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I can't recommend using the X-Pan as a proper final mixer. It does what it should, true, but this probably needs more inputs plus some easier methods for panning. Instead, try one of these: https://www.modulargrid.net/e/ph-modular-mixer-black You'd need to connect to the XOH via a 3.5mm TRS to a stereo split 3.5mm pair with this, but that's not too much of a problem. You'd have to lose the Links, but it's probably more sensible in a small build like this as you can accomplish much of what it does with inline mults. Then, after the ph modular goes in, you'll have 2 hp left, and for that I'd suggest a 2hp VCA, which gives you two more linear VCAs specifically for modulation control. With everything else in there, that would probably button this up; I don't see anything else that jumps out at me on this build.

This might be solvable with some ferrites. First up, these: https://www.dxengineering.com/parts/dxe-csb31-525-5 These should go on the DC out from the Meanwell brick...open one up, loop the DC out line around it a couple of times right next to the brick, then snap it closed. That'll kill any RF on the DC line before it gets into the cab.

Next, you'll want two of these: https://www.mouser.com/ProductDetail/LeaderTech/SA28B0071/?qs=70SGE8EoboRwQl%252BZe6ev%252BQ%3D%3D One goes on the ribbon cable near the busboard, and the other on the cable close to the module itself. This way, anything that CAN get onto the power line either won't make it off of the busboard, or if it's RFI inside the cab getting onto the ribbon itself, the ferrite by the module will stop that.

...

Consider me in with farkas and troux. REAL generative work requires a much more comprehensive system. Trying to do this in 42 hp is a grave error. Also, picking up ideas from YouTube is dicey at best. Some YT "influencers" do these tiny builds, it's true...but as farkas mentions, they're "mission specific" as a rule.

As an example, here's one of the first, designed and assembled by Bob Moog working in tandem with Joel Chadabe at SUNY Albany: https://modularsynthesis.com/moog/cems/cems.htm Now, sure...this is a 5U synth, and it was put together around 1970, but the concept of generative patching in Eurorack remains much the same in scale, although these days we have more options for elaborate timing behavior and CV generation/modification that do tend to shrink things down somewhat. Also, Moog's modular systems could be a bit of a bitch to get working in a generative configuration because they were missing things like logic, probabilistics, comparators and other related devices, etc. But the upshot is that it's not even really possible to do a FULL-BLOWN generative patch on even a 2 x 84 or 104-sized Eurorack. You simply need too many modulation sources and the modules to "read" what they do to output notes to make this work optimally in even those sizes.

Lugia, you ding Korg pretty hard for snafus and special editions and availability, and that's fair - they should have their act together given who they are and how long they've been at it.
-- TumeniKnobs

Yes, and watching them gradually stumble like they have over the past few years is (and continues to be) upsetting. I have a LOT of Korg gear in my studio...but of that, the most recent has been a second MS-20 mini and a Monologue. I quit buying anything of theirs in the wake of the 2600 fiasco, which to me seemed to be the culmination of a LOT of screwy behavior on their part....or it DID, until they put out the multicolored MS-20 FSs for $1400 when you can still get the electronically-identical MS-20 mini for a fraction of that.

I've used Korg gear since I started, back in the late 1970s. And all through that period, they were ON IT...until they started trying to come out with "workstation" keyboards with dicey programmability around the end of the 1980s. Then after I and everyone else had gotten sick and effin' tired of the "M1 House Piano" on every Brit house track (check The Prodigy's "Weather Experience" if you've forgotten what that hyperused preset sounds like), suddenly they started coming out with REAL SYNTHS! Yay! And while things like the MS2000 were sort of...eh...this period also gave us the MOSS architecture that kicks ass wholesale. We got things like the KARMA and the Prophecy. Then the Volcas and the Odyssey reissue, along with the MS-20 mini. It's a pretty high peak to fall from, and they seem to be doing that as we speak.

I knew that the Paradox would be well-received once you got it in the cab! It might be one of the best-kept complex VCO secrets on MG.

If your build uses an inline DC "brick" for power, try getting a second one and swapping that. The switching supplies that tend to get used in Eurorack can spit out a lot of high frequency hash, although most of the time it's way on up in the ultrasonic range. However, switching supplies can make audible high frequency noise if/when certain components in them are in the process of failing. Also, recheck your amperage draw now that you've added new modules; you might be too close to the P/S's maximum current load by accident, and this would definitely stress the "brick" as a result.

And yes, you CAN use a brick supply that has a higher output than the one you currently have. If you're closing in on that current maximum on any of the DC rails, I'd suggest that as a worthwhile purchase.

Save that the reissues are all but useless to average, everyday electronic musicians. For example, Korg's UK rep was finally forced to admit (several months after the official NAMM announcement) that the ARP 2600 FS was NEVER intended to go to anyone but certain "influencer" and "celebrity" types. I would surmise that the same is probably true of the miniKorg 700FS as well. In which case, these "reissues" don't help ANYONE. And it really isn't helpful when you issue the "everyone else" units and they happen to be "crippleware", as is the case with the 2600 mini, which is missing all of the 3620 keyboard module additions...which, oddly enough, Behringer was able to accommodate.

Yeah, I know...corporate Japanese culture and all that. But if you're making moves that are based in culture that conveniently ignore the needs and wants of your user base, it might just be time to wake up and smell the genma-cha. Korg, in my opinion, has turned into Hamamatsu's version of a dumpster fire at this point with both the divisive "limited edition" bullshit as well as numerous design and implementation miscues that have piled up over the last several years. And now, with the OPsix (Yamaha 6-op FM retread, albeit with a programming interface that humans can make sense of) and the Wavestate (retooled Wavestation A/D-ish) and their demented multicolor MS-20FS line ($1400 for a different color MS-20 mini with 1/4" jacks, while you can still get the electronically-identical mini for $500 and change), something CLEARLY seems to be very, very wrong with Korg. If they keep on this sort of tangent, I think it's safe to say that in about 5-7 years, they're done.

How's this?

The original had nothing much in the way of mixers, so that got fixed. Also, there were superfluous modules in the tile row (buffered mult, scope) that could be better filled by tiles that have some actual functionality to them, so I also yanked all but 4 hp of blank space to add a MIDI interface (could be useful for additional clocking/sequencing) and a Noise Tools 1U, which is where the sample and hold (and noise) is now.

First 3U row is almost the same, save that I moved the Fusion Modulator to the bottom row along with the other mod/control sources, moved the Veils up to the top, then added a ph modular stereo mixer (the output is via a 3.5mm TRS) which ALSO has a proper FX send/return setup so that you can use the Mimeophon or the Fusion FX in parallel when mixing, and not via the wet/dry controls as a direct pass-thru.

Second 3U row...I went off somewhat. I got rid of the Kinks in deference to WMD's Tool Box, which does everything the Kinks did plus WAY more. So, the order now is ES-9, Pam's, Tool Box, then a dual CV controlled Boolean logic module so that you can set up Pam's with a couple of crossrhythmed sequences (or it and the Steppy, etc etc) and use the Boolean gates to form different timing patterns that result from the two inputs "interfering" with each other. Added a Codex Modulex Tides clone next, then Maths, and then three linear, DC-coupled VCAs for the modulation/control sources to work with for amplitude control over mod signals. Then the moved-down Fusion Modulator (it belongs in this row, tbh) and finally, the Mimeophon.

