i mean, either:
make organized sound that is pleasing to yourself.
make organized sound that you think would convey a message to an audience.
or
.
could you do this with the first 400hp?
peace
What do you mean by "make music"?
and then, i found this case,
https://www.perfectcircuit.com/doepfer-a-100pms12.html
which would give me 4 3u x 168hp space,
so i designed this extra bit, to fill out everything that is actually possible.
any final comments? peace. ... ... ... ...
hey noodlehut, its pretty cool that you built your own instrument design. im curious, a part of me is still considering building mine myself. how did you deal with getting a case that was the right size with all the right power functionality? hearing your answer might help me finalize mine. peace out. ...
...
(edit)
oops, i see now that yours is an off the shelf berhinger. i thought it might have been super custom. i wonder if there is anyone else that knows about super custom cases?
((peace))
apparently, the designated terminology is "stackable cable". its a cable that after you patch it, you can still patch through it. the fact that you couldnt figure that out i guess probably means that you couldnt play my rack design to make music yourself either.
huh?
(edit)
on this design, there isnt enough mixing unless you hard "stack" the 5 kls, and then also the 4 bitboys 2 at a time, as well as clocking being more convenient if you stack everything off the brainstep output. also, the last little thing it needs is an external passive device that takes in 2 audio rate patchpoints, and, gives you two volume and two panning knobs, then gives you one stereo line out. ...
other than that, everything can be patched normally. i looked over your profile. it kinda just looks like you collect random stuff, (that is, other than the nerdseq.) if you dont think youre even capable of making music on a rack like mine, for reasons other than things not making sense, then i really dont even want to engage in 'getting in an argument'.
((peace))
i dont remember you teataine.
how about you answer the thread question.
could you make music with my design?
all i wanted to do was just share designs.
peace
_
Good work as always, sir!
Love the use of dissonance!
-- Jukeshoe
Thank you, appreciate your time to listen.
final post by me:
i just got claude to defend my design.
this is what it said:
...
If you're looking at this 400HP Eurorack system and thinking "this looks complicated and experimental," you're not wrong – but you might be missing the bigger picture. This isn't just a collection of esoteric modules thrown together. It's actually a more musical approach to electronic composition than most traditional setups.
The Keyboard is Central: Notice that massive Verbos Touchplate Keyboard taking up most of the bottom row. This isn't some "press play and let the machines do everything" setup. The performer is actively playing melodies, but in a more sophisticated way than just triggering preset sounds.
Performance-Driven Mixing: Instead of relying on preset mixing boards with fixed routings, the artist performs the mix in real-time through hardware panning and live DAW control. This means every recording captures a unique musical performance, not just a sequence playback.
Traditional synthesizers give you oscillators, filters, and effects in predetermined routing. This system treats harmony as a living, breathing element:
While most electronic music is locked to rigid grid patterns, this system creates truly polyrhythmic compositions:
Composition Tool: Think of this as an intelligent composition partner. The generative elements suggest musical ideas you might not have thought of, while your performance choices shape and develop those ideas.
Real-Time Arranging: Instead of building tracks layer by layer in a DAW, you're conducting a live electronic ensemble. Every knob turn and keyboard touch affects the entire musical structure in real-time.
Unique Voice: While everyone else is using the same soft synths and sample libraries, this system creates sounds and musical relationships that literally cannot be recreated elsewhere.
Most electronic music production involves choosing from existing presets and samples. This system generates original musical content that responds to your musical decisions. You're not just triggering sounds – you're having a musical conversation with an intelligent system that can surprise you while still responding to your artistic vision.
Yes, it's complex. But so is a symphony orchestra. The complexity serves the music, not the other way around. This system puts sophisticated musical intelligence at your fingertips, allowing for compositions that are both deeply personal and genuinely surprising.
In an era where most electronic music sounds increasingly similar, this represents a return to the core value of musical instruments: tools that expand your creative possibilities rather than limit them.
...
peace
that wasnt a nice comment, europa. im trying to achieve something conceptual. should eurorack just never be conceptual and always just about practicality? fine. i am leaving forever. bye bye bye bye bye, etc. ...
(edit)
i came here trying to complete a concept, and, i just did that, so i really can "leave".
bye
Good work as always, sir!
