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Honestly, this build has some very serious problems. You only have one mixer, a linear one. There are no VCAs here for either audio or CV/mod level control. Having the M32 in the cab with everything else is expensive and a waste of space...unless you like paying to power and case a device twice, don't do this. There's nothing to correct the crosspatching issues between Eurorack and the Moog. And why in god's name is the P/S in the _middle_of the row where you'll have the power cable subject to easy disconnection while patching?

OK...you have the M32 already. Do you feel that you've exhausted the possibilities it offers, and this is why you "need" Eurorack, or is this just "something cool" that looks right...until you run smack-dab into the wall of technical issues and MONEY that Eurorack poses?

I strongly suggest some considerable time be spent with VCV Rack before going further. The extreme "Sexy Module" problem above indicates to me that, while you have an idea of what's needed, you don't understand what else has to be there to make those "classics" work in the way they can. There are a LOT of "boring" modules that modular synths require in addition to the snazzy ones; get a copy of VCV Rack and you'll see what I mean.

Drones are easy; probably one of the very best primers on how that's done well has to be Klaus Schulze's "Cyborg". But then, "Cyborg" also shows how you have to keep a degree of variation in the soundscape to maintain listener interest.

Eno's processes are really different, though. He tends to think more along the lines of interacting systems (probably a lot of his Stafford Beer influence coming thru there) and how to get them to continually output a changing result across time. This is why you have the odd interlocking sequencer parts working how they do in "Discreet Music" and then, of course, the inequal-length tape loops of "Music for Airports". As opposed to Klaus Schulze above, Eno's works of these sorts are just as capable of NOT being listened to actively as otherwise; try this with "Cyborg", though, and the results just sound like your HVAC system is malfunctioning or something similar.

Hi Garfield Modular,

Thanks for your insights! Could you recommend a linear VCA? And as far as logic goes, does Maths and/or Marbles fit the bill?

As for the in/out, yes, that's a definite purchase in 1U. The other option would be to get the ES-9 coming out, but then everything doesn't fit so snugly. :)

I'm not expecting to compose a symphony on this thing, just do between 1 and 3 voices at a time. I'll pipe them into Ableton when I can add additional tracks from VCV Rack or Reaktor Blocks - or just other non-modular content.

At the end of this journey I want to make a system that I can sit down and tweak until I find the sounds I'm looking for, not something I need menu dive with. I think I have that with this simple system so far (aside from Pamela's Workout).

I appreciate you taking the time to respond.

Naugrim

Hello, thank you for the answer !, yes the moog is compatible with eurorack and it's the only "module" that i have.

i have other questions for you:
What "classics" modules do you recommend me to add and what module should i remove ?
whats first modules should i buy to start because i have 700 € to start (including the case but i am going to build it myself)?
For the MMG what module can i buy to replace it ?
The clouds by mutable is too not more available but i see some clones on ebay.

thanks again :)

EDITED Oct 17th 2019, 21:04

Hi Naugrim,

First I thought "what a small system" but having a good look at it, for the fact that's so small, it's quite complete. You got your VCOs, LFOs, filters, envelopes and VCAs/mixer. You could consider a linear VCA for CVs, a logic module might come in handy and the obvious as you mentioned yourself already, a sequencer and a few effect modules.

Regarding the 1U definitely look into Audio input/output in combination with (if you go for it) Intellijel 7U case to make sure you got everything you need. Or are you going to do that via your computer too? But you mentioned that if you are not connected to a computer, so I still would consider that (audio input/output module I mean).

It's not a huge system, rather small, so don't expect wonders from it, however you got the most basic modules covered. So get experience with it and with that experience then decide how you are going to fill up the second row and that second row will be faster full then you might think or want ;-)

Good luck with the planning and kind regards, Garfield Modular.

Hi Nerophix,

You got quite some nice fancy modules in this rack ;-) That's nice to see but it certainly has disadvantages too...

Depending on what you have already, but assuming here you have no other devices just that what you are planning here in the above shown rack then you got yourself too many fancy modules planned and too less classic and basic components like oscillators, LFOs (okay I saw that Doepfer A-145, that one together with the Moog that might be enough to start with), filters, envelopes (yes I saw the Maths but that one is too nice to use just use it as an envelope; of all the fancy modules at least keep this one, nice module), VCAs, audio input & output module and in your cases you might want to check if the Moog can be directly used with a Eurorack system, if I am not mistaken that's not 100% compatible, so better check that first before you start.