Nearly all of the audio is up top (except the Mimeophon), control and modulation occupy the tile and bottom row, flow is left to right. Lots more solid, more intuitive, and it takes care of a real deficit by adding the stereo mixer, since both the Erica FX module and the Mimeophon output stereo, but there really wasn't a way to get to a stereo result save for using the Erica module as a "stereoizer", which is a bit of a cheat. This should be much more controllable now, and the few additions I've made should open up several new paths for programming in ways that the original simply couldn't do.

You wouldn't have "so little space" had you not put the already-housed and already-powered Moog standalones into the cab. This is almost never a good idea, save in very specific instances where convenience forces this. Also...

Dreadbox cab = $600 and has 2 x 84 hp.
Moogs = 120 hp, $1348.
Per-hp cost of Dreadbox spaces: $3.57
$3.57 x 120 = $428.40

THEREFORE

Your Moogs in this configuration NOW cost $1776.40. And they're restricting you from adding more functionality to the limited cab space. This isn't supposed to be how this works. So, put the Moogs back where they belong, and get a 2-tier Moog stand for them. Set this up next to the Dreadbox cab, and you'll find that there's no ergonomics issues that result...PLUS you now have all of the space in the Dreadbox cab for things which belong in there.

This: https://www.modulargrid.net/e/doepfer-a-143-9 And yes, you can get those sort of LFO rates in its "L" setting with the application of control voltage at CV1.

It indeed looked like an interesting sequencer at first, and looking at some videos, the user interface/workflow doesn't quite look appealing to me.
-- XODES

You noticed that too, hm? For one thing, the video I saw of it made it seem like it behaves something like one of those products from Roland's stagnation periods (mid-90s-ish). Plus, if Korg was on the ball here, they SHOULD HAVE made a reissue of the ARP 1604 sequencer to pair with the KARP 2600 and/or Odyssey (and a bunch of other things besides...similar to the 2600, the 1604 is ANOTHER highly-coveted ARP device). I guess they were busy budgeting for goofy-colored paint for the MS-20, or maybe they DID create one and then lost it in the same closet where they keep the KR-55 Pro's missing sync connections.

Well, I'm thinking what you don't want me to think: GET A BIGGER CASE. However, that IS the root of the problem here. That, and not thinking about the rig as a single instrument, which (invariably) comes up when these "fit a thing in X hp hole" threads appear.

First, consider a Mantis or something along those lines. Then, as you start to populate it, STOP thinking of the modules as individual bits of circuits. Instead, view what you're doing as setting up several blocks of specific activity...sound generators here, modulation there, filtering over here, etc. And make sure that you're putting those subsets together with modules that can synergize; you want modulation sources that can crossmod other mod sources, filters that can work in tandem, and the like. Then make sure that the ENTIRE build has that same synergy between the subset blocks. That's the real trick...and also, that's why most people can't just jump on MG and suddenly know what to do, as it takes time and effort to get to a point where that synergy factor gets optimized.

And yeah, it really does feel like the initial build above was the result of tossing things into a box. Case in point: the very overworked Maths, which is being pressed into service as an envelope generator, LFO, and probably a lot more other things. First of all, when you get dependent on one specific module like that, you're going to use it in ways that the dependency forces you to. The result here is sort of like buying a classic Lamborghini Countach for the purpose of going grocery shopping. Maths is capable of some VERY complex things...but not so much in this situation, because it's being pressed into the service of basic scutwork even though there ARE modules that can do those things better and more intuitively.

I have some similar misgivings about this...if there's a restricted budget issue here, then the LAST thing you'd want to do is to try and buy into modular as a solution.

A smarter idea, if you're trying to get to the PPG zone, would actually be to NOT get a Blofeld...but, instead, get a Studiologic Sledge. I have one of these, and while it uses something akin to the PPG digital "oscillator", it ALSO uses the PPG paradigm of having plenty of controls to futz with live. And yes, Waldorf has software that can serve as a "Waveterm"-type solution for programming that digital engine. But the Sledge is actually closer in architecture to the Wave 2.2/2.3 than the Blofeld, since you have the digital generation + analog signal path which includes a true analog VCF. The Sledge DOES take a lot of crap from people on the Interwebz, true...but when you start digging into the "complaints", it becomes pretty apparent that the users bellyaching about the Sledge never really had to deal with a PPG setup.

Another potential solution to consider: the Modal Argon-8. I have one of these as well, and while some complain about the short keyboard, the synthesis engine inside the Argon-8 is VERY robust, also including their take on the analog signal path. It behaves a bit differently from the PPG engine, but not so much so that you're utterly lost from the moment you turn the synth on. And again, ample realtime controls.

There's also the ASM Hydrasynth, which I bailed on in favor of the Argon-8. This wasn't due to a technical issue, however, but an email exchange with one of ASM's "minions" who opted to rip me a new one for even ASKING about the delivery date to Sweetwater, where I'd already paid for one. After that outburst, which STILL didn't contain the information I was trying to find out, I told my sales engineer there to drop the Hydrasynth and sign me up with an Argon-8 BECAUSE...when I asked Modal much the same thing that I did ASM, I got a cordial reply which actually contained a delivery window and some hints about the upcoming 2.0 firmware. Comparatively, dealing with ASM made me feel as if I was dealing with some sort of lunatic cult...contacting their China ops only yielded a typical "Engrish" form reply, and then that guy stateside. I don't buy things from people who behave that way, even if they might have the "superior" product. But then, your mileage may vary; hopefully Glen Darcey has beaten that rep of his with an ugly stick...because even Sweetwater knew who that ASM guy was and also knew about his shitty attitude.

And lastly, the Korg whatever-the-hell wavetable thing. I have a Wavestation A/D, and a definite lack of interest in anything Korg's up to after the "limited" ARP 2600 shitshow (and other lesser poo-flings on their part before and after that), so I don't really need a retread of something they've already done. And I can get at the A/D's "guts" via M4L, so...yeah. Maybe someday Korg will get back to putting out amazing things...instead of oddly-colored versions of something else they sell for over half less minus the goofy color schemes. I ain't holding MY breath, tho...

I'm not waiting for this, partly because I still think Korg needs numerous repeated headpunches over their ARP 2600 (and a few other things besides) screwup saga...but ALSO because I know that Uli's planning to drop the BCR32, which is a smaller version of the BCR2000 that ALREADY includes the ZAQuencer firmware straight from the factory. And before anyone gets riled up, Uli actually got the rights from the ZAQuencer firmware's developer AND paid for that (or worked out some sort of arrangement per unit sold).

For those unfamiliar, the ZAQuencer is a 3rd-party firmware that runs on the BCR2000 knob controller to output up to three channels of eight steps via MIDI. It's also got a bunch of sneaky functions that are very useful and intuitive...and it's ALSO the reason why you don't see many BCR2000s on the used market for very long. The BCR32 even goes further, with CV/gate I/Os for each "channel" and a few ZAQ-centric additions. Think "poor man's MAQ16/3" here. So yeah, the Korg has more steps and what not, but it also seems a bit "closed-ended" in how it works, where the ZAQuencer is more adaptable and actually pretty agile in live use.

Depends on your definition of "travel case", I suppose. Sure, the Doepfer stuff has handles and so on, but you could go with a Mantis which can be had with a gig bag designed for that cab itself. But the bigger difference there is actually the cost: Doepfer A-100 6U = $530, Mantis = $335 + another $39 for the gig bag. There's definitely more space for utility and ancillary control modules with the additional 40 hp you'd get, too.

