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The full one is on Moodle, so I'm not gonna finish this one.
Many editable parts
Work in progress
Could also just put Tempi directly in, but that's no fun.
Could just do the one pink clock, also no fun.

EDITED Oct 18th 2019, 15:47

Thanks @tethys for the Clouds. Shipping took a while, but at the end, all was well. Clouds in good shape.

Thanks to @tomlaan for the Maths. Super fast shipping, well packed, module as described. Thanks again!

Hi,
I hope this is the right place to post the thread. I am playing my modular system in a jam Band and I use the Bassdrum of our drummer as a trigger via piezo going to a Make Noise Function that then serves for example as a LFO for my filter so that with every kick the filter opens.

Since I am relatively new to the modular world I am still looking for a way to multiply this signal to get for example a rhythmic pattern that is more or less in sync with the bassdrum. Moreover I am looking for a possibility to turn the bassdrum signal into a clock signal to create synced arpeggios.
How can I achieve this? Would a Make Noise Tempi be a Good Module for this task?

Thanks in Advance!
Boris

EDITED Oct 16th 2019, 11:23

Thanks for your suggestions.
My case is an Intellijel 7U 104; I've checked power supply and according to modulargrid info it seems ok.
Kink is in my list and an additional ADSR module was there too... I have to rethink about it.
Good catch on ES-9.
As for clock divisions and additional LFO, I'm relying on Eloquencer and Pamela's New Workowt that are providing both. Is there an added value to have LFO and clock divider separated from the 2 modules ?
I have some doubts about Stages and Marbles; maybe Eloquencer an Pam's are already providing enough uncertainity/randomness and envelope/lfo services so that Stages and Marbles become sort of a duplicates.

Speaking of complex sources to possibly substitute 2hp VCo& MMF & Stages & Marbles, what are you suggesting ?
Maybe something completely different from what I already have such as make Noise Morphagene ? Something else ?

THanks for your help

First and foremost, double check to see if your case power supply will handle all of these modules. You have a few power hungry modules. Check the +12V and -12V draws.

Next up, you might want to check out the Expert Sleepers ES-9. If you're planning on using VCV Rack, you'll have more ins and outs across the digital divide.

The 2HP VCO and MMF are pretty basic. They'll work. But if it were my rig, I'd want modules that are beefier if they are sound sources and filtering.

I would want Kinks. I would also want two ADSR envelopes and a dedicated LFO module thrown in there. A clock divider or module capable of creating clock divisions would be nice too, as you probably don't want to depend on your computer to generate clocks or divide/multiply them.

Here's another: https://www.modulargrid.net/e/make-noise-o-coast

Ah, ok. Apart from the sci-fi bit at the end I wouldn't call it "bleep-bloops" but good to know where you're coming from.

I did find this video also...

Better to watch on YT so you can read the description. I'm no theremin expert, but it seems to me if you want the A-178 to sound more akin to a real theremin you need a pair of them as in the video. Perhaps I'm mistaken but didn't Doepfer design this as a way to use the principles of the theremin as a control method for Eurorack modules, rather than as a 'true' theremin. :-)

thanks to @aphew_goodman! good buyer.

Hi, this is my corrent setup.
I was planning to add:
- MI Marbles
- MI Stages
- MI Kinks
- 2hp VCO
- 2hp MMF

What do you think ? Any suggestion ?
THanks

EDITED Oct 15th 2019, 14:17

I want to use Qu-bit Bloom as a midi-sequencer for my synths (Elektron Digitakt, Digitone). I plan on using the Doepfer A 192-2 in order to translate CV to MIDI . This combo could trigger gate, pitch, and velocity on my synths, right?

I might add something to modulate Bloom, but other than that, do I need anything else?

/Thanks

My comments here: https://www.modulargrid.net/e/forum/posts/index/8186 seem applicable here as well.

In a generative environment, you'll see loads of sequencers, switches, LFOs, VCAs, and clocking sources. You'll find sample & hold circuits, lots of effects, etc. I think there's a false believe that generative, ambient, or "drone" set-ups are simple.
-- Ronin1973

A very false belief, indeed! While drone can be simpler, it gets very irritating without some subtle internal variation, which means extra modulation sources and the right utility modules to keep them reined in.

But where it really goes off the rails is with ambient and generative.

One look at the history of ambient AND generative music brings us to a very important nexus: Brian Eno's "Music for Airports". If you are trying to do this sort of music, you need to be familiar with those four pieces! All of these pieces are both ambient and generative...but the generative process is being driven not by synth circuits, but inequally-long tape loops. I remember seeing Bang on a Can Allstars performing these back in the early 2000s (at the U of IL...which is a hilarious joke in of itself if you know anything about Illinois' composition department) and I asked Evan Ziporyn afterward about the process of trying to transcribe something like that. He showed me the transcribed score to "1/1", with lots of weird incremental time signature changes, strange notational values and the like...because it was accurate to Eno's original late 1970s tape loop realization.

Now, let's forward to the present. Technically, yes, you can do something very much like "1/1" in a modular environment. But consider...the thing that makes the original work is the slow drift-apart of the various looped fragments, ALL of which are on loops that mathematically should NEVER match up again. Now, try and figure how to translate that sort of temporal drift into a set of modules and patch connections. Ain't so easy, izzit?

First of all, you'll notice that using 2-3 modules for your generative process "core" just won't cut it. Instead, you'd be looking at a pretty complex concatenation of modulation sources, none of which should match up again once in motion. Some are faster, some are slower, and a few "governor" sources will be running at extremely slow speeds. Think hours here. Then from this, you'll need to extract various timing information...clocking, clock modulators, triggers and gates to fire other things, etc. These build up a web of conditional logic processes and resultant states. In some cases, actual Boolean logic processes can get used to alter timing positions, and in others, gradual reshaping of modulation curves can do some of this.

The funny thing is, a generative rig will likely wind up having more "process" architecture than "voice". Once you've gotten some experience with ambient and/or generative music, you tend to find that simpler sounds = more cohesive results. This doesn't mean you can just hook up your VCOs to individual VCAs, set up the triggers, and walk off, though...rather, like in drone music, some slight timbral variation is critical. BUT NOT MUCH. A good example would be this thought experiment: take the beginning of Miles Davis' "Kind of Blue" and rip out the rhythmic cohesiveness...let all the sounds just drift in time. Simple, effective. And interestingly, that pretty well describes the feel on a lot of Miles' later "In a Silent Way" just ten years later.

One other thing to keep in mind: this sort of music can be actively listened to...but that's actually not the original intent. Instead, most ambient, most generative ambient, and some drone (as long as you're not talking about Sunