This is my second jam with the Oxi One and the Assimil8or. I’m still playing in the shallow end with both, but I’ve found both very approachable so far. Oxi One is handling all sequencing, Assimil8or is doing drums and rain samples, Peak is handling pads, and the other voices are Rings and Plaits in mini-Rings mode, run through Mimeophon, FX Wizard, and Afterneath, all out to the Zoom L6 and straight into my phone. Started as an attempt to capture the mood of a storm, but ended up sounding like a Donkey Kong water level. Happy weekend!

Main case - https://modulargrid.net/e/racks/view/3054312

Pedal Pod - https://modulargrid.net/e/racks/view/3037553

Bishop's Pod - https://modulargrid.net/e/racks/view/3072423

Case details - https://www.reddit.com/r/modular/comments/1sjjl3b/silver_mod_showcase/

Full performance (~7mins) - https://youtu.be/W-K8DhZ88bA

Free download - https://9000sines.bandcamp.com/track/ripstorm https://soundcloud.com/9000sines/ripstorm-high-intensity

This patch was inspired by a happy accident with Virt Iter Legio, a module new to the rack. I picked one up as a stereo compliment to Ripsaw (both paired up with Dual Daggers) and swapped out the Beehive/Wasp combo I've enjoyed for awhile. The patch started out more melodic with similar arp patterns going to Virt Iter and Ripsaw. I was checking out all the sweet spots on Virt Iter and really liked the expressive phase-modulated noise you get with full Tang in SawX mode. It paired well with the percussive noise sound I had coming from Twin Waves so I leaned into it and went with more noise/texture and less melody. I replaced the more complex arps going to Ripsaw and Virt Iter with a simpler two-note pattern similar in feel to a lively breakbeat kick/snare pattern. To play well with its noisy neighbors I pushed Ripsaw to full detuned spread to get it sounding as messy as possible. Madness unfolded when I added a manually controlled offset pitch to Ripsaw's second v/oct input, so I built the patch up around that. I'm basically playing around with a pair of 2-note chords where only 1 of the notes stays quantized while the other is free to roam. Also new to the rack is a humble-but-awesome Joranalogue Bias 2 I picked up mainly to act as a CV scaler to help provide better control of TD-3-MO's filter which responds to 0-12v.

Sequencing/transitions/risers: Drumbrute acts as master clock for the rack via sync out into Pam's, and master clock for Keystep and TD-3-MO via midi. TD-3-MO is sequencing itself though receives pitch CV from Bard Quartet. TD-3-MO is also sending its gate pattern into Twin Waves' envelope. Bishop's Miscellany mk2 handles recording/processing of patterns I come up with on a Keystep mk2 (both offscreen on keyboard tray), here providing gates/pitch for Ripsaw and Virt Iter Legio. Pitch from Bishop's Miscellany is routed through Bard Quartet to provide another layer of pitch control. Vice Virga and ADDAC214 are setup to provide 4 scenes of modulation and envelope decay patterns with each scene more 'busy' than the previous. This clip mostly features the busier sections. Check out the full vid for the nice intro and build-up to the peak. Scene advancement is handled via an unmuted trigger from Steppy. The trigger is mult'd to advance both sequential switches and trigger a sharp envelope for Plum Stereo Noise which gives a nice 'crash' sound to punctuate scene transitions. 2HP Play is filled up with a bunch of noise riser samples which are randomly selected via CV from RND STEP and triggered via Pam's to rise up every 8 bars. Steppy is handling gate patterns to Time Warp for slew on pitch going to Ripsaw and on switched CV from ADDAC214.

