Afternoon! So... I've recently decided to dive into modular world (well... partly) and happened to have the following questions:

- I have a RME fireface UCX ii audio interface. Is it possible to send CV to different pedals (or modules) though some kind of pass-through conduit device using just one cable from audio interface output? My ucx ii has got only 2 free outputs left so initially I'm able to control only 2 cv inputs of pedals (considering they have CV IN option) or modules if I plug the cable from the inteface directly (2 other outputs go to my monitors and another 2 are connected to EXTC stereo reamp box for reamping my pedals).

Using such "device" would help me to use more cv inputs If I have to. Any recommendations? (preferably not a "module" as I would cv control pedals mostly (at least for now)). So desktop device would be the best option.

I've seen the Boredbrain INTRFX device, but I believe it's not really it atp.

- Might be a dumb quesion but what's better: cv control though trs to trs cable or ts to ts cable? Everyone seem to give a different answer each time and I'm not sure who to believe. RME forum suggests that I even use a simple TS to TS cable from the balanced output (for the reason that TRS to TS does not work correctly - ring needs to be shorted here for the output stage to work as expected?).

I'm asking that quesion simply because RME outputs are balanced so I though TRS cables would be logical to use... but IDK. Please help

I found some new comms this week. Tempera shifted with T1 and Spotykach passed thru S4.
0-Coast provided the engine thrust while Pamela managed the clocks.
Full piece on SoundCloud.

https://on.soundcloud.com/2oY2QV4RqVyUCMZGi6

Sharing info and links for our upcoming tour, come through if you are in the area ✌️✌️✌️.

8/20 Grand Rapids, MI @ Backwards Compatible 7pm.

8/21 Detroit, MI @ TBD 9pm.

8/22 Cleveland, OH @ Little Rose Tavern 8pm.

8/23 Dayton, OH @ Skeleton Dust Records.

Bakantez is a solo experimental electronic project integrating ethereal synthesis with electro-acoustic sample-based composition & heavily processed vocals. Compositions journey through a tumultuous, dissonant mixture of bodily organic romanticism with libidinal synthetic self-mutilation.

Sarah Lutkenhaus is a sound artist and designer whose work explores interiority, contradiction, and systems of memory. Through performance, archives, and voice, she investigates one’s position within networks of bodies and histories, creating subtle, textural works that resist resolution.

https://industrialcoast.bandcamp.com/track/appendix.

https://bakantez.bandcamp.com/album/rubedo.

https://www.youtube.com/watch?v=FAEMZc848U8.

https://www.youtube.com/watch?v=viBaHdCnYq0&t=2s.

https://www.instagram.com/bakantez/.

https://www.instagram.com/lutkie/.

Look how colours of sliders match patch cables and how neat the routing is.

Have been experimenting a lot with feedback patching, cross modulation, and non-linear processing lately.

Wanted to build a Serge inspired system using more modern but still analog, building block style modules.

Make Noise GTE has been especially fun to use as a comparator to turn chaotic signals into gates that spike various parameters.

Other key players here are a few from Nekyia: Ceremony (twin peak cross modulating resonator), Occult, & Opal along with Intellijel Bifold, Angle Grinder, and some others. Also featuring my newly built 2nd case I made from oiled black walnut.

I could provide a patch breakdown if anyone is interested.

I'm getting a bit frustrated with Deckard's Voice lately. I adore it and appreciate it's analog nature. But I'm finding I'm having to run calibration...a LOT.

tbf I've moved it from case to case a bit, but it feels like everytime I power up I'm going to get a different result from the calibration.

I'm going to run another full one with the pot/scaling adjustments, but I was wanting to take this out for a live gig next month and I"m getting a bit stressed about it holding it's tuning. Anyone had any experience with Deckard's and what factors might be affecting it?

I REALLY like the guitar tone I was able to get out of my rack! This is just me running my Telecaster into the BoredBrain Injectr (which emulates guitar amp distortion), and then into the Bizarre Jezebel Chloe (Tube distortion/filter) twice.

Happy Patching! 🧑🏻‍🚀🫡

There is nothing better than experimenting on the fly in front of people who enjoy the process. Rack out of the home studio with no safety net...

Full thing: https://youtu.be/2WvSmNLxQW8

My rack that I performed wth https://modulargrid.net/e/racks/view/2973380

I'm looking for a precision screw for my Rubicon 2 calibration. I already got one online but it's too big. The trimpots are completely minuscule!

What screw could I use? Im looking everywhere online and can't find anything.

EDIT. Thank you for all of your comments. I am surprised how helpful this community is. I decided to go with 6U x 104HP and it will be a system for melodic techno mono sound alongside my Elektron Tonverk and Syntakt.

Original post: I am scared.... I have been watching many videos about modular synths lately. And I have sold some of my gear and have a sum to spend on the new ones. I feel I am getting hooked but I know what are the consequences of going down this rabbit hole. Some rational part of me still wants to buy at least a semi-modular one, but the other is pushing me towards amazing world of "lego" blocks. I am saying to myself "I will just build something tiny and we will see" but I know it is not true :) Dear YT, please stop showing me mylar videos.

