Y'know, what we REALLY need here is a multichannel quantizer that can accept/understand Scala tuning tables. Maybe blow 'em in via a USB connection...? I don't think such a critter exists at present so if any module developers are reading this...well, you get the idea.

I did this a bit differently. Instead of just fixing the gap, I opted to whip up a potential "destination" rig. But since the rack space is really constrained (2 x 88 [not 89!] hp), what I wound up doing is to shrink things down across the board so that you can get a lot closer to a true generative rig.

I tried to keep as much as was possible here, but several devices got chucked out in the process. One of the first to go was the buffered mult; since you'd use the VCOs separately(ish) in generative work, and also because it stole 4 hp, it became unnecessary here...and tbh, in a small build like this, mults in general should be avoided as they rob space from function. Use inlines instead.

Top row: Starts with the P/S, of course...then the Disting, followed by the quantizer (I presume this is for quantizing modulation curves, which is a basic generative technique), then all four sources. After these, one of the Veils (I resized both to the new model) for level control before filtering with the Ripples. Then I placed the Xfader after this, as it offers an interesting opportunity to set up autopanning. The Doepfer mixer is next, then there's all of the effects modules, followed by a Happy Nerding OUT. Now, the reason for that specific output module (aside of the transformer isolation) is that it fixes several problems. For one thing, it gives you a headphone preamp. But much more importantly, it has a second input pair...which then allows you to split the mixer's output between the Verb and the Monsoon, and then you can fly one of those in over the other via the second input. Also, the ganged stereo controls here are definitely easier to balance than the separate controls on the Doepfer passives.

Bottom row: A 2hp Nse first, because there weren't any noise sources for the Marbles to play with. Then the Marbles itself got smushed down to a Pachinko...same module, more or less, minus a few hp that gets used elsewhere. And one of those places is the Quad LFO next to it; to really have a decent generative setup, you NEED extra utility LFOs to provide modulation curves that other modules can reprocess. Maths, Veils, and then a little Frap 321, which allows you to attenuate, INVERT, combine, add offsets, etc. It's pretty much a modulation mangler, allows you to generate more complex modulation results. Then a dual ASDR is after this, giving you a couple of 4-stage envelopes for your audio chain, etc. Then the cryptic-looking thing that's next is a dual window comparator...and THIS is definitely the missing link for generative work. Comparators generate gates under specific voltage input conditions...so, say, an LFO is patched into one and the comparator's threshold is set for 3.5V. The comparator will output a gate each time the LFO's output exceeds this, meaning that you can also use your modulation sources as on/offs for signals that are thruputted through VCAs. But this is no normal comparator, but a WINDOW comparator...meaning that it has TWO thresholds, and you can get gates and triggers when the input is below both, between both (the "window") and above both. This way, you can derive several possible signal states from one single modulation source...and of course, since you have TWO here, well... Anyway, speaking of derivation...the next thing is exactly that, a Derivator. This module also fires off gates...but this time, they're dependent on the direction of the CV that's being inputted. So on this, you have gate-outs for "rising", "falling", any sort of movement at all, or "steady". Now, if you're wondering "why all these effin' GATES?"...the next module answers this. Yep, a Boolean logic module...but this one's a lot more capable than the original Ladik one, as ALL of the gates are usable simultaneously. So, with all of the gate outputs based on CV/mod behavior, you can then take "steady" gates and use the Boolean module and combine everything in those, and get a WILD panoply of possible off/on activity. And to make that even more bonkers, the thing after the Boolean module is a dual probabilistic pulse skipper...so you can actually have random(ish) dropouts in your controlling gate signals. Coupled with logic, like here, that's a potent module. And then the clock divider ends things up.

