Does that make sense?

(I plan to use a DAW for sequencing/playing + effects. Thought about a shared system but too much £ and wasn't sure I would need all of it)

EDITED Nov 9th 2018, 11:30

Two suggestions:

1

When building a rack on MD, we have two choices of modules: the general pool of modules and modules we own.

I would like a third tab called "Wishlist." When planning out updates to my system, it would be nice to be able to segregate modules further into ones I actually own and those I'm planning to own or I'm interested in.

2

For unicorn users, being able to set a maximum depth for each row and take it into account when placing modules would also be helpful. Granted, the space under each module can vary depending on what's under it having varying heights within the case. But it would be great to get a warning triggered. I've found myself having to rearrange my physical rack when a module or two exceeded the clearance for that particular row or part of a row.

too many sound sources and processors and not enough utilities

for me, I'd want both a mutable instruments kinks and links, an lfo (preferably with multiple outs) and an envelope generator and attenuators/attenuverters - so probably maths or batumi and some 2hp trims, disting never hurts, an lpg and probably a filter

if you're restricted for space by the rack I'd get rid of either the rainmaker or clouds and the smr to make space

otherwise just get a bigger case

This makes more sense.

First of all, the Minibrute 2 panel (which is lurking on here somewhere) was added so that you can keep its functions in mind as we look at the Rackbrute proper above. Top row is split between your 'voice' and 'drums'. A random CV source at left provides random fluctuating voltages for modulation use. Then a Shifty...this is a four-stage analog shift register/sample and hold which allows psuedo-polyphonic hocketing from a single incoming CV. Each time the module receives a clock pulse, it shifts the held CV to the next register. Then by connecting the registers to separate VCOs (of which there are four next to this, with internal quantizing), you get four-part rotating hocket/arpeggiation-type activity. Two Klavis Twin VCOs are next for four VCOs total. These are very complex oscillators with a lot of internal DSP control, which maximizes function within a tiny space. 4 -> 1 mixer allows you to sum these VCOs with variable levels, then this feeds to Tiptop's new Steiner Synthacon VCF clone. Great filter, lots of sonic possibilities, but still relatively simple and easy to control. Doepfer's new dual EG/VCA combo is last, which gives you an EG/VCA for your pre-VCF signal and one for post.

Drums: Gatestorm gate sequencer is the main pattern control/clock modulator/lots of other programmable things, with its clock incoming (more than likely) from the MB 2S. This generates eight gate patterns. The Delptronics modules to the right are based on the Roland 606 and 808 circuits, and next to that is the expander which allows some extra CV functions over the main drum sounds. A Moffenzeef module provides glitchy/fubar-type percussives, plus a pair of Erica Pico Drums gives you two channels of sampled drums. The drums can be submixed via part of the Levit8 below, and/or individual channels on the stereo mixer.

Bottom row is for modulation sources and mixing. Left side, next to the Power, is a dual lag generator, so that you can add in portamento functions for the voice section above (switchable between up, down, and up/down behaviors) or wherever else simple slew limiting might be useful. Batumi + Poti next; the Poti adds some extra control functionality to the Batumi that can be switched on the fly. Four VCAs after that, which can either function as a mixer or separately, and these can be adjusted for responses anywhere between linear (better for CV control) and exponential (which you more typically use for audio). Four ADSRs are after this. Then the mix section includes the Levit8 from before, a Happy Nerding 6 -> 1 stereo mixer with CV over level control, and then a shrunk-down third party build of the now-unavailable Clouds. This one is by Michigan Synth Works, available directly. A Happy Nerding Isolator at the end gives you a global stereo attenuator, converts synth to line level output, and has dual isolation transformers to help with noise/hum and to add a touch of transformer enharmonics.

All of this fits in the single 6U RackBrute. It costs much less (subtract the MB 2S's $649 from the total), draws less power, has ample internal clearance, and offers more functionality in less space. Now, as for the bass part...what I would suggest is a patchable device of some sort, and there's a few reasons why. First of all, if you want to put things under some level of computer control, it's smarter to have the bass and the MB 2S on two separate MIDI parts. Just makes more musical sense; you don't want everything doing the same exact thing, after all. Secondly, you're going to want to voice that rather differently for maximum 'punch', which also means you want its signal and level control very separate from everything else. Bass being as important as it is, it needs to be treated as its own thing in of itself. Last, you'll want to tweak it and operate it in general differently from the rest of the rig, also because bass is so significant. This means you're probably going to want something with its own internal sequencing or the ability to connect a basic sequencer to it, in addition to having the sound source itself separate, but you will still need to interconnect the clocking. This also means you'll be looking at a small portable stereo mixer to mix the MB 2S, the bass synth, and the stereo out from the RackBrute, plus anything you might add later on (laptop audio, another synth, etc). Very basic little setup, but effective.

As you can see, this is very different from "in the box"...you have to think of things as subunits, which are part of a larger whole, which then come together as a singular instrument, and then those form the whole rig. Inside software, much of the lower level of this process is already decided for you, which is one reason a lot of people jumping directly from solely using software to modular make a lot of critical errors. Now, this above version is A possibility. There are likely others, this one being something I cobbled up on the fly...but it will work very well for your purposes. However, before doing any refinements, study this example, understand how and why it works, then study other examples by experienced synthesists, historical instruments, the underlying concepts in analog synthesis and so on before making changes. And take your time...if you're building a musical instrument, you're building something which you should be using for quite some time. Given that, it should make lots of sense to take the time beforehand to get the most useful long-term result.

Quote
Hello!

Just created this rack by using some modules I've taking into account from recommendations, forums, etc.
I would be using it to generate ambient backgrounds and textures. Also linking it via the Metropolis to an ERM Multiclock, I'm quite new to the modular world so I wanted to know how you guys feel about this rack, is it missing things? What would you add/take away from it?

Regards

Well thanks, this was just the answer I needed I guess.

The most important thing you stated for me is 5) Do I really need it to do that way??? The answer is: I don't have a clue. I use a DAW and finished a couple of tracks. My motives for doing electronic music are 1) Understanding the how and why and 2) Jamming (with low quality output expected). My tracks still keep getting better, which is a clear indication that I am not even close to the end of the learning curve. I think I could go on with software for a couple of years and will not get bored. But always when I a jamming with friends or alone (all kind of setups) I think I want to have some real interaction with my instrument. So I decided to buy some hardware. I am still pretty sure I will buy the Minibrute as first instrument. And then yes of course I was a victim for the coolness of the modular idea. Which was the reason I clicked together that rack and wanted to know if it makes sense. So still I don't know if I will go modular, but let's just assume the answer will be yes for the next few lines:

3) The attenuators: I actually asked myself how much I will need them. I thought of using the LFO into the attenuator multiple and then modulate several targets with it. But I think I will cut them down and only use the Erogenous.

1) Availability and depth: OK, thanks for the info. I assumed it would be enough to select "AVAILABLE" on MG. And for the depth I didn't think of the power modules in the Arturia rack.

2) Space of the modules: OK, this is interesting. I actually tried to minimize the space they use. If you still feel motivated can you be more specific which modules I could reduce and still keep the functionality in the upper 6U part, except the mults? I will redo the 3U part entirely.

4) Hey I like adventure time... ;)

For the plan: IF I decide to do something modular my budget is ~ 800 €/year (+300 € more in the first year for a start setup). So the setup will be finished in like 8 years ... that is quite some time. In the beginning I will depend on the Minibrute, but I want to replace it part by part with modules and in the and just use it as an additional voice. I think I will redo the lower 3U part with VAC, Mixer, Sequencer.

Hey iam new in the modular world and i plann a allrounder rack.
I have a problem with stereo.
I go from wavetable Vco to a stereo mixer to mix the Osc and Sub Osc to a L R signal and go into the Black Dsp 2.
Here comes the problem. i like the wasp filter but i there is only one mono jack input.
Can i go to from the dsp 2 to a normal mixer and mix it into one mono signal and than in the wasp filter or i do must take stereo filter.(not two wasp filter)
Can i mix the 2 signals to a mono signal? or is the stereo information lost?
Or can i go from the dsp 2 to a mixer with headphone output with a symmetric cable and than go into the wasp filter to have a true stereo signal?

Hope you can help me : )

In any case, weakening is necessary, since it is not in this module at all. I agree with the author above, it is best to use converters for control. I once worked for IT and made websites like http://clc.am/iMgCNw and had a friend faced the same problems, but solved it.

EDITED Nov 8th 2018, 13:01

Is there anyone who purchased something from DSP synthesizers?
https://dspsynth.eu/webshop/
I've ordered some stuff, and there was nothing from the company. Then I sent an email about my order and got a reply from Jan. He told me that my package has shipped. But more than one month after there was nothing from the company.

