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And fifth. I think a lot of the problems with this feature are coming from the gradual diversification away from mainstream browsers due to security concerns. For example, my local cannabis dispensary has an online menu and ordering-in-advance system, which they REALLY want us to use during the Covid fiasco in the USA. However, my browser choices on my studio machines is Firefox...and their menu system really detests Firefox, necessitating what has to be about the only use of Microsoft Edge in here on them. Standardization to HTML5 is one thing...but on the client end, there's still piles of drawbacks.

Thanks for pointing out on this one. It looks great and sounds good! We only have to wait till end of March next year... Long wait but it looks like it's worth it :-)

Oh yes... and it has lots of patch points, so that's fantastic, do you know if they are Eurorack compatible?
-- GarfieldModular

Yeah...I'd definitely say that waiting a few months until DEFINITE availability beats the living crap out of waiting until hell freezes over for something that's one step removed from vaporware. Price considerations aside, this might be one of the few times that Uli's actually done the RIGHT thing.

As for the patchpoints, you betcha! I've crosspatched my 2600 to my Digisound 80 more times than I can count. It was the ARP 2600 that gave us the initial standardizations for analog synth interconnection, in fact...we still use their 1V/8va scaling and positive-going gate/triggers to this day. More than likely, when (and NOT "if") I get one (or two?) of these in hand, it'll wind up right back in the same position my old Rev.2 found itself in lots of the time.

I didn't realize the AJH folks were involved with this.
-- farkas

Probably because I really meant to say AM Synths. Got all those alphabet-soup makers names mixed up...easy enough to do!

https://www.thomannmusic.com/behringer_2600.htm

Korg? Who's that? Ohhhhh, yeah...right...the guys who made the ARP 2600 "reissue" for SPECIAL people.

So for the rest of us, here's this. Cheaper, AVAILABLE!!!!!!!!!!!!, and in preorders now, apparently. Oh, and none of that "limited" bullcrap having to do with a "road" "case" that seemed to be made of black saran wrap and posterboard.

Normally, I'm not really down with Uli and how he runs his business. But this WAS partly designed by the AM Synths people with the specific intention of replicating the ARP 2600 in a more modern manner. And if you buy one, you can help starve a Korg marketing exec, hopefully the one that yanked us all around back at Winter NAMM. This one time, they deserve whatever Uli can pull off here after the s**tshow Korg put us through with the biggest bait-n-switch since the Micor Coupland!

EDIT: almost forgot the cherry on this cake: $600-ish. NOT nearly $4k.

EDITED Oct 24th 2020, 01:36

Frap stuff is quite cool...very symbol-oriented layouts. The Instruo modules also have a really great post-Buchla semi-industrial look.

But if you want modules-as-art, I'd have to give the nod to Folktek. I have a Mescaline with the gold panels, and it looks at first glance like some alien artifact...but when you start to work with it, you discover how intuitive it all is. A brilliant balance between eye candy and pure function.

MiRack is nice, but have you looked at Drambo? Definitely worth checking out. Its interface is less skeuomorphic and more optimized for taking advantage of (touch-)screens, I'd say.
-- senor-bling

Touchscreens, you say? Hmmmmm...this might need a bit of investigation...

A-171-2 ain't no joke, y'all...given that it's a copy (with blessings) of Ken Stone's variant on the original Serge VCS circuit, you could also look at it as being 1/2 of a Maths, minus a few behind-the-panel features.

Any chance the SERGE format could be relabelled as '4U' given that Serge is a brand not a format and there are a lot of other brands in that section?
-- loudestwarning

I think I can guess the answer here...there's two different 4U formats: Buchla and Serge. And they're FORMATS because the Buchla method is to separate the audio and control paths, while the Serge is 100% banana and has NO path separation. Each are definitely 4U in height, but they're not at all the same where the patching methods are concerned and not exactly 100% compatible.

The Koma ones are 100% recommended...the Strom+ has plenty of juice, plus I like the 4-pin Molex linking method. The only reason I didn't go with them is that their availability can be a bit erratic; it's probably best to try and get their stuff either direct or from someone in the EU like Schneider's.

Check these out, then: https://www.perfectcircuit.com/eurorack-modular-synths/hungry-robot.html?price=75-150.01&tabIndex=price The Hungry Robot modules are housed in stompbox enclosures, and seem like a really good fit for users who've realized that "hey...I need a..." after their build is done. Cheap, too...I think the highest priced ones top out at $150.

Ok, you definitely have a good point. I got a question on this topic: would it be a good idea to drill a hole in the case to allow air to circulate better?
-- Startics

Nope...try to avoid messing with the integrity of those Moog skiffs. They're pretty beasty, and drilling into them would sort of waste that.

