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A better suggestion, from my long experience with amateur radio and dealing with hefty-amperage DC that it calls for coupled with quick, goof-proof, and sturdy gear requisites, would be to look at something we use called Anderson PowerPoles. Anderson Power Products sells direct via https://www.andersonpower.com/us/en.html , although their online catalog is rather new and lacks a lot of images. You can, however, have a better look at these and at tools for using them via DX Engineering: https://www.dxengineering.com/search/brand/anderson-power-products?autoview=SKU These provide DC connectivity that's sturdy, nearly-foolproof, and very beefy...way beyond normal Eurorack spec hardware, which is very much a good thing. While DX Engineering tends to offer only the inline versions, Anderson should also have some bulkhead versions available that would function nicely on a Eurorack panel. Plus, they come in color-coded sleeves, so you can easily use red for your +, black for -, and put your ground on a green connection for super-easy ID.

Honestly, these are THE way to deal with DC...very rugged, field-tested, and no possible way to confuse connections. I wish they were the standard in Eurorack.

EDITED Jan 7th 2019, 20:39

Thanks Lugia

The clever boffins at Befaco suggested: although the Zeus acces is not compatible with the bus, as the bus need tree poles (+15/-15/ground). Anyway, you can make your own access module, with a piece of plate and a 3 pole connector.

I asked if they reckoned I could cannibalise/modify the access plate with a three pole connector to which they responded: Yes probably you can. just need to find a three pole connector and make your own cable to it.
Maybe this plug (very safe and sturdy model)
https://www.rapidonline.com/cliff-electronic-fc684203-skt-microphone-3pin-panel-mounting-male-50-3229

with this on the cable:
https://www.rapidonline.com/cliff-electronic-fc684213-plug-3-pin-straight-on-cable-6mm-female-50-3215

As far as limited space:
Get the Moogs out of the rack as Lugia suggested.

Here are some recommendations:
Expert Sleepers Disting Mk4. I find it clunky to use. But for the price and the space it's hard to beat. The module offers a lot of functionality. I used it as a wildcard in my patches as well as a great sampler (not musical but like a box of chocolates) of functionality. Do I need a dedicated quantizer, precision adder, etc? If I find myself using a particular function over and over, I probably should investigate buying a dedicated module for that functionality.

Ornaments and Crime/Temps Utile (micro versions): Each one is around the $250 mark. They are multi-function modules as well. Same principle as above.

The Disting is 4HP, the O_C and T_U are 8HP each. So for $700 and 20HP you get a boatload of functionality for a very young rack. As you learn more and want to expand your capabilities you can grow your rack around them.

Planar 2 CV Recording

• a fast and spastic up and down motion with the joystick to create an aggressive phasing effect when sent to Position on Rings, sometimes it is Looped and other times it is used as a one-shot.

Mother 32 Sequence

• 8 steps
  Pitches (correspond to M32 octaves not piano octaves)
• C4, G3, C3, E3, G3, G5, G6, C2

Colour Scheme

• Colours correspond to the origin of a sound or modulation

Red
- Any sound or modulation originating from Mother 32

Green
- Any sound or modulation originating from Dixie II

Blue
- Any sound or modulation originating from Rings

Yellow
- Any sound or modulation originating from Basimilus Iteritas Alter

Orange
- Any sound or modulation originating from Maths

Black
- Any sound or modulation originating from Peaks and one cable from Planar 2 Y Output

