ilovefuzz.com

For a clock-able delay, the DLD is about as easy as it gets. You can pretty much just plug in and go. There were definitely a few tricks I needed to learn along the way, but that was mostly because I needed to stop looking at it like a guitar pedal delay and start thinking about it as a synth module. At this point, I honestly use it as a looper more now, but it really excels at that... hence the name.

Think I may have found a solution for an convenient way to get separate outputs for each of the tracks I have going on at any given time that would normally go to a mixer, but this way i can get 8 different things into 8 different inputs on my Interface and sorted out on my DAW. Originally I was (and am still considering) using an external mixer with individual outs for this purpose so i could still have control of the volume of each track as well as muting capabilities which is really all i wanted.

With these two things I can keep it in the euro with only 12hp being used, have attenuation knobs for each output (i do wish they had mute buttons though) and use a DB25 cable to 8 TRS 1/4" cable to insert into the 8 inputs on the back of my Apollo8. Alternatively I would run those 8 into my patchbay so i don't have to unplug the back of the rack every time i want to record other things not in the euro.

Seems like the best solution i've found so far. Open to suggestions if you have them though.

Here's are the two pieces:



Info on that:

"THE NEW SNAKE CHARMER OUT IS AN EIGHT CHANNEL EURORACK TO +4DBU BALANCED LINE LEVEL CONVERTER.

You can now control eight balanced, line-level outputs from your Eurorack system. Space is a premium for Eurorack systems, and Snake Charmer Out gives you the most outputs in only 12HP.

Snake Charmer Out features high-precision differential line drivers, which provide the clearest signal, and high headroom. Each channel has a dedicated attenuation knob, that also acts as a clipping indicator. We designed Snake Charmer Out with very high headroom (over 20v peak-to-peak), so it will not clip internally, even with unusually high audio input levels.

The generic DB25 connector output format lets you easily integrate with many output professional formats, such as 1/4 inch TRS, XLR, patch panels, or connect it directly to a professional mixer or audio interface."


and then use that with this:

prettttty pimp.

woot! Data and Ears just got here, Plonk and WMD SSM should be here Thursday or Friday

Oh wait, didn't realize the ES8 has adat connection that i could just run straight into my Apollo 8 and instantly be able to have the outputs for whatever channel of the DAW and even adds an additional 8 inputs by doing this. THAT's the way to go here.

lol. i was wondering about that. didna have time to look your interface's specs.

ALL THE INPUTS is gooooood. just going from 8 to 16 has made my setup SO much easier.

behndy wrote:lol. i was wondering about that. didna have time to look your interface's specs.

ALL THE INPUTS is gooooood. just going from 8 to 16 has made my setup SO much easier.

I think I’m wrong though after reading through some threads. I think it’s lossible but only 4 inputs... also it seems I may have to bypass my Interface all together but not sure. Maybe the other ES provide more inputs .... still researching.

oh and no attenuation knobs or mute buttons either so it kind of takes away the purpose i had intended.... don't know. we'll see. research research research.

Ruiner wrote:
Seems like the best solution i've found so far. Open to suggestions if you have them though.

Go for the ES-3 and ES-6. 8 outputs from a DAW, 6 inputs into a DAW. I use this and it works splendidly. Fairly small footprint and from what I understand, Silent Way is a terrific plugin (I don't use it personally, yet at least). This uses 2 ADAT cables instead of USB+ADAT (that's ES-8, which as you noted only has 4 inputs). Using these with my Scarlett 18i20 made recording a breeze and really opens up the legitimate uses of a Eurorack for full songs/larger arrangements. If you absolutely must have onboard mute functionality, I know Malekko sells a tiny Mute 4 which wouldn't make a dent in a case. You could always control the mutes via the DAW (assuming you had some controller already).

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Unrelated to that, I am running into an issue with insanely variable oscillators. I have 3 of the same kind (analog, Moog style from AJH) which worked great at first but have slowly been running wild with the tuning. And this is after a decent amount of time to "warm up". It's a fairly cool basement so I'm not sure what the issue is, but it's making recording a nightmare due to tuning and re-tuning (and figuring out which oscillator is the suspect).

So - my question is what are your favorite oscillators which hold their tuning well? I think I'm going to remove the 3x AJH from the case, stick the spare Dixie 2+ in there for the time being, and eventually get some more oscillators to fill the void.

I think the Dixies are some of the most stable of the analog ones (and I have a Dixie 2 for sale ), but if stability is really an issue something digital might be a good solution too...

My DPO has always sounded pretty good, but I know it doesn't always have the best track record with solid tuning so
I generally tune by ear but I'm also not trying to match A=440hz.

Are you tuning things by ear or are you looking at a tuner?
Not questioning your hearing, just curious.

kbit wrote:My DPO has always sounded pretty good, but I know it doesn't always have the best track record with solid tuning so
I generally tune by ear but I'm also not trying to match A=440hz.

Are you tuning things by ear or are you looking at a tuner?
Not questioning your hearing, just curious.

I either use a tuner in Ableton or tune it to one of my hardware synths (Prophet 6, A4, etc.).

You can try tuning your VCO an octave(s) higher/lower and compensating with your midi track. Keeping things closer to 0 at the v/oct input ought to help hide calibration problems. Not ideal but might work in a pinch. I’ve never tried this so maybe I’m off the mark?

Starting to seriously look at sequencers. SQ-1 is nice and all, but lacking in a few areas and O+C is just a bit clunky and more useful for other things... anyways. Been looking at the Stillson Hammer mkII. It seems like that has pretty much everything you could ever want. Talk me out of it or convince me otherwise??

i am loving the FLXS. it isn't as awful looking in person as in pics. which. you know. GOOD.

but it does a LOT. super verbose, pretty easy to get your head around it's programming style, and i'm excited about the features yet to be implemented.

Stillson Hammer MkII should be pretty amazing if/when the 2.0 firmware is released and stable. I used to own one and my two biggest gripes, fiddly ratcheting system and no song mode, are both addressed in 2.0. Makes me regret not hanging onto mine at least to try it out. Downside; you need another piece of hardware (PicKit) to do updates.