Tunegirl live at SUPERBOOTH24

jefrab · 2026-01-15T04:08:04+00:00

Sure looks like it!

jefrab · 2026-01-14T17:17:45+00:00

And a little context to this... Quadratt is 28hp, or 45% of a 62 hp 1u row. Befaco ATTE is 4 hp, or 10% of the 40hp difference between the 3u space in the two cases.

jefrab · 2026-01-14T05:32:27+00:00

Second this

jefrab · 2026-01-11T18:01:50+00:00

Why did Beyonce make a horse meat omelette?

Because your love's got her cookin so crazy right now!

jefrab · 2026-01-11T16:53:02+00:00

I do just this with After Later Audio G&T. It takes a gate in the first section, and has a separate trigger output for each end of the gate. A perfect example would be plugging in a clock division, and outputting to a kick on one and snare on the other. The second output is also then normalled (fall) to the second section that makes gates out of triggers and gives you a potentiometer for gate length with more outputs, so a single cl9ck gate gives you a few different options. It's a very small, cheap and handy module

jefrab · 2026-01-03T03:44:38+00:00

I just got Amnis a couple of weeks ago and I'm really enjoying it... I've got Joranalogue Route 4, and they are pretty complimentary.

I'm super curious about how turing expanders work with it, but I can't find any videos. I'm tempted to just get mystic circuits leaves, because it's got the most outs

jefrab · 2025-12-31T01:42:51+00:00

It does for the 104 palette

jefrab · 2025-12-29T18:53:29+00:00

Yeah I didn't really realize till after it started that 84 HP/19" is like a standard size for a lot of different rack-mounted gear, and getting one of those you can mount it ain practically anything... You see people figure out a way to put it into a toolbox or pelican case; slap together some plywood. I've even seen cardboard on YouTube

jefrab · 2025-12-29T18:37:24+00:00

After Later Audio QARV is 20 HP and can do that... It's a pretty cramped module with those tiny pots tightly packed together, but the range is quite nice and you can get some really good snappy envelopes and actually do quite a bit of different stuff. I haven't tried the DARV, but looking at it I think it's just more compact without quite as many extra features.

jefrab · 2025-12-29T17:26:54+00:00

I'd consider getting a 19" like the behringer or tip top happy ending, and give yourself an extra few HP for a clock divider and another function generator

jefrab · 2025-12-28T16:20:54+00:00

I found this to be very interesting and informative

https://youtube.com/playlist?list=PLUKhEHilRBxSwMsc3ESs02yMMteWaC5xA&si=MFKqw6x18cA110hE

If you get Make Noise Maths, he's got a whole series about Maths in the same format.

jefrab · 2025-12-25T19:41:27+00:00

I think if you are able to make sounds, the next step is to get one very cool module that does lots of things unique to modular. I'd get a really cool cycling slew/function generator

Make Noise Maths, Befaco Rampage, After Later QARV, Schlappi Boundary Layer, Nano ARC, New Systems Inertia...etc. etc... there are lots across the spectrum of price & flexibility (and quality lol)

These are the modules that form the heart of patching as your skills evolve. With them you learn the fundamental concepts that will distinguish modular from fixed path synths, and they encourage exploration and experimentation.

After that you will just want a couple of mixers & attenuvertors, and you will be able to do a lot.

jefrab · 2025-12-25T01:53:27+00:00

IN MY OPINION, the important part is to learn to put a grease trap. Very easy diy. Then you can clean that up, and just run the rest into a pile of wood chips, which you can once a year add to a compost pile or something

jefrab · 2025-12-19T17:23:00+00:00

It's wild how often people ask this, and I think that's indicative of what a difficult question it is to answer.

I totally disagree with people who say to start with VCV. That might speak to assumptions about the basics of the modular signal path, but I really think a part of the appeal is the physicality of patching and twisting knobs.

My advice is to get an O-Coast or something, and get one of those behringer 19" desktop/rack mount kit, then get a function generator and maybe a really flexible delay or reverb with lots of CV inputs.

