There’s so much gold in here, really appreciate it! I’ll be sure to check out that DPO tutorial and the other links as well. I also definitely want to get that Tempi start/stop setting figured out, that would reduce some of the chaos in my sync’d jams for sure.
I love Autechre but didn’t know they worked with a lot of reverb tail modulation so I’ll dig into that as well. I was spending a lot of time with Erbe Verb last night just getting a feel for all of the different sounds it can make; seems like it can essentially be another voice in the system when used for shorter / more percussive reverbs.
Nice thread over here ! It’s funny it appear now as I should receive the 7U steel case with CV bus tomorow hahaha.
I’ve been working with a sort of Shared System since many year now and it does now feel as an extention of myself, I’ve been doing so much sounds that used in tracks with it, as well as just having nice jam moment when I was just having fun without caring at all.
I have a few almost mono brand system and the Shared System environment is for sure the most immediate and fun to play with of all (Verbos come just after tho, if not equal).
Very curious to start working with the CV bus tomorow hahaha.
Here are a few “Patch From Scratch” video I did with my system if it can be of any inspiration to any of you by the way
Yea but how do you master an LFO or a filter or an oscillator lol While I take their meaning that just sounds like snobbishness. Pre-built systems exist because there is a market for them and there is nothing wrong with starting with a pre-built system. /non-productive comment (I probably need more coffee).
Oh hell yes, I’m likely going to watch through all of these videos, thank you!
It’s interesting you mention “working with the CV bus” because I think that’s something I tend to take for granted; it’s my first case so I probably don’t fully appreciate everything it offers.
Hahahh I do like the mental image of someone meticulously turning the knobs on a filter or LFO with nothing connected to it saying “Hmmm, I think I’ve finally got it.”
I think shared systems are the best way to jump into modular, especially if you are a producer. There is none of that “Oh I forgot to get a filter/VCA/extra LFO/etc and now I’m out of space” type of instant regret because the shared systems are built to go out of the box.
Hardcore modular people say to buy the biggest case possible and kiss your money goodbye, but I think that’s really bad advice. I started with an intellijel pallet and its amazing how deep you can get with the right modules in that little box.
If I had to start over, I’d probably go shared system and get the Make Noise or the ALM, but thats mainly because my build is based on modules from those 2 builders.
Of course I say that and need to mention I have a BIA in there, which quite honestly is the best module I have owned. Especially for when I have a track 80% done and just need to add some ear candy and movement.
So yeah - shared systen or intellijel case can do so, so much. There is no need to go crazy unless you are really committed to modular. And maybe one day I will be, but I like it more as a compliment to what I have.
On a side note - how F’n cool is Maths? That module is a beast!
That’s true - as I’d mentioned 2-3 (4 maybe) - possible LFOs. But then you’re sacrificing envelope duties (or requiring the use of strike) and/or an osc.
I don’t know. I just look at all those sound sources and think how symphonic it could be if there were more LFO type modulation going on. But maybe that’s just me and not the makers of the instrument.
There ain’t no envelopes like em. Just outrageous.
I’m really trying not to have a wandering eye for other modules but whewwww that BIA looks badass. Someday when I build my own rig, that’s definitely on my list.
Maths is incredible! I’ve definitely taken the complete Maths journey from first looking at it a long time ago wondering what on earth it even does, to now realizing how essential and powerful it is. I’ve made lots of patches so far without using Pressure Points or Morphagene or Wogglebug, but Maths is in 100% of my experiments — oftentimes I have to get creative with multing the output signals so I can use them elsewhere because I just want even more Maths.
On a side note - how F’n cool is Maths? That module is a beast!
I do really think that the day you start patching your Math in complex ways without having to refer to manual or note, you ARE into the modular thing for real hehehe
As a Serge owner as well, I can tell Tony did an amazing job at taking the best things from the DUSG but take those to extrem level of ease of use by adding this mixer / inverter in between the two slew circuit.
The only thing where the Serge version is better is the audio rate stuff and the sounds you get from it.
I have a question regarding your recordings of modular jams: do you add other stuff to it after, like some stuff from your Elektrons or do you keep it modular only?
I have a hard time with this part, finishing songs or having sort of a method for making more complete compositions out of experiments with my modular system, especially when it comes to recording.
I have an Intellijel only system and it’s really fun!
Looks like an awesome system you got there! Really cool case too.
Re: recording stuff, so far I’ve just been hitting record in Ableton when I start to come up with something that sounds like it may be useful later, and then go back to patching/experimenting and just let the recording run. Then once a week or so, I’ll flip back through my recordings and either write down notes about stuff that still sounds interesting, or I’ll cut my favorite clips out and drop them in a folder.
But I haven’t quite connected the dots on how to make use of all these jams and pieces. I’m hesitant to reduce them to small samples that I can mangle/loop/etc. for something else, because I really want to keep the character of the system and the evolution of the patch as a central part of whatever it becomes. It feels a little underwhelming to cook up a whole patch only to chop it down to a 2-bar bass line loop that I could’ve made in 5 minutes on another synth.
One of my favorite mini setups I’ve used in the past has been the 0-coast and the Octatrack, with the 0-coast running in a Thru machine and then 3 or 4 other tracks with Flex machines to sample/resample/resequence whatever’s coming Thru. It’s a super powerful setup for how simple it is, and you can really quickly end up with tons of interesting layers despite only working with 1 voice.
But again, I’m a little hesitant to run the Shared System into the Octatrack, because I know once I do that, the Octatrack becomes the star of the show. Ultimately I want to get better at composing and performing entire pieces on the Shared System alone so I can take advantage of everything happening there.
I’m also thinking that using something like the shared system and only that instrument for a performance is a good idea.
Practicing a composition on a modular synth or any instrument for that matter is closer to the way I think about music. Recording when you’re satisfied with the results and not necessarily trying to add more. Maybe if I need to add more than the composition or the song isn’t strong or pleasing enough
There are loads of modulation outs in Maths , much like the serge influence it is very much patch programmable for what you get out of it. They are all related too (depending how you patch it). Pair it with the MN 1u Shared Bus with a clock , you have a whole living breathing system from 8/7 (depending how patched) modulation sources from maths alone , never mind the CV out of things like the reverb, delay , morphagene , wogglebug (8 sources again) and again the Pressure Points ( i don’t have it in my system as im buying an octrl) Which i use a voltage mixer , which is of course a modulator AND clock source sequencer. So there is actual A LOT of modulation , its just not particularly obvious from first glance
not sure if it’ll help you or not - for figuring out how to work your modular into a composition - but I found these two albums very inspiring for that.
now, I don’t write or try to sound like these guys. but they gave me some great ideas with ways to work a modular around a song structure (or vice versa, I guess).
If you have brains (MN add on module for PP) it sequences it! Alternatively you can literally play the capacitive keys and you can input them like playing a piano , but instead of notes (however it can be that as well) you are playing your modulation. Really cool stuff!
What I do is take a jam and modulate it over the course of 5-6 minutes like it is a song. Maybe put a 4x4 kick under and then imagine it’s a track and how people will react to me if they wanted to dance and I was up there with just a 4x4 kick and my modular. I live record that take into ableton and then listen back and build a track on top of that.
The other thing I do is bring the modular in once I have a skeleton track built and add in the modular parts that way. Both are very effective for me, and its fast to do.
Main goal is get audio into the DAW. you can reptich it, chop it, mangle it to fit the track further on if needed.
I’ll definitely listen to your suggestions.