You also got far too less space. So why not leave the Moog out and put that back in it's original casing, that saves you a lot of space that you really will need with the above mentioned modules.

Regarding the music you like to create, I have no experience with that so can't help you there, perhaps other members can give you some advice into that direction.

Oh yes, I forgot to mention the Make Noise MMG, are you sure you are still able to buy that one? I can't find it with my regular dealers, so you might want to check that too.

Kind regards, Garfield Modular.

The short answer is there isn't a single module to add that will give you drones or ambient sounds. That's a discussion that seems to happen in every new post. I'd get in some more wiggle time and then start scouring the internet and Youtube. You might even want to boot up VCV Rack and take a spin on that platform. I think you might find you need a stack of modules to do it well or an innate understanding of the architecture of drones (Brian Eno level).

I'm building a single 104HP row that I'm going to be using primarily with Ableton (thus the ES-8). I will expand it to another row sometime next year, but this has to be it for now. I'll sequence, process effects, and provide additional LFOs and envelopes through Ableton and the Push 2.

Take a look and let me know if there are any 1U "must haves" I can get for this case (it's the 7u Intellijel case that has 2 104 HP rows as well as a row for 1U modules). Also, am I missing anything obvious? I feel like this is a pretty basic design.

Additionally, my goal is to make melodic ambient music. I also like to have interesting percussive sounds. I would have liked to include the Plonk as well, but decided to go with Pamela's Workout to provide a clock and sequencing for when I'm not connected to a computer. This is the module I'm least committed to, seeing as I'll be connected to the computer most, if not all, of the time. Not to mention the fact that there is quit a bit of menu diving.

If you have any thoughts on other modules I should add to the second row, that would be appreciated as well. I was thinking of some additional voices (plonk for percussive sounds and a "gnarly" sounding oscillator for drones), another filter, reverb and delay, a tactile sequencer (I'm liking the Polyend Seq and the Sequentix Cirklon as well as Erica Synths new sequencer, but might consider another in-case module if it was easy to use).

This is my first modular synth, so I'd value any of your thoughts on my plunge!

EDITED Oct 17th 2019, 11:07

Thank you for a great reply! It was very helpful.

I totally get the idea that it's a lot of money for just one functionallity, when the Elektrons already have very powerful sequencers. The reason I'm thinking about Bloom as an alternative, is that I would like to have the opportunity for creating happy accidents, to create music more intuitively. I've been interested in Marbles earlier, but I think Bloom might just be a little more interesting. I've just looked a little into the Squarps, but don't know a lot about them. But from what I understand, they are similar to the Elektrons (at least the Pyramid), that the sequencers are very powerful (when you know what you want), but perhaps not as intuitive as Bloom (when you want to just follow the flow, and see where it takes you).

I've also been very interested in Eurorack for a long time, so this might be a way to start. I could then add, say an 0-coast, which would be a cool combo with the Bloom.

Hello, i would like to have your opinion on my rack.
to start my eurorack i already buy the moog mother 32 so i built the rack around it.
My goal is to have a ambient sound (like r beny for exemple) but also techno stuff ,so i wanted to make a polyvalent system

What do you think about it ?
(sorry for the english it's not my first language)

(the picture may only show the mother 32 click on it to fix it)

EDITED Oct 19th 2019, 16:49

Thanks guys, DixieII+ actually seems a very powerful option, and I'm considering traditional LFO&ADSR modules too.
Lugia you're right, but to make a long story short, removing PICO System III is unfortunately not an option (at least for now).
I'll check Intellijel Noise Tools opportunities; thanks for pointing it out.
Is there any suggestion for a module to build ambient drone and pads ? Maybe a granular synthesis tool ? (I am looking at MI clouds clone - not so easy to found in europe - or morphagene).
Thanks again for your help

TBH, you're making this more difficult than it should be by having that PICO System III in the Eurorack case instead of its own case. That eats up far too much panel space for something that's already got a cab and power on its own. By taking that out and putting it back where it belongs, you then have ample room for modules that will work to expand this AND which can be big enough to be easily controllable and well-featured. Another consideration would be to remove anything that doesn't have clear and apparent functionality; while o-scopes are nice if you're doing complex sound design where you need to know waveform content, they're pretty much pointless for a gigging instrument. Lose that, then you have space for the clocking, etc that's on the Intellijel Noise Tools tile...which, fwiw, is a far more functional and essential module than the Zeroscope.

