I’m looking forward to hearing some of your Digitakt/Blooper creations.
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I really liked the Tabla-like bass percussive element. I always find it intriguing when I can’t determine whether a particular sound is synthetic or physical in origin. The underlying chord progression adds some structure to the more random elements of the mix. Nice track!
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Sometimes I wish there was some inner circle that would allow a person to share what they make without it seeming as though it ought to be shared with everyone – that it should deserve attention over more deserving content.
The kick is mixed a bit heavy, the notes at the beginning are too meaningless and repeat throughout, the chords do not ultimately lead anywhere, etc… Even to go back and point this out is a bit of a waste. That being said, there is something woven into making a track that has to do with letting someone else hear it.
I suppose I was more excited to get a bunch of gear to work together than anything. I hope I can get to some point in which it’s somewhat legitimate. In the meantime, thanks for the encouragement.
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My son is a huge Strymon fan. He has several of their pedals. It’s a shame he’s all the way across the country or I’d try a few out. I’d love to have one of their eurorack modules but I don’t have that kind of budget.
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Well, it seems to me that Audulus is actually in an amazing position to innovate here. Even just approaching some of the territories that have been explored by concrete pedals is interesting.
One of the things that I find can be ‘limiting’ is that there is a tendency to have a cluster of nodes and modules that produce great effects, but it would often be better to try to widdle it down to a ‘closed box’. Ideally, producing a couple more modules that are finished pedals could be fun. Add some SVG graphics and done.
One of the advantages to the Clocked Looper is that it can become a great ‘capture and ignore’ device for experimentation. So a builder can just loop a phrase then dive into working on some sort of effect module without having to strum.
That Korg Miku Stomp was interesting at the end! 
I don’t see why you couldn’t delve more deeply into a Timline-esque delay focused module specific to guitar pedal applications.
Personally I wish I had more time this morning. I just hit some amazing territory with the blooper by doing a quick on/off of the record switch to set the length, then made the repeats infinite. Then I ran clocked modulation into it and got magic out the other end.
I don’t think we have even come close to scratching the surface of what can be done just in Audulus 3.
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Same boat here. I wouldn’t mind springing for the Magneto module, but the amount of space it takes up is something no amount of savings can reconcile without buying another rack, so I’d be in at least another $300-400 on top of the $600 module. That puts it out of bounds, at this time in my life. 
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Well, the Befaco INAMP finally arrived and I am finding that I don’t have enough gain and there is lots of distortion in the signal.
I was hoping that this module would allow me to plug in my instrument with a passive pickup. Not the case. ThisI was expecting, but I was counting on it performing at least as good as with instruments with active pickups plugged into the Apogee Jam.
- active pickup instrument → Apogee Jam → iPad → Audulus
VS.
- active pickup instrument → Befaco INAMP → ES-8 → Audulus
VS.
- active pickup instrument → Befaco INAMP → Pulplogic Output (no ADC to DAC stage)
Scenario 1 has always worked well. Scenario 2 and 3 adds lots of distortion and not much gain.
So it seems like what I need is maybe a clean boost guitar pedal or an acoustic preamp. The gear is just multiplying for very basic functions. I thought that since scenario one worked well, using the Befaco INAMP with the ES-8 would work better or at least as good. It’s not even close.
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That sucks man, sorry for your troubles. I hope you will be able to find a simple and affordable solution for your issue. I think being a musician involves some form of the same trial and error dance that you are doing with your guitar, preamp and Audulus. It is just part of the artistic struggle, as nothing worthwhile ever comes easily (imho).
I went through a similar cycle of frustration and disappointment when I was learning the ropes of Audulus I/O, MIDI, CV, and trying to figure out how to (unsuccessfully) get my Microvolt 3900 talking to and working with A3 using software, cables, and two different desktop interfaces.
In the end, I would have spent less money and saved quite a bit of frustration if I had just chosen to bite the bullet and get the rack and ES-8, but I had convinced myself at that time that it was just too cost prohibitive and that I would be able to find some other way.
Take solace in knowing you’re not alone in your trouble. I sincerely empathize with your disappointment, but this will make the victory that much more glorious when you figure out and apply the right solution that resolves your issue. 
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Sorry to hear that the Befaco doesn’t give you the results you were expecting. Like you, I would have expected the active pickup to work with the Befaco. From the circuit schematic on Befaco’s site, it looks like one of the input jacks (probably the 1/4" but they’re not labeled so I can’t be absolutely sure) is AC coupled to the op-amp through a 220 nF capacitor and the other is not. You might try switching your pickup to the other jack to see if it makes a difference. I’m not sure why they chose to couple one with AC and the other DC but I would guess it would be to allow you to use the DC coupled input with CV signals.
I read an article somewhere about how Eurorack output modules were not necessary. I have the Pulplogic Outputs in my case.
It is convenient to have the 1/4" headphone output as well as the left and right 1/4" main outputs. I had always felt like there was some gain issues in my case but I wasn’t sure what was going on. After thinking about it a bit I decided to plug my headphones directly into the Befaco INAMP output, in order to bypass the Pulplogic module.
An instrument with an active pickup sounded great. Nice and clean. So the issue is the Pulplogic module, not the INAMP module.
Next, I tried an instrument with a passive pickup. Not enough gain (this was expected). So I utilized both amp circuits on the INAMP by feeding the output of the first channel straight into the input of the second channel, effectively doubling the gain. This worked great. With the double up, a passive pickup instrument has enough gain and sounds clean.
I suppose I will now have to figure out a new solution for my outputs. However, with a small case that has the 1U row it isn’t ideal to use up the other hp for this purpose.
It’s possible that you’re just overdriving the output module or possibly the internal headphone amp is defective. you might try attenuating the signal a bit before it enters the output module. Also reseating the cabling might be a good idea in case you have a flakey connection.
I just wanted to make an update comment here. Above, I was troubleshooting some problems. With limited budget and a complicated production setup, I will let some problems be for a while – hoping solutions turn up later. Well, I bought an Expert Sleepers Disting Ex. The module was behaving very strange. I took my case apart thinking there might be a bad module somewhere. When I removed a 1U tile and went to reconnect it, the connectors snapped in really far. Then I noticed many of the tails for the tiles weren’t snapped in all the way. So for years I had a case with tiles that weren’t properly installed (my fault). Once I reassembled my case, the Disting Ex was fine. But, also, where I was concerned about my outputs, etc., in the posts above…Everything was solved when I discovered the loose 1U tile connections.
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Awsome! This could get documented and posted as an effect tool for sure.