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I hear all that @Lugia, but as an acid fanatic I'll chime in to say that modular does open up some really interesting room to explore the acid sound, and folks are looking at the challenge you've raised re: the sequencer thoughtfully, for example the m303 has a Slide input that aims to mimic the TB-303 sound. It never hurts to go the VST route (and certainly helps the budget) but as someone who started his Eurorack journey to make ambient/drone/noise I couldn't resist making squelches once I got a rack in my hands... there's something there there.

I'm interested in this thread as I'm also thinking of slowly relieving Ableton Live from its FX duties.
-- Mazz

Well, maybe the simpler ones...there's still plenty of things that software can do that hardware can't.

As for what's needed to really integrate hardware with a software "engine," that would be a mixer that has ample sends and returns. Or you can use some spare I/O channels to establish send/returns from inside Ableton to outboard devices. I don't think it's a very good idea to try and get audio out of and then back into the modular just by adding a matrix mixer and plugging effects processors into that. For one thing, there's a big level mismatch, so you'd need extra modules to drop/raise the levels so that you weren't prone to overloading the effects or not having enough level on the return to work within the synth. That's going to cost, both in terms of $$$ and hp.

But there IS a way to make this work with a minimum of additional I/O modules, and that's by putting together a parallel mixing setup for your effects processors.

Let's say for a minute that you could do this exact thing by adding only TWO channels of I/O level shifting, but you've got a PILE of processors. So, drop in a stereo I/O...something like a Ladik A-595, for example. Now you've got what's needed to move a stereo signal out and back. Then, add a distribution amp...it's sort of the rack gear equivalent to a buffered multiple...and route your effects outputs from this as it splits your stereo Eurorack send. Then on the other side, use a small rack mixer (I prefer Rane's SM 26B for this, as it works as either a signal splitter OR a 6-input stereo submixer) to submix your processing back to the stereo Eurorack return. The fact that the Ladik module is both cheap AND small can make this work, and all you'll need "outside" would be those two devices, and maybe a 1/4" patchbay if you want to make changes to your routings easily. Alternately, you could use Ladik's P-520 to have four channels of output, and still use a stereo line return while using just the outboard submixer for FX summing; if you had four mono-in/stereo-out processors (something like certain stompboxes, or classic rack processors such as Yamaha's SPX90), one P-520 would handle that and, by using the outboard submixer, you can create a fairly elaborate AUX setup for submixing different voices. And so on...it's the sort of setup that's really only limited by imagination and $$$.

The thing about the TB-303 is that the key to its sound isn't necessarily found in the synth part of the device. The SEQUENCER is the important part; the way it handles legato, the way the "glide" function works, etc etc...all of that is where we get the "acid house" sound. It's worth noting that when users were modding their 303s back in the 1990s during the ACIIIEEED craze, those mods generally were done to expand the synthesizer, and the sequencer would be left alone for the most part.

However, I should note that I'm very much a TB-303 hater...not because I haven't used them (I have, quite some time ago), but because I could NOT see the point of dropping up to $3k for a plastic box that really only did about 7-8 things well. That, and the fact that that sound (as well as the infamous "Juno Hoover" as well as the M1 House Piano) was super-played-out unless the machine(s) were in the hands of someone who could wring something amazing out of them through adding effects, modding the synth (such as the famous "Devilfish" mod), and doing something other than yanking the batteries out to generate sequences. So I'd suggest following nickgreenberg's lead here and going with a software version...by using a VSTi version, you open up the 303 to control capabilities that the hardware sequencer in it could NEVER do, plus the sound is super-easy for a VSTi to replicate without massively upping your CPU load.

Ok, here’s the how it’s looking so far. To recap my original post: newbie interested in generative, ‘plays itself while I sort of steer’ compositions. The setup is designed to leverage VCVrack, which is why the ES-9 was the very first purchase.

Still using Lugia’s ideal state as my guide, along with some learning courses by Chris Meyer, his Patch & Tweak book (my bible) and Omri Cohen’s videos for great ideas that make the most of the VCV side.