Now, look closer. You'll notice that, in my build, there are a lot of modules that depend on other modules...and not necessarily the SAME modules each time. For instance, you could use the Skipper for the Minibrute's clock output, keeping things in the modular in pace...except for those odd little "hiccups" that also cause their own strange things to happen, or you could just as easily use one channel of it to randomly "suppress" control gates from the Booleans, and so on. THIS is how you do generative...it's not a matter of "patch A to B and turn knob" at all, but a system that contains LOADS of complex possibilities depending on how it's patched, plus in this case, you have to factor in the Minibrute that's being augmented by the build. IMHO, this does that pretty well. But no, it doesn't use everything you have presently AND it uses some things you don't have on hand. Like I said, it's a "possible end-result" build. Hopefully it's of SOME help.

Hmmmm...OK, the first immediate issue here seems to be module size vs. case size. If you're insisting on using "big" modules like the above, you're going to have to go much bigger on the cab itself. As in, say, 2 x 168 hp big.

OR...you can go to a 2 x 104 like the Mantis or even some 126 hp widths like you see from MDLR Case and Case From Lake, but shrink the modules down to a more sensible size.

Case in point: you have a Grids in the build. Now, ignoring the simple fact that Grids is discontinued, it fits into 16 hp...if you can find one. Now, click here: https://www.modulargrid.net/e/calsynth-ugrids-matte-black-aluminum That's ALSO a grids...but a clone of the original, with the same (open source) circuitry, but it fits into HALF the space. It's also available new, whereas the original is not. Another example here would have to be the Behringer 911. OK...it's an ADSR envelope generator, no CV ins, fits in 8 hp. Then you flip around to Doepfer's listings, and there you'll find their A-140-2. 8 hp, check. But one ADSR? No, this has TWO. And you also get CV over duration! Yes, it's more expensive...but as a rule, much of Eurorack follows the ubiquitous "You get what you pay for" rule.

My suggestion would be to take this rack and then see how to replace the single function modules at the larger sizes with multifunction ones at smaller sizes. With the possible exception of the Maths, Pressure Points, and Pam's, everything else you see there has variants of some sort that up the functionality, shrink things down so that more can be added, or both. And again...larger case. Fact is, you should design this in a MUCH bigger cab first...then start shrinking things down while aiming for that Mantis form factor.

Basically, what you need is simply a single module: an input preamp. At least, if all you plan to use the modular for is processing. If you want to control the modular with the M1, then you'll need a MIDI-CV conversion module as well. As for whatever goes in between those, that'll depend on what you're trying to do with the build overall.

However, one thing I'd also like to point out is that if you have all of these synths and drum machines, you really should consider treating THEM as "modules" as well, routing all of their I/Os to a central patchbay. I've used this working method for over 25 years now, and it massively speeds up the interconnection process between devices.

There’s always room for more VCA!

Hmmmm.....This has piqued my interest very much. Thanks for the recommendation. Going on the "wants" list.

Thanks for the link. I have gone over it and read some of the links off that article.

VCAs? I have VCA in the Mother 32, but not sure of its capabilities or quality. Also have an Intellijel Quad VCA in the mail. My experience is limited to hardware synths the Roland Juno and JX10. Quite completely different. I have no, or vary limited experience with VCAs. In my reading I know they go beyond a mere amplifier. VCAs can can control filters, envelopes, gates and the like by controlling CV inputs...is that correct? Again no knob twisting to actually see this action ;)

Hi Fred and TumeniKnobs,

Thank you both very much :-)

Fred, how shall I put this? About your remark "sounds almost like a ratcheting effect", well indeed, I used tons of ratcheting ;-)

If you are not familiar yet with the Five12, please go to the website and download there the manual of the Vector, you can see what's all possible with it. It took me about two years for searching the perfect sequencer, which I didn't found, though the Vector comes pretty close!

So what I did is I used indeed pretty much ratcheting. The lovely thing of the Vector (Five12) is that you don't have to use this just straight forward, you can use a probability/chance on the ratcheting for example. I also did made some steps a bit longer and others a bit faster to create as much as possible variation into play, so to speak. This is all possible with the Vector, one of the many reasons I love this sequencer!

Me and videos? Well that still might take several years before I am in the right mood to start perhaps making videos. Let me focus first on getting to know more about modular synthesizers (there is so much to discover and "trying to get under control"), and then there are the review reports I write about modules (see my website), so enough stuff to do for the moment.

No, the sequences are fully "automated" and run completely by themselves (that means by Five12 - Vector). But I use chance or probability especially for the percussion part and on some of those ratchets to give it some variation.

The only parameters I did change by hand were:
- Octaves of the main voice only, on the Vector
- Only twice I think it was, I changed the running direction of the main voice from forward to backward and then back to forward (that's why you hear at a certain stage some weird pattern behaviour)
- The (green only) models on the Plaits module
- Changing the Presets on the Vector of both sequences/voices/tracks

The LFOs (Doepfer A-145 and Doepfer A-147-2) I used to CV-control the Timbre and Harmonics parameters on the Plaits module.

TumeniKnobs, It's actually more simple than it sounds. It's really only those two voices (except the percussions) but with a not too slow running sequence of those voices. The ratchets make it sound even faster, which is actually not the case but using quite a bit variation in the sequences, it might give you the impression that it sounds complicated, but if you narrow it down on the configuration of the sequencer itself it's not that bad ;-)

So really, per voice I only use two sequence patterns, called Presets on the Vector. I manually changed them. I start with one, the one that starts directly from the beginning, at about 3:38 I change then to the other pattern on both voices (it's a bit audible) and then again at about 6:26 I change then back to that first pattern I used when I started the track; this time even a lot better audible that I change the Presets manually. If you let the Vector do the change of the Presets you don't hear it, then it goes nice smoothly. But I was too lazy (hence Garfield) to reconfigure the Presets sequence, so I did it manually instead.

The sound (so not the sequence or modulation) variation is done by hand choosing the next (or 2nd next) "green" model on the Plaits module. When it reaches the top one (called "Pair of classic waveforms" in the Plaits manual) you get that kind of weird (but I love it) synthesizer scream-change or whatever you like to call it, like for example at about 0:53 where that sound-behaviour kicks in for the first time; that's done by a slow triangle LFO CV-control of the Harmonics parameter on the Plaits. On the other models it doesn't sound as nice (and as obvious) as with this first green model.

Since I let the Plaits scream away almost the entire time, you don't hear much of the background "strings" caused by the Make Noise - Telharmonic being the second voice, though around 5:43 you can hear the Telharmonic a bit better for a short while before (around 6:04) the Plaits takes over again ;-) In the original track (still to be recorded) I plan that these two voices are a bit better in harmony with each other and give each other more space to be present, hence it will be less hectic and "violent" or noisy (mainly the Plaits should be cooled down a bit).

Okay and I added some effects (quite a bit actually, in the beginning of the track less than near the end), medium delay by the Grand Canyon (Electro-Harmonix), medium reverb (hall type) by the Ventris and a strong chorus & a bit of flanger by the external mixer. But all recorded in "one-go", this was my second take/attempt. No big changes on the DAW, only a slightly volume adjustment of 1 dB per stereo channel more was not possible to avoid clipping and because I didn't use compression.

And that's it, really. Glad you enjoyed it. Kind regards, Garfield.

Yeah this was a fun episode with a real book worm of module knowledge. And as always, thanks for your kind comments.
FF

Hi Mowse,

Oh it's so good to have you back here, I was missing your jams! Your music is pretty addictive and my body and ears need at least once a week something coming from you to make it throughout the week ;-)

By wishing you good luck on your new job, I hope you soon can maintain a situation where there is more time for you left for creating great work like this track and I hope you wouldn't forget us, the junkies who need regular be fed by your music :-D

Thanks a lot for sharing this and kind regards, Garfield.

Ah no, I don't plan on using a case anywhere near this small! I just created this for illustration with these modules.

Hi Fred,

Ah one of your nice long sessions :-) Wow, and this time you straight away set off with some nice oscillators accomplishing each other in that first minute, nice!

He, he, there is nothing better than a live jam! :-) If you, like yourself, are able to do that, I for myself need already an half hour to set one LFO right, so me and live jams, I don't think that goes good together ;-) It's therefore for me very enjoyable watching someone knowing what he's doing during such a session, great work!

He, he, that Death of HudsonSoft reminds me of the good old Vangelis years ;-)

Thanks a lot for sharing this and kind regards, Garfield.

Thanks Jim,
Yes one or two Mantis would seem like a smart move once I feel the need to expand, also fairly affordable for 208hp of space!

don't drown in debt - go as fast or slow as your budget allows!
and a mantis is still quite portable, for example, unless you are a small child!

EDITED May 25th 2021, 21:01

cheap and custom do not usually go well together in the same sentence

you can usually have one or the other but not both

I know that’s good advice, but I love the portability and I think I‘d rather get this case done and then look for an Analog Four or something.. before I drown in debt.

But on a more serious note, some day for sure. For now I think I‘m good with 120HP though, thanks for the Advice!

you could swap out the og veils for the reissue and get 2 hp back - and then upgrade the fx aid to an fx aid xl

other thing I would do - start saving for the next case!

I'd spend the money on a bigger case!!!
PNW is great
if you can find a kinks buy one they have been discontinued

some advice you can take or leave - ditch the beauty case

work out the modules you want and those that are actually needed to support them (probably at least as much space again) and then add 30-50% for expansion and then find the case - allowing at least 25% headroom on all power rails - I allow 10mA/hp/rail for unfilled space

this way you will have a modular that will accomplish your goal and you may not get the urge to buy another case in 2 months when you outgrow the beauty case

you do not have to fill the whole case at once (you may want some blind panels so you don't short anything though)

I started with a 6u/72hp case - it lasted 6 months before, with only 12hp left I decided I wanted Maths and bought a mantis as well - 4 years or so later and I have 1500hp...

I‘ll take that as a compliment @JimHowell1970!
Yeah I looked at your collection half an hour ago or so and noticed just that! :D

Yeah not sure if the Doepfer Atten-Offset will stick around, what would you replace it with if it was your rack? Maybe get PNW for clocking instead of the Noise Engineering Module, I almost feel like that might be overkill? Or just get a logic Module in the 4hp?

EDITED May 25th 2021, 20:39

looks kind of like a beauty case I could make up from my rack!!! - I have 11 of the 17 modules in the future rack!

in such a small rack I would probably drop at least one of the modulation sources - although peaks is pretty handy!

not sure I'd need both shades and the doepfer offset/atten in such a small case

hhehehe good luck

Great to hear, Jim, thank you. Yeah, I want to keep things relatively small (otherwise I'll be tempted to spend more money than I should on this), and therefore gradually add modules to this case and see what sounds I can get out of it. Ultimately I'd love to have one of these cases set up for straight-up techno, one for straight-up ambient, and then combine them from time to time to do experimental things, but I'm a few years and a lot of experimentation off that yet!

@Cangore That's the matter. I want to play and record sounds that fits in my music, and the most obvious would be buying a synthetiser but in the other hand i feel atracted of modular synthesis hobby. So i would like to build something that fills the two things. For your reply, the best thing is buying a semi-modular, which im atracted by the moog mother 32, the noise 0-coast and the neutron as more affordable.

Thx for your Help!!

I suspect you‘d get more for less with a standalone synth like the Microbrute or a used Analog Four, and you could always get something semi-modular, again Microbrute or any of the Behringer Clones if you enjoy patching.
Atleast that‘s my reply if all your looking for is a little flavor for your productions.

Don‘t underestimate the rabbit hole and price of modular.

But I‘m sure someone more experienced will chime in soon!

All the bestest
Chris

I would use it to put some analog sound in my productions, and step back from software cause i got bored xd. I decided going modular because the fact there is tons of modules that I can assemble in one case, instead of having multiple synth ocuping space. What do you think?

https://cdn.modulargrid.net/img/racks/modulargrid_1581672.jpg

EDITED May 25th 2021, 18:54

Well to my ears and that of a very experienced picky modular jam buddy, the Hexinverter Mutant Snare is quite tasty.
He even told me the demos sucked and in person the Mutant Snare sounds great.

Lots of good information on Turing Machine here:

https://musicthing.co.uk/pages/turing.html

Pamela’s New Workout does provide a source of random but it is really meant to be the clocking heart of a system with several other modulation functions and even basic quantization. It is “menu divey” but fast and intuitive. Again, an entire system can be powered by PNW. In my own system, I use it for roughly 80-90 percent of patches, either as a main clock source of source of modulation.

Go slow. There’s lots to learn. About now, I ask: do you have a good quad VCA and do you know how and why to use it?

Thought I might as well add a visual representation of what I‘m planning currently so here you go:

Nice! This is a really interesting track. I listened a bunch of times trying to wrap my head around exactly what's going on. Well done! Curious how many different sequences are used throughout the track and exactly how you transition. I also followed you on SoundCloud. :-)

That's a stale image, even though the correct one shows up when you click through.

Also, all the text is missing when viewed on Firefox. Chrome works fine. Perhaps this is a known bug?

EDITED May 25th 2021, 14:48

I wish to create a small modular system (64 HP) for ambient experiments. It's essential that this has a stereo path. I am a bit confused about the output, so post this small fragment for your comments.

I cannot seem to find a compact module that allows me to send a stereo mix to line out, while listening to a different stereo mix. Every DJ mixer has this rather essential function, but I can only find very large mixer modules in Eurorack format. Please tell me I am missing something obvious!

In the meantime, I constructed what I need here. 13 HP is really too much for me to devote to output alone. 10 HP would be better.

This patch spans the gap between Harmonia and mid-70s Tangerine Dream. By this I mean to say, it sounds awesome!

subbed on SoundCloud! I really love what sounds almost like a ratcheting effect with a hand held tempo pot? Or is it modulated by a an irregular LFO? This is definitely one I'd love to see video on.

This week we speak with modular synthesist robby to discuss the collapse of the producer/consumer:

So here we go again, since I hit my Max Budget for now and am thus forced to take a little break from acquiring new modules. I recon this is as good a time as any to take a step back and reflect on what I currently have.

First of all thanks to @Lugia, @troux and @JimHowell1970 for ther contribution to my first thread and Rack.

Here‘s what I‘m currently working with:

Quite different from what I originally planned for.
One of the biggest changes might be Tides instead of Plaits, I made that decision after spending a few hours on VCV Rack and developing a deep love for Tides V2 PLL and Oscillator Modes and I don‘t regret it one bit, together with a simple Analog VCO it makes a lovely Voice (well actually even on it‘s own) and I wouldn’t have thought that I‘d enjoy two Operator FM so much, it‘s just a bunch of Fun to me. Also Chords: Awesome.

Currently debating moving disting into the upper (audio) row and exploring it as an effect, Filter, VCA or Oscillator, though I really enjoy the quantized shift register and Euclidian Patterns.
It would take the place of the LXD I had planned for. Since I got Ripples V1, at a great price, I feel like my Filtering and LPG needs are well met.

Next purchase will probably be Stages, seems to fulfill all my needs regarding modulation and beyond.

One thing I didn‘t plan for originally but I‘ve found myself wanting is a Clock/Divider in 4 HP. Options I‘m considering are the Noise Engineering and Ladik offerings, since more often than not I end up using my LFO as a Clock. (Any Opinions on Pamelas New Workout+Stages in such a small System?)

First thing I would probably replace when the Rack is full is the A-140, eventhough I really dig the Range Switch, would probably replace it with a second hand factory Peaks.

Overall I‘m very happy with where I‘m heading.

That‘s all I can think of right now, Any Opinion welcome. Thank you guys.

EDITED May 25th 2021, 16:08

Hi everyone,

I would like to share my little modular synth project with you, for some advices.

Here it is :

Midi and audio on the highest row :
- I begin with the Yarns as a midi interface, clock, sequencer and using channel 3 and 4 as synced digital lfos.
- a buff mult to rule the oscillators pitch
- Sto, which I like for its beautiful Sine wave, and the waveshaping. And Paradox for deep crazy fm modulations, working with the fm aid. Then comes Veils for mixing and vcas.
- Forbidden planet, multiple filter

Modulation and effects on the lowest row :
- fractio solum for wild clock dividing
- clep diaz pour stepped modulation
- contour, souvenir from my first semi-modular synth 0-coast
- A-147 LFO
- Sinc bucina, beautiful low pass gate and envelop
- kinks (sample and hold, sign and logic)
- MIA Attenuverter

Then the lovely reverb from noise engineering Desmodus Version, and output...

What do you think ?
Thanks a lot
Alexandre

Many thx for the reply.

I got a used 4ms RCD with the expander. Unfortunately the expansion was a DYI and the soldering points are very fragile. A couple have broke off so I need to resolder. Looking forward to see the effect of the 4ms. I was thinking of getting a PNW but for just random clock it seems the Turning Machine will work great. Any thoughts? Again, I have zero experience with this ;) ......

regarding dark mode, changing the blue of links could be nice ...

I agree with some of the above posts, that for really precise inharmonic spectra and corresponding tuning, you should use software synthesizers. It should be relatively easy to come up with inharmonic, additive synths and custom tuning in PureData and bring that to some programmable DSP module like Befaco Lich: https://www.modulargrid.net/e/befaco-lich

However, if you want the challenge and stay in the analog domain, then there is another option. You can use any standard VCO and route its output through a frequency shifter. When you couple the FM input of the VCO with the right amount of frequency shifting CV you can get inharmonic spectra and custom tuning. The downside is that high quality analog frequency shifters are expensive modules: https://www.modulargrid.net/e/cwejman-fsh-1-

anyone having trouble with power?
as soon as I plug it in many modules stop working correctly.
2 mantis cases, 2 super power blue power supplies, regardless where I put it, it happens.

A Rotating Clock Divider is an essential utility. Mine lives next to Pamela’s New Workout but gets fed by many clock and pulse sources, including sources of random. 4MS makes nice ones. You really can’t go wrong owning at least one.

Lots going on with the new job role but ample spare time for bleep bloops. Dropped a bunch of new jams on the YouTube channel. Here’s one from last night. Hope you dig it.

All good ideas. Though I am so picky about snares. I think I mostly don't like them so I'm always looking for some modulation that I like.

Triple Sloths is from the Nonlinear Circuits lineup. IMO everything in their Chaos lineup of modules is very interesting and I intend to add more than one of those to my system in the next 6 months.

To my understanding, the Chaos type modules are basically an alternative to random modules. Some would say (and I would agree) that in general random is not very musical; the main use case I have for random is adding a small amount of it to various parameters. Chaos, on the other hand, is loosely patterned -- imagine for example a drunk person riding on a bike going around a figure 8 track; they follow the track, but not exactly. This type of loosely patterned behavior, many people including myself would consider musically useful: it is repetitive enough to indicate some type of cycle, but loose enough to never repeat strictly, and hence keep generating interest. My intended use cases for the Chaos oscillators is to add some "slop" to my other parameters, and combine it with other tighter LFOs to get a looser complex mod signal. Not so different from how one might use random, but IMO a bit more useful due to its semi-patterned behavior. There are surely many other uses for these types of chaos modules. To my knowledge, Triple Sloths gives 3 "chaos" signals ranging from slow, slower, to very slow.

BTW many other modules from that manufacturer look interesting (if somewhat baffling) to me.

Good luck, enjoy!

-- last, I recommend you lookup user Lugia on this website, and examine a lot of his different draft racks. They tend to be very thoughtful and give excellent ideas of what different well-designed modular systems can look like. There are some good designs by other folks too, but I know for a fact there are a ton of interesting draft Lugia racks available to view.

HI, yes I would second that. Lugia is ace because he really goes into depth explaining his choice of modules. Helped me immensely.

A beautiful reply. Thank you so much, Nicholas.

