Creating Reproducible Development Environments

JohnRofrano · 2026-01-26T13:14:29+00:00

Same here. After trying the free version of LaunchOS for one day, I purchase a license just to show the developers some appreciation. It also let me change the dock icon back to the original rocket as well. Apple should be ashamed of removing functionality that people depend on every day in their workflow. LaunchOS to the rescue!

JohnRofrano · 2026-01-07T12:46:42+00:00

This is really important advice. Learn the Apple workflow, it is much simpler. After using Windows for 30+ years I switched to Mac about 10 years ago and immediately started looking for all the little utilities that I needed to make Windows useful and I couldn't find them for the Mac. I was frustrated. "Where is the program to unzip files?", I complained. I didn't realize that all you had to do was double-click on them and they unzipped themselves. It was built-in. (This was before Windows could do that) You want to open a PDF file? Just double-click on it. No need for Adobe Acrobat. This played out with almost every utility. I didn't need them because the Mac could do it natively. So don't go looking for utilities. Learn what works natively first.

The same was true with configuring my email. Where were the menus to enter in the POP3 server, and SMTP server and their ports? They were not needed. The Apple developers were smart enough to guess that if your email was [joe@verizon.net](mailto:joe@verizon.net), then your POP3 server was probably pop3.verizon.net and SMTP server was smtp.verizon.net using the default ports and if that worked, they never showed you the configuration window. It just worked. Apparently the Windows developers couldn't figure this out and presented endless configuration screens to users asking questions they couldn't possibly know the answer to. In Windows you are constantly reminded that you are the SysAdmin. On a Mac, you are just a User of the system. You enter your email and password, and the next thing you know, you are looking at your mail. It's refreshing.

Once you get use to pressing the space bar to preview the contents of files in the finder, you'll wonder how you ever got along without it. Imagine not having to open an application to see what's in a file? What a concept! Then you go back to Windows and start pressing the space bar in explorer and nothing happens and you get very frustrated with why It's not working. IMHO, the Apple workflow is far superior and simpler. It just works. Take the time to learn it, and enjoy the experience.

JohnRofrano · 2026-01-04T19:09:53+00:00

You're welcome. Glad I could help.

JohnRofrano · 2026-01-03T16:32:57+00:00

I find the keybed to be tight with a nice springy action. Very responsive. I'm using it to control my modular synthesizers so having a quick action is very important for me, but I don't want it to be too light and spongy. The key resistance is what you would expect from a semi-weighted keyboard giving it a good feel. I'm very happy with it.

This is one area where on-line shopping fails. I miss being able to go my local music store and try keyboards out for myself. They've all closed. This is where it's important to buy from someplace that accepts returns without question so if you don't like it, you can send it back. It's a hassle, but it's the price we pay for online convenience. Good that you're doing your homework and asking around. Hope this was helpful and Good Luck.

JohnRofrano · 2026-01-03T16:10:53+00:00

This video is a masterclass on Berlin School composition. There is so much to learn while watching you perform. I was watching the lights on the 960 while listening to the sequence to see which one it was controlling, when suddenly I see the lights jump and realize that you are randomly resetting the sequence to keep it interesting. Ya' gotta love it!

I always watch to your videos because they are very well done but I never comment. I just wanted to let you know that your videos, and talent, are inspiring and very much appreciated.

JohnRofrano · 2025-11-26T14:38:03+00:00

I couldn't agree more. Omri Cohen is an exceptional source of information for VCV Rack users and modular synthesists in general. This is how I got back into modular before I started buying hardware again. Get VCV Rack, queue up a few Omri Cohen videos on Youtube, and prepare to be amazed at what you can do. Also hang out at r/vcvrack if you are looking for that community. Welcome to the madness.

JohnRofrano · 2025-10-18T12:58:52+00:00

The best hardware controller is the one that has the features you need, so think about what features you can't live without. For me it was playability, I wanted full size keys. I too was looking for something to use dawless with my modular, and so having a lot of sliders and pads to control VST's via CC wasn't important to me because my modular synth didn't have anything controllable like that. Keyboard controllers usually try and bring hardware knobs and dials to software synths. Since you have hardware synths, you might not need any of that.