The focus at the start was VCO + VCF. I added the Disting 4 which has been such an amazing tool to get hands on with so many functions - it’s brilliant. Diverged a little from Lugia’s setup and went with the Voltage Block for CV modulation source. I’m having so much fun plugging it into the Linnaeus every which way. Added some VCAs and the A*B+C, which I don’t fully understand but I know I can use it for more VCAs, mixer, and it gives me a degree of hands-on control over some of the VCV modules.

The new additions are the Rampage and Pam’s New Workout – I think I can also have quite a bit of fun in standalone mode, without the computer. I’m not going to buy any more modules (famous last words) until I fully understand what I have, explore in conjunction with VCV, get an idea of which aspects I want to have hands-on fun with, versus what VCV can take care of. The general approach has been to generate signals in the rack and complete their paths in VCV.

I think the next phase would be to learn how to program generative. The bottom half of Lugia’s layout I do not understand whatsoever, so I want to learn the principles/techniques behind them in VCV and eventually start building some of that into the rack (at which point it’ll surely bust out beyond the 6u case). I love the concept of creating a sequencer by connecting a few modules instead of buying one that does it all for me. The music-friendly generative modules like Marbles and Bloom sound intriguing but I wonder if it removes some of the potential learning if I get anything like that too soon… I expect it’ll take at least a year to get my head around the basics of how the brain works, how to use clocks to spawn a complex sequence etc.

Feedback/Guidance most welcome!

EDITED Mar 19th 2021, 13:50

patch info in the video description

I like the sounds that I'm getting now but I feel like they get monotonous unless I'm constantly tweaking. I'd like to add some more structure but I also want to be able to self-modulate or add randomness to that structure to keep things interesting. I'm still relatively noob and have been working on this for about a year now. I feel like I'm missing some utilities but maybe it's just me.

I'm interested in this thread as I'm also thinking of slowly relieving Ableton Live from its FX duties.
So adding to the OP's question, do you guys reckon a matrix mixer, such as the Doepfer A-138M, is an efficient tool for FX send/return duties?

Got some more new toys.
Picked up Pachinko (Marbles Clone), Ornament and Crime, Ochd (have a Klavis Quadigy coming)

Drums - Kick, Clap, HH samples on Blackbox, Pyramid Sequencer

Only Voice
Humble Quad Operator (This one is a beast of fm goodness)
Tons of modulation
Pachinko, an O_c, Mimemetic, Clep Diaz, Ochd, 3xMIA, Maths, FX-Aid, Bat Verb

Two tracked into DAW,
Drums Basic Sequence
Modular Live Jam

Anything you'd like to be doing with your rack that you can't right now?

Between the clouds in this very place >
THIS > 17MIN28SEC OF transcoded deep space electrOnica >

https://cyberneticohm.bandcamp.com/album/in-this-very-place-this

< written on Altair >
< Recorded in Super WideStereo >
< Performed on a Modular Synth >

I have both an Eloquencer and a Metron sequencer, and I believe that you can set gate length on both sequencers.

WMD Metron gate patterns with burst and gate modes:

On the eloquencer you can set gate length for entire track or per gate step even.

I'm also using some external drum machines, synths and drones to make space ambient and acid techno. I haven't bought the Batumi yet, but I already have the rest. Looking for some opinions on the last 10hp (or 20hp if you think I should skip the Batumi). Thanks!

External:
TR8s
TD3
Lyra-8
Bass Station
Erica DB-01
Grendel Drone Commander

On the eloquencer, if you activate a tie on a step, gate will remain open until next (non tied) gate. You should test this with chain patterns.

