Here we go -- single-skiff performance synth in 104hp?

[Eddy Deegan]

That looks extremely tasty Ben, and I take my hat off to you for the dedication you're putting into learning the wayward ways of such wayward beasties. My modular is currently 'frozen' insofar as until my new studio build is complete there is no way I'll be able to give it any useful time.

However, once the build is complete it'll be getting loads and I've no doubt will be expanding subsequently.

I've very much liked much of your work you've shared to date and I'm looking forward to hearing the results of whatever you use the latest setup for!

[The Elf]

Yep, that setup intrigues and terrifies me in equal amounts!

[Folderol]

Yep, that setup intrigues and terrifies me in equal amounts!

For me, the emphasis is on 'terrifies'

[Ben Asaro]

Here’s a photo of the fished product, all patched up, https://photos.app.goo.gl/syCUbD4no2zeWu1t7

I was very tempted to keep the Lyra-8, but I think it may be more than I can safely chew right now. Plus, I need the space! So for drones, I will either play samples or loops recorded from the L8.

The range and depth of sounds is surprisingly wide (and deep) and having the extra set of EGs for the filters gives an additional tonal range. As I am already familiar with how it all works, the next step is to get busy writing and practicing on it!

@The Elf and @Folderol it is a little terrifying, especially not having any real polyphony; it’s going to stretch my meager music theory knowledge to the limit to make it sound interesting.

I can definitely see now why when people play modular live it tends to fall into either the ambient or techno genres. Composing evolving structures this way is really challenging, but I’m looking forward to it!

I’ll post my first proof of concept here!

[OneWorld]

Here’s a photo of the fished product, all patched up, https://photos.app.goo.gl/syCUbD4no2zeWu1t7

I was very tempted to keep the Lyra-8, but I think it may be more than I can safely chew right now. Plus, I need the space! So for drones, I will either play samples or loops recorded from the L8.

The range and depth of sounds is surprisingly wide (and deep) and having the extra set of EGs for the filters gives an additional tonal range. As I am already familiar with how it all works, the next step is to get busy writing and practicing on it!

@The Elf and @Folderol it is a little terrifying, especially not having any real polyphony; it’s going to stretch my meager music theory knowledge to the limit to make it sound interesting.

I can definitely see now why when people play modular live it tends to fall into either the ambient or techno genres. Composing evolving structures this way is really challenging, but I’m looking forward to it!

I’ll post my first proof of concept here!

Wow, all those cables, looks like an explosion in a spaghetti factory!

But brings back warm feelings, I am almost welling up, thinking back to the time when I first became sucked in by the allure of the original analogs and spending almost every waking moment scouring through the various mags back in the day and learning how to build a module/synth. Most of which I sold for buttons when the initial fad died out and synths were considered naff and subsequently the 'axe' resumed its prominence and synths went the way of platform heels and hot pants (no I never wore hot pants LOL)

[Martin Walker]

I’ll post my first proof of concept here!

Looking forward to it!

Martin

[Ben Asaro]

Been picking at the system in little bits, getting used to the new sounds. I realized that I’ve pretty much only used the SEM filter with Oscillation, and it sounds quite different with the ladder filters! I do love the range of the CV inputs, however; there are so many tonal options, and rhythmic ones, using EGs and LFOs into the CV inputs of the filters.

I’ve snuck up on a key center (Gm/G Phrygian) and chord progression as well, playing around with Notion. Now begins the process of turning that into music!

[Ben Asaro]

Quick update: this has been an incredible learning experience, I’m really enjoying it, but … I’m not loving the sound of the MOPHO in this context. On its own, it sounds SUPERB, but against the modular, either too loud or too soft. That usually indicates an EQ/masking issue, but that’s not so easily dealt with in this arena!

The other, smaller issue I’m having has to do with the KeyStep Pro. Once again: I love the machine, it’s amazing but … I really don’t like using a standard keyboard with the modular! I think this mostly stems from my terrible keyboard skills. It’s just too much mental overhead for me and my choices are: play a very lame line at moderate speed, or a decent one at half that speed.

So I will probably be removing the KSP/MOPHO from the setup and replace them with something/somethings that are more in my wheelhouse. As the footprint for the KSP is large, I have a couple of options.

I will not be able to experiment further until after the weekend, but I’m still really excited to keep pushing forward with this setup! It’s so close, I just have to get it like my guitar rigs, where it’s hand in glove with nothing holding back the ideas I want to express.

Stay tuned!

[Ben Asaro]

Back home tonight after spending the past 3 days visiting family in Philadelphia. Was a great time, and a necessary counter reset. Looking forward to diving back into the thick of things tomorrow!