For example, if you wanted to go with the Time's Arrow (16 hp), that leaves 24 hp still open...and if you're adding a generative sequencer like that, you'll want some logic + other timing-altering widgets, quite a bit of that 24 hp would probably be best suited for those, and changes to what's already in the 2 x 84 version above would be minimal. But have a deeper look at the current case situation in Eurorack...some time back, I would've probably gone with the same 2 x 84 for a small travel rig, but just in the past five years, that whole aspect of the Eurorack thing got turned on its head by innovations such as the Mantis, Intellijel's 7U x 104 powered cabs, etc.

Well, when I define a "voice", what I'm referring to is the "source + modifier" part of a chain. So if you look at the Ts-L/Plaits pair as a "source" thanks to the 2-in VCA/mixer and the Sinc as the "modifier", that's how that should work. Remember: one VCO is good, but TWO of them means you can do quite a bit with detuning, waveform combination, etc + some form of mixing to sum those signals. And likewise, the Piston Honda has that dual oscillator architecture, then it feeds right to the Morgasmatron...but in this case, you can keep the entire "voice" in stereo, where the other "voice" is mono. And at the same time, you could just as easily patch those directly to the ES-9's inputs to stripe those directly to the DAW.

But the Cosmix is still pretty essential. Let's say that you come up with this complex result that requires the Cosmix's AUX send/return architecture to work with the Morphagene. Well, without the Cosmix (or something similar), you lose the ability to parallel process that way. I put it in because there'll be times that the working method from above is just fine, but there WILL be other points in time where you'll want to patch up something epic...and the stereo mixer/AUX architecture makes that much easier.

Generative != small. And why didn't you implement anything in the tile row?

I wouldn't have bought this cab for this purpose, frankly. Generative tends to imply a sizable network of interlinked control systems which act on each other at different orders of systemic control. It's not even exactly easy to do effectively in a 2 x 104 cab, although you can get there by totally compromising your ergonomics and cramming the case full of small modules. I understand that the point here is to try and put together a small "sidecar" for the generative processes...but honestly, you're not even close to where this should be.

And they can probably get more space for more utilities by eliminating the discontinued modules, for starters. Doepfer A-199, Maths, Linix, Dixie II...

Basically, this is an effin' mess. An EXPENSIVE effin' mess, at that. It looks for all the world like someone just threw things into a case at random, with no forethought about workflow, signal paths, necessary utilities and "assisting" modules, etc. But they DID make sure and use the biggest modules in many cases because...uhhh...big module = big noise?

Well, one thing immediately comes to mind here, that being that if you're scared of certain knobs, you picked the wrong instrument to play. All of us have to manually tune VCOs (and lots of other things) quite often, so you'll pardon me if I don't see a problem here.

Now, if you need to get pitchmatching between the Digitakt and the modular, I'd suggest the following:

Create a sample for the Digitakt that's nothing but a sine tone at 440 Hz. This then gives you a loop for tuning the synth to the same tuning standard as the Digitakt. However, your samples ALSO need to be tuned so that they comply with that same Concert A, which might be a bit fussy but once you've got it done, you won't have to do it again.

Anyway, once the samples conform to that Concert A tuning and then you use the loop to pitchmatch the synth to the Digitakt, you're then in tune. Given that the Plaits is a digital VCO, it shouldn't drift, so that same Concert A should apply across an entire set.

Basically, this is a simplified version of what I've done every time I've played live, although I use a digital synth's Concert A reference rather than a sample loop, and I'm also usually dealing with anywhere from 8-12 synths and other electronic instruments with those gigs. Even so, it only takes me about 4-5 minutes out of sound check to get the entire rig for a given concert work in tune. But given that I've done pieces that require all sorts of Concert A tunings from 415 Hz (baroque A) to 447 Hz (majorly up-tuned A, sometimes done by me to "brighten" a work overall) and this method works every time, it's worth doing.

HOWEVER...

Getting back to that first point: if you're at odds with the idea of adjusting a certain knob while working, I would strongly suggest that you adjust the HELL out of it instead. For one thing, this will get you used to hearing when things ARE out of tune, and let you practice spot-tuning when needed (which is a pretty invaluable skill in electronic music!). But secondly, it'll help you get out of the corner you're painting yourself into; no synthesist should ever have ANY trepidation about needing to adjust ANY control at ANY time. And besides, have you actually tried seeing what "out of tune" actually sounds like? Fact is, it might actually work...look at Aphex Twin's work, for example. Quite often, he doesn't even use 12-note scales, opting instead for microtonality lots of times. In other cases, he'll let things deliberately detune for musical effect. Take "180dB" off of "Syro", for example...three synths that pretty much NO ONE on here has the money for (Korg PS-3300s...and I'm not lying there, as he's using about $80-100k worth of vintage Korgs in this case), all being sequenced by (or something very much like) a TB-303 for what has to be the most expensive ACIEED track in music history...but he lets the Korgs go out of tune with each other, and the result sounds weird and wild and seriously messed up because of the out-of-tuneness coupled with the rigid 303-type sequencing. Just a thought...

EDITED Feb 18th 2021, 04:12

Messed with it...I think I squeezed a little more out of it, although the module complement was already pretty spot-on. There were still a few changes that could've been made, plus a general reordering...

I opted to shuffle everything in here. There were modulation modules in amongst audio ones, and the signal flow was sorta confusional. This version has all audio on top, modulation and control on the bottom. And on top, there are actually two "voices" laid out...

Voice #1 consists of the Ts-L and the Plaits clone, which then feeds into an After Later dual VCA which uses Veils clone VCAs for summing under CV control. This then goes to the Sinc. This first "voice" is mainly intended for bass...with that LPG in place to output punchy hits. Then voice #2 is the Piston Honda/Morgasmatron combo, which is a stellar digital-hybrid stereo voice opportunity. After these sections, there's a Veils clone to provide VCA control prior to the mixer inputs. And the mixer I opted for here is a Cosmotronic Cosmix, which is four mono ins with panning, AUX sends, and two stereo ins. Now, since this mixer has an AUX send/return, this lets you use the Morphagene in parallel to your mix, or you could just as easily patch it in after the Cosmix for global processing/looping. Last little sliver there is a Konstant Labs PWRchekr, lets you keep an eye on your DC rail performance.

Lower row starts with the ES-9 and Disting, then the Pam's and the RCD...but I also added the RCD Breakout expansion which lets you mess with timing a bit more. A-118-2 is next, then the Pachinko, and I then dropped in a trio of linear DC-coupled VCAs specifically for tampering with modulation levels. And after that is the Maths and Quadrax/Qx, but between them I put in a MISO, which is a CV/mod mixer/polarizer/mangler that can let the Maths and Quadrax contribute to even more modulation strangeness.

This should work a lot better than the prior iteration, I think. The layout now makes tons of sense, plus the few additions I made are optimized to really get the other modules perking. Much more potent. Oh...and I saved you $90.

EDITED Feb 18th 2021, 03:43

Actually, they seem to have addressed some of these BSP issues in the more recent firmware revisions, notably the pad velocity thing. I use two of these, so I was reading that and going "huh...?" That's definitely one of the benefits of being able to redefine a device's OS via a flash.