-- defragmenteur

I've got the chain patterns down, are you saying it's possible to have longer gates recorded as ties? That would be very cool, maybe if that's not possible at the moment it could be implemented as a software update? I'll ask Winter Modular about this, they have great support and I'd love to do everything from within the Eloquencer without having to add another module for this purpose!
-- AudioResearch

Just tried it and it work. You can have a gate tie chain on more than one pattern.

the guitar pedal ecosystem is really rich so it can be a good way to explore different sounds. personally, and ymmv of course, i found that I liked the sound that came back through them, but not the process of using them. I didn't like the pedals hanging off the rack in a separate path, or how they were less flexible in terms of signal path, or the lack of CV modulation. I ended up moving in-rack for my effects.

In terms of recommendations, Noise Engineering's Versio platform just got a lot more interesting today with the addition of a pretty wild new stereo distortion, and an update to their reverb that uses clocked repeats. Chronoblob V2 is also solid and pretty versatile as a clocked delay that can be stereo or have a feedback loop.

Newbi question:
Would it work if I just take the audio out of any madule and connect a 1/8 to 1/4 adapter and go into a pedal and then return?

-- dadodetres

depends on the pedal - moogerfoogers work fine, for example

I am using the AI006 stomp box adapter for that (2hp)..
plus the befaco hex-system too, but the AI is a nice cheap option

Hi, you may want to investigate adding a Phaser for great acid sounds. I saw a long time ago a great video by Aiyn Zahev (Sami Rabea) about getting acid sounds using a phaser. Check it out here at about 1min45sec

The core idea is having a phaser with rate=0 (no phasing sweep) and the resonant bump from the phaser gives a lot of the "juicy / rubbery" acid sound. I'm not expert on this SO you may want to investigate it more BUT I have gotten good results from this technique using vsts; I imagine it likely works in hardware too!

Other comments:
-- I agree with above posts that portmento (slew) and a style-fitting sequencer will help get an acid sound
-- there's a ton of software that can do acid well and videos online; if you haven't already, I would say view some more videos and use some software trials to see what software setups produce acid results you like. Those will give you some ideas and validation for what you might want to achieve with a hardware setup.

Good luck!

Smart communication and nice transaction with @RTFM.
Grazie Pierpaolo !

The levels are different, you will have a pre-distortion on the pedal and a weak level on the return. But you can use an atenuator before the pedal and something like a MI ears to adapt the return signal.
The ALM SBG do that in 4 HP.

Newbi question:
Would it work if I just take the audio out of any madule and connect a 1/8 to 1/4 adapter and go into a pedal and then return?

I've been spending a ton of time working on acid racks so I spent a few minutes on this and came away with the below:

Some notes:
1) I extended to 104HP because that extra 20HP can go a long way for us here as you'll see.
2) The biggest and probably most important addition from my POV is the Make Noise Pressure Points. This lets you easily create 4 part song structures, with let's say two of the inputs going into the meloDICER and a third controlling the Bassline filter cutoff... all of a sudden you can easily change chords and dynamics across multiple parameters with one press. Not to mention it's playable, you can use pressure to drive CV changes through the top outputs, meaning you have structured control of 3 parameters and expressive control of a fourth, lots of fun.
3) I added a WMD Time Warp for gateable slew and as another envelope generator.
4) I added a Bin Seq and a Tree to get weird gate patterns going. This isn't something I've tried personally so you could take another route and add a temps_utile or an Intellijel Steppy and get good and perhaps more grokable results that way too.
5) Pip Slope as a backup envelope generator and also as an LFO.
6) FX Aid because it's got huge range and is superior to the Delay and Verb at their own game from what I can tell.
7) A Disting MK4 to fill in any number of possibilities, wavefolder, recorder, tuner, more effects, etc.
8) I left 4HP open for you to fill in with a distortion module of your choice, I couldn't pick one (though I love the Manhattan Analog DTA) but ultimately the Erica Synths one felt like it took up too much space so I cut it.

Some alternate possibilities worth considering:
1) With Metropolix coming out Metropolises will be going on sale used at a discount I bet, probably worth comparing to the melodicer, in which case you could cut the Time Warp.
2) I recently got an M303 and love it, compare it sound wise to the Bassline and throw the X0X Heart in there too to see all the voice options out there.

Hope this is helpful, and let us know what you end up with!

