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I'll check those out, thanks you two.

Press record on Ableton, then press play on the modular, and that’s it!
-- clivevass

So when you "press play on the modular" which module are you actually pressing play on? In my set up that button is on Pamela's New Workout, which also has Clock and Run inputs which can be used to control it externally. If I wanted to control it from my computer, lacking DC-coupled outputs which as Lugia suggested is surely The Right Thing, I would just send a click track to that clock input. It would probably need some fiddling to work but people used to use the 808 rimshot to sync old analogue gear, and I can't imagine that new gear is worse!

I never do this -- Pam is always the master clock for me. You could also try it this way. Make Ableton follow the master clock from the modular, assuming your modular brain can send clock (over MIDI perhaps?).

Thanks @Exposure! I figure if you don't get crazy at some point, why bother making music at all? Although it usually takes me a while to get there.

The DFAM is a great machine. It's the whole reason I got into this modular synthesis business in the first place. I got the DFAM and realised I could really enhance it with just a few modules... and now I have a crippling Eurorack habit.

Yes, I was going to recommend Orbital 2 as well. I think Orbital's "Chime" is among my all time favorite electronic tracks. It's so simple, but has such a great vibe.

Wow! it gets wild towards the end, well done!

I don't know much about the Werkstatt, but the DFAM is an interesting machine for sure.

By the way, I love that top angle from the camera, we get to see the action :)

It sounds great @troux, well done! I'm also getting that kind of Orbital vibes here.

If you haven't listened to the Orbital's In Sides album I can't recommend it enough, it's a fantastic album. Also if you're in an Acid mood Orbital 2 has some pretty cool tracks.

Good trade with @Octafish - a total pleasure :)

I'm not familiar with ADAT so I can't speak to that, I just don't think the ES-3 takes input from the modular (but you should check and make sure I'm not misreading things).

My modular setup is quite simple: I use intellijel Mixup as my mix out, into my fireface ufx channel 1&2. Press record on Ableton, then press play on the modular, and that’s it! I would like to record every sound from my modular onto a separate channel simultaneously in Ableton so I can apply eq etc...and be able to hit record in Ableton and eurorack starts and is synced to the tempo. I think the ES9 will do this, but would that be overkill if I have ADAT on my audio interface? Am I just missing one thing or several bits of hardware. Thanks for the replies :)

EDITED Dec 30th 2020, 17:17

@clivevass I'm not actually sure the ES-3 solves your problem for you as * I believe * it's output only, but an ES-9 should do the trick and it's what I use for this.

Thanks @farkas, I haven't listened to them enough actually, any recommendations?

That clog? That is some sad trolling.
There's this thread on Muffwiggler; https://www.muffwiggler.com/forum/viewtopic.php?t=167462

EDITED Dec 30th 2020, 16:07

Sounds great @troux. I love the transition around the 6:45 mark. Kind of gives me Orbital vibes.

Without knowing more about your modular setup it's hard to give useful suggestions of how to sync it to Ableton. How do you normally control it?

If you just need a clock output from the DAW, trying making an audio click track in Ableton and sending that to the modular. It might work!

Hi,

You can have a look to Beast Tek Dirty Glitch VCO. There is a new version assembled or DIY on Synthcube.

And this one from Paratek:
https://www.modulargrid.net/e/paratek-%D0%9A%D0%BE%D1%81%D0%BC%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8%D0%B9-%D1%88%D1%83%D0%BC-black-diy
It's a dual Jupiter storm with improvement
It's an assembled module.

Dear Lugia.
Had a spin last night with my current setup and I understand what you mean. The Modulations I am able to create so far are in the ballpark you describe. I used 2 of the fourmulators LFO's to slowly change the filter cutoff or resonance and had this described "Slow ever changing" effect.
But I can see your example is much more sophisticated.

I guess I just have to get deeper into my setup and see where it's boundaries are. But I am certain that VCO wise I am equipped.
VCA wise for the moment I think I am good but again, saving rack space with a quad VCA as mentioned will help.

