I have recently started with modular and hereafter I can show you my rack with all the modules I have (my eurorack case is a Behringer eurorack Go).
I would like to ask for your opinion on how to organize the modules in the rack to optimize patching (in general), as sometimes I see I cross too many cables because some modules are placed wrong.
I would also be happy to hear opinions on my modules (which ones do you think I am missing or which ones would fit).
I currently produce Techno (mainly hypnotic, percussive, raw, etc...) but I would also be completely opened to explore the "Ambient" side of this all, as I think that the ALA Typhoon can give a lot of opportunities here.
In addition, the rest of my gear is the following one (plays also an important role here in terms of connection with the eurorack):
One quick thing on posting racks in this forum: it's really helpful to post a link to the rack rather than an image as it can sometimes be hard to tell which modules are included, and a link lets us dive into unfamiliar modules to see what they do. That said, I took the liberty of rearranging your modules a bit and here's the link:
For arrangement, I'm a big proponent of the ARP 2600 school, with external input and audio sources in the upper left moving through to filters and effects, envelopes accessible to top and bottom, and other utilities and modulation on the bottom. I put the DFAM on the bottom as well for access to the sequencer, and the midi interface on an outside edge for ease of connectivity without crossing over other modules. You'll always have some amount of patch cable spaghetti (which is part of the fun!) but I think this configuration would tame it down a little.
I think this is a good set of modules to start with, but would definitely recommend some more utility modules. Particularly a cascading VCA/mixer like Mutable Veils or Intellijel Quad VCA. More ways to mix audio to send to your effects are always welcome, and they can also be used to mix and control CV to make more interesting modulation. I would also recommend something like the Disting or Ornament and Crime as they have many modes allowing them to act like a bunch of different types of modules. If you find you're using them for a particular function, that can help you decide if you want to get a module dedicated to that function to then free up the multimode module to try something new. Lastly, a dedicated filter or two can be really helpful in sculpting your sounds. I know you have the filters in the Behringer voice module and the DFAM, but putting your whole mix through a filter is fun. Cheers friend, and welcome to the modular journey!
I apologize in advance for these noisy thoughts from my head full of bees:
I've enjoyed working with the Eurorack Go case. It's better than I thought it would be.
Haven't had any issues with its power supply or the bus sockets.
It's not very deep, especially on the right side with the power supply in the way. I've gotten bit by that in planning.
I don't mind mounting with slide nuts, and they help with fitting modules that are made off-specification.
(I'm looking disapprovingly at you, 2hp).
Adding the Behringer 1050 mix sequencer gets you 24-note sequences,
it's cheap for what it does, looks cool in the rack, and does other neat things too, but it's kind of big.
You can also get those 24-note sequences from just 4hp by using a Doepfer A-151 quad switch,
but on the other hand, the mix/sequencer, unpaired with the sequencer, gets you a 2x4-channel output mixer and more.
The 110 VCO/VCF/VCA really wants a 140 dual envelope paired with it, to make them a simple synth voice.
The 172 Phase Shifter was disappointing. A weak contribution for its 16hp. It sounds nasty, but in a bad way.
In a two-row system, I try to put the clocks/cv gen/envelopes/LFOs in the top row,
dropping down to the bottom row housing the audio modules.
Think of it as a sandwich and a partnership, with generators on one side, you on the other,
and the VCO/VCF/VCA/mix good stuff in the middle.
After a few modules are paired together to create some interesting voltages,
I try to put a multiple or mixer next in the chain so that 'costly to generate' signals can be shared.
Passive mults and stacked cables may seem to work ok, but they'll eat your time hunting pitch and pulse stability issues.
Using active multiples saves you from chasing down tuning and trigger ghosts from module impedance matching issues,
especially when using modules from mixed vendors. I like the 4hp Rides in the Storm QAM quad active multiples.
Speaking of stability issues, patch cables with LEDs can help with debugging a signal path, but they are devil wires.
If you're just starting your collection of patch cords, invest in Nazca noodles.
They never break, drape nicely, pull easily, and the plugs are narrow so they don't have fit problems in tight spaces.
Forget those cheap, stiff Hosa cables, or Chinese generics from Amazon.
They don't fit consistantly and can wobble around, and the plug housings can be too big to insert next to each other.
I tend to build with clocks in the upper left, going to audio output in the lower right.
If you have typically paired modules next to each other, then you can use the little yellow Doepfer cables.
I love those things because weeding through a nest of wires distracts me from the process.
I like the Doepfer cable's plug ends, but the long ones are really stiff and stick out wherever they want.
Good for building rat's nests. Except for those little yellow ones. Just love 'em.
Is the Endorphin your master clock? Put it first in the upper left, and then put the 2500 sequencer after that?
Then maybe a Doepfer A-151 quad switch to get those 24 note sequences out of it. Now that you've got all of
those signals generated, share and distribute them with an active multiple next in the chain.
It might be good to put the MIDI interface first, before the Endorphin Running Order,
then the MIDI gate and CV can also be mult-ed and distributed.
There's got to be better MIDI interfaces than the CMA1, and you don't need or use s-trigs anyway.
Read the documentation and its MIDI implementation to see if the MIDI converter does what you want.
The Typhoon (which might be installed down at the lower right after mixing) can suddenly get boomy and out of hand.
A dedicated multimode or hi-pass filter can help tame that nicely, especially when inserted into Typhoon's feedback loop.
Typhoon loves being modulated by a sawtooth LFO just right, and an Offset Generator/Attenuator/Polarizer
helps with that. I find that a Doepfer A-183-2 is always handy to have around for tweezing things just right.
The DFAM. You could have the DFAM on top right, after the clocks, otherwise, you'll have wires draping down
over those nice Moog knobs and switches. That's a tough one, because the DFAM i/o is all on the far right,
and the thing is so dominant in the rack.
I suppose because of it's layout, it should go in the far lower left like you have it, offering it's i/o to the center of the box.
I get why Moog did that with that family of modules, but it's a pain sometimes.
If you can find them, get a Moog Knob Kit for the DFAM. A drastic improvement in looks and tactile usability.
Moog should have used them as standard on everything in that line. Sadly, I think the knob set is now discontinued.
Hunt around, they're worth it.
I can't understand why Abacus/Maths is so popular (it's number one!!) for basically being looped envelopes.
For me, the Chaos/Marbles model provides way more musical opportunities.
On output mixers, the Behringer 305 eq/mixer seems to be a good fit here, and you get ok headphone
and 1/4" outs, with 4 mono to stereo channels, but the sucky tuner is never on pitch and the parametric EQ is anemic.
There's also no way to blend in your typhoon into the mix, and taking your final output from the typhoon isn't ideal.
Maybe the Behringer 1050 mix/sequencer as output is what you need after all. The ribbon cable that can sync it to the sequencer is a nice touch. And blinky.