EDITED Mar 18th 2021, 06:07

Except that it doesn't work exactly like tape loops do.

I'm 100% down with the poster above that said you should probably look into an MPC instead. Just looking at cost ALONE points very strongly toward that and AWAY from modular, plus this build is sort of an attempt to build one (minus a lot of the useful firmware aspects). But don't take my word for it; let's surf over to Sweetwater and see what $1700 and change gets you...

MPC Live II = $1199
MPC One = $699 (you could get TWO of these!)
NI Maschine Plus = $1399
Elektron Octatrack mkII = $1399
Polyend Tracker = $599 (you could almost get THREE Trackers for what the build's modules alone cost)
Pioneer Toraiz = $899
Pioneer DJS-1000 = $1199

This falls into the "why you don't try and build a drum machine into your modular"-zone of errors. And the big error there is this idea that you can come up with something better in modular than an already-existing device has. Not...gonna...happen. Plus, any of those machines I've listed also contain the needed utility functions that the present build doesn't and CANNOT have due to the limitations of the cab.

Modular isn't a panacea for everything. This is another example of that.

Yeaaaaaaaaahhhh...no.

Please don't take the example you've posted as gospel for how a build should work. You're missing far too much in your example to even call that a proper synthesizer, and the original user you've gotten the idea from ALSO has made some fairly critical errors (VCAs? where are they?). This is one of the prime reasons I say that beginning modular users should NEVER get their info from YouTube...it's just too shot-full of bad info, and finding rational/knowledgeable modular users on there can be a real needle-in-the-haystack search. Might be a great video...but there's a lousy build in it.

You shouldn't buy a Pulplogic Zissou as a starter cab. They're awesome for specific builds...but trying to cram everything necessary for a PROPER modular in one is a very tall order, even for experienced synthesists. Go with a Mantis (as Jim's mentioned) or something similar...it'll still be portable (Tiptop even makes a dedicated gigbag for the Mantis) and you'll have ample room to do a proper build. Chuck this "beauty case" idea in the circular file, then spend some time looking at builds on here by experienced synthesists, especially ones that make use of some of the utility-hungry modules you've listed above. And keep this quote from Jim in mind:

"utilities are the inexpensive dull polish that make the expensive shiny modules actually shine and stops them tarnishing so quickly"

Damn right. You can build up a caseful of THOUSANDS of $$$ in sexy, shiny modules...but if you omit the utility modules and certain "boring" workhorses like attenuverters and VCAs, you'll just have an expensive noisemaker, not a synthesizer. Also, no one ever, ever, ever, ever, EVER gets a first modular build right. Or the second. Or...well, you get the idea. This is a process, and one that takes TIME to properly complete. Don't try and "speedrun" ModularGrid, as you'll only wind up wasting money and time in the end. Back up, take several deep breaths, then delete the above and start doing the real studying necessary to build a real modular. Also, picking up a copy of VCV Rack (costs $0) is something I'd strongly recommend so that you can see/hear firsthand what those "boring" modules are really there for.

1 x 104? Nah...look, these little one-row skiffs might look sharp, but unless you're at a point where you need to build mission-specific skiffs, don't do this. You're only going to set yourself up for either a halfassed build that can't do much, or one that can but where the controls have to be tweaked with tweezers because the ergonomics are so tight. Also...

Intellijel 4U x 104 Palette = $399
Tiptop Mantis (6U x 104) = $335

Personally, I don't see the point in spending MORE to get LESS. Start right with a more capable cab.

@Lugia Just curious what your total Amperage is that you're drawing off your circuits? How many dedicated circuits do you have in your home for the studio gear? Any tweaks to the electric worth mentioning?
-- merzky_shoom

The studio has three AC circuits, with two of those being specifically for the studio equipment, and the third being shared with lighting. The dedicated circuits are both 20A, and while the third is 15A, I treat it as if it were only rated for 10A...giving me a "safe" 50 Amps for the gear. Everything here goes through Furman power conditioners to keep noise and transients down to a minimum, although in the past I've used 20A circuits that were toroid-balanced with outstanding results...and I still might make that upgrade to the two dedicated lines.

