adding
https://synthtech.com/eurorack/E520/
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If there ever was a machine tailor made for the Octatrack this is it!!!
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Fully agree. I’ve def thought about selling everything but OT for it…maybe one day
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What do you plan on selling for it if don’t mind me asking. I’m reducing my modular system to fund this purchase. I made some tough decisions but in the end I know having a very focused setup with the Pulsar and OT I’ll be very productive. That set up would be separate from my home studio though.
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Wow. That review = I have to have this thing. Price isn’t bad given that I’d be so happy with it that I’d sell off a bunch of stuff.
To all you modular gurus out there, is there anything in the modular world that gets close to this (if one doesn’t want to wait forever to get this)?
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Of course you could more or less easily built a modular rack which provides quite similar functionalities, but it will cost at least twice as much and will be also much larger.
My second live set with the Pulsar-23. Performed at the start of May. The Puslar-23 stuff starts slow, and a 2:00 I start playing the BASS voice as a lead mono synth… and over time the on-board effects take that into deep craziness…
Third part of the suite will play at ResFreq in June.
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Pretty sure there are about 900 units that will be going out anytime between now and the end of the summer. If you haven’t already been waiting forever, you won’t be waiting too much longer.
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If I were going take the plunge, I’d have to consider selling some combination of digitone, 0coast, grandmother, and stargazer. Right now I’m having enough fun with all of those and sampling them into OT. Maybe a year from now I can see myself going for it…my first thought when it was announced was “wow i could just use that and OT and be set.”
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I would keep the Digitone just to have a poly synth available.
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Posted at Muff’s:
Stimming’s demo was vintage Stimming, but obviously very, very newbie, which is a nice thing to work through with him, though his sound results were really basic. But I think he’s miscalculated with his two years estimate–it’s just not that kind of system. Also, it’s very immediate, with few under-the-hood secondary functions and obviously no menu diving. The FX module is the exception and can be annoying because the modes make functionality unobvious; the labeling doesn’t help there, and the manual isn’t as clear as it could be, making me go back to it several times to refresh myself as to how it’s functioning. But mostly everything else is immediate, working in traditionally expected ways. It’s just that there’s a lot of stuff. I would think Stimming’s second video will bear all this out.
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Yeah, kinda seemed like Stimming didn’t watch Vlad’s videos.
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If I remember correctly, in his recent “in the studio” / “ask the producer” video on Electronic Beats, Stimming shows the Pulsar in his studio, mentions another one at home, and explains that he actually spends a lot of time working with the machine. It sounded like serious commitment to me.
Because Stimming mentioned using the Pulsar on stage: I really wonder how this may work out with the banana alligator clips. If you are not super careful it is quite easy to disconnect one or more of them simply by accident. 
Any thoughts about this, @mzero ?
Sweet jam by -CALC-
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this, and the little electrical noises coming from fiddling the bananas onto the pin…i can imagine some intense noises on a big PA
Seems fine so far to me
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Yeah the Stim video had almost nothing of interest, lots of talking, no good sounds, and a tiny sprinkling of basic patterns. I’m interested to see what this thing can really do.
mzero, I’ll watch your video at lunch, I always enjoy your music!
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The connections are made with alligator clips. I don’t think there is anything called “banana clips”.
I patch live with them all the time. I find the alligators quite secure and don’t they don’t knock off easily at all.
One of the advantages of a single wire patching system (like Bananas on Serge and other systems) is that there is no accidental connection to ground while connecting, like there can be with 3.5mm systems. So, there is less opportunity for a transient… not that you can’t still create them: If you patch a square wave LFO into the control of a VCA, and it is high at the moment of connection - that’s going to be be a big transient on the output no matter what the patching system!
Another plus, is that you can actually perform the patching: You hold a clip in one hand and play with connecting and disconnecting it to a pin in rhythm with your music. This is possible with Bananas as well (depending on the jacks on your panels), but really not an option with 3.5mm jacks.
You can go further, and hold the clip in one hand and simply touch the pin with your fingers - making an attenuated temporary connection!
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This is the review I think captures the Pulsar-23 best:
(mind you, I had to watch it with auto-translate captions on as I don’t speak Russian)
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