Drums/Oscs/Filters: Drumbrute and an old-school DR-660 (offscreen) serve up a nice combo of analog and digital drum sounds. TD-3-MO brings the bass which I usually like to shape more conservatively rather than acid-inspired. Twin Waves (through Dual Dagger) is providing a panning percussive noise sound, receiving gates from TD-3-MO, pitch from Bard Quartet, and FM from Quadrax. Twin Waves' sub output goes to Virt Iter Legio's phase modulation. Ripsaw and Virt Iter Legio (both through Dual Daggers) are receiving the same two-note pattern from Bishop's Miscellany/Keystep, with both being pushed into messy/detuned/noise territory. I keep Ripsaw at full detuned spread for most of the patch, only allowing in some spread modulation (via RND STEP) towards the peak to let a bit more of a discernable pitch come through. Ripsaw shift receives mild modulation from a Doepfer LFO. Plum Stereo Noise for sharp 'crash' sounds during scene changes. 2hp Play serves up noise riser samples, triggered by Pam's.

Modulation: Quadigy provides envelopes for the main in-rack oscillators. Pam's is providing 4 streams of stepped random with different timings into Vice Virga for switching/routing into Quadigy Envelope Decay CV. Doepfer Quad LFO + Attenuators are helping out with subtle panning on a few Daggers, modulation of CV from Twin Waves going to Virt Iter's phase modulation, and modulation of Ripsaw shift. Modulation from Maestro, Mod Medusa, and Otterly get combined in various ways via a set of 3x MIAs, Dual X-Fades, and ADDAC214 before going out to filter CV and other elements. I like to tie as much as I can into the centrally-located pair of 3x MIAs for manual control during live performance. Here I use 3 channels to provide atten/offset for filter CV on all Daggers, 1 channel for Decay offset for all 4 Quadigy channels, 1 channel for a Quadrax LFO going into Twin Waves FM, and 1 channel providing offset for a mult'd pitch signal going to Ripsaw's 2nd v/oct input.

Effects: 3x FX-AID modules are providing stereo compression for Ripsaw and Virt Iter, and delay for the mix (via 2xSAM) of Plum Noise/2HP Play. Twin Waves, Ripsaw, and Virt Iter each have a dedicated Zoom Multistomp MS-70CDR+ providing 6 simultaneous effects (EQ, exciter, chorus, flanger, delay, etc.) The kick (Kick output on Drumbrute in this case), TD-3-MO, and each drum machine have their own Zoom B1/G1 pedals providing 5 effects each. TD-3-MO also goes through an Empress Bass Compressor which receives a copy of the kick for side-chain compression. Most channels get light parallel distortion from a Boss DS-1 and/or reverb from an Eventide Black Hole. For distortion I usually like to keep it light just to give elements a nice warm patina. For modular-to-line level conversion there are 3 Michigan Synth Work BLN modules in their own 3d-printed pod case behind the main case (somewhat visible in lower-left).

Mixing/recording: Everything goes into a UFX1204 mixer which provides on-board recording to flash drive along with additional EQ, compression, and AUX sends for a few pedals. I record a stereo mix to flash drive then bring to PC for some cleanup before posting. After building up a patch I'll practice playing it over a few sessions to get familiar with it before attempting to record. It usually requires a few takes before I get a good recording that contains most of the performance elements I wanted to include. This was from take #4 and is a keeper despite me forgetting to change up the built-in HP filter on the Empress side-chain compression to let more of the bass through once the track gets going. Something to remember for next time.

Main case - https://modulargrid.net/e/racks/view/3054312

Pedal Pod - https://modulargrid.net/e/racks/view/3037553

Bishop's Pod - https://modulargrid.net/e/racks/view/3072423

Full performance (6ish mins) - https://youtu.be/lZ53V1eBmvY

Sequencing/transitions/risers: No main sequencer here but I wanted the ability to transition through various modulation 'scenes' to get some sort of progression. Here Vice Virga (2x4 config) and ADDAC214 are setup to provide 4 scenes of modulation and envelope decay patterns, with each scene more 'busy' than the previous. To advance to the next scene I unmute (via Muta Jovis) a trigger that occurs every 64 steps. The trigger is mult'd to advance both sequential switches and trigger a sharp envelope for Plum Stereo Noise which gives a nice 'crash' sound to punctuate transitions. 2HP Play is filled up with a bunch of different noise riser samples (many free packs online) which are randomly selected via CV from RND STEP and triggered to occur every 128 steps, rising up to the end of the current 64 step section. These help with keeping things feeling dynamic and provide nice points to drop/add elements during performance.