But what I WOULD suggest as a solution, since the Row 25s have so much "uninvolved" panel space, might be to add a little heat sink of some sort to the front panels of each one. That way, heat that could build up on the front panel (many little P/Ss do this...the uZeus, in fact, has a little warning about the excess heat on the front panel) would instead be dissipated. And since metal transmits heat better than air, that ought to draw the heat off admirably. Just make sure to use a little bit of the same sort of heat transfer paste you see used to seat heat sinks in computers before epoxying the heat sinks down...heat paste in the middle, epoxy bits at the ends, and that should be golden.

https://www.aliexpress.com/item/4000528746385.html?spm=a2g0o.productlist.0.0.41ef3a40cBDWxj&algo_pvid=dbcb485f-b95f-45b2-b0b2-531a3eb19045&algo_expid=dbcb485f-b95f-45b2-b0b2-531a3eb19045-15&btsid=0bb0624316032324607258781e8bdc&ws_ab_test=searchweb0_0,searchweb201602_,searchweb201603_

OK...at the other end of that spew of alphanumerics (which MG's forum didn't like very much), there's this little $25-ish mixer. 4-in, 1-out...stereo 3.5mm I/O...and PASSIVE, meaning that it needs zero power...which ALSO means that you can treat these like those inline mults that you can stick inline anywhere in a patch.

Maybe.

I'm still trying to get info on these, but I'm trying to do this via AliExpress which...well, it's AliExpress. Those who've been there will know what I'm talking about. The big unanswered questions are:

1) maximum voltage input allowable (presuming very low voltage loss by the circuit, I'll presume for now that there's more or less a 1:1 relationship between inputs and the output)

2) can it pass DC

3) how does it react to 3.5mm TS plugs, instead of the stereo TRS ones?

These appear to be available from several dealers on there, but by and large Nobsound seems to be the OEM source for them. Has anyone got some experience with these? If they're "modular-able", these could solve a veritable buttload of problems. Not only would they be a mixer equivalent to things like stackcables and inline mult/hubs, they also overspec the Boredbrain Splix by two extra inputs. And for those who've made the mistake of creating a build with no mixers (punishment time! get the wet noodles!), this lets you put the mixers in without...well, putting mixers in.

IF THESE WORK...let me stress that. Normally, I'd wait until I've heard back from the manufacturer, but I think it's conceivable that someone here on MG might've tinkered with these at some point. If so...well, let's hear about 'em!

EDITED Oct 20th 2020, 22:50

Hm! The stuff that turns up on the Internet can be pretty amazing sometimes.

Most everyone knows VCV Rack, right? The Eurorack simulator...loads of modules, and probably one of the best explainers on how to work with modular synthesis for FREE. (just in case, here's the URL: https://vcvrack.com/)

So, today when poking my nose into KVR Audio, I came across THIS: https://mirack.app/ Now, what miRack is is pretty much the same thing (with many of the same modules) as VCV with some improvements...but in miRack's case, the app has been optimized for MacOS (and in Mac DAWs as an AUv3 or their "legacy AU" for DAWs that aren't v3 savvy) and...wait for it...iOS! Since iOS porting is still something VCV's not up for as of the present time, here's everyone's chance to get a proper Eurorack simulator for their iPhone or iPad work environments.

But there's a bit more to this story that might make MacOS users want to check miRack out...for one thing, those who have touchscreens CAN use this to manipulate miRack controls (VCV Rack doesn't have this yet) and, most importantly, it's FAR faster (by half or better!) in process execution. It would appear that miRack's developer has been paying attention to the more annoying shortcomings of VCV (like its need to suck down ALL of your cores to run...and sometimes even that's not enough), and that's a good thing, IMHO. I can't test it here (no Macs anymore), so if any VCV Mac users could snag this from the Apple Store and see what results they get in an A-B test, it'd probably be very welcome!

OK, yes, this would be something that required some work if implemented, but I think it's worthwhile.

There's a bunch of modules that, in addition to other functions, also work as offset sources. But while some of the modules in a certain class (such as attenuators, a common place where this function turns up) are capable of this, others aren't. Sometimes you see this also indicated by "CV modulation", but that's not really accurate, since all an offset gen does is to output A voltage, and not the actual modulation function itself.

So I think we might need to add a tag such as "Offset source" or maybe just "DC Offset" to indicate when/where these sources are present. There are cases where people might want to look for that additional function...and others where the possibility of having a DC offset outputted would be undesired. And it IS a significant function, offsetting pulse waves from an LFO to function as a +5 clock that falls to zero is one example, and I'm sure there's piles of others.

Yuppers...ALWAYS watch your amperage loads! I usually tell new builders that they need to install a power supply that can provide at least 25% more (and preferably 1/3rd more) current than the modules connected to it require. The reason is due to "current inrush"; when you first power on ANY circuit, there's a tiny interval where the components can draw more than the module's "operating" current. If that exceeds the P/S rating by TOO much, P/S go "pop!" And P/S go "pop!" isn't good, because different supplies can do various destructive things when they fail. If you're lucky, nothing happens. If not, you get some horrific spike across a DC bus that wreaks havoc on the whole damned build!