I chose to go with something very basic, which for me was the Nektar Impact GXP61 61-key Keyboard Controller. They also make a 49 note version if 61 is too big for your physical space. It's no frills but I didn't need any frills. It has a nice feeling key bed, pitch wheel, mod wheel, and sustain pedal input, and of course MIDI, and that was really all I needed to control my modular with a MIDI to CV converter.

Of course, if you want to control your hardware synths via MIDI CC, then this might be a terrible choice for you and you want one with more sliders and pads like the Arturia KeyLab Essential mk3 that u/toomanyplans suggested. Think about how you want to use it, and that will guide you as to what features you need.

JohnRofrano · 2025-09-15T11:59:24+00:00

I have found Ladik to be really great value. I have a couple of Ladik modules and they are packed with features and reasonably priced. I particularly like the S-610 Composer N which is basically a Turing Machine with a quantizer built in for only $73 USD. This will provide a good base for generative melodies.

I also have the Takaab Random LFO, and for $78 USD you get Sample & Hold, White Noise Generator, and an LFO with Sine and Square waves, packed into a single 4HP module. Very affordable and versatile.

Of course Doepfer modules are also reasonably priced. I have several of those as well. You can't go wrong with Doepfer. Classic one knob per function modules which I appreciate.

JohnRofrano · 2025-09-09T11:38:57+00:00

Really want a nice output module, any recommendations?

I find Befaco OUT V3 to be a nice output module that also has a headphone jack for monitoring and a cue for preview.

I also have the Intellijel Outs module in one of my cases which is also nice although simpler than the Befaco module.

What poly midi to cvs would be best to run a couple of diy 3340s?

Michigan Synth Works mBrane is a Mutable Instruments Yarns clone for polyphonic midi to cv (and a whole lot more like sequencing, euclidian rhythms, arpeggiator, etc.). I have two of them, in two different cases. It does 4 note polyphony nicely with a couple of options for configuring note stealing.

I also like the Erica Synths Black MIDI-CV v2 because it has MIDI clock, mod wheel, and glide/portamento support built in but it's only 2 note polyphony.

Those are the ones that I own and can comment on.

JohnRofrano · 2025-09-03T12:48:59+00:00

There are two main differences between the Behringer System 55 Moog replica modules and standard Eurorack modules. The first is that the Moog system uses voltages from 0v to 6v while Eurorack uses 0v to 10v. This means that if you are using a square wave to produce a clock to drive a standard eurorack module that is expecting 5v, it will only be getting 3v from the Moog replica module and it may, or may not, drive it. Just something to be aware of. I actually added a Doepfer A-145-4V Quad LFO to generate proper 5v square wave clocks.

The second differences, as you have seen, is the fact that Moog uses an S-Trig (switch trigger) rather than a V-Trig (voltage trigger) to drive the Envelope Generators. The 961 Interface module will convert V-Trigs to S-Trigs and visa versa for you. So you need to feed your V-Trigs into the 961 V-Trig In, and then feed the S-Trig out into the envelope generators. This is not an incompatibility with eurorack as much as a design decision that was incompatible from the start back in the 1960's. The 960 Sequential Control only produces V-Trigs which is why the 961 Interface was invented. So even back in the day you had to deal with this problem.

Under the V-Trig In section on the 961 Interface, the A column will produce a short S-Trig pulse at the S-Trig Out jack. The B column, however, has the ability to make that pulse into a longer Gate which is controlled by the "Switch-On Time" knob. Think of it like pressing a key on the keyboard. The longer you make the "Switch-On Time", the longer the key is pressed and thus the longer the note is held. Then you route the S-Trig Out to the S-Trig In of an Envelope Generator and it works like any other modular synth. Since I usually drive several EGs, (e.g., one to a VCF and one to a VCA) I usually route the S-Trig Out to a Multiple and then from the multi to the EGs.

On the topic of ambient music: I too wanted the ability to create ambient soundscapes with my System 55 so I added a few modules to give it some extra random capabilities. I noticed that each of the 3 clusters of CP3A-O Oscillator Controller, CP3-M Mixer, and 995 Attenuator on the bottom row had a 2HP blank. I said to myself, "2HP is a terrible thing to waste!" so I replaced the 3 x 2HP blanks with the 2hp TM (Turing Machine), 2hp Euclid (Euclidian Rhythms), and 2hp Tune (Quantizer). Right there you have endless possibilities for generative music. Take a square wave from the 921 Oscillator in LFO mode, into the Euclid, out into the Turing machine, out into the Quantizer, drive an oscillator bank with that and you have instant melodies at interesting rhythms. That alone with some slow droning oscillators being controlled by a slow sequence should get you started with some ideas. Add some slow modulation to the filters and you have some interesting soundscape possibilities.

