Damn, sold out already.

i don't think this should be under MI as a manufacturer...

Hi,
Happy unicorn user here. I was thinking, would it be possible to introduce the option for creating Folders inside the command center? So you can group related racks in their respective folders.
Maybe I'm the only one with this very specific need. But maybe there's others?

EDITED Today, 17:21

*Stages
-붉은색 모드 선택: nob=시간(딜레이)조정, slide bar(pitch조정)

@Wildfire_Laboratories is the prebuilt unit quality-tested in the lab ?

-I like to use matrix mixers and vcas to patch modulation busses and control busses.
Works also with melodies and gates.

So you you can have many elements that effect each other - but you can blend it always back and forth as you like.
Often consisting of a basic sequence as base element, some kind of shift register, lfos, enevelopes, burst and more -
but you just give a little bit of its complexity, maybe a bit more random there, a bit chaotic bursts over here
- like Bob Ross painting a picture :D
-
So its about planing a good control core for many fluctuating elements.

The other aspect is to think about generative chains, to get a working factory of elements.
So your design chains of possibility and effects that work together like a net or maybe network.

Something like:
Enevelope X triggers sequencer B at 20 % - while LFO C changes the pattern, but only if it the value of sequence A is smaller than sequence B.
The shift register goes trough a vca, the vca only opens if trigger Y fires, - trigger Y occurs 5 % of the triggerrate of trigger X.
Trigger Y also fires the main envelope but the envelope changes everytime a low note occurs...............
................. and so on ...................

Not the best example, but you can design a kinds of synergetic flow between modules, if you think about how they can combine movements in cv.

also simple stuff like combining a Lapsus Os with a Gamut Repetitor can be a good point without complex pastching.

what in the rich parents send their kid to art school is this
-- HersheyHighway

very flattered that you think I have a degree

what in the rich parents send their kid to art school is this

Ive been patching since 2017 but I realize I am pretty much still a noob and need some advice. Here is my studio rack so far:

i had AI help me explain what im trying to do so please pardon some of the phrasing lo

My rack feels like a collection of great-sounding monosynths that don’t really talk to each other. I patch and record one voice at a time instead of letting things evolve together. I want to move toward an ecosystem with controlled variation—probability, conditional behavior, subtle randomness—while keeping things musical and intentional.
What I’m after
A semi-autonomous system I can steer and perform with. I want controlled randomness that creates variation within boundaries, not full generative chaos or “set and forget” patches. The rack should feel alive without constant repatching.
Clocking and sequencing
Everything runs from one master clock. I’m into variation, swing, and probability, but not free-running drift. Considering Metropolix as the sequencing core, but I’m trying to avoid a setup where one sequencer just drives a bunch of static voices.
Where it falls apart
Voices don’t influence or condition each other. No probability or decision-making in gates or modulation. No internal cause-and-effect. Everything behaves deterministically unless I manually intervene.
What I think is missing
Probably not sound sources, but a control layer. Things like probability-based gate behavior, modulation that only sometimes applies, CV influencing other CV (not just audio), utilities like attenuverters, VCAs for CV, S&H/T&H, logic, comparators.
What I’m asking
How do you introduce controlled randomness without losing musical focus? How do you design interaction between voices instead of just parallel modulation? What architectural approaches make a rack feel like a system rather than separate instruments? What patch concepts encourage evolution while staying steerable?
If you’ve moved from “great-sounding voices” to “interesting behavior,” I’d love to hear how you approached it.

EDITED Yesterday, 18:55

Friends:

Anyone using the new Audigo Labs wireless microphone for posting your videos?

https://www.audigolabs.com/?srsltid=AfmBOopGoCEnlLxRHCISRgeJrsbolMvK-JH0gsgIP40ZcuN7ewHzzAuH

Just checking. If you have, let me know your feedback.

Thank you.

The sequel to the only decent thing we’ve ever made, now with CV control.

The Commodity Fetishism II is a conceptual power supply module. A 5v trigger / gate signal applied to the “CV” jack will activate a 30 amp-rated relay, shorting the +12v and GROUND rails of your system’s power supply. This will in all likelihood damage or destroy your power supply, and any/all modules connected to it.