Thank you so much for commenting! It’s nice to know that it’s ok to stick with a single manufacturer, I’ll be acquiring over time so i can drop what doesn’t make sense.

I can use a tabletop mixer for headphone out, also probably dropping the x-pan for an Optomix as I’d rather have an LPG than CV panning.

Just watched a Hainbach video where he had a nice setup (quad VCO, harmonizer) that I’ll look into as well.

Check out Bloom as a sequencer. It's a love it or hate it module, but can work really well for unorthodox acidy bassline sequencing.

I've updated the rack to have just one voice; added in some effects, slew and an output module. Let me know your thoughts!

Thanks for listening @GarfieldModular!

Hi Steve,

He, he, quite funny actually and pretty creative too! It's indeed not entirely my cup of tea however I appreciate the efforts you put in here and it's still fun to listen at.

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

Indeed, very remarkable!

I didn't find any lion no input mixing videos - but I did watch a tutorial on no input mixing by Sarah Belle Reid... so not all lost

lion certainly looks like a fantastic module - I really like the patch programmability aspect of it - maybe I'll pick one up sometime in the future if I see a used one for a decent price

I've been working on a noise EP for a bit inspired by another Fire is Free equinox fest, check it out below:

https://stevehand.bandcamp.com/album/l-i-t

I'm doing my best Wolf Eyes impression here, feedback loops and wavefolding abound, and in an example of how rad modular is I'm using the same rack I've been using to make all my acid tunes 😮😮😮

Anyway, this'll definitely not be everybody's cup of tea but I'm kind of loving it, hope you all can rock out too 🤘🤘🤘

well I went and watched the divkid video and then his chat with Jason from Instruo

interesting module - not for me - as I said I'd loose the loop cables or have them in a pencil case where I forget I have them - I have some plankton ninja stars and this is what happened to them, because I could never find them!

I didn't see no-input mixing as an example in the video, so I'm off to youtube to search...

I think if this was something that I was going to try I'd try with a simpler matrix mixer to start with - but then I already have a couple!

hmm they may be more psycho acoustic than acoustic!

glad to hear you are safely moved and away from gunfire!

the picture above does not match the link.... so which is it? I'm guessing the link as it's more mi

vaguely similar to what I started out with - I was mostly mutable and maths forced me out of my too small starter case! - but that was before the release of stages, plaits and marbles - iirc my first modules were veils, clouds, tides, peaks, rings and a rebel technology mix02 and some moogerfoogers and the cp251 (which I already had) and then I added a 2hp tm and tune

so why Turing Machine and not Marbles? - as you have multiple voices in both versions Marbles would seem more useful as it is basically 3 quantized turing machines in one module - otherwise you are stuck with the single interval - you could use stages as a sequencer and links can be used as a precision adder iirc - but you'd still need to quantize stages - alt firmware may have this feature, idk - or you could use 1/2 the disting - how were you planning on quantizing the turing machine?

I'm not convinced about the usage of things like teletype - personally I'd rather program a modular with knobs and patch cables, than by writing code and I think they are something that seems like a great idea at the time and then would not get used - pushing this out would also make space for marbles, another cascading vca or mixer (possibly shades or happy nerding - particularly for mixing modulation) and going for an original plaits instead of a clone - everything else mutable is mutable.. so this looks out of place to me! you might also be able to squeeze in an fx aid xl - which will cover your delay and a lot more - try to go xl if you can fit it in = not only is it more ergonomic, but you get a lot more modulation inputs - so much more useful!

I'd hold back on the bastl outs - if you are in the us or japan you will probably want balanced outs, if you are elsewhere the outputs from the xpan will probably work fine - if you need headphones then alm make a reasonably priced headphone module that is 2hp!

as farkas said - @troux is likely to have some good advice...