Regarding Envelopes. The Dual Intellijel somewhat behaves weird to my ears. In slow mode, if I have all stages turned down and just up the Decay I can only move a fraction of the sliders path and the VCA is already reacting to it. Will have another go tonight but could this be the effect of Linear vs Exponential VCA curve?

Ok Lugia. I wish I could get my head around what you’re saying, I’m really trying, but with little success! Do you mean an ES3? Can you give me any examples?
The-erc: I think I get what you’re saying, but I also want to sync in time with my DAW. In other words, click record on Ableton and eurorack starts playing?
Thanks guys. To a newbie, and not technically savvy, it’s so hard to get your head around all this so that you’re not wasting money on something you potentially already have.

I've been practicing live acid/house/etc lately with my dance rig, and getting some fun results. Was playing around this evening and thought "Where's my disting, this is too good not to record" so here we are. I liked this bassline so much I stuck to it for the whole time, that'll be a focus of future tunes, but I think it works here and overall I'm happy with the amount of variation and how everything flows. Anyway, give it a listen and let me know what you think.

https://stevehand.bandcamp.com/track/2020-acid-take-1-extended

I had intended to put together an ambient piece for the EOY 2020 comp but since most everyone else sent over dance pieces (and long ones too lol) I think this'll be my contribution.

I just got the Schlappi Engineering Angle Grinder and 100 Grit which can make some crazy types of drones for days especially when you feed different types of CV and sequence them. In fact, just using the 100 Grit came up with weird drones tonite of all types. As others mention, Noise Engineering makes great modules for this like Cursus Iteritas which I feed into Mimeophon for drones on days.

EDITED Dec 30th 2020, 05:34

I wonder if there is a lag, modules respond to the second sample I think, I doubt it that gates are faster.
But that doesn't matter because of latency anyway, I sync my gear by ear so that is a non-issue for me.
I own my Emu 1616m interface for over ten years, I'm not going to change that just because it has AC coupled ports of course.

I am able to run a midiclock (DC) from my AS Fusebox but I never use it because I like my way better, far more versatile.

EDITED Dec 30th 2020, 18:02

Thanks Garfield!

The Werkstatt is very fun, surprisingly many different sounds are possible, and they are all good. It would be nice if it was bit more polished as product (e.g. I read that the VFO and VCF outputs are not at the correct levels for Eurorack although I haven't tested this myself.)

As for the DFAM, well the kids are just going to have to learn to play nicely together!

Hi Lugia,

Yes, it's not ideal -- I have one module from 2hp and I'd prefer not to get any more because it's just too uncomfortable to use. I expect I will end up buying Stages because it ticks quite a lot of boxes for me, but I was hoping to learn if anyone had produced any clever solutions to my problem. Seems like the answer so far is "not exactly" although the Hikari Triple AD was a pretty cool discovery!

Incidentally the module (which I already have) that comes closest to what I want is Pique, 4hp version of Mutable Peaks. The cables are all together at the bottom out of the way, and the knobs are big enough, and you rarely have to press the tiny buttons. When I bought it, I thought it would do many jobs for me, but it's basically always used as two AR envelopes...

As for Blip/Radar : Woah.

Unfortunately the ergonomics of the rack are not the only ones in play : there is also the ergonomics of the rather small room I practice, record, and nowadays also work in. Maybe once I get my big house in the country, and I can dedicate an entire wall to modular like Hans Zimmer I can start thinking about 36hp modules -- but probably not before!

EDITED Dec 30th 2020, 04:22

Got my first modular joystick controller today a Befaco joystick and so fun!

I did try an Intellijel Planar 2 at a friend's place this weekend and like that a lot since you can record and playback gestures but it is sold out so will wait until another time next year.

I'm also going to caution you on trying to get too much jammed into too small a space. Having a pile of two-stages in a smallish module IS DOABLE...but the ergonomics of dealing with the tight patching and controls will eventually wear on you.