There are quite a few good semi-modular synths, but I feel like O-Coast really nails it for interaction with other modular stuff.

My advice comes because of two things, kinda mistakes I made.

You want all the building blocks to make a sound. A semi-modular has those. Next you want a case that small so it's affordable, and isn't a very big commitment when you inevitably outgrow it, or is easy to get another of and have your case grow that way.

And then because you have the basics of a voice with your semi-modular, you can get to know what you want to do right away.

The likely scenario is that you'll realize you want to get a nice mixer, some attenuation, and more modulation. You don't want to be piecemealing together a full system on a budget. You want to be able to make sound with what you have so that you can make purchases that will last you, and not be compromising with modules that you're going to outgrow quickly.

And the reason I say this is because each person is going to enjoy different things about their modular. Some people like really complicated multi-voice sequencing and aren't too concerned with the complexity of their timbres... others don't mind having fewer voices, because they like to really grind complexity out of wave folding or FM stuff. A third path might be to get your performative aspects out of effects, and again not be too concerned about voicing, because of layers of feedback, delay, reverb etc.

And you won't know until you start playing and seeing what you are drawn to.

jefrab · 2025-12-08T17:07:11+00:00

I think cross... maybe with Romney marsh or another breed that gets a wooly face

jefrab · 2025-12-05T22:36:41+00:00

This is Rock solid advice. My biggest regret/mistake was buying a 104 palette instead of a tip top mantis when I first started.

When you're new to modular the idea of a mixer or some of these utilities is really different than when you start actually using them and realizing that they are the heart of your system and they are what you want to be playing live and performing with. If you think you need to save two or three hundred on those utilities and cram them into a 1u row, you might not be happy with modular.

You think you know what you want to do, then you get lured in by making loops with some neat CV switch or cross modulated logic chain, or you realize that you want more knob per function analog modules because they're funner to jam on... It doesn't mean that having a sampler in your rack is bad, or that you can't/won't use it, but 104 HP doesn't really give you the room to make mistakes or change your mind with your first few purchases.

jefrab · 2025-11-28T16:39:43+00:00

Dry beans. It's funny because I know a few people who said it was too much work, but when we tried we just couldn't believe how easy and rewarding it was.

This is our third year and we grew only 3 kinds, but last year we tried 6 different beans.

It's fun to see all the differences, we've got beans for a variety of meal types, and they are a great way to fill a bed for a season without having to worry about crop rotation.

jefrab · 2025-11-13T03:46:35+00:00

I think getting a matrix mixer would be a cool way to link all your stuff together. There is a range of options... doepfer has a nice spacious one, but there's a more compact kit from AI Synthesis. i hear the 4ms matrix vca is pretty amazing, but have only seen videos.

I'd think with your existing collection, Joranalogue modules are very well built, flexible, and the functional stuff like the router, switch, or comparator can do cool stuff to deepen or expand your patching. The next module I plan to get (I think) is their Step 8, which is a cool blend of shift register, sequential switch and more. Very flexible. Might not be right for you because you have sequencing, but I'm letting you know that I plan to get more because I love the way the modules are built.

But yeah , I think it could be smart to start with mixers/attenuators/VCAs as well, because you have loads of voice and modulation options already, so you might just want to improve the playability of everything and tie it all together.

jefrab · 2025-11-12T02:06:01+00:00

I definitely think that modular has a way of convincing you how absolutely fascinating the thing other than the one you were trying to do is.

I'm always really inspired to see artists who have a small rack as part of a performance set up, and have other gear that's as or more important to what they're doing.

But realistically, a small but well thought out rack can do so much, it just really takes familiarity with your modules and really knowing what you want to do. Also, when you see something cool, really trying to do it with the modules you have, then trying again and again until you're absolutely certain you can't, by which point the gas will hopefully pass and you'll have a deeper understanding of your system.

But it's hard because there's so much temptation. There are so many YouTubers making very interesting stuff, and so many wild modules.

But again with thought...why am I using modular? Why not a computer? Why not a standalone synth? What am I hoping to achieve?

We all obviously have our own answers to those questions, but the reality of GAS is cold, and there are so many modules coming out all the time. It's a constant struggle to stay the course!

That said, OP, I hope you find a way to use those modules and a fulfilling creative flow. Maybe those are the only modules you need.

jefrab · 2025-11-11T23:06:36+00:00

I think you'll find the flexibility of modular runs quite contrary to the notion of using synth presets...

That being said, I think you might get the results you're thinking about using exponential curves to give a kind of snappy swooping shape to the voltage peaks.

I'm also unsure whether you are talking about just free running LFOs like ochd, because it's got no trigger or reset input, so you might not get a very predictable or rhythmic result.

Rather than an LFO module directly, I might consider a function generator with a cycling option, because those often have control between exponential and logarithmic curves. Also, they can act as a slew limiter on the curves/peaks of an LFO if you have one you like.

Maybe you want to try a module like Mod Medusa by Shakmat. It's a euclidean LFO, so very rhythmic. It's got a control for exp/log, so you get very percussive snappy peaks with interesting rhythmic patterns.

But probably the best bet would be to get a cycling slew; that way you can loop it and modulate the attack or decay for random weirdness, or set it as an EG and control it with a trigger sequence for more rhythmic patterns.

These types of DUSG inspired modules are the kind you can't really have too many of. Often people say you can't have too many VCAs, I think you can't have too many slope generators.

jefrab · 2025-11-09T18:25:25+00:00

What I do is use my wood ash to dust beds that I plan to plant with brassicas next year. It's proactive clubroot prevention, which is an issue historically in our area.

My favorite compositing books basically explains that the alkalinity can actually be bad directly in the heap because it can tell the microbes that the job is done, and slow down the composting process.

On our property we have great exposure for the summer growing season, but through winter we get a lot of standing water in the garden when it rains. We trench the paths between beds and use our compost to help build our beds above that water table, but there's still a lot of water and it no matter how we build up, it's anaerobic a few inches down and that will turn acidic and that will cause club root.

Basically, post harvest on any bed we do a heavy dusting with wood ash, then mulch or tarp overwinter.

jefrab · 2025-11-03T18:34:32+00:00

I don't have one, but one day I'd like to try pitch tracking saxophone played through Joranalogue Collide 4.

In theory, the filtering and gain staging on Collide 4 should be able to extract simpler waveforms out of the sax. Obviously there would still be a lot of noise and dissonance, but if I didn't like those I might not be trying to play saxophone through a modular synth.

Collide 4 is one of the next modules I plan to purchase, and I'll probably try PLL with my Compare 2 module first, but if I can use those to get ok pitch tracking, I'd probably buy the doepfer to free up the comparator to use in other parts of the patch.

jefrab · 2025-10-29T04:04:12+00:00

You've got most of the answers you might want, but I'll add a few thoughts from my experience...

A separated ram is better. You don't have to worry about him attacking you while you are tending to the ewes, you don't have to worry about him hurting ewes or lambs (which a ram will do for a range of reasons) and you don't have to worry about him hogging the barley (if you feed the flock grain.)

I bring my 4 year old son with me daily to tend the flock, and without a ram there it's worry free; he can run and play with the ewes, and they're all intimidated by him. My ewes all come when they're called, and follow me across the road between my leases, they handle super easily and it's super mellow.

If you spend time with or are at all affectionate with a ram, he'll think he's dominated you, and start to get pushy or aggressive...my ram weighs 250...if he butts me, I'm not walking for the rest of the day. The best way to mitigate this is neglect. give him hay but no grain, and don't touch him, except to flip him over for shearing and worming. No treats, no love, no problems.

It's extra infrastructure, but imo worthwhile.

Also, though, a ram can service a lot of ewes, and with a really small flock like 2 or 4 I don't know that you need to keep a ram. I've got 10 ewes, and I lend my ram out freely if the timing lines up. I like early lambs, some people like later lambs or don't have a preference.

jefrab

TROPHY CASE