Anyway, Jim's point here is well-taken. Small cabs are actually more of an IMPEDIMENT when users pick these for first builds. As a result, a bunch of us tend to advise going with a larger case than you think you'll need...because, inevitably, it's NOT larger than you think you need. The problem of size arises when people begin to realize that their 2 x 84 cab now has all of the major modules they'd been drooling over...and no room left for the utilities and other stuff that makes those major modules do their thing. In that sense, the build I did here is a bit of an anomaly, because I was able to make the utility functions happen because of certain major modules, like the SISM's use here for modulation mixing/polarization/offsets. When you can pull those sorts of additions off, they're a big 'win'.

Actually, I see no need for either buffered multiple in this build. You don't exactly have loads of destinations for scaling-critical CV, so since the buffers aren't needed, I'd suggest using inline passive mults instead. Keep the Links, as you've got some need for the basic mixing/distro capabilities it has.

After pulling the PipSlope and both buffs out, this leaves 10 hp. So, down at the right end of the bottom row, add a proper stereo mixer. My suggestion would be the 4ms Listen Four, which gives you two mono inputs with manual panning and two stereo inputs (useful given the amount of potential stereo paths in here), line-level stereo outs, a headphone preamp, and a ganged stereo main level. That's really about the only thing that I see seriously lacking here.

Right...the idea behind the original essay came from a period where everyone and their pet goldfish was WAAAAAY overhyped about modular for some gawdawful reason (probably YouTube-related), and I was trying to pour some icewater on that with a more realistic look at "why modular in the first place". And while I will say that it's best suited for a "...certain type of musician...", that musician in question is one who's gotten comfortable enough with their musical direction that they know what a bespoke system of their own design will allow them to accomplish. Oh...an EXPENSIVE bespoke system. That's important here.

See, this stuff's expensive. People routinely drop thousands on these boxes of circuitry. And just as routinely, you've got people who put these systems together then wonder WHYYYYYYYYYYYY it doesn't sound like the skiff they saw on [INSERT YOUTUBE INFLUENCER HERE]'s channel. And this goes right back to that inexperience. It's sort of like college: people think nothing of dropping tens of thousands on tuition, room, board, and books while, at the same time, coming into that future debt with ZERO idea of what they want to do with the rest of their lives. And naturally, these people either have to figure themselves out PDQ, or they get a clue and get out...or they buy all the way in and get a degree that's about as useful as mudflaps in the Sahara.

"Ultimately I think if you approach it like you would any hobby everything will be fine - do your research, have reasonable expectations, understand what you're investing into, and do it for yourself." And I'm with you there. But I just insist that people really be sensible with this process, so I'm trying to get people to STOP and to THINK before they watch a few YT clips and then decide they're 999% SOLD on this without comprehending that there ARE pitfalls here. And sometimes, that takes a hella WHACK with the modular synth keisaku to snap people out of that mindset.

First of all, if you DON'T have anything resembling studio monitors to hear what you're doing with the synth, you have a problem. Secondly, if you have monitors without an amp, you REALLY have a problem. You cannot hook a modular synth up directly to a pair of speakers unless they're powered, and it doesn't sound like those are.

Second, there are some who use headphone-outs for their modular's audio out. I don't recommend this at all. For one thing, the headphone output can vary widely from one module that has that to another, but in all cases you're dealing with a preamplified (and NOT line-level) signal that also probably has an impedance mismatch between its output and whatever line-level input you're using. It's also not impossible for the headphone output to be DC-coupled, which as Garfield mentions, is quite bad...especially if any DC it's passing gets some amplification and then...well, this:

Thirdly, if you're still sussing out how to get audio out of your modular, I would suggest STOPPING those cash-dropping plans for a bit. I'm already hearing how you want to use a Rosie as a mixer...which it SORT OF is (it's more related to a DJ mixer/crossfader), but not necessarily in a way that's useful for all rigs. It also doesn't sound like you have a proper working environment set up, either...some sort of basic mixer might be useful, an amplifier for the whatever-those-speakers-are (the connectors are to connect the speakers to an amplifier, NOT for line-level signals at all), and so on. These are actually far simpler to sort out than the modular itself, so I've got some concerns as to what your build actually looks like and consists of.

It's EXTREMELY easy to get into an idea that you've got your build sorted out on a first (third, seventh, nineteenth) try and that you're ready to drop some plastic on it. Therefore, it's equally easy to wind up with a semi-functioning build due to that mindset., and also equally easy to be out a few grand when you pay for something that can only semi-function that leaves you wondering why it behaves lousy and sounds like refried poo. Note also that you've been "...reading up over the last month in preparation for my first rack purchase". That's almost certainly NOT long enough to properly come up with something with zero background and experience. Remember: Modulargrid is NOT a video game. There are no bonus scores for coming up with your build as quickly as possible...but there definitely can be one hellacious booby prize waiting if you think you can! You're talking about an investment in a few thousand $$$ here, after all.

One other thing I would suggest prior to coming back to this idea would be to actually get some experience at this via VCV Rack. That's a Eurorack emulator, with many modules that replicate operations (and even some actual modules) found in modular synthesis. It's also FREE, so it's definitely better to spend some time with VCV prior to dropping ANYTHING on physical hardware so that you've got some better ideas of what you actually need before this gets spendy. https://vcvrack.com/

(try #2...hate how this thing loves to eat posts)

Jim answered the thing about "incomplete power consumption specs"...my suggestion would be to go to the website for the module(s) in question and check to see if they have the current specs, or whether they have an online or DLable manual that has those. And if you DO find 'em, come back here and fix the listing...because one of MG's best strengths is its crowdsourcing of information to keep the place comprehensive.

As for the drums...I can't endorse this. For one thing, having drum modules and sequencing and all of that in this small a build will crowd out modules that can make the drone synth aspect stronger. My recommendation would be to go with an external drum machine or two, locked up with some sync method. Also...your two Tiptop drum modules here run $380, while at the same time you can get Roland's redux of the TR-808 for a mere $19 more. Or you could just as well wait for Uli to drop B.'s version of the 909. Either way, this is really the right way to go...function AND ergonomics all considered. There's also a bunch of things in there that won't quite work for this, or won't work in the way you expect.

So...I banged on this for a bit, changed a bunch of stuff, and this resulted:

Now that's a lot better, as far as drone instruments go. I got rid of the Red Square VCO in deference to a pair of VOID's Gravitational Waves dual VCOs with ring modulators + a bunch of crossmod tricks. And interestingly, they cost exactly $1 more together than the one Red Square. Following those is a Bubblesound Hex VCA for level control of SIX inputs...which means you could take a single waveform from each VCO + each ringmod, or double up different waveforms...bunches of timbral possibilities there...and then "strum" through them with modulation signals. After the Hex VCA is a fixed-level panning mixer from Omsonic (the VCAs handle levels here) to set up your stereo field. This gets fed to the Morgasmotron after that. Then the Morg's A and B outs can go to the FX Aid XL while at the same time the mono MIX out can go to the Purrtronics spring emulator. The end of the audio path is just below this, where a VC stereo crossfader can accept CVs for fading between the FX Aid and spring outs, feeding this to the Isolator for output. As for the wet/dry balances, those get controlled on the FX modules.

