Today’s setup: focus. Want to get to know my new M:C in depth before integrating it with other gear again. Therefore I am occupying the local coffeeshop to enjoy the sunday vibes.
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The unintended “benefits” of a studio crash…I just wanted to share this story.
Last week, the shelf I had above my main studio midi controller (Kronos) literally crashed (one of the arms holding up the shelf above and slightly behind the Kronos collapsed). Fortunately, it fell onto an old and mostly defunct iPad that I only use for controlling an Eventide H9. Anyway, in order to fix it, I had to rethink that whole part of my studio, which is a complete PITA! and also, kind of fun, interesting, educational, and gave me the opportunity to rethink routing and declutter.
The main culprit for the crash was the weight of two stacks of books I’d been using to elevate two computer monitors (the monitors themselves were very light), plus the enormous weight of a Mackie 1604VLZ mixer. I’d added a Waldorf Iridium to the mix, and I think that just crossed a weight line.
I ended up removing the two monitors entirely (I already have a 27 inch monitor off to the side). I may add them back when I figure out how to elevate them with significant less weight than stacks of books. Maybe I will hang them on the wall itself.
Anyway, the primary benefit was having to remove the mixer, adn in the process really rethink how I was routing things from the synths to the mixer, to the effects boxes back to the mixer then out to an Apollo Twin D/A interface to my desktop back to the D/A then back to the mixer then out to the studio amps and audio monitor. I just bought this much more complicated and capable mixer last year, and when I originally wired it, didn’t give a lot of thought to routing. I am embarrassed to say this, but I kept getting feedback loops and didn’t understand why, so I was manually disconnecting the alt/main outs from the Apollo whenever I wasn’t recording, but was listening to the computer, then turning down the inputs from the computer on the mixer when I was recording. Stupid, but I didn’t really know what else to do.
Now I do. I have the main outs going to the Yamaha HS8 monitors, Control Room outs going to my secondary monitors (Audio something) alt/main outs going to the Apollo and the returns from the computer through the Apollo going back into the mixer as aux stereo returns 3 (1 and 2 are used for the Eventide H9 and Strymon Bluesky). I am using the Aux sends 3 and four as stereo pairs to send sound from one synth to my other synths input ports (A4, OT, MatrixBrute and Iridium). The last bit I learned (finally) was why I wasn’t hearing Logic’s out during playing. I clicked the “software monitoring” box in Audio/General preferences, and finally, I have things exactly how I want them. Thanks to the crashing shelf!
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The first thing I thought when I saw the Lemon Drop was that it would make a great partner for my Norns.
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When I cut the various parts the way the sub phatty is there was a metal plate that was like a barrier between the main body and the key-bed that had a small hole for the keyboard’s connecting cable to go in and be attached to the main board. I don’t know if the Korg Wavestate would be constructed the same way and disassembling the entire synth to separate the circuit boards from the chassis would be a lot of work.
But yes, the metal debris from the cutting you wouldn’t want on the circuit board. For that I used one of those air canisters to blow that all out as it was open when the end cheeks were removed from the sides.
Definitely worth mentioning to avoid any potential short circuiting.
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Roland MC 707 and Pioneer TORAIZ SP 16 and Ableton not sure with a keep both or one had to go.
I initially saw the Lemondrop as a more focused and dependable way of doing granular, but I couldn’t justify the redundancy of getting it when I already had the Norns. You’re right though, they actually make a great combo- Norns as the sample creator/effecter/collector to fuel the Lemondrop with. It’s not a combo that makes sense for everyone, but I happen to love sampling- specifically being able to alter a sample beyond recognition. Synthesizers are awesome too, of course, but I’ve always just used them as sampler fuel.
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LOVE that Strymon array
In the US, Uplift makes fantastic quality adjustable standing desks.
I researched A LOT before buying one, as well as evaluated many co-workers who already had something like that.
I skipped all the wiring accessories, I figured I could do a better job with my own zip ties and power strips.
The desks are solid, I have a whole lot of gear on it too.
I wanted something that could hold all my gear, AND not shake too much when practicing my record scratching.
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How was that move? I’m actually considering getting a tr8s again for it’s immediacy. I love the layering of analog and sampling on the AR.
Yeah happy so far. I’ve set it up with default TR-909 kits per pattern so I can just sit down and make music, then swap out sounds and tweak from there. Suits my workflow much better.
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This might be a solution for me since I’m forced to combine my work office and studio.
How deep/thick is it? Kinda curious cause I’m measuring my gear. Tallest piece is ~3.5"/9cm (unless I start sawing some legs off of it)
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Trying to keep things tight but flexible. I run things out to Ableton either via Overbridge or 8 channels of Kmix. Would you add anything? When jamming I run everything through the inputs of the Digitakt in non-dual mode so I can sidechain against the boom boom of the Tanzmaus kick. I can run the rest of the Tanzmaus drums and/or the synth through the OP-1 for some filtering and processing. I run the OP-1 unsynced and have gotten pretty darn good at lining it up in realtime by ear. : )
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digging the custom screen on the iPad 
i have a couple customized the same way.
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Im actually super Jelly of that Polybrute!
I would score one If i could fit it on my desk!
Good eye : ) “HK” as we say back home – who cares.
It is a big beast of a board. Used to be my criteria was, can I carry it to the gig? but that’s pretty much behind me.
Im having to Mich fun with This set up!
I actually love Nord drum, super simple to use, heaps of different sounds in it and TRIG IN!
I’m using everything is going into Octatrack, I’m sequencing my modular and OP-1 ( via OP-lab) with OT (using the midi lfos to go bananas on the OP-1) then clocking my little trigger skiff made up of different Mutable instruments clones (marbles, grids, stages and veils) the skiff is triggering Nord Drum. I also have midi directly into ND from OT if I want to program more specific beats.
Super fun jamming companion
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but dang look at what you got instead!
its the first synth that gave me goosebumps from listening to the demos on youtube… it really is a beautiful thing, probably even better IRL… but i wouldnt know 
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I really like its foundational sound. I guess some don’t, but if there are any deficiencies there, I can’t hear them. There’s icing on this cake too… I don’t know of any other synth in the analog or digital domain with such tasty onboard effects. There must be some serious processing power under the hood based on how class the reverbs, delays and choruses sound, (all modulatable)… its a really really fun synth to program. Treated myself for ‘sticking with’ the piano for 30 years.
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