more house
..
ich hab so einen zum verkauf gefunden, nur find ich leider keine seite ueber den hersteller etc.
...weiss hier jemand mehr?
...weiss hier jemand mehr?
evenfall mini modular
- Ersteller more house
- Erstellt am
O
Ozzy Laytor
.
ich hab das hier gefunden :
klingt interessant, denk ich
A recent addition to the analog-synth scene is the Evenfall Mini Modular ($699). Designed by Chris MacDonald in collaboration with Grant Richter of the Wiard Synthesizer Company, the Mini Modular was originally sold in kit form. Since late 2000, however, the Mini Modular is only available fully assembled.
The Mini Modular features 12 modules in a preconfigured arrangement with normalized connections between the modules (see Fig. 8). Having the modules prepatched makes the Mini Modular exceptionally easy to use, especially with the built-in MIDI-to-CV interface. After unpacking the synth and powering it up, I was making music with it immediately. The normalized connections and color scheme give the Mini Modular the feel of the classic ARP 2600.
The list of modules includes two VCOs, a VCF, two LFOs, two VCAs, envelope generators, a lag processor, a 3-channel MIDI-to-CV converter, sample and hold, a waveshaper, an attenuator, and a pair of 4-way multiples. That's a lot for a synth that is 3U tall and weighs a mere 2.5 pounds. Because the Mini Modular is so light, it helps to rack mount the synth so it won't wander the desktop from the force of front-panel patching. To get that much power in such a little space, MacDonald uses ⅛-inch jacks and small, narrow knobs. Enough space is around the knobs to allow large fingers to work them, but they take getting used to.
The Mini Modular has three rear-panel jacks: a MIDI input, a ¼-inch output, and a DIN connector for the large Elpac wall-wart power supply. I appreciate having the ¼-inch output on the back because it makes it easy to interface the Mini Modular with the rest of my studio. The rear-panel output is connected to the Attenuator module. If you patch directly from the Attenuator output on the front panel, it disconnects the back-panel output. A nice feature is the front-panel power switch, something many of the other synths in this article could benefit from.
With one exception, the module layout of the Mini Modular logically follows the signal path through the instrument from left to right. The exception is the location of the VCA 1 between the MIDI-to-CV module and VCO 1 rather than next to VCA 2 on the panel's right side, where you might expect it to be. As it turns out, the CV3 output of the MIDI-to-CV module is normalized to the CV input of VCA 1, and the audio output of VCA 1 is normalized to the FM inputs on both VCOs — so it makes sense that VCA 1 is in this location. Although it is a little farther away on the front panel, the output of LFO 1 is hardwired to the input of VCA 1 as well.
Most of the normalized routings are reflected on the front panel in red lettering below the input jacks. Spend a little time with the Mini Modular, and the normalizations become second nature. For example, once you realize that the triangle output from LFO 1 goes to VCA 1, it is easy to visualize the connection. The Mini Modular's manual includes an excellent step-by-step tutorial that walks you through the normalized connections (see Fig. 9).
The VCOs have pulse and sawtooth outputs, with controls for wide-range tuning, fine tuning, FM amount, pulse-width, and pulse-width modulation depth. A Sync switch on VCO 2 allows you to sync the tuning of the oscillators together.
The FM control knobs on the oscillators and filter have both positive and negative positions. They let you sweep the oscillators in contrary motion using the LFO as the modulation source, for example. The trickiest part of using the Mini Modular was getting the FM Control knobs in to the exact center position to remove the prepatched LFO modulation. An easier way is to plug a cable into the FM Control input to break the normalized connection and leave the other end of the cable disconnected.
The VCF is a 2-pole filter with separate bandpass and lowpass outputs. The lowpass output is normalized to the waveshaper and VCA 2. The filter features two inputs with level controls, an FM input with a level control, and an Aux FM input. When you're using the MIDI-to-CV converter, the VCF's Keyb switch allows you to increase the cutoff frequency of the VCF as the MIDI note number rises.
Evenfall includes four patch cords with the Mini Modular. However, there are so many control options that you'll want more cables. Two of the instrument's handiest items are the 4-way multiples, which allow you to take full advantage of the synth's control options. With the combined FM and waveshaping possibilities, I created rich, biting sounds that blended nicely with other synthesized textures.
The Mini Modular is elegantly designed; easy to use; and with 12 versatile modules in one package, a great value for the money. The Mini Modular is a great instrument for anyone new to analog synthesis. For the experienced synthesist, it's a pleasure to use.
ciao
klingt interessant, denk ich
A recent addition to the analog-synth scene is the Evenfall Mini Modular ($699). Designed by Chris MacDonald in collaboration with Grant Richter of the Wiard Synthesizer Company, the Mini Modular was originally sold in kit form. Since late 2000, however, the Mini Modular is only available fully assembled.
The Mini Modular features 12 modules in a preconfigured arrangement with normalized connections between the modules (see Fig. 8). Having the modules prepatched makes the Mini Modular exceptionally easy to use, especially with the built-in MIDI-to-CV interface. After unpacking the synth and powering it up, I was making music with it immediately. The normalized connections and color scheme give the Mini Modular the feel of the classic ARP 2600.
The list of modules includes two VCOs, a VCF, two LFOs, two VCAs, envelope generators, a lag processor, a 3-channel MIDI-to-CV converter, sample and hold, a waveshaper, an attenuator, and a pair of 4-way multiples. That's a lot for a synth that is 3U tall and weighs a mere 2.5 pounds. Because the Mini Modular is so light, it helps to rack mount the synth so it won't wander the desktop from the force of front-panel patching. To get that much power in such a little space, MacDonald uses ⅛-inch jacks and small, narrow knobs. Enough space is around the knobs to allow large fingers to work them, but they take getting used to.