Now, the modulation section here starts with the A-118-2, then Tesseract's FranKinksTides dual Tides clone with some additional Kinks circuitry handles long-period modulation. The SISM after this allows you to use CV to control all sorts of modulation tampering and combination. Then Maths, followed by a triple linear VCA for CV over modulation levels. Then a Quadrax/Qx combo allows you to do very complex envelope/LFO/function gen activity.

This is intended as a drone-specific instrument, really. Loads of ambient drone potential, plus there's ample modulation to allow plenty of internal changes to those drones. And with the dual FX/crossfade end stage, this has the potential for a lot of weird stereo field depth trickery, too, such as moving from the Morg's A and B via a swirly foreground chorus to its MIX out into a deep, blurry reverb...sort of like the mixing equivalent of falling down a well, if you like.

Nifty! And yeah, it's probably more sensible to stay holed up, working on lures right now...winter in IL is bad enough, but when you get back down South, you get that WET cold. No fun being out on the water in that, nope!

My situation is sort of atypical...I have 124U of various rack processors, plus some non-racked ones, a "library" of stompers that I can drop in when/wherever needed, and pretty much everything in my studio involves a patch, so it's easy to reroute things so that I can easily make changes to the signal path. And this is all hardware...doesn't cover the various VSTs.

Ryan over on 60 Cycle Hum on YT is 100% right: anything Cuvave is responsible for seems to turn out to be the most wacky and extreme stuff out of China right now. As opposed to the usual "clone" pedals, their boxes (at least, the ones I have at this point) ALL do things that are rather warped equivalents of what we're used to...hence, they're effin' brilliant! I actually have TWO of those little tan monsters now so that I can go for max velcro fuzz in stereo!

If you're going with the ES-8, it should DEFINITELY be next, as it poses a bit of a learning curve due to the fact that it connects to external software, and you'll have to sort out how to best integrate that with your DAW for the optimal results you're looking for. After that, then I think the Stereomix should be the next pick so that you can familiarize yourself with applying CVs to its various functions, and how to best do that. Like any other mixer, you need to get really cozy with how it behaves before the next steps.

First up, separating your modulation/CV from your audio generators and modifiers is a really, REALLY bad idea. For one thing, if you wanted to use a logic gate as a waveshaper (which can be quite neat...results in nasty pulse waves!), you'd have to run a long cable all the way to the other cab, connect to the gate, then another long run back to your audio chain. This is just one example, and I know there's tons of others, but the point is that working this way is VERY inefficient and unintuitive. Remember: one of the strongest points to modular synthesis is that there's a certain degree of interchangeability between things that make noise, things that modify noise, and things that make those two things happen. And having everything in one place, as one unitized whole, is a thing that modular is prized for.

Second, if you have a stereo out here, where's the stereo mixer to feed the stereo out with a proper stereo image? I see a lot of HYUUJE (and in a couple of instances, pointlessly so) modules in a tiny 2 x 84 cab, crowding out any of the room you'll need for other things (VCAs, mixers, modifiers, etc etc) that make these big, expensive modules work to their fullest. This promises to turn into a problem pretty quickly if the target here is "3-4 voices"; if I were to use the DTM mixer as the primary qualifier of how many voices you ACTUALLY have, I'd pin that total at "1".

Remember, a "voice" isn't JUST a VCO. It's the signal chain that goes from a VCO, through a VCF for timbral modification, then through a VCA for amplitude modification. You simply don't have that here, ergo you're not even on track to having those 3-4 voices. You might (read: SHOULD) want to rethink what you're doing here, jettison the idea of splitting the modular functions up into separate cabs, and reconsider putting everything where it belongs...in the same case. It'll make what you're up to a lot clearer in the end.

This is why I don't even bother with sending MIDI to modulars, for the most part. It makes far more sense to use soundcard-type solutions with various software that can send straight CV/gate/trig/clock/etc via a DC-coupled audio interface, because you tend to not see those sorts of latency "slop" issues. And if this starts running noticeably ahead of the MIDI-driven stuff, it's easy enough to get at just those tracks in the DAW and nudge them into place. Of course, we all know about Expert Sleepers' modules, but their software (Silent Way) can also work via a proper digital audio interface with DC coupled I/O. I use a MOTU 828 mkii for this...8 in, 8 out, Live's CV Tools doing the work.

Yep, exactly that...and in that snazzy cab, this is going to look super-killer!

While you figure out the drums, a few makers to look at would definitely be Moffenzeef and Buck Modular. Both do "percussion" modules that vector more over into the glitchy, Aphex-y zone. Plus, one of the best two modules you could snag have got to be the Delptronics LDB-2e and 2x...classic electro drum sounds in 12 hp totalled. And ADDAC has their T-Network series of "rung filter" modules, which can get you into the 1960s beatbox turf. Lots of great voicing options out there...

Pretty bonkers, ain't it? What I've heard of it seems to me to be akin to a Buchla 258 on a bit of a weekend drunk. That "self-mod" setting on VCO1 just puts that module into a whole new turf, really. That seems to be a general modus operandi for Noise Reap, in fact...normal modules behaving just badly ENOUGH.

Actually, here's how to add both the AM Synths VCF AND the ES-8:

Swap the Korgasmatron for the AM Synths VCF. This gives back 2 hp.
Remove the Isolator (since you won't be doing much gigging with this) for 4 more hp.
Then, swap the 4 hp VCO mixer for a 2hp Mix, giving you another 2 hp.

Now that you have 8 hp free, take EVERYTHING on the top row and slide it to the RIGHT. This puts the open 8 hp at the LEFT end. Drop the ES-8 in here, with the Disting to the right of it. This now puts your incoming DAW control and audio return on the same end as the manual touchplate control for the Cre8 Chips, retaining the signal/ergonomics flow.

Now, KEEP the Korgasmatron + 4 hp mixer (don't worry about the Isolator, as we're going to factor that OUT of the build) for the drum skiff. And the Korgasmatron will probably work best as a stereo "effect filter" after the stereo mixer in the drum skiff! And, make sure to stick an envelope follower in the drum skiff so that you can have an envelope tracked modulation CV which you can patch in as needed to cue the Korgasmatron for weird sweeps and whips.

I didn't know you had one of those big WeedyWhizz cabs, which definitely will take something 80mm deep. Given that, having a pair of monophonic VCFs actually works nicely here, as you can set up THREE different "voices", with the Eudemonia being shared between one of the upper row "voices" and the Chips (or just send the Chips directly to the stereo mixer for that unfiltered 8-bit chiptune sound), and the JP8 LPF for big, pounding bass (should play really nicely with the Fold, in fact!). This leaves the Korgasmatron at the end of your mix chain for the drums, to mess with the stereo out on there for trippy filter stuff as mentioned above.

And yeah...I'm a tad off of Pam's these days, because I think the Temps_Utile has more going on. Not only do you get the display for setting up trigger sequences, you have that single CV out channel which is set up for randomish things, such as an emulation of the Volts output of a Turing Machine. Sure, it has two less outputs...but unless you've got a mammoth system full of trigger destinations, the eight outs of the Pam's can be a bit of overkill.

Here we go...now, you'll notice that I yanked some modules from this. This doesn't mean you should get rid of them; rather, retain those for the drum rack (and yes, DO put the drums in that separate skiff) with the possible exception of the AM Synths VCF and the A-137-2, both of which may be too deep for most skiff-type cases.