Available as a limited run of 1 prebuilt unit and 4 PCB / panel sets.

https://www.wildfirelaboratories.com/current-devices/p/commodity-fetishism-ii

EDITED Yesterday, 14:07

Hi, im scaling down a bit and getting rid of some Doepfer modules, i need your help - which modules would MATHS cover in the doepfer modules i have in my system?

thanks in advance

For my permanent wiring I exclusively use right-angle plugs, and for regular patching I use straight plugs.
That makes it very easy to completely unpatch the rack without accidentally pulling out connections that are meant to stay permanent.

Long term, I’d like to switch the permanent wiring to Tendrils – Stakkas, but that’s mainly a matter of cost and availability.

When entire cable runs go vertically through the case, I also don’t mind placing a blank panel underneath them.

Unfortunately, I think my custom internal signal bus is hard to retrofit into “normal” Eurorack cases simply due to space constraints.
On top of that, I’ve modded all relevant modules by soldering a small wire to their CLOCK, RESET, and GND points and adding a custom connector. It’s a very minimal modification and easy to undo, but understandably not everyone is comfortable doing that.
Anyway, I’m planning to put together a small presentation about it sometime soon.

As for clocking in general: I don’t know how it is in your system, but in mine it’s technically impossible to drive all clock/reset-capable modules from the same clock. Roughly half of them would have an offset.
Because of that, I built an alternative master clock using an Arduino.

The idea is simple: the first clock pulse is withheld, not sent out.
Additionally, some modules in my setup require an inverted reset signal to end up perfectly in sync again after pressing stop/start.

It’s a bit unfortunate that there’s no real standard for this.

Right now I’m very keen to try @roboDNA’s PULSE module. I’m really curious whether it can solve these sync issues and potentially make my Arduino obsolete.
Ideally, it would also allow tempo divisions (and maybe multiplications in the future) for permanently patched modules while accounting for the often very idiosyncratic reset behavior of different modules. In case it solves this problem i probably will add 2 PULSE instances to my rack.

What matters most to me is simple:
after hitting stop and start, everything must still be perfectly in sync.

• I designed a custom, internal “signal bus” inside the case that supplies most clock- and reset-capable modules from the back with clock and reset signals by default.
  -- modular01

I would really love to hear more about that - right now I'm using the Rack Plumbers for clock/reset distribution but an internal bus for that would be so much nicer.

Your suggestion of layout by relevance is kind of genius - I'd never thought of that before and I'm going to noodle on it a bit. I also agree completely about organizing by manufacturer.

Are there any utility modules or accessories that help you keep things organized in a big case (apart from your custom clock bus)? I got a bunch of nest tamers, lots of Tendrils for fixed patching, etc., but there are always neat, obscure things out there.

...Any suggestions for making this more usable in general would be great...
-- dform98

I also have a rather large case. I can’t really give you a concrete recommendation, but I can share some of my personal learnings from the last few years.

Some of these points may not apply to you, since my setup has a few special characteristics:

• In most situations, the case is used by two people simultaneously.
• The case sits on a wheeled, height-adjustable desk, so it can be used sitting or standing.
• I designed a custom, internal “signal bus” inside the case that supplies most clock- and reset-capable modules from the back with clock and reset signals by default.
  This default routing can be overridden (“overpatched”) via a dedicated module if needed.
• The horizontal part of my case is 6U. It mainly holds a Keystep Pro and a Launchpad for drum sequencing.

First approach: Top to bottom (by rough function)

I initially organized the case from top to bottom with a coarse functional grouping:

• VCOs
• Filters + envelopes
• Envelopes + VCAs + utilities
• Drum section + utilities
• Mixer + effects
• Sequencers

What bothered me most with this setup was that, once patches were already in place, I constantly had to look closely to understand what was currently doing what and how things were connected.

Second approach: Outside to inside

Next, I tried an “outside to inside” layout. In most rows it looked roughly like this:

VCO | Filter | Envelope | VCA | FX || Modulation / Utilities || FX | VCA | Envelope | Filter | VCO

Pros

• In many cases, the signal flow was easier to remember and visually more intuitive.

