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OK...well, here's a possible idea for the 6U Rackbrute:

Since this build is more intended as a "sidecar" as far as its own voicing goes, I opted to add more in the way of modulation sources so that these can go out to the Hydrasynth and/or Minibrute as needed.

Top row: The P/S, then a gated slew limiter - this lets you gate the slew response in a similar fashion to the TB-303 "glide", which can be selected between specific steps. In this case, you'd simply select the points where you want that "glide" and then sequence a pattern of gates for that. Oscillator (dual oscillator, in fact) is a Void Gravitational Waves, which gives you lots of complex VCO-style patchpoints as well as an onboard ring modulator. Then this is followed by Nonlinearcircuits' dual Buchla waveshaper clone, and then you've got a Veils for controlling oscillator (or other) signals that get fed to the VCF. This is also from Void, and it's their stereo state-variable VCF. Then after that...more VCAs. Since I opted for a stereo mixer that has no VCAs for level, I put in a Zlob Vnicvrsal VCA which gives you VCAs for six of the Cosmix's inputs, allowing level control for each mono strip as well as one stereo pair. The Cosmotronics Cosmix has four mono inputs and two stereo input pairs, plus an AUX send and pan per mono strip. The AUX allows you to tailor your effects send from the mono strips, and then you have two stereo inputs that function as stereo returns OR stereo inputs. Then the audio out is after this, which offers yet another stereo AUX return, plus your headphone preamp as well as isolation.

Bottom row: Your noise and sample and hold is on the left. Then there's a dual VCable LFO, Noise Reap's uLoaf, which has a very odd "psuedo-sync" control that can send one of the LFOs into less of a regular waveform and something more like a "wobble". Following this, Maths...then Frap's 321, which is a module for altering/mixing/inverting CV and modulation signals from other modules to create more complex "composite" modulation curves. Then Happy Nerding's 3XVCA gives you three mixable linear VCAs for mixing and control over modulation levels. Following this section, you've got envelope generators, although the Intellijel Quadrax is actually rather more complicated than a typical set of two-stage envelope generators, especially when tandemmed with the Qx expander. After that, you've got a pair of ADSR envelopes...then effects, with a Mutable Warps for your "frequency" effects and a Happy Nerding FX Aid XL for the "time" ones. And the very last bit there is actually a quad level shifter for line-to-synth voltage conversions. This bit allows you to input the outputs of other devices back into the modular, so that if a certain situation requires you to mix the Minibrute and Hydrasynth through a VERY minimal external mixer, you can rely on the Cosmix + these level shifters to let you feed THOSE sources through them, potentially making for an easier setup.

Like I said, this is sort of an "example"...but it's actually not a bad example as it is. But it does hit all the bases...you've got a very capable voice section, modulation is nicely overspecced for the modular and other synths to use, and you get onboard FX and stereo mixing that can also take external signals. This is pretty much the sort of thing that would be ideal as a Rackbrute complement for both the Hydrasynth and the Minibrute, though.

Oooo...part of the answer appears to possibly be hiding on the first data sheet! Check "Note 7" at the bottom, then go to Meanwell's site and see what they say about RFI and noise filtering.

These modules of theirs, the two Passive Tools, are something that those of you considering fairly tight builds should consider. In 8 hp and for a smidge less than $100, these together offer EIGHT super-useful utility circuits under their two panels. As much noise that I and others make about "functional density", these are 100% on that! Effin' brilliant!

AND was about as stable as nitroglycerine being handled by Bobcat Goldthwaite.
-- Lugia

@Lugia Excellent simile. Curious to know how it will land with the younger crowd on here though lol. Showing (y)our age!

-- merzky_shoom

Y'know, back when I was in St. Louis in 1937...

Whenever you see a retailer pushing something specific, the correct reaction is NOT to immediately jump on it. Instead, you need to be asking "why?".

So, right now if you get over to Perfect Circuit's website, you'll see loads of small one-row skiffs that are in stock...but the REAL best for starting cabs, in the 84-104 hp range with two rows, those tend to be chronically out of stock because, overall, they're the best solution for beginning synthesists as well as experienced ones who need a cab for a "scale-down" for live work, etc. These "miniskiff" videos have been popping up for a hot minute from them, but not so much so when you could yank Mantises, Intellijel 7U x 104s, etc off the shelf. Just sayin'...oh, and this might just have something to do with the excess of these skiff builds in general, because if manufacturers are trying to unload these (too) small cabs, they'll be sending 'em to their A-list of "influencers" for appropriate product placement.

I, however, am NOT easily "influenced". I suppose I've been around the music business long enough to not be blind to the sneaky shit. So MY take on YouTube clips is one that's been focused through a rather jaundiced eye where "sneaky" is concerned; as for the outright incompetent stuff on there (and there is a BUNCH!), it's way more obvious and most anyone can figure it out. But you need to keep in mind that quite a bit of what you see on YouTube where these things are concerned is actually rather devious "free advertising", and while YT is presumably trying to crack down on this, using YouTube as a reference for equipment purchases is something that I wouldn't recommend for anyone starting off for precisely this reason.

Actually, you've managed to rule out the busboards AND found the culprit. It IS the power supply, and there's something specifically wrong with the second flying bus header!

Next step, therefore: pull the power supply and inspect the "buzzy" bus header. For starters, do you see anything inside the header, such as dust, maybe a tiny bit of metal, bent pin, etc etc? If you can get the supply housing open, do you see anything on the soldered connections to the header that resembles a cold joint, or maybe there's some other soldering fault that's having the same effect as a crossed wire from (best guess here) the Eurorack bus line to a power leg?

Yeah, it's confusing...but this is troubleshooting, that process of elimination of causes of screwy behavior. It's tedious, it's annoying...and it's invaluable, because this is exactly how you learn your rig. Look at it as the 21st century equivalent of being an oboe player and knowing that if you want to play at your best, you need to cut and tie your own reeds. What you're learning as you poke around in this thing WILL translate to being able to deal with other equipment faults in an effective manner, over time.

For the cat matter: it's even worse now with the dark theme. Now there is a negative cat which in theory should neutralize the regular cat if they ever meet what god forbid hopefully will never happen.
-- modulargrid

SYNTHMAGEDDON!!!!! My god...we'll all be forced to play kazoos if that were to happen!

This has issues. For one thing, you have no VCAs, no filters, no utilities, and nearly half of the build is taken up by effects. So there's not even a typical audio path here, just a single digital oscillator with reverb, delay, or both. And since this is in an 84 hp skiff, you have all of 4 hp into which the rest of that path can be built. Sort of a recipe for disaster, IMHO.