Guys, is there just ANY video, where we can see how this module is operated by a professional theremin player playing a melody?
-- spooncrackling

Probably not. If you read the info on Doepfer's site, you'll notice that this isn't exactly a "traditional" gesture controller. It has some obvious drawbacks, especially regarding the capacitance, that would tend to make it less of a "proper" rod or ring. It seems to me that it would make infinitely more sense to use a Moog Etherwave Plus to send proper CVs and gate to a modular, given that the Etherwave has its aerials in optimized positions already and the circuitry is designed to deal with this sort of thing. Plus, it's a wooden box (NOT metal) which should be easier to control and calibrate, and it can be located away from metal or other things that might cause an unexpected signal.

In theory, yes. However, unless you already have a Eurorack rig, this seems sort of inefficient. You're talking about $519 for the modules alone, plus whatever case/power you'd have to get if you don't already have that on hand. And then, you'd only have two channels (and no velocity...the Bloom doesn't transmit that). Plus, both of those Elektron boxes already have sequencing onboard.

If the idea here is to employ a master sequencer to control the Elektrons, or to inject random variables into the behavior of those boxes, it would seem to me to make more sense to employ a standalone device such as a Squarp Pyramid (if you don't have a Eurorack rig already) or a Squarp Hermod (if you do). The Hermod has MIDI (no need for the Doepfer module), does transmit velocity and aftertouch (bonus), has ample randomization and parameter stacking for days. And the Pyramid is basically a beefier Hermod in its own self-contained case. Plus the Hermod actually comes in at $20 less than the Qu-bit/Doepfer pair and gives you eight tracks whereas the original idea only offered two.

thanks for taking the time to reply Ronin. a lot of not so obvious ideas and some lesser known modules i will look closely...
indeed i was thinking off some logic modules maybe the disting have some i must invest more time in it.
Yes i think the SS need some time to be dedicated and is really worth the effort.
Actually i have outboard effects in my mix console . the modular effects are covered by the prism and warp with the parasite firmware.
Bye

I'd definitely let the ShapeShifter mature in your workflow before adding any new modules.
If you pull the Warps and the TipTop 909 modules, that frees up 18HP.

My first thought was a Worng Vector Space for creating some interesting modulation sources by using what you have onboard. But it's 20HP. So you'd have to find another module to cut out.

A Befaco dual attenuverter would be nice since it can attenuvert as well as offset.

A Clep Diaz or two might be useful for some additional glitchiness.

There's also a lack of effects unless the Disting is being pressed into generating reverbs, delays, etc.

You could also make a go of adding some simple mute switches. Noise Engineering makes a bank of 4 that fits in 4HP. Joranalogue makes a Select 4, which is more involved.

I don't see any logic modules either. A Joranalogue Compare 2 or even something more simple (like a Blue Lantern logic module) might add some tastiness to your patches: AND, OR, NOR, NAND, XOR, etc...

Just some ideas off the top of my head... but it's all going to come down to what makes the experience better for you.

If your needs are being taken care of between the Eloquencer and PNW, there's no reason to expand into a dedicated LFO and clock modules. However, you are eating up outputs that can go towards other functions.

The Eloquencer and PNW may or may not be able to modulate their own LFOs and clocks... or at least not as well as a dedicated module. It all comes down to usage. So take everything with a grain of salt.

As far as the 2HP VCO. It has a features in it. But take a look at an Intellijel Dixie II+. You get more waveforms, a sub output, attenuators, you can select the octave playback, linear and exponential FM modulation (plus a secondary FM source), you can shift the VCO into LFO territory.

The 2HP VCO is $129. The Dixie II+ is $229. 2HP vs 8HP. But if you're going to put another VCO into your system, I'd go with the Dixie as you'll get more out of it. You could go with another VCO... but the 2HP is lacking features that are important in my opinion.