My usual routine's in effect here...voicing up top, modulation/control down, flow is left to right.

The additions to the top row include a slew limiter for portamento, a Tiptop Fold (which really IS a waveshaper; the Doepfer module is more akin to a sawtooth animator) that also lets you combine signals, plus you get an octave divider for Roland SH-101-type suboscillator behavior. Then further down, an FX Aid XL for your effects processing, then a Toppobrillo Stereomix2 which gives you VCA control over level, panning, and AUX send over four channels, plus an effects send/return for the FX Aid XL, a cue function for on-the-spot tuning needs, and mutes per input channel. I added a Happy Nerding Isolator because, if you plan on using this live, it's a very good idea to have transformer isolation to deal with dodgy venue power issues that can cause ground loops, noise, crud, etc. And you can hit it a little hard and the transformers will do that transformer saturation thing for a tad extra warmth.

Bottom row was majorly screwed with. I put the Cre8 stuff at the end so that you can have a little live controller and additional manual "bleepmaker" that you can send up to the voicing row, either going to the 4-in mixer, one of the Fold inputs, or the Eudaemona's mixer. Then I added noise and sample and hold with a Doepfer A-118-2, and a Temps Utile for timing generation and extra sequencing, plus it has a channel for CV output that can emulate a Turing Machine, etc, which will be useful for tampering with modulation behavior. After the Branches, I put in one of Tesseract's CVable dual Boolean gates, which now opens up the capabilities of the LL8 vs. a Temps output or two for more complex timing. Following the LL8, I then added an Octone, which is a quantized 8-step CV sequencer to complement the LL8. AfterLater's DVCA is next, giving you two more Veils-clone VCAs for your modulation control, then we're all on the old modules until the Quadrax/Qx, which now gives you four cascadeable EGs. The last 1 hp sliver there is a Konstant Labs PWRchekr, which lets you keep an eye on your DC rail health.

This is a lot more complex and capable now...and hovers right between a good studio synth AND an ample live one. As I noted, don't chuck out the removed modules...save them for the drum skiff instead (if they fit), as they'll be really useful over there.

Turing Machines and Marbles are a bit different. They both deal with random signals, but where the Marbles is more like an elaborate sample and hold harnessed to circuitry similar to the Buchla SOU, the TM is more like a sequencer that's being driven by and feeding out randomness. They're CLOSE...but what you'll need there is really up to your methods of working and such.

As for better logic stuff, have a look at https://www.modulargrid.net/e/tesseract-modular-vc-logics Now, this offers two Boolean gates...but you can use CV to control WHICH gating method is in use. So you could actually sequence how your sequencer is timed with a module like this, resulting in a generative timing "feedback" path...plus, you can sequence (or modulate) the VC Logics so that it can change your entire timing behavior across big swaths of the rig, resulting in BIG generative changes to the overall timing. Major abuse potential with this thing...and it, plus some fixed Booleans like the BOOL2 you have or Doepfer's A-166, and a few comparators to "pick off" timing gates based on modulation levels, would really punch the generative timing aspects WAY up!

As of late, I seem to be running across a lot of builds on here where the user has taken a synth and jammed it into a Eurorack cab. And yes, while there are synths you CAN do this with...this isn't as good an idea as you might be led to believe. And I do understand that this is often an issue that's resulted out of convenience, especially for live gigging builds, but even so, it's not the best idea. Here's why...

OK...let's say for the sake of argument that you have a very typical Eurorack cab; for this, I'm going to use a Tiptop Mantis, as they're easily available and also a great starter case with power. And we're going to take a fairly typical Eurorackable patchable such as a Moog Mother 32 as the "culprit" here. Now, that synth comes in its own 60 hp cab, which has power already that's optimized for the Mother 32. So...you CAREFULLY decase and disconnect it from the power, and then REcase it and connect it to the Mantis's power. Provided that something tiny that can cause a major disaster (such as a little wire snip on your workbench finding its way into the M32 or, even worse, the Mantis's power setup) hasn't happened, you now have a remainder of 148 hp to work with. Remember: a 2 x 84 cab only has 168 hp, and they're not the easiest things to do a major build in. If you want drums and sequencers and and and and...well, no. Not gonna happen now. You have this...THING...in there now, taking up loads of space while, at the same time, not really having 60 hp of functional density like you'd get from filling that 60 hp with proper Eurorack modules.

But that's not all...

Let's look at what you've spent here. A Mother 32 is $649 according to Sweetwater's site. And they have the Mantis at $335. So that's just under a grand right there. Now, you take the M32 out, stick it in the Mantis, and nothing's gone wrong...when you power it up, the M32 is all lit up and happy. And you've screwed your budget right then and there...

Huh? OK...let's look at the REAL costs here. A Tiptop Mantis has 208 powered hp, so for each hp: 335 / 208 = 1.61(ish). Therefore, each Mantis hp has an individual cost of $1.61. Now, to house a module in there, you can actually come up with a "cost-per-hp" figure. This is actually useful sometimes to see how your space vs. cost is working out in the build. But when you take the M32 out and put it into the Mantis, you then ALSO have to calculate the cost-per-hp for that, and the results are...well...

60 x 1.61 = 96.6. So, recasing and repowering the Mother 32 in its new cab actually results in having to factor that $96.60 into the aggregate cost of the Mother 32 itself. NOW your Moog costs $745.60...which you didn't pay for it, but it now COSTS that, because that $96.60 is the cost of the casing/powering of the Mother 32 that already HAS power and HAS a case! Plus, you LOSE those 60 hp...which should be used for casing and powering things that DON'T have those things already...to the M32.

Also, this is a bad trade-off, function-wise. So...what makes up a Mother 32? Well...you have a single VCO, single LFO, a multimode VCF, a two-stage EG, a CVable polarizer, an eight-step step sequencer, a clock, and a MIDI-in interface. Using pretty much bog-simple modules for this same functionality, I can jam that...with basic modules...into 54 hp. And I could fit it into that with even more complex modules, too. Or I could certainly fit that into a smaller space...this is just a basic module (mostly Doepfer) example. But the upshot here is that, in less than the M32's space, you can BUILD a vastly-improved complement of modules that can do what it does...and probably BETTER.

I really don't know how many times I've seen posts on MG where someone who's dropped a synth into their Eurorack is complaining about not having the space to do [INSERT NUMEROUS IDEAS HERE]. And the solution, inevitably, is very simple: TAKE THAT SYNTH OUT. Put it back where it belongs! Then, automagically, you HAVE SPACE. There's also no technical rationale for having it in there, either; I do use a modular which requires you to establish a groundplane across all of its cabs and to/from any other devices you use with it. In THAT situation, sure, putting an existing rackable modular in with the rest of it would fix that slightly-annoying technical limitation...but considering that you see this with formats such as Buchla or Serge, how much of a "limitation" is it, really? And with Eurorack, you use two-conductor patchcables...NOT single wires...so whenever you make a patch, you have the "hot" lead AND the ground right there already. No need for grounding follies!

Yes, yes...I know you see "pros" on YouTube who have this sort of configuration in their Eurorack systems. But just because they're on TV doesn't mean they're right; if everything on TV was "right", then we'd all be living in stratospheric condos and have flying cars like The Jetsons, except that any number of sinister forces would be trying to blow up the world on an hourly basis while everyone's traveling to remote locations every day to eat at secret gourmet-level hole-in-the-wall joints. And so on. You get the idea.