Instead of building in this Niftycase, step on up to a bigger cab...Mantis, Intellijel 7U x 104, that sort of thing. For one thing, you'll have more than twice the panel space that's here. And that then lets you build out a proper setup; these tiny skiff builds pop up way too often on YouTube, and they're a bit of a fraud inasmuch as they're NOT suitable builds for beginning modular users to either build a full system in and/or they force decisions that beginning modular users are really not ready to deal with...such as implementations in confined spaces and knowing what can be removed and what must stay in place. They're fine if you've got an idea for a "mission specific" build...but that's about the extent that they're really good for, and certainly NOT general purpose modular setups.

Why only 4 Rows ?
I have a Case with 6 x 104 TE and 1x 1U .
is it possible to expand the possibilitys?
-- ebotronix

Of course it is. If you spend the pittance needed to get yourself a Unicorn account, you can then start creating HUGE builds, plus you'll then have up to 60 possible racks to work with.

If you've got a second power supply, even if it's underspecced for the time being, try connecting its DC legs to the busses in the new cab after you disconnect the Meanwell that's already there. Then just put in a few modules that appear to be the "usual suspects" here and see if the buzzing continues.

The more this goes on, the more suspicious I'm getting that it might actually be an issue with the filtering on a busboard. By checking these using the older (and obviously functional) P/S, you might be able to eliminate the Meanwell as a source of the noise if the buzzing happens on the other supply.

Mine's been here for about a week now.

IS it all that and a bag of chips?

OK...let me explain that I've got a LOT of background where I've used versions of the original. When I posted a review on Sweetwater's site, I'd thought that the B.2600 would be the seventh one I'd used. But I was wrong...it's the EIGHTH. Of those, three were Tonus-logo rev.2s, two were G-clef-logo rev.3s, and two were the "Orange" rev.4s. And one of those "Oranges" was only about two years old when I used it (right around the time ARP closed up shop, in fact), but I definitely remember it, how it behaved, sounded, and such.

And shock of shocks, Uli has now given us the synth that, for all intents and purposes, is the REAL, BONAFIDE, NO-FOOLIN' REV.5! Yeah, screw Korg and their vapor2600s...Behringer, with the assistance of Rob Keeble, has knocked this thing out of the park...and the parking lot beyond...and busted out the front window of the Carl's Jr. on the other side of the expressway!

How can I say that? I mean...Uli's pretty much not a nice guy, and buying anything with that ear logo on it STILL makes me cringe. But dammit...

OK, OK...the upshot is that, if you were to compare a NIB Behringer 2600 with a pretty-much-new "Orange", as long as you had the BARP in the x1 time constants on the EGs and the 4072 VCF in use, you would have a very difficult time telling them apart. As in, REALLY difficult. So why are all the purists saying that this doesn't sound like a "real" 2600?

Well, it DOES sound like one...that's not 40-50 years old, with 40-50 years of component deterioration, 40-50 years of use and abuse, 40-50 years of drifting out of factory spec, and so on. And therein is the problem: none of these BARPs are 40-50 years old. These guys are so busy A-B-ing these in their heads that I'm pretty sure that they're comparing the BARP to an old, vintage unit that they've got access to now.

And that's NOT the right thing to compare it to! It's sort of like comparing a 1956 Chevy Bel Air to a 2021 Hyundai Sonata -- yes, they both have four wheels. They both run on gasoline. They have decent interiors. Annnnnnd...that's where things start diverging. Put that Chevy out on the interstate and punch it up to 90...and before long, that thing'll throw a rod or something equally horrible, whereas the Hyundai takes it in stride. This is the problem here, translated into aging electronic components.

For a more in-depth look at this, I'd suggest looking at my review over on Sweetwater's listing for the "Xmas Tree" 2600, which is what I got. The sole flaw...and it's a nitpicky one, but important IMHO...is that Behringer doesn't include any OEM 3.5mm cables or dummy plugs with the synth. The latter are ESPECIALLY important, as what they are are 3.5mm plugs with no connection inside, which lets you break connections such as, say, VCO2's Keyboard CV while keeping VCO1 under CV, then feeding these through the ring mod. But beyond that, I have zero buyer's remorse. It IS what Korg promised...and then didn't/wouldn't deliver on, or plans to deliver on "someday" with a "crippleware" version, neither being ultimately acceptable as long as Uli's version can be obtained for far less and with far greater ease than either.

And again, by no means is this an endorsement of Uli and his behavior. I 100% think the Music Tribe needs to find a way to curb his juvenile antics, as they DO cost them quite a bit of business...to say nothing of doing little to overcome Behringer's rep for IP theft. Instead, if they can shut him up (thorazine is useful), products such as the new 2600 would be more than capable of demonstrating what they're capable of and could well be a way to build a very different and more positive public image. It's that good. No lie.

Well, for one thing, I'd go with a beefier and proven power supply. Behringer's doing decent stuff, but you never, EVER want to skimp on power, as that's the part that can cause catastrophic failures. Also, you want to OVERspec the current ratings as far as you can, as this lets the power supply run cooler and, given that heat is the real enemy of electronic components, with a lot more stability. A 4ms Row Power 40 comes out to about twice the Behringer...but has a good amount of more current headroom over it, and in the end will probably be far more reliable as a result.

+1 on bigger cab. Especially if you're insisting on using big honkers like that Verbos Harmonic Oscillator! Otherwise, you're going to have a problem with a single VCO that takes up 32 hp of an 84 hp row.

Or, consider this: are you really looking for a Eurorack solution here? If you dig the sound of that oscillator, fact is, you might ACTUALLY be happier spending the extra money for a small(ish) Buchla system. Yeah, it can get VERY spendy, but if the West Coast methods are really speaking to you, you might as well consider tossing that cash at a long-term solution of THAT sort. This build is up around $2500 already (modules + case) and it's only 2/3rds full. By the time you fill those spaces, you're actually heading into the zone where another few hundred bucks (if that!) can get you a Sound Easel. No lie...see here: https://buchla.com/systems/ And honestly, that sort of move would make LOADS of sense, as the Sound Easel is one of those "best teaching synths" (along with the ARP 2600) and you can learn tons from following how Don intended things to work.

I delved into modular when I saw what Knobs, Ricky Tinez and Ihor were doing in only 62hp. That's what I'm into, I also have a ZOIA and never used the external cv.
-- Lorenzzz94

OK, hold it. Just because experienced, seasoned synthesists who know modular (to varying extents) are on YT pushing an idea does NOT mean that it's a GOOD idea. Fact is, beginning modular synthesists really shouldn't try this "tiny skiff" idea because it will lead to either a poor understanding of modular capabilities (as you won't have room for very many of them) or a decently-outfitted modular in theory which, in practice, contains teensy knobs with no space for fingers to get in amongst the patch cords, etc. Neither are worthwhile, and both can lead and HAVE led new users to abandoning expensive systems...which I suppose is great if you're a YT modular sort and like having an ample supply of cheap used modules on the market. Gotta build up that video set (that never seems to be used for anything else) somehow, right?

