thank you so much! this helped a lot already! and yes i watch beginner guides! it's just that all (i found) use (of course) different modules and in parts i'm having a hard time to translate that to the erica synths modules.. (altough i of course read all the manuals for the modules) i don't really get the second row of this build (maybe except the eg, the effects and the output).. have you got an advise what i could do with that (that is especially black cv tools an quad vca)? and do you think its overall a compilation of modules that makes sense? would you recommend a crucial module which is missing (i thought maybe a master clock distribution?)?
There are a number of beginner videos on youtube, I recommend you go watch some when you have the time. Red Means Recording has a pretty good Let's Learn Eurorack series, Chris Meyer also has some beginner videos (although I think his main courses are behind a paywall) and Monorail Tech Talk has tons of interesting patch explanations once you're more familiar with the basic stuff.
But very briefly: Unlike a regular synth, a modular synth has all its basic components unconnected and you need to make your own connections using patch cables. Some jacks send out control voltage (CV), some send out audio in the most general sense the only difference is that CV is slow moving or static and audio voltages move at well...audio rates. Most input jacks will take either source, but some aren't "DC coupled" and will ignore CV (ie. sub-audio rate voltages).
More specifically, as to your rack:
-The top row is essentially a voice plus some effects. A modular oscillator just keeps going, try patching the outputs of your VCO2 (voltage controlled oscillator) to the Black Output to listen to the various waves it makes (it's recommended to attenuate the volume using the knobs first).
-After you know how the vco sounds, send its output to the filter (VCF) first before sending it to the output. Now you can cut off frequencies and add resonances to the base waves.
-After that, put the VCA between the filter and the output. Now you can't hear anything! (at least with the Bias or Level turned down). That's because a VCA lets you control the volume of the oscillator. Punch in a super basic sequence on the sequencer and patch the Gate or Trigger output to the Envelope Generator (EG) in the second row, and patch that to the VCA CV. Now every time the sequencer sends a gate, the EG generates an envelope that opens the VCA. Play with the EG's settings to get a snappy envelope or a rising pumping sound.
-Congrats now you have the most basic synth voice patch set up the way it usually works in hardware synths. Experiment from there. What happens if you send noise to the second input of the VCA? What happens if you send a saw wave from the Modulator the FM input of the oscillator. Send the voice through the DSP to add a reverb or delay? Also, VCAs aren't just for audio, you can send an LFO to a VCA then only open it occasionally with a sequencer to add bursts of modulation only at certain times etc. Try sending audio signals to inputs. Try different types of waveshaping available in this rack (FM, Ring Mod, PWM, AM) to find sounds you like. Etc.
A general tip would be to attenuate (restrict the level of) your modulations before sending them to an input, unless that input already has an attenuator of its own. Otherwise everything will sound way too extreme, usually modulating 10-30% of a parameter is plenty already. Also, listening is super important! Especially in the early stages. Just try patching different things and twisting knobs to get a feel for what's happening. I requires some patience and practice but after a while you should develop a sense for what's what, what sounds are possible and where you want to take this rig.
hello! i'm kind of suprisingly a new owner of a modular synth (i got it like that with all modules and case) and i'm really trying to learn it! but i'm already struggeling with all the basics (maybe except using the sequencer and drum module).. could you please give me some advise? what would be a basic patch with these modules? (i would like to make dark techno, or drones at some point..) any tipps would be appreciated a lot! thanks in advance ro
hello! i'm kind of suprisingly a new owner of a modular synth (i got it like that with all modules and case) and i'm really trying to learn it! but i'm already struggeling with all the basics (maybe except using the sequencer and drum module).. could you please give me some advise? what would be a basic patch with these modules? (i would like to make dark techno, or drones at some point..) any tipps would be appreciated a lot! thanks in advance ro
The bus current is polorised +/-
Pretty sure their modules will be made to correct their own polarity whichever way you plug them in.
Not all manufacturers do that.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Eventually i messaged Tiptop's tech support asking about what modules should be attached to the positive bus, what should be attached to the negative.
