Since we’re getting into sharing our Shared System customizations, here’s my very customized Shared-ish System:

I’ve taken a lot of ideas from the Shared System, but wanting to have a four voice system with Mangrove as a main melodic/harmonic duo over a complex oscillator like DPO (I actually bought them to replace DPO long ago), use kria for sequencing (ansible was the first module I bought when I got into modular!), and Mannequins’ excellent macro control functions (in Cold Mac, Sisters and Just Friends).

I originally wanted to fit all this in to the Make Noise case, but my power draw was too high. I feel glad that I have the Intellijel case in the end though, and use its i/o for stereo send/return.

I LOVE having a bunch of LPG in there. QMMG is fantastic.

This case is feeling like a pretty perfect balance, though I sometimes wish I had some switches in there.

16 Likes

I think there are two dimensions to “designing your own instrument” - one dimension is module selection and the other is the patch. Unless you leave your system pre-patched you are designing a new instrument each time you patch your system. Having a pre-built system doesn’t prevent you from experiencing that joy, which is to me the more enjoyable part of the design experience.

Prior to the explosion of the eurorack market, people would have primarily been purchasing pre-built or piecing together single manufacturing systems. When I first got into eurorack I enjoyed the thrill of designing my ideal instrument and spent hours researching, trading, and reorganizing my modular grid. But over time I found the sheer variety of eurorack modules to be overwhelming and the hunt for “perfection” to be a distraction from actually making music. So I decided to stick with a Make Noise system.

14 Likes

Also, let’s be clear- the process of trying out modules and learning eurorack is not something that comes without substantial cost- I don’t even want to think about how much money I’ve lost from how many modules I’ve bought and later sold at a slight loss/shipping costs, and that’s with buying used as often as I can. I also did that whole exploring thing for like two whole years before I finally settled into what I’m using now, which is a pretty silly amount of time to spend figuring out an instrument, now that I think about it.

It can be really hard and oftentimes frustrating to figure out what actually works well together in a system. The pre-built system is one curated by manufacturers who know their modules better than anyone else, obviously, so you get guaranteed system cohesion and focus without the vast costs of both money and time from constantly buying/selling modules to find what you like.

Having gone through it all, and knowing what I know now, if I had to do it again I’d buy a manufacturer system like the Make Noise or the Endorphins, and for the people who have the money upfront who want to get into eurorack, that’s honestly what I’d recommend.

Though it depends on what your goals are- if you want an actual focused and cohesive instrument for making recorded music, which is what I eventually realized I wanted, then the pre-built is great. If you just want to play with sound in a vacuum and aren’t really concerned with making recorded music, and if the experience of piecing together a frankensynth actually appeals to you, then do that.

14 Likes

This strikes me as a false dichotomy. I totally acknowledge that a pre-made system is the right decision for some, but a self-designed system isn’t necessarily some unfocused jumble of consumerism unfit for Real Music.

11 Likes

I absolutely agree and see how what I said could come off as that- but I’m only speaking from my own experience, where at a certain point it felt exactly like unfocused jumble of consumerism which was rarely resulting in actual music- which was not what I set out to achieve when I got into eurorack in the first place.

9 Likes

It was three years for me, and I sold 101 modules during that time. That’s a lot of shipping…

If I were starting over from right now, I’d have a specifically designed system – a hybrid FM and resonator/feedback setup – but it’d be a bit more streamlined than where I landed. I might have a go at that sometime in the future, but I’ve decided not to make any major changes until at least 2021.

2 Likes

This. I’m finding as I buy and sell like the rest of you that I’m pretty much drawn to the Make Noise paradigm over and over again, as it seems to resonate best with my taste and workflow. I have more Make Noise modules than anything else and the few that I have sold I’ve either bought back or want back. I’m practically moving towards a Shared System just by shear volume of stuff I own of theirs at this point. My only gripe with Make Noise is the sound of their wave shapers. I’ve never owned DPO but I’ve owned a 0-Coast and an STO and I don’t like the way they sound, they are pretty harsh to my ears. I want to try a DPO just see if its any different, but I’m guessing its not. I’ve got a Sputnik Oscillator that I think is very similar to an STO but the tone is just much more pleasing.

1 Like

Early on I interpreted “modular instrument / synthesizer” as mixing and matching modules. That’s still a legitimate way to think of it, but for me - modular is more about patchability and CV. I wasn’t successful piecing together my own system from individual modules, but was able to produce more things I was happy with when I let MN design the system for me. I still built it out bit by bit and have made modifications from their stock shared system, but…I agree with their decisions. It’s saved me time, money and produced more satisfaction than what I was able to do designing my own. Your mileage may vary.

5 Likes

For those who might be interested, we just released a new issue of the Make Noise Zine. It contains a bunch of discussion on patch technique, history, Reel-sharing, community building, and even music :stuck_out_tongue: (contributors Tony, Kelly, Walker, Pete, Aaron Guice, and Brett Naucke)

This is the third zine we released this year. Here are issues 1 and 2, if you missed them. Enjoy!

http://www.makenoisemusic.com/content/manuals/make-noise-zine-early-2019.pdf
http://www.makenoisemusic.com/content/manuals/make-noise-zine-number-2.pdf

38 Likes

These are great! Any chance you’ll be releasing physical copies?

Physical copies exist, but I don’t think they’re being individually shipped, they’re more for handing out to walk-in customers and at events etc. They aren’t anything special anyway, just the pdf printed in black and white on standard printer paper with staples. Very handmade.

1 Like

Good to know! Guess I’ll print off some myself then! :grin:

1 Like

I just built my own Tape & Microsound box out of modules I already own. (I have Maths, but I think Stages works better for me in this system, and conserves a few hp.)

I currently have it in a 104hp skiff, but I plan to build a more lap-worthy case. Right now I’m thinking two rows of 52hp, but I’m concerned that might be a little big for a lap. Then again, it’s cheaper to buy 60hp precut rails…

3 Likes

easily room for a couple W/ in there. and look at oldie but goodie Timetable doing some work.

Just picked up XOH and Pressure Points. XOH is great. I tended to use Rosie fx return as a stereo channel anyway, and this takes up less space. Good when I can’t be bothered to break out external mixer.
But I do think Rosie pushes thinking toward strong center imaging and coherent LCR internal mix with the mono crossfader plus stereo return, so each output module has advantages.

I was tempted to get a Tetrapad but I rather like simple design of PP. Will probably get the former for another rack.

Now I can’t fit everything I want in my suitcase, though.

In general I like MN for cv manipulation and fx, but not OSCs or sources over others.
When are they going to add a module with colored analog noise? Morphagene is wasted for that, so doesn’t count.

1 Like

The Telharmonic noise output is really nice, basically shaped noise. Otherwise, I have a 4 hp SSF Quantum Rainbow 2 and that’s worked wonders.

1 Like

Yeah, I know, but I don’t like the Telharmonic overall, so not worth it for that. For a digital osc, I rather like E352 noise modes and everything else; but again, it’s nice to have a separate noise output in addition to wave output, like FG or Telharmonic, not as a single mode.

I use Sapel for analog noise, similar to Quantum Rainbow 2, which of course sounds great like you say.

I think they should develop a new analog VCO (with noise ideally), that is more featured than STO but not another complex oscillator design. I’d be surprised if there isn’t already one in development.

1 Like

I’m really tempted my the Tape and Microsound Machine as an instrument, it covers pretty much what I do using software.

I’ve never played with any Make Noise gear and was wondering if they have a distinct sonic character, stuff I hear online seems to sound modern and clean, nothing discernible?

Hardware examples I use are Ciat Lonbarde, Gotharman so go figure.

1 Like

Really worth getting to know what the Morphagene is and isn’t before going for it. I came to it from using a range of computer based granulators and initially felt like it was not very flexible, at least compared to a lot of software I was using. Now though (1 year in) I really love it for what it does, and feel like I know how to get it to do a few things I really like. Mine is paired with Magneto, and I love being able to break down the ‘modern and clean’ you describe. Never used a Mimeophone though, so perhaps similar options there.

No distinct sonic character. Morphagene with morph set to max can sound recognizable but that’s it.

2 Likes