@usw: This module focuses more on adding harmonics to the oscillator instead of subtracting them. The Overtone and Multiply sections of the 0 Coast are what takes the place of the standard subtractive filter. However, the LPG at the end can remove harmonics if you want it to.
What I love are the on-board modulation options. There is a stand alone random source with a voltage processor below it. Then there is a slope generator or “half a Maths” for an LFO or audio rate looping modulator. As you can change the time of the ramps with an external voltage, this can be used as an audio rate oscillator too. The voltage processor will help you get it tracking to 1V/Oct. Then finally a more standard contour envelope with variable slope shapes.
As for a sequencer, I plan to just hook my Electribe to this directly with a TRS jack as they used the same standard as Korg. The didn’t mention it, but I am pretty sure there are CV and Gate converters below the Midi input.
Cute, and the price (US$500) illustrates the economy of scale from combining several modules into one (but that’s not the modular way, the purists will decry!). But the best bit is their use of an FR-4 fibreglass PCB material for the panel, which appears to have both ENIG gold tracing and white silkscreen for labelling, and translucent sections to diffuse what are probably SMD LEDs underneath, reducing the manual assembly costs further.
The new Waldorf Eurorack keyboard really outclasses every other one I have seen so far. The demos of the modules aren’t bad. The dual VCA with independent 12 dB/Oct filters and compressor with an envelope follower out sound more useful than I had initially imagined.
Did a bit of a double take with that Make Noise thing- I thought it was racked into the desk at first cos it couldn’t be that thin, surely! Good news for people who need to keep their synth buying, er…discreet.
@audiohoarder, I don’t mind non subtractive approaches for timbre generation, but I have yet to hear an analog waveshaper that allows for subtle variations and doesn’t end up in a diversity of rather unpleasing and ultimately ambivalent territories When Tony presents two ws circuits normaled in serie, one tame vca/vcf combo that doesn’t seem to react nicely to the “contour” modulation, and then a sine/waveshaped crossfader as effective timbral controls, I’m getting cold feet