So if you can get that idea, it's not really a stretch to understand that people who get these things for free or "accommodation prices" are wanting to stick 'em right where you can see 'em...otherwise, the toy supply might dry up and their pristine set-like studios might actually have to see some REAL WORK to pay the bills! If these people blow up something they got for zip, well, they're out exactly that. If YOU do, though...kiss your ca$h goodbye! And that goes even if you DON'T detonate your new synth by having a tiny metal sliver off of one of your rack screws fall into it unbeknownst to you while recasing it.

But wait...why are these things ON Modulargrid, then? Simple: Modulargrid is a comprehensive reference resource, and if you need to figure out how your patching is going to work with one of these in your studio (but not in the Eurorack cab), that's why they're there. But, yet again...just because you can do something doesn't mean you SHOULD do it. And recasing your powered and cased synths is just the present-day equivalent to doing things like sawing the keyboard off of a perfectly-good synth so you can use it as a MIDI module. Very dumb, very destructive... and I know for a fact that we've lost an unknowable number of vintage analogs through this earlier iteration of dumbass.

And even if you figure that "I need this for convenience"...well, do you? Couldn't you BUILD the equivalent in 40-50 hp instead? Without the need for an Erica MScale or a trigger/CV converter for a Behringer K-2? C'mon, peepz...it's MODULAR. It's a circuitry SANDBOX. You can build whatever you like, and even wildly improve on it...so why limit your build like this, or incur expenses that are pretty much unnecessary? Think about that the next time you ponder whether your Pro-1 would be better in your A-100 case; I know that MINE is still in the OEM, and that's where it staying!

Try hitting your browser refresh.

Yep, that's closer...and here's something you REALLY want to pair up with the QPAS: https://www.modulargrid.net/e/happy-nerding-dual-xfade That's a stereo CVable crossfader. So, what you'd do with this is to send one QPAS stereo out pair to the "A" inputs, and another to the "B", then take the individual outs on the Dual Xfade and send those on as a stereo pair. By doing this trick, in just 4 hp you've added a cheap module that can modulate between filter response curves! Imagine back-and-forthing between the LP and HP outs...or the BP and notch! Nuts!

Boolean logic works on conditional inputs, and can affect sequencer behavior quite a bit. My suggestion would be to build up a small sidecar skiff with some free-run LFOs (like Doepfer's little quad LFO), some random sourcing such as a Benjolin, Turing Machine (the REAL one...not the 2hp version...or a big Greyscale Permutation, which is a Turing variant) or Euclidean sequencer, a few WINDOW comparators (not the basic ones...window comparators give you a lot of gate output options), and some beefed-up Boolean logic so that all of those various gates and triggers can tangle with each other to generate LOADS of conditional gates to operate things such as CV switches, Mutable's Branches, timing behavior, etc etc. Since this is built around a sequencer in the first place, that's definitely where I would start!

The mother 32 was my first module, and my introduction to modular. I plan on keeping in the this potable for the time being...
-- Olias

...which is where I get off. You list a bunch of things that you want to add to this, but as long as you insist on locking up 60 hp of the 208 you have with something that doesn't belong there, I can't help you. You can't adequately reach what you're proposing by staying with this sort of build...the room for a real generative build simply isn't there.

Good job on overloading the P/S. That's exactly what happens...at first, but then, you stopped before the REAL damage could get going...hopefully. The hot smell might indicate that you've damaged the wallwart, however.

If you have something that has a SPECIFIC case with a SPECIFIC power source for it, use that for that ONLY. I don't think Moog intended for that sort of usage, nor did 4ms. Unless you know what you're doing with current loading, specific voltages, and you have a serious DC supply instead of a wallwart, don't try anything like this again.

And this is why modular isn't always the right answer. Me, if I want this, I just go over and patch the CS-80 into a couple of strips, which is what was done to get those sounds in the first place.

True, not everyone can afford a vintage CS-ANYTHING these days (thanks mainly to synth brokers and other parasites), but give Uli a little time...supposedly, there's one in the Behringer pipeline. Maybe.

I like tiles...but I have to admit that Intellijel format tiles are nowhere nearly as diverse as the original Pulplogic format. You could build a rather uncomfortable to use but technically complete modular with those; not so much with Intellijel format stuff.

The big question is what, exactly, are you trying to do here? What about the Grandmother needs expanding, in your opinion? How would you go about doing that? What size build works...and what size works BETTER? You need to be asking those questions, and not whether you've got the magic number of VCAs. Right now, this seems like it's targeted at one or two aspects of the Moog, which begs the questions above.

The easiest way to solve this is old and time-tested: a click track. Just use your main sequencing clock and send this to something that can make a little "tick" or "beep" or whatever works in your drummer's headphones, which you'll also need (plus a beefy headphone preamp!). This provides the proper tempo, and if you use some open-ear headphones, the drummer should be able to hear both the click AND the rest of the group. As for the possibility of the headphones falling off, refer to any picture of Keith Moon and how he adapted his set of phones for maximum thrashing around.

I really have no idea where this epidemic of putting Moog skiff synths in Eurorack cabs is coming from. I'll bet anything that some knob on YouTube is showing EVERYONE how to...well, waste money and valuable cab space by jamming a synth that ALREADY has power and a case into another powered case so that you'll now have to factor THAT cost into what you paid for the DFAM, in addition to the space and power you'll now need to add 60 more hp of modules into the space that WAS there.

I'll explain: take the cost of the Eurorack case in question, then subtract about $120-ish for each tile row. This build uses a MDLR 14 x 126, which costs...yeezy!...$1700! This is gonna HURT...

So, removing the tile rows from the cost here, your 3U rows with power cost $1460. The cab has 504 hp in 3U, so the cost per hp here comes out to $2.90, more or less. Now, let's bring the PAIN...$2.90 x 60 = $174 + $649 = $823!!! Did you pay $823 for the DFAM before? Well, you are now!

Look...it's clear from the build as it is now that you're painting yourself into a corner with that DFAM in there. See all those tile frames? That's what desperation for 3U spaces looks like, in action. So...yeah, it gets WORSE, because each one of those adds $15 to whatever module you put in it. $75 more...cha-CHING!!! But then, take the DFAM out of the case, and you can put those modules that would go in the frames where they SHOULD be. That, plus the space cost for the DFAM, means you SAVE $249, which you can then spend elsewhere...like on more tiles, which puts MORE functionality into the tile rows as well. And once you put the framed modules where they belong, you STILL have another 40 hp of 3U space. And from the looks of things, you definitely need more utility in the tile rows, instead of mounting one single 4 hp module into 26 hp of tile row, which is ALSO a space-waster.

Yeah, I get it...presumptive "convenience" and all that...but when you really break down the cost, the space usage, and the denser modular space wasted, how is this "convenient", exactly? I know modular isn't exactly about that, but trying to force convenience, like in this instance, tends to result in more expense and worse results.

Yeah, it needs more, that's for sure. But since you jammed that M32 in there, you don't have ROOM for that "more". C'mon...it's GOT a cab and power already; Eurorack cases should be for things that DON'T. Plus, it not only hampers your ability to build in the cab, this "convenient" strategy also makes the M32 cost a lot more than it does/should. How does that work? Well...