Cons

• I tended to patch the same or very similar signal flows over and over again, instead of exploring new routing ideas.

Current approach: Relevance-based (pretending the case is smaller)

My current strategy is to pretend that I have a much smaller case and to arrange modules primarily by relevance — a softened form of “decluttering”.

• Modules I use rarely or that have little interaction go into the upper half (top 9U).
• Modules that should live in my fictional “small case” go into the lower half (everything below those top 9U).

The lower half now again starts from the top with VCOs.

With this setup, I can reach basically everything while sitting down, without having to stand up. Cable runs also tend to be a bit shorter.

If it turns out that I start using a module from the upper half a lot, something from the lower half has to make room — and that module moves down.

General principles that apply to all approaches

• Same brand grouped together?
  Absolutely not — and completely irrelevant anyway. My case is not a beauty salon.
  Quite the opposite: duplicate modules or modules with similar functionality are deliberately spread left and right across the case to keep cable runs shorter.

• The drum section is always grouped together as a “drum island”, with its own mixer, and is largely permanently patched.

• The final mixer sits in the center of the lowest vertical row.

• At the very front of the horizontal part of the rack (which is fairly small in my case due to the Keystep Pro and Launchpad), I keep performance-oriented modules:

  • Master FX over the full audio sum (Oxi Meta)
  • Control for a DJ-style filter over the full drum sum (Disting mk4)
  • Manual triggers
  • Joystick

Maybe one or two of these thought processes are useful to you.

Happy patching with your impressive setup!

EDITED Yesterday, 04:52

That's correct, I generally place my sequencers in a vertical block on the very left (my primary sequencers are Ornaments and Crime modules).

This is probably my seventh or eighth reconfiguration of my case, and it's the happiest I've been with an arrangement so far. Admittedly, I try to get modules to line up for aesthetic reasons, which is entirely unnecessary, but it helps to visually compartmentalize things

Just reupped it - I realized I'd posted the same half of the case twice by accident. So when you say sequencers on the left, you'd arrange them vertically? And I completely agree that trying to use all of this at once is more than I can realistically handle, plus it just ends up being a mess of sound unless you're Colin Benders.

You've got some real gems there... I've got a relatively large case as well (though not nearly this size), and I've found that arrangement helps tremendously. I move from left to right, sequencing -> modulation -> oscillators -> filters and VCA -> mixing and effects, with things that require more interaction or external connection toward the bottom and edges. Modular being what it is, there's a lot of flexibility toward what functions modules can serve, but finding an arrangement that orients you helps reduce the mental load of reorienting yourself over and over again.

The other thing I've found helpful is a change in mindset - just because you have a large case of modules doesn't mean they all have to occur in patches all the time. If you don't start from a melody or a musical idea, focus on exploring couple of modules or features, and build from there. That'll help you both master your system piece by piece and reduce the paralysis of having so many options to explore

I've been building eurorack systems for years, but I went kind of nuts during COVID and ended up with a massive eurorack collection, which I'm finally getting around to putting mostly all in one case. Here are the left and right halves. I'd be interested in thoughts about whether this kind of arrangement of modules makes sense or it would be better to group it by complete voices rather than all VCOs in one place, etc. Any suggestions for making this more usable in general would be great, it's a bit overwhelming. (And yes, I know it's crazy to have a case this big but it's too late now so I might as well use it...).

EDITED Yesterday, 02:50

Lovely!

I do mostly all mixing, processing and effects in the rack.
(just recording the mix in my audio interface)
I like it because I found a way of analog processing in my rack, that sounds good to me - and more special than processed in my daw.

But at the moment:
I also use a module that acts as multitrack recorder - "Half-Time-Modular 8TR"
I record my jams on it, drop the SD card later on my computer and use the seperate stems in the DAW.

• so I have both - the individual stems and the whole mix with analog processing.

But there are many possibillities and ways to go,

People say that ES 9 is hard to setup - but once you got it running, it works.
But I never tried one.