P.S. I found another thread about Jan and DSP Synths and understood what happened about it.

EDITED Nov 8th 2018, 22:21

I've noticed a lot of one off, custom DIY modules and alternate panels for other modules, or modules that aren't yet available at all. I always make my modules unlisted unless im making them somehow available as a product. I feel like the ppl making these listings probably just dont realise the 'unlisted' button is there. So wouldn't it make more sense to default it to unlisted? ofc if they really wanna show off their custom blank panels they can just go edit and change it ay.

1) Are you sure that all of the modules you've selected are either in production or are currently available? I'm going to bet that the answer there is 'no'. Also, have you confirmed the depths required? Note that the RackBrute does have internal obstructions in the row that your power supply is located under, and that it's a very good idea to leave about a centimeter for your ribbons and connectors on the bus board.

2) Have you tried to minimize the 'real estate' occupied by your modules? These are fairly small cabs, with only 88 hp per row. If you can find any modules to shrink (and I see a few right off the bat), do so. In builds like this, it's best also to see if you can actually dispense with certain modules altogether, such as mults (use inline ones) or jam as many functions as possible into as small a footprint as you can.

3) Do you really need 15 discrete attenuators? Don't try to convince me that it's a good thing that they can also mix, because you've also got two 4->1 mixers as well besides the Befaco Hex setup. Remember, most modules that're worth a damn have input attenuator/scaling pots...or they should. The Erogenous Tones one is a killer device, given how flexible it can be. As for the rest...uhhhh...kinda scratching my head here...

4) Never put in a big blank panel when working a build out on MG. Doing this also puts the same big blank panel in your head as far as future builds are concerned. When working out a final build version here, work it out 100%...you can always go back and swap things around/in/out later on. This isn't a test. You can do this over and over (and SHOULD) until you've honed down a real, serious, no-foolin' final build. Especially if you're just starting out in hardware in general, to say nothing of modular itself.

5) Finally...do you actually need to do this in this way? Consider: you're transitioning from an 'in the box' synthesis environment where everything pretty much works within the same operational paradigm to perhaps the most complex form of analog synthesis out there. It's sort of like going from driving a Prius to a Ferrari 488 Spider with no sort of transition in between. Also sort of like that in monetary outlay, too. Sure, these things look cool...BUT...they cost, they require some degree of hardware electronics knowledge, it's possible to make mistakes that can cost hundreds of dollars (or worse) in mere milliseconds, and you need to know how analog synthesis signal flowpaths function (and how they function on your specific instrument) like the back of your hand.

My suggestion is this: stop. Step back, take a few deep breaths. Start at a better and more sensible start-point with hardware than this. If you want "something that can produce leads, bass, drums with easy control for modulation," modular might be a good bit more than you're anticipating. I mean...look at your build above. Does that look like it has the sort of "easy control" you're looking for? Especially when you start interconnecting that with a Mini 2S? My guess there is that, no, it doesn't...mainly because, no, it doesn't!

Do yourself and your credit cards a favor for now, and look into some dedicated devices. Certainly among those, include one or two patchables, which are the best way to sort out what modular does, what it's good for, what it's NOT good for, and how you specifically want/need to use it. This is the real way to transition out of a pure software environment, and in the long run, you're apt to get a lot more done over the long term by doing this than if you plunged right into the deep end of the pool straightaway. Doing the latter will likely be an exercise in frustration, and you'll end up more perplexed about the point of modular than before you started.

I'm using a regular MIDI signal to fire the gate out on the A-190, which then triggers the Rene. Seems to work OK, Although you are right, some more complex clocks would make things more interesting.

I was in favour of the "row" design too. I thought it would represent the signal flow better but I was convinced by the good folks on Muffwiggler to take the other route.
No critique or so, I was just saying that I have heard those request too.

Hi there folks

This is my first post on modulargrid and yes, I am a total noob to modular synths and also all the synths I owned were software synths... up to now. I hope you guys can give me a few tips and tell me if something in this setup will not work. I did a little bit of homework and watched tons of vids to prepare, but still no actual hands on.

So, OK: I plan to buy the Arturia Minibrute 2S. If budget allows for, I will also buy one Arturia 6U case and the first modules. The plan is to use the Oscillator and Gimmicks of the Minibrute for lead / bass and use it as VCA and yes of course the sequencer... nice combination for that price. The finished setup should be something that can produce leads, bass, drums with easy control for modulation.