The other reason for overspeccing the power is heat. Heat gets generated by power circuits in direct proportion to current draw if the voltage is fixed. And heat in a synthesizer is NOT a good thing! Not only will it contribute to tuning instability and potentially increase noise factors, heat over long periods gradually causes component breakdown. And this is worst in the P/S module itself, which is also under the heaviest burden due to what it's doing. By going with a P/S that has considerably more current potential than is needed, the P/S can loaf along under a much easier load, and this prolongs its life and, by extension, the entire build itself.

sacguy, you missed one: the AE system (MY primary) = unfiltered Camels. Also spendy, also addictive, but nowhere near as finance-imploding.

EDITED Oct 20th 2020, 21:39

Took a whack at this, although I didn't bother with the 1 x 60 idea at all. Too small, really...you COULD probably jam all of that into 60 hp, but this 2 x 60 variation shows where a build like this could go...and it might be something you need to be thinking about right now, because if you have an indication that you might need to go bigger, you should DEFINITELY follow your gut and build THAT.

OK, let's look at this thing. First up, the layout is VERY different. Most of the audio (except the noise/EQ setup, more on that in a bit) is in the top cab. After the P/S (went with 4ms Row 25s here...ample current, plus easy daisychaining from just a single external "brick") you have a NLC input module with full envelope following. This then has a Warps next to it, primed to scramble the hell out of any external audio as needed. A Klavis Dual Waves gives you your two VCOs...albeit these also have some interesting extra features, one of which is internal quantizing (with several scales). Intellijel's new dual wavefolder is after this, offering dual inputs so that you could ALSO use the wavefolder as a wave-mangling 2-channel mixer. If not, then you can just as easily use the Optomix (your LPGs) for a "clean" mix via two LPG inputs and a third fixed-level AUX in. A Happy Nerding 3xVCA gives you breakout-able VCAs and/or mixing for your audio, then this outputs to the Purrverb digital spring, since spring reverb was a big part of the Buchla sound, especially in the 100 series. And since this can go mono-to-stereo, I put a Happy Nerding Isolator in as your stereo output level control, plus it offers transformer isolation, which can be a major asset if/when gigging...plus you can push the transformers a bit for a little more warmth via a bit of saturation.

Bottom row: after the other Row 25, you'll find an Expert Sleepers FH-2. Not only is this a user-configurable MIDI over USB interface, it can ALSO function in USB host mode, meaning that you can grab this, a USB-MIDI controller like a Keystep, and you've got your "go kit" since you can jack the Keystep (or any other USB controller) directly into the modular. Then, Maths. Of course. An After Later DVCA (1/2 of a Veils, basically) gives you curve-adjustable VCAs for either audio OR CV/mod level control. Then a dual ADSR for "normal" envelopes. After this is your "noise voice", which starts with Doepfer's A-118-2, and this also provides a random voltage source, an extra clock source, track and hold, or sample and hold...all of which will definitely be of use for the entire rig. The noise can feed on to the EMW Fixed Filter bank...which not only gives you graphic EQ-type timbral control, it ALSO has individual outputs for each band! And you can feed that to either the 3xVCA or the Optomix.

This is a much better look at where your build should be heading, according to some indications you gave about the 2-row upgrade. I simply opted to do that in THIS build, which hopefully gives you a much clearer idea of how to proceed so that the jump from one to two rows isn't such a hassle. Hope this helps!

Yeah...when I saw the first take on combining the two 0s, my eyes got big as saucers. OK, there's the Sound Easel...but it's heinously expensive. And then, there's Tony's take on it, which comes in at roughly a grand and which can tear up in about the same way.

Buchla's nice...but I ain't got a Buchla bank account. An O-Easel is very much in mind here for 2021.

+1 on Jim's notes, plus...there's really not a lot of modulation sources here, nor modules with which to manipulate them. Lots of noisemakers, sure...but without adequate modulation, all your sounds are going to be really boring. Also, that tile row is a mess...there are far better ways to implement that.

I'm in full agreement with Jim on this point: tear it down, start over. See if you can implement the same functions with smaller footprints, which will give you SOME room for the modulation and utilities you need here. There are definitely far better ways to do this. Look for third-party stuff for the Clouds unless you're willing to wait for Mutable's revision of it. Also...ah...you don't actually HAVE eight sequencer destinations here, so why have a Varigate 8+? And take the Erica Drums out...for one thing, unless you're willing to do a PURELY rhythmic build, Eurorack isn't the best environment for drums. Plus, these days, there's ample drum machine options (or even software) that will achieve better results, and all you'll need is a single clock out from the Pam's.

