I recently watched 2 videos which provided some good information on Eurorack Synthesizers. Both were over 3-hours long. These are just 2 of a 4-Part series.
The Presenter is "DivKid", a VERY knowledgeable person in the Eurorack community. One of the other people in these Episodes is Kim Bjorn. He's the Author / Producer of 3 books:
The 3rd person in these videos is Chris Meyer, who also has a LOT of highly useful information on Eurorack Systems. In fact, he co-wrote "Patch and Tweak" with Kim and Chris also has his own YouTube Channel, called: "Learning Modular".
These 4 Episodes are, basically, of Chris installing Modules into his newly-modified SEVEN ROW Eurorack case!!! That's right… Seven, horizontal rows in a monster case!
As he's installing them, he explains how he installed the massive power supply as well as why he chose certain Modules over others. All 3 share their Eurorack knowledge as his case is slowly filled-in. So, the information provided is not "step-by-step" but, as you pay attention to what they're talking about, you'll find some interesting nuggets.
Here's the Link to Episode 1:
Here's the Link to Episode 2:
There were only 2 Episodes available when I wrote this but here's the Link to where you can find the others:
Here's the Link to Chris Meyer's "Learning Modular" YouTube Channel:
Music Columnist and Synthesizer explorer, Robin Vincent, has created a video titled: "25 - Top tips for performing live with Eurorack".
A day or 2 before, he had performed with part of his Eurorack Synthesizer in a local restaurant in England, where he's from. During that performance, he realized several things which he hadn't planned for. So he created this video, in order to pass this valuable information on to others.
Here's the link:
I had been thinking about Alternative Tunings for Music for several weeks. I even did a lot of research to see if any of the current Eurorack, Modular Synthesizer Modules would allow me to actually pick my own "Frequencies".
Several weeks ago, I was thinking about the "A equals 440Hz" (Cycles-Per-Second, Frequency) and that some say "A" should really be set to 432-Hz.
As I was looking at those numbers, I noticed that they are "8" numbers apart from each other. Since I used to do some very basic programming, a few decades ago, my mind instantly thought there might be something to that relationship…
From there, I did something "thinking" and some "math" and settled on the number "32". Computers are based on multiples of "2", which are "zeros" and "ones". Home computers in the early 80s had 8-bit Processors, which is a multiple of "2". I settled on "32" because "2", "4", "8" and "16" Cycles were too close to each other for my note-building exercise. 32 seemed to be the smallest number of Cycles-Per-Second which the Human ear could distinguish a difference in Pitch AND it would take-up an entire Music Keyboard, just to have at least 2 "Octaves".
I left "A" at 448, as a starting point. I then "added" 32, to find higher Notes or "subtracted" 32, to find lower Notes. This gave me these Frequencies:
Since I couldn't find any "easy-to-use" Synthesizer Modules, which would allow me to enter the "Frequencies" I wanted, I did some testing. A few days ago, I used "Audacity" (audio manipulation software) to produce those 13-Tones. I was going to load them into Apple's "GarageBand" software, in order to move them around and stretch them, just to see if this new "Scale" would sound good… or not.
That quickly became a bit complicated so I stopped.
Today, Sylvia reminded me that our Korg Krome Keyboard offers Tunings and Scale creation. So I checked the Manual and turned it ON. It was a bit tricky and did take me a few hours but I was able to set those Frequencies.
So, other than "I just wasn't happy with what I was hearing", I began to wonder… "why"? Is it because those are simply Frequencies which work against each other or is it that my brain is programmed to identify certain sound combinations as "good" and others as "bad"?
Here's the link to the "Disting Mk4":
Here's the link to the "µTune":
Here's the link to the "Audacity" software:
In doing my 1st calculations, I took used the "Note-to-Frequency" Chart on this page:
I then plugged those numbers into the Frequency-Semitone calculator on this page:
Today, Sylvia and I received 2 new Modules for the Eurorack Synthesizer we're creating.
After a lot of research, planning our budget, saving our money and talking it over, last Thursday, Sylvia and I bought 2 new Modules:
Granted, we eat fried potatoes for supper every night and a can of soup for Lunch, when we go to work, but I have no idea how we managed to "save" and "pay for" those items. I'm not really that good at this type of money-juggling. I have enough trouble remembering to deduct each day's purchases from our Checkbook. "Sylvia" is the financial Wizard in OUR family! I do my best to continually stay tuned-in to her energies and to act-on any suggestions she provides.
As for the timing of this purchase… THAT was also interesting… We bought these from "Detroit Modular" (see links above), which is located in Michigan. We ordered them Thursday morning and the expected delivery was "by Monday". (It was shipped through the Post Office.) Up until Friday night, their Tracking information showed that our package was still traveling through the various States, on its way to us, here, in North Carolina. When I checked their Tracking information this morning, Saturday, it showed that it was to be delivered "today"!