Also, there's some larger multi-EG modules that REALLY blow the doors off. The Erogenous Tones Blip/Radar combo is pretty huge...36 hp, in fact. But you get eight EGs, complete chaining capability, plus the Blip allows some wilder functions...for example, envelope sequencing and a truckload of other complex functions that you'd NEVER get in a smaller module. Not in a million, billion years. Nope.

The proper solution isn't ALWAYS the small one.

You're barking up the wrong tree here. The solution isn't in the modular...it'll be via the Fireface. Since that thing can do piles of channels simultaneously, what you REALLY need here is a DC-coupled expander of some cheap sort. Connect it to the ADAT Lightpipe connection (you don't need high sample rates for CV/gate/trig work), and that's that! Just make sure that you get proper DC-coupled hardware for that, and you're golden. With that PLUS the Fireface, you'll have ample audio I/O on that device itself, and all of your control signaling will be split from the audio I/O, which makes things make more sense.

EDITED Dec 30th 2020, 03:36

Hey Garfield,
Unfortunately the Doepfer - A-141-4 is the opposite of what I need, which is lots of independent AR (or even just R) envelopes. On the other hand that Triple AD module is very interesting. I will keep my eyes open for it.

Y'know...I don't use any fancy VCOs, and I've been doing drone-type work since the mid-1980s.

The REAL key to making drone works isn't in the oscillators. It's in the everything else. You can take ONE single VCO and, by splitting the outputs from it off to different VCF/VCA chains, then using slow modulation to make that arrangement "cook", you'll arrive at much the same result. Then once you get your synth patch feed, try jamming it through a few different, paralleled outboard processors and mixing those alongside the "dry" synth signal.

Or, don't use VCOs AT ALL...instead, grab a shortwave radio, find something sonically interesting, then process the hell out of that. Or you could go to Alvin Lucier-style extremes and rig up a copy of his "Long Thin Wire" device. Or use a sampler and make small loops...if you edit the loop points "badly", you'll actually have something of a subliminal rhythmic pattern going on...which gets even more interesting if none of the loops are timed so that they have coincident points of repetition.

Everyone thinks that the way to do stuff like this can ONLY be via modular synths. It's not. Expand your electronic horizons a bit.

That's not how it's supposed to work, you know. By using AC-coupled sources, you're actually going to have trig/gate signals (of a sort) that aren't exactly in time with everything else. There'll always be a little lag. And as you've noticed, not every module will respond to this method.

Why NOT get a DC-coupled interface? You don't have to get something like an ES-8...you can get on eBay or Reverb and rustle up a secondhand MOTU 828 (I use a mkii FW version for synth control, linked via Firewire 400 to my DAW machine) for, at worst, about $150. Plays nicely with CV Tools in Ableton. Plus, it gives me eight return lines, which is great if I want to use a hardware synth to generate modulation signals for something in software. And I should note, you CANNOT do that without a DC-coupled interface!

Hey, don't sweat it...NOBODY gets first builds right. Or the second. Or ninth. And so on. My suggestions would be to...

1) Study what's on the site. Not just the modules, but also look at builds done by experienced synthesists.

2) If you haven't got a copy of VCV Rack, get one. It's free, for one thing...and although it's a bit of a processing hog, it gives you a much clearer idea of what you need to build because it is, after all, a Eurorack simulator. It even has a number of "ports" of various Eurorack hardware modules.

3) Build. Tear down. Build. Tear down. Build. And so on. Think of this as pretty much the modular synth builders' version of using a practice room to work out a musical piece...only, the piece is quite physical as opposed to the usual dotz-n-linez. But like time spent in a practice room, you're honing something into a state where its perfect FOR YOU.

Takes time. Hell, I've been working with electronics in music since the late 1970s, and I'm STILL running into totally new ideas on here.

Had a reply, MG ate it. Grr...

Logic 202 + Fractio: These are key to a lot of sequencing and timing trickery. For example, let's say you want something to appear in the mix every once in a while. Just feed the clock and the appropriate clock division to an AND gate, then you'll get a gate outputted from that that ONLY appears when both clocking signals are present. Another great use for the division is to slow down the sequencer it's next to so that you can sequence transpositions...or you can multiply the clock for TaDream-style ratcheting. That whole area is designed so that ALL of the sequencers...even external ones...can have their timing messed with really hard by everything from Boolean logic to random signals, and there's ample capacity for "abuse potential".

The Qx expander for the Quadrax is what's necessary to "chain" the Quadrax's EGs, with the potential of generating other complex modulation curves in a similar manner to the Maths. But you'll also notice that the Maths has capabilities to mess with the Quadrax via the Qx, and so on. Again, look at the modulation section as something which, if desired, can work as one HUGE mod generator with all sorts of possible outputs. And you can then avoid using the o&C for just LFOs by making use of the QPLFO and use some of the more twisty things the o&C is capable of...the unique stuff!

Varigate 8+: there's another purpose there, and that's its sequence memory. You can set up 99 different memories in the Varigate for it AND the Voltage Block. And having preset, ready-to-drop sequences that you can switch on the fly RULES. Plus, don't forget the timing section and how you can screw with these via that as well.

Bitbox: Keep it. You can use it to loop audio on the fly, play stored samples, and a bunch of other things. It's "stereo voice 5". Which brings up the voicing...

There are actually THREE voice sections on the top row. The first, optimized for pads, washes, atmospherics and the like in stereo consists of the Cs-L and Piston Honda, which sum in stereo via the Mixup. Then the second, intended for leads and the like, consists of the Belgrad and Sisters with the Veils being used for...well, a lot of trickery. For example, you could split the output of each of those VCOs to two VCAs...then take a couple of LFO signals to control them AFTER you've also split them and inverted one of each LFO split, with the result being stereo autopanning! Then, it's also possible to sum this AND the first "voice" via the Befaco for the Lester's inputs...or you can break out any of that and send it to the filters by the percussive setup. Then the THIRD voice is the Loqualis itself, which allows you to concentrate on specific results, such as bass. Also, there's a stereo VCA under it that can be used for stereo modulation of the Loqualis. But each subsection of the top row can ALSO be fed to the respective Performance Mixer strips, along with the stereo percussives. Hence the second Lester...it can either be used to process one of the above subsections along with the other one, or you can use it for stereo filtering for the percussives. And the Wasp and NE VCF are down there for alternate filtering...either on individual percussive outputs, or if you process the percussives via the Lester, this frees those two up for other duties. In short, you could configure this whole voice scheme whichever way you'd want, and in most every configuration, you've got sheer POWER.

Also, you'll notice that much of this build is designed FOR STEREO. You can stereoize most any of the above, in a huge variety of ways. Even the percussives have that Takaab stereo fixed-pan fixed-level mixer so that you can place the individual parts in the stereo field wherever you wish, and then either drop the output of that down to the Performance Mixer, or feed it to the Lester.

Similarly, the entirety of the modulation section is intended to work as something of a single "device", cued by the various gate/trigs from timing and sequencers, or from other modulation sources. You could even chain up the entire thing as a single, self-regulating and insanely-complex modulation source, given enough patchcords and madness. This then opens up the use of the modulation section as a "feedback" system, with everything intercontrolling everything else, which then gets fed back to other things. This is super-important if you ever opt to do generative work; as a generative mod source, that section is aces!

Now, the Tetrapad...it and its expander aren't on this because my idea would be to mount them...plus your matrix mixer...in a powered 4ms Pod of the right size. This would then be an expression controller par excellence...and since it's in a small pod cab, you can then position it anywhere you want, instead of having that stuck in the case. By putting these modules in a Pod, you're upping the ergonomic ease of use, basically turning the Pod into a super-overkill version of the usual mod/pitch wheels that can be placed by your keyboard controller, and connected to the main cab via whatever patchcables are needed for a specific patch. This would be just about perfect, and make it easier to make use of the Tetrapad and matrix mixer (which are great for modulation "global" changes...that's what my 3x3 Wonkystuff one is for, as it's intended for a fifth AE cab that'll house controllers and that system's Performance Mixer).