Grey
- Summing cables for Quad VCA and Mix3

EDITED Jan 7th 2019, 00:32

Overview

Sources: M32, Rings, Basimilus Iteritas Alter

Concept:
- A mostly low register 8-step sequence from Mother 32 modulates its' own pitches by musical intervals usually greater than or equal to one octave thanks to Gate being fed into VC Mix Attenuator and into 1v/oct input.
- This voice then triggers the BIA which exists in the Alto register. Rings and various modulations on the M32 and BIA are triggered and otherwise influenced by a 4-step CV sequence coming from Peaks' Channels 1 and 2 outputs (same sequence, "Twin" mode).
- Maths (via CH. 4 slow cycling LFO) influences various BIA parameters as well as the speed of an LFO from DixieII which advances the 4-step sequence on Peaks
- A bandpass filtered version of BIA (thru Erica Synths VCF1 Polivoks filter) goes into Quad VCA, and an unfiltered version goes into Joranalogue Mix3 (the interplay between these two signals creates interesting results throughout the recording)
- Planar 2's Y Output is sent to the Position on Rings to act as a kind of phaser, for the "Western Chords" mode of Sympathetic Strings set to quadraphonic

EDITED Jan 7th 2019, 00:53

Nothing new about this...the ARP 2600 shipped with several "dummy plugs" back in the day, which were open-circuit 3.5mm plugs without cabling, so that you could use those to completely "break" a prepatched routing, such as the CV sends to the VCOs and VCF. I keep several such 'open' plugs handy for similar uses. Best/easiest way to do these is to just get a few Switchcraft 740s and just use them right out of the bag, without attaching anything to the solder lugs.

FYI, that 1U row won't work. Intellijel uses a different 1U row spacing than the norm, so it's not possible to put both formats of 1U in the same tile row. However, if you stick with the original format, there's not only a larger pool of modules available, but Plum Audio has 1U versions of the Ornament and Crimes and Temps Utile, which are super-powerful multi-type control modules that would blow your build's functionality wide open.

thanks_to: 6Human for Amplitude and masuhr for Quantimator

EDITED Jan 6th 2019, 17:28

Cuz sometimes patching only one input or output has some kind of function. Like, for instance, on the Mother-32, patching only EXT.AUDIO Input without connecting the end of the cable to any output will mute the White Noise on the MIX control which unpatched will gradually increase to maximum Noise when you turn the knob fully clockwise.

In your specific case these "dangling" patch cables obviously has some kind of function. But to be honest, I don't know myself what function patching these specific outputs without connecting the cables to an Input patch point has. But just because you made me aware of this I will now go and try to find it out : )

Maybe someone else knows?

EDITED Jan 6th 2019, 10:03

Usually I have a fairly good idea of what a given patch needs to be. But then, I've been doing this a while.

Probably the best way to proceed is to start with a very simple signal chain: VCO -> VCF -> mixer. When you arrive at something that seems to suggest "add x" or "tweak y", then do so. Lather, rinse, repeat. As this process continues, you'll notice that the core sound you'd started with has grown in complexity, as has the patch itself. And while that sounds pretty simplistic, it does work; this is how I was taught to patch on my undergrad school's ARP 2600, more or less. Feed a VCO to the VCF, turn up the VCF's direct out, then start screwing around with that basic path by degrees. The other benefit of proceeding this way is that you get a really good overview of what the various modules can do, how you can make them behave in ways that work for you, and so on. Over time, you wind up with a really good mental picture of the synth, and you can patch pretty rapidly...and then going beyond that, you'll notice that you can structure the basics of a given patch in your head, before even picking up the first patchcord.

Takes time, though...like any other musical instrument, fluency implies practice.

thanks, helpfull

Thanks, everyone for all the links, module examples and for sharing your experiences. That MW forum thread especially is an excellent dive into the technical bits.

Star grounding is perhaps the best solution for persistent noise problems, IMHO. This consists of running separate grounding wires from your various chassis grounds (on a Eurorack, just attaching the wire to a front panel screw should suffice) and running them to a central ground point, usually on the mixing console. This has the effect of creating a single, unified groundplane across all of your gear, and this quite often is a suitable fix for noise and garbage signals lurking in other subsystems within your studio or rig. Note that it's not 100% necessary to run individual wires from each device; for example, if you have a rack of processors mounted on metal rackrails, attaching a single wire from one of the mounting screws to your grounding point is sufficient. The key is to unify all of your chassis grounds, which gets any electronic garbage to drain off to a single point which is designed for that purpose. If you check the backplane of your Crest desk, you should see a ground-post on there...that's where everything should be wired to to make this work.

Hi thanks for your response,
yes Mixer Analog and Eurorack have the same AC, no RF fields!
What you mean with star ground ? i found this one just for eurorack.

https://www.schneidersladen.de/en/acl-power-board.html
best

Coming from hardware synths with rather more predefined routing one of the appeals is the flexibility of a modular, yet that’s also daunting. Choice is great, but too much of it can be daunting. I mean the principles are clear, but do you guys/gals generally noodle around or do you go in with a clear vision of what you want patches to sound like?
I’ve just started playing around to see what I can do with each module, but I’m wondering if it makes more sense to start with a simple patch first when building a patch. That is, sequencer, sound generator, Envelope, filter, and VCA and adding modulators and attenuators sequentially. I could see how working systematically could work well. Noodling around to get unexpected sounds can be interesting, too. I’m doing the latter, as I am still exploring my new modular system.

Are all of these devices being fed from the same AC source? Also, have you investigated a star-ground of your various devices to the mixer? A third question would be whether or not you have any excessive RF fields where you're working, as these can also bleed into power circuits and cause various degrees of mayhem.

Hi
I have a problem and need your opinion. My NW2S - IO Unbalanced interface sends a noise on all 8 outputs, when I switch on my power supply the noise builds up to round about 500hz - 800hz.
I have a massive crosstalk from my Metropollis Seq. without any connections
I removed all modules from the rack.
connections:
power supply: ACL KAZU - NW2S - IO Unbalanced - avid db25 cable - crest analog desk

any ideas ??
Thank you

Hey, much appreciated!!

Not to pick a fight but this reads like the Frap CGM doesn't exist... It is the archetypal modular mixer and top quality, too!

[...]

The makers of the larger “performance mixer” modules have taken a slightly self-defeating approach: there is almost nothing “modular” about these units, and they make all sorts of assumptions about what users want to actually do. Even the makers of smaller “stereo mixers” such as Erica Synths—who I love I should say—have made some really curious assumptions about stereo placement. Why should only one channel be pannable and why only via CV?

To give you an example, my system is three voices. I don’t need four or even six channels, but I desperately want free panning and multiple stereo FX returns. I have no need for CV control over anything, and I prefer to mute CV rather than audio for cleanliness.

I prefer small modular solutions which are chainable or interact in some way to create the right solution for me. Intellijel’s Mixup was an excellent purchase for me because it gives me two mono channels and two stereo channels. I can rig up a dry mono voice (bass/kick), wet mono voice, dry stereo voice, and wet stereo voice in 6hp.

I really liked the look of Knob Farm’s Hyrlo and Ferry modules but was unable to purchase before they sold out. FX send in 6hp sounds right.

I would prefer to support small MODULAR solutions and create workarounds to the rest (ask me about my FX send woes some day lol) using attenuators, VCAs, mixers, and switches which are all stock eurorack components and always able to be repurposed, rather than invest in a massive thing that won’t always suit me. That was why I got into this.

Good luck and have fun!
-- nutritionalzero

EDITED Jan 5th 2019, 03:50

Thanks Lugia, very much appreciated!
In fact swapped the peaks for the 2 micro adsr straight away.
Although Peaks had a couple of more tricks as KFOs etc so....a new 1U row took off...!!

Now , just to make sure this is going in the right direction, this is the idea:
a very "musical" synth capable of handling a few different voices and rhythm evolving with a controlled rate of randomness/repetitiveness and forced within scale/chord/beat/signature.
So, Pamela should be able to both:
- "harmonically and melodically" sequence:
Pico Voice for some fine tuned melodies/chords; Pluck for melodies/percussive textures; Micròn for basslines/chords
- trigger Bastl Tea Kick, 2hp Hats and Pico drums such to create polyrhythms and groovy beats
To achieve this it can also count on a few dedicated modulation sources. Plus a couple of Distig

Again, am i missing something?
"Structural" modules have been moved to the 1Urow - mixer, multi, in/out, power...

https://cdn.modulargrid.net/img/racks/modulargrid_819195.jpg

Thanks for your help!!

