Fam is back together
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Actually my 2nd Studio, a small room in a Bunker, with RCF 702 as low end monitor, i did not go over 30% of power, normally its for 100 to 150 people. The great thing is i can walk over here in 5 to 10 minutes.
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This is atm my current setup:
I use Bitwig to sequence all that stuff and multitrack, mix and master my stuff there.
I like the fast workflow with a daw, but i like synths too. there it is 
ALM 2x84:
neutron and erica bassline are my bread and butter monos, sometimes neutron makes bass, and erica acidlike or other way round. neutron can do so much, and sounds good to my ears. and… it’s an original design. Say about Behringer what you want, but this thing is very nice!
I usually use zoia as midi/cv converter (with slew rate limiter, lfo’s, etc), or sometimes as fx box for ukulele and mic, sometimes as fm mono.
what i really like on top is the addac pedal integrator, and the instrument interfaces.
with my pedals and ukulele and mic i’m more than happy!
Microfreak:
the microfreak is lovely synth, and perhaps i will change it (and the keystep, as i don’t use cv outs of it anyway) with minifreak. Often I use it as chord player… paraphonc mode is good enough for my needs, sometimes as lead voice. (if not neutron has this duty…)
The small eurorack mini-case:
Flame Qslider, bifaco cv-thing, robaux 3pt
With this box I can control modular and computer via midi at the same time!
What’s not to like about it!
Espessially the robaux is really a fun thing1!eleven
Only thing whats missing is some weight or rubber feet for that box, it’s a bit on the light side…
Yeah, thats my spaceship where I can forget the sorrows of the world for a moment.
love!
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No mention of the miku?!?
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ha!
did some crazy stuff with that 
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This is an absurd setup, and it’s not really a setup at all, just a prompt for the story I’m about to tell, which I was going to put into the Do you have a synth that makes you sad but I wanted to wait until I could take the picture.
I’m staying in my parents’ house temporarily while they are away on a trip. We moved into it when I was fifteen. My little Pod64x modular case (in the centre of the photo in case you can’t find it amidst the clutter) is staged here in the basement, at the exact spot where I once set up an old table and put a synthesizer on it. It was a PAIA 2720 (you can see photos of another one in this thread) and I bought it with my own money in 1977 from the first job I had, working part-time in a public library.
But my parents didn’t want me to buy it. They had no money when they came to this continent, and they still weren’t well-to-do. They wanted me to save it. I was about to enter university on a full scholarship, on a program that gave me a four-month internship every eight months, so I was going to have enough money for the rest of my life. It was actually about control. They thought it was a frivolous purchase, so they pressured me.
I defied them, my most major defiance to that point, but I paid a psychic cost. The synthesizer was not ideal (you can find demos on YouTube, but let me save you a click: it sounds terrible) and my stomach hurt when I even looked at it. After a few sessions I stopped trying to make something of it, and it sat on that table gathering dust. In my senior year of university, I brushed off the cobwebs, and refamiliarized myself with it enough to do a decent demo for the student who answered my classified ad in the college paper. I remember his eyes growing wide at the cacophony I coaxed out of the device. He paid me exactly what I had paid for it four years previously. And then I didn’t touch another synth for forty years.
My little Pod64x and the modules in it cost maybe four times as much in real dollars as that first synth did, sound fifty times better, but most importantly, make me much happier. It’s a joy to lose myself in the sounds from it. So this post is to acknowledge the healing, and to say that there are sometimes happy endings, if one is patient.
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This story is beautiful and sad. Happysad, as my older son calls the songs mommy tends to listen. Thank you for sharing. 
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Beautiful story. It helped reaffirm my own story, something I lose track of far too often. Thank you for sharing.
What if you picked up another PAIA and ran it through the Pod to bring it full circle….
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RMK-2 Pro Tip: Leave one set of screws unused and get some ergo tilt action 
Here the upper screws are just tight enough to move but stay where you put it if you change the A4’s angle.
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Jomox + DFAM 
Do you have a dedicated compressor to squash those together?
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Those are both controlled by and run into the A4, which runs into the “Super Analogue” channels on the SiX, then through its buss compressor.
Also as much as I love the VCO beefiness of the Jomox the kick transient is less than ideal, so it’s layered with a tight filter blip in the A4. And the four CV outs are all dedicated to the DFAM 
It’s essentially all one big drum machine.
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F*ck yeah. Love that “3 machines as a single purpose” discipline. Great, GREAT combo.
How funny, we all have our “ideal kick” hahah. I love the transient on the Jomox!
What I don’t like is the full-spectrum nature of the kick. I have my M_Base 11 going into its own channel on Behringer X32 rack so I can scoop out the upper mids and duck other sounds around it w/ sidechain. I like keeping the click and the boom but reducing the “clack” just a tiny bit. I have way too much going on in that range in the rest of my sounds.
Again, though, DFAM + Jomox processed by AF. So sick. After 8 years of Elektron fandom I finally got an AF last month and now I’m tempted to devote 2 tracks permanently to my DFAM and Jomox. LOLOL! What have you done!?
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Haha yeah, we all have our own drum preferences (I can’t stand most 909 sounds for instance) but this combo can create almost any analog drum sound imaginable.
Also it might be obvious, but advancing the DFAM sequence by an A4 trigger with probability, along with synced S/H LFOs going to different DFAM parameters, was a huge wtf moment when I first stumbled across it. 
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Interesting, I’ve been thinking of selling a bunch of stuff and investing in rev2 desktop. Less stuff, more quality.
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I went in that direction. Sold off all Eurorack, a couple of Roland Boutiques, Digitone Keys.
Pared it down to quality gear.
My set up now is a Yamaha CP-73, a Sequential Take 5, and an Analog Rytm MKII
( the CP-73, I am playing piano more, and teaching my daughter chords, thus the stickers)
I have an OXI One, for sequencing, a Deluge, a OP1-field, and a OP-Z, a 1010 Music BlueBox,
And I did pick up an Arturia MicroFreak recently.
During the pandemic I got carried away, but I sold off over 8k in gear over the past 3-4 months.
This is what works for me.
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Pretty happy with my little setup here – I’m very space constrained, so everything has to do a job. I tear down from time to time for live techno jams, and I’ve been contemplating a few options/additions to serve that purpose. I’m thinking about liquidating the OP-1 and replacing with either an SP404 or OP-1 field for synths, effects and textures that would complement all the drum power I’ve got going on. I just can’t justify loading the Polybrute into a cargo bike for gigs. Thoughts welcome. If this was your live rig, how would you tweak it?
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I’d swap the PolyBrute for a poly that travels better (it’s a bulky bugger and the tuning isn’t stable enough for gigs IMO)… I’d probably go for a Prophet Rev2 or a Novation Summit instead. Everything else looks cool.
I couldn’t bear getting rid of the PB… maybe a cheap and cheerful JD-XA? : )
Edit: wait a second, they’re not so cheap
I wouldn’t tell you to get rid of the PB, it’s a fantastic synth, but, unless you have a really good flight case, maybe a tech, and the luxury of being able to have it set up on a stage switched on for 45-60 mins before you play, I wouldn’t use it live.
I’m in a similar position, I have a PB in my studio set up, and play live… I’ve been using my Moog Sub37 and Prophet 6 live, but even the P6 is vulnerable at the type of gigs I’m doing… I’m considering switching it for a Rev2 which is almost like a hybrid of the P6 and PB IMO.