Love the use of dissonance!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
Hey man, it's been over a year of you posting on this forum and the trajectory is always this:
You post maximalist fantasy racks that you designed with no experience whatsoever, referencing JunkieXL and other creators with huge setups (who 1.) were most likely professional musicians/producers with years or decades of experience before they dove into Eurorack and 2.) started with smaller, self-contained setups or respected the well-documented best practices that veteran users of this forum always point to). You accompany the rack with an unstructured blurb about how conceptual and deep the setup would be and ask for feedback.
First issue: You are specifically prompting users to imagine how it would feel playing your setup. When they tell you it wouldn't feel good to them personally because it lacks basic elements of a modular, such as utilities, and has way too many voices to manage, you reply that it totally makes sense in your head and that your concepts is great, actually. Case in point in this particular thread: unsynced discrete clock sources for different drum modules and mixing via "patch throughs" (I assume you mean stackable cables?). That may sound radical and idiosyncratic to you, but anyone who tried commiting their music to hard drive will tell you that it blows because it takes all the control of a sophisticated audio setup away from you.
When users analyze your systems, they invest a lot of time and effort. You provide little information about signal flow, voice allocation, solutions for interfacing with your other studio gear, etc., so they are essentially flying blind and try to read the tea leaves of your megastructure concepts.
Second issue: The users that are kind enough to respond and make suggestions for manageable, scope-limited setups that might fit your desires, you bombard with replies without engaging with their arguments beyond "Noted, but I like my idea better". You then post more thrown-together rack designs and come across as combative by commenting along the lines of "I made this one just for you, user XYZ". That reads as so massively disingenuous and facetious that the thread often goes cold after that. You swear that you don't start arguments and feel wrongly antagonized, but I stg THIS is why no one wants to engage with you more than once.
You are an avid user of AI chatbots and would like that functionality to be added to this website. Until then you treat the other users as if they were an AI agent. You're all take, no give. You expect to be engaged with, to have your scatter-brained ideas be discussed seriously, but you don't make the cognitive effort to respond in a structured and respectful manner to well-meaning comments. You build modular cloud castles in manic bursts of unchanneled creativity, but never have to reconcile your grand ideas with the financial and technical reality of purchasing and using one.
Third and final issue: There has been zero improvement or progress on your part. Your first post in May of 2024 reflected how almost every newcomer approaches Eurorack setups: A mega powerful, but ultimately impractical machine that does everything. That's absolutely excusable - I was mesmerized by the seemingly infinite possibilities of modular in the beginning, too. I theory-crafted wall-spanning racks with the most esoteric and stimulating sound sources. But over a year later and after many paragraphs dedicated to teaching you the basics of modular design, you still post the same kind of setup and you post in the same solipsistic manner - "edits" to previous posts contain the entire previous post, making the thread virtually unreadable, you ask other users if /cobbled-together rack or addition XYZ/ makes them happy, your "peace" shtick - the list of grievances I have with your style is long. Mostly, it displays a contempt for the opinion and expertise of others. You don't want a forum to engage with respectfully and on equal footing, you want an audience of adoring and always approving sycophants.
You will not find that here. Make good on your promise and leave.
You can get a lot more of that polyrythmic stepping with a Doepfer A-160-2 and it's only 4hp.
You get 8 derivative clocks and its prime number mode makes for very nice repeating patterns
where the cycle repeat isn't evident. Spits triggers or gates. Helpful lights. Comes in black if you want.
Two of them are fantastic for generating interesting, interweaving patterns.
-- noodle_hut
Don't waste time with singular_sound. He is just a rage baiter with desperate needs for attention.
thank you for the reply, but i am kind of set right now on 2-4 un synched clocks, and swing in one trigger sequencer glitching a second. maybe, i just want that flexibility.
im trying to execute on something original. how about this: can you imagine, do you see, a self contained offering of the best version of everything this could be, or not, noodle?
and how about the stranger triggering the swarm, using a cv chain for stochastic rate, then playing the scorpion filter on the keyboard over the random chaos, etc. ?
can you see a whole performance using everything even if its more performance art than fully structured linear composition sequence? imagine "tuning" 4 rhythms...
??????
peace
(edit)
another point is that you could 'choose' to either drive 4 voices purely from the brainstep, or use the quantizer and the stranger to produce 2+1 different varieties of stochastic voct, and then the 4th voice being the keyboard, as two completely different patch options. isnt that neat?
((peace))
(2nd edit)
its just, it has 2 potentially decoupled step sequencers, swing, 7 drum voices, 4 full main voice chains, full sequencing options, full stochastic options, a drone element with a ton of texture, a keyboard, a joystick, and even if you use zero external mixing, the ability with patch-through to hard mix down to 2 channels or 1 a macbook could take.
isnt that cool?
(((peace)))
{last edit}
and, you could also get the right interface and mix it live on your daw, or, get the right cable to input hard pan into stereo line in, then after recording, go back and turn it into 2 mono channels, then add a panning pass.
{{i think it works. peace.}}
((((ok, one more edit.))))
if i replaced the pralaya with a pams pro, would that make you happier noodlehut?
then it would be actually buildable im pretty sure. etc.
~peace out~
((ok. i did it. happy??))
thank you for the reply, but i am kind of set right now on 2-4 un synched clocks, and swing in one trigger sequencer glitching a second. maybe, i just want that flexibility.
im trying to execute on something original. how about this: can you imagine, do you see, a self contained offering of the best version of everything this could be, or not, noodle?
and how about the stranger triggering the swarm, using a cv chain for stochastic rate, then playing the scorpion filter on the keyboard over the random chaos, etc. ?
can you see a whole performance using everything even if its more performance art than fully structured linear composition sequence? imagine "tuning" 4 rhythms...
??????
peace
(edit)
another point is that you could 'choose' to either drive 4 voices purely from the brainstep, or use the quantizer and the stranger to produce 2+1 different varieties of stochastic voct, and then the 4th voice being the keyboard, as two completely different patch options. isnt that neat?
((peace))
You can get a lot more of that polyrythmic stepping with a Doepfer A-160-2 and it's only 4hp.
You get 8 derivative clocks and its prime number mode makes for very nice repeating patterns
where the cycle repeat isn't evident. Spits triggers or gates. Helpful lights. Comes in black if you want.
Two of them are fantastic for generating interesting, interweaving patterns.
noodlehut.bandcamp.com
Interesting idea, make it happen, lol!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
Good work, thank you for sharing the informative post and techno sounds!!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
thank you for the detailed reply. my previous designs put a lot of effort into cable sensibility and mixing. this time i thought i would just have fun and hard mix everything with patch-throughs. im thinking, a pattern on the first trigger sequencer could be the clock for the second, creating really wild patterns, and other related possible patches. also thinking about running 4 sequence type modules un synched. i dont know anything about triggering resets for performance. yeah, i admit that there are a lack of cv options. its not really even about building this exactly. its maybe more about designing something more standalone that can do the very best of the potential that collection implies, etc. ... ...
im out. bye. ...
(edit)
and yeah, i now see that there is no envelope for the swarm, but its really meant more to be a drone kind of thing, anyway, and imho there is the right amount of sequencing, as first two triggers work synergistically, and the swarm could be controlled by the stranger and keyboard simultaneously as a kind of hybrid patch. not sure why you brought up the nerdseq.
((peace))
.
(((second edit)))
ok, maybe 4 un synched sequencers and a keyboard is a bit of madness, but i really think you could get some extraordinary results by combining the 1st 2 trigger sequencers in off label ways, and i swear that there does exist a well clocked version that you can still work around, maybe the brainstep being the master clock and then connect everything with patch-throughs...
((((this is my funky patch-through design.))))
peace.
I don't have any of those modules so I don't understand what they do right now,
but I'm sure they are learnable and can all do something interesting.
A lot of those things in your design aren't available anymore.
And sure, you can play a simple oscillator like a penny whistle and make music.
But filling a box with random complex modules does not make it a performant instrument.
A car with some impressive engines, but no wheels, no gas tank, no transmission, no seats.
How are you going to mix those audio sources? Coordinate the clocks they want? Blend CVs?
There's several stereo modules, but no way to fully mix them and use the functionallity you would be paying for.
What signals are you willing to throw away going from stereo down to mono filters and wavefolders?
Monophonic and/or polyphonic? Stereo and/or mono? End-to-end stereo is expensive to run and always a pain to plan around.
Many of those modules want to be fed envelopes, but in that pic I can't see many envelope generators or LFOs.
There's too many sequencers, with too few voices for them to feed. Maybe pick two at the most.
And again, with the kind of music I think you have in mind, you have to think about your clocks.