Even so, as noted above, a 6U x 104 hp build in something like a Mantis is STILL a "small" build. Even TWO Mantises, because you're still in the range of gear sizes that'll allow you to stuff the whole mess into a suitable gigbag. When it starts getting "big" is when you start using the big Doepfer Monsters, or ADDAC's 1 meter x 5 or 6 row cabs. But in 208 hp alone, you can still create a build that contains parts of most to ALL modular aspects, and it'll still be quite portable (a Mantis measures 21 1/4" x 12 3/8" x 4 1/4", which is about the size as a flattened trumpet case...and Tiptop even makes a custom canvas gigbag for them!).

It really needs a proper input module. Not only will something like a Doepfer A-119 bring external levels up to the right voltage, it ALSO provides an envelope follower, which is a circuit that translates amplitude (incoming audio) levels to voltage levels, plus it also provides a gate output so that, as long as your audio is above the gate threshold level, you'll have a 5V gate signal to do things like fire/sustain envelope generators for use on VCFs, VCAs, etc.

A typical sort of A-119 patch would see outputs for your audio (now amplified to the correct synth level), the envelope follower's CV out sent to a VCF cutoff, and the gate out to an envelope generator or, if you just want on/off action, directly to a VCA in the audio path. By doing this, you can change timbre via your input signal's dynamics while also firing off a gate pulse for some other purpose. Useful.

As for the Behringer 914...filter banks are more like equalizers, not filters...despite the name. You can force them into resonance, though, if you use an attenuator to put together and control (CAREFULLY!) a feedback path from the 914's output back to its input; more than likely, this is what you saw being done. But this isn't going to yield the sort of results (and possibilities!) of a proper VCF, especially since there's absolutely no "VC" going on with a filter bank. Hmmmmm.......

EDIT: Hawt damm...OK, I whipped up something in an Intellijel 7U x 104 hp cab that's rather different. For one thing, it's got SIX inputs! Have a look:

So, there's two channels of input in the tile row (with level controls) and those are for feeding the two Ladik envelope followers below. Then you've got four more direct line-to-modular level converters over in that area as well for feeding audio without attenuation controls. But let's look at this a bit more systematically...

Tiles: Two channel input (fed by a pair of 1/4" jacks in the cab), single channel MIDI interface (also via a connector on the cab), Noise Tools (sample and hold, clock, slew limiter), DuATT (two-channel mixer/attenuverter/offset), Dual VCA, then a mono effect send/return and 1/4" dedicated jacks for that, and lastly, your level-controlled stereo out. As for that mono FX part, since you've got an outboard spring unit, I opted to keep that out of the modular and use these to let you put the spring into the system. This keeps crashes from random bonks and thunks on the modular from causing BLAAAAANG.

Top 3U: Quad level shifter, two envelope followers, then Noise Reap's Paradox dual(ish) VCO, with a Veils, a dual ADSR from Doepfer, then one of G-Storm's SH-101 VCF clones and an SSF ADSRVCA; those last five modules are intended to give you a hefty bass voice on the bottom end, using one of the best sub-wrecker VCFs around. And then...it gets weird! Next up is a Limaflo Motomouth...a vocal formant VCF, which lets you impose voice-like wahs on an audio signal. Alright's Chronoblob2 is after this, it's a killer delay line, capable of stereo or mono operation...and in mono, you get that twisty feedback path insert to play with. G-Storm's nice, gritty chorus cloned from Roland's JP-4 is after that for some dirty swishiness. Then we get one of Xaoc's devices, their Kamienec 4/6 stage VC-able phaser. Then next is Synthesis Technologies' Deflector Shield, which gives you a real frequency shifter for trippy detunings, wild, out-of-control phase effects, bending sounds into metallic FMed clangers, and so on. And the little white sliver at the end is a Konstant Labs PWRchekr to keep an eye on your DC rail conditions.

Bottom 3U: More Noise Reap trouble with their uLoaf, which is an LFO (per)version with a lot in common with the Paradox VCO in terms of interaction between the two circuits. Not so much a repetitive cycle thing, but more wobbly and weird. Maths (of course) next, then the Tiptop MISO lets you cook up more modulation signals from the sources by generally messing with the behavior of the modulation module outputs. The other source is the Intellijel Quadrax/Qx combo, offering two or three stage envelopes, CVable LFOs, etc etc. And the MANUAL modulation control, a Doepfer A-174-4 three-axis joystick with onboard "joystick math" outputs, allows you to add your own hands-on touch to many different functions in the build. Mixing gets done by the TexMix setup, with four mono inputs and four stereo, and given the high flexibility of the TexMix system, it lets you break out things via the outputs, the two AUX sends...PLUS you get four more VCAs over your audio on the mono module. And with the DOUTS module, you can even take a direct output from a single strip on the TexMix and send that separately to the DAW.

The idea here was NOT to create a typical modular synthesizer. Instead, I took a few cues from explanations of how Tubby's Dromilly Rd. studio plus Lee Perry's original Black Ark were set up, and cooked up a box here that can be dropped in to deal with a lot of that functionality, while making additions to the module complement that can work for the old-skool dubplate sound as well as the newer Deutsche Dub sounds. Now, to REALLY open this thing up, I'd also suggest some of the following...

First of all, you need some crossovers. Get as many bands as you can, because you'll be using a pair of these to split up parts of incoming mixes into different frequency domains. I use a pair of four-band mono crossovers from Wheatstone/AudioArts for this, then what I use NEXT are several of THESE: ZRMAAOSwEmlZ1RpV" target="_blank">https://www.ebay.com/itm/132351591652?hash=item1ed0c504e4ZRMAAOSwEmlZ1RpV Not necessarily that exact model, but Krohn-hite is THE name to know in outboard filters. Anyway, what I use these for is, once the crossovers have done their job of bandsplitting, these various Krohn-hite (and here in my studio, a few others) filters let me "zoom in" on a specific sound. This sort of thing is especially effective with the envelope followers, as you can use a VERY tight bandwidth on one specific sound to trigger one of them. You could even be putting some OTHER sound under the control of the envelope follower to create a "ghost" based on the original extracted sound's envelope...but NONE of its spectral material!

In short, it's a box of dub trickery and general sonic weirdness that goes along with that. Put to the proper use, I doubt you'd ever really hit the limits of what it can do, particularly if you've put it into your studio's workflow in the right place (right by the mixer, tbh!).

EDITED May 12th 2021, 01:48

And God forbid that Moog Music might suddenly decide to start making Eurorack modules!