Some people use a tascam mixer with multitrackrecording
A 1010 bluebox as module or desktop can be a solution - to mix and record

For routing - I keep it very simple -
Aikido acts as my drum bus, (with some saturation, compression, filtering and ducked feedback with other modules like dark matter, MSCL, 100 grit and more.....)
I take a copy of each channel to record the dry and wet audio of each channel with the 8TR.

EDITED Yesterday, 10:57

hey Chris thanks so much for your detailed response. I'm checking out all of the modules you recommended. That was very helpful.

One thing I didn’t originally ask in my post (and probably should have) is about audio routing and multitracking. My ideal end goal is to be able to record each drum voice separately into my DAW so I can do detailed mixing and processing there, rather than committing to a summed mix inside the rack.

Because of that, I’m a bit unsure how modules like Aikido (which I do like conceptually) fit into that picture, since they seem more performance / submix-oriented. I did try going the ES-9 route for multitrack capture, but I’m already using an SSL 18 as my main interface and couldn’t get the two to play nicely together, so I’m rethinking the overall approach.

So I’m curious how you handle this in practice:
• Do you typically multitrack individual drum voices into a DAW, or commit to submixes?
• Are you using an interface module, external interface inputs, or something else entirely?
• If you’re recording drums, where in your system does “mixing” actually happen for you: in-rack, in the DAW, or both?

I’m trying to avoid overbuilding something that’s great for jamming but awkward for recording, so any insight into how you balance sequencing/logic fun with clean multitrack capture would be hugely appreciated.

Thanks again — your reply already helped me reframe a lot of this.

Pamelas Pro workout + Axon 2 expander
can do much stuff on its own to sequence and modulate drums - even logic, cross modulating channels, euclidean etc
The cross modulation option of channels (like max of ch 1 and 2 or min of 5 and 7 .... are awesome for drums)

Another idea is - Acid Rain Constellation - you can stack patterns to get new ones wth logic, euclidean, bursts and stuff

Noise enginnering JamJam is cool and small hp fpr probality and gate delay (also to run several sequencers)

I like Bastl Aikido as drum mixer with sidechain (you can moulate rhythmically)
or a befaco percall with noise sources to get glitchy beats

Clank Chaos - can be nice for extreme random and glitch on drums, but it can also be just chaos
shift register modules work well, even a marbles or turing machine with expanders
Benjolin can also do nice rhytmic stuff

Ana 2 - from mystic circus is a swiss army knife for logic (well paired with maths and stuff)
Black noise cosmos is aso nice for logic and also audio processing

Schlappi Engineering NIbbler + BTMX + BTFLD are very useful to sequence nice grooves with logic combinations

mixing gates with a matrix mixer is fun (also adding unsynced lfos, random and stuff, to your patterns)

combining different sequencers and to mix their outputs with matrix mixers and logic modules can be cool
(sequencing) your sequencers can be fun

things like window comperters like Compare 2

picking drums is a matter of taste but:
I go for: SSF Ultra Perc (percussion) + SSF Metalloid (hats) +SSF Ultra kick or Battering Ram as (kick)
It gives me drums which doesnt need much processing to sound awesome - with a very wide range of sounds - its all covered with just 3 modules

IDM / generative drum rack with Metron — learning probability, CV processing, and controlled chaos

Hello everyone,

I recently moved my main system into an Erica Synths Mega Case, which leaves me with a spare Pittsburgh Modular EP-270 that I’d like to turn into a dedicated drum rack.

I produce IDM / electronic / acid / techno, and I want this case to be a performance-focused drum instrument with probability, glitchy rhythms, and evolving patterns. I’m intentionally trying to learn how CV processing, logic, and generative systems work rather than just assembling a static drum machine.

My plan is to use Metron as the primary sequencer, handling core patterns and probabilities, but then heavily process its outputs to introduce variation, fills, density changes, and “controlled chaos.” I’m interested in both per-step probability and CV-driven probability/modulation.

Here’s the rack concept I’m currently sketching:

Drum voices I’m planning around so far:
• Battering Ram
• Jomox ModBase 09 MkII
• Trinity 2.0
• Plonk
• Tiptop Audio 808 Hats
• Tiptop Audio 909 Hats
• Tiptop Audio 808 Snare
• Tiptop Audio 909 Cymbal

Metron would be the main sequencer, and I want to process it with IDUM (and likely other modules), but I’m not yet sure what the right supporting ecosystem looks like.

Things I’m specifically hoping to learn / get advice on:
• What kinds of CV processors, logic, switches, random sources, and utilities pair best with Metron for IDM-style drums?
• Where do people typically introduce probability and variation:
at the sequencer, via trigger processing, via CV modulation, or all three?
• How do you add glitch, fills, and rhythmic mutation without the groove falling apart?
• What’s a good balance between drum voices vs. “plumbing” in a dedicated drum case?
• Any recommended patching concepts for steering generative drums live (macros, performance gestures, density control, etc.)?

This rack will usually be clocked externally, not the master.

I’m very open to being told I’m overthinking things or missing obvious fundamentals — the main goal here is to actually understand how generative / CV-driven drum systems work in practice.

Thanks in advance, and I really appreciate any guidance or patching philosophy you’re willing to share.

I tried once again to make a small video using the N.U.S.S system and Multigrain/Sealeg.

I say tried because I’m not really in great shape at the moment… and also because I still need to fully understand this Make Noise workflow. All these methods for generating arpeggios and chords are not trivial.

In this live session, I added my rack, mostly made up of Make Noise, Instruō, and Mutable Instruments modules.
Honestly, the two racks work perfectly together.

I still have lots of patch ideas to explore. I need to work more on my sequences, but also spend more time practicing with the N.U.S.S.

Thanks for watching.

• Q109>∆ has Attack pulled out,longer times.
• Kybd gate also going to 1130 Sync in
• 1130 (DC output) subaudio outs into Oakley RM>Q114 ch4 with DC switch on for intesity of 1130 pitch mod
• 1260 + out to 1130 exp FM in, - out to 1710 shape CV
• 1250 LFO1 out>1510 VCA8 in\out>mult>1200 1&2 CV ins, MW>VCA cntrl

EDITED Yesterday, 21:31

This video was inspired by the snowfall here in the Netherlands.The entire country is covered in a white blanket It brought me back to my childhood in the 1990s. In winter, I used to build snowmen with my father mother and father. This time, I could do the same with my own daughter, sop special! That feeling stayed with me while making this music.I felt strongly inspired by the weather.I tried to translate the winter landscape into sound.The piece is called Winter Winds. I hope the winter atmosphere comes through. Enjoy!

Not a bad idea, but I think I still wanna rebuild it, and take my time.
Might just give this one away on marketplace or something.

Nice going, just stick a couple of packing pieces around the Nifty case.

That's reassuring, thanks. Yes, implementing better security practices would minimize hacking chances, but I'm not sure that will amount to much if the trade itself is poorly executed.

Smart transaction with @MaxBrosamer
Module in very good condition.
Recommended Seller !

This is the top section and majority of my largest 5U system. For the other sections of it see and and

And for a 2.5 hour video breakdown od the system please watch "JLR's Modular Synthesizers - System Breakdown #15":

hi Zacksname,

thanks a lot for this answer.
i understand your point about the apparent lack of modulation.
Actually i use a lot the performer for this.
It’s a wonderfull swissknife for this setup as any output can be use a LFO.
it’s cv input can also be use as a cv sampler that can be routed internally as a complex sample and old or other crazy usecase.
(as a new player in the modular world i'm really surprised this module is not really popular, this thing is awesome)
but i'm also looking onto make noise Math as an option to complement this rack...
about the behringer interface the diy polivoks output module work really fine with it.
i also use the external input of the mother32 if needed...

i will sure take your suggestion for more vca or attenuverter as theres a lot of low HP options for this ;)

again many thanks for your answer.

Edit : About space, i can gain a large amount of space by relocating the Performer on a standalone dedicated case.
So space is not really an issue.

According to your feedback, i'am also currently lurking on XAOC Batumi or behringer Four-LFO Clone of it...

About VCA both Befaco ATTE or Blacknoise GOMA seem interessting too.

Edit n°2 : I'm not afraid of "difficult build"

EDITED Wednesday January 07, 12:16

Castor & Pollux might be difficult because the company is finished making modules, and the used prices for them can be pretty steep.