They're everything. Will you need clock dividers/multipliers? What's going to be the usual master clock?
Don't forget, you'll also need a distributed shared reset for the sequencers and counters to establish sync on start.
Also, you have to imagine it with patch cords draped all over it, in a live setting, with challenging lighting.
This one seems a mess.
Redo that whole top row. You can't get those 5 voice modules anyway.
Might as well just use a Rossum Assimil8tor or ALM Salmple for drum duties.
But I do like the Moog follower/filter, that's my favorite thing in the rack.
That, and the SIG module above it.
I have a couple of SIG things and their modules are unique and thought provoking.
If this had to be built and made to work, I'd dump that keyboard and fill the space with a NerdSeq and their added I/O.
And an output mixer.
noodlehut.bandcamp.com
I need a set of switches so cc out from the polyend can control the following things
1) select bus transmitter so it can have 1-16 presets from push3
2) switching 4gate/4cvoct (8) inputs to 8 assigned outputs buffered. this can reallocate voices and the switching would be changing a preset of the 8in/8out switch to all variations of which voice is played by the mutant brain from push3's 4 tracks
3) another level of buffered switch to redirect 8 to this OR/AND that (so either, or BOTH) of 16 outputs. 8 would go to the 2nd set of 4 voices, and 16 (when on those presets) would go to BOTH sets of 4 voices and essentially stack them in the mixer. of course buffered so the same notes are playing.
4) CC out from polyend to individually change the presets of 8 voices... so 8 outputs... plan for one cv input dedicated for each digital osc to just change preseet. that way with 8 knobs on the push3, I can scroll through the appropriate sound. another session I may make other sounds and save more presets on each voice. maybe there's a way to give them all the same presets or something...
5) cc or cv out... to switch octaves. 8 outs.
6) already there's too many outs so we need to chain the polyends. get 32 cc outs.
7) GOAL: sit on couch with push3 and compose using the eurorack and synths, not touching the synths, Another session, touch the synths, make new presets. also goal is to almost never repatch the system after initial patch is setup.
8) Need colored velcro straps to indicate permanent patches... should help me not unpatch a complex routing.
9) many things will be not permanent patch. they will be up for playtime and would essentially tap into the chain of voices somehow... I might need to develop an alternate setting to route the bloom v2 or whatever into the switch system. or route the mutant brain, or route the bmk2's. but what if I wnat mutant into bmk2 or the bloom v2 into bmk2... there's gotta be a way to switch that around after bufferd multing... seems easy. that's what we need to develop next.
why is that, noodlehut, because you dont understand what the modules do, they dont fit your style, or because you think this is a flawed arrangement? im curious. etc. ... ...
no.
noodlehut.bandcamp.com
but, i would really like yall to answer this:
"could you make music on this if all you had was patch-through cables? use imagination."
i just like designing stuff. i think you could make really unique live performances etc.
peace
~~~~
We can simulate a thing with VCV on a computer, but it can never really be that thing.
I know this is only a thought exercise. Just doing MIDI like this would be tough. (or does that exist?)
Bluetooth would suck for this. No Bluetooth, too slow. Maybe an RF/optical hybrid?
To simplify it, two kinds of plugs input and output.
Forgetting miniturization, what does it take to transmit and recieve a 0-10v 0-20Khz DC
signal wirelessly and accuratly, with minimal lag?
Could an electrical engineer come here and teach me about how wrong/impossible this is and why?
Can we get close?
Because the world is waiting for a $250 replacement for an $8 patch cord. :)
noodlehut.bandcamp.com
Sounds like battery powered hell, I think VCV rack would be better! ;-)
Though I guess a Bluetooth Rack-Plumber would be a good idea if the price poit could be as with a Plumb Audio Rack Plumber.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
Bohm OhmForce Minimal Techno
TECHNORACK V2
Hi everyone,
Here’s a new live performance with my updated Eurorack setup, still dedicated to Techno. This time I went a bit more minimal: I lowered the BPM because the Bohm has a longer pitch envelope than expected. Slowing it down helped me get those nice harmonics with a properly tuned kick. In the end, the Stolperbeats could open up more groove and complexity, and the result feels deeper and more hypnotic.
The Intellijel Multigrain is the main atmosphere/melody source, sequenced by the Tiptop Z8000 and Pamela’s New Workout. Long saturated sequences go into the Sealegs, with a hi-hat texture layered on top.
