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The main cabinet and its two wings contain 24 modules, in the original system. Here i have the equivalent of 60 modules, so two and a half original systems. But the comparison is unfair : in the original series, the 1006 module can mix together up to four signals. So an original 1006 is more than a Behringer 1006. Same thing for the sequencer (ten steps on the original, against eight on the Behringer version). So four Behringer 1027 equal a bit more than three original 1027.

@@lnefpd Still! I was really following the development of Mos-Lab's 2500 clones. The switch matrices really make it difficult to transliterate into different formats. The 1047 filter needs all of those ins and outs. Your system is really nice! I particularly love the way you program, because having so many voices and options, and dealing with analog LFOs that can't really be syncd to one another it is super easy to end up with chaos that ruins the effort. You manage to pull it off very tastefully. Kudos!

@@Rhythmicons And actually the synchronisation is one of the issues with Behringer's version : the original 1004 has separate outputs for the different waveshapes, so you can use a triangle perfectly in phase with a pulse (to trigger something at the begining of the triangle cycle for instance). This is not possible on the Behringer 1004.

@@lnefpd You deserve time on the real machine, but at least the Behringer won't catch on fire if you hook it up the wrong way.

Ça va être compliqué de donner une réponse précise, parce que ça part dans tous les sens... Ça commence en do majeur, et ça finit en si bémol majeur (je n'ai pas réussi, mais à vrai dire sans essayer avec une grande énergie, à revenir à la tonalité de départ). Les trois premiers accords sont bâtis à l'identique : une quarte et une quinte superposées, en montant d'un demi-ton à chaque fois (sol-do-ré, puis à l'octave inférieure lab-réb-mib, la-ré-mi). On trouve ça dans Debussy « Et la lune descend sur le temple qui fut » : ce n'était pas réfléchi, je m'en rends compte après coup. À 2:50 on passe en mi bémol mineur / ré bémol majeur puis la bémol majeur avant de revenir (brutalement) au motif de départ à 3:45. Ensuite la tonalité n'est pas très claire, on tourne autour de si bémol majeur (avec du sol mineur ou du mi bémol majeur) jusqu'à la fin.

Stay tuned : that is the idea behind this new series. I'm gonna give examples of the 2600 extended with just one, two or three modules, and from time to time there will be an « interlude » with the whole system.

@@lnefpd Oohh wow! That’s ace to hear 😂👋👌 Thank you for making this series it’s going to be invaluable!! I’ll be saving the series too 😂 Keep up the great work!

Yes… that sounded great! 👌

Hi 👋 I agree with you, this channel is excellent and I’m grateful for the advice that he has given me too… I love the mood and vibes of the pieces that are made.

I completely agree... it's so inspiring 👌

Actually here the bottom line does not much : there is just a (1050) mixer for the five voices (red cables, one from the 1047 output, and four from the 1006s outputs) that is off-screen.

@@lnefpd It's just my OCD kicking in. Cheers, man!

I agree with you totally... he is so good! 👌

Consider having one (or more) 1047 multi-mode filter/resonator modules. It will considerably expand the possibilities of your 2600. You may also consider at least one extra VCA (1005 or 1006, but preferably the 1005).

@@lnefpd Hi 👋 ok thank you for that I will do. I’ll look into these modules and find out more about what can be done with them. I appreciate the advice mate 🙏🏻💎

HOW IS THE BUILD QUALITY?

The system is described here (in French), with the detailed list of the modules. lanuitestfaitepourdormir.org/2500/2500.php The build quality seems good. The question is the durability... and for that, i don't have the answer yet !

From my view it's worth every penny.

@@roszyknuke I agree! That's because Behringer has kept prices to a minimum yet still manages to make a decent profit. Go, Uli! There's a bunch of solar panels on the roof powering my own modular, but nocturnal use of the beast causes severe wealth problems. [edit: I've just listened to the Lnefpd track again while answering this post.]

The Solar 42 looks amazing. I don't have one, but it may be one of the candidates to start a modular setup (because it is semi-modular). To build a versatile system, i woul'd not start with it, but it is considerably more affordable than a modular system with the same abilities. The other candidates (as starting point to a modular system) are, for instance, the Behringer Neutron or Proton, the Moog M-32, GrandMother or Matriarch, the Taïga by Pittsburg modular, the MiniBrute or the MatrixBrute from Arturia (naming only a few !). They all have different caracteristics (and different prices !), but will be easier to insert in a modular setup than the Solar 42, because they have a more elaborate patchbay. I don't know if these reflections will help you, sorry !

@@lnefpd Hello mate, thank you! That definitely does help me and I appreciate your time and help on this... That's very interesting... I will do some specific research on those synths in a Eurorack context and see what is what... Yes it's a rough one regarding the Solar 42... I sounds and looks great... I'm just wondering if later down the line I might wish parts of it could do things that it can't... and maybe wish I could swap out a module of it etc... But either way I will look into what you have suggested on this comment and your other one regarding the 2500 multimode filter and VCA 🙂🙏 Initially I'll get a 1004 OSC and chose from there. Thanks again mate... I'm off to watch your most recent video now 🙂

Proton is really cheap.

Yes, it is possible to do that with just one : - OSC 1 : triangle - OSC 2 : square (with a bit of pulse width modulation : the Attenuator 2 is by default assigned to that, set the knob between graduations 2 and 3), tuned a fifth above OSC 1, - LFO : somewhere between sine and triangle, quite slow, - filter : nearly at the bottom, with key tracking enabled, and a little mod depth, and a lot of enveloppe depth, - enveloppes : longattack and long release, sustain only on the ENV 1, - portamento (« Slew limiter ») set high, - delay : time and repeat knobs around 10 o'clock, mix knob at 2 o'clock, and then a little patching : put the LFO out into the Att 1 input, and the Att 1 output to the delay time (here i have used the LFO of a second Neutron, so that the PWM and this « chorus » effect are not synchronized, but that is not really important). The slow modulation of the delay time gives the shifting of the pitch. There you'll have to set the LFO speed and the amount of modulation (by turning the Attenuator 1 knob) to get the desired sound. LFO must be slow enough so that its cycle length is about the duration of the longest notes you will play. Finally, i have added a bit of drive. Notice that the two pedals i'm using are modifying the sound quite a lot (especially the Dark light, which add another layer of pitch shifting). I think you can try any reverberation pedal or delay pedal (or emulation of that with a DAW) to get something close (the idea being to have more wet signal than dry signal).

@@lnefpd this is brilliant, I'm going to try it, thank you!