Also, if you've not messed with it, do so: https://vcvrack.com/ There's a LOT about these instruments that don't necessarily translate into words, so if there's classes of modules you're unfamiliar with, VCV Rack is a primo and FREE way to learn what they do and how to use them. That way, you can avoid a lot of mistakes and pitfalls, and when you get back to hardware, you'll have a clearer idea of what you need and what you need to SPEND.

Sorry to hear that Lugia, hope you have a swift recovery and glad that you are ok. You've been so encouraging as I started my journey into modular recently and after I dipped my toes into it with a small Make Noise 0-ctrl semi-modular unit. I am trying not to buy too much at one time...
-- sacguy71

Really? You oughta pick up the 0-Coast as well. Several people have, and the combo has been dubbed the "0-Easel" (as in the Buchla Sound Easel) for VERY good reasons! Just put 'em in the same stand and treat the pair just like you would the venerable old original.

there is a reason that they call it eurocrack
-- JimHowell1970

I just thought it was because "Euroheroin" doesn't trip off the tongue as nicely... ;-)

Not...quite. Remember, the ARP 2500 used matrix switches for patching, and Mme. Radigue frequently would take advantage of the multipling this offers to send control signals to different places simultaneously. It's quasi-admirable that Uli (a very "quasi" guy) opted to put these out, but unless you have a basket of inline mults, you can't get there from here.

Also, Uli's still got some key modules missing from this lineup, as you've probably noticed. Given the source for these, it's also quite possible that he'll never put those out because B. seems to have the attention span of a gnat these days.

There's going to be a problem right off with this build, and it's a very typical one: Sexy Module Syndrome.

There's plenty of extra modules, to be sure...but you've not put anything in to manipulate THEIR signals. No attenuverters, submixers, extra VCAs dedicated to modulation use, ring mod (no ring mod!?), etc. Part of this is directly attributable to the case scheme, too...you WILL have to sacrifice some of what's there because you've painted yourself into a corner by using these little 60 hp things. There are ways to make good use of them...but this isn't quite it.

Now, as for those Endorphin.es power supplies...first up, they're listed as in "prototype" stage, and as of late, they've been missing production date marks. They're also a BAD IDEA...because a lot of your heat dissipation is done by the front panel, and the larger that can be, the more effectively the module can cool itself. And this is no joke; heat issues are the single worst, most self-damaging things in electronics. My suggestion would be to change the order, and instead go with a pair of 4ms Row Power 25s...same general specs, but with a larger panel for improved heat dissipation AND barrel-jack daisychaining between supplies so that only one suitable external P/S is needed. And they're $31 less.

One other thing, too...there's two sequencers here, but nothing with which to manipulate their timing. No Boolean logic, divider/multipliers, comparators, and the like.

What I would suggest is to stop purchasing IMMEDIATELY. This isn't headed in an optimal direction. Then you might consider rethinking this cab idea; sure, a 4 x 60 Moog tier set might LOOK cool...but in the end, "cool" isn't what you want or need. You need FUNCTION. And the only way to ensure that is to have room to spread out. Sure, leave the Moogs in their cabs, get a 2-tier (or, I would suggest, a 3-tier + one more Subharmonicon. They're useful things.) for the Moogs, and pick up a more sensible Eurorack case such as a Mantis, et al. It won't be quite as unitized as you're envisioning, but it will WORK. And if you're spending $$ on this stuff, "work" is what you want.

Ah, thanks, sacguy71. I had a close call with Our Pal Covid this week, but both my test and the one another person in my "line of contagion" had came back negative, so everything's golden for the time being. Can't play with that virus, though; I've got a pair of cardiac stents, which puts me in one of the riskier groups.

Still, not feeling so hot, so I'm not exactly back in overdrive just yet. Gimme a few...

EDITED Oct 18th 2020, 02:13

Nice -- Ladik to the rescue again! How do they manage to make their stuff so cheap compared to pretty much everyone else?
-- the-erc

Because most of the Ladik modules are "primitives"...they consist of the submodule circuits that you'd find behind the panel of a much more complex device. Since they're making A circuit as opposed to a BUNCH OF circuits, the cost stays down. This is the same principle guiding the development of AE's modular, which is also quite cheap and quite powerful, but for the most part also sticks with primitives.

Nothing wrong with that approach, either. A lot of old-skool diehards (like myself, I suppose) are used to patching with simple modules to build up the subsystems, instead of buying the prebuilt subsystem off the rack. A little more tedious, a LOT more potent.

If you're planning on putting the modules into a Moog 60 hp skiff, please note that those are unpowered. This configuration won't work; I suggest dropping the Ears and replacing this with a uZeus and a flying bus cable.

One drawback of learning modular via software emulations (miRack, VCV, Softube, etc) is that you DON'T learn about the power circuits. Convenient when using the software, but VERY apt to cause mistakes such as the one above.