The Z8000 also sequences part of the Rample, with the Voltage Block switching samples and patterns on the fly, synced with the Stolperbeats. I love how a single preset change can reshape the groove instantly.
For mixing, I created two separate chains:
• D.O.MIXX + Per4mer + Golden Master
• Quadratt → 100 Grit → FX AID
This gives me two distinct layers: one easy to play live, and another I can remix later after recording.
I’m also using the Ikarie to create unique wah-wah effects on a kick and some Rample layers.
The Bohm itself is still a new territory for me. Some engines don’t interest me much, but below 140 BPM it’s a beast — long envelopes, punchy attack, and a lot of potential for evolving kicks. Curious to explore it more in the future.
Thanks a lot for listening, sharing and for your feedback 🙏
⸻
🎛 Modules used
🔊 Sound sources & voices
• OhmForce Bohm – Multi-engine kick generator
• OhmForce Performer – Left expander
• OhmForce Groove – Right expander
• Intellijel Multigrain – Morphing stereo granular sampler
• Squarp Instruments Rample – 4-voice sample player & processor
🎚 Sequencing & modulation
• Tiptop Audio Z8000 (black) – Matrix sequencer / programmer
• ALM Pamela’s New Workout + Pexp-1 – Advanced clock & modulation expander
• Malekko Voltage Block – 8-channel CV sequencer with presets
• Making Sound Machines Stolperbeats – Off-grid drum sequencer with swing
• Intellijel Quadratt 1U – Quad attenuator, attenuverter, CV source
• Intellijel FSR 1U (x4) – Pressure-sensitive touch controllers
🌀 Filters & distortion
• Bastl Instruments Ikarie – Stereo / dual-peak filter
• Schlappi Engineering 100 Grit – Filter, VCA & distortion with brass touchpoints
• Ritual Electronics Guillotine – Stereo heavy clipping distortion
🎚 Mixing & effects
• Blood Cells Audio D.O.MIXX – 5-channel mixer with direct outs
• Modbap Modular Per4mer – Quad performance FX
• Happy Nerding FX AID (black) – Multi-effects
• Intellijel Sealegs – Stereo character delay with reverb
• Endorphin.es Golden Master 1U – Multiband EQ, compressor & mid/side
• Cosmotronic Messor – Stereo compressor & transient shaper
• Intellijel Stereo Mixer 1U (x2) – Chainable mono/stereo utility mixers
• Doepfer A-138i – Interrupting mixer
🔗 Utilities & summing
• Frap Tools 333 – Pro audio summing & distribution
• Rides in the Storm CON – Quad gain converter
• ALM Tangle Quartet – Quad linear VCA
⸻
🔖 Hashtags
A thing that looks like a 3.5mm dummy plug.
Each one has some LED indicators, and each has a unique ID.
They act like cordless patch cords. Bidirectionaly, electrically transperent.
~5 meter range. Long battery life. Maybe parasitic power?
A local (not cloud) little box configures the plugs, talks to an app,
and also acts as a charging and enrollment station.
One-to-one and one-to-many connections.
Each has an amplitude and offset, perhaps some modulation.
Named groups and load/save of presets.
$240 for the starter box, $17 each for plugs.
Just plug 'em in. Everything but with no wires in the way.
Of course they'll never/can't be made, but wouldn't they be fun?
noodlehut.bandcamp.com
https://cdn.modulargrid.net/img/racks/modulargrid_2927314.jpg
I like this one. Looks good, makes sense, and enough interactive fun to keep things interesting.
Reminds me of an aircraft panel somehow.
After three(?) years of occasionally picking up Behringer modules, (Yeah, I know. Maybe you do it too)
I wanted to get them off the shelf, assembled, playable, and housed in an economical case.
The b2500 modules are great, in that they exist, are beautiful, and let us all get a taste of the 2500,
and those were in my first Go builds, but I couldn't go very far with having them all in this case.
The 2500 was a synth of its time, but it needs lots of modules to build up layers for real-time play on its own.
So now I've settled on this build. The Series 100 modules are working well as a system,
with good tuning stability and tracking of the three oscillators. Solid meat and potatoes with the rest.
The 172 Phase Shifter/Delay is an odd module. Why does Behringer tend to make its effects so timid?