Rather than the 2HP MMF, look at the Steady State Fate MMF. There's a $50 difference. But you also get 1V/Oct tracking, plus FM and a PING input. You'll get more use out of the Steady State Fate.

There's no problem with the Mutable Instruments stuff. But I've found having traditional envelope generators onboard to be a worthwhile investment over modules that require a lot of button pressing and memorization of modes and features.

Again, all with a grain of salt.

Hi man, if you feel like you don't have enough modulation, you should pay attention to multipliers. These modules are not that big and can be very useful, especially on a "reduced" setup like the Arturia's ecosytem. It will help your modular to evolve in the same way during your live sessions.

Hello modular friends.
I have been designing this rack for about a year now. Started with a neutron and a dfam ,pam & akemie , now here i am
Primary goal for this system is producing aleatoric stochastic rythms & glitch. I should receive the shapeshifter tomorrow. I don’t have the neutron anymore but i’m keeping the dfam. What do you think of this system, is There any big flow or some way to improve it?
Keep in mind i don’t want to change my case and go for a bigger system than 6U 104hp. I think i could use better the 8hp Space occupied by the bd-909 and also the warp 10hp.
Cheers

EDITED Oct 16th 2019, 16:11

Bought a module to @gesta. Everything perfect, nice package and module in good shape.
Thanks!

Thanks to @maddest for MI Veils. Module came pretty fast and very well packed, without any technical or optical issues. I recommend.

The full one is on Moodle, so I'm not gonna finish this one.
Many editable parts
Work in progress
Could also just put Tempi directly in, but that's no fun.
Could just do the one pink clock, also no fun.

EDITED Oct 18th 2019, 15:47

Thanks @tethys for the Clouds. Shipping took a while, but at the end, all was well. Clouds in good shape.

Thanks to @tomlaan for the Maths. Super fast shipping, well packed, module as described. Thanks again!

Hi,
I hope this is the right place to post the thread. I am playing my modular system in a jam Band and I use the Bassdrum of our drummer as a trigger via piezo going to a Make Noise Function that then serves for example as a LFO for my filter so that with every kick the filter opens.

Since I am relatively new to the modular world I am still looking for a way to multiply this signal to get for example a rhythmic pattern that is more or less in sync with the bassdrum. Moreover I am looking for a possibility to turn the bassdrum signal into a clock signal to create synced arpeggios.
How can I achieve this? Would a Make Noise Tempi be a Good Module for this task?

Thanks in Advance!
Boris

EDITED Oct 16th 2019, 11:23

Thanks for your suggestions.
My case is an Intellijel 7U 104; I've checked power supply and according to modulargrid info it seems ok.
Kink is in my list and an additional ADSR module was there too... I have to rethink about it.
Good catch on ES-9.
As for clock divisions and additional LFO, I'm relying on Eloquencer and Pamela's New Workowt that are providing both. Is there an added value to have LFO and clock divider separated from the 2 modules ?
I have some doubts about Stages and Marbles; maybe Eloquencer an Pam's are already providing enough uncertainity/randomness and envelope/lfo services so that Stages and Marbles become sort of a duplicates.

Speaking of complex sources to possibly substitute 2hp VCo& MMF & Stages & Marbles, what are you suggesting ?
Maybe something completely different from what I already have such as make Noise Morphagene ? Something else ?

THanks for your help

First and foremost, double check to see if your case power supply will handle all of these modules. You have a few power hungry modules. Check the +12V and -12V draws.

Next up, you might want to check out the Expert Sleepers ES-9. If you're planning on using VCV Rack, you'll have more ins and outs across the digital divide.

The 2HP VCO and MMF are pretty basic. They'll work. But if it were my rig, I'd want modules that are beefier if they are sound sources and filtering.

I would want Kinks. I would also want two ADSR envelopes and a dedicated LFO module thrown in there. A clock divider or module capable of creating clock divisions would be nice too, as you probably don't want to depend on your computer to generate clocks or divide/multiply them.

Here's another: https://www.modulargrid.net/e/make-noise-o-coast

Ah, ok. Apart from the sci-fi bit at the end I wouldn't call it "bleep-bloops" but good to know where you're coming from.

I did find this video also...