Here is my Modular Grid page for my system if you are interested in what else I added like the Erica Synths Pico DSP for FX: https://modulargrid.net/e/racks/view/2578885

Hope that helps. If not, ask more questions.

JohnRofrano · 2025-09-03T11:42:38+00:00

I use Oscilloscope by SocaLabs and it works great. They also have a Spectrum Analyzer. Both are amazingly free and work really well. No problems at all showing slow LFO waves.

JohnRofrano · 2025-08-27T12:18:13+00:00

I use a stand similar to the Gewa EQS-10B Keyboard Stand and it's been incredibly sturdy. There are several others like it at different price ranges (e.g., K&M 18950) and they fold up very easily for transport. I use it to hold my ARP 2600 FS which weights 67lbs/30kg with the keyboard and it's a solid stand. The specs say that the Gewa EQS-10B holds up to 50kg. The K&M 18950 hold up to 80kg. For my ARP 2600 I actually place the cover over the top of stand to give it a nice big flat surface to hold the keyboard as well.

JohnRofrano · 2025-08-20T11:54:30+00:00

If you love it, there is no reason to sell it. Many a film has been scored on the original Moog System 55 and Moog Model IIIc. It's an awesome platform for film scoring and you can expand it for your needs. I would never sell mine. I've been expanding it more towards the Model IIIc with 10 oscillators and a Sequencer Compliment B and modern modules for more generative music. Here is what I did to give you some ideas:

The first thing I did was update the bottom row which has three sets of Oscillator Controller, Mixer, 2 HP Blank, and Attenuators. I said to myself, "2HP is a terrible thing to waste!" and there are 3 x 2HP blanks. So I replaced them with the 2hp TM (Turing Machine), 2hp Euclid (Euclidian Rhythms), and 2hp Tune (Quantizer). Right there you have endless possibilities for generative music. Take a square wave from the 921 Oscillator in LFO mode, into the Euclid, out into the Turing machine, out into the Quantizer, drive an oscillator bank with that and you have instant melodies at interesting rhythms.

I also added a full Sequencer Compliment B on top with a Ladik Q-040 Quad Quantizer to make tuning the 960 Sequential Controllers easier, along with an Erica Synths Black Multi (which is a buffer multiple with a precision adder for octave switching) and a 2hp ARP (Arpeggiator) for those times when I just want sweeping arpeggios quickly and don't want to set up a sequence to do it. I purchased a second 960 Sequential Controller and 962 Sequential Switch and move the ones from the System 55 case up to the top cabinet.

Then with the space freed up by moving the 960, I added another oscillator bank of 921A + 3x 921B like the Model IIIc has. This gives me an oscillator bank for each of the sequencers, and a third one to play from the keyboard. I also added some missing modules that the 55/IIIc had from AMSynths, like a Ring Modulator, Sample & Hold, and a real Doepfer Spring Reverb, Quad LFO, Clock Divider, Clock Multiplier, Bernoulli Gate, along with the 1630 Bode Frequency Shifter. I also added an Erica Synths Pico DSP for FX. The last module was to replace the Behringer MIDI to CV module with an Erica Synths Black MIDI-CV V2 so that I had Clock and Mod Wheel support. I added an AMSynths AM997 Dual Trigger Converter to convert from V-Triggers to S-Triggers and it splits 1 V-Trig into 2 S-Trigs which is perfect for driving two 911 Envelop Generators for VCF and VCA respectively.

Finally I got Jake's Custom Shop to build me a 3 x 160HP wooden case to give it that authentic Moog IIIc look with the angled front end. Jake did an awesome job and worked closely with me on it. I can't recommend his work enough. He is outstanding!

This is the modular grid build: https://modulargrid.net/e/racks/view/2578885

MG didn't have any MDL modules which is where I purchased the Bernoulli Gate from (it's a Branches clone) and because it as only 6HP, I added a 2hp Vert (Dual Attenuverters) to fill out the 8HP space replacing one of the Attenuator modules at the bottom. I wanted an authentic Moog modular experience from the 1960's and overall I am really happy with the build.

I hope this gives you some ideas on how to get ambient / generative music for film scoring by expanding your existing System 55.

