Recession?

It seems to me, the interest in eurorack seems to fade....
I am trying to sell some modules at wht i believe are lowprices, but it's much harder than it used to be. Other than that it looks like a lot more people are offering a lot more modules for sale....

I wonder if eurorack might be on its way down from maybe too high a peak interest. (Maybe caused by the very cheap stuff dropped onto the market, with names, looks and features that should remind of great stuff of old.

Anyway, I was just wondering...

Thanks for the explanation. Most of what's happening is pretty clear to me.

I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.

To my knowledge, I've never used a Quantizer that will allow whatever is input to be quantized and output with a high gate. The quantizers I've used require a rising edge to trigger quantization, as far as I know, so I dont think a wide open gate will do it with Quantermain (although I may be wrong). I'll definitely be trying it soon.

That said, if Quantermain cannot quantize continuously with a high gate , I'd imagine that sending the spewing output of Wogglebug to a VCA would work, if I used the EOR gate to open the VCA which would output it forwards to the V/oct input on my VCO. The VCA would also act as an attenuator for the S&H.

Hi, thank you, yes, I think it is quite cool too. I'll do my best to answer your questions.

"There seems to be a distinct delay between your input and 1. the quantization, and 2. hearing plaits."

The delay is a function of the 'End of Rise' gate out (EOR) produced by the guitar audio through channel 1 of Maths. The unity out is used as the envelope for the Plaits VCO that changes pitch in-key with every strum. The quantizer, Scales, does not simply continuously output pitch values. You'll note that there is a 'Trigger' cv in, which is where the 'End of Rise' gate is patched. So only after the peak of the guitar audio does the gate allow new pitches to be drawn from Scales. So, it will hold the pitch until the audio begins to close on the envelope and then it toggles the new pitch for the next strum and toggles the voice coming out of Rings.

"You're getting continuous quantization from a single gate as quantizers normally only send out a new pitch on each rising edge."

I'm not sure I understand, but hopefully this adds clearity. The Wogglebug goes into Scales and continuously toggles the pitch quantized to the key of G. When you put a cable into the 'Toggle' cv in, it overrides the continuous toggling of the good old sample and hold blasting out of the Wogglebug. Now, you can input a gate that determines the duration in which the Wogglebug, still continuously toggling the pitch, is allowed to modulate. Maths channel 1's side function is 'End of Rise,' which is the gate used to trigger Scales. This also accounts for the delay effect discussed above.

"How there is a delay between your input and actually hearing Plaits when the envelope controlling Plaits should also be near instantaneous, and starting at its highest level."

Plaits actually is sounding instantaneously, it is just a single droning pitch that accompanies the guitar strum. Listen again, you'll hear it. When I strum a chord, let's say C, Plaits will play a G or D, or whatever in-key pitch was toggled by the last strum, remembering from above that the sample and hold from the Wogglebug continuously toggles the pitch in the short duration between the peak of the guitar audio (fairly instantaneous), and the closing of the envelope. This interaction between the envelope and gate on different VCOs, Rings and Plaits, give this patch its awesome quality.

One truly feels like they are playing with their modular not mearly processing audio.

Hope this helps.
Also, I use principals from this patch in a lot of patches. Here is a short I made of a bouncing ball patch:

EDITED Sep 2nd 2023, 05:47

This is a very cool patch, even if i dont understand how the result is coming from the setup.

There seems to be a distinct delay between your input and 1. the quantization, and 2. hearing plaits. I see the Freeze light from clouds light up directly on your attack of the guitar. That makes sense to me because the Rise on Maths is set full CCW, meaning the gate should be instaneous upon receiving input. But I dont understand how 1. you're getting continuous quantization from a single gate as quantizers normally only send out a new pitch on each rising edge, and 2. how there is a delay between your input and actually hearing Plaits when the envelope controlling Plaits should also be near instantaneous, and starting at its highest level.

I have all of these modules, except Scales (I use Quantermain), so maybe ill get a better idea once i patch it up.

can you shed some light on this?

I was looking at info about the Tallin and I see the modulae description says current draw is 20mA on both the 12V and -12V rails. The descriptions has the "approved by manufacturer" note, but the information on the Xaoc site says the draw on both rails is 50mA. Any know why there is a discrepancy?

I bought a module from @Slim - everything was fine!

Indeed it is not listed but on sale here: https://www.musicstore.com/en_OE/EUR/search?SearchTerm=Eowave%20Supamix
I did submit a request form as well on Eowave website.
I shall be patient...

eowave have a contact form on their website... strange that this module is not listed though!

Hi,
I am just looking at this to replace my 4ms Listen4.
No details on power consumption.
Has anyone any details on this one by chance?
Thank you :)

"Sigil" is a live recorded modular album,
all tracks are one take with no multitracking.

all tracks are built on the same patch.

I'm calling this one "swamp noir"

Smart communication and fine transaction with @ultradeepfield
Recommended !

Thanks for answer here.. So basically how close can i go to 2000MA? Would around 1850 be safe and no problem?
-- flow3r

It should work fine. I have several doepfer units, one of which is pushed almost to the max on the -12v rail, and full of Frap Tools modules that are fussy about power. No problems at all. Runs great.

I'd like to give a huge shout out to @tbsstudio

Through no fault of his, the shipment was delayed. He was so consistent in
his communications with me through his prompt and thorough responses that it really
made this stressful international shipment ordeal much more
tolerable.

Absolutely ace seller.
Excellent, both thumbs way up.

EDITED Aug 31st 2023, 20:43

try connecting the power inputs of the opposite modules then! this way you dont need a psu. would be interesting to hear that madness...

i think 40 is to much btw...

-- ak47exe

Wormholes will ensue.
CERN will become obsolete.
40 is the magic number.
40 days in the desert.
40 ounces to freedom.
WD-40.
It is all there.

try connecting the power inputs of the opposite modules then! this way you dont need a psu. would be interesting to hear that madness...

i think 40 is to much btw...

don't do this & don't recommend anyone else do this..

you are likely to damage the uZeus...

I promise I'm not insane. This is my first post but I think I'm onto something:

A fun fact is that if you overload your MicroZeus power supply with too many modules, it may make a high pitched tone. (THIS CAN BE SAMPLED BOYS)

Funner fact: if you almost overload your power supply, that high pitched tone will be produced right when you power up the system, but then quickly fall off as things stabilize. As such I will be contacting modular grid to have the MicroZeus reclassified as an envelope generator

and then I will sample it and turn it into a bassline

I can only agree with all of this. First, to get the matter over with, if they bring AI to photography, I'm moving back to analog. Heck, that's what I did with music to a large extent already anyway!

Second, about the module purchases. I haven't even started building my large rack (planning 14U 168hp) yet, though I've asked one quote from a builder which wasn't bad. And I've already noticed the slowdown. My most recent oscillator is an Ensemble, which is quite something different. I see a few effects and small sequencers could be interesting, but they're not urgent. And indeed, utilities multiplying the possibilities. My most recent purchase is a Pico RND and a rotating clock divider - both are quite intriguing and just bring out more of what I already have. So instead of utilities being the base on which I build a system, it may actually be the other way round. Oscillators and effects are the base on which I can build stuff using utilities. I've gotten far more creativity out of PNW or Zadar than out of any sound source module so far. Best thing - it's frequently cheaper to buy utilities and cables than to buy those "hero" modules like sound sources, fancy filters or effects.

Never more true words, I am definitley becoming a discriminating gourmet, I even feel like my module-buying is slowly coming to an end.... Shocking I know

-- wishbonebrewery

Who would have guessed that a bigger case is the cure for GAS :D
Now I´m convinced to go for it.

Just imagine the look in the face of my imaginary girlfriend when I tell her that... lovely

The AI discussion is pointless in my opinion. I realized it when i watched a review of a camera and the person reviewing it was saying "Sony pls make AI happen..." I was like "fuck please no". I´m into photography because of creating and not only because of the result. I mean I love it if the picture turns out to be awsome but i want to create it by myself. AI often feels like a shortcut

I never felt joy in using synth presets either. I guess thats what led me to Modular as well.
The process itself is what brings fun and knowledge in a delightful package :)
Any AI creating a sound for me will kill that nice vibe while you hear your new sound and I guess it´ll also kill the "aha effect" .
But maybe I´m wrong... maybe it´s just another way of being creative.
Anyway, I came to the conclusion that I couldn´t care less about AI synthesis. I just want to enjoy fiddling those beautiful knobs...

Professionally, thats a whole different story. I use bots like Chat GPT for lots of things. For example problems / concepts I just can´t wrap my head around. Things you can´t build on a breadboard quickly. Stuff like this... It´s fantastic in this regard. The most patient coworker I can possibly imagine :)

EDITED Aug 31st 2023, 12:03

Almost all new modules are combinations or extrapolations of existing modules, that to a large extent can be patched up from what you have (if you have the basic building blocks of synthesis in your rack and not just shiny expensive do it all modules)

-- JimHowell1970

I also had this reflection. We were lucky: we saw the birth of wonderful modules, some of which became classics, and they were easily available and cheaper!

For some time, a certain level seems to have been reached, including by means of the digital. Next step: the AI? I’m not sure to feel concerned...

In the beginning we're understandably a bit voracious, but the more we add on the table, the more discriminating gourmet we become.

Never more true words.

-- wishbonebrewery

Thank’s.

I am definitley becoming a discriminating gourmet, I even feel like my module-buying is slowly coming to an end.... Shocking I know

-- wishbonebrewery

Personally I am not shocked, I feel the same thing.

Thanks all so far... great answers.

Adam, from the name I can tell you have a Volkskabinett from Eric Needham, right? Are you happy with it? How´s the PSU? Any noise or other complaints?

EDITED Aug 31st 2023, 06:26

Regarding mixers, I finally gave in trying to find something I'd be happy with in-rack and ended up buying an external mixer

Noise Engineering just released a new mixer... maybe it´s something you like

EDITED Aug 31st 2023, 06:19

I switched from multiple smaller cases (the biggest being 7U x 104HP) to a "monster" case 15U x 120HP at the beginning of the year (links in signature). It changed a lot. In the beginning I felt overwhelmed and intimidated by the scope of the new big case. I had to pick a layout to get going with it, and my initial layout choices weren't the best. I was a bit frustrated because modules were no longer where I expected them to be after a long time with my smaller case layouts developing muscle memory. Patching took longer and more effort. I had moments of doubt where I almost regretted the bigger case purchase.

But I was patient with myself, took a bit of a break, and then eased myself back into things with no expectations about making great patches. Now a few months after all that, I am making more interesting patches than I ever had before and I love it more than ever. But it was an multi-month adjustment period with some emotional turmoil along the way.

To answer some of your questions:

Do you work differently?

Yes, I used to start with a fresh patch almost every session. Now the act of building up a really interesting patch in such a big rack is a lot of effort, and I sometimes struggle to get started because of the "blank canvas" problem more than I used to with small cases. So I have adjusted and now when I sit down with my modular, I usually change and extend my current patch rather than starting all over.

Do you work on patches for a longer time than in a small case?

Yes! My last song I had the same patch going for over a month (resulting in this track:

). That is crazy to me. I used to rip all the cables out and start a new patch almost every day. But I really like going to deeper with things. It's good. I'm making better music IMO.

Is it somehow harder or more easy to build a sound?

It takes more effort to build up an interesting patch, but I feel much more empowered to make more intricate, cooler sounding music with all of my main tools accessible in one big rack. So overall I have to put more effort into things, but it is easier for me to get the results I am looking for in the end, if that makes sense. Often in my smaller cases, I would hit a wall due to limitations, and try to make the most of it, but compromise on my ideas out of necessity. In my big case, I never use all the modules, not even close! So I am able to explore to my hearts content and there is always more room to grow the patch.

Was it a good step or do you regret it it any way?

As I explained in the beginning, I felt hints of regrets initially because it was a big adjustment. But I gave myself some mental space to step away and slowly adjust, and things clicked, and now I'm so glad I did it.

One other side effect worth mentioning: It really slowed down my module purchases. I used to have the "GAS" / FOMO problem pretty bad and bought a lot of stuff really fast during the pandemic. But I like most of my modules and don't want to get rid of them. So if I want to get another module, I have to think very hard about moving something out of my big case AND I have to figure out how to rework the layout. Often just swapping one module can lead to a chain reaction of overhauling half the case's layout. With the big case, it is a multi-hour project. It's a pain and I kind of hate doing it now. I'd rather just play the synth. So now if I want to buy a module, I have to think about it for weeks or months. Is it really worth all the hassle? I usually decide I don't really need it. Previously I would impulse buy a lot of modules. This is a really good change for me.

some advanced tips:

1. place one maths in the center as the brain, to control the others
   If this is not enough, add various behringer brains. Its a no brainer.

2. You could use behringer Radar to control mutable instruments ears and ears to control the after later audio auris. If you combine it with the OR outputs of all abacus modules, you can track passing combat-jets. - but only after passing through, with 2 % accurency. This is way late, but it actually does something, if you are lucky.

3. Drop all abacus and place it with behringer neutrons. You will see, that it doesnt fit in the rack. This will result in a not existing neuronal network, covering nothing, but sleeping circuits, resting in eternal mysery. This could be the peace and happiness you are looking for - if not, add some more behringer brains.

-- MCGM

Excellent advise. it really got me thinking.
In fact, it spawned a stroke of pure genius: If I completely remove the backside of my rack, discard all the power related electronic components, and add rails to mirror the front; I will have a double sided rack. Basically world domination.
I just increased my order of BAs to 40.
They arrive next week.
I will post the unboxing and the fully formed next-level sonic brilliance that will immediately ensue, along with a detailed patching diagram.
I am certain that just having this many Abacus modules together in the same rooom, they will assemble themselves.
I will film that too.
Stay tuned...

Thanks JimHowell1970, I can understand better about TurinG Machine
Nice to hear about Pamela, it was another option in my mind...

good

But I'm learning all by myself and it's also hard to understand what I need o want because I still trying to route VCO and LFO ....

I have a sort of control of my system but it's sure that if it will be in your hand I will be surprised !

what exactly are you having problems with??? feel free to ask...

I started being more cognizant of function overlap. No need to get a module, no matter how pretty it is, if all it does is perform the same function as a module I already own.

to a large extent this is true, especially of big shiny expensive modules... but functional overlap in utilities is handy... multiple vcas, mults, mixers, logic, clock dividers etc are extremely useful! especially once you've grown beyond a few voices... and are starting to look at multiple layers of control... not just controlling the shape, panning and sound of notes, but also controlling sections of 'songs' - bring in this voice for this section, add this effect for a bar every 4 bars...

-- JimHowell1970

I never really thought about it until you mentioned that, but I guess I view those utilities differently from other modules. I put them in the same class as patch cables. Yeah, the wires all do the same thing, but you need more of them as your system gets bigger to connect all the new pieces.

Thanks JimHowell1970, I can understand better about TurinG Machine
Nice to hear about Pamela, it was another option in my mind...

Thanks to Sweelink!
I agree about +10!
But I'm learning all by myself and it's also hard to understand what I need o want because I still trying to route VCO and LFO ....

I have a sort of control of my system but it's sure that if it will be in your hand I will be surprised !

anyway I've read the links and some good suggestion are now here

I started being more cognizant of function overlap. No need to get a module, no matter how pretty it is, if all it does is perform the same function as a module I already own.

to a large extent this is true, especially of big shiny expensive modules... but functional overlap in utilities is handy... multiple vcas, mults, mixers, logic, clock dividers etc are extremely useful! especially once you've grown beyond a few voices... and are starting to look at multiple layers of control... not just controlling the shape, panning and sound of notes, but also controlling sections of 'songs' - bring in this voice for this section, add this effect for a bar every 4 bars...

In the beginning we're understandably a bit voracious, but the more we add on the table, the more discriminating gourmet we become.

-- Sweelinck

Never more true words, I am definitley becoming a discriminating gourmet, I even feel like my module-buying is slowly coming to an end.... Shocking I know

-- wishbonebrewery

this is very true for most people - almost all new modules are combinations or extrapolations of existing modules, that to a large extent can be patched up from what you have (if you have the basic building blocks of synthesis in your rack and not just shiny expensive do it all modules) - there's the odd one that innovates massively, but they are very uncommon amd not necessarily that useful...

I'm definitely in a similar position regarding audio modules - there are a few things I would like to add in the future, but no real urgency... an extra oscillator (a duplicate of one I already have - to use as a 2 oscillator voice), a control surface (possibly a tnsm or a tetrapad/tete or similar) and then it's just a few relatively simple utilities... another matrix mixer, a vc polarizer, maybe a couple of submixers

the same can almost be said for video too... I know almost exactly what I want to be able to do, that I can't already do... but again no real rush... some/most/all of it is doable with modules that are either currently available, or (hopefully) will be soon... it's just having the spare cash (if you thought audio modular was expensive... take a look at analog video modular)... and I have no real need for HD - I kind of like the retro SD vibe...

I do like a bit of DIY though - so this may continue - unless/until my eye sight gets too bad... I do want to finish my backlog though... but all of that is smd (that I don't really like) and have been putting off for a long time...

In the beginning we're understandably a bit voracious, but the more we add on the table, the more discriminating gourmet we become.

-- Sweelinck

Never more true words, I am definitley becoming a discriminating gourmet, I even feel like my module-buying is slowly coming to an end.... Shocking I know

-- wishbonebrewery

When I first got into this, I wanted every module out there. As my collection grew, I started being more cognizant of function overlap. No need to get a module, no matter how pretty it is, if all it does is perform the same function as a module I already own.

The big change for me came when experimenting with patches and I learned what I see as one of the most important rules in eurorack, "Turn the knobs slowly, real slowly." I had a tendency when playing to make these big moves, testing the extremes. It's when you make small control changes that you really learn the module and find all kinds of sweet spots (waves going into phase, amplitudes mixing at just the right level, etc.).

After that I was finding features in modules that I didn't know were there. Now every time I see a new module, I think of all the little extra features my exisiting modules have and I consider if I can already do, with one or more currently-owned modules, what the new module does.

Regarding mixers, I finally gave in trying to find something I'd be happy with in-rack and ended up buying an external mixer, the Tascam Model 12. It's a digital mixer (6 mono / 2 stereo channels) that handles eurorack levels well. With it I can also record on an SD card on the unit or use it as a multi-track audio interface to record to computer.
-- PragmaticusMax

Good to now! I´m also interested in the tascam Mixers... Do you know if this is true for the bigger models as well? The Model 12 is the only digital one, right?

-- ak47exe

The 16 and 24 are both analog. I have no experience with those so can't definitively say they handle eurorack like the 12. I went with the Model 12 because it was the right size for me (I know, famous last words), and since the controls are digital, it can be used as a DAW controller (haven't tried this feature yet, though).

some advanced tips:

1. place one maths in the center as the brain, to control the others
   If this is not enough, add various behringer brains. Its a no brainer.

2. You could use behringer Radar to control mutable instruments ears and ears to control the after later audio auris. If you combine it with the OR outputs of all abacus modules, you can track passing combat-jets. - but only after passing through, with 2 % accurency. This is way late, but it actually does something, if you are lucky.

3. Drop all abacus and place it with behringer neutrons. You will see, that it doesnt fit in the rack. This will result in a not existing neuronal network, covering nothing, but sleeping circuits, resting in eternal mysery. This could be the peace and happiness you are looking for - if not, add some more behringer brains.

EDITED Aug 30th 2023, 09:06

In the beginning we're understandably a bit voracious, but the more we add on the table, the more discriminating gourmet we become.

-- Sweelinck

Never more true words, I am definitley becoming a discriminating gourmet, I even feel like my module-buying is slowly coming to an end.... Shocking I know

@aleszylder: I personally know user @DirkB - he's a good friend of mine and a regular customer of my builds - and can tell you for sure he's NOT a fraud.

Did you contact these users yourself before posting or did you simply put these names up here?
I don't think this is the correct way of doing things... You might give good sellers a bad name because of posting like this.

Unfortunately I cannot vote the other users since I have not contacted them, but I suppose they are all frauds: @Kaneda87 @wrongdisplay @asdfqwer @dosko64 @DirkB @wolvero @tokkeherfst @pikseliahky (and a lot more since these users have their own positive votes)

Hide Manufacturer Info Block

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longer cables & layout - see above... you may find that you want to use your current 6u 104hp case as a control skiff in front if the 15u is vertical - I find that I prefer sequencers, controllers, end of chain mixer etc are best horizontal and at the front

OK, thats probably ergonomically better to have it horizontally or what is the matter?
The Case is not entirely straight. Its straight at the top but concave towards the bottom.

I didn´t think about new cables that will add cost of course.

not really, more an extrapolation of what I was doing with a smaller case... more voices to patch (potentially) - use more utilities to make the most of modulation (multing, combining, inverting, attenuating etc) so less modulation sources can be used to modulate more modules... with related modulation... so things fit together better...

Sounds like the way I like to work anyway... nice

Do you work on patches for a longer time than in a small case?

probably - they take longer to patch - and take longer to finesse

Would you say they got better though?

Regarding mixers, I finally gave in trying to find something I'd be happy with in-rack and ended up buying an external mixer, the Tascam Model 12. It's a digital mixer (6 mono / 2 stereo channels) that handles eurorack levels well. With it I can also record on an SD card on the unit or use it as a multi-track audio interface to record to computer.
-- PragmaticusMax

Good to now! I´m also interested in the tascam Mixers... Do you know if this is true for the bigger models as well? The Model 12 is the only digital one, right?

Regarding mixers, I finally gave in trying to find something I'd be happy with in-rack and ended up buying an external mixer, the Tascam Model 12. It's a digital mixer (6 mono / 2 stereo channels) that handles eurorack levels well. With it I can also record on an SD card on the unit or use it as a multi-track audio interface to record to computer.

EDITED Aug 30th 2023, 02:41

Basically it's 10 3u frames in 5 rows. (2x 84hp wide and 15u height)

this way i can also fit 19"outboard or a 500 rack inside.
-- ak47exe

that's a decent size and layout!

What did change for you when you switched to a bigger setup?

longer cables & layout - see above... you may find that you want to use your current 6u 104hp case as a control skiff in front if the 15u is vertical - I find that I prefer sequencers, controllers, end of chain mixer etc are best horizontal and at the front

Do you work differently?

not really, more an extrapolation of what I was doing with a smaller case... more voices to patch (potentially) - use more utilities to make the most of modulation (multing, combining, inverting, attenuating etc) so less modulation sources can be used to modulate more modules... with related modulation... so things fit together better...

a bigger case also opens up different lavels of control... for example vcas are no longer just for modulation and note shaping... they are now also for gain control over time (ie autonated mixing) - which is i suppose a different way of working - still working on this

one thing I do have that's really useful in this size & bigger cases & with larger numbers of voices is a sinfonion... really handy for keeping things in key and supplying chordal notes on top of 3-4 'melodic/bass' voices - also really helps in terms of arrangement - as you can alter the octave ramge of voices...

also a bigger mixer is useful - I'm using a tesseract tex-mix - currently with 12 mono channels and 4 stereo channels

Do you work on patches for a longer time than in a small case?

probably - they take longer to patch - and take longer to finesse

Is it somehow harder or more easy to build a sound?

the same... there are just more modules to choose from...

Was it a good step or do you regret it it any way?

more choice is good... more voices are good... so a good step...

2 possibilities from what I can see

1 the output level of the gate is not enough to open the envelope

2 the length of the gate is too short to open the envelope

you'll need to check the output level of the gate in the manual... and cross reference it with the doepfer module

adjusting the length of the gate on the west pest is addressed on page 16 of the pdf manual

Basically it's 10 3u frames in 5 rows. (2x 84hp wide and 15u height)

this way i can also fit 19"outboard or a 500 rack inside.

I am new to modular but not new to synthesis concepts. I understand the basic concepts of subtractive synthesis, but the West Pest is a bit different than what I am used to as it uses a low pass gate instead of an Envelope + VCA.

I would like to have the Doepfer A-140 control the attack of the West Pest's amplitude. I have tried patching as shown and am not able to trigger the envelope. The patch points with yellow text on the left side of the West Pest patch bay are the audio/cv inputs and the white text ones are the outputs.

To my understanding, a low pass gate takes the place of a filter, envelope, and VCA of a traditional east coast style substractive synth.

The A-140's light stays on when powered on with nothing plugged into the patch points, and stays lit when I have it patched as shown. From videos I have seen the LED brightness is supposed to follow the ADSR stages when triggered properly. Is it normal operation for the LED to stay lit when not patched into anything?

What am I missing? Thanks in advance for any/all help- excited to slowly build my rack over time, but have to start with the basics.

https://cdn.modulargrid.net/img/patches/modulargrid_108127.jpg

by 10 x 84hp do you mean 10u or 30u?

if 10u:

it's not really a much bigger case than the one you already have... only 60hp more for 3u modules + a 1u row

is this in addition to the 6u 104hp case you already have or a replacement? as an addition it's fine - although I'd probably go for a 104hp case so they can be arranged better and not be ciffering widths, if it's a replacement, then there's not a lot of extra space to grow into - so the next case will be wanted/needed sooner rather than later

if 30u:

I really wouldn't want a monolithic 30u x 84hp rack...

I'd go wider and lower - I have, effectively, 18u * 188hp - made up of 4 cases (2 * 9u 104hp, 2 * 9u 84hp) so that the lower 2 are near horizontal and the upper 2 are near vertical... this is much easier to deal with than 30u straight up imo - so I'd halve it vertically and double the width to give 15u 168hp - it's also better for module arrangement - I kind of follow the arp 2600 layout & that works quite well

I guess it´s a beginner mistake but every dream rack should have a maths! You´re welcome...
-- ak47exe
I just don't see how it would fit into my workflow

Smart transaction with @MDSN
Recommended !

EDITED Aug 29th 2023, 11:44

So, you started curating your modules more precisely when building a patch? Is that what you´re saying?

-- ak47exe

Yes, that's right. And, above all, I simplify things in my production.
In the beginning we're understandably a bit voracious, but the more we add on the table, the more discriminating gourmet we become.

So, you started curating your modules more precisely when building a patch? Is that what you´re saying?