The A-102 and A-124 sound amazing. Equally as aggressive as the
Polivoks, and less than half the price. I'm 100% positive my problem
doesn't lie in the filters. It's what I'm putting into them.

Everybody is saying to get an A-137, but I already have one. LOL I'm
kind of confused though, because if you fold a saw wave, you basically
get a ramp wave, but with lower amperage. If you fold a square wave,
you get a square wave, once again with lower amperage. You basically
can't fold any wave with vertical elements, so you're stuck with
folding triangle and sine waves, and neither one sounds very
spectacular to me. Honestly, I bought the A-137 to be a drum effects
unit, and it is no slouch in that department. I absolutely love it
for effecting drums.

When you all say to sync the VCO's, what do I sync them to Do I
split the gate and sync them both to that Or run, say, VCO1's square
into VCA2's sync input I've already played with syncing the LFO to a
VCO, and that fattens things up a bit, I just want more. :) If I
tune both VCO's the same, and set their octave switches one octave
apart, it sounds a bit thicker, since the sound covered two octaves
instead of one, so I'm thinking the A-115 will give me the same
benefit, freeing up the second VCO to simply reinforce what the first
VCO is playing.

--- In Doepfer_a100@yahoogroups.com , "argitoth" <argitoth@...> wrote:
>
> I think you need to step back and really think about what kind of
> sound you're trying to create with your synth. What you seem to lack
> may be physical (not the right module) and it may also be mental (your
> understanding of how to create X sound).
>
> First thing I noticed is that you don't have a VC ADSR. However, you
> can get similar effects by combining two ADSRs into the same input.
> You can get really snappy envelopes that way. You can also get a
> snappy sound by sending one envelope to modulate the pitch of an osc
> and the other to modulate the filter. Another thing about ADSRs is
> that you should make use of the sustain and release to create nice
> envelope shapes.
>
> I think if your $2000 synth doesn't sound like $2000 it could be your
> quality of filters. I would love to hear the A-102 and A-124. I know
> the Polivoks it good... well that's what everyone says.
>
> Second thing is that you should understand how to make your synth
> scream. Bandpass and notch is where it's at! I used to think lowpass
> filters make synths scream. I was wrong! Create feedback patches by
> multiplying a filter's output to go into itself with a saw wave and
> out to your speaker, use notch or bandpass. Now invert the signal
> going back into the filter... it's really confusing IMO. But it
> doesn't look like any of your modules can invert a signal.
>
> Here's how the Model 12 sounds with inverted feedback:
> http://www.elanhickler.com/misc/model_12_scream2.mp3
>
> Another thing is that you don't have any real way to create the
> classic screamy sync sound. Actually, you can use an envelope. Patch
> it into the pitch control instead of patching your CV1 from your midi
> module. Turn release, decay, and attack to 0. Use the sustain knob to
> manually modulate the pitch.
>
> Lastly, a few modules have already been suggested; the A-137 and A-
> 188. Those modules are good to have, yes, but I don't think they move
> your synth in the immediate direction you want to go, and that is fat
> and hard sounds. What I suggest is an oakley overdrive to help your
> filters scream: http://www.oakleysound.co.uk/overdrv.htm You need to
> ask the oakley guy if he can make you a eurorack overdrive. It may
> take a little more than a month for you to get it. I ordered my own
> just yesterday.
>
> I would suggest a saw animator to create supersaw sounds, but it looks
> like there's none available. E-mail Cynthia about it:
http://www.cyndustries.com/modules_sawtooth.cfm
>