ilovefuzz.com

raj007 wrote:Can't see the whole pic....what is that?

Oops... image fixed.

Here's some info:

"The Intellijel/Cylonix RAINMAKER eurorack-format module provides a high-quality (96KHz sampling rate with 32-bit internal processing) stereo rhythmic delay and stereo comb resonator effect.

The stereo rhythm delay has 16 taps, each with its own resonant 2nd-order filter and granular pitch shifter. The filters have independently adjustable resonance and cutoff frequency, and can be set to either lowpass, bandpass, highpass or bypass operation. The filters are also capable of self-oscillation, enabling modal synthesis techniques. The granular pitch shifters have a range of 15 semitones up or 16 semitones down. Each tap can repeat at a rate value set in tap#’s in order to create regenerating echo effects. The feedback signal has a lowpass/highpass tone control and its own pitch shifter. The tap delay times can range from 0.1 millisecond up to a maximum of 20 seconds. The overall delay times can be set with the rotary encoder, the tap tempo button, or synced to an external clock.

The stereo comb resonator section has 64 time-delayed taps which are summed together. This produces a deep comb filter or resonating effect. At large comb sizes (long time delays) a multiple echo effect is produced. The density of the resonator can be varied from 2 to 64 taps. The tap with the longest delay time is fed back to the input. High feedback levels, with short comb sizes, produce “Karplus-Strong” types of plucked string sounds. The relative timing of the 64 taps are set according to one of 16 different preset patterns, which provide different resonator timbres or echo rhythms. The comb size can be set either with the rotary encoder, an external clock or through a transposable 1v/oct input voltage.

The Rainmaker module has extensive voltage control capabilities. Direct voltage control is available for the delay feedback level and tone, the global pitch shift for all delay taps, the comb resonator size, and comb feedback level. There are two assignable modulation inputs, which can be assigned to different parameters in each preset. A trigger input with assignable functionality can trigger built-in types of noise bursts, freeze the delay buffer, reverse the delay, randomize parameters, mute taps, and much more."

aaaaaand, where we stand now: (fixed case size too)



Any help with essential or helpful utilities i'm missing to get the most out of this setup would be great. Specific names are especially helpful but i'll take general types of utilities with an explanation of why i need it. Thanks!

You probably want to add a mixer and some VCAs to that. So something like a triple/quad VCA that does mixing at the same time would be useful. Intellijel Quad VCA or WMD Triple Bipolar VCA for example.

And some additional mod sources would not hurt either. Depending on the size (HP)/price you can spend : Eowave Zone BF, Xaoc Batumi, Mutable Instruments Peaks...

Wow that's a beast!!

Doesn't Bastl have a quad VCA for a decent price ?

Yeah, but I tihnk the Intellijel one is better as a mixer as there is a bias (base volume) control for each VCA and you can mix several of them as you want (cascading mix).

Some random LFO thoughts...
Zone BF offers an unbeatable selection of waveforms, and is only 5HP. Quite the bargain for an LFO module, and it's cheap, and comes in the sexy black vintage style. The only tradeoff is that it doesn't go super-slow. If you want one that has all the same waveforms and does go super-slow, there is the Studio Electronics STE.16. It is twice the HP of the Zone though, and still only has the two outputs. But it has the extra range to do all that tasty slow shizz.
Wogglebug and Peaks are also capable of super slowness with crazy waveshapes, so you've already got some good psychedelics on the way. Peaks is a good LFO to pair with the Wogglebug, because it is a bipolar LFO (-5v to +5v), whereas the Wogglebug is unipolar (0-5v only). You are going to want both kinds for sure, and an attenuverter to make more of one type or the other when you need it. Maths can do it, and I'm now using the Pico Scale instead of the Scooper or Bitrazer or whatever.
Pretty much any straight LFO module is going to be bipolar. The Wogglebug's unipolar is great for sequencer-like uses, and will give you new ideas on how to use your actual sequencers, and triggers & gates. It is a really amazing module to learn and grow with, and has been one of my favorite parts of the whole journey/experience. I've been thinking about adding another so I have one for each rack, but may just get the SSF URA instead.

Picos, lots and lots of them. If you want functionality galore, this is the most efficient way to pack it in. 2HP has some really formidable shit now too. I want the 2HP quantizer, maybe the little TM and a couple of the VCAs too. It's prudent to get in the habit of buying ultra-compact modules for lots of reasons...satisfaction/enjoyment/fun, having what you need when you want it, leaving room for cool big stuff, etc.

Good stuff!!

Yeah... i need to start thinking of size... i'm building the rest on Modular Grid and already outgrew the Tip Top Mantis case which hasn't even arrived yet.....

Alright, a few more things..... this should be a good place to start.




If you see anything key i'm missing to fully enjoy this setup, please let me know.

Holy shit man you buy like 2 modules a day

Warpsmasher wrote:The Wogglebug's unipolar is great for sequencer-like uses, and will give you new ideas on how to use your actual sequencers, and triggers & gates. It is a really amazing module to learn and grow with, and has been one of my favorite parts of the whole journey/experience. I've been thinking about adding another so I have one for each rack, but may just get the SSF URA instead.

Can you talk a little more about how you use random? In more philosophical than literal terms? Ive been looking into random a lot as Im planning a potenial generative & sequence based system, but have yet to see exactly how it could fit with my current conception of it all.

Ok ok.... NOW i have enough to start

Added Shades, Triple Sloth and Pamela's New Workout

stawp , staaawwwp

I don't know... you've got all that empty space on the bottom right??

Just kidding, that looks like pleeeenty to "start"

Have you considered a slightly cheaper addiction, such as cocaine or medical grade morphine?

kbit wrote:

Warpsmasher wrote:The Wogglebug's unipolar is great for sequencer-like uses, and will give you new ideas on how to use your actual sequencers, and triggers & gates. It is a really amazing module to learn and grow with, and has been one of my favorite parts of the whole journey/experience. I've been thinking about adding another so I have one for each rack, but may just get the SSF URA instead.

Can you talk a little more about how you use random? In more philosophical than literal terms? Ive been looking into random a lot as Im planning a potenial generative & sequence based system, but have yet to see exactly how it could fit with my current conception of it all.

Wow, ok...
Random is one of the cornerstones for generative, and I am always getting fun new things from it. Super slow waves are for 15 to 600 minute psychedelic explorations. Ambient-friendly CV is slow and low (attenuated, to be subtle). That's a philosphy I apply to oscillators, filters and VCAs. Find the pace, set the limitations of where you want things to jump/fall to, and bring on the happy accidents. Every random module I have so far has it's own very unique character, that I can distinguish from the others. So much like with pedalboards, the modules form a supergroup, a band with unique members who all have unique talents and character. For generative music, the CV modules are your actual players. They will be selecting the notes and the tones, when they can be heard, what happens to them and so on, so you need to get familiar with how they all act and behave...this will help to decide who is the frontman, who stays in the pocket, who plays what instruments etc. Creating awesome 'bands' within the rack is basically how I approach eurorack as an art form, and as a self-playing instrument, or, collection of instruments really.