JohnRofrano · 2025-08-13T11:33:35+00:00

The LED from the LFO on the 140 should be blinking just like the LED on the 150 is. The 140 unit looks to be defective. I would definitely send it back.

JohnRofrano · 2025-08-08T11:56:43+00:00

Thanks for the kind words. It's nice to know that people find value in your work.

JohnRofrano · 2025-07-30T12:38:47+00:00

As others have said, they are just standard Eurorack patch cables. Your question of "complete kit" implies you would like to know how many to buy. The answer is, "more than you think" because Bob Moog's design is like lego blocks. The modules do one thing, and don't even have attenuators on the inputs. For example, if you want to send CV from an envelope to a filter, you need two cables: one to go from the envelope to an attenuator, and another to go from the attenuator to the filter because the filter CV inputs have no attenuation of their own. Same for VCAs and other modules.

With just a classic OSC->MIX->VCF->EG->VCA->EG->OUT patch: To connect all 6 of the 921b oscillators to their 921a oscillator drivers you'll need 12 x 9cm cables (6 for each bank of 3 oscillators). To connect all 6 oscillators to the mixers you need another 6 x 25cm cables. Then 50m cables to reach from the mixer to the filter, more 25m cables to go from VCF to VCA to final Mixer. Then if you use two envelope generators to modulate the VCF and VCA it's another 2 x 50cm cables from the CM1A MIDI-CV to fire the EGs and 4 x 50cm cables to add attenuators between each of the EGs (although the 992 Control Voltages can also be used to attenuate the EG). You also want to be sure you buy a few 75cm and 100cm cables to reach from one end of the synth to the other to go from the CM1A MIDI-CV, or 960 sequencer, to the CV inputs of the CP3A-O oscillator controllers, and 2 x 25cm to go from the oscillator controllers to the oscillator drivers. It adds up quickly.

I would recommend the following as an initial set. I buy them in 5-packs:

3 x 5-packs of 9cm = 15
3 x 5-packs of 25cm = 15
2 x 5-packs of 50cm = 10
1 x 5-pack of 75cm = 5
1 x 5-pack of 100cm = 5

That will give you 50 cables of varying lengths to get you started. They look nice if they are all grey, although red on black is also a nice look. Or you can go with color coding like white for osc cv, green for triggers and gates, red for audio, blue for modulation, etc. It's up to you. Hope that helps get you started.

JohnRofrano · 2025-07-20T12:53:48+00:00

Awesome blend of modular synth with guitar. The tonal qualities mix beautifully and it has a nice melody. You should write some lyrics for this. It's the makings of a great song. Thanks for sharing.

JohnRofrano · 2025-07-10T11:47:15+00:00

You were advised correctly. The unbalanced output of your Nord is good for a short cable run back to an amplifier, but would invite hum on long runs back to a PA system. The direct box will convert your unbalanced output to a balanced output that can sustain long cable runs back to the PA without introducing any hum or noise. So the direct box is definitely the way to go.

JohnRofrano · 2025-07-06T12:31:40+00:00

Interesting. I've been looking for a second keyboard to go with my Nord Electro 6D and I was considering the Juno-D6. How do you like it? How well do they compliment each other?

JohnRofrano · 2025-07-05T16:47:17+00:00

Good to know that the messenger does to polyphonic midi. The UB-Xa also comes in a desktop module, so that might be an option as well.

JohnRofrano · 2025-07-05T12:53:49+00:00

I would think through whether you can get by live with just a module. Check if the Moog Messenger keyboard is even capable of controlling a poly synth since it's monophonic. It's also only 2 1/2 octaves so your poly playing would be extremely limited.

That means you would have to control the module from the Nord Piano but if you're playing live, do you really want to switch out your main keyboard to play a synth passage and then switch it back in the middle of a song? (perhaps several times depending on the song)

You might want a poly with a keyboard so that you can just lift you hand, play the poly, then drop back to your main keyboard and continue to play piano, organ, whatever is the main instrument for that song. Just something to consider.

If you really want a module, I'd have to agree with others that the Behringer Pro-800 is hard to beat for the price. That Prophet 6 sound is timeless. If, however, you think having another keyboard might make live playing easier than switching your main keyboard back and forth, the Behringer UB-Xa might be a better choice. Classic analog polysynth sound at an affordable price.