Intellijel's 7U x 104 costs $649. Excluding the tile row, which really should only kick things down by, say, $120, this puts the cost of just the 3U rows at something like $529. 529/208 = $2.54, which is what each 1 hp space in the 3U rows costs, roughly. Now, that sounds minor...until $2.54 x 60 = $152.40!

If you didn't pay $800 and change for your Mother 32...well, hey, here's your chance!!! Just leave it in there, and I kid you not, it DOES cost that NOW.

Basically, don't do this. The style of music you're aiming for, generative ambient, requires a LOT of space for a LOT of modules if you do it correctly. Putting the M32 in the cab shoves 60 hp of possible modular functionality OUT of the case. Leave it where it is.

Actually, check this nonsense out...

Ha! Went nuts here...for starters, all of this is combined into ONE build, because it'll function like that when in use, so putting everything in the same build layout made a lot more sense. It also made sense because I opted to "re-function" everything...and I do mean EVERYTHING! The signal flow now makes WAY more sense, plus I've isolated the drum and final mixer/FX functions into the Palette 62 and the 64 hp skiff respectively.

Top row: This is "voicing 1". First up is a buffered mult, because this really does need one. Then your Rample, which I followed with a Doepfer mini stereo mixer for submixing the four voices from the Rample down to a single stereo out. And for that matter, the entire row is stereo. Surface next, then the Ensemble Oscillator, and one of the Stmixes sums those with the Doepfer's output, leaving an extra stereo pair for various possible uses. The Supercritical goes after the Stmix, then I put in an Antumbra dual VCA, which is a dual VCA version of Veils. Warps is at the end, providing effects/processing for this row.

2nd row: "Voicing 2". Ladik Dual Lag because there wasn't really a slew limiter in here (not counting Maths!). Then the STO and Ts-L feed to the Bifold. After that is a Plaits clone, the Chainsaw, and then a Veils clone. The Veils clone sums the previous things in various possible ways, then feeds this on in mono to the MUM M8, then the Rings clone after that can not only do resonances, but also stereoizes the mono feed from the MUM M8. This is followed by another Veils clone, which can feed directly to the Data Bender. After that is another Antumbra dual VCA.

3rd row: "Modulation". I went hardcore with the noise and random source, opting for a Verbos unit which ALSO includes the Analog Shift Register for about the same price as the Qu-bit module + the Intellijel ASR, but in less space. And tbh, "less space" was a running task while working this out, so that even more functionality could be jammed in while trying to not compromise the ergonomics. Quantizer is after the Verbos Random Source, then there's a 3x VCA which can also function as a "breakable" mixer. I tossed the Ochd (it's better to go with total control over your LFOs rather than ganging the control) in favor of a Doepfer Quad LFO. Maths follows, then a Frap 321 for CV/modulation tampering/mixing/screwing with in general. Then I punched this out to EIGHT EGs by going with NANO's Quart for the 2-stages and a Zadar for everything else.

Bottom row: "Control". Your Polyend MIDI is first. Then I put the clocked modulation source in after this. Then I had a bit of fun by adding a Tool Box, which contains a pile of useful utility circuits and the like, followed by a dual CVable Boolean logic module so that you can use those utilities (especially the comparator and the OR) to screw around with clocking pulses from the Tempi and create some more complex timing signals which you can either use in the Arturia stack OR pass these on to the next cab. Last bits are the Tempi and Rene for your primary clocking (maybe...see below) and sequencing/control.

Palette 62: "Drums". I switched the main clocking/sequencing duties over to a Temps Utile, which also gives you a CV out channel plus ample clocking and sequencing, allowing me to drop all of the Pams. This can ALSO serve as your master clock, if you prefer...or you can take a DAW clock via the MIDI interface. The black tile after that is a Pointeuse, which can work as a bidirectional switch, taking either two signals to one, or the other way around...very useful for a number of functions. Then there's your stereo out. Moving down to the 3U row, there's another Boolean module because, well, more timing fun. This got followed by the Plonk, the Basimilus, and then I dropped in a WMD Fracture, a stereo percussive module, following this with another Doepfer stereo summing mixer for those sources. Then for some REAL trouble, I put in a Bastl Ikarie, which is a wild stereo VCF with an internal envelope follower for dynamic-driven VCF activity...this works REALLY well with percussion sounds. This gets followed by the Monsoon, of which I went for a slightly smaller version.

64 hp skiff: "Mixing". This is the nexus of all of this stuff. The other Stmix is there for summing stereo feeds from elsewhere in the build down to a single stereo pair. Then the Mimeophon is placed with this, so that you can easily apply some delay/loop action to those sources. A Xaoc Praga/Hrad performance mixer setup is after this, which provides four channels of your level VCAs, CV over AUX send/returns, CV over panning, cue and headphone functions for the rig, muting, and probably a few things I'm forgetting. This is intended as the MAIN MIX for the ENTIRE system, which explains why all of this got massively restructured. By doing the build THIS way, you have your subsystems unitized, and everything winds up going to this final skiff, dedicated solely to your mixing and processing for the whole damn thing! And as the cherry on the cake, the Prism now serves as your final mix processor, which is a really good use for it given some of the weird stuff it's capable of.

So, now it flows really well. Everything is in specific places, rather than scattered across the entire build, which should make the system much more intuitive and easy to work with. The sole flaw that I see now is that this thing has eight rows in the MG example here, and this might be a bit of a bitch to deal with if you don't have a (WORTH IT!!!) Unicorn account. But aside of that little technical bobble, which I did so that the entire system could be worked on simultaneously (because, after all, it's not like you're going to have these three [or four] cabs scattered around where they can't connect to each other!), this is now DAMN solid...not merely a single synth, but a real modular SYSTEM.

EDITED Feb 7th 2021, 03:55

Some of it is right...but only some. For one thing, it's really short on necessary utilities...CV/mod mixers, attenuverters, etc etc. Lots of "sexy module syndrome" here; nothing wrong with "sexy" modules, but it's the BORING ones that make them do what they're capable of. Plus, I don't see any sort of cohesive signal flow at all. The dual Rackbrute setup is a good one...but that's jammed with a lot of stuff that's just not going to reach its actual potential. Hmmmmm...

No, you have 6U and 108 total hp of space, because you've jammed the M32 into the cab. And since the M32 HAS a cab and power, this is just a bad idea all around...especially since you now have to factor in the cost-per-space to house the M32 in the Euro cab. Convenience might say "yeah, do it", but economics and build capability say "don't even THINK about it!" Remove it and start over, because the overwhelming presence of just that one device is skewing what you COULD do with the cab.

Also, watch your module sizes! You've got a (VERY discontinued) repaneled Clouds in there, and not only can you not actually get that module except on the used market (if you're lucky), there are more capable and SMALLER clones of it by firms other than Mutable. Same advice goes for the Rings, too...go SMALLER. 2 x 84 isn't a very big cab, so optimizing space is paramount.

What I would suggest is to pull back from this, and if you don't have one, get a copy of VCV Rack (https://vcvrack.com/). I'm already seeing errors here that will make this NOT so capable of ambient improvisation...and given that I've been doing that sort of thing since the early 1980s, I oughta know. Instead, dive into VCV and explore, see how to REALLY do this properly (since VCV is a rather accurate Eurorack simulator and even has software versions of some of the hardware modules on MG), and THEN apply what you've learned to a better (and probably considerably larger) build. Otherwise, you're heading right into a rather unsatisfying money pit here.