#2525

Malekko’s Quad Gate Delay may be the coolest. It has some really nifty creative features.

Doepfer’s A-162 dual trigger delay module is inexpensive, popular, and easily modded. I had one for a while because it fires a very hot 10v trigger, ideal for exciting resonant filters and such.

One important difference is that the Malekko is digital and I think it can therefore accurately reproduce the input gate length after the delay, whereas the A-162 is analog, triggered, and generates its own arbitrary-length trigger/gate (knob) at the end of the delay.

Divkid video on the Malekko

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#2526

Not in production anymore but very useful if you find one in secondhand : SSF Propagate !

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#2527

I agree with this 100% My biggest struggle with it is just knowing what I’m doing, to be honest. It’s a bit frustrating to have to go to my computer to see which effects I loaded into which slots, and then it’s even harder to actually see the instructions for that effect. In a perfect world, there’d be a bit more of a manual for the effects, and some way to record what’s where.

I know I can just do those things myself, but this is just my wishful thinking.

#2528

The markings on XL’s panel help a little with the instructions since the functions for the knobs are quasi-standardized. Perhaps obvious, but I also find it helpful to fill banks by category. While I may not remember that magneto is in bank 2, effect 3, I have no problem recalling that bank 2 is for delays (and I can toggle through to find the one I want based on sound).

#2529

If you fire up the “standalone editor”, you can get a nicely formatted PDF reference for your current bank from the File drop-down.

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#2530

Also, remember that envelope generators with end-of-cycle/rise/fall can be used as cv-able trigger/gate delays (e.g. Maths, Quadra(x), Contour 1, etc). Though they will not preserve the original gate length.

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#2531

I’ve been using the After Later Audio G&T module for trigger delays and gate to trigger conversion (and trigger to gate). It’s great and comes in both 3u and 1u. I had the 3u version but just replaced it with the 1u version so I can put it in my intellijel 1u row.

Ladik also has a couple of great options, one of which is CVable. Hemispheres for O_C has implemented one of Ladik’s gate delays so that’s another good option if you don’t think you’ll use it in every patch.

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#2532

Does anyone have and love the endorphines milky way. It looks like exactly what I want to fill out the “multi fx” section of my rack- small, decent variety, enough control, and I’ve liked how it sounds in videos I’ve seen. Stuff like Erica Synths black DSP is a bit too big, but I’m also looking at something like the dual FX. I remember hearing that Milky way has had some problems with noise. Have those problems been resolved, or are there still things to look out for?

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#2533

So is the Delay No More 3 always fully wet? I’d say that seems like a weird choice but it’s an NLC module so weird choices are the name of the game (and a major part of the charm).

I’m definitely more interested in crazy drones rather than normal delays (I have a Chronoblob 2 already) but maybe the standard delay no more would be more my speed.

#2534

I love my fx aid. The knobs are fairly compact, but since they turn with a bit more resistance it still feels like a decent amount of resolution. The FX aid sounds very very good. I mostly use it for reverbs and all the room, halls, greyholes, spring, etc sound nice to my ears.

#2535

checked them all out, the first try will be the G&T as it will fit in the 1u of my case.
thanks very much to all.

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#2536

I guess I’ll have to pick one up now. I have had some of Igor’s stuff (both 5U and euro) and loved it, so I didn’t need a big nudge.

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#2537

Did you by chance try the normal small unskirted ones as well? Wondering if they might work instead of the tall ones.

#2538

Those should be fine too. I think the taller ones might make them a little easier to work with, but it’s pretty minor.

Actually because of the available stock at the time, I wound up with small tall for the three top knobs (which are D-shaft) and small unskirted for the dry/wet knob (which is T18).

I’ve also heard that the Thonk trimmer toppers work with it. I’ve only used them on plastic attenuverter shafts though.

#2539

Thanks for the info! I’ll get some small unskirted ones then to try :slight_smile:
The stock knobs are a bit to close for my liking/fingers.

#2540

Yeah always fully wet. I think you void the warranty of any NLC module if used in straight 4/4 techno. I realized I had never used this synced or anything so I just tried running a basic enveloped triangle wave multed dry to left channel and out of DNM3 on the right. With the delay and feedback turned all the way off there is still a quite audible delay between the 2. Tried running a negative offset into the cv to push the delay value lower and no dice. So if you’re looking for something to also do chorusing or phase trickery I don’t think is it. Also discovered negative cv increases delay time and vice versa :face_with_monocle: Mysteries abound!!