As you can see, I included the 3U part to the 6U part, in reality this will be 2 cases (Arturia probably)

The rack part will be filled over time. At first I want to buy one of the Basimilus Iteritas Alter, the voltage block and the Varigate 4+. I think this will give me a nice drum section. Next step will be the next BIA or maybe Ataraxic/Belgrad/ADSR... we will see.

So let me know what you think and share a tip or two with me.

Peace

sorid

when I designed the Schleußig module, I asked people (muffwiggler) what they think about my prototype (which looked a lot like this) and the suggestions I received went into the final layout I have now: connectors on top, buttons below.
I am happy I asked before bringing it into the market

-- lpzw_modules

Happened to test multiple configurations as well.
Works very well in this configuration and no issues reaching the mute buttons - happy to hear you came up with your own design... none of them are perfect.

OK...I've written a few of these educational essays about why you might want to get into modular, the best ways to do this, what a typical build consists of, and so on. But this time out, I really would like to make some points about why a user should NOT get into modular synthesizers.

Of course, there's some very obvious points off the top, such as not having sufficient capital to sustain a build, not having a basic knowledge of how synthesis works, and the like. But there's actually some value in explaining a lot of these “disqualifiers”, and how you as a prospective user might fit into their various categories and thereby avoid a lot of headache and pointless spending. If you fall into any of the following categories of users, then modular is NOT what you're looking for.

1) “I need lots of presets!” No. You're utterly screwed on this one. While there are certain modules that can store preset states, and there's certainly the example of the Buchla 200e and its storage/recall abilities, the core principle of modular architecture involves making extensive manual patches. So, even if you had full setting recall, getting just one patchcord out of place will render that preset capability pointless to varying degrees. Modular is NOT for the preset crowd that's looking for loads of factory patches, and it's NOT for anyone who has any trepidation about sound design. Modular is for explorers, individualists, people seeking new and different ways of pushing a creative envelope. There will be no piles of presets out there for this, so if you need your hand held where patch creation is concerned or if you're unwilling/incapable of learning the ins and outs of creating them from scratch in whatever architecture your own build gives you to work with, you really shouldn't be thinking about going modular.

2) “I don't know how this works, but lots of cool people have modulars!” ...and you will also notice that those cool people know what they're doing with them, for the most part. True, there are a few electronic musicians with more money than sense who have their twistenknobs und blinkenlichts as stage props, but these people aren't going to be the ones anyone will be listening to in a decade's time...if even a year's. DO NOT get a modular synth and expect that you will be buying a ticket to instant cool. Like anything else in music, no amount of windowdressing will disguise your lack of capability in the long run. This is sort of the inverse of the unprofessional dumbshit behavior of blaming the equipment for your failure of talent, and it will work just as badly as that moronic blameshifting tactic will.

3) “Lots of people are getting into modular!” This is sorta-kinda true...but only sorta-kinda. It might seem as if the whole electronic music world is going bonkers for knobs'n'wires these days. But keep in mind that, back in the mid-1980s, everyone thought that digital synths with only one or two programming interface controls were the shit. The fact that a lot of people are “getting into modular” has more to do with fashion and trends, and not quite so much to do with music. People always gravitate toward what they think is the newer/shinier/faster thing, even if doing so doesn't make a helluva lot of sense in the long run. If modular fits your idea of where you want to go musically, then sure, dive on in. But if you haven't thought that idea out carefully yet, you might want to consider something a lot simpler first, then hit the inherent limitations of that and by doing so, come to comprehend what the user-definability of modular is for.

4) Polyphony. Remember what I said above about “more money than sense”? Modular synthesizers are notoriously NOT polyphonic. This isn't to say that you can't do that, though...because you can. But it's utterly insane. Consider a present-day polysynth, such as the Moog One. So...each voice on that synth has three VCOs, two VCFs, three EGs, a ring modulator, a source mixer, a stereo VCA, and we've not even gotten into the LFOs, the sequencer/arpeggiator, the controller and its layer/split capabilities, and the effects processing, plus MIDI and a whole bunch of other crap I'm forgetting at the moment. $8k ets you sixteen of these voices, plus the aforementioned crap. This comes out to FORTY-EIGHT VCOs and EGs, THIRTY-TWO VCFs, SIXTEEN VCAs and mixers, and so on. If you thought eight grand was spendy, try adding all of the above up on ModularGrid. Now try cramming it into the same space as the Moog One (not happening). Then try and apply a recall/storage system...which, as I noted earlier, you really can't, so each new patch will require retweaking all of those individual modules and changing bushels of patchcables. Utterly...insane. But you CAN DO IT...if you've lost your damn mind already or are looking to do so in the near future, and you also own an investment bank.