Should be OK for now, but the best option is always to get some sort of output module, especially with proper isolated balanced outs. As for a basic input preamp with envelope follower, the trusty Doepfer A-119 has been the go-to for a long time now. There are certainly others, but Dieter's module is time-tested and pretty cost-effective.

Any suggestions for such a pre-amp?

Also, I take it that my current setup with the passive summing mixer would be fine for now?

Or, those voltage variations could be seen as a ‘flavor’ to the sound.

There's a precision adder in the Disting. Joranalogue also makes one that's pretty tasty.

With buffered mults, in an ideal world, you want multiple copies of EXACTLY what you've fed into it. Being able to attenuate or boost the outputs would defeat the purpose of a well made mult. Your buffered mults will serve you well when you're trying to split the same control voltages... especially those controlling the pitch of two or more oscillators. Passive mults or simply splitting (like with a stackable cable) can cause voltage drops. A drop in voltage means you're not getting the exact CV that you've put into it.

Had to click on it, but did have a look...yeah, that's getting better. If you can get the Noise Reap stuff, it's likely worth it...typically, the Bermuda has a 'dirtier' audio profile, so that will add some bite to the bass. But if you can do two of them, that's even better, because mixing together a pair of very slightly detuned VCOs sounds quite huge when compared to just a single VCO by itself. And driving those into self-oscillation (which is the Bermuda's 'special trick') the waveforms get even crazier, which is something you can tweak live to good effect, not unlike screwing with the resonance on a TB-303 to get it to do the trademarked "acid squelch". But this would be more distortional and crazy...a very nasty, overdriven sound which you could really work in the bass ranges. Hopefully they'll be available, and given the size, not at all a difficult thing to ship from Portland, OR to the UK.

That's a helluva smart use of a really tiny space! Given what it'll be interfacing with, that should add a lot of bang to your rig. The Peaks is discontinued, so if that's a priority you'll have to source a used one or find a third-party version in 8 hp...but also, you might consider putting a Doepfer A-140-2 MicroADSR in instead to give you two envelopes, but with individual controls per each. Doepfer's got a few other 8 hp modulation source solutions, as well, like a VCS (the A-171-2), quad decay (schmitt trigger, basically), a quad ADSR (with a few control compromises, but still very viable) and the like.

A lot, actually...let's see...there's no modulation sources, for starters. If you want punchy basslines, you're going to have to have some way to modulate that VCF with an envelope. Otherwise, it just goes 'oooooooooo' instead of the 'pwom!' you're hoping for. There's also no LFO or any other sort of periodic modulation, so there's not going to be any variation to the sound that changes back and forth over time intervals.

Secondly, that VCO/RM will prove totally useless without a second VCO. Ring modulators require two inputted signals to produce their sum/difference spectra. The Analogue Solutions VCO/RM's also not a very cost effective choice; if you want two seriously wild VCOs for about the same price as one VCO/RM, check Noise Reap's Bermuda, a rather nasty VCO with a self-modulation feedback-type capability. For good, in-your-face bass, dirtier signals work really well.

That sequencer won't work the way you're expecting. The Ladik S-180 is a trigger sequencer only...which means it doesn't send any CVs with which to make the VCOs change pitch. You would have to use the S-183 or S-184 expanders with that S-180 to get pitches, plus the addition of a quantizer would probably be necessary to keep the sequencer steps in a proper scale.