We visited the Franklin Institute today and there was one exhibit on moire patterns that really struck me ... the idea of musical moire patterns and palindromes ... the beginnings of a new idea, I can feel it resonating around in my brain looking for a way out!

[John Stafford]

Looking good! Is that your Subharmonicon case?

Talking of moiré patterns, I think the Subharmonicon is great for that kind of thing. Two sequencers that are not synchronised at all but have similar patterns can be great too.

[Ben Asaro]

Looking good! Is that your Subharmonicon case?

One 60hp case is from my Mother-32 (which will be going into my 6U rack case as a stand alone separate system).

Talking of moiré patterns, I think the Subharmonicon is great for that kind of thing. Two sequencers that are not synchronised at all but have similar patterns can be great too.

I agree! Looking forward to having a play after work today!

[Ben Asaro]

I only had a few scant moments yesterday to work on the system, but I was able to get sound from all sources, so that was a major win!

The current iteration of the setup is:

:: Eurorack voices > RV-500 fx chain A
:: Subharmonicon > Lyra-8 > TU-3S > RV-500 fx chain B

:: RV-500 A & B > Blackhole (set to mono) > Rosie channel A

:: Drum voices > Mixup > Rosie channel B

As both my Mother-32 and Lyra-8 allow for external audio input and the M32 is much easier to tune, I may end up using the former for drone/textures, I really need to experiment with the current setup.

Sonically, there's a lot of independence in that I can have a separate delay and reverb for the SubH and L8 than the sequences from the NerdSeq, which adds a lot of versatility.

It's also surprisingly compact without a keyboard taking up valuable real estate. Whether this is a good idea or not remains to be seen lol. Being able to "play" the voices from the Lyra-8 should add a human element to the proceedings, though...

[Ben Asaro]

Had a chance to give the system a nice, long play last night; will be making the next round of consolidation today.

I'm not convinced that the Lyra-8 actually makes this setup better. I mean, it's amazing for ultra low notes, but its sound is very difficult to mesh with the other voices. I also realize that I'm going to have to get the filters moved to the side car so that I can have immediate access to them. For performance, the three things I access the most are the EGs (adjusting their attack and release times) and the filters; so I think I want to have all of those to hand.

In the Plus column, I have a nice motive that I've started to develop, which is going a long way towards getting the system finalized.

In the Minus column, we're going to blow way past my original goal of 104hp! I think that just the control skiff will be 80-104hp, with another 208hp for the rest. But still no keyboard lol

(I suppose it's still better than schlepping all 15U out ...)

[Arpangel]

Glad it’s shaping up, I can remember my portable, a Pittsburgh 104 case, with lid, all based around that legendary module the Equation Composer, without which I would have been very lost, saw me through a few gigs.

[Ben Asaro]

Glad it’s shaping up, I can remember my portable, a Pittsburgh 104 case, with lid, all based around that legendary module the Equation Composer, without which I would have been very lost, saw me through a few gigs.

I think I've got it to the point where there's very little compromise but is still portable; ie, it can fit into 2 cases that can be easily transported on the subway.

https://photos.app.goo.gl/ezytqPuL8p3JEJV1A

With the Delta variant on the rise here it remains to be seen if this Summer will be doable for in-person gigs, but I'm going to get some virtual ones booked as well.

The best part is that this has thus far only cost me $25, which is the price I paid for the control skiff stand to tilt it back.

Now to patch it up and see how it works!

[Eddy Deegan]

Back home tonight after spending the past 3 days visiting family in Philadelphia.

Kinda unrelated but one of the most wonderful experiences I've ever had as a British chap was driving from an office (belonging to the company I worked for at the time - I was visiting HQ for training) in Philadelphia to visit an old friend in Maryland for the weekend.

A mere jaunt by US driving standards but a massive adventure for me, especially as it was the first time I'd ever driven an automatic and I find driving on the right non-intuitive.

The US medians can be hard to determine in the twilight, I took a lane that wasn't there in a dark-ish rainy rush-hour and ended up buried in sand to the wheelnuts. Got out of that but had to rejoin the carriageway - that was hairy. There were hoots a-plenty!

Also cut off a guy at some lights on the way back by changing lane at the last minute. He was super-pi**ed and yelling at me but when I wound the window down and apologised profusely while explaining it was one of my rare driving experiences in the States he defused instantly, said he liked my accent and made complimentary noises about the UK as well as appreciating my honesty for fessing up. He was a nice guy

[Ben Asaro]

Hehe, nice story! I had the opposite experience the first time I tried driving in England!

Being a native New Yorker, I hate the way everyone drives lol.

[Arpangel]

Ben, have you got one bag that this lot fits in to? I used to use one of those wheeled shopping trolleys for mine, although they can be a pain on underground (subway) steps.
There is a market here for good portable systems, for transporting modular.
Those Space Cases are good, they take a hell of a lot, and fold up small, but they are way too expensive.

[Ben Asaro]

Ben, have you got one bag that this lot fits in to? I used to use one of those wheeled shopping trolleys for mine, although they can be a pain on underground (subway) steps.
There is a market here for good portable systems, for transporting modular.
Those Space Cases are good, they take a hell of a lot, and fold up small, but they are way too expensive.

I do! I have a gig bag for both the 6U and 3U skiffs that I got from Perfect Circuit pre-COVID. If I ever went further afield I would have to come up with something more sturdy, but for bopping around NYC, they should work fine.

[Ben Asaro]

Thar she blows! https://photos.app.goo.gl/4spRoj77ubm7ttqd9

Two immediate observations: it sounds fantastic. And it's very roomy with this layout. Everything I need to get my hands on is either on the closer level of the 6U or on the control skiff, with plenty of room to move dials and push buttons. And I have 18hp of expansion room 'just in case'.

6 synth voices, 4 drum voices, 2 delays, 3 reverbs ... I think I'm now set.

I ran a test patch last night just to hear everything at once. The interaction of the M32 with the SubH, sonically, is really quite moving. They sound very different but compliment each one another so well. The Boomstars now sound perfectly at home within this context and I have just enough sequencing on the NerdSeq to make it all work.

[Arpangel]

I ran a test patch last night just to hear everything at once. The interaction of the M32 with the SubH, sonically, is really quite moving. They sound very different but compliment each one another so well. The Boomstars now sound perfectly at home within this context and I have just enough sequencing on the NerdSeq to make it all work.

Having a definite vision as to what you need, to achieve your musical goals i find hard to stick to, but it looks like it’s worked for you.
I’m trying to do this with mine, sort of, but trying to do certain things using the most logical solutions isn’t so easy, I'm using three separate sequencers, when one with more features would be better, but I don’t like digital modules with menus, so that limits me.
The Equation Composer was fantastic, but functions were all hidden, I couldn’t tell what was happening just by looking at it, the main strength of modular for me, simplicity, lots of knobs!
We are all different, that’s also the biggest attraction of modular, we can design our own instruments, and seeing other peoples racks is always interesting.

[Ben Asaro]

NerdSeq, Pyramid, and Circlon are probably the most extensive sequencers available for Eurorack. I've found the NerdSeq to be very intuitive, though my use case is quite simple!

I do enjoy very simple sequencers as well, my other setup made from the leftover bits (too many) will be driven by the SQ-1 and Turing Machine.

I agree with the menu diving, it's a drag, but the NerdSeq actually has virtually no diving, all of the menus are accessible from any page, it's laid out more in a horizontal fashion, than vertical, if you get what I'm saying.

Ultimately, it's all moot if no music is being made! I'm glad it's done so I can push forward, I have a few ideas now and am excited to get to writing again.

If you look closely, I'm not that fussed with things like cable lengths and screw colours, rack aesthetics, etc. I want 100% ease of use and function. I need good tracking and a simple way of tuning. Everything else, for me, takes away from the music.

[Arpangel]

Ultimately, it's all moot if no music is being made! I'm glad it's done so I can push forward, I have a few ideas now and am excited to get to writing again.

If you look closely, I'm not that fussed with things like cable lengths and screw colours, rack aesthetics, etc. I want 100% ease of use and function. I need good tracking and a simple way of tuning. Everything else, for me, takes away from the music.

I try and organise things into some sort of a logical order, one that makes sense to me, all modulation sources, sequencers at the top of my rack, feeding oscillators below, which in turn feed VCA's and filters below those, that’s basically it, I like feeding control voltages into VCA's and modulating the VCA's with more random sources, to this day, I never know how I got to a piece, it just happens, I like what Legowelt said about his Euro set-up, it’s like a Brian Eno thing, you know, nature, forest sounds, that kind of thing, that’s what it does for me.
I’m with him there!
I think he’s expanded it now though, based on a Synthacon system.
Sequencers? I've got Lifeforms, and I’m getting that Behringer 2500 sequencer, that looks really cool, three rows of eight steps, that can all interact with each other.

[Ben Asaro]

I think Make Noise's sequencers work that way as well, it's an interesting idea, for sure.