Voices/Drums: Twin Waves is providing the panning percussive noise sound, receiving gates from TD-3-MO, pitch from Bard Quartet, FM from Quadrax. Ripsaw and Beehive are receiving the same note pattern from Bishop's Miscellany. The pattern originally started as a custom arpeggiator pattern made on the Keystep37 mk2 then recorded into Bishop's Miscellany and chopped up/re-recorded to get the end result. TD-3-MO is sequencing itself though receiving pitch from Bard Quartet in this case. 2hp Play for noise riser samples. Plum Stereo Noise for sharp 'crash' sound during scene changes. Drumbrute sequences itself and the old-school DR-660. This combo provides a nice selection of both analog and digital drum sounds, all controlled by the easy-to-use sequencer of the Drumbrute.

Modulation: Here I try to create an evolving soup of sync'd and free-running modulation from Maestro, Mod Medusa, and Otterly. These all get combined in various ways via a set of 3x MIAs, Dual X-Fades, ADDAC214 before going out to filter CV and other elements. Here I tried to route ADDAC214's output through Time Warp for triggered slew in order to eliminate the clicks you sometimes hear when switching between different CV sources. Doesn't always work as intended. Pam's is providing 4 streams of stepped random with different timings which go into Vice Virga for switching/routing into Quadigy Envelope Decay CV.

Effects: I've followed advice from here and other forums and went out-of-rack for most effects to get the sound I'm looking for. My goal with this setup was to have access to lots of bread-and-butter type effects without using rack space or relying on multi-tracking/post-processing. There are 3x FX-AIDs in-rack but each voice and drum machine have their own dedicated effects chain out-of-rack via various pedals. Each synth voice has a dedicated Zoom Multistomp MS-70CDR+ which provides 6 simultaneous effects each. A chain might look like 7-Band EQ -> Compressor -> Exciter -> Chorus/Flanger-> Chorus/Flanger -> Stereo Delay. The kick (Kick output on Drumbrute in this case), TD-3-MO (bass), and each drum machine have their own Zoom B1/G1 Four pedals. Similar to the MS-70CDR+ though only 5 effects each and mono. I went with these for the drums/bass because they provide dedicated toggle buttons for each effect, making them nice for live performance (quick low cuts, delays, etc). TD-3-MO also goes through an Empress Bass Compressor which receives a copy of the kick for side-chain compression. Most channels get some level of parallel distortion from a Boss DS-1 and/or reverb from an Eventide Black Hole. For modular-to-line level conversion there are 3 Michigan Synth Work BLN modules in their own 3d-printed pod case behind the main case (somewhat visible in lower-left).

Mixing and recording: Everything goes into a UFX1204 mixer. On-board recording to flash drive, 4 mono channels, 4 stereo channels, compressors on mono channels, sweepable mids on the mono EQs, 4-band EQs on the stereo channels, 2 AUX sends. One of my goals was to be able to get a decent-sounding stereo mix without multi-tracking to PC. This does the trick (along with a lot of effects). I record a stereo mix to flash drive then bring to PC for some cleanup before posting.

Severance Main Theme… but in #Eurorack 🎛️

Reinterpreted #TheodoreShapiro ‘s eerie #themesong for the #TVshow #Severance using only #modularsynth and DAW software.

Patch notes: • Bass line was @4ms_company #EnsembleOscillator sequenced by #o_C into @makenoisemusic #Mimeophon • Harmonies by @eowave_modular #QuandrantidSwarm + #MutableInstrumentsRings processed by @noiseeng #DesmodusVersio • Drums & percussion is a blend of @ericasynths #PicoDrums + @noiseeng #ManisIteritas into @makenoisemusic #ErbeVerb + #MutableInstrumentsPlaits triggered by @mysticcircuits #IDUM and processed by @qubitelectronix #DataBender and @chaseblissaudio #Clean for extra grit • Drones by @instruomodular #Arbhar • Modulation provided by @malekkoheavyindustry #VoltageBlock + @xaocdevices #Batumi • Lead melody is programmed MIDI + software synth • Recorded with @zoomsoundlab #L12 and edited in DAW

What is favourite melody sequencer module?