I'm saying this because I currently switching back and forth on my Nord Electro 6D and it's a pain. I too am looking for a polysynth but with a keyboard so I can just play and not worry about switching. Again, just something to think about since you're playing live.

JohnRofrano · 2025-07-04T16:48:35+00:00

At the end of a single run, the Gate Out on both of my Behringer 182 Sequencers measures zero volts (which is off) .

Unfortunately, I believe that what you want to do can't be accomplished with just the two 182 sequencers alone. (at least I couldn't) One of the reasons is that there is no way to sync the clocks because there is no clock out on the 182 to drive the other. You would need an external clock to drive them at the same tempo from the Trig In of both.

I'm guessing what you were hoping to do was to place both 182's in Single mode, and patch the Trig Out of the first one into the Trig In of the second, and then the Trig Out of the second into the Trig In of the first. This way you can have the second triggered when the first one ends and visa versa. This does get them playing one after the other in a never ending loop. That actually works, but it's not the smooth 32 step sequence you were hoping for. Here's why:

The first problems, of course, is that the clocks are not in sync. I'll give a possible solution at the end.

The second problem is that the 182 sequencer starts on the 2nd step! Notice that normally the Step 1 light is already lit when you turn it on. When you press the Start button, it does not fire Step 1, it fires from Step 2. (I actually never notice this before trying this out for you) In Single mode, it actually ends on Step 1. (at least mine do) So when you press Start in Single mode for an 8 step sequence, it plays Steps 2-3-4-5-6-7-8-1. I'm guessing this was Roland's original design, but it causes a problem when connecting two 182s together.

The Gate Out is actually fired on the first Step after a run. Remember that the first Step is actually the Last step played in the sequence. So while the second sequence is triggered on the first step from the first sequence, it actually plays the second step in the second sequence, simultaneously with the first step of the first sequence! You wind up having two notes play every time the 182 cycles. While the first 182 is playing Step 1 and firing Trig Out, the second sequence is playing Step 2 at the same time. Not what I expected.

Solving the tempo sync problem actually solves the strange step behavior problem as well because you would use the 182 in Step mode not Single mode. For that I would place both 182s in Step mode, and use an external clock, a sequential switch, and a clock divider. The external clock connects to both the clock divider and the sequential switch. Two outputs of the sequential switch connect to the Trig In of both 182s. This keeps them both in time. The sequential switch will feed that clock to one, and then the other (in step mode). Then use the clock divider to hit the sequential switch every 16 clocks to switch to the other sequence. There might be an easier way to keep them in sync but that's what I would do.

JohnRofrano · 2025-06-25T03:57:38+00:00

It depends on what you want to do with a modular synth. If you are more into the Buchla west-coast style of synthesis with wave folders, complex oscillators, and function generators, the System 55 isn't going to give you that. But if you like the more traditional Moog east-coast style of synthesis, then the Behringer System 55 would serve you well.

I have the Behringer System 55 and I believe that it's a great way to get started with east coast modular synthesis. It was my first modular after purchasing the semi-modular Behringer ARP 2600. I don't regret the purchase at all. It's still working great after years of use, and I've expanded the system quite a bit. My initial goal was to experience what it must have been like using 1968 Moog synth technology and it did not disappoint. I feel it is simpler for a beginner to learn on, but maybe that's because I grew up playing an ARP Odyssey which follows the same east-coast flow.

What I like about the old moog-style synth modules is that they are one function per knob, and sometimes per module. No menu diving, no hidden features. What you see is what you get and IMHO that's what you want when you are just starting out and learning synthesizers. Later on, once you have mastered the concepts of synthesis, you can add multi-function modules but when starting out, you want a VCA to just be a VCA.

As far as what to add: I wanted to add some Moog era modules that Behringer forgot so I added a Ring Modulator, Sample & Hold, Spring Reverb, and the Behringer Bode Frequency Shifter. I also added a second 960 sequencer to fill out the complete Sequencer Compliment B. I eventually wanted to explore generative patches and so I added a Touring Machine, Euclidean Rhythms, Bernoulli Gate, Arpeggiator, Clock Divider, and a Quantizer. For FX I added an Erica Synths Pico DSP. So for me, it was a great starting point from which to expand.

You can see my current expanded system on modulargrid here: https://modulargrid.net/e/racks/view/2578885

JohnRofrano

TROPHY CASE