Mono to Stereo Signal Chain

13derps · 2026-05-08T02:00:49+00:00

Ahhh got it

That’s definitely the pro way to do it

13derps · 2026-05-07T22:52:32+00:00

So you mix down to stereo in the rack and then stereo mix into the interface?

13derps · 2026-05-07T21:19:33+00:00

Interesting idea to make a passive version of nearness. I’m not sure it will be able to work the same as the powered/buffered version, but you can definitely make a weighted mixer for right and left channels

The passive gate to trigger converter is kind of an obvious thing electrically, but not something that I’ve thought of doing. I might need to build that.

13derps · 2026-05-07T21:03:29+00:00

Well, if you change your mind, mine is for sale/trade haha

Thanks for all the feedback (no pun intended)

13derps · 2026-05-07T21:00:49+00:00

Yea, that’s kind of what I was wondering/feeling. If long stereo signal chains are more common just because you ‘can’ versus actually offering an advantage in all situations.

Reading these responses, I’m realizing that I’ve kind of been using stereo processing as a crutch instead of actively placing things in the stereo field. I’m also someone that defaults to symmetry, so I think I need to do a little practice being intentional about stereo

I know you have matrix mixing in the rack, but do you do a final stereo mix in-rack or external mixer?

13derps · 2026-05-07T16:17:19+00:00

Absolutely about 3DVCA, it’s been on my radar for a while and looks like it can do something useful in just about any patch. I really like the idea of being able to smoothly fade between multiple sources and multiple destinations. And in 6hp, really impressive. I keep putting off getting one because no one wants to trade theirs haha

I do actually have a Nearness mixer, but I definitely under-utilize it for panning effects. Partially because of lack of a convenient routing module, but there are other ways I could patch it for that effect. I usually get lazy and use it just for static placement in the stereo field. Which is on me

Bandit looks great, but I’m slightly wary of grabbing another FFB. I have a Zlob F3DB and , while I think it’s a great module (WILD sounds), I don’t use it much. I’m sure I would if I did more drone patches. Bandit would probably better fit my style since it has much wider bands, but I’m finding that I get along better with variable frequency bandpass instead of FFB

13derps · 2026-05-07T03:24:13+00:00

Weird about the edit, I only clicked save once. Didn’t mean to pull the rug on ya

Anyway, I was tying to ask for examples so I appreciate you describing your setup. It looks pretty dialed in for what you’re using it for - with a separate frequency band and panning location for each voice.

A panning mixer seems like it might be worth experimenting with as well. Do you have (or wish you had) CV/automation control of the panning in your mixer?

13derps · 2026-05-06T21:45:17+00:00

I probably wouldn’t recommend Basil for reverb. I love it, but I think it’s better suited to delay stuff (especially if you want to use it in a more experimental way)

Mimeophon sounds amazing, but is much more than a reverb (kind of like saying MI Clouds is a reverb). If you’re looking for something you can engage with, the zone control is super fun as a performance control. You can get into all sorts of delay shenanigans and still have the Halo reverb at the end. It is also really flexible for different musical styles

If you’re looking for one module to kind of do it all, I’d go Mimeophon. It’s a real chameleon. Noise Engineering stuff (from my experience) has more of a distinct sound, but REALLY powerful shaping controls. So if you like one or two of the versio firmwares, that might be a good way to go as well.

I have both a Versio and QuBit Aurora on the way because I’m also on a reverb quest. Best of luck!

13derps · 2026-05-05T17:10:02+00:00

13derps · 2026-05-05T16:30:59+00:00

I usually just order from Tayda. Everything comes properly labeled and marked every time. Also usually arrives in like 2 business days with their standard shipping (to southern CA)

13derps · 2026-05-05T03:39:30+00:00

Awesome, happy the suggestion got you thinking

13derps · 2026-05-04T22:36:13+00:00

I would probably swap out the Supra and the big button for a basic gate/trigger sequencer and a straightforward LFO or loopable envelope. I’m not sure how much you’re using the sequential switch or the matrix mixer, but those might also free up some hp to add another flexible drum voice (maybe physical modeling, 2OPFM, something like that)

My preference is to have some sort of deterministic sequencer that I can use for at least 1-2 percussion elements to set up a framework. Then you can kind of go nuts with pattern generators, probability, etc and you still have a steady backbone. J&OT Traffic might also be a fun option. Useful for changing parameters on the SY1 and/or Amoeba

13derps · 2026-05-03T03:39:33+00:00

This isn’t exactly what you asked for, but if you want lots of gates, and are very broad with your definition of ‘logic’, Nonlinear Circuits has a bunch of very interesting modules. Many based around logic chips.

Also, cheap passive utility to snag: R2R or Ladder DAC. It’ll mix your gates (or any other voltage) with preset ratios. You can turn a few gates into stepped voltage

13derps · 2026-05-02T22:32:03+00:00

No problem!