Not reading the manual works fine with prebuilt synths, I should note...in fact, Brian Eno has long advocated for the "switch it on and see what it can do" approach. But with MODULAR...there's just too much that can go wrong, malfunction, blow up (unkeyed bus header funtime!), or kick you back several feet when the screwdriver slips a millimeter. And aside of the obvious hazards, not every function works the same on every module. Not reading the manuals for modules, especially when something seems unclear without their counsel, is just plain 100% dumb AF.

Even after 40+ years, I know that you just DON'T DO THAT. But then, I'm also comfy working with amateur radio gear that won't merely bounce you around the room when you touch the wrong thing...it'll just outright KILL YOU.

EDITED May 11th 2021, 23:54

Yuppers, plus Schlappi's Interstellar Radio module admirably lives up to its blurb: "DESTRUCTIVE TRANSMISSION LINE". It's perhaps a bit less Trent-ish and a bit more Throbbing Gristle-y.

I see they're also working on a PLL-based frequency divider/multiplier called the Harmonic PLLaser. I think we can all expect it to be suitably brutal!

[Elaborate explanation deleted]

The cat should be gone.
-- Sarksus

You underestimate the MG Kitty. It's very devious, not to be trifled with. Several people tried to get rid of it...and they all DIED under mysterious circumstances in their studios, torn to shreds by some THING that appeared to have clawed its way out of a modular synth case. All of the witnesses to these hideous attacks said they could hear animalistic yowling, screams, and the sound of blood spattering...and when they got into the studio, all they found was cat hair, mangled flesh, and a business card from Cwejman. Simply terrifying.

And of course, the point that once you think the modular is finally DONE...it's not.

+1 on bigger case. I'm 100% down with that here, especially if these big lunky modules are going to be the norm.

OK...let's get a few things about voltage levels explained. First of all, in the non-modular music gear world, you'll find two standards in use. One of these is the "consumer" line level, for which 0.775 Vrms = 0 dB. Then there's the hotter "pro" level, which comes out to 1.4 Vrms = 0 dB. Note that both of these are the audio levels; clock, gate, and triggers tend to always be 5V, no matter what...

EXCEPT...

That Korg. The Korg MS-series stuff (and its relations, such as the SQ-10 and VC-10) uses a "negative-going" gate/trigger scheme, sort of similar to the old Moog "S-Trig" bus but far less prone to voltage sag. So while you could use the MS-20 as an audio input, your ability to fully use the envelope follower in a way that the modular likes will be pretty compromised. The solution to that is something like G-Storm's KVP, which is a "translator" to/from normal synths to the Korg MS-environment's negative trigger/gates and Hz/V scaling.

See, in modular, there's still some debate as to whether the level for signals besides gate/trigger/clock should be 5 Vrms, 8 Vrms, or 10 Vrms, and then there's the major CV scaling difference, which assures that you can't effectively use an MS-20 (without conversion, natch) as a controller for a "standard" modular (unless, of course, your name is "Richard D. James" and you make use of the scaling mismatch to work in microtonal tunings). But that scaling issue is pervasive...the entire MS-verse is set up for that Hz/V scaling, from your VCO CVs to the modulation sources.

My suggestion is this: first of all, disconnect the spring tank from your mixer's send/return. The reason it sounds so quiet is because the audio levels IT wants to use are different. You need to feed it a 1.4 Vrms (or higher...depends on the tank) for its input, and then the output from the spring tank needs quite a bit of preamping as that's a raw signal right off of the (usually) piezo pickup on the springs...very LOW level signal! Also, there's probably some interesting impedance mismatching going on there as well.

Next, jettison the present build. It just isn't going to do what you think it should. For one thing, you have no way to bring your inputted audio up to the proper voltage level; something like a Doepfer A-119 is needed. Secondly, go back and study your dubplate stylee masters...King Tubby, for example, made extensive use of the highpass filter on his MCI JH-416 desk; a filter bank of this sort isn't quite the right device for the job, either musically or historically. I don't see the need for the wavetable VCO, either, especially in the absence of the rest of the synth it should be a part of. And the SOMA delay, while really cool, is huge...it REALLY doesn't fit this, and it'd be a real stretch to jam into even a 2 x 104 build. Instead, there's loads of delays that even have that right lo-fi BBD sound out there; you could strap together two of Noise Reap's Dub Delays, or use just one alongside an Alright Devices Chronoblob2...which is stereo and which also features the quasi-irresponsible bit of madness that is its insert point in the feedback path, which allows you to put something else in there to mess with how the delay deals with repeats. But really, the overall point is to conserve panel space while keeping the functionality as high as possible. The build above, aside of not really being set up to work, is lacking in functional density when you compare it to other builds.

Instead, look into a WAY larger case...at least, while building on here. The rationale is that you can overbuild FIRST, then strip this down gradually into a system that does what you want AND which is engineered to fit into the optimal necessary space. THEN select a cab to put the whole mess in and put the result together in hardware. Also, expect this to take a while...it's NOT the easiest process, building one of these modular thingummies, but you've got the best resources possible with Modulargrid.

Yeah, the idea there was to put the Rene in so that it can work as either a sequencer OR a touchplate controller, depending on what a patch called for. Plus, the Rene has some neat interactivity when running that could be rather useful. This is also why the matrix mixer is right next to it, since those can also function as a sort of controller for altering CV behavior on the fly. FX Aid XL, definitely! Happy Nerding's really cooked up a WIN with that module.

Well, I use a Tektronix that's rather like that (but beefier, plus it's a linear supply) for my AE system, but you'd need something that has discrete +12 and -12 outputs, and I'm going to venture a guess that that Kungber probably doesn't, despite the panel markings.

THIS, however...https://www.mouser.com/ProductDetail/Bel-Power-Solutions/HCBB-75W-AG?qs=gCHJnwMCk7Sa%2FhsO6vvSjg%3D%3D Well, it's a linear supply, outputs +12 and -12 at 1700 mA and 5 at 6A. More expensive than a switcher, too. But it's also pretty much the last power supply you'll need for this cab. And if those current specs are still too low, there's a couple of other models that up the +12 and -12V rail current.

It's also worth noting that these Bel units look an awful lot like the OEM ones that Synthesizers.com uses...

One other point about those 2hp VCAs: you have no mixbus between them. If you go with things such as Happy Nerding's 3XVCA or Mutable's Veils or Intellijel's Quad VCA, you ALSO get a mixer thrown in for "free". And this can come in handy quite often; fact is, you should always try and look for additional functionality whenever possible, as this ups the build's capabilities while keeping the "sprawl" down.

Of course, it's worth noting that my finest bass patch of all time (it DAMAGES things!) was programmed on my Casio CZ-101. It's not always necessary to go with modular, after all...