Hi @ninetoincline, welcome to modular and Modular Grid!

A few comments:

-- your initial draft rig above isn't bad. Do consider if you need a dedicated audio out like 4ms listen, or if you don't need something like that given your intended use case(s).

-- DEFINITELY suggest you consider a larger case. Whatever your initial design is, it's best if you can have an additional 25-50% (or more) space left in your case so you can comfortably add some modules as you learn more

-- Pressure Points may or may not make sense in this build. Depends how you want to control things. It takes up relatively a lot of HP in this small draft case, so do consider if you really want / need it here.

-- of the modules you have above, I would consider Maths, PWN, Plaits, Quad VCA and Wasp very good (almost "no regrets") modules, so you definitely have some very useful picks already included.

-- IMO part of the joy of modular is complex oscillators (like Make Noise DPO or Instruo Cs-l) and wavefolders (like Intellijel Bifold); those do things that aren't easily done in VSTs or normal monosynths. Also part of the joy of modular is lots of modulation, and modulating modulators: to do that, you need enough modulation sources plus some control/mixing. Hence you might consider more modulation sources, things like Mutable Stages, Xaoc Batumi, Instruo Och-D, etc., plus a way to control and mix them like 4MS SISM, Tiptop MISO, and/or VCAs dedicated to your CV control.

-- almost everybody starting out underestimates the need and value of "utilities" in a modular system. In software and hardware synths, the utilities are generally in the "background" (e.g. not in the marketing material used to sell the synth) but are absolutely necessary to make everything else work. IMO a good way to learn modular utilities is to browse all the modules on Doepfer, Ladik, Joranalogue, Intellijel and Mutable Instruments catalogues, and to study anything that isn't obviously a sound source or filter. Mutable's Links and Kinks (or something like them) deserve to be in most modular systems. Keep in mind you need enough utilities in your rig to make the "fun" modules really shine.

-- last, I recommend you lookup user Lugia on this website, and examine a lot of his different draft racks. They tend to be very thoughtful and give excellent ideas of what different well-designed modular systems can look like. There are some good designs by other folks too, but I know for a fact there are a ton of interesting draft Lugia racks available to view.

Hopefully other folks on the forum can add some comments / further help for you.

Good luck, enjoy!

Nicholas

I find good idea to build a rack for my synth korg m1. This synth have 4 individual outputs and i think is interesting that synth M1 with this classic sounds can have more parameters. I read many times how to build a rack but for me it’s difficult as I had every synth and drum machine separate on my studio. So anyone can help me to build a idea for a rack have “ tools” like filters , parameters, effects for the 4 outputs of this synth.
Thanks Andreas

Hi All,

Today I got carried away during an attempt of recording something, I ended up in actually only recording two sequencer patterns, got pretty much carried away with it and wanted to join this with you, so the actual recording I wanted to do... em... I didn't got to it at all :-)

Two voices only:
Voice 1, main voice by Mutable Instruments - Plaits
Voice 2, kind of back leading strings by Make Noise - Telharmonic

Sequencer is the fantastic Five12 - Vectron with the Jack Expander, using two channels for the above mentioned two voices and using another 2 channels for the percussions (1 channel percussion at the Jack Expander means 4 different percussions, thus 8 in total, here only used 4, I think).

Then some other modular stuff like LFOs and the usual suspects. Effects externally by Grand Canyon from Electro-Harmonix and Ventris from Source Audio. Two more effects (Chorus & Flanger) used with the external StudioLive mixer from PreSonus. External percussion by Vermona - DRM1 Mk3, controlled by Five12 - Vectron and Jack Expander.

This is in a way a teaser of my possible far away future album called "Germany - B" and the track is most likely going to be called "Berlin" only not as rough and wild as this demo track. Here just some sounds that I most likely going to use for the mentioned album and track.

That's about it, thank you very much for listening and have a good start of the week, kind regards, Garfield.

P.S.: Oh yes, you might want to turn up the volume quite a bit, I haven't used any form of compression.

EDITED May 24th 2021, 22:49