They just said that it doesn't matter, because all of the busses supply all of the types of current.
I've certainly had no blow outs or functionality issues with any module. I did dutifully connect the one module i have that says it wants neg to the neg bus. Why not? But then again, why? since all busses carry all polarity combinations?
As a person who likes to imagine i'm vaguely logically minded (albeit , i admit, with limited knowledge), this does leave me wondering why the different busses are defined as positive and negative polarity? Whatever the answer is to that (if there is one), it certainly isn't to do with the polarity of then current that the busses deliver, since all the busses deliver currents of all polarity.
Guess I may never know.
And it apparently makes no practical difference
So has this ever happened. It seems to have existed once but doesn't anymore per much older forum posts.
no, it did not materialise yet :(
Also is there a comprehensive list of keyboard shortcuts somewhere. The one under help does not include the f = flip shortcut which does exist and works.
On the rack planner page is a link called Keyboard Shortcuts. It lists all shortcuts. Also I have updated the help page, thanks for the hint!
The ability to rotate a module 90 degrees either directions would seem to be no brainer and would be extrememly useful.
It interferres with the Optimize Rack Space function calculation, but it might come eventually.
In addition the ability to include a module on the page and have it included in the stats even though it is not in the rack would also be useful. I do know people who literally hang modules by their power cable coming out of a space of a few HP because they do not have the space to mount it.
I see, but this is an "edge case". I recommend to just add another "fantasy" row the rack as workaround.
I'm looking for ideas/input on how to build out ~26hp of utilities (VCAs, attenuation, logic, noise, etc) for this small setup. I do have some utilities in place today but there's likely room for improvement. The case is mostly used to create melodic layers, textures, drones, and pads that get used in larger instrumental post-rock recording projects. So, I'm not expecting it to create full arrangements on its own. I am sequencing externally with an OXI One.
Let me know if you need more details. I've just laid things out in this mockup by type (voices/filter, effects, mixing, modulation).
Can anybody tell me where to get one from?
On their website all the present modules are out of stock and I can't find this module on ebay or kleinanzeigen.
Please critique my plan for a Make Noise system for the Rackbrute 6U. I would like to keep the entire system Make Noise exclusive. I have another 9U Doepfer case which is filled with most of the usual suspects so the Make Noise system will accompany that. Hence clocking will be provided by Pam's, output by Befaco Out etc. Having said that I would like the box to be independent in other respects - it will sit next to my Korg Arp 2600m so may share some duties with that also. I make experimental techno and ambient and hope to add an extra dimension with the Make Noise box. I already have Wogglebug and Mimeophon and definities to follow will be Morphagene, Maths, Rene, XPO, QPAS. Everything else is open for tinkering. If you would like to make a suggestion for a substitution please make it another Make Noise module. Many thanks
Led rope light with beat-synching, color changing, cuttable to length, includes tape and brackets for mounting.
If this doesn't work for you, try searching for "music-synced led rope lights" or similar.
Probably, similar products available at hardware stores such as Menards, or if you are okay using scamazon, they'd have something similar too. Not sure what the anagolous local companies would be in Japan, but look at hardware and/or lighting stores and they should be able to help you.
Well within budget, will move to the music, can adjust speeds/colors, cut to length, mountable, reusuable.
Just make sure you're getting a complete kit, getting individual items in led rope lighting is more fiddly and confusing than a complete kit.
Best of luck!!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
Thanks a lot for your reply! Your comment really helped me to conceptualise the process.
How large of a venue?
It's a living room in an old Japanese house (small-medium size). The audience is expected to be about 20-30 people in the early evening. Not a great space for projection unfortunately.
Are you thinking of just a small accent lighting setup (e.g., led ropes that move to music somewhat), or the whole lighting setup for stage/crowd?
Yes, I think an accent lighting set up would be the best. Otherwise it will just be the house lights. Ideally some kind of mood apropriate LED set up that isn't too cheesy while being budget friendly and possibly (but not neccesarily) connected to the music. I was actually intending to accompany short films, but have run out time this year.