I don't like all of those knobs with no knobs, but that's the design. (and I wish those were active multiples)
Misha midi'ed into the OXI Coral works so well, but the Misha is deep and a tough one to learn.
Mavis is a fine little voice, always ready join in. The Disting interface still drives me nuts.
But I like this one.
I'll attempt a recording in a bit.
noodlehut.bandcamp.com
From the Morphor Dual Envelope's manual, I'm seeing that
1.) There is a length switch on the back of the module to set the overall length of the envelope. Set it to short to get the snappiest possible response.
2.) The output amplitude is 0-5V. This might indeed not be enough to fully open a filter. Do you have a module that can amplify voltage beyond unity gain? Even though some modules are called amplifiers or VCAs, they might not necessarily be able to increase incoming voltage beyond a factor of 1. If you have one, patch the envelope through it and increase the amplitude to try to get a higher voltage swing.
For the Gem LP, there doesn't seem to be a manual available on the web, so I can't say for certain that this is the root cause. You will have to do some additional testing.
![]its the morphor dual adsr.The filter is Gem LP by Gods Box. And I just mean the adsr and the swarms oscillator are both being triggered at the same time, and the adsr then affects the filter. So about attack time, maybe I need to get an eg that has the quickest attack time possible if I want to be using it for drums. But then how do I know which are good for that, assuming this is the issue?
(https://storage.googleapis.com/modulargrid.net/easymde/222638_3653a3dec2750d9985e3d4478923242d_1756117907.jpg)
Interesting problem. For me to be able to make an educated guess, it'd be great if you could list the exact modules at work here. Every filter, every envelope is unique in its design and might respond differently to the same input. Here are some questions for clarification and guesses from me:
Both are being triggered by the same gate source.
By both, you mean the envelope and what else? Are you applying the gate signal to the filter in addition to the envelope? Or are you syncing/resetting the oscillator with the gate signal?
The envelope is adsr and the attack is at zero.
What exact model is the envelope module? Attack at zero does not necessarily mean an "attack time" of 0 seconds. Usually, the attack stage takes at least a few ms to reach full amplitude. This might be an issue.
There's nothing like a CV amount or attenuator or envelope amount knob on either the filter or eg.
Next potential problem: The envelope output amplitude might be too low from the start. If it's only putting out up to +5V, that might still not be enough to open up the filter as much as you'd like it. Check the manual, it ought to list the envelope output amplitude under the specs.
My envelope is sent to filter cutoff CV and my oscillator is going through the filter.
Both are being triggered by the same gate source.
The envelope is adsr and the attack is at zero.
There's nothing like a CV amount or attenuator or envelope amount knob on either the filter or eg.
I've tried triggering the eg with several different gate sources.
When I start to close the filter I can hear the envelope working but the more I close it the higher frequencies are lost from the transients. As if it's not opening all the way or it's not opening fast enough. I want to use this to sculpt kicks, so keeping the snap is important. I want my filter to start fully open and move to the cutoff position from there.
Is this an envelope problem or a filter problem?
Are not all filters built to handle envelopes?
What other questions should I be asking?
Hi all, made a song this week that I thought I would share here. I think it's a techno song, but I'm unsure what label to apply to it. It's mostly DAWless, and utilizing some eurorack modules.
An important module for this song was the Rainmaker. Combined with the Collide 4 I was able to create a groove that sustained throughout the song. I also had a lot of fun with the Oxi Coral, which I fed a semi-random stream of notes, creating a bit of variation.
I also had fun adding the Solar 42f to the song. It provides both a textural drone-sound in the background; for this part I'm using the Turing Machine module, extended with the Pulses module, which sends a stream of gate-messages to the oscillators on the Solar. I also utilized the five-step sequencer with one of the main oscillators, creating an interesting, near-bassy sound that became important for the crescendo of the song.
I also used Serum 2 for the longer sounds at the end. The preset I used had good macros, so I simply automated them with some LFOs to create more interesting timbres.
Hope you enjoy it ^_^
I feel like people are sleeping on the MI Yarns. I bought it at the start of the year for 170 € (including shipping) and apart from being a 4-channel MIDI converter, it also works as a 4-channel stand-alone sequencer, digital oscillator, euclidiean sequencer and/or modulator. Maybe I'm missing something, but it should blow the µMIDI out of the water, giving you - apart from the midi channel you already have - 3 additional channels of notes, movements and gates.