Better to watch on YT so you can read the description. I'm no theremin expert, but it seems to me if you want the A-178 to sound more akin to a real theremin you need a pair of them as in the video. Perhaps I'm mistaken but didn't Doepfer design this as a way to use the principles of the theremin as a control method for Eurorack modules, rather than as a 'true' theremin. :-)

thanks to @aphew_goodman! good buyer.

Hi, this is my corrent setup.
I was planning to add:
- MI Marbles
- MI Stages
- MI Kinks
- 2hp VCO
- 2hp MMF

What do you think ? Any suggestion ?
THanks

EDITED Oct 15th 2019, 14:17

I want to use Qu-bit Bloom as a midi-sequencer for my synths (Elektron Digitakt, Digitone). I plan on using the Doepfer A 192-2 in order to translate CV to MIDI . This combo could trigger gate, pitch, and velocity on my synths, right?

I might add something to modulate Bloom, but other than that, do I need anything else?

/Thanks

My comments here: https://www.modulargrid.net/e/forum/posts/index/8186 seem applicable here as well.

In a generative environment, you'll see loads of sequencers, switches, LFOs, VCAs, and clocking sources. You'll find sample & hold circuits, lots of effects, etc. I think there's a false believe that generative, ambient, or "drone" set-ups are simple.
-- Ronin1973

A very false belief, indeed! While drone can be simpler, it gets very irritating without some subtle internal variation, which means extra modulation sources and the right utility modules to keep them reined in.

But where it really goes off the rails is with ambient and generative.

One look at the history of ambient AND generative music brings us to a very important nexus: Brian Eno's "Music for Airports". If you are trying to do this sort of music, you need to be familiar with those four pieces! All of these pieces are both ambient and generative...but the generative process is being driven not by synth circuits, but inequally-long tape loops. I remember seeing Bang on a Can Allstars performing these back in the early 2000s (at the U of IL...which is a hilarious joke in of itself if you know anything about Illinois' composition department) and I asked Evan Ziporyn afterward about the process of trying to transcribe something like that. He showed me the transcribed score to "1/1", with lots of weird incremental time signature changes, strange notational values and the like...because it was accurate to Eno's original late 1970s tape loop realization.

Now, let's forward to the present. Technically, yes, you can do something very much like "1/1" in a modular environment. But consider...the thing that makes the original work is the slow drift-apart of the various looped fragments, ALL of which are on loops that mathematically should NEVER match up again. Now, try and figure how to translate that sort of temporal drift into a set of modules and patch connections. Ain't so easy, izzit?

First of all, you'll notice that using 2-3 modules for your generative process "core" just won't cut it. Instead, you'd be looking at a pretty complex concatenation of modulation sources, none of which should match up again once in motion. Some are faster, some are slower, and a few "governor" sources will be running at extremely slow speeds. Think hours here. Then from this, you'll need to extract various timing information...clocking, clock modulators, triggers and gates to fire other things, etc. These build up a web of conditional logic processes and resultant states. In some cases, actual Boolean logic processes can get used to alter timing positions, and in others, gradual reshaping of modulation curves can do some of this.

The funny thing is, a generative rig will likely wind up having more "process" architecture than "voice". Once you've gotten some experience with ambient and/or generative music, you tend to find that simpler sounds = more cohesive results. This doesn't mean you can just hook up your VCOs to individual VCAs, set up the triggers, and walk off, though...rather, like in drone music, some slight timbral variation is critical. BUT NOT MUCH. A good example would be this thought experiment: take the beginning of Miles Davis' "Kind of Blue" and rip out the rhythmic cohesiveness...let all the sounds just drift in time. Simple, effective. And interestingly, that pretty well describes the feel on a lot of Miles' later "In a Silent Way" just ten years later.

One other thing to keep in mind: this sort of music can be actively listened to...but that's actually not the original intent. Instead, most ambient, most generative ambient, and some drone (as long as you're not talking about Sunn o))) or something similar) is meant to NOT be listened to, but as an "acoustical colorant" for spaces. You should be able to set up a generative patch of that sort, start it up, then lower the volume to near-liminal levels to experience how it should sound. Then leave it on for...oh...a day or so and see if it works (which includes being able to all but ignore it). If you eventually forget you have it running, congrats! It works!

First System Goal- Two voice ambient generative rack.

Currently have everything except for the black 2HP modules, Pico Logic, the 2nd Disting and the WMD/SSD Filter.