We used the website "Modular Grid", in order to learn about some of the Modules available and to create this Synthesizer using their free software.
This is a picture of our "Modular Grid" Synthesizer. It shows which Modules we currently have and where I placed them. (Of course, they can always be moved. If needed.)
Although we currently have 4 Modules, we don't enough Synthesizer elements to make a complete sound.
Right now, Sylvia and I have an Oscillator, Envelope Generator, a "MIDI-to-CV" converter (so we can play notes in this "Analog" Synth using our "Digital" keyboard) and a Multiple.
To complete the "building blocks", we still need a VCA and VCF.
What I can tell about these Modules, especially the new ones is…
In just testing the Envelope Generator, I had to use the Multiple several times. At one point, I used 3 of its sections and 10 of its 15 Patch-Points. More than once, today, I told Sylvia: "It's a good thing we bought this Multiple."
It wasn't just "a multiple". We did a lot of research, watched a few videos and read several pages of descriptions before deciding on this particular Module. It has:
As for the "Envelope Generator"…
I've been wanting us to have a "delayed Gate" feature in a Synthesizer for quite a while. We may still purchase a Module which only provides that feature but this A-143-2 Module not only has FOUR Envelope Generators, each can be Triggered (activate) separately from the others or Triggered when any of the others has completed its cycle.
I was able to create a 4-stage, one-after-the-other Envelope today. I was also able to create a looping waveshape. Sort of like a customized LFO (Low Frequency Oscillator).
Anyway, so far, we're finding that both Modules were well worth the money.
I've been wanting to fine-tune the image of the Double Helix Oscillator, that I used in the Patch Chart I created and, today, I finally got around to doing just that. This one is cleaner, more professional looking and contains less clutter… making it easier for everyone to indicate Knob and Switch settings as well as the Patch Cord connections routings.
So the updated Chart for this Pittsburgh Modular module is now in our "Downloads" area and is free to download.
Sylvia and I have only had the "Double Helix Oscillator" for a day and a half and we're really enjoying it. The build quality in their "Stucture 270" Case is first-rate. The "care of design" that's behind the Double Helix has infused this Module with more functionality than may appear at first glance. Each time we "just want to try a simple Patch", "hours" just fly by. For us, that's the sign of a versatile piece of gear.
On June 21st, I sent an eMail to Pittsburgh Modular, asking if there was a Manual for their "Double Helix Oscillator". This is their reply:
Although they don't "technically" offer a "Manual", they do provide some very helpful information on the Double Helix product page. Here's the link:
Because Sylvia and I needed a "paper" version of that information, I pulled-out the content from that web page and reformatted it into standard pages… and I allowed for those pages to be on 3-holed paper. (So they could be placed in a 3-ring Binder.
Over these last several months, after buying 3 small Synthesizers, Sylvia pointed out that I wouldn't be satisfied until we got a "Modular".
So, after doing a lot of research, we decided to jump in. About a month ago, we bought the 1st piece — the "case". It's a "Structure 270", made by Pittsburgh Modular. Here's the link to its product page:
Last Saturday, Sylvia and I drove to our local Guitar Center store and bought our 1st Module — the "Double Helix Oscillator", also made by Pittsburgh Modular. Here's the link to it's product page:
When we brought it home, I was just going to try out a few simple things and… almost 4-hours went by… Whoosh! Now THAT'S a sign of an interesting piece of music gear.
Knowing that the "Double Helix" doesn't have any way of Storing Patches (saving its settings), I spent almost 3-hours today creating a Patch Chart for it. I've uploaded it to this Blog and you should be able to download it from the link below. So if you own a "Double Helix", this Chart may be of some help in keeping track of the sounds you create.
For March, Sylvia and I have selected a very powerful Modular Synthesizer, for this month's "Review" and "Drawing", on our crowd-funding page.
For details on this very capable, musical tool, visit its product page:
For more information on this crowd-funding project, please visit our Patreon page:
To hear our album, "Perfectionately Yours" for free, visit our BandCamp page:
Ever since Korg introduced their version of the 1970s "ARP Odyssey" synthesizer, many Musicians (Sylvia and I included) have been wondering when Korg would reveal their version of the "ARP 2600" synthesizer. They had former ARP Engineer, David Friend, give a Talk during the Odyssey's unveiling and, I guess, Korg obtained special permission to manufacturer this new instrument. So I assumed they would move to the next plateau in the ARP lineup and build the "2600".
Now that it's been at least 24-months since the Odyssey's release, we still have no "ARP 2600".
The other day, I was thinking about this and then I thought:
Just some thoughts.
Here's the link to the "Korg ARP Odyssey":
Here's the link to an "ARP 2600":
Here's the link to an "ARP 2500" page:
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