As far as linear P/Ss that'll do a good job with modular in general, keep an eye out for some used Acopian ones. You might also try getting one new, but keep in mind that that'll cost more.

O-scope? Check this: puAAAOSwXzdgXmcI" target="_blank">https://www.ebay.com/itm/174707999737?hash=item28ad6883f9puAAAOSwXzdgXmcI Notice that this also has X-Y capabilities, which is a must; you can then not only use the 'scope for working on gear, but also to check mix phasing via the X-Y display. Check this article out: https://transom.org/2016/its-a-phase-youre-going-through/ So even if that GW Instek isn't what you're looking for, keep in mind that you want a DUAL-trace scope that can do that X-Y display for stereo phase checking; if you do any sort of banger tracks, knowing what your low end is doing is essential, especially if you're planning to press a track to vinyl.

EDITED May 10th 2021, 01:43

Another possibility would be the Tiptop Fold Processor...this gives you a dual-input waveshaper (with CV control) AND an audio suboctave divider. Not only can this do the suboctave division, but you also have the ability to do a lot of timbral alterations to inputted signals.

OK...I opted to show what a full-on modular for the sort of soundtrack work you do would turn out. This build is based on a pair of Tiptop Mantis cabs with their connecting hinge add-on.

Yep, it's much bigger than the original, but the objective here is to show an "optimal final configuration", which should give you a decent aiming point for that.

Top row: Two Plaits, then a Void Gravitational Waves, which is a complex dual VCO with its own ring modulator. The Fold Processor allows you to mangle the waveforms of these, even via crossmixing the waveforms, plus it also gives you a subbass divider. A Veils then allows VCA level control and/or mixing of all of this. The A-106-1 VCF (actually a dual VCF, as this is based on the MS-20 Sallen-Key pair) is tandemmed with an Erica Pico BBD so that you can easily insert this delay into the A-106-1's resonance path, with some very interesting results! Then I put in a G-Storm Delta VCF (a copy of the Korg Delta/Poly-61 VCF) for more pad-like behavior, and after this, the Rings.

Second row: This is your modulation row, although the external preamp/envelope follower is at the left end and potentially feeds into the top row...but you can also use this as a modulation source by sending it audio and using only the envelope follower to track the incoming dynamics. The Frankentides is an expanded dual Tides clone for long LFO curves. The uLoaf is two somewhat conventional LFOs with the usual Noise Reap crossmodulation weirdnesses. After this is Maths, then a dual rectifier which can force over-zero or under-zero modulation signals out of the usual bipolar ones. The MISO is a modulation manipulator in addition to a DC-coupled mixer with CV tricks. And after that, three linear VCAs which can also CV-controlled mix modulation signals. The Quadrax handles the AR/ASR envelopes, with its Qx expander allowing cascaded behavior as well as the ability to trigger other actions. Then for ADSR envelopes, I put in an Instruo Ceis for CV-controlled envelopes, and a Doepfer A-140-2 for fixed-level ADSR envelopes.

Third row: The Verbos Random Sampling module gives you a comprehensive array of random signals and noise colors, plus it also contains an analog shift register that can also function as a quad sample and hold. After this is an array of modules for messing with timing signals coming off of the ES-9: a CVable clock divider/multiplier, a step counter, quad gate swing, dual probabilistic pulse skipper, a dual Boolean logic module, Xaoc Bytom for combining clock/pulse signals, and a dual window comparator for picking gates off of modulation curves as well as a "squaring" waveshaper. Following this are two VERY destructive audio mangling modules from Schlappi Engineering, then the Instruo Lubadh sampler, which is positioned so that it's easily usable with the mixer.

Bottom row: There's the ES-9, then a Make Noise Rene which can function both as a sequencer AND a touchplate controller. An AI Synthesis matrix mixer allows you to manually alter CV/mod routings, mixing, and levels. Then the effects: a Tiptop Zverb, Happy Nerding's FX Aid XL, and a clone of the Mutable Warps module designed to fit into a 6 hp space. The Toppobrillo Stereomix2 is the main system mixer, with VCA control over levels on each input, plus CV over AUX sends and panning as well as muting on each input channel. This also gives you a "cue" channel in case something needs adjustment on the fly, plus a stereo AUX return. This mixer allows you to automate a number of functions while you're free to adjust other aspects of a patch.

Missing: I got rid of a number of the original modules because of size vs. functionality issues. For example, there's little point in having a single VCA taking up the same space as four of them. The NE VCO got tossed so that you can have two identical Plaits, which you'll find a much better choice, especially for detuning to fatten up the sound, plus they'll sound very distinct when you also employ the Gravitational Waves at the same time. And so on...the whole point was to up function while conserving space. And as for that last thing, I didn't spec any multiples since this would take up space in a smaller-sized build of this sort, and using inline mults makes far more sense under that circumstance.

Extras: Two of them, actually. If you look at the left ends of the top and third rows, you'll find Konstant Labs' PWRchekrs, as this allows you to keep an eye on your DC busses "health" at a glance. Very, VERY useful little things, those.

Again, this is more of a "destination" build, but at the same time, it's not all that prohibitive. Keep in mind that this is a 416 hp build, which is actually pretty sizable...but it comes in well under $10k, even with a few rather spendy modules in there. But this does what you need sonically (and then some!) for film work, right down to being able to split patches out into individual tracks for the DAW.

OK...to check the P/S, you're going to need the following:

1) A multimeter.
2) An oscilloscope.

Fact is, if you're doing electronic music, you should have these anyway. They're essential troubleshooting tools. Anyway, what you would do is to put the multimeter across the different 12V legs while putting the modules back in. Since you're apparently not close to the current limits, what you'll want to look for is a voltage sag. When the "offending module" gets connected and you see a drop in the voltage across (more than likely the +12V) the leg in question, you've found the issue. You might also consider swapping the ribbon on that module out, as there might be a connection and/or continuity issue there. Also, check the pins on both the busboard and the module to make sure one isn't bent, causing a potential shortcircuit.

As for the o-scope, again, connect this across the DC legs one at a time while adding modules. You'll set the scope for the proper voltage coming off of the DC leg, and start with NOTHING connected to that DC leg (except the scope) so that you can check for any indications of noise, ripple, or other crap while the P/S isn't under load. If you see anything other than a dead-flat line once the o-scope is connected and set, then the Meanwell itself is defective. But if you don't see any anomalies with no modules connected to the DC leg, start adding modules one at a time...and at the point where the dead-flat line starts to show crud, you will have found the problem module.

And yeah, it's tedious AF...but this is also part of the "bargain" with modular (or most any other electronic music) gear.