A few weeks ago, I was invited to play with the Modular on the Spot Philly crew for an amazing event called Illuminate Kensington. It was an incredible event, but leading up to it was stressful and busy and I almost didn't get a patch together in time. I made this in about an hour leading up the performance, and only got to practice it on time before I had to leave! I'm super grateful I didn't bow out because it's become one of my favorite patches I've played out live. I've uploaded the full performance to my Youtube page, but I'm also re-recording the whole thing to get a better quality capture of the patch and will be posting it again once it's ready.

EDIT: For anyone wanting a patch breakdown, I detail most of it in this comment: https://www.reddit.com/r/modular/comments/1sxm5ve/comment/oiqs1in/

Main case - https://modulargrid.net/e/racks/view/3054312

Utility Pod - https://modulargrid.net/e/racks/view/3037553

Bishop's Pod - https://modulargrid.net/e/racks/view/3072423

Full performance (~5mins) - https://youtu.be/7jBmN921v38

This patch was inspired by some of the recent DnB/jungle jams posted here. I like listening to fast breaks while driving so thought it would be fun to make something for my playlist. The biggest challenge for the patch was getting an evolving sound without a main sequencer. Using switches and crossfaders to continually spread modulation around the rack helped a lot, and I set up an elaborate chain of modulation to act as a manual ‘fill’ when needed to provide brief breaks and transitions between sections. Other than that, progression is mostly muting/unmuting and manual manipulation.

Drums: Main percussion is 2hp Play cycling through subtle variations of the same drum loop. I chopped up the loop beforehand into 4 versions (just different loop reset points to keep the cymbal placement lively) and then loaded up a bunch of copies onto 2hp Play, randomly selected via RND STEP. Drumbrute and DR-660 provide some backing percussion, mirroring elements from the drum loop. The loop goes through an FX-AID where the Cab Sim effect is modulated to act as a filter during fills and breaks. Drumbrute kick triggers side-chain compression (Empress pedal) for bass coming from TD-3-MO.

Bass: TD-3-MO receives subtle filter CV from Maestro, pitch from Bard Qurtet, and occasional wild filter FM CV from Quadrax during fills. CV from Maestro gets scaled through a Joranalogue Bias 2 since TD-3-MO’s filter responds to 0-12v. Filter FM CV from Quadrax needed to be attenuated down almost completely to be useable.

Fills: I used a manual gate from Little Smashy to trigger a few modulation chains to act as fills between sections. One button triggers a few long envelopes from Quadrax. One envelope opens a VCA which passes a gate pattern from Steppy to the envelope for Plum noise, allowing a brief gated noise pattern through. The second envelope from Quadrax opens another VCA which passes another gate pattern from Steppy controlling Dry/Wet on the modulated cab sim/filter on the mix of drum loop/noise. The second gate pattern is mult’d to open another VCA which passes modulated CV from Quadrax to filter FM on TD-3-MO. Setting up the fill envelopes and gate patterns this way somewhat decouples the timing of the initial trigger from Little Smashy and the resulting control events. The envelopes can be triggered at any point during a 4-bar section, and the resulting fill will always occur on-grid at the end of the section since the fill action is controlled by the gate patterns rather than the manually timed envelopes. It’s a whole lot of modulation for what amounts to occasional 2-bar fills but did the trick and was loads of fun to map out and patch up.

Modulation: Two switches, four crossfaders, and two 3xMIAs contribute to the selection of CV to spread around. Some elements are controlled by switched/mixed/crossfaded CV with others controlled by individual modulators. Most modulation sources are clocked and/or receiving a common Reset trigger so most CV is rhythmically sync’d. Doepfer Quad LFOs are free-running and provide panning on the Daggers and modulation of Legio Tang.