Do you have any experience with small scale dj light setups, and want to move past that to incorporate the modular music as sort of a video synthesis setup?
That sounds great, but it's perhaps a little outside the my level of expertise.
How much time do you have? What is your budget?
Just over a month. Possibly around $50-100, but looking for something with maximum impact for minimal cost.
Are you thinking of just a small accent lighting setup (e.g., led ropes that move to music somewhat), or the whole lighting setup for stage/crowd?
Do you have any experience with small scale dj light setups, and want to move past that to incorporate the modular music as sort of a video synthesis setup?
How much time do you have? What is your budget?
So many options and variables to consider in the realm of lighting, that you'd need to provide more specifics...
If just small accent lighting you can always just get creative with random light sources and make it "artsy"...at the risk of looking amateurish if not pulled off correctly, ha.
Best of luck!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
Hi all. I have a solo 30 minute modular set (ambientish) coming up, and am looking for visual enhancement the for set.
Does anyone have any experience with appropriate lighting and visuals that are very simple to implement, engaging but not overpowering and budget friendly? Its coming up soon, so time is of the essence.
sigh.. still wishing modulargrid had a 19" rack planner :(
-- wagoo
Same.
I totally understand the motivations behind the "no faction" which are absolutely logic and resonable. The thing is that they made a site for it (stagerack.com) which is surely more for live racks but shows that there is a need for it. What Zucker say (and I totally agree with him) eurorack for sure has a way more complicate way of working (module arrangement, power needs,...) but in the end I think that another scope of this site is to connect fellow musicians and engineers to showcase their equipment and their way of working.
People are adding rack units to the pedal section so there may be a need in the sense too.
Said so, mine doesn't want to be a request but more of a idea to share with you all to spark a fruitfull discussion, this site is already amazing as the people behind it to whom I wish the very best!
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
the public interest in this project is about zero requests but - since i already have a nice, working and affordable product on hand my obsession is bigger than ever to implement the videoplayer.
and honestly, i do nothing else the last 8 month or so, i became a nerd!
on the other hand - i do something here that was never ever done before, a bare metal ( no linux etc )
direct gpu / vpu decoder that is, in the case of the raspberry pi zero undocumented.
benefit: high performance realtime visuals ( because having realtime fractals ect is not enough i guess )...
stay tuned.
also worth mentioning: i have a eurorack hdmi display with potential put-through in-output to link also an projector, my initial idea...
sadly my bt-quad channel sender is postponed till my obsession is satisfied
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I made this mostly to get the parts off the shelf and into use.
Pretty to look at. Works ok. Needs more stuff.
The 4 VCOs sound good, and seem stable. They'll knock you down, like ARP an oscillator should,
But the Behringer circuits don't like to share CV, and multing them all to a stable pitch is elusive,
so as fun as those passive multiples are, at least two of the A-182 mults have to go.
The 1047 filter has an instability, and not in a musical way if that's your primary VCF.
Like all filters, I have to learn it, but it's cranky.
Why didn't they add two clock outputs to the S&H module? They're right there.
Instead, it takes two clock outputs to sync it. Grrr.
I've used the 2500 series sequencers with Doepfer QNT for a long time and they always just work.
The vactrol filter is just a panel filler until the filtamp arrives.
The A-171 is cool, but doesn't earn it's 8hp.
The mutant brain is going too. Adding MIDI isn't feeling like a good fit here.
The next build gets an active mult and clock dividers.
I also found that I'm missing not having a noise source.
My envelope and VCA situation is dire. Juat two envelopes sharing one gate/trigger? Lame.
I've got some Behringer series 100 modules that'll work, but was going for that shiny 2500 aesthetic.
Because of the smaller scale, the aluminum, the 70's look, and the kind of light-duty switches and knobs Behringer used,
I'm not sure if this is kind of an ARP 2500, or a really nice PAIA 4700.
I've wanted to build one of those one day too.
The Behringer 305 works ok "for the money" but mine sits on the shelf.
The EQ section flattens the dynamics and harmonic content and to my ear, it sounds dull, cheap and non-musical.