5) “I don't know where I want to go with my music, but modular will help me define that!” No...no, it won't. Nor will any other piece of equipment you happen to be able to afford (see #2 above). And in all truth, modular will wind up frustrating you even more as a musician if you don't have a clear vision for your work. It offers near-limitless sonic possibilities, but if you've not developed a sense of direction and the discipline needed to follow that direction, having the ultimate sonic sandbox at your disposal is just going to screw you up. When you look more closely at music and those who make it successfully, you're more apt to see people who work within defined limitations, either by chance or choice. So until and unless you've gotten used to the idea of having musical limits and staying in an artistically-successful comfort zone in those, introducing a limitless device into your environment will probably result in something more disastrous than revelatory.

6) And lastly, “I haven't researched this, but I want/need one.” No. Do the research first. It is what sites like ModularGrid (and many others) exist for. Ask dumb questions, because when we're talking about the possibility of dropping thousands of moneys on hardware over longish periods of time, there are ultimately no dumb questions. And whenever you're contemplating the purchase of gear, whether that's a stompbox or a Steinway, there are two main questions you need to be able to honestly answer of yourself: “Does this purchase make musical sense?” and “Is this the most effective way of accomplishing that musical goal?” If you cannot formulate an answer to BOTH of these questions each time you consider some new device, then DON'T BUY IT. The inability to answer those key questions is the indicator that you've not done your research up to the level of information where you understand the point of your decision. Until you can come up with those two answers, don't even think about whipping out the Magic Plastic.

Basically, it's not a simple decision to dive headlong into the modular synth world. Hopefully the above points will help some of you reading this to get a better idea...for yourself, by doing your homework...of what this sort of equipment and its working paradigm can do, and to avoid making costly mistakes that'll have you kicking yourself for quite some time afterward.

https://1drv.ms/u/s!AsdkBRIREHjWiqkXxGi5kehabaa7Nw

Voices Used (in order of Clock Channel Out 1-6 from Tempi)
1. MI Peaks OUT1 (Kick) (expert mode)
2. MI Peaks OUT2 (Snare) (expertmode)
3. DixieII by way of Bastl Cinnamon
4. Mother-32
5. Disting I3: Audio Playback with 1v/Octave
6. Maths CH. 1 cycling @ audio rate

EDITED Nov 7th 2018, 03:56

Colour Scheme
- Purple Stackcables for the Clock outs from Tempi
- Yellow Patch cables for all Audio Source Outs
- Blue Patch cables for original/multiplied KB Out from Mother-32
- Black Patch cable for VCA to Mix3
- Audio Out from Mix3 (no Kompressor, eliminate hum)

EDITED Nov 7th 2018, 03:40

Agreed. OP needs to do more research on what modular synthesis can and cannot do. What the OP wants is in the 'cannot do' column. Even a modular that has preset recall, such as the Buchla 200e system, will still be unable to recall the actual patch if the physical cable arrangement isn't duplicated by the user, by hand. Besides, what they're describing is, basically, a Waldorf Quantum...so why not get one of those? True, it doesn't have the SEXXXAY of knobs and wires all over the place, but does the OP want musical functionality or a stage prop?

No MIDI output like on the little brother?

The dude comes in all newbie and hot and thinks a passive aggressive tone will work here?! For the record, Ronin's reply was factual and valid. Do you just want someone to hand it to you?!!

Why you would diss someone off that bat reinforces your naivety. Come back when you've grown up. Close the door on your way out.

EDITED Nov 6th 2018, 18:57

LOL... you know nothing of Eurorack and post some wild idea that would be uber expensive and difficult to control in a live situation. You ask for advice. You got it. It's your money and your idea. Go ahead and try it and report back, colonel clueless.

I also traveled with this thing. Enough even comfortable. I would not say that it creates a lot of problems can fail. By the way, I went to Vegas then. It was really cool. If planning to go, use this platform https://best-vegas.com/best-shows/. And for the post a special thank you

Cramming a Synthrotek skiff full of modules to incorporate with the rest of my setup. I've got a TTSH (ARP 2600 clone), a LifeForms and a Doepfer Dark Time and I'm looking for a way to kill two birds with one stone (or in this case an 84 hp skiff) by adding some drums into the mix, integrating things more smoothly between systems and getting some more complex textures.

Here are the problems/limitations I'm running into:
a) Gotta do in with ten modules. At 84 hp I don't really want to get a power module for the sake of a couple 2hps.
b) I don't think the Hendrikson or the Quantizer will fit in my skiff. The skiff has a portion on the right hand side where there's no power strip on the bottom but I don't want to try it.

Here are my questions:
a) Should I just get a bigger case (The question mark on this keyboard doesn't work. Punctuation trigger warning)
b) I'm not 100% settled on a VCA yet; I like the Intellijel Linix but that's a crowded market and if I can get one that I can patch more signals into it would be helpful.
c) Any suggestion for replacements for the ADDAC Intuitive Quantizer and the Hendrikson

That's about it. If anybody sees some missed opportunities or knows how to set up a good modular drum machine I am all ears, buddy.

tell me what from the build makes it a bit of a stretch from a polysynth? and i realize the ability to recall presets is a stretch, but something that has presets as a starter point was something more of what i want, but thanks for the answer captain obvious

So here's what I'm thinking for my final rack. Could anyone please let me know how to maximize the space here? I like the Mother 32 on the bottom row so I can use the keyboard more easily but I would welcome ANY suggestions as to how to get the maximum cable management and general clean layout. Thanks everybody!

The Disting Mk4 offers two channels of sample playback and is under $200US. Plus you get all the other features when not playing back samples... just another option.

I went through the modules. You want to sync up with Ableton but the interface you have doesn't seem capable of generating clocks. Perhaps I'm mistaken. Perhaps you might want to consider replacing the A-190 with an Expert Sleepers FH-2? That will give you eight universal outputs you can use for CVs, gates, AND clocks. However it's 2HP larger than what you have... 8HP.

If you can squeeze in the FH2 + 8HP, I would get a micro Ornaments And Crime. It has several different programs that might be useful as well as a dual sequencer that can output control voltages, gates, even envelopes, and sync'ed to clock.

If you're not changing your set-up, I would consider an Expert Sleepers Disting mk4. That'll give you a lot of options as well.

I own the modules I brought up.

Building a polysynth in Eurorack for live performance is a bit of a stretch. Oh and you want to recall presets. That's just not going to happen in Eurorack.

You're better off just buying a true polysynth with wavetables. If you're running Ableton then the cheapest solution is to use a plug-in.

funny "the great dictator"-german, other than the "cottonpicker" which is clearly racist.
glad its discontinued.

https://cdn.modulargrid.net/img/racks/modulargrid_777246.jpg

hi everyone,
recently i thought of an idea where id like to make my own instrument for live performance, ive been doing research for a few months now, reading books, watching videos, reading other forums and blogs, and then over the past two weeks i found modulargrid and decided to build my synth. however, i already purchased my own rack (arturia rack brute 3U) in advance, so my build can only be 83 HP (88 w/ power module). theres a few things I took into consideration that I wanted out of this build:

the ability to be controlled by MIDI/Ableton
the ability to be routed stereo (for interface or mixer/speaker purposes)
the ability to recall presets if needed, however can still be used to create different variations of those sounds live
polysynth, with a wavetable synthesizer, that features multiple oscillators for more mod sources and mod types (AM, FM, Additive?) OR more voices?
effects module, that also features a compression module, for better dynamics control and creativity when working live
the ability to control the effects and other parts of the synth via outside instruments (other synths , guitars?)

a couple questions I had, would this work better trying to make this synth more paraphonically than polyphonically? will i be able to control the synth via MIDI to CV polyphonically via KeyLab/Keystep efficiently through this build, if i took out the Intellijel MIDI? I could still route it through the synthbox and so forth correct? or other instruments through midi to cv to synth box...?) my other question is, if i run a synth or guitar through the AI2 (1/4"), i can run in back out at the end of the chain through the AI2, does that work? does the AI2 read midi data, couldn't i run midi/cv through the input of that and through the chain and back? also, i believe that my build allows for up to six voices, correct? (four through the synthbox). also, if i wanted to run some more filters, i could run a filter chain through the ferry and back correct? i also wanted to see if there were any alternative modules that you guys think i could be using, either to better my build considerations or wallet lol. am i missing something? do i need more VCAs? i also believe i need to make room for a better/bigger mixer.

i am very new to eurorack so i wanted to make sure i got a couple questions answered from the pros before i started pouring money into this science project :) i know that i could sell the arturia rack brute for a much bigger rack, and if you have any suggestions let me know, but i think having it smaller makes it more challenging, portable, and less expensive. i also like having the ability to use the rackbrute w other arturia products. let me know what you guys think and and what some suggestions, what i should be thinking about/working on, general advice, better signal flow, etc.

https://cdn.modulargrid.net/img/racks/modulargrid_777246.jpg

EDITED Nov 5th 2018, 22:18

Hey guys,

After changing my setup, my nearly new travel case is for sale.
Is there a option to sell it here, like the modules?!?

For interest:

• Quality DIY build (by a woodworker)
• lightweight 7,5kg and stable
• min depth 5cm, max 9cm
• 2x Meanwell Rt65b PSU with 2x 20 Sockets Busboards
• can be closed patched
• 3 Rows of 104 Hp
• completely black

Cheers, manu

Thanks for the reply.
I have a Make Noise Morphagene so I will look for a sample and put it through that.
Thanks again!

when I designed the Schleußig module, I asked people (muffwiggler) what they think about my prototype (which looked a lot like this) and the suggestions I received went into the final layout I have now: connectors on top, buttons below.
I am happy I asked before bringing it into the market

being a digital snare w/o much to it I suppose there will be no stand alone clone. you should look into a TTA One and a good sample

Does anyone know if there is a TR-707 snare module available?
I prefer the sound of the 707 snare to the 808 & 909.

Cheers

https://cdn.modulargrid.net/img/racks/modulargrid_776382.jpg

I have been looking for ways to expand / modify my live drums, and currently use triggers into some small roland boxes with samples, and also incorporate a Simmons SDS8 into my live performance. I would like to build a modular synth that I could trigger with drum triggers / pads, and I am thinking this might be a good start. Let me know what you think.

Another important concept which i'll be using in the next rack version is

Lengthening/shaping triggers with CH1 or CH4 of MATHS, as i'm doing here with Circadian Output 4.

This rack view is slightly outdated. Should show Ears in bottom row, ADSR in 3rd row, and disting MIDI Breakout Module, which receives MIDI Clock from audio interface (Ableton clocks the G6 Algorithm on disting).

Disting G6 MIDI Clock
Output A is set to a 1/16 divisor (S Knob Parameter 0 Value 2) so that each clock pulse = 4 sequence steps on Circadian Rhythms (to ensure 16th note resolutions)

Thanks to @yochwired for the quick shipment, everything was perfect. Module in perfect condition!

Thanks - yes, removing the mult to make space sounds like a good idea.

I'm making folktronica (for want of a better term) with guitar and beats synced through Ableton.

It depends what music you want to do but I will remove the multiple (you can use stackable or others) and I will put a VCA (like a µVCA II) and a random.

Hi,

I'm new to Modular Grid, so please bear with me.
I have the rack shown and need to fill the spare 8hp with something good.
Any recommendations on modules that are small but pack a punch?

Thanks,

Jim.

Or do I still need an adapter cable?? It seems someone modded this cable to be Eurorack compatible.

https://www.dropbox.com/sh/p2cuj6wiojmfzjg/AAAet2elf2DiDr-nmtLUGYn4a?dl=0

Most of the sounds are made with the Make Noise DPO; the bass pulse, the first melody that develops throughout and the FM mayhem towards the end. The drums are from the Electribe 2. The "electric piano" was made with the Korg Minilogue.

Which one is better? And why?

perfect transaction with @vytis , thanks!

KICK ASS!!! October 2018 spoooooky Halloween edition!

Why spooky? No reason. Although, yes, I am whipping this out on Halloween night. Sort of a shorter edition this month as the Eurorack world cools down after the one-two modular punch of Knobcon and SynthFest and the all-in-one that is the AES show. Time to settle in and await the next big explosion of reveals for Winter NAMM in January. But for now...