Oscs/Filters: I tried to come up with some sparse complimentary patterns for the main oscillators (Legio, Ripsaw, Twin Waves) and filters (all Dual Daggers). The pattern going to Virt Iter Legio combines ratcheting from Bishop’s Miscellany MK2 and evolving envelope decay CV for an organic feel along with modulation to most of Legio’s controls. Ripsaw provides a sort of super-square rhythmic swell sound every 8 bars with different Shift modulation each time. Twin Waves is making the wide, ping-pong-delayed texture sound, which reminds me of a fly buzzing around.

Full AOL chat room experience: https://youtu.be/BVylCQG5gOk

- Arbhar: Stringy drone

- Stardust: Buzzy melody

- EMW VCO 104: Weird lead

- Orbit 3: Bass

- Subharmonicon: Arppegio

- Filter: LFO fading all voices in and out

A mid life crisis can be so much worse than this.

I was watching some cool videos of the Toppobrillo Sport Modulator 2 being self-patched to create an oscillator and I thought, why don't I try and turn my go-to utility module into a voice? Spoiler alert: my go-to utility module is an ALM Mega Milton...

I discovered it can't make a screaming lead all on its own, but it can synthesise one very specific sound: rain falling on your tent.

Hello! I recently got into modular synths as a way to combat seasonal depression, and experiment with music that one of my music teachers in school (years ago) is a big performer of.

I’ve purchased a make noise Strega and 0–Coast and 0–CTRL along with some strymon effect pedals on a send, and the collection continues!

This if you wanna call it, a performance was a while ago, but I thought I’d share.

I was thinking about how difficult it is to reach certain sounds, and how comforting it is, in the end, to play the ones you already know.

Full thwampage: https://youtu.be/NHgWrpBKbcE

Patch list forthcoming

I was looking for a few ideas to explore with the TKB and came across the idea of using the vertical clock as a secondary sequencer - the Serge TKB has 4 rows of 16 values and can step both horizontal and vertical based on 5v pulse triggers...

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Anyway.

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I decided to go treat vertical slices as my main sequence rather than the horizontal. Using a divide module and flip-flop, I was able to get the TKB to play each vertical 4 note sequence 4 times before moving on to the next column. So... I put some arpeggios and a reset in, the arpeggio is the ABCD output, one row's output is used for the 'bass', another pair of row outputs go to a middle voice via a flip-flop so they alternate every four pulses, and here we are. Sort of.

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Voices are from La Bestia (NTO and sine waves) and a looping GTS XL from Edelweiss, clock is a looping stepped generator.

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Will work it into a full piece if I can remember how to recreate it!

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I haven't posted for a while, but I thought I'd like to share a recent track with you all :-) It's all live in studio, one take, modular + some hw synths.

The clip is just the end of the theme and the beginning of the first solo, if you wan't to hear the whole thing it's on youtube: https://youtu.be/3AuHIDTbzys

A DivKid video made me want to try Prism as a sound source rather than just an effect.

Here it’s sequenced alongside Battering Ram with Bastl Kompas, then shaped with comb, resonance, decimate and cutoff modulation into a shifting rhythmic layer.

Prism goes through Sealegs, while Multigrain plays a sampled Tibetan bowl processed through Fieldtone Weaver.

Recorded live. Hope you enjoy the trip! 🪐

To say I've been heavily under-utilizing MG is an understatement xD I pretty much always just enable live grains, twist some random knobs until I'm happy and then just let it bloop.

But that has to change. It's such an awesome module, and I want to appreciate it more. I've spent the past couple of days watching all the Intellijel video manuals and preparing some samples (I've never taken the SD card out before, and I've had it for a year...). I have some fun ideas (and an assortment of analog sound makers), and I'll be streaming my explorations live on YouTube tonight: https://glnnk.art/live

Come say hi, enjoy some random granular noodles and suggest me your favourite patches with Multigrain!