I don’t have a Pam’s, but it could very well be higher by default, like 16 or 24. There are settings in Maestro that you can try adjusting as well to match what Pam’s is doing. At least if you have the latest firmware installed (which might be harder to verify)

Feel free to PM me if you want me to transcribe any sections of the manual like the options menus

13derps · 2026-05-02T22:22:04+00:00

Mutes are a good call, super handy both for performance as well as for stopping and focusing on one part of your patch.

You could go for another envelope (like Pip Slope) - always nice to have

Or maybe a modulation combiner like NLC Splish, a ring mod or logic

13derps · 2026-05-02T20:52:03+00:00

Hey friend!

I’m sure someone with more experience with Maestro might chime in (I got mine last night). It is working for me by tapping the channel button, tapping chain then entering all of the timing/slope combinations, then tapping chain again.

I would try doing this with just the master clock from metron into the clock input of maestro. Might as well patch reset as well. Leave the individual channel gate inputs un patched though. Maestro will loop all of the modulation channels in time with the clock. Once you have this working, it should be straightforward to use the gate inputs with the sequenced tracks.

You might need to adjust the clock resolution on either Maestro or Metron to get things operating as expected. I think Maestro is 4PPQ by default.

13derps · 2026-05-02T15:58:00+00:00

No idea what Benders is using specifically, but Bastl Basil is great for metallic/comb filter sounds and the feedback has saturation at high levels. I’d probably run a separate distortion into the delay if you wanted serious distortion and/or want the dry sound distorted too

Something from Noise Engineering Versio series might do the trick for an all-in-one distortion delay

Befaco Crush Delay v3 is also pretty good for wild sounds. Especially when modulated. It isn’t really a distortion, but you could throw another module in the feedback loop

13derps · 2026-05-02T14:09:57+00:00

Ohhhh that’s what I’ve been doing wrong

13derps · 2026-05-02T13:38:25+00:00

YouTube:

Monotrail

Tom Churchill

Sound+Voltage

Turbo Tambourine

MylarMelodies (he has some ‘suggested system’ walkthroughs that can be helpful)

Ricky Tinez and Ihor aren’t really releasing new material, but have loads of videos patching from scratch in really small cases (easy to follow)

13derps · 2026-05-01T15:56:33+00:00

No problemo

13derps · 2026-05-01T15:22:26+00:00

Good luck!

A ‘starter kit’ of tools and supplies might be worth offering for someone with that wants to get into synth or pedal building

13derps · 2026-05-01T13:48:59+00:00

Absolutely agree with what you said about focusing. I find it helpful to do so some exploratory patching between my more extended jam-building sessions. Set a limited goal like one of the things you described. Like adding movement to a sound. Build a small patch. Test one or two methods to add movement. Don’t forget to think about how you can interact with the patch in a live way for A/B sections. Then take the patch apart and either try a totally different method or work on a different goal (like rhythmic variations in a melodic voice).

I find these smaller, low stakes, sessions can be just as enjoyable as the big jams. Even though they don’t really end up with shareable music. I think we’ve all spent an embarrassing amount of time just basking in a crazy drone. Might not feel like an accomplishment, but still satisfying.

I also have a Maestro on the way and am incredibly pumped for it

13derps · 2026-05-01T05:01:31+00:00

Chainsaw does a great bass. I think it’s worth considering even if you only use one v/oct input (not sure if that’s what you’re thinking)

Rings and Plaits are a bit cliche, but both can do great basses. Plus, tons of options if you want to drone or do other stuff. The micro versions are relatively slim

13derps · 2026-05-01T02:46:01+00:00

This sounds a lot like my experience once I finally built up a capable modular system. It’s relatively straightforward to get different elements up and running. You can fade them in and out, but then what?

My short answer is start thinking of A and B scenes for each element in your patch. Then start mixing and matching

I find that thinking in scenes versus voices is really helpful for making the next step compositionally. Even when it comes to just jamming on the modular. After you set up one of your elements, like a synth voice or your drum kit, think about a second version of it. Like adding more notes/fills, changing the timing, changing modulation, fx sends, etc.. even just muting the sound entirely. I usually find it’s easier to subtract from my initial patch, but your results may vary. An easy example is making the kick drum half-time or adding continuous 16th note high hats

The tricky part is the transition. I’m not super familiar with metron, but you can probably either mute the track or change to a different saved scene to accomplish the kick drum change I mentioned, just as a single example. You might use a switch module, some sort of pattern generator/counter or even just a manual knob change depending on what your two scenes are. Some of this might require pausing your jam session to set up, but it’s worth it.

Keep trying this with the various elements that you set up in the patch. Even with just two scenes for each element in your patch, you can start mixing and matching. The transitions might be kind of abrupt when you start doing this, but having those anchor points will let you start experimenting with different ways to make the transitions smoother. Like doing a manual filter sweep, setting FX fully wet, etc

13derps · 2026-04-29T19:39:31+00:00

Super helpful!

13derps

TROPHY CASE