One other thing to check would be the busboards, particularly if you have filtered busboards in the build. If something in the filtering (like a capacitor) has failed, that could also cause this. For this, go back to the "nothing else connected" step above, then disconnect the Meanwell supply from the cab's DC busses altogether, and check the Meanwell again. If the P/S output shows as flatline-clean without the busboards, then a filter component failure is the culprit here. And like the modules, connect the busboards one at a time until you find the crud.

So, the overall sequence of events is:

1) Disconnect the busses from the P/S
2) Check the P/S with the multimeter to determine if there's an undervoltage or overvoltage. If there is, check and see if the Meanwell has a voltage adjustment. If this is set wrong, use the multimeter to reset the DC voltage to a dead-on 12V. But if there's no voltage adjustment, then the Meanwell is probably defective. If not, then --
3) Check the P/S with the oscilloscope to check the DC purity. What you should see once the o-scope is set properly for the P/S leg voltage is a ruler-flat line on screen. If you see ripple, noise spikes, etc, then the Meanwell is...yep...probably defective. But if you get a flatline response, then this is good. So next, then --
4) Connect each busboard one at a time while monitoring the oscilloscope. If there are no anomalies in the DC, then --
5) Connect modules to busboards one at a time while monitoring the oscilloscope. This time, when you encounter anomalous behavior, note the offending device, remove it and its ribbon, then continue reconnecting modules. Each time you see crud on the DC leg, set that module and ribbon aside as suspect. Continue connecting modules to busboards until you have the build populated with the "clean" modules. Then --
6) Swap out the ribbons on the "offenders", then connect them to the busboards again. If the P/S crud goes away when each one is reconnected, the problem was in the ribbons. But if the crud comes back, the module you'd just reconnected has a fault. At that point, you can either contact the module's manufacturer, or give the module a good look-over to see if there are any solder joints that appear lumpy, grainy, slopping over other traces, etc. If you feel confident about your soldering skills, you can try and correct these...but otherwise, take note of which solder joints look bad and include info about these when contacting the manufacturer.

Now, if the Meanwell IS defective, then you've obviously got to replace it. But if this is necessary, one thing I would strongly suggest would be to replace it with a LINEAR power supply. Yes, they're more expensive. Yes, they weigh a ton. But because of their circuit topology, they CANNOT impose noise signals onto the DC busses because linear supplies divide DC via a transformer (while still in the AC domain) and NOT via switching circuit schemes which tend to have more noise, usually in the ultrasonic range. Both of my modular systems (Digisound 80, AE) use linear supplies...and in fact, the Digisound's was specced by the man, myth, and synth legend Kevin Lightner, who definitely knew his power supplies. Plus, my power solution for the AE system was to utilize a lab-grade linear Tektronix supply to feed its 9VDC inputs...again, these do amazing things for synth audio quality, stability, and getting rid of noise. If the Meanwell has to go, this is the better choice anyway.

Yep...you just have to be very "value conscious" when scouting out modules. Case in point: Noise Reap. Noise Reap's modules are inexpensive and often offer some downright warped takes on how "normal" modules work. Sure, they're kinda ugly (but legible!), but if you crave weird complex VCO behavior, they've got you fixed with something like their Paradox, which is just...not...RIGHT, but in all the "correct" ways for $120. So it IS possible to bring a small build in for $2k-ish, but again, you have to proceed VERY carefully and spend the time necessary to dig through the MG database for the "gold".

I've got it, too...it seems like the display page for the builds is defaulting to the maximum free account size. Doesn't seem like a browser issue, either, but more something to do with the Unicorn build limits not being properly dealt with at the HTML level.

It has one, yeah...but the thing is, you need A LOT of VCAs if you're really going to wring quality results out of any modular. The reason for this is simple: VCAs control ALL levels (audio AND modulation), and having "raw" VCAs for this purpose is pretty essential. They also have uses such as four-quadrant modulation (sort of a VCA-based version of a ring modulator) and amplitude modulation (modulating a thruputted signal with an audio-frequency signal from a VCO).

Example: have a look at Mutable's present iteration of Veils. Now, this contains four VCAs which also sum down via a "breakable" mixbus. If you need a separate VCA, just patch its input and output separately, and as long as this output patch doesn't break the mixbus downstream from your mixed VCAs, you're good. Plus, this has that famous and ultra-useful response curve pot, which they pioneered and which allows you to change the behavior of the VCAs continuously from exponential (which is mainly used for audio, as we perceive changes in apparent loudness on exponential curves) to linear (which mainly gets used for modulation, as linear responses don't distort the modulation curve responses that other modules want to see). Note, also, that you can make a linear VCA respond exponentially for audio by feeding it exponential control signals, such as from an envelope generator that can output exponential envelopes.

BUT WAIT...there's MORE! Not only are there two different response curves (in general), you also have two different circuit topologies! When using a VCA to control signals below the bottom limit of hearing down to DC, you have to use a DC-coupled VCA. But for audio...especially at the very end of your signal chain, before the output to the mixer...you need AC-coupled VCAs for a very important reason: you DO NOT want to output DC to your amplification and monitors because, well...

Now, if the objective here is to output numerous separate audio channels in sync with the DAW...THAT has a very elegant solution, thanks to Expert Sleepers: their ES-9 is a soundcard interface module, which gives you 14 outputs and 8 inputs, and which works with any VST-capable DAW via a plugin called "Silent Way". This then lets your DAW sequencer DIRECTLY control the modular via the 14 outputs, which you can dedicate however a project dictates, and you can send eight channels of audio back to the DAW directly from the modular...or if you need to, you can also use the modular clock and feed that down an output channel and then that will become the entire system's clock, with the DAW responding perfectly to any changes you make with the modular's timing. If this is going to be a film scoring rig, I'd strongly suggest something like this.

It seems to me, also, that what's REALLY needed here is a build that's more soundtrack-specific...something that integrates with the rest of the studio seamlessly and which is sort of genre-specific for the majority of your scoring work. As far as that's concerned, something bigger is definitely called for here, as well as something primed for a more industrial/cinematic result. If you're good with majorly upping the size (and cost, annoyingly) of this, you can get into a build that will be able to deal with LOADS of sound for film possibilities with ZERO issues.

The out is a Doepfer Mini Stereo Mixer A-138s. This feeds into a Yamaha MG10x external mixer, which...
-- eexee

OK, let's stop there for a bit. For starters, there's a big level mismatch going on, since the A-138s outputs signals at modular voltages (up to 10 Vrms) and the MG10x has a 0 dB input reference at .775 Vrms (consumer level, which means that the input pres are NOT up to pro standards). That's a pretty wide difference, and probably plays a part in what's going on.