Same experiment, the DNM3 dry as possible output droning away spits out a buzzy version with a bunch of harmonics added unless the signal is attenuated significantly. Of course, increasing the feedback brings the distortion comes back (as one might expect (and want)).

All that said, after playing around with it some more tonight I started to realize the fun to be had exploiting the break ups, particularly if you can stomach a healthy dollup of reverb at the end. :sweat_smile:

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#2541

Two questions – related only in that I won’t have the available HP to choose both of these modules.

Joranalogue Morph 4 – does anyone have it and can share their thoughts? My first impression was “analog Frames” and a bit Cold Mac-like. I’m guessing it’s one of those modules that can do extremely clever things with moderately clever patching, but for the most part gets used for basic utilities…?

I’ve got Planar 2, CVilization and Blinds (and also, Bitwig Grid has an interpolating scanner), giving me multiple ways to mix/scan/pan. I don’t really need more VCAs generally, so for me it’s a question of whether Morph 4 would add enough flexibility, complement those modules, or be capable of other tricks enough to justify 20HP and prevent me from having room for…

Xaoc Odessa: I know at least a few people here have one. What do you think? If I plan to use it mainly for drones and simple sequences, do you still think the Hel expander is worthwhile or is it skippable?

I really like some of the sounds I’ve heard from it, and I’m very curious about it. But I do already have three “major” oscillators (Shapeshifter, Ensemble Oscillator, Akemie’s Castle) and wonder whether it’s wise to pick up another. If all I want is occasional additive sounds I can use software.

One thing I’ve noticed is a general lack of demos that use its TZFM, or even exponential FM with an audio rate oscillator at a clean interval… is that because it’s not really a great addition to the module due to its nature, or because everyone else is a lot less obsessed with FM than I am? :laughing:

(I have pledged not to trade any of my Eurorack modules until May 1, and then limit how much I change up during the rest of the year. But I’m starting to make some plans, and I think I have too many filters ever since Blades arrived and kind of outshone other things…)

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#2542

I haven’t had enough time with my Morph 4 speak in too much depth, but I think the Cold Mac comparison is apt (I’ve never used Frames). I have Morph 4 racked next to Cold Mac and I really want to move my Lion into the same row for some truly interesting patching among the three. For now, I’ve only had the opportunity to 1) scan across several outputs of a complex oscillator at slower rates (I need to try audio rate soon); and 2) take four freely running Batumi outputs to create several more interesting LFOs (there’s a mix out, two sub-mix outs, a min, a max, and an avg - plenty to work with).

I find the size lends a lot of playability, but it’s certainly possible to do much of what it does in a smaller footprint (two Cold Macs?).

Edit: I should add that the ability to shift the positions of the inputs as well as their respective widths is perhaps the biggest difference. It can make an otherwise routine scan rather dynamic.

4 Likes
#2543

My thoughts on Odessa:

I’ve only owned a few dedicated oscillators (Mangrove, Odessa, Rubicon 2+) and a couple more modules that can function as them (Maths, Zadar, Dr. Octature). It’s very hard to get away from the digital nature of the Odessa, but it’s so tune-able that there’s a lot of nice textures to be discovered.

Personally, I think without some external drive to the signals (I use one or both channels of tallin to do this) the sound is pretty weak. The harmonic factor and comb-like settings quickly get into noise territory with anything more than subtle modulation. The separate outputs for odd, even, and fundamental harmonics are nice, but the lack of unified mix can be annoying sometimes.

Now, to answer some of your questions.

Unfortunately, Hel is quantized to a 12-tone chromatic scale. For 4-voice sequences that could be nice, but for drones all you’d be missing out on are chords that you can’t control the balance of. It might be cool to try cluster chords with it, but the “tension” knob already kind of does that. I’ll probably keep mine around for niche uses unless I really need the 3hp back at some point.

Another minor inconvenience of the Hel is the extra 7-8mm of depth it adds when connected.

Again, I think it just sounds a little too digital. If you have some ideas in mind of what you’d like to hear, I can try to demo it for you. I think as an FM voice though it blends into other textures easily. The linear FM sounds good throughout the whole range, but the exponential is very noisy with a lot of harmonics (I should play around with it more).

#2544

There’s a Schneidersladen demo on YT with one of the guys from XAOC, playing a system w/Odessa. It’s one of the better demos of Odessa that i’ve seen / heard, as it’s subject to subtle modulation, and its presence isn’t overbearing. The voice animation is almost tenuous, very understated, and it sounds pretty unique. It seems difficult to make Odessa sound like anything other than itself.

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