Oh, and the Plaits won't track the Moog's VCOs as-is; there's some CV disrepancies, and something such as an Erica MScale is necessary to correct this.

EDITED Oct 12th 2020, 21:28

Everything in Eurorack costs a lot, but for mixers it's ridiculous.
-- the-erc

Not necessarily. Ladik has their M-610, six channels, with pan and mono/stereo i/o, for $100, and it's expandable several ways. Now, yes, this means you won't have VCAs on every single thing, but it's just as simple to put your level control VCAs upstream from the M-610's inputs and then you'll get the same result. Autopanning: same deal...put the panner upstream of one channel, patch its outs to both sides of an M-610 input and leave the pan pot in the center. About the only things you'd lose with this over a higher-end performance mixer would be mutes and AUX send/return...but yet again, these can all be worked around. Even with the workarounds, also, you still come out ahead, monetarily.

So, my I ask you a direct question and I am hoping for an honest (and not a diplomatic) answer ;-) ? Is the combination of Five12 - Vector + Jack Expander (bit over 1k bucks together) worth it? If yes, why, if not, why not?
-- GarfieldModular

No, I definitely think it's worth it. The Vector is a wildly complex and super-versatile sequencer, given all of the different algorhythmic/generative capabilities that're hiding inside of it. And the ability to get inside of it with a computer is really appealing, plus you can store complex instruction sets for it internally via its own microSD. The breakout module just ups the ante, too...allowing you to use the Vector to sequence more than just the Eurorack stuff. It's very DEEP, and as a result it's got a bit of learning curve...but man, the POWER...

The EP-270 is sort of a tried-n-true thing, because that angled panel setup is pretty much one of main features of the ARP 2600's UI. It allows the system to be at a comfortable playing level while still keeping the controls face-on for easy reading. I wish you saw more of this sort of cab in the Eurorack environment instead of flat skiffs/cases or purely vertical ones.

As for the Moog cab idea, actually, that's not a bad one. Assuming 4 hp for a uZeus in an empty Moog skiff, that would still allow 56 hp for a "sidecar" cab of Euro stuff, and it + the Moogs could then fit nicely in one of the Moog 3-tier frames. I'd suggest the sidecar go in the middle slot, also...easy routing of those signals to either the DFAM or Subby. DO note, however, that you'll want to locate an Erica MScale in there as well to deal with some CV oddities that the Moogs have that aren't 100% Eurorack "kosher".

EDITED Oct 11th 2020, 23:57

TBH, the Sinfonion (GAH! That spelling is throwing me for a loop! I'm far more used to "SinfoniAn") is one of the very few $1k-area modules that I would ever recommend. Most super-expensive modules are sort of...uh...not really supposed to be super-expensive, but the Sinfoniaaaaaaagh...on is more akin to a scalar "computer". I'm not surprised that it sucks up loads of other signal sources; it's incredibly complex, and has more uses than I can even sort out. For generative work, it would be pretty close to a "core module"...just send it piles of voltage curves and set the scalar/sequential elements, then STAND BACK.

Avoid the buffered mult. You won't need it; there's not enough here, so CV/mod signal regeneration isn't necessary. Only if you have to split out a CV or mod signal to four or more sources that require exact voltage scaling for things like tuning, mod rate, etc will you wind up needing a buffered multiple. And, given that, you could just as well add a second DVCA into that space you'd save. Or, if possible, chuck the DVCA and stuff one of the new, updated Veils in for four VCAs. The new 2020 version fits into 10 hp, also...2 smaller, plus at $199 it's cheaper than a pair of DVCAs ($238). And in the process, you get a mixer too!

This, btw, is the key to making these little crackerbox builds. 1-function-per-module ain't gonna cut it in those situations; you MUST have modules that have multiple functions, otherwise you'll wind up with a very underpowered system simply due to the scale of the build. But, that being said, I don't advocate these sorts of builds at all. When it's just as easy to get a powered portable 2 x 104 case (like a Mantis), trying to jam everything into this small a space is a real brain-buster of a task. If you've not built this physically yet, you might want to consider that point.

You'll dig it...VCV really should be "standard knowledge" for anyone approaching modular. It is literally the only FREE method for figuring out how modular happens and what it's good for. A few months with it, and THEN go back to hardware ideas...and you'll find that your build efforts are a lot more on the money.

The original listing looks fine...just update the text/specs. Even though the image is of a digital mockup, it's still good. And if the panel change is significant enough, just do a front-on photo and drop it into the original listing.

Damned interesting module, btw...ARM based AND cheap? You oughta go talk to Robert over at AE; they did a collaborative with Dove Audio, and this might be a nice fit under the MDF, too! https://www.tangiblewaves.com/

I wouldn't suggest hemming yourself in with a small cab just yet. Fact is, you've got some big modules in that...but lots of missing utilities and such. And a honkin' BIG buffered mult...which 1) you don't need in this small a build and 2) is so frickin' HUUUUGE that it's utterly ridiculous. I like EMW and all, but some of their utility designs leave a lot to be desired, size-wise.