I'm no expert on acid but I think you would benefit from a slew for portamento which is one of the main characteristics of acid (the slowed rise and drops to the notes) as far as I am aware

general issues that I can see though are:

the sequencer is single channel and you do not have a buffered mult to accurately make a copy of the v/oct signal to both the bassline and the pico voice - this would also benefit from a sample and hold or a second sequencer (and a precision adder - to accurately add the 2 v/oct signals together) - so you can derive a second sequence from the single channel - otherwise you will only be able to play an interval - which would be dependent on how you tune the voice modules

the sequencer has a quantizer built in so the 2hp tune module is redundant - redundancy is often good in modular - nay desirable, but not in this case at your stage of the journey

you may have confused the tune with a tuner, it's not (see above) - get a pedal and the appropriate cable or use your phone - I use a korg pitch black I had lieing around

both the bassline and the pico voice are voices as opposed to vcos - this implies that they have filters and vcas built in (the bassline definitely does - I have the DIY version) so the filter is kind of redundant and probably not in an overly desirable way either

you don't have any envelope generators - whilst you could use the gate from the sequencer to trigger both the voices (the passive mult will work perfectly for this) it is an on off switch - sending this first to an envelope generator is a good idea - even better sending it to 2 different envelope generators - with one channel going to a clock divider or some other method of altering it (a gate delay for example) would massively help in terms of making 2 melodic parts, one for each voice

no modulation source - you really want one of these - at least an lfo of some sort preferably 2, one that can sync to the clock and one that can run free at the same time - consider Maths - for the simple reason that it is a great learning module and incredibly versatile - see the illustrated manual for further details

what's the use case for the input module?

you don't have a mixer - most people would want to mix the 2 mono voices (and potentially your external sound source) before sending to the output module - if you desperately want stereo get a mixer that will pan mono signals to stereo - if your use case for the output module is headphones then get a mixer with headphone outs too - I started with (and still have a rebel technology mix02 which does both these things)

you may not need the output module - where are you geographically? US and japan apparently often need output modules because the power is unbalanced - in which case a balanced output is probably a better idea - otherwise they are often just a 'nice to have' module

small modules such as the mult and the pico modules are very awkward to deal with as they are so small (you have seen a module in real life haven't you?? some people are shocked by the size, even after watching weeks of video) you will want to space them out between bigger modules

it might be an idea to have a read through of these - the sticky threads in the eurorack sub-forum of muffwiggler, sound on sound magazine synth secrets series (available as a pdf online I believe) and there's a couple of older articles on starting modular synthesis that are good (if a bit dated), the muffwigglers book of bad ideas, the maths illustrated manual and read a load of other newbie threads - even if you think they are not relevant to you, because of genre - a lot of the advice will be generic

even if right now all you want to do is make a squelchy acid bassline - do the background research, it will serve you in good stead for the future - there's a reason it's often called eurocrack!

@troux will probably have some good advice for you here. I've tossed around the idea of adding the Erica Bassline to my rack. It sounds really good. As it is though, I already have the inexpensive Behringer TD3 (16 step sequencer) and haven't been able to justify the cost of the Bassline just yet.
Have fun and good luck.

Not hugely original (a lot of MI, haha) but thought I’d see if there were any big misses here. I’m attempting to put together a medium sized rack (paired with a minibrute) that allows for some sample manipulation with accompaniment. This size of rack is tricky if you’re trying to make it self contained - can’t be exhaustive but want some flexibility. Some targeted questions:

• Didn’t add any additional sample tools beyond the Beads (and Disting i guess). Seeing a lot of Beads+Morphogene on YouTube, not sure if that’s a better idea.

• No dedicated delay module, more valuable to add than something else?

• Went heavy on modulation and sequencing, too many options there?

I've been on the fence for buying a desktop acid machine but I want to consider my options for what I can throw together in a rack first. This is my first time putting a rack together so please be easy on me, any advice is much appreciated. I'm just looking to make some deep growling acid. I've considered other sequencers but I really enjoy stepping out of typical 8 step acid sequences.