What I'd suggest is this: just STARE at the build for a while, with a pad and paper handy to make notes about patches, groupings, and the like. After several hours, you'll probably have a melted brain...but you'll ALSO have a clearer idea of what this thing is capable of. Also, keep in mind that, while this is one hellacious system, it's ALSO expansion-friendly. If you think about how the ARP 2500 was intended to be used, this would be the "Main" case...and later, you can add "wing cabs" to this and make things even wilder without needing to disrupt anything in this case. But also like the venerable 2500, you have your expression controls handy beside the keyboard controller. So, yeah...there's a half-century of ideas in this mo'fo!

Hi The-Erc,

Wow, you got yourself a nice little Christmas gift there! Such a little box, but such a big sound! You nicely demonstrate that here in your jam! Love to see those flashing lights of the BSP even if only one channel is in use :-D

I think, the DFAM was a little bit sad here, that kind of elder child that got suddenly less attention because you got a new baby, the Werkstatt-1 ;-)

Your jam makes me to (re-) consider the Werkstatt-1, thank you very much for sharing this and kind regards, Garfield.

Hi The-Erc,

If you are willing to spend one-third of a HP per EG more, i.e. 2.67 HP/EG than consider the Triple AD from Hikari Instruments, I love that module. It can go from slow to fast ADs. If I remember well that if you don't use the first two ADs but only the third one (and you switch on both other unused ADs) those non-used-ADs are then normalised to the last AD; not 100% sure, since the manual is a bit limited but even using them as separate ADs, I love to use them, clear, easy, direct usages, 2.67hp/EG, what do you want more? ;-)

It might be a bit difficult to get one; I was lucky to get one during my last year's holiday in Japan.

Or, depending on how you are looking at it, the Doepfer - A-141-4 Quad ADSR; if you don't mind the same setting for all four ADSRs ;-) Then it's at 2 HP/EG. I know, this module is more meant for polyphonic approaches but you could misuse it, if you would like to :-)

Or the Erica Synths - Pico VC EG at 3 HP? If Pico modules is your cup of tea that is. It comes including loop functionality.
Or the Erica Synths - Pico Modulator at 3 HP which is an EG + VCA! So 1.5 HP per functionality ;-)

Then again, I think you shouldn't look too much into modules that deliver too much functionality on a too small HP surface, sooner or later that might go either on your nerves or if not at least in less comfortable user interface usage. Sometimes a single or a dual functionality on a full blown HP surface is still the best approach and gives you full functionality of everything you (might) need. Naturally, up to you to decide which way to go :-)

Kind regards, Garfield.

Hi Diego,

Perhaps you should buy an additional (monster) rack and get less worried about HP space ;-) I got quite a few VCAs but that Waldorf - DVCA1 is the best so far. I still want to try the ACL - VCA I have high expectations (on the quality) there too, but from a user interface point of view, I love the DVCA1, it's seriously worth it, that's why I bought a second unit quite some while ago and now I am considering to buy a third unit of it, it's that good :-) You don't have to CV (can "to CV" be a verb? :-) ) both linear and exponential, I usually CV only the exponential but manually you can adjust the knobs for linear as well as exponential and that gives it the extra touch. Beside that, and because of that (lin+exp both at the same time possible) you can boost the signal quite seriously (it can cause a distortion if you go too far with that; easily to be detected by a red LED that quite accurately indicates if you are going over the edge, i.e. going into distortion). If I have soft/low signals, I usually use the DVCA1 to boost it up. I am sure there are VCAs that can boost the signal even stronger than the DVCA1 can do but for me it's enough at +13.5 dB.

But okay, if you insist on not going bigger with your cases, then check out the Patching Panda - Punch module (I got the old version, it was a special offer; there is now a newer version 2 I think), that's really a punchy VCA module, I love that one too, totally different from the DVCA1 though and sometimes I feel the Punch module is unclear in usage but if you have sharp/punchy fast repetitive sounds that needs to get some kick in the a*** then Punch comes in handy!

