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@farkas I agree that Crucible sounds wonderful, but I haven't been able to get any "hats" sounds out of it, just ride. Is there a trick I'm missing?
-- troux

It had been a while since I messed around with any drum sounds, so I patched up Crucible this morning. It definitely excels at ride/crash type stuff, but I got a decent hi hat groove going with size, decay, excite, and deform all set around 9 o’clock with pitch and tone set around 12 o’clock. Triggers into the edge and choke inputs. Attenuated lfos into size and decay, and a channel of Voltage Block into velocity in a sort of ascending sawtooth-ish kind of pattern. I also find that I like to filter the output of Crucible a little. I was just using Ripples today, but I’m sure you could get some cool results with other filters/effects.
This little experiment made me want to make some techno again. Haha.

Edit: I love the Patching Panda Punch v3 for percussive sounds, so I'm sure their Hatz v2 is awesome for analog drum machine style hi-hats. I have a few other sources for that kind of sound, otherwise I would probably get one.

EDITED Dec 29th 2021, 14:28

WMD Crucible is pretty awesome. I haven't found a better realistic source of cymbals.

+1 on Sample Drum for chopped breaks.

I’m planning on putting some new stuff together before the end of the year. I’ll be in touch.
Thanks for doing this again, @troux.

I like the 4ms Dual Looping Delay

Yeah, I'll step in to sing the praises of MylarMelodies as well. I've probably learned more useful information about modular from his videos and podcast than all of the forums out there combined. The generosity and modesty of his wisdom and humor is apparent if you look past a "clickbait" title on a single video. I'm not a big fan of the tiny palette videos out there, but I also understand that for a lot of people, modular is not a lifestyle but a hobby and a curiosity. These are just videos to show what can be done with a more modest investment, though I'm not sure that everyone realizes the very real exploratory limitations of the palette-as-instrument.
Mylar is the man. Respect where it's due.

Hi @bernardhumperdink. I am a big fan of all the artists you mentioned. In fact, I saw Broadcast with Prefuse 73 live in the early 2000s. Great show.
You might enjoy the Erica Sample Drum for some glitchy happy accidents.
Have fun and good luck.

Get healthy soon. Synthworld will keep you in our thoughts.

That was great, @funbun. Subscribed to your channel.
I've been interested in the AE stuff. Please keep sharing.
Happy holidays.

To be fair, I shipped some stuff to Eastern Europe a while back and it took months to arrive. Between customs and other countries' postal services, there is a possibility for error and huge delays.

LEFT = UP, RIGHT = DOWN. Control signals start on the bottom with sequencing, MIDI interfacing, soundcard I/O, etc, then go up on the left along with modules to work with them in that path. Generators (oscillators and their pals) on top, as they're less likely to be tweaked while playing. And filters + FX go above the final output mixer, sent down the right side from the top. Modulators, if left in the middle, can then branch out to anywhere in that circular flow with a minimum of cable-snarl. And putting the FX right near the final mixer makes them easier to add to the mix. So, even though there might be several "instruments" patched up on a single synth, you're able to follow what's going on with the patches more easily.
-- Lugia

Yup! That's exactly the layout that I've found has worked for me (and probably will work for others).

I have 208hp x 12u set up in a half horizontal/half vertical layout (picture 4 Mantis cases with brackets or something similar). I keep sequencing, mixing, and controllers in the front, with oscillators and filters at the top, signal flow mostly left-to-right. Most of the time I am sitting while patching, so this works well for me. I have been constantly tweaking and reworking my layout for two years, and have arrived at something that is almost exactly what I had hoped for. My muscle memory knows exactly where to reach now. It all makes sense to me, which is ultimately all that really matters.
As far as module ergonomics, I prefer large-ish modules with minimal menu-diving and button combos. Kind of a WYSIWYG interface for the most part, as I like to work fast. I've eliminated most of the modules that I just didn't enjoy using, and finally arrived at a rack size, layout, and module selection that has eliminated any serious GAS. I just can't think of much else I would ever want or need.
How about you?

I've got to give a shout out to Reverb. Support another musician and save some money in the process. Nothing but great experiences with the used Euro and hardware synth folks out there.

Thanks for sharing. Surgeon's "Winged Assassin" was in my top Spotify plays this year. Big fan.

I have recorded lots of modular songs into a DAW
sacguy71

Do you mean the scratching noises as ModularBen on Soundcloud? I laugh myself broken.