About the only things you have right here are the use of that Polivoks VCF (great, nasty filter) and the Optodist to get your levels punchy. My advice would be to stop building for the time being, and instead spend some time studying other builds, looking up articles in the MG forum and elsewhere online on what proper synth architecture should be, studying "the greats" in synth design over the past 50+ years, and the like. Get a better idea of what needs to be in a build first, then come back to MG once you've gotten a better idea of what to do. Otherwise, you're just going to wind up wasting your time and, potentially, your money should you try to realize a MG build before understanding what makes up a proper synthesizer.
-- Lugia

Hey Lugia...firstly than you so much for taking the time to offer these suggestions, I really appreciate it. I also recognise I need to do a lot of learning...I just wanted to get something going, and see where I should be heading. It's quite a learning curve and like to be hands on too, so maybe rushing in lol. I have the opportunity to get the sequencer [and i does come with the S-183 expander] - I forgot to add it to the box!

I updated the box now with your recommendations and wondered if this was more what you were saying? I may struggle to get the Noise Reap Bermuda as I'm in the UK. So would need something instead of this. Not sure if the rack has updated for you to see?

Thanks again

You've just been lucky...inasmuch as the Morgasmatron has that input gain control and the passive mixer attenuated the output signal. Here's what happens when you feed line-level directly into a modular without a input preamp or some other sort of gain control...line level is actually extremely low when compared to synth levels. Typical line levels are .775V (-10) or 1.2V (+4) (although the actual peak-to-peak levels are different due to a bunch of impedence matching, math, and other forms of voodoo), whereas synth audio signals within a modular system can run at 8 to 10V peak-to-peak. So, without some sort of input preamp, the incoming line level signal is going to be far lower in amplitude than everything else going on.

Now, feeding a line level input with a synth directly...that's a little bit different. The most likely thing you'll run into is a majorly overloaded input on your line input device. Some devices, though, actually have enough headroom to deal with the higher synth levels and you can just attenuate as needed on those. But every once in a while, you'll run into something that really DOES NOT like anything too much hotter than a professional +4 dB line signal. Depending on what that device might be, you'll get a result ranging from massive distorted overloading to component-go-POP, which isn't fun. These days, there's not many things out there that can go pop when overloaded, but that doesn't mean they don't exist. Case in point: we were running a guitar through an overdrive into my Biamp MR/140 spring on a session many years ago. Sounded AWESOME...for a couple of minutes. Then it didn't sound like anything. Turned out the spring transducer couldn't handle that much drive and it gave out, and that was that until I could get it serviced.

So, yeah...the best thing to do is to be ready for incoming and outgoing line levels by having some sort of input preamp (preferably with an envelope follower...very useful combo) for line-level inputs, and output modules (preferably with isolation and balanced line outs to quash possible noise/hum issues before they start) to step your synth level signals down to where they belong.

Modulatable buffered mults? Sure....look around for "adders", which is pretty much a buffered mult that can take other CVs in to create a composite CV signal. Tubbutec makes a 2 hp module called the Sumtiple, and it offers a three-input adder normalized to a 3 (technically 4) output buffered mult. Sounds like the very thing you're looking for.

EDITED Jan 4th 2019, 22:35

A bit late, but did a good deal with @sid001, thanks!

G'day everyone!
So...after years of research&indecision here I am with my first attempt into the modular world.
If some wise noodler could have a quick look and tell me if I am missing out something fundamental, that would be of great help!

Please consider that the same modules will be cv'ed to some external gear too. So with a Minitaur, a chimera synth BC16 and a Soundmachines NS1 Nanosynth I already have a few basic VCOs and VCFs to add to the rack and play with.

(And an alternative too to be sure to bother enough...cheers guys! ;)

https://cdn.modulargrid.net/img/racks/modulargrid_819011.jpg

I’ve read on several occasions that it’s not a good idea to directly route line level into rack modules or proceed the other way around. Now, I have been doing just that and didn’t notice any issues. Granted, the VCA out went into a passive summing mixer that considerably attenuates Signal and from there into a pre-Amp (ART TPS-II), so perhaps that was why I didn’t encounter any issues. But, I have fed line level directly into a Morgasmatron and that one has an input gain adjustment.