More importantly, this rack needs modulation. LFOs, sample and hold, random sources, function generators...the more, the merrier. Marbles (chaos) is a good place to start, but this system has ton of sound sources and effects to be modulated, and hitting them with more modulation will make things feel more alive.

It also needs VCAs and/or attenuverters for that modulation or for other routing. Definitely look into the difference to see what would be most useful to you. There's lots of good and interesting small options. The Polivoks one might sound good, and I can't speak for or against it, but smaller and less elaborate VCAs for modulations. It would be worth considering a 3xVCA and 3xMIA or some other VCA/attenuverter situation that works for you.

In terms of the Hive, I do feel like there are other tools that might be more helpful in here than voltage controllable panning, like mutes or even a 4x2 Stereo Matrix Mixer for unique mixing, but you'll know better than me what works best for you in terms of that. How good is the Behringer interface at taking signals from the modular currently? Have you tested this?

I know you said you have a preference for DIY, and that's a good way to go in Eurorack, but it is worth considering that you've sort of painted yourself into a corner by picking a lot of very large sound sources while neglecting modulation and utilities. Now all of the more efficient and feature-packed the modulation and utility modules (digital or analog) that can fit into the space you have left are either too big or not DIY. I don't really have a specific answer to this for you, since my solution would be to get rid of certain things you seem to already have, and I'm not really trying to change your system into something different from what you want. It is worth considering how many other types of module are in here that can make your current modules more flexible and more playable, though. If you had a little more space in here, it would go a long way. Maybe there's room for exploring this in a future iteration of things or a potential expansion.

In the meantime, one potential DIY option to look at is the new Ornament and Crime version that runs 4 apps now instead of 2 and also adds dedicated audio ins and outs. Lots of options to try out there. They say it is a "difficult build", but it might be a fun challenge. The original also has lots of DIY options if you decide that's more chill. Cubusynth makes some interesting kits, and their passive attenuator, quad VCA, and quad VCLFO kits might be of interest to you. Nonlinearcircuits also has some cool stuff, like a Triple Sloths, a triple VCA with lots of features, or their dual LFO/Osc. If you haven't already looked at their website, they have lots of good ideas. I also saw this and thought it might help: https://www.etsy.com/ca/listing/1318579918/froal-quad-function-generator-eurorack

Lots to consider. Too much, probably.

EDITED Tuesday January 06, 18:39

Hi there,

Here is my current rack, mostly DIY build...
Skies is currently out of stock, so i'm planning to build a TOILmodular Clouds clone or wait for new batch, i dont know at this time, but i'am sure i want this kind of module for ambient oriented sounds.
Hive is an option i'am thinking about to integrate in the rack but i'am not currently fixed about now.
A mother32 and a Neutron are laying around this setup.
Also love to use a Korg NTS-1 for reverb and effect.

My core setup is build around an MPC Live and a Behringer UMC1820 for sequencing midi and capturing audio from external stuff.

I'm looking for advice or idea to complete this build with or without hive in the rack, i'am still not sure i need it.
What is missing or could be a nice piece of hardware to add ?
Winterbloom Castor and Pollux is a nice piece i'am thinking about.
I got a preference for DIY stuff, but i'am open to all suggestions ;)

Kind regards

Zoe

Hi JakoJako - assume this case is also paired with the Live (case2) and an Oxi One to complete your live setup?

Hi Alex, I send you a pm.

Um auf modulargrid patches zu ertstellen:

klick auf
1. "my modular"
2. "sketch a patch",
3. das rack auswählen das du patchen willst.

EDITED Tuesday January 06, 00:23

Hi and welcome 🙂
Your question is extremely open-ended, so there are about a dozen different ways to interpret it right now.

For example, do you mean:
Are you trying to patch a real, physical Eurorack on your desk?
Or are you talking about ModularGrid’s virtual rack view?
Which modules are involved?
Just to be clear: ModularGrid is mainly a planning tool, not a full modular simulator.
If your goal is to learn how patching works, you might want to start with something like VCV Rack, which is free and specifically designed for experimenting and learning patching concepts without hardware.
If you can clarify what exactly you’re trying to do and where it fails, people here will be much better able to help 👍

Wie du vielleicht bemerkt hast, kommunizieren auch deutschsprachige Benutzer hier im öffentlichen Forum ausschließlich auf Englisch.

Shiny new User View

We have updated the user view. Everything should look nicer, load faster and we have some new functions like a stats panel and the possibillity to add your YouTube, Instagram and Soundcloud channels! How else would the world discover your next fire modular ambient track?

Look at you!

Moin zusammen, bin Neu in der Modularwelt. Habe mein Setup mal erstellt und wollte jetzt mal patchen. aber kann keine Kabel ziehen oder generieren. HILFE :-(

I am in Belgium. And unfamiliar (reads as "scared") with soldering ;)
-- alexbreugelmans

Here in Austria we have quite a few DIY / makerspaces. You can either rent workshop space with tools and machines (3D printers, woodworking tools, etc.), or get hands-on help with all kinds of practical repairs.

It might be worth checking whether something like this exists in your area and asking if they can help you out.

If you really can’t find anyone locally and you’re okay with sending the module to Austria, I’d be happy to resolder or replace the fader for you.

Hi everybody,

hope the new year will find you ready for beauty.

For the first time in my experience on MD, I'm having an issue with a seller or, better saying, with how he attributes responsability for a package that was sent and never received.
I usually don't use Paypal buyers' protection because of how I've seen exchanges happening until now, but this time I regret the decision.
Is there a set of "common practices" listed somewhere?
I would like to see if such a case is described somewhere before taking any action.
Many thanks!
Luca

I am in Belgium. And unfamiliar (reads as "scared") with soldering ;)

Hi, one of the sliders (number 9) of my Stillson seems defunct: no light flashing, but also no reactions to change of tone. is there someone who can look into this module and fix it?
Greetings
Alex
-- alexbreugelmans

you might want to mention where in the world you’re located 🙂
That makes it a lot easier for someone to know whether helping with a repair is realistically possible.

Just as a heads-up: slider replacement itself isn’t a big deal, and with a bit of luck it might not even need replacing at all — sometimes it’s just a cold solder joint.

That said, it does make sense to have a replacement fader ready beforehand, for example something like this:
https://www.digikey.at/de/products/detail/bourns-inc/PTL30-15R0-104B2/16356753

(Just as an example link — you’ll need to research the exact specs yourself.)

Hope you get it fixed!

EDITED Sunday January 04, 16:04

Hi, one of the sliders (number 9) of my Stillson seems defunct: no light flashing, but also no reactions to change of tone. is there someone who can look into this module and fix it?
Greetings
Alex

Spectacular sounds and visions...immersive work!

Thank you, as always, for sharing!!
-- Jukeshoe

Thanks again for listening, appreciated. Happy New Year.

About a year ago I asked for advice on shrinking my setup in order to move continents. I got some nice suggestions, and here is the rack I made. .

The video is a demo of what it does, actually using very little of it. Will post more over time.

Description of patch follows for those that are interested.

The main drums (kick, snare, hats) are from the PO-12 drum-machine, which comes into the rack via Bubblesound Booster Stage and gets multed to the main mix (SSF Vortices) and the FX send (2hp Mix). Bastle Thyme+ is the getting some of the drums (only) to make the dark synthy tones in the background, and later on with different settings the flangy sounds. This also comes back in via Booster Stage.

The metallic sounds are made by Noise Engineering BIA going through the Doepfer A-121-3 high pass. It gets trigger from the Arturia Beatstep Pro, and two AD envelopes from Pique as modulation (also triggered by BSP) attenuated by the Ph Modular 3xATT. All the other sounds are the Bastl Crust, which is gettng pitch and gate from BSP.

Pam is sending clock to BSP, Thyme, and PO-12. Vortices has some self-feedback patched in to fatten the sound.

And that's it. Several modules doing nothing (Disting, the switches, Skis) and Pam being dramatically under-exploited. Just goes to show you don't need a lot of gear to achieve a lot. Also using only about a third of the sequencer tracks that BSP can provide.

I'm in Linz but travel to Vienna semi-reguarly.