COMMENTS/SUGGESTIONS/IDEAS welcomed!

Thx!

EDITED Oct 16th 2019, 00:33

I didn't hear anything that sounded like it was generated from a complex set-up. Most, if not all of what I heard sounded like a traditional analog waveform followed by low-pass, high-pass, or band-pass filters. There were envelopes involved controlling both the amplitude as well as the filter cut-off.

It all sounds possible between square, saw, and triangle waves.

There are logical ways to lay things out and then there are ergonomic considerations. Both are important. But diving into them first might help you figure out what works best for you.

The first consideration... ergonomics (using this term loosely). Patch cables have fixed lengths. Do you have enough patch cables and are they long enough to patch between the most distant modules. All modules have depth. Depending on the available depth in your case or even certain areas of your case may dictate as to where a module can actually be placed. The power draw might come into consideration if you're placing all your heavy draw modules together in one case and everything else in another.

Grouping. Grouping like modules together makes them easier to find. You may have all your oscillators grouped together, all your filters together, all your effects together, etc. I also try to put most of my modulators (LFOs, EGs, etc.) together with like with like. I tend to have my modulators flanking both my oscillators and my filters. I also try to group VCAs so they are close to everything.

When it comes to mixers or modules used as mixers/attenuators, I will try to have a general clump of them near the ends of the audio signal path, but I will sprinkle them around the case in areas where I know I would probably use one (such as one module near the oscillators). The same for active mults... having one near your oscillators is ace and you probably want one near your sequencing modules as well.

There's no right way to do. But if you're going to try to reorganize your case, you want to organize things in a way where your most common patching doesn't require several meters of patch cable back and forth all over your case with no slack in your patch cables. You never want to place strain on your jacks.

Two sequencers. 8CV+Gate outputs are standard for most sequencers. So you may need more than one. It's nice if you can get everything that you need in one box. But if you're dealing with percussion, you'll probably want a CV+Gate sequencer and one that does nothing but triggers. Higher end sequencers can be synced together as well as most mid-tier sequencers.

If you find yourself with a LOT of tracks, you may find it better to use an external sequencer and possibly a computer sequencer. Expert Sleepers makes FH2 plus lots of expanders for it. So if you're needing tons of outputs in a smaller space, it may be the only viable solution. There are other MIDI to CV converters out there too. But the FH2 goes directly from USB to CV.

Hi Garfield !

Honestly I'm not sure I can personally recommend Three Sisters right now since I haven't personally tested it, I'm relying on a friend who knows the "music" I make and he played with it a bit when he travelled, I don't have a dealer handy to test modules apart from the limited stock that makes it to the shop in my town unfortunately. As you put it, "just blindly" is all I have to work with most times.Demos on the web seem to demonstrate what my friend told me about it though, a filter with character and interesting I/O, I'm particularly curious to test in person the Centre and All outputs... But I'll tell you all about it when it makes it here, I just paid for a second hand one form a guy offering a good deal on a Plaits :) All in all, I think the Plaits is a better choice for me due to a larger sound palette than the Basimilus Iteritas Alter.

About the search for sequencers, I find it difficult as well, it sure requires a lot of research. Ground Control and the Black Sequencer both look great but at 40HP+, I feel I don't have the space. Getting one of those in would mean getting rid of other things I need or upgrade to a second 7U already, I just can't afford it :) The menu diving is not scaring me, both the Squarp and the ToolBox are way simpler than the Octatrack which is known to be a complex, "menu-divy" machine, the important thing for me is accessibility of the important functions during performance which seems to be on point for both devices (mutes, pattern switching in sync, etc can be accessed almost immediately). The deciding factor will be wether or not Hermod can switch project on the fly and in sync with the external clock coming from the OT, its 8 tracks are more flexible than the layout offered by ToolBox and it's less expensive but 8 sequences per project is just not enough for me.

A bit more about the T-sL: I think placement in the rack is very important because one absolutely needs access to the small knobs. Yesterday evening's experiment was about testing that module further (I'm still learning stuff so daily practice is my life now), and it further confirmed that I can get amazing tones from it by feeding it a lot of modulation and playing with those attenuators, provided that I can physically access the knobs :) Through the QPAS, with a pitch-shift delay from the Pico DSP and a touch of reverb from the Disting, it sounded amazing ! Worse case scenario, I can use the attenuators from the Quadratt 1U, although they're usually full pretty early in the patch, very useful performance tool that one.