A mono EQ in a stereo device is kind of an odd feature anyways.
The little thing that I thought would be useful is the 220/440/880 tuning reference.
Mine hasn't ever been close to pitch and it drifts and flutters in frequency even after warmup.
So it's useless as a tuning ref. Maybe I just got a bad one.
I understand the value proposal, and the merits of an all Series 100 box, and I do like my other Series 100 modules,
but this one is a disapointment, especially considering the space it takes up.
A 16hp module, like the rest of the series, that dropped the EQ and pitch ref,
and added output level modulation for controlled fade of everything, would have been better.
Could have been worse, they could have added that sad Klark-Teknik delay and reverb.
I suppose Behringer had to "emulate" features of the Roland system, so this is what we got.
As a whole though, the Series 100 is an impressive bargain, and that's what they do.
This is a new kind of video for me.
In this one, I’m focusing on a single module — BOPP and STEVE by This Is Not Rocket Science.
This is not a review. I’m not a reviewer — I’m a musician.
So rather than diving into every technical detail, I’m giving you a musical demonstration: how I use this module to patch, play, and make music.
It’s a new direction I’m exploring, and I’m really enjoying it.
I originally started this channel to share my music, but more and more people have been asking how I create it — how I patch, how I build my sounds, and how I work with modular gear.
So this is the first step in sharing more of that side of my process.
Let me know in the comments if this kind of video speaks to you — I’d love your feedback.
So has this ever happened. It seems to have existed once but doesn't anymore per much older forum posts.
Also is there a comprehensive list of keyboard shortcuts somewhere. The one under help does not include the f = flip shortcut which does exist and works. The ability to rotate a module 90 degrees either directions would seem to be no brainer and would be extrememly useful. In addition the ability to include a module on the page and have it included in the stats even though it is not in the rack would also be useful. I do know people who literally hang modules by their power cable coming out of a space of a few HP because they do not have the space to mount it.
Missed opportunity with silly annoyances, the maker thought 1hp=5mm not 5.08mm making this module 0.5hp narrow (27.56hp) and necessitating redrilling fixing holes. I wish the maker supported this product rather than fully abandoning it.
"TR-X0X Style drum / trigger sequencer based on the Behringer RD-9"
Looking at the picture: more like drum/trigger sequencer idea stolen from Erica Synths Drum Sequencer.
-- StrangeAttraction
Honestly, I kinda doubt it. This module was developed in direct response to people online asking Behringer about taking the sequencer from their RD-8 / RD-9 (which use basically the same sequencer) and using it in Eurorack.
I mean, is it possible they took inspiration from Erica Synths? Sure.
But honestly, I had no idea until just now that Erica Synths even made a drum sequencer.
Which means I certainly didn’t know anything about it back in August, when I suggested to Behringer that they create exactly this module. Admittedly, I only asked for 8 tracks, and I imagined 2 rows of 8 keys, not a 4x4 layout, but either layout could work equally well.
Does the Erica Synths sequencer include options for note repeat, and step repeat? How about the ability to mute or solo any of the individual tracks / sounds? Is it limited to 16 steps? Can you chain different patterns? Does it provide any auto-fill functionality (bouncing away from the current pattern, playing the auto-fill pattern, then bouncing back to the pre-auto-fill original pattern)?
-- randy00andrade
Dude. Not sure how you would be suggesting something like this without knowing of the Eric Drum Sequencer. It stands high above the heap. It does everything you are asking. And more. It is unrivaled.
And, yes, Behringer made this as a riff off of it. Pretty good job of it too. I have both.
Definitely explore switches for changes between events, they can be as subtle or in your face as you like, but help add movement in otherwise static patches.
You could even use a random source to trigger the switch(es).
Best of luck!!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
I’m realising that what I’m missing most is a more initial burst of “chaos” or complexity, a way to inject something more organically unpredictable. I don’t know... a smooth/random CV source that drifts slowly across parameters, for example... i don't know if this is more a "patch" problem..