But about that cab size...OK, you want to explore chaotic processes and sound design. 6U x 84 hp ain't gonna cut it, unless you use lots of tiny modules...which would make the whole mess a real PITA to control. Fact is, generative-type processes require quite a bit of modulation and modulation-dependent modules to achieve some really amazing results. And trying to shoehorn that into this cab isn't going to be fun. One other point, also: the P/S draws 4A from the wall socket...but there's NOT 4A inside the cab. Power conversion is a lossy process, so what you ACTUALLY have is 1500 mA on the 12V rails and 500 mA on the +5. Just pointing that out; never use the mains current figure to base actual module draws on, always use the internal P/S's rail currents instead.

Now, about those modules...it's not a bad selection if you're looking ONLY at "feature" modules. But the lack of many of the necessary modules to REALLY do chaotic processes is a big crippler here. And without those, you can have all the sexy modules that exist...and the rig will STILL sound like crap and be more akin to a VERY expensive noisemaker.

My suggestion here would be to STOP. As in, now. Instead of trying to suss out modular synthesis based on YT clips and windowshopping on MG, go instead to this site: https://vcvrack.com/ Get what they have, and load it with all the modules you think you need. Observe. Then start adding VCAs, attenuverters, mixers, logic, mod sources, etc etc etc...and observe the results AGAIN. You'll notice that even though those ute modules are booooooooriiiiiing looking, they're the sauce that makes the dish edible. Take them out, and you're back at noisemakers again. Get some real experience (yep! VCV is a Eurorack emulator, has many modules based on physical hardware) and get cozy with how to optimize a build between size constraints AND musical requirements, THEN come back to modular hardware...with that experience, doing a build should be a LOT easier.

Otherwise, this is gonna get expensive.

Well, OK then! Actually, if there's space, cram SOMETHING in it! Just make sure to not pop the P/S with all that module-cramming...

Right...also, another method for the gate delay would be to create "flams" on percussives. Since they delay any pulse, you can combine a "raw" trigger pulse with a slightly delayed one, and (using an OR gate) sending the result to something like a lowpass gate. Result: that classic rapid-fire "fadap!" drum lick, pretty much on anything you like. These pulse delays have LOADS of abuse potential, depending on where you send the output.

Don't go smaller YET. One of the best methods for getting a build right is to start in a case that you think is "too large"...because, invariably, it's NOT too large once you get the "feature" modules in alongside the "boring" stuff that's there to make the former set of modules really do their thing.

Three rows of 90 hp? You just described the Pittsburgh EP-270. But you didn't mention the BEEFY power capacity it has, which is a huge plus! Plenty of space, too...the angled front leaves ample internal space for deeper modules. However, it's not exactly set up for controllers, given the lack of a "flat" row. But you could also go with their EP-344, which also has the 1U utility row as standard, 5 Amps on each of the 12V rails, plus a "flat" row that's made for controllers, performance mixers, etc. More expensive, true...but as a long-term project (which all modular systems SHOULD BE viewed as), it works with its 4 x 86 hp form factor...still small, but still spacious.

Do leave the Moogs out of the cab. Not only do you get more space, you get space for things which don't already come with a case and P/S. In this configuration, you're paying to house those Moogs twice. Don't do this, as it wastes necessary space AND winds up costing you even more to do this than it would to keep them where they are already.

Now, as for the Pitt voice...you should possibly look for the Lifeforms Touch Controller that it should be mated with. I know Noisebug has this in stock at present...but it's also worth noting that finding new Pittsburgh stuff via the usual sources is showing up a LOT of "out of stock" and "discontinued" flags. That doesn't bode well. Plus, you'll still wind up missing the auxiliary module that's part of the VRL setup. Talking with Pittsburgh Modular might be of help here; perhaps you can get the controller, auxiliary module AND the VRL cab from them directly, as that setup really is something of a "thing unto itself" and needs to be treated like a single instrument.

Ah, good...you have a Boolean module. Try this: send two gates into an AND gate, but delay one of them. The result will be a gate that's only open when the two gate signals are present...otherwise, nothing happens. This gives you a THIRD gate signal that you can route where it's needed. Or use one gate in, but take the other gate input out of something faster...and then, you can use the gate delay to "slip" one of the gates back and forth over the other one, resulting in the ability to shift rhythmic patterns via delay adjustments. Lots of abuse potential...but keep in mind, the gate delay really does require the delayed gate to be sent on to something else that can interpret what the delayed signal does vs. an undelayed gate. In of itself, it's NOT interesting, no.

And one caveat: Arturia lists the Rackbrutes as holding 88 hp per row, and this should match up 1:1 with the size of the synth's control panel. It looks like you might've built this around this rumor that the Rackbrutes hold 89 hp. This just isn't true.

Won't work. You have no input modules that can step the signal level up to synth levels, so there's literally no way to input anything from the Drumbrute. And as a result, there's also no envelope followers, meaning that you won't be able to trigger that Befaco ADSR from your audio peaks (which you'll need to do to process percussives well).

farkas makes a very good point: go to a larger cab. I have no idea why people seem to think they need to jam ALL of their functionality into a tiny one-row case...except...STOP WATCHING YOUTUBE, DAMMIT!!!!! Just because someone on there with extensive experience can do a build in 104 x 1U does NOT mean that everyone could or SHOULD do this! In fact, save for very specific-mission builds, I never advocate using small, single-row cabs.

There's also a matter of cost. This runs about $2500 for the modules alone. farkas mentions stompboxes as a potential solution, and it's something you might want to entertain for simple processing tasks such as this. You could spend that same amount on some VERY screwy, trippy pedals and wind up with processing for the Drumbrute that makes it sound like nothing else on the planet. Or better, spending HALF of that, and still arriving at the same result. Or even BETTER, getting on eBay or Reverb and getting some super-cheap rack processing gear, which goes for dimes on the dollar these days since everyone's gone over to plug-ins. F'rinstance, back when the Lexicon LXP-15 came out, it went for about $1400...but now, minty ones go for about a TENTH of that used.

Modular isn't always the right option...and where solely processing is concerned, using proper effects processors (and combining new devices with older ones) is the correct way to go. Modular isn't a panacea, and this is one case that shows that.

Also, unless you have a Clouds already, don't put it in here. Instead, use a third-party build...either a smaller version of the Clouds, or a more complex version such as a "Monsoon". farkas is also spot-on about the signal flow in this build...you'll have an easier time of this if you try and localize your audio path to one row, modulation to another, etc and make everything flow in the same general direction. Instead of the Minimoog, though, have a look at an ARP 2600 instead. I've always found it to be a superior teaching synth as well as an excellent workflow model for modular builders.

One module along these lines to not neglect: 4ms's PEG. Similar to the Maths, this can give cycles of up to 30 minutes.

+1 on the bigger rack. And instead of this one, have a look at 4ms's Pods, some of which are already powered, which eliminates the need for the uZeus on the front panel. This recovers 4 hp...and in a rig this small, 4 hp is A LOT.

Nicely done! At first glance, one might be tempted to ding it for being short on linear VCAs, but then there's several VCAs in the tile rows, plus the subsystems in the mixer do lots of audio-type heavy lifting. Even so, dropping something like an Erogenous VC8 in there would really punch up the CV/mod handling craziness and add some mixing/attenuverters to those signal paths. And actually, this has the room for the entire Erogenous Tones audio/CV lineup of VC8, Levit8, Radar and Blip if you can find enough to drop or leave room for in the future expansion.

Better idea:

I expanded this into a 4ms Pod48X, which eliminates the power on the front panel. I kept the Lubadh and its expander, but went a lot further with everything else. The extra 6 hp was far more useful than you might think...

The Doepfer A-119 not only gives you an input preamp, it also has an envelope follower with loudness contour and gate outputs for using those factors for more internal modulation. After it, I added a Tiptop ONE, which now gives you the ability to store and reuse sources, either placed on its MicroSD from outside or sampled internally.

After the ONE, there's a VOID MicroWulf for adding distortion, waveshaping to your mono audio source. Then I tossed the Noise Engineering Dezi Arnez for a WMD Time Warp, which offers dual AR envelopes/LFOs under voltage control. More versatile, even minus the random capabilities of the other.

After the Lubadh, I also changed things up considerably. Since the Lubadh can have a stereo output, I added a WMD SCLPL, which is an excellent dual multimode VCF that should pair much better with the Lubadh's outs. And since the system would now be outputting a stereo signal, I went with a Happy Nerding Isolator, which also offers groundlifts and transformer isolation for better audio performance under variable conditions, such as live gigging. Seems a lot more powerful to me now...

If the budget in question is around EUR 800, it seems to me that you might get loads more out of one of two possibilities...

1) A patchable. These can be pretty potent devices...and the pairing of the Make Noise 0-Coast and 0-Ctrl are being referred to by some as the "0-Easel", after the Buchla Sound Easel. There's some others that kill, too...Platypus's ANTS!, if you can find one, or Kilpatrick's gateway-drug-for-Serge, the Phenol.

