add that it's not just about the shape of a sound, but also very much about it's behaviour. A large part of what makes modular 'tick' is CV control, i.o.w; determining behaviour. And that can be tricky to analyze based on listening to other music to find out what you want your modular to be. For me personally this is where modular adds most of it's value, since with complex CV control you can do things no player could manually achieve. But figuring out how that translates into choice of modules is very difficult to do. Be prepared to revision your modular goals over a lifetime...