Secondly, since you mention that the sound appeared after shifting to the Meanwell-powered cab, are you 100% sure that the grounding for the internal P/S is set up correctly? Given that patching more modules yields more noise, I suspect that you've got a grounding issue, since the patch cables will tend to pick up more crud as they increase in number. Mind you, this isn't an issue unless you've got your AC supply going directly to the Meanwell. Also, by "grounding" I also mean that the patch panel itself cannot "float" relative to the internal DC ground, so double-checking the internal DC ground connections might yield a fault.

Third, if these don't work, the next suspicion would be a ground loop between the modular and some other device, particularly something digital given the character of the noise. Or it's also possible that what you're hearing is good ol' 60 Hz with a considerable amount of distortion from the level mismatch. You can test this by using a "ground lift adapter" if the Meanwell has a 3-prong AC input. Put that on the power cord, plug it back in, and if the buzz disappears, you DEFINITELY have a ground loop issue.

Another way to fix ground loops...and one I strongly urge if you're not living/working where balanced AC power is the norm (Europe, for the most part, has balanced power)...would be an isolation module that would go between the mixer's outputs and the inputs for the mixer. This also has the plus of these having level controls; something like Happy Nerding's transformer-isolated Isolator also gives you a ganged stereo level control to bring the level mismatch under control.

Lastly...and also a ground loop issue consideration...would be to "star-ground" ALL of your gear to a common ground point with some basic hookup wire. And even if you don't have an issue with this, it's still a good idea as it'll help lower your overall noise floor by draining any e-crud to that common ground, where it can then go right onto the ground leg of the AC. I should note that I do this in my studio even if there's no apparent noise/ground issues, as it has some very beneficial results that can wring out a bit more S/N, cleaning up the lowest digital levels.

Sure, but there's "small" and then there's TOO small. With both Keith and Kaitlyn's work, they're used to working with larger modular systems, so you've got to approach that "small" with that point of scale in mind. Also, Kaitlyn's "small" is often something like her Buchla Sound Easel...physically small, but as far as capabilities, not small at all!

That being said, the Mantis pretty much IS the sort of "small" that's being tossed around there. 208 hp, fits in Tiptop's own gig bag, etc...ample room for the right sort of modules, but nowhere near the size of a big studio rig. Building up something along the general equivalency as an Easel in that sort of cab is pretty easy(ish), but in the previous skiff, that wasn't going to happen, mainly because the Buchla has loads of interconnectivity inside of it that isn't so apparent until you sit down with one. Eurorack modules are just not set up like that, so you've got to make sure you've got the room to compensate between "Buchla small" and "Eurorack small".

I'm not down with trying to cram drum functions into this at all. This is simply TOO SMALL to support all of these subfunctions without having to compromise the build in general. It'd be a nice cab JUST for drums, but if you try and get this build to do what you're aiming for at present, you're going to wind up with a boxful of half-measures.

Again, I put the blame here on YouTube. Yes, people on there build single row skiff builds. No, they're NOT necessarily the right way to go, especially if you're just beginning in modular. For one thing, they're not easy to configure AND get right. Secondly, they force users into either using loads of tiny modules, resulting in an ergonomic nightmare, or they force compromises in the module complement that causes the resulting build to be rather underpowered. I've referred to most of these sort of builds, when they work, as "mission-specific"...the user has a limited range of functions in mind from the start, and that guides the build process. But it's a massive pain to take a serious build with optimal results and then try and shrink this down into 3U x 84 hp. Instead, follow Jim's lead here, and start looking for a much better (and bigger!) cab for your rig...then just repurpose this Cre8 cab for drums. That is, do that if you like spending excessive amounts of money on something that a proper drum machine is capable of for maybe 1/3rd of the cost...frankly, that's what I would do here (and what I, in fact, do).

OK...now that we can see it, my first reaction is that this has the "Sexy Module Syndrome" in spades! I see exactly ZERO VCAs for starters, and that's pretty much a fatal flaw. Without VCAs you have no way aside of manual changes to alter the amplitude of either audio or modulation signals. Then there's the Erica Stereo Mixer...which is a mixer for stereo signals and not really a mixer that allows you to pan mono signals then mix those into a stereo result.

Then there's that Bizarre Jezabel filter...looks cool at first, but have you considered what it'll be like to work with those panel markings in a low-light situation, particularly the sort of lighting you're apt to find in a club gig? There's a number of manufacturers whose panels are a royal pain to view in those circumstances (looking at YOU, Noise Engineering!), but I really think this hits a new high in lows as far as being able to suss out what controls do in a glance. And that's what you want, really...clear, obvious, straightforward panel graphics, especially if you're beginning with modular. In short, Eurorack isn't necessarily about appearances...but ergonomics, and nothing fubars ergonomics worse than illegible panel markings (well, almost nothing...a cab full of two and three hp-width modules would, in truth, be FAR worse because you then have tiny panel markings AND no space for your fingers once the system's patched).

I would suggest stopping what you're doing immediately, and examining two things here...

1) be super-critical about what's in place already. Do you R-E-A-L-L-Y need that Plasma Drive in the cab? Would it be more useful as a stompbox so that you can reclaim 16 hp for the modules that can make the rest work better? Are there any other modules that pose the same question? And...

2) what utilities do the present complement of modules need to operate at their best? Do you have room for them? If you don't, do you have a "plan B" about the present cab?

But stop now and consider those two points VERY carefully. This build hasn't turned into an expensive noisemaker YET...but it's awfully close, and you need to proceed carefully and with a lot of careful deliberation in order to avoid winding up with an unruly and difficult to use mess.

Ahhhh...I and my retinas thank you! The dark mode is quite nice, particularly when heading to bed after getting done on MG. The modules look...OK?...but I can see what people are talking about with the washed-out look. Maybe try halving the current grayscale filter's setting from 25% down to 12-13%, and that should nail it while still keeping the dataset small(ish).

OK...let's go through this...

1) How do you mean "use" here? Technically, you can have as many controllers as your build has patchpoints, if you wanted to go that far. If you're trying to use them as simultaneous CV sources for the SAME function, though, you'd need an adder to arithmetically combine the CV values. However, this is apt to get a little bit OUT of control, as you'll have to juggle the behavior of both the BSP and uFreak at the same time and keep your mind on what the CV combination results are going to be...which is apt to get VERY tedious. My suggestion would be to pick ONE controller and stick with that...especially given that this build only has a single VCO in the first place.

2) This isn't "high priced". Trust me, the cost could go LOADS higher, even in 3U x 84; load it with Cwejman and Schippmann modules, and you'll see what I mean. But I can tell you right now, this build is neither suited for real generative work nor could you call it "suped up". Fact is, it's kinda underpowered...with the cab itself being the main problem here. So if I were switching out anything here, I'd start with the cab itself. These little skiff builds might pop up on YouTube and all that, but much of that YT activity is pretty misleading, as smaller systems like this are actually rather difficult to configure...sometimes even for experienced modular users!