If you hold a gun at my head and I have to make a choice between QPAS or the Black Dual VCF, then it's definitely going to be the Black Dual VCF. It's more direct control, easier to understand (at the beginning, on a more deeper level both modules shouldn't be under estimated their complexity though), and more... how to put that under words... direct fun (with QPAS it's a longer learning curve kind of fun)? If you want to play with the resonance then this Black Dual VCF module is yours! It can get totally crazy nuts but it's rather easy to keep the resonance under control as well. If you want an example of how this Black Dual VCF sounds, check out this track of mine:

https://www.modulargrid.net/e/forum/posts/index/8963

I demo there exactly this module! :-)

That kind of "searching for the frog" sound, I am "searching" that with this Black Dual VCF module, almost everything you hear here is almost all done by this Black Dual VCF!

For some more details please read my text at/in the above link and listen to that demo track, it should convince you to get this module! :-D

In this demo track I brought the resonance (far) over the edge :-) But you can control it a bit more subtle than I did here too.

I copy one of my comments here from that post:

I just can't stop playing with this filter, it really invites you to play around with it.

I hope that demo track will convince you and kind regards, Garfield.

Good idea! The O&C does look like a cool module but I already have a Disting Mk4 and Pam's New Workout in the rack, and I think that is my limit of menu-divey modules.
-- the-erc

Ha! That's pretty much where I've drawn the line with menu-divey modules too.

Since your audio interface has many channels maybe you want to mix in the box? In which case rather than a mixer I think you just need a bunch of output modules like the Happy Nerding Isolator or similar. (Or the really low budget option : a few passive attenuators and a bunch small-to-big jack cables)

The Micro Ornament and Crime has 4 tweakable EGs plus a TON of other stuff in 8hp, but it's menu-divey so I'm not sure if it's the best option.
-- farkas

Good idea! The O&C does look like a cool module but I already have a Disting Mk4 and Pam's New Workout in the rack, and I think that is my limit of menu-divey modules.

The Micro Ornament and Crime has 4 tweakable EGs plus a TON of other stuff in 8hp, but it's menu-divey so I'm not sure if it's the best option.

Jamming about this evening I realised, contrary to the conventional wisdom, that my setup needs more envelope generators.

Since single stage envelopes are good enough for my purposes, I first thought that Mutable Stages would be the most space efficient coming in a very reasonable 2.33 hp per envelope. But of course you can get an ADSR from 2hp (among others) which requires only 2hp.

Now Stages is certainly ergonomically superior to 6 x 2hp ADSR, and it has some different possibilities (notably not including being 6 ADSRs) but lets think only about density. Can 2hp be beaten? Is there a module on the market that packs in envelopes more densely than 2 hp/EG?

Yeah i can say the same, he lists all his modules as if he was in USA, but he's not, i had to pay import duty fees.

I've tried to add a picture for the Dunlop XL Volume pedal, but the pic I added doesn't show up. If you go to the page for the pedal, my picture is there. A nice, decent rez photo of an actual XL (can confirm; I actually own one). But when you add the pedal on a MG board, that picture does not show up; instead it's a very blurry, upside down version of a different Dunlop volume pedal.

Did the picture I uploaded need to be reviewed or something? Or is this a bug?

Hi all, loving my eurorack, but I get a bit lost on the most practical way to sync it to my DAW. I currently have an Intellijel Mixup going out to my audio interface (RME Fireface UFX) into Ableton or Cubase, but I want to be able to record all my sounds individually, so what do I need? It needs to be in the eurorack form. Maybe an Expert Sleepers ES-3? Also want to use my iPad or keystep. Please help. I’m stuck!

also got recommended some of the Endorphin.es modules

thanks guys,gonna look into those

Time flies @zuggamasta! But looking forward to it.

Oh damn it. It's the 29th already. I'll make sure to drop you something tonight @troux

I just want to share a tip I haven't seen anywhere else, I thought this would be the perfect place for that!

I clock my Eurorack modular with Ableton Live using the AC coupled outputs on my PC.
They cannot send out gates so I use single cycle waveforms instead, played by Simpler in Live.
I turn it up real loud (it clips) and then it goes directly into my modular, giving me an adaptable master clock signal (I often give it bit of swing).
It works because many modules just need a rise in voltage as a clock signal like Maths eg.
The single cycle waveform I use is a crooked sine, dunno why I've made that crooked, it was trial and error a while back.

So even if you do have DC coupled outs, I think it's a waste to spend them on clocking, this technique works solid with many modules.

Cheers!

The X1L3 Shard is super gnarly.
The Schlappi Engineering Interstellar Radio may be something to consider. I've considered picking up the Ataraxic Iteritas for dark ambient tones as well.

Dark and drone in the same sentence, as far as I'm concerned, Loquelic Iteritas is king of my castle. Not exactly the same price, but you may be able to get one on the 2nd hand market: https://www.modulargrid.net/e/noise-engineering-loquelic-iteritas

The Cursus Iteritas might also be worth a look if you want to stay in the realm of wavetables, although its of course the Noise Engineering take on it, not your typical VCO.

That being said, the LI only made me hungry for its amazing Percido version, but that's another budget... :-)

All the best,
D.

Im making Dark ambient.

i have a Synth tech E352 and love it,im currently on the lookout for another Drone module that will compliment the E352.

i got recommended this one
https://x1l3.bigcartel.com/product/shard-power-electronics-hnw-eurorack-module?fbclid=IwAR2mK13k0qjEFu89NTJLUbgnNJTQ9G3BoXjJ0VSpr-9QZAiIYjxkCbEwrGE

is there anything else in the same price class that i should check out?

Thank you very much for the help! I can tell this will be a different experience compared to any instrument I've used. The trial and error of it all is exciting surprisingly. I do not anticipate creating a "perfect" setup I notice many noobs like myself attempt. I know this thing will grow. Back to the scratch pad lol!

Hi fellow knobs wigglers !

THANK YOU FOR YOUR COMMENTS !!
I actually wrote an answer yesterday, forgot to save somewhere else and didn’t have time to write it again after that. Oh well

@Lugia: My God, this is excellent, are you getting tired of me thanking you for the knowledge sharing ? Because I’m not tired of reading your rack rehauls, so many ideas !! I have many questions as well, sorry for the wall of text but I feel it makes things clear at least.
- Modulation section: Finally, it looks like something that makes sense as a whole. I was not considering those logic functions you included, for some reason those eluded me during my VCVRack training sessions, but I’ll definitely go try asap as it sounds like fun. I really like the group you made, with crossfader, mixer and VCA, I think I’d feel more at ease even with only the modules I own but grouped like that.
- Quad LFO: I have the O&C that I use exactly for that when I need slow LFO’s, the Quadraturia app offers an incredible range, from audio rate to several hours for a single cycle (lol) and also offers the tap tempo functionality (which I never use, maybe I should, here’s an exercise). Plus between Ochd and the Octasource, there’s already a lot of LFO fun to be had. Zadar can also do some crazy stuff.
- Quadrax and double ADSR: same remark as above (makes sense, EG and LFOs are similar in nature), there is the Piqued app which offers me 4 envelopes when needed. Not the same as above though, this is the app the O&C ends up on most of the time, and Stages is often used for that as well. I’m not sure I need yet another EG, but freeing the flexible O&C and Stages for other things on a permanents basis isn’t a bad thing. Quadrax (how useful is the expander ?) will therefore stay if there is room, or the ADSR, maybe both. I prefer the added crazy functionality on the Quadrax of course…
- Fractio Solum: I like the idea of having a separate clock divider, or rather I should say I hate “wasting” PNW’s outputs for clock division duties; I’m thinking I could, instead of investing in a 3U modules, get one of those Shakmat Time Apprentice to replace the 1U passive mult on the second 1U row. Big bonus is that I get to build that one myself from a kit, that’s always fun (and cheap).
- Varigate 8+: I’ve been hesitating a lot with including another gate sequencer in my rack. In fact, I still have my Robaux SWT16+ for sale right now, an excellent 16 tracks (!) gate sequencer with a bunch of cool features. I just felt like I was hardly ever using it, it was meant to be used with percussions modules most of which I sold after getting the MPC but now I usually generate simple patterns with PNW or use one of the Hermod tracks to trigger the HH and Bitbox. The way I use Bitbox is mainly to record loops out of other voices, and trigger them by hand, I’ve considered getting rid of it too, the MPC can do all that very well, and turning it on next to the rack isn’t a big effort. Am I crazy, should I keep the SWT16+ or buy a Varigate ? Really can’t decide here…
- Mutes: nice gotcha on the cv control over AUX sends, I always forget that. Not sure how useful that would be for me though, I don’t see myself modulating that so much, I usually set and forget values. Mutes is a nice to have, but since I’m hardly ever using both inputs on the Mixer, I often can use the A/B switch as a mute, by not using the second input. I’d probably skip this, especially if it means I get space for something like Tetrapad.
- Panning Mixer: whaaaaat ? I had no idea something like that existed. Can you use something like that with different VCO outputs ? Imagine that… If I can get my hands on one, I’ll bite, the issue will most likely finding one at a decent price but I definitely want to try it !