I know understand what you meant by not wanting to tame the OctaSource. I realized that applying its modulations to key parameters (clever patching is everything, I know hehe), the change in sound or groove you can get by modulating its phase or wave is just ridiculous. Another module rewarding experimentation a lot, a simple but effective design really. I wonder what would happen if you patch one of its outputs back into the phase input, I'll try that some day soon :)

Best,
Diego

Sequencing is very much a personal preference.

I have the 1010 Music Toolbox. I'm not currently liking where the firmware is at the moment. They're trying to take sequencing functions out of their BlackBox and use them in the Toolbox... which is breaking the ease-of-use of some functionality, especially in making live changes. I do love how flexible the outputs are as far as LFOs, CV sequences (voltages and no gates), even audio playback.

I'm really looking at the Westlicht Performer. But they aren't manufactured, only assembled by enthusiasts. The Eloquencer seems nice but overpriced in my opinion. I think I would go with a sequencer that meets your needs first, then find a way to accommodate its HP in your set-up. Having a sequencer that doesn't work for you in the first place is a waste of HP even if it fits into the planned space.

Also, having a main sequencer is great. But it's also good to have smaller sequencers around that can also lock to your main sequencer. They are great sources of modulation information for filters VCAs, switches, etc.

Well a generative patch is basically a set-up that plays itself or needs very little human interaction. So perhaps when people state they're looking for a "generative" set-up. They aren't really meaning to go that far and just want something that creates evolving sounds.

In a generative environment, you'll see loads of sequencers, switches, LFOs, VCAs, and clocking sources. You'll find sample & hold circuits, lots of effects, etc. I think there's a false believe that generative, ambient, or "drone" set-ups are simple.

I don't think anyone can tell you buy module X or modules X,Y, and Z to do 'generative' stuff. Everyone will use a module differently or use a different set of modules to get the results they desire.

I would recommend practicing your patching. Rather than worrying about the sound so much, worry about creating relationships between the modules that can change dramatically based simple differences in one sequence or the timing of a reset trigger, etc.

+1 for Lugia's post.

The first thing I'd want to find out is if I had a dead or dying module that's tripping my power. Your power supply and case may not be the culprit. They may be doing what they're supposed to.

Also, depending on your country's power set-up... did you check any fuses in the system?

You're going to have to check your modules one or two at a time. Start with the oscillators and work your way down your typical signal flow. Once you have all of your oscillators checked, then go with the VCAs, then filters, and then finally everything else. Let's hope you don't have any bad modules.

The specs for the 6U are as follows:
5HP power supply delivers 1600mA +12V output, 1600mA -12V output and 900mA +5V output

Do the math on each one of your modules as Modular Grid isn't 100% reliable at calculating your power needs.

Hi Diego,

Thanks for recommending the Mannequins - Three Sisters filter module. Did you had a chance to have it tested at a dealer? I don't have a dealer nearby that got this module (or this brand). If you did had it tested, please let me know your experiences.

Regarding sequencers, I feel it's very difficult to find one that really suites one. I have a few smaller ones but for a big sequencer (minimum 3 tracks) like you mentioned, I still haven't found a suitable one for myself. The two you mentioned might be good ones but with their menu structure "scare me off" a bit. I prefer to have as less as possible menu stuff and direct knobs and buttons for as many as possible functions (i.e. without many button combinations or menu layers).

I am currently looking at what Endorphin.es with their Ground Control are doing, I am waiting till it comes available at my dealer so I can have it tested, hopefully soon. Another one I consider is the one from Erica Synths - Black Sequencer however no indication date yet when this should become available. You might want to have a look at those both too, though they are both wider than the 26 HP you were mentioning. Just remove the Toolbox and get yourself a sequencer that does what you want and need :-)

Kind regards, Garfield.

this is just a quantized bleep-bloops, not a "professional thereminist playing a melody"

any use to you?

Ha, seems I missed Ronin's answer, no email to tell me about this one weirdly enough.