-- Next_G

Come on, man. Don’t you have something better to do than troll a very small community of supportive folks? Music has different sounds and meanings to each of us. What you are doing doesn’t accomplish anything. We will continue to support each other’s interests and growth regardless of this kind of negative energy.

I'm not sure how I overlooked this module and thread, but I'm going to strongly consider picking up a Tarot. Very cool.

Erm, I'm confused. Either you miss-typed or I'm missing something. The PanMix IS Euro level? Surely that means I DO need a drop it down to line level before hitting external gear. No?
-- rextable

There have been quite a few discussions about the necessity of euro-to-line output modules in beginner rack posts on this forum over the past year or two. In general, most people don't need them. I've been at this for a few years, and I still don't use one. I just monitor levels into external gear closely. You can take a look at my rack and those of the other commenters by clicking on their user name. Some users have invested in output modules, many haven't. I do use a Strymon AA.1 for an effects pedal send/return, but otherwise I haven't needed a dedicated output for recording, etc.

I don't know, man... 10 buffered mults? Two Pam's?
The folks that commented before are definitely pointing you in the right direction, especially for a case this size. Everyone is going to do this modular thing differently, for sure, but I can't imagine this is the best use of the limited space you are giving yourself. Are you planning on using the PNWs as your main sequencer, or do you have something external to sequence pitch more effectively?
I'm not a Maths disciple, but since you brought it up twice, it is excellent as Jim said for grasping and accessing the fundamentals of MODULAR synthesis. You may have years of experience with synthesis, but trying to cram all of the functionality of a fixed architecture synth into the small euro case you have selected is very difficult (impossible?), hence the Maths love. Need a mixer? Need a subharmonic generator? Need to attenuvert four different envelopes? Need a basic logic function? Need to create a weird shifting bouncing ball envelope? Maths... It doesn't have to be a complex signal chain. It just gives you all of the stuff you are ultimately going to need more than 10 buffered mults.
The PanMix is euro level. You probably won't need an external output module.
Have fun and good luck!

Outstanding. Seriously, I'm very impressed. Well done!

I found this video useful. Sampling a mult-ed pitch CV to a separate oscillator or chord module (like Plaits or Chord Organ) allows you to have a related note with a longer envelope ring out underneath a melody line. I use this trick a lot.

I'm a big fan of Klaus Schulze's "Body Love" soundtracks (the one with the white cover and a song called "Blanche" especially). Highly recommended.

GAS combined with limited space can be frustrating. While it's fun to dream up a full rack, in practice I always recommend not planning too far in advance. Play around with what you have and when you reach for a function or sound that's not there, that's the next module to buy. Repeat, repeat, repeat.

Seems like a more limited and convoluted Voltage Block to me.

Always love a good experimental use of the Amen break! Thanks for sharing.

The Arturia controllers are tailor-made for this environment, very powerful, and relatively cheap. When I was getting started, I considered a Keystep/Beatstep Pro setup much like Lugia's, but I have very little desk space and needed some other outboard gear in that space. Otherwise, I probably would have been perfectly happy with a similar setup.

Yeah, this is kind of a case of making it more difficult than it needs to be.

Easiest option is a keyboard with an arpeggiator into your MIDI to CV module. I use the arpeggiator on the Sequential Prophet Rev2 into an ALM Mmmidi, but a Keystep and any MIDI to CV converter would work. A second option is to run an arpeggiating sequencer into a precision adder along with your MIDI to CV signal from your keyboard to transpose the sequence, but you are still going to have to adjust your arpeggios (up/down/random) in the sequencer. Voltage Block or Arpitecht might be worth looking into for arp modules.

I was just messing around with Makrow again and was having fun running a few of its outputs to the exp fm inputs of a few oscillators to quickly switch from unison to chords. It sounded really cool after I got it dialed in.

It’s probably not the most creative use, but I love adjusting VCA decay, filter cutoff, and reverb or delay feedback simultaneously. I tend to patch that up pretty often.

+1 to everything Jim said. That is the exact feedback I would offer as well.

Hmmm... that's a shame. I've had nothing but good luck with AJH modules.
Looks like you may have found your answer in that MW thread. Reach out to AJH and see if they can offer you some guidance.
Good luck.

Soooooooo...where are the attenuverters? Yeah, I know...attenuators and the like are dull and boring and they've not got all the blinky lights and crap, but try using the "big stuff" without them and you'll discover the exercise in frustration that's waiting for you here.
-- Lugia

To be fair, Maths can serve as attenuverters, though you then get into the whole "but now you can't use all the neat functions Maths can do" argument. I always recommend the Happy Nerding 3xMIA for any and all racks regardless of size. Such a handy module.
Warm Star's The Bends is also a handy but overlooked module for CV controlled attenuverting and matrix mixing.