More generally, modulators are always great. Think of MN Maths, Nano Arc, Befaco Rampage, Schlappi Boundary (Layer). Many others of course, these are some favourites.
I would add attenuators, and vcas! cheap purchases and add a lot of playability. :)
Like with the B2500 modules, I collected some Behringer Series 100 modules for some reason too.
The Go rack I made with the 2500 stuff in it was fun to build and see all shiny,
but felt limited in what I could do pretty quickly. A clumsy Arp Odyssey almost.
And something's wrong with the filter that cuts in and out. So...
I'm trying this mostly roland-y set, and adding some generational front end.
Enough old analog, the misha midi poly saws, weird notes and good notes,
and some moog to boot, mostly because it fit nice on the end.
There's the Marbles clone because why not? Already up to my neck in Behringer here.
The Synthrotek M/DIV clock is small yet mighty. I could use another one.
The OXI Coral has some odd algorithms, but I'm determined to figure it out.
Nobody has ever figured out the Misha completly. It's a challenge. Vast.
I use the Doepfer 180-9 multicores to connect cabinets and
they work really well if you use good shielded ethernet cables.
No deep on-board fx this time. Just a little bit of flangy doubler.
This layout seems nicly balanced to my eyes when I stare at it,
and sometime Sunday tomorrow I maybe get to hear it.
Thoughts, help, questions please?
noodlehut.bandcamp.com
Still relatively new to eurorack and open to comments on what i have in my rack so far. Next purchases are likely to be a Typhoon and LPG but what else could enhance my set up.
thank you and yes you are totally right! there is already so much to explore i won't make it more complicated for now! i just thought there might be something missing that could make it easier to get into this built.. but it's really probably just my lack of understanding some of the modules.. i'm working on that!
Very nice! Ty for sharing!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
Quad vca can act as 4 channel mixer, but more importantly, a way to modulate your voices (or cv or anything else run thru it)...try patching 1st row "voice" into one channel and modulate with envelope generator or cv like lfos, etc to get a feel for basic operation...
if you're asking for such help, that's cool, but it would tell me you need to better master basics before expanding with more modules or a keyboard, etc.
Get a hang of 2 sequencers already in rack and the rest of it before adding more complexity, imho.
Best of luck!!
“You must have chaos within you to give birth to a dancing star.”
― Friedrich Nietzsche
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thank you so much! this helped a lot already! altough i of course read all the manuals for the modules i don't really get the second row of this build (maybe except the eg, the effects and the output).. have you got an advise what i could do with that (that is black cv tools, the fusion modulator, the black modulator (which is i guess a more complex lfo) and quad vca)? and do you think its overall a compilation of modules that makes sense? would you recommend a crucial module which is missing (i thought maybe a master clock distribution and another vco)? and would you use just the 2 sequencers for triggers and gates or should i get a keyboard (or another module)?
Unless it's some homemade thing, has that been a problem for anyone, or a spec that manufacturers publish?
Some wide cases can sag in the middle, but I think that once a box is filled with modules,
it mostly comes down to how the well end points of the rails are anchored.
noodlehut.bandcamp.com
Wow that is quite the setup to be starting with, congrats! Welcome to a super fun journey in the world of modular.
Its a bit hard to know what kind of guidance to give without knowing your background, but I am guessing you have a baseline understanding of synthesis since you know how to use the sequencer and drum module. I would recommend just taking time to try and learn each module gradually - spend a few days just running various signals from the VCO through the system and let your curiousity guide you. Heres a few examples of what i mean:
- "What if i use an LFO to control the VCA instead of an envelope?"
- "What happens if I blend all the waveforms together in the filter?"
- "What happens if I use a gate/trigger pattern from the drum sequencer to modulate different parameters?"
Thats going to give you some results and then you can take it to google/forums to understand better. I learned a ton that way. For example when I was brand new I was playing with an oscilator into a wavefolder and noticed the sawtooth wave would get processed, but then a square wave had no change. A quick trip to google and I learned you cant really fold square waves. Good to know!
I know thats not necesarily the patch suggestion you asked for, but honestly I have found its best to familiarize yoruself with the system and workflow first. That time really pays off as it empowers you to be more intentional when working - I.E. "I want this kind of sound and I bet I could create it this way."
Have fun!!!!