This is where I’m starting to get lost:

• Percussions and Bionic Lester n°2: Hahaha, excellent, hadn’t realized there was a second Lester hiding behind the PH (at least that’s how I see it). I don’t actually have 2, unfortunately, that’s just a bug I have sometimes. And I like the thing, but 2 of them, one on percussions? Sure, I’ll try my BIA into the one I have, that experiment is due anyway, but the Lester is in my view, somewhat of a specialist filter, I’m not sure I’d know what to do with it on a percussions section. Using it on the output of the Bitbox makes sense to me though, but again, do I prefer that over using the MPC and its very decent filters ? I guess not, if I’m honest. The more I think about this, the Bitbox is extraneous, I’d just keep the BIA (is it drums, is it a synth ? who knows, who cares, it’s bloody awesome), and the HH just because I built that myself, but I don’t think a Eurorack rhythm section is for me…
• Voices: I’m very lost here lol. You grouped the 2 main VCOs, do you see them more as a single voice ? You removed the Dual filter from Erica, you didn’t like the idea (as I said above, I’d like another stereo VCF if I consider having 1 C-sL and PH as separate voices, plus I think the many simultaneous outputs are a really interesting feature that could go well with my setup) ? Is the Lester at the end of the 1st row meant for the LIP or for the big synth voice ?
• What about Tetrapad ? That’s probably my most desired module right now, mainly to greatly improve the way I can play my patches, to play the thing more like an instrument. I’m willing to make sacrifices to include it in the rack.
• I like experimenting with feedback, so what about that Matrix Mixer ? I feel like that and an Instruo tanh[3] could be very useful for that kind of noise, and could perhaps make my desire for a ResEq much less pressing.

@GarfieldModular: I had never considered that side of things, I only have Intellijel VCA’s for now and found them absolutely clean, I should probably carefully experiment and compare when I get a chance. Also never considered feeding both exponential and linear CV into a single VCA, but now that I think of it, it has a few interesting implications. But I can’t bring myself to dedicate 20HP to 2 VCA’s.
Re QPAS, I actually had it for a while, but just didn’t gel with it. I liked having the simultaneous outputs there, and the interface is great, but the sonic character of it wasn’t for me. I tried to make it work and even had fun with it (of course), but didn’t see myself keeping it in the long run. The Erica one sounds great with audio rate modulation, from what I hear in demos, what is your experience with that ? How controllable is resonance, when you bring it at the edge of self-oscillation ?

Take care !
Diego