3) See #2 above. Seriously, I wouldn't be worrying about modules right now...the case itself, and the lack of space it's causing, is the biggest stumbling block here. And while the Cre8 cab is $199, another $136 could've gotten you into a 2 x 104 powered cab, the Tiptop Mantis. Fix that first, THEN start exploring module options.

You ask, we find: https://www.sweetwater.com/store/detail/Bento2--fredenstein-bento-2-2-slot-chassis

There used to be a second list that MG could generate, the "shopping list", which had the price as well as the main "vital stats" for selected modules. I think it's still in the system somewhere, but I can't recall where it hides now.

never underestimate doepfer especially for utilities
-- JimHowell1970

And to that, I'd have to say that Ladik is another of those "little space, big results" manufacturers where utilities are concerned. Especially rather esoteric ones, such as some of their clock mod and logic offerings. Cost-effective AF, too!

Here it is, Jim: https://www.modulargrid.net/e/blood-cells-audio-d-o-mixx

Depends on the sort of system, really. I myself try and follow something akin to having the audio path and modulation sources separate, with the audio going from left (oscillators) to right (filters, post-VCF VCAs, etc), and then loading the modulation sources in in groups, but so that the control signals go upward and on the left, and the audio goes downward and on the right to the output module(s). But there are "special circumstances" where this might not be the best solution.

if you are convinced you need beaks, morphagene and clouds - I would get another row for modulation and utilities
-- JimHowell1970

I take it that the beaks are extras needed for the Crow...?

Ukugene ;-)
-- wishbonebrewery

Isn't that J-M Jarre's new techno-Hawaiian project...?

First up, you've got some discontinued modules in this. That Pitt output module is out of production, and the Tiptop EG has transitioned to another revision. Secondly, you won't need ANY mults in this, as the build is simply too small to give up functional space for something that should be dealt with in this case with inline mults. As for the need for a buffered mult...this only comes up when you're trying to send a scaled CV to so many VCOs that you get voltage sag, which throws the scaling/tuning out of whack. Not enough VCOs here to require that.

The way I see it, you've got two choices here...

First up, start in a bigger case. And I mean REALLY bigger. Then scale this back to a more practical result...but step on up to 2 x 104 or such.

Second option: shrink the modules. Do you actually NEED those large modules, or can you reduce the panel space by substituting other modules, smaller "clone" versions, etc?

In truth, BOTH of these options should be kept in mind while reworking this. Also, if you have a specific musical idea in mind here, look around MG for builds by others doing this...there's quite a few. The general idea you're on is right, but there's a lot of miscues here...such as the O/A/x2. It's $100 for a pair of offset gen/attenuverters. But for $9 more and 2 more hp, you can get Intellijel's Triplatt...which gives you those functions, adds one more attenuverter, then sums all of the inputs via a "breakable" summing bus, plus it also has a couple of "hidden" functions. Since the idea is to always push functionality, it makes far more sense to find those extra 2 hp to put one of THOSE in. But there's several points of that sort where it appears that a bit too much YouTube has crept into the build...and tbh, there's only a handful of YT presenters that I consider to be conversant enough about modular that I would listen to their (unpaid-for!) advice. It's far better to work these issues out here on MG among the "working modular stiffs" instead of watching a presenter with fairly "opaque motives" that might be telling you something based on getting some compensation such as a freebie module, and NOT on actual use and experience.

OK...well, for starters, those two delays are set up rather differently, with the Pitt having CV over only delay time, and the 2hp having CV over delay time, feedback depth, and wet/dry balance. Given that these aren't exactly alike, it would follow that both of these shouldn't manifest the same problem. One or the other might be malfunctioning, but both? Not likely.

So, let's look at potential user error. Put the 2hp back online and see if this is what you're doing:

1) Connect an audio source to the "IN". This MUST be a synth level audio source; if you're trying to input a LINE level, it won't work without stepping the audio UP to synth level. Line level audio is either .775Vrms (the "consumer" standard) or 1.4Vrms ("pro" standard), while synth audio in a modular typically runs between 5 - 10 Vrms depending on synth format, etc.
2) Set the "FDBK" to about 10 o'clock.
3) Set "MIX" to 12 o'clock.
4) Connect an audio destination (like a mixer input) to the "OUT"
5) Now, while listening to this, sweep the "TIME" control back and forth. If you're using a pulsed and/or rhythmic signal, you'll hear the change of echo time AND a pitch-shift as you sweep the knob. If you use a sustained sound, you might not hear the delay, but you should still hear the pitch-sweeps.

Actually, the_erc managed to nail the #4 solution...but I'm still puzzling over what a rig like this should wind up having and how it should be configured. Not a simple task, to be sure...give me several days, and let's see what I can toss out.

It depends on what you're intending to make the hardware do. If the objective is to pull off as many signals as possible to route back into the DAW, you're going to want inputs galore...something like MOTU's more recent 24Ai, with 24 ins and zero returns could work here if the MIDI interface is being used for clocking and note signaling. But a more practical approach might be their 2408, as it offers 8 ins and (technically) 10 outs, with the ability to add 16 more channels of I/O via ADAT Lightpipe. Just keep in mind that both of those interfaces require the PCI-424 card...but then, that card ALSO has four interface I/Os, meaning that if you went with 2408s, you could wind up with 96 inputs and 40 outputs for fairly cheap. Plus, if you have one that has the PCI-424 card, you can then snarf up cheap 2408s that don't happen to have the card, making them all but useless UNLESS the card's present...ergo, cheaper.

But again, go and check the compatibility list I've linked above. MOTU hardware is only one option.

Yeah, we learned counterpoint from a modern translation of the J.J. Fux classic "Gradus ad Parnassum". Old as dirt...but they did get the rules right.

Actually, that "sustained pitch" aspect is yet another form of contrapuntal structure: pedal point. This goes back to the Renaissance, really...you just put down a single pitch (bass tends to work well) and work out over the top. Which, of course, gives me a real chuckle whenever I run into someone who thinks they've discovered some hot new drone technique. John Dunstable would tend to disagree about that "new" part...or he would, if he hadn't been dead for over five centuries. But that method definitely fits as well...after all, Bach's Prelude and Fugue in c# minor wouldn't have that eerie climax without the pedal point breakdowns toward the prelude's end.

One other interesting point about how Renaissance music interfaces with electronic music: a LOT of the post-WWII European composers (and a few pre-WWII ones, such as Webern) were all over music from that period. For example, Stockhausen's early works have the same sense of linear space as you'd find in early Renaissance vocal music, despite the different sonic palette. And then there's the whole issue of the St. Mark's School composers and their influence, several hundred years on, of how spatialization figures into a composition.