Have I just been lucky?

Funny how you picked a very similar looking set of modules to those in my “starter” rack:

I can relate to your questions. I considered the EricaSynths Pico DSP as a basic effects option and would’ve added it if I didn’t have the ability to run it through my Octatrack.
I would like to add Erbeverb, Phonogene, and Rainmaker to the setup, but that’s a whole rack right there.
Since you’re going for an ambient sound, perhaps get a good reverb first, so replace the Morphagene with an Erbeverb. Not that the Morphagene is bad, but it’s a grain pitch shifting sampler, which isn’t necessarily ambient focused. I think you might want to explore some additive synth options, such as the Audiospektri HG-16. You need a delay module, too.
Regarding filters, have you considered the uJove by System 80?

Yeah, it occurred to me that a BuffMult would be important.
I was looking at an Arcus Audio or the CVP-1 or, better, the MVP by Manhattan Analog.

Are there no CV modulated BuffMults?

Cool! Nice set-up BTW. Also, be sure to invest in enough patch cables. You'll want some stackables as well. ALSO, Kona makes some cables with built in passive attenuators. They are handy in a pinch.

Oh, do you have any buffered mults? You may want some if you can squeeze 2HP somewhere.

Erbeverb's a good idea, yep...but I do see a problem with that Metropolis + Shifty call. For instance, you really need to have four signal sources to send the shift registers in the Shifty to, otherwise you're spending about $190 on something you won't get the full use of. And given that the Metropolis is pretty much a monophonic sequencer (albeit a very good one), that alone won't address the possible multiple voice use. Better idea: The Harvestman's Stillson Hammer mkII. This gives you four channels of easily-usable sequencing, plus per-channel quantization and a whole pile of other features for less than the cost of the Metropolis + Shifty combined. Plus, you get 8 hp back for some other use in the bargain!

A lot, actually...let's see...there's no modulation sources, for starters. If you want punchy basslines, you're going to have to have some way to modulate that VCF with an envelope. Otherwise, it just goes 'oooooooooo' instead of the 'pwom!' you're hoping for. There's also no LFO or any other sort of periodic modulation, so there's not going to be any variation to the sound that changes back and forth over time intervals.

Secondly, that VCO/RM will prove totally useless without a second VCO. Ring modulators require two inputted signals to produce their sum/difference spectra. The Analogue Solutions VCO/RM's also not a very cost effective choice; if you want two seriously wild VCOs for about the same price as one VCO/RM, check Noise Reap's Bermuda, a rather nasty VCO with a self-modulation feedback-type capability. For good, in-your-face bass, dirtier signals work really well.

That sequencer won't work the way you're expecting. The Ladik S-180 is a trigger sequencer only...which means it doesn't send any CVs with which to make the VCOs change pitch. You would have to use the S-183 or S-184 expanders with that S-180 to get pitches, plus the addition of a quantizer would probably be necessary to keep the sequencer steps in a proper scale.

About the only things you have right here are the use of that Polivoks VCF (great, nasty filter) and the Optodist to get your levels punchy. My advice would be to stop building for the time being, and instead spend some time studying other builds, looking up articles in the MG forum and elsewhere online on what proper synth architecture should be, studying "the greats" in synth design over the past 50+ years, and the like. Get a better idea of what needs to be in a build first, then come back to MG once you've gotten a better idea of what to do. Otherwise, you're just going to wind up wasting your time and, potentially, your money should you try to realize a MG build before understanding what makes up a proper synthesizer.