2) Not Eurorack. Instead: https://www.tangiblewaves.com/ The nice thing about the AE system is that it mainly consists of "primitives", or the devices behind the "nicer" modules that make them do what they do. Ergo, it's easier to build with, it's WAAAAAAAAY cheaper, and in the end you don't really give up much by going with AE than Eurorack. For example, the Maths...you could do much of what it does with two AE SLOPE/EDGE modules and some logic and CV mixing. Plus, the AE Starter2 goes for a mindwrenchingly-cheap EUR 435...WITH VAT...and has ample room for more modules. AE also has Dove Audio working with them on a killer wavetable VCO, and others developing other 3rd-party modules...because the system, like Eurorack, is a 100% open standard. And they're DIY-friendly...they even have a prototyping module, the BR[AE]DBOARD.

Even as cheap as the B. 2 x 140 hp is, you're still paying extra to house and power the M32 in this setup. Not cost-efficient. Leave the Eurorack cab for the things that NEED it, and keep the Mother-32 where it normally belongs.

Also, take Jim's advice here and try and find a better power solution. Just remember that you'll want power that exceeds the draw of the collected modules by about 1/4th-1/3rd of the total to avoid inrush issues at power up and to keep the P/S running cooler. It's the biggest source of heat in ANY modular build, and since heat can also equal instability for various circuits, cooler is what you want.

Being unfamiliar with modular synthesis and building a rig at the same time is generally not going to work out well. Instead of going further with this, I strongly suggest downloading a copy of VCV Rack. This is billed as a "Virtual Eurorack", which isn't wholly accurate inasmuch as some VCV modules really are quite computer-dependent. But the operating, programming, and build principles are 100% the same as Eurorack as long as you don't overtax your computer's resources. By working with this for a while, THEN coming back to a build attempt, you'll find that making sense of the plethora of modules on MG becomes WAY easier.

Don't settle on that BSP just yet...have you checked out the Keystep Pro? Imagine two BSPs jammed into the same case with a velocity-sensitive keyboard, user-programmable arpeggiator, dual expression controllers, loads of I/O. And just $140 more.

Even with two BSPs and a Keystep on hand here, that KSP is something else! And I can lock all of that crap up to most anything, since it all plays nice with +5V clocking. It's a decent size-fit for a 104 hp cab, too.

Could be slightly miscalibrated. Have you contacted Intellijel directly to see what their take on the problem might be?

You've got the uModII already? Well, don't let it go! I've thought for a while that that was a superior piece of gear, especially due to the separate "SUM" and "DIFF" functions. Most ring mods don't let you go there, and if you can find a quadrature VCO to pair with it, you can get fairly close in behavior to a Bode Frequency Shifter. Not spot-on, but pretty close.
-- Lugia

Thank you @Lugia for your insights. Excited to try it. Trapezoid Thru Zero Quadrature VCO by Doepfer as a pair to uModII?
-- Iheartopone

Absolutely! While it's technically an audio source, that module would work. But a better quadrature modulation LFO would actually be Doepfer's A-143-9. Having that sort of phase-shifted modulation is an awesome tool that can work in a lot of places...effects, autopanning, stereo level modulation, and on and on.

EDITED Sep 29th 2020, 00:37

OK...we all know that Eurorack enclosures are expensive AF, as a rule. But do they HAVE to be?

See here: https://www.newark.com/schroff/24563-191/19-inch-subrack-europacpro-kit/dp/59M5127

Looks familiar, donnit? Yep, it's a "Europac" enclosure, the thing that Dieter Doepfer based the whole standard around.

Now look at the price tag: $70-ish for just one, and bulk discounts for more than one.

But it doesn't have a backplane! Well, it doesn't in THAT state, no, but Newark carries those as well...in fact, they appear to carry much of the Schroff Europac hardware, so a little more searching and some time with a drill with a carbide bit to put your busboard mounting holes in, and there you go!

It's not got tops or bottoms, you say? Sure...many Eurorack systems don't, either. But the perfect solution would be to mount three of these into a road case...maybe 10U so you can add a power conditioner and lights via a Furman M-8lx. Road cases too expensive? Naaaaaah...Newark's got those, too, WITH rear rails if needed, and for buttloads less than SKB or Gator. See here: https://www.newark.com/mcm-custom-audio/555-15637/stackable-abs-19-rack-flight-case/dp/48Y8196 for a whopping $117. Cheapest thing you're gonna find like this via Sweetwater is Gator's G-Pro 10U...at $260.

The other nice thing about using an ABS case like this is that you can easily mount a better (linear, if you can swing it) power supply in the case itself. So instead of using things like uZeuses and flying busses, you could put in a substantial tripolar supply, switch it via the M-8lx, and then distro the ONE power supply for the entire rig. This has the benefit of putting ALL modules on the same source, which eliminates the potential of groundlooping behavior between power supplies.

Anyway, hopefully those of you who're locked-in on assembling larger and/or expandable systems will have a look at the above and related things, as these really do fix the cost issue of housing/powering a system when they get beyond the size of off-the-shelf cabs.