"Jeanette C." <julien(a)mail.upb.de> writes: Thanks. I'll let her know :-) I am using a number of TipTop Audio drum modules sequenced by a Acid Lab Robokop. The Robokop has 12 trigger outs and an all-hands-on interface. While it has some LEDs, there is no alphanumeric display and the interface is complete eye-free. A button per step (16) which also double as trigger selectors (1-12). A detented rotary to change pattern groups and modes. Regarding the actual drums, I have to admit that I forgot if I used a TipTop Audio BD808 or BD909. It was likely the 808. Hats were done with TipTop Audio Hats808. And the funny clap thing is a WMD Fracture. This is a sort of grain sample player that has a number of different short clicky samples to do claps and all sort of things. It is rather new in my rack, and I pretty much love it. However, in this recording, it was set a little too loud I am afraid. Could use a 6dB attenuation, but I don't have separate tracks for the voices yet. I have a pretty unusual setup I guess. I built myself a symmetric desk composed of 4 tables arranged in a square such that I can sit in the middle. I have Genelec active speakers on each corner, giving me a quadrophonic listening area. Each side of the square is dedicated to a stereo signal. To my left, I have a pair of turn tables, and looking back I have my modular synthesizer. All these sources go into a MOTU 8A. I mix and route with a costum SuperCollider based setup. I use a Behringer MOTÖR49 as the master controller for everything. With its motorized faders, its perfect for a custom mixer. Each stereo channel has its dedicated fader, and an encoder controls the panning. I programmed it such that I can move the stereo signals in my quadrophonic setup between 8 positions. So working with the modular, I can set the channel to play on the rear speakers. But when moving back to my computer keyboard/controller, I can move the signal back to the front for better listening. Long story short, all the audio signals in my setup end up on a bus in scsynth. I do recording in sclang, which makes it extremely easy to record a number of channels on demand. In general, these days, I do *everything* related to computer music in SuperCollider. The language is ace, and the separation between RT and NRT is just a wonderful piece of software design. I solved all my "GUI" problems by making the programming language the user interface. And if I need a control for some parameter, I just assign it to a fader/knob/pad of my Behringer. Yes. In this setup, the x0xb0x was playing the master clock role. The Robokop was slaved to it, and a bit of clock dividing gave the slow pulse for the analogue step sequencers. Thanks for spotting this aspect of the exercise. While I am a pretty hardcore acid head regarding my electronic music upbringing, I tend to feel a little anoyed by the inherent atonality of many modular jams I hear. I also think manufacturers could invest a lot more in doing musical demos. But well, tastes differ. Still, I did this experiment to figure out how harmonic content could be patched up without using a digital sequencer. Yeah, I was all smiling when I watched her spontaneously understanding whats going on there. Modular synths are so extremely hands on, its fascinating to watch how the process influences the results. -- CYa, ⡍⠁⠗⠊⠕