You’re absolutely right about the mixer—having more hands-on mixing/attenuverting would help me layer subtle textures without a big routing headache. But more than anything I think I need modules that can move things in a gentler, drifting way and let me stack multiple “micro-events” on top of each other.
How are you getting along with your current 'Creature?'
I see a pretty reasonable setup already for many of the things you mention...do you find yourself hitting roadblocks with any of the current modules or workflows? Are you always saying, "I wish I had more xyz?" in the middle of a patch?
Perhaps I'd want to add a vc/sequential switch? Something simple like Doepfer's A-150/ A-151 can help create movement/variety.
Otherwise, it looks like you've got your noise/s&h/vca/voices/filters/delay/sampling/random/envelopes/looping mostly covered.
Maybe more lfos to help animate things? Batumi II or Quadrax really offer a lot of options in this department, Quadrax also a heavy-hitter on the envelope side of things. I haven't used the Ochd by divkid but that is a popular choice for lfos.
Maybe an attenuator/invertor/mixer like Happy Nerding 3x MIA?
Maybe more mixing in general, although I guess Maths can serve that function (as well as attenuverting) in a pinch if needed.
Best wishes!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
I’m relatively new to the world of modular synthesis and I’m looking to expand my rack with modules that let me explore very quiet, organic soundscapes—think of noises that sit at the edge of audibility and evoke natural environments. My ultimate goal is to start from near-silence or barely-there textures and build both standalone experiments and subtle, loop-based compositions around them.
For inspiration, I’ve been studying posts like this one on “Synthetic Wilderness: Recreating Nature Sounds” (https://www.knobulism.com/2025/01/29/synthetic-wilderness-recreating-nature-sounds/ ) and the work of Andy Farnell on sound design. Those approaches really resonate with what I want to achieve: gentle crackles, wind-like swooshes, rustling granulations, dripping water, and other liminal noises that live between pure silence and rhythmic structure.
So, I’d love some advice on:
Noise and Texture Generators – Which noise sources or granular/timbre modules are best for ultra-subtle, naturalistic textures?
Randomness & Modulation – What are your go-to modules for slow, organic randomness (LFOs, random CV, sample-and-hold, etc.) that feel “alive” but stay in the background?
Filtering & Shaping – Any filters, waveshapers, or dynamic processors that help sculpt those delicate noises into evolving, breath-like atmospheres?
Feedback & Processing – Suggestions for feedback loops, delay/verb modules, or other FX that can turn a pinprick of noise into a shimmering field without overt rhythm.
Looping & Rhythm – When you do build loops from these textures, which sequencers or clock-dividers/drivers work best for very slow, almost imperceptible pulse patterns?
I’m particularly interested in modules or workflows that emphasize silence and liminal sound rather than “blasting beats.” I’d appreciate any recommendations—cheap or high-end, digital or analog—that you’ve found inspiring for this kind of minimal, nature-inspired approach.
Thanks in advance for your help! Looking forward to your thoughts.
Ath.
Getting this out of the way, yeah, Behringer. I know. I feel plenty bad.
Over the past years I’ve picked up most of these B2500 series modules, but was always…uncomfortable with mixing them in with other stuff. I love the work the industrial designers did on the series, and they do work well. Somebody at Behringer really loved this project and it shows.
Instead of keeping them on the shelf, I wanted to unify them in their own case. So I continued the frugal route with a Behringer Go case with 2x140hp and an adequate power distribution layout.
(I also suspect that the 2500 series is out of production and some B2500 modules might start getting scarce.)
So this will be my August build. The Mutant Brain gets me polyphonic midi and clock, and the Doepfer quantizer tames the sequencer to real notes. The four Doepfer 182-1 switched multiples is my cheesy 16x8 matrix switch substitue.
I’m cautious when using passive multiples, but if they were good enough for Al Pearlman, they're good enough here.
It’s missing some things. It doesn’t have a noise source, and a quad VCA would have been nice, but there’s no more room. It’s a very meat-and-potatoes synth build. Nothing exotic or esoteric, but that’s always been the essence of the 2500.
Looking forward to sitting in front of it and playing. Should be a pretty thing.
What do you think?