1) Tiptop Audio MIX7. OK, now this doesn't look all that exciting. But it's got a few tricks to it, and at 3 hp it makes a fantastic choice for filling out one of those odd-number extra spaces. Technically, yes, it's a mixer. But given its basic summing capabilities, it can also act as a logical OR for gates, a trigger integrator, and do arithmetical summing of CVs...and that last one is super-useful for transpositions and the like. Got a sequencer? Sure, they have their own transposers...but let's say you want a couple of transposition operations. Or...let's say you want to easily combine triggers to sum several trigger sequence channels' outputs into a single complex pattern. See? You need one of these! It's one of those not-really-sexy utility devices that you might not be thinking about, but you really need to think about it! $99.

2) Intech/Otto's DIY Protoboard-480. This one's for the DIY hardcore set! Otto's DIY not only has this $3, 8 hp model, but they also do 6 and 12 hp PulpLogic format tiles for $2 and a 16 hp panel for $4. And what exactly is this? Well, it's a prototyping board that's ALSO a Eurorack panel. Breadboard layouts, double-sided plated connection points, preprinted solder pads...pretty smart! The convenience of having precut Eurorack-specific prototyping boards like this is pretty major, as it eliminates trying to fit larger protoboard pieces to the format, plus it gives you some restrictive guidelines to follow to make sure your project fits the form factor. Definitely check the website for more: https://www.intech.studio/shop/protoboard-480

3) 2hp Cat. How many times has this happened to you? You're plugging away at a patch, and you suddenly realize how much better it would sound with CATS! Yes, the fluffy kind. 2hp has you covered! Their new cat synthesis-based VCO gives you voltage control over the primary sonic factors of the average housecat. No, I am not making this up. Seriously, it's there in the frickin' module listings! So, if you don't have the scratch (scratch! ahaha! I kill me!) to pony up $4 grand for Hexinverter's voltage-controlled rubber chicken synthesis module, this may well be the next best thing! Seriously, though, 2hp's video actually shows some damned interesting uses for this with a touch of extra processing and a bit of CV 'misuse'...have a look via the listing. $99.

4) CaviSynth Subway. Those of you who know and love the Roland suboctave VCO architecture are going to want to climb all over this. Inspired by the iconic SH-101 VCO, CaviSynth presents this rather nifty and intelligent rethink of that classic. One and two octave down settings are available, of course...but this VCO takes it down another FIVE. And you're not limited to square/pulse waveforms in your suboctaves, either. Nor are you locked into a matched suboctave, as the module also allows you to detune the sub. Mixing is internal via a CVable crossfader, also allowing you to modulate octave dives/splits. The design on this is seriously right...it has everything those of us remember about the SH-101's VCO's coolness, and tosses in a lot of new and useful control variables on top of that, and doesn't break the bank, either. 8 hp, $135.

Now, if you thought we were done...nope! Let's take a bit of a detour to dip into the TILE selections from the past couple of months. There's some neat developments there...

5) PulpLogic tiles: Split, Clamp, X-Fade. Yep, there's some new PulpLogic stuff out recently. The Split is a 12 hp tile that works as a 1->3 attenuator, and also as a three-way CV source if the input is unpatched. The Clamp is a 6 hp tile that offers hardclip level control over either CVs (range restriction) or audio (waveform clipping/distortion). And the X-Fade is a CV controlled crossfader that can also function as a DC-coupled linear VCA or inverter. This 12 hp tile is based around the reissued version of the venerable CEM3360 VCA chip. $45, $30, and $60 respectively.

6) And one last one: Intellijel Steppy 1U. In just 28 hp across a 1U row, Intellijel has managed to jam in four tracks of up to 64 steps each, with eight internal memories, loads of on-the-fly parameter controls, all designed with live performance control in mind. This is actually a rather complex little device, with more going on than I can get into in one of these little blurbs, so you owe it to yourself to pop over to the 1U tile listings and have a look. It's very much one of those modules that might make you rethink your attitude on tiles. $199.

So...that's it. Like I said, sort of a short haul this month. Probably next month as well, but December into January of next year should see the ramp-up to NAMM and thus a pile of new goodies for me to root through and point out here on ModularGrid for you Eurorack users.

Yea it would be perfect if the module could output the quantized CV. It's the only downside of the module for me, as I often wish that I could use the quantizer on other oscillators too.
-- leop

The sub output is digital, so on/off only, hence the sub square wave or LFO triggers.
There is no way to provide a CV on that output.
Thank you for your appreciation of the module and for the suggestion.

Eric

-- Klavis

Oh ok thanks for the explanation! Then the option of using a voice as a quantizer could be nice too (outputting directly the quantized CV instead of the VCO). :)