EDITED Nov 14th 2021, 12:20

I think you've already pinpointed the concern I would have with this rack: the layout and cable management.
I would probably group this by function, i.e. all oscillators/sound modules together at the top, then filters and effects, then modulation, and all sequencing and mixing at the bottom, with sub-mixers and mults interspersed throughout.
Your rack may be a little voice heavy, but unless you feel like you could use more VCAs or a 3xMIA or something like that, I don't see much trouble with your module choices.
Have fun and good luck!

Hi Radar. What kind of music are you doing? Do you have any external gear?

Edit: Here's a link to the rack instead of a pic.

EDITED Nov 13th 2021, 17:10

Wow, man! I love october 9th acid, but you completely raised the bar with serena. Seriously, I am really impressed. What a great accomplishment.

It sounds like you are using the CVilization as a sequential switch to alternate between waveforms into different filters. I'm not familiar with that module but I think what you would want to do is go VCO > CVilization > filters > VCAs with your Beatstep triggering an envelope that would go into the cv input of the VCA (and filter if desired).

Envelopes and VCAs.

Well, I'm working on a Berlin School project. My professors are Schulze, Froese, and Hoenig. Please finish this assignment for me and I will evaluate the quality of your work.

Congrats @troux!!!! That's awesome.
Looking forward to listening over the weekend.

To add to what Jim mentioned, I would really recommend revisiting what kind of gear bands like Tangerine Dream were working with. It was often very simple analog gear, at least in the early days. A few analog oscillators and filters (Moog, Roland, Arp, etc.), simple 8 step sequencers like the Doepfer or Behringer (though I would recommend the Winter Modular Eloquencer for your purposes), dotted eight note delay, etc.
I would go back to the drawing board on your plan. You can likely achieve what you want to do in a much less expensive manner.
As a follow-up question, what gear do you already have?

EDITED Nov 8th 2021, 20:17

Do you already have all of these modules? What is it that you feel is missing? Are you having trouble getting the tones, sequences, or mixes that you want?

From my minimal research, they look to be fully Eurorack compatible. No odd conversion necessary.

I appreciate the guidance, Jim. I'll take all of this into consideration. Thank you.

Hey all! I've never picked up a soldering iron in my life. I'm a reasonably intelligent guy so I suppose that I could probably figure it out without too much trouble. Thought it might be fun to build a few modules beginning with a Befaco InAmp.
To any of the experienced DIY'ers, would this be a decent project for a beginner? Thanks in advance!
https://www.modulargrid.net/e/befaco-inamp

The Rossum Panharmonium is fairly expensive but excels at texture.

I’m sure I could find some creative uses for Tempi, but I don’t know why anyone would choose it over Pamela’s New Workout with the Pexp-1 expander. I think ALM really nailed it with PNW. It’s an essential module for me.

Here's an interesting anecdote: I placed two orders with Perfect Circuit over the last two weeks, both of similar size and with the free shipping option from California to Ohio. One was shipped FedEx on October 29, the other was shipped USPS on November 3. Both are scheduled for delivery today (November 5).
I guess the moral of the story is that shipping is unpredictable at best since the pandemic began, and everything will eventually find its way to you regardless of the carrier.

Beautiful! Really captures the spirit of Syd Mead too. Great job.

Thank you so much for the feedback and support @Sweelinck. This really means a lot.
You bring up a great point about the sense of place coming through in our music, whether intentionally or not. Our musical heroes are just a small part of what influences our artistry, and as much as I love the music of Berlin, Manchester, NYC, or Rio de Janeiro, I will only be able to authentically express what it sounds like to be in this Midwestern place. There are two pioneering Ohio electronic/synth-punk bands (Devo and Brainiac) that I always thought sounded so out of place for the landscape and culture of Ohio, but I realize as I'm getting older that they are exactly what Ohio sounds like.
Again, thanks for taking the time to listen and respond. Hopefully, the next time I share something I will have my ideas fleshed out a bit more. I really love this idea of capturing the local environment and "zeitgeist". :)

DFAM was my first purchase when I got back into making music a few years ago. It's definitely a fun, quick, groovy idea machine though a bit limited when it comes to traditional drum sounds. I ended up selling it to fund a polysynth, but recently realized that I've been subconsciously rebuilding it much more expensively in my rack. Haha
I'd say it's a modern classic if you aren't hoping for 808/909 sounds and workflow.