(UPDATED RACK)

EDITED Mar 18th 2021, 03:49

Hi CBD1000

thanks for reaching out!!

top row - kind of ok - too many sound sources in my opinion = BUT it is a percussion rack! so not surprising really

bottom row - it's all sequencer and mixer

overall - not that balanced - I would want more modulation and utilities (but then I almost always do) and from the looks of it you realise this yourself, already!

so 2 possible solutions:

1. add another row for modulation and utilities

2. remove stuff and replace with smaller modules

so more space in the top row - dump the tangle quartet and the ledRover - replace with veils - 20dB+ of gain introduces quite a lot of grit! and you get 4 channels of it and they are vcas!!

I'm not going to comment on the drum modules - voices/vcos are a very personal choice - but they are big and there are other modules that will do similar things in less space (but they may not be as ergonomic!!)

as for the sequencer and the mixer:
work out what functions you absolutely must have for drum programming - could they be met with the pams and clever use of logic modules and other utilities? do you need recall (Pams even has that!!) - have you also looked at other similar modules - tiptop and robaux swt16+ spring to mind! robaux may be diy only, idk - but if you want it and you can't solder and don't want to learn there are many, many builders out there who will make it for you

regarding the wmd pm - I very very nearly bought one of these... but after months of thinking about it ended up getting a Tesseract Modular Tex-Mix system because

it has most of the functionality that I wanted
what functionality it doesn't have is easily patchable (auto-panning and cv over aux) with other modules*
it's very inexpensive - I diy'ed mine - but they are not much more built (the diy is really the panel furniture and headers - smd pre-soldered)
expandable - want more channels add another module with either 4 mono or 4 stereo channels - want direct outs? they are post-fader! want mutes - they are built in as is a cue mix

*this is the key note here - it's modular - learn how to patch basic functions (utilities) to do other things - you may not need 2 channels of auto-panning more than 20% of the time but you will probably need more vcas, modulation, inverters, etc etc the rest of the time - if you have a comparator and a vca you have a compressor (if you know how to patch it) etc etc etc

Yeah that is great idea Garfield! More eggs and use the egg cartons and foam for cheap solution.
Love the Mackie mixer will let me daisy chain my gear together and free up slots for jam buddies to contribute.

I need to sample some gunshots from the local gun range in the future to add the hardcore industrial ambience now that my new studio is quieter hehe.

Want to know what's better than Clouds? More clouds.

ok my thoughts on this so far:

too many sound sources and sound modifiers (feature modules) for such a small case - looks more like VSTs in a DAW than a balanced modular synth!

almost no support modules (utilities) that open up the possibilities of modulation

for me a balanced case would be at least 50% modulation and utilities (mostly utilities)

utilities are the inexpensive dull polish that make the expensive shiny modules actually shine and stops them tarnishing so quickly

work out which modules you really want - get some advice on what utility modules would work best to complement them and get the most out of them for what you want to achieve - and then find the right case - expect plans to change over time as you learn more about modular and how you patch it and what works for you!

don't rush out and buy all the modules at once - as I said above - start with a few modules and grow slowly

Thanks for the feedback everyone.
About the film used for the video: I found it on archive.org and I was both amazed and disturbed by the images. Back in the ‘50s knife throwing was a widely accepted attraction and this woman, Louella Gallegher (not my mother :) ) was one of the better known knife throwers. Using your children at the throwing board was kind of normal back then. The kids were raised with knives flying and hitting the board around them. Imagine this happening today. Totally horrendous. I thought this patch was as disturbing and unrestful as the knife throwing mother. And the nuns overlooking the whole thing among the teenagers, kind of out of this world and still, so much a part of it.

Added my first rack idea:

Basic thoughts on it:
– Already own the case, Hi-HatD, Clap, SY-05, Pam, a Novation Peak and an Erica Bassline DB01
– Create drums with Maths, BlackVCO, Quartet, + add some punch by LedRover
– Record or enrich with own samples using Sample Drum
– I will do muting/unmuting on the tracks through the sequencer for now
– EQ will be done in the DAW. Alternative on my external mixer replacing the ES-8 with an Erica Link.
– The overseer works as a kind of DJ mixer for transitions, might be replaced with FX when mixing externally
– I want to have a Lapsus OS to manually control to open, close CV Aux (FX Aid) of the WMD Mixer which has very tiny knobs.