The Mini Modular has three rear-panel jacks: a MIDI input, a ¼-inch output, and a DIN connector for the large Elpac wall-wart power supply. I appreciate having the ¼-inch output on the back because it makes it easy to interface the Mini Modular with the rest of my studio. The rear-panel output is connected to the Attenuator module. If you patch directly from the Attenuator output on the front panel, it disconnects the back-panel output. A nice feature is the front-panel power switch, something many of the other synths in this article could benefit from.
With one exception, the module layout of the Mini Modular logically follows the signal path through the instrument from left to right. The exception is the location of the VCA 1 between the MIDI-to-CV module and VCO 1 rather than next to VCA 2 on the panel's right side, where you might expect it to be. As it turns out, the CV3 output of the MIDI-to-CV module is normalized to the CV input of VCA 1, and the audio output of VCA 1 is normalized to the FM inputs on both VCOs — so it makes sense that VCA 1 is in this location. Although it is a little farther away on the front panel, the output of LFO 1 is hardwired to the input of VCA 1 as well.
Most of the normalized routings are reflected on the front panel in red lettering below the input jacks. Spend a little time with the Mini Modular, and the normalizations become second nature. For example, once you realize that the triangle output from LFO 1 goes to VCA 1, it is easy to visualize the connection. The Mini Modular's manual includes an excellent step-by-step tutorial that walks you through the normalized connections (see Fig. 9).
The VCOs have pulse and sawtooth outputs, with controls for wide-range tuning, fine tuning, FM amount, pulse-width, and pulse-width modulation depth. A Sync switch on VCO 2 allows you to sync the tuning of the oscillators together.
The FM control knobs on the oscillators and filter have both positive and negative positions. They let you sweep the oscillators in contrary motion using the LFO as the modulation source, for example. The trickiest part of using the Mini Modular was getting the FM Control knobs in to the exact center position to remove the prepatched LFO modulation. An easier way is to plug a cable into the FM Control input to break the normalized connection and leave the other end of the cable disconnected.
The VCF is a 2-pole filter with separate bandpass and lowpass outputs. The lowpass output is normalized to the waveshaper and VCA 2. The filter features two inputs with level controls, an FM input with a level control, and an Aux FM input. When you're using the MIDI-to-CV converter, the VCF's Keyb switch allows you to increase the cutoff frequency of the VCF as the MIDI note number rises.
Evenfall includes four patch cords with the Mini Modular. However, there are so many control options that you'll want more cables. Two of the instrument's handiest items are the 4-way multiples, which allow you to take full advantage of the synth's control options. With the combined FM and waveshaping possibilities, I created rich, biting sounds that blended nicely with other synthesized textures.
The Mini Modular is elegantly designed; easy to use; and with 12 versatile modules in one package, a great value for the money. The Mini Modular is a great instrument for anyone new to analog synthesis. For the experienced synthesist, it's a pleasure to use.
ciao
more house
..
hmmm der haett gern 750, werd den jetzt mal anschreiben ob das teil noch zu haben iss
more house
..
waer irgendwie genau sowas was ich such, kompakt und leicht, easy mit zum liven nehmen
...soundmaessig wird sich dann ja zeigen wenn er noch zu haben ist und ich ihn zum antesten fahr
...soundmaessig wird sich dann ja zeigen wenn er noch zu haben ist und ich ihn zum antesten fahr
more house
..
na da wuerd sich doch was basteln lassen 
Ilanode
..
ACA schrieb:
Wenn das Teil tatsächl ein kommerz. "Flop" war, dann hatte das sicherlich andere Gründe:
Ilanode schrieb:
Der Evenfall war als kostengünstiges Gerät für die DIY-Comm. gedacht, Roland und Korg den Markt abzugraben, war weder gewollt noch möglich. Auch bei Synths gilt: Der Teufel scheißt auf den dicksten Haufen.
Ilanode
..
ACA schrieb:
Mag sein, doch wenn Du regelmäßig auf Foren und Listen liest, in denen viele US-Amerikaner sind, wirst Du feststellen, dass der heute weit über den damaligen Preis gehandelt wird und bei den wenigen, die ihn überhaupt kennen, einen extrem guten Ruf hat.
Das Prob. für die kleinen Nischenanbieter ist es, die Prod. so zu organisieren, dass sie auch betgriebswirtschaflt. Sinn macht. => Also oft ist die Wahl klein und relativ unbekannt bleiben oder aufgeben. Die versuchen, sich professionell in einer Nische einzurichten, stoßen oft auf Unverständnis,da sie kaum die üblichen Lieferfristen einhalten können.
ACA
||||||||
Ich muss gestehen, nach dem ich gelesen habe das da Grant Richter daran beteiligt war, hat sich mein Interesse am Gerät auch gesteigert.
Ich glaube das ist ein Grund weshalb der Gebrauchtpreis heutzutage recht hoch ist.
Hier gibt es noch Bilder und Sounds von dem Teil:
http://bp3.blogger.com/_FMBJEkaC8Lw...7c/s1600-h/Image-80520-385100-Picture1001.jpg
http://bp3.blogger.com/_FMBJEkaC8Lw...sM/s1600-h/Image-80520-385099-Picture1003.jpg
http://www.virb.com/mattcarpenter
(unten in der Trackliste)
Ich glaube das ist ein Grund weshalb der Gebrauchtpreis heutzutage recht hoch ist.
Hier gibt es noch Bilder und Sounds von dem Teil:
http://bp3.blogger.com/_FMBJEkaC8Lw...7c/s1600-h/Image-80520-385100-Picture1001.jpg
http://bp3.blogger.com/_FMBJEkaC8Lw...sM/s1600-h/Image-80520-385099-Picture1003.jpg
http://www.virb.com/mattcarpenter
(unten in der Trackliste)
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