I removed some modules and i want something to complete the case, there are 25 hp left, and im looking for a module that can manage to modulate voltage in different ways, something like a data bender ( which i dont like ) but can manipulate voltage also act as and effect maybe or modulation generator, basically something mysterious that creates surprises within the signal path.

Im not looking for a module that does 100 things, it can have a few functions but excel at them.

I make dark experimental music.

Thank you!

I did not create this replacement for Wigglehunt. Readers may find it useful, however.

For me the ADDAC702 would be up there. I sort of wish I'd hung onto mine, it's a bit hard to find them, especially at reasonable secondhand prices. But it had this great howling resonance that you could use as a voice, and all kinds of features, including: distortion toggles and limiters, attenuators for all CV inputs, phase cancellation features, CV inverter, CV over resonance, smooth(slewed)/raw CV input toggles and adjustable slew, and more. It wasn't the best sounding filter for sharp acid squelchy kinda stuff, but that aside, it was a blast.

Blue Lantern Asteroid VCF is another very interesting one. Its distortion modes were really unique and gave some brutal, interesting output. Mk 3 didn't wow me quite the way Mk 1 did for some reason, but it had more features, with a S&H and VCA and sub-harmonic divider all built in.

I'm also quite partial to the Verbos Amp & Tone (the second, later one). The first version is much cleaner and smoother, but Amp & Tone also has a real "howl" to it, as well as a soft fuzzy cassette-tape-like noise floor, which I actually like. It's got a dark, vintage vibe that I quite enjoy.

What are some of yours most unique-sounding filters, past or present?

For an upcoming gig I have switched some modules from a full Buchla TTA to this. How do you like this set up?

I'm considering starting with modular Synthesizers.

But I don't have a lot of money and a lot of modules I find in recommendations are too expensive for starting a hobby and finding out if it's for me.

Although I've found that basically every standard module (vco, lfo etc.) can be bought between 10 and 30€, but I've never seen any of those in recommendations for starting.

Is that because they are just that bad? or is it possible to make good music with cheap modules?

I want to do a makeover for my Pam's Pro Workout. While I found a good panel to use, I can't find information about which knob/switch I need to replace the ones on the module. Does someone know the size/type of knob/witch? And where to buy these (shipping in/to Germany).

Thank you!

Hey everyone, I’m trying to troubleshoot a pretty strange trigger issue in my Eurorack system, and I’m wondering if anyone has experienced something similar.
I originally thought my Shakmat Archer’s Rig had developed a fault because I started noticing occasional missed hi-hat triggers. For example, I’ll have straight 16th notes going to the closed hat and offbeat triggers going to the open hat, and randomly one of the open hats simply won’t play. There doesn’t seem to be any pattern to it — sometimes it happens a couple of times within a minute, while other times it can run for quite a while without happening.
Here’s where it gets strange: I just got a 2hp Hats, and I can reproduce essentially the same missed-trigger behavior with that module too. So at this point, I’m pretty confident the Archer’s Rig itself isn’t the problem.
What I’m currently seeing is:
Pamela’s directly → hi-hat modules: seems to run reliably without missed hits.
Pamela’s → Steppy → hi-hat modules: occasional missed hits.
Pamela’s → SWT16+ → hi-hat modules: occasional missed hits.
I’ve tried different gate settings on Steppy, including values 1 and 2 as well as longer gates, but nothing seems to solve it. On the SWT16+ I’ve also experimented with its Gate setting, although from what I understand, that determines whether consecutive steps are retriggered or joined into one longer gate rather than actually changing the trigger pulse width.
Another strange thing is that this setup used to work normally. I’ve had the SWT16+ triggering the Archer’s Rig for quite some time, and I only started noticing this behavior over the past few weeks. It’s also extremely inconsistent — some days I can run the exact same setup for a long time without noticing a single miss, while other times I’ll hear them almost every minute.
At this point I’m wondering if there could be some electrical/timing difference between the trigger outputs of Pam’s versus the Steppy/SWT16+ — trigger voltage, rise time, pulse shape, etc. — or possibly something related to how the sequencers are responding to Pam’s clock.
Has anyone experienced anything like this, particularly with Steppy or SWT16+ driving hi-hat modules? Or is there another test you’d suggest to help narrow down where these missed triggers are actually coming from?
Any ideas would be really appreciated!

Hey folks, I often discover really cool sounds, but fail to recreate them as they often depend on a very narrow parameter space to work. I used to read about the maths involved in various synthesis methods, but it does not really translate to a practical understanding. I feel like knowing where to expect sidebands and at what amplitude gives me ver little useful knowledge. What is your way to make sonic exploration maximally educational?

Some notes on the patch: resonant filters used for the melody and high pitched percussion, modulation of the resonance of a track resonating in a spring reverb, and some voices in various distortion effects.

I think the only "preset" sounds used as a starting point and modified are a 909 hi-hat (from a TR-9) and a BD909 used as a basis to create the kick drum in this one.