EDITED Jan 4th 2019, 15:14

@Lugia: thanks very much for providing helpful feedback! Even for gearhead synth nerds stepping into modular can be a bit tricky. Fortunately, this site makes it really easy to plan and there’s experienced modular users like yourself willing to help. I feel this smallish system already offers vastly different sonic possibilities than the rest of my setup. Very glad I got to add this modular synth.

http://i.postimg.cc/2SvmFQqm/1-D59-B6-E5-E1-DA-42-A3-BC45-B54-BCAB61-F33.jpg

Just bought a module from @ideo. Shipment was super fast. He was very responsive and helpful, and overall I couldn't have asked for a better service! Highly recommended seller

Still waiting for a few modules (Three Sisters, Ataraxic Iteritas, Z4000 NS, Poti), but it’s all wired up with MIDI, CV, and audio cables to connect to the rest of the show. This is going to take a while to explore, but it’s clear that this is where I will be getting my strange and wild sounds from.

https://i.postimg.cc/2SvmFQqm/1-D59-B6-E5-E1-DA-42-A3-BC45-B54-BCAB61-F33.jpg

Got a Doepfer joystick* from @magneteyez, it travelled well packaged from the netherlands to germany. Thanx a lot!
*out of production!

I've bought Michigan Synth Works before. They are good builds and available from retailers. You can also get your micro units commissioned by private builders; but check around before you send off your money. I had a couple made from someone on Modular Grid and he did a great job and delivered as promised (actually a couple of days early).

Using an envelope inside PNW, Disting, or another module like Ornaments & Crime will definitely work. But the flip-side to that is that the envelopes are readily available for tweaking. Menu diving sucks. Envelopes tend to take a lot of back and forth depending on what you're trying to achieve (like getting that perfect pitch and decay envelope on an 808 style kick). The two envelopes in the Neutron would be okay. But it's pretty inconvenient using them and they are pretty basic. Trying using what you have at first. But keep in the back of your mind that you might want space for the dedicated envelopes. Envelopes can do more than control VCA and filter cutoffs. You'll probably want more and a few different types.

@Ronin1973: Thanks for the pointers! The Poti is now on order. I wish I had known earlier about the micro versions. Is it all from Michigan Synth Works? I have the uBurst on my radar. For Tides, wondering if the MKII or the u-Version would be better.
I honestly thought I might be ok on ENV using Pamela’s New Workout, the two ADSRs from the Neutron, Disting, and the CV envelopes from the Analog Four. I don’t anticipate this rig to deliver more than 1-2 voices.

https://cdn.modulargrid.net/img/racks/modulargrid_813718.jpg

This is what I came up with without suggestions. I through Mixup in so I could get a stereo mixer for little HP. And ended up picking the Metropolis over the Rene and paired it with Shifty so I can sequence multiple voices. Am I making the right choice with this? Also ended up going with the Erb Verb. Am I missing anything? Anything else that would be beneficial to the synth?
Thanks. :)

What am I missing from my simple setup [budget to begin with] to make some sounds...I'm very knew to this. I would like to make some interesting basslines, maybe acid noises to begin with.
Thanks

EDITED Jan 4th 2019, 21:31

What am I missing from my simple setup [budget to begin with] to make some sounds...I'm very knew to this. I would live to make some interesting basslines, maybe acid noises to begin with.
Thanks

Looks good. I see three HP of empty space. If you could squeeze in a Poti (3HP) for the Batumi, that would be advantageous. You can change the waveshapes of the Batumi on the fly as well as its behavior regarding sync vs. restarting.

You may also want to check out the micro versions of Clouds and Tides. They'll save you some rack space and give you a little more HP room to play with.

As far as your MIDI to CV converter, you may want to review Expert Sleepers FH2. You'll have more outputs and save some rack space there too.

I don't see any standard envelope generators. You have the Maths and Stages. But you might want something a little more traditional as well like a Tip Top Z4000NS. Each stage of the envelope can be modulated independently as well.

Also, the Erica tube gear uses up a lot of amps when you first turn the system on. Considering that you have a full-boat of modules, CAREFULLY go over the total number of amps you're going to draw per power supply. I believe that you have two.