Coming from Elektron machines, I don't mind a little bit of menu diving so maybe that's why I'm not bothered by the many functions included in the Disting and the need for a manual close-by. Another thing is that I intend to use it first to determine, as you suggested, which functions I find myself using the most and outline my future needs so I'm rarely changing function on it, looking at the manual every once in a while is fine. It's been stuck on Stereo Reverb mode for the best part of last week, so considering getting the 2hp Verb...

Thank you for going deeper in the sequencer subject, I've been investigating this all weekend. Basically, I don't find the Mimetic Digitalis (MD for short) hard to use, rather I find it limited for a few reasons:
- No onboard scaling
- Only 1 clock input, no division per track
- No copy/paste operations for a pattern or a step
- No way to go to the previous step other than Origin + advancing to it manually
These points make me spend too much time on programming sequences and out of laziness, I end up making simplistic stuff that gets boring very quickly. To be honest the MD feels to me like it would be better suited for CV modulation only (especially doing those tricks you describe with its inputs) rather than using it to sequence pitch like I'm doing now.

I've been looking at 1010Music's Toolbox or Squarp's Hermod to replace the Pamela's New Workout + MD combo I'm currently using to sequence the synth voices (I use steppy for the Pico DRUMS): more sequences, more tracks, hell, with one of those options I could maybe even remove Pam's New Workout entirely if it's really capable and feature packed.
I find the 8 sequences per project of the Hermod limiting as well, I posted a question on their forum yesterday to know if switching project can be done while keeping sync, no answer yet.

This is my shopping list for the sequencer:

ABSOLUTE MUST HAVES

- CV and Gate sequencing for 3 tracks
- Clock + Start/Stop via CV control
- Independent track length or clock division
- Around 26HP max, space in my rack is very limited and I dont want to end up with a rack completely full just yet
- At least 16 sequences of minimum 16 steps each

VERY APPRECIATED

- Mutes per track 
- More CV capable outputs and sequences for tight parameter control on other modules
- At least 32 sequences of minimum 32 steps each
- Scales (I suck at music theory)

EXTRAS

- More sequences/projects
- Transpose sequences via CV
- Variable gate length per step
- Value gliding between steps

Do you guys have suggestions, any opinions about the 2 last contenders I picked or other options I haven't considered ?

The fever for new modules is unlikely to leave me any time soon especially if I go for one of the above sequencers which could allow me to remove the MIDI module in 1U format to direct MIDI straight from the OT to the sequencer, this would open up some more space in that 1U section. In fact, there is a O&C module for the Intellijel 1U format (Plum Audio's 1uO_c 4Robots), I just haven't had the time yet to look at that module too much. How useful is it, what do you use it for, what do you think I should be using it for in my setup ? In short, why are you suggesting it, am I missing out ?

As for filters (addressing Garfield's points about this), I think Mannequin's Sisters (nice quality setting with CV input) should be a nice fit for the sound I'm going for.

Finally, my search for the 3rd voice is nearing its end, the fight is between Noise Engineering's Basimilus Iteritas Alter and Mutable's Plaits, I'm currently heavily leaning towards the latter. Haven't played with the BSA and only a short amount of time with the Plaits but it seemed very deep in terms of the different sounds you can get from a single algorithm, and it has more than one :)

This is the current plan for the future:

Asked Coralie by email. Maybe she tried this module and got an opinion

EDITED Oct 14th 2019, 14:54

Guys, is there just ANY video, where we can see how this module is operated by a professional theremin player playing a melody?

11 videos of bleeps'n'bloops and one about Etherwave Pro is no good at all.

Thanks for the advice!
Most of the modules you suggest are new for me so I have to check them out.
Self-patching Marbles is a part of my toolbox for generative stuff.
In Disting I mostly use Quantizer, Waveshaper and Sample and Hold.

Hi Jmeager,

Perhaps it's as simple as that one (or more) of the modules was wrongly connected to the -12 V? It's usually the red line on the ribbon and usually the white line on the PCB board. Please check that carefully as well for each module and also against each of the manuals that usually comes with the modules to see where the -12 V is (or download them from the respective manufacturer's websites). Of course please follow the instructions above from Lugia too!

Before blowing up more power supplies, the best thing is to take your modular system to your dealer (if that's possible) and have them tested it, if they blow up yet another power supply at least it wasn't your fault ;-)

Kind regards, Garfield Modular.