Do you have better ideas to replace the Drum Sequencer as it uses a lot of space?
Is anything missing? Should I ditch another voice and add more utilities?
I tried to replace the WMD Mixer but it is very hard to build finding an alternative for AUX chain with CV control on it.

EDITED Mar 17th 2021, 12:14

put the modules in a public rack and post the url in this thread! then we can see them!!!

all those modules will fit in a case - but you'll probably need 9-12u - these are still portable, if not so compact - I'm pro finding the modules you want, adding the modules you need to support them and then finding the right case - not buying a tiny case because it looks good (and you can fit it in your handbag) and then trying to cram (miniaturized) modules into it - but I do believe a lot of people are into that these days

However I would start smaller - 6u/104hp is a good starter size, not too big, not too small - Mantis is a good example - decent power and reasonably priced - difficult to find right now, but I believe re-stock is imminent

pick one sound source, one sound modifier, one modulation source, a way to play and a way to listen and go for it - add 1 or 2 more modules once you know these modules inside and out - maybe a month or 2 - and then repeat

The list of modules though is made up completely of what I would call feature modules - shiny expensive things - and no support modules (utilities) - these are usually overlooked by newbies - so don't worry you are not alone

utilities are the dull inexpensive polish that makes the shiny modules actually shine and prevents them from tarnishing!

in my experience you can do a lot more with fewer sound sources and modifiers and more modulation and utilities, than you can with a load of sound sources and sound modifiers and less modulation and utilities

I think about 50% of a modular case should be devoted to modulation and utilities - mostly utilities!

a good starter set of utilities is for example - mutable links, kinks, shades and veils - or other modules that cover all or most of the functionality of these modules (wmd/ssf toolbox goes a long way for example)

-- JimHowell1970

Public modular is above :)

So this is the starting place for the rack:

Thoughts so far?

2. If I stayed with a smaller case, could a 4U 104HP Intellijel Palette be a good choice? It seems to have a lot of utility built into it (sums, mults, MIDI, 1/4" outputs), and also has the 1U row for more. This seems like it would leave me enough open space for expansion in the 3U row?

For MIDI and OUTPUT these are expansion jacks, you still need to buy the 1U module.

EDITED Mar 17th 2021, 10:35

put the modules in a public rack and post the url in this thread! then we can see them!!!

all those modules will fit in a case - but you'll probably need 9-12u - these are still portable, if not so compact - I'm pro finding the modules you want, adding the modules you need to support them and then finding the right case - not buying a tiny case because it looks good (and you can fit it in your handbag) and then trying to cram (miniaturized) modules into it - but I do believe a lot of people are into that these days

However I would start smaller - 6u/104hp is a good starter size, not too big, not too small - Mantis is a good example - decent power and reasonably priced - difficult to find right now, but I believe re-stock is imminent

pick one sound source, one sound modifier, one modulation source, a way to play and a way to listen and go for it - add 1 or 2 more modules once you know these modules inside and out - maybe a month or 2 - and then repeat

The list of modules though is made up completely of what I would call feature modules - shiny expensive things - and no support modules (utilities) - these are usually overlooked by newbies - so don't worry you are not alone

utilities are the dull inexpensive polish that makes the shiny modules actually shine and prevents them from tarnishing!

in my experience you can do a lot more with fewer sound sources and modifiers and more modulation and utilities, than you can with a load of sound sources and sound modifiers and less modulation and utilities

I think about 50% of a modular case should be devoted to modulation and utilities - mostly utilities!

a good starter set of utilities is for example - mutable links, kinks, shades and veils - or other modules that cover all or most of the functionality of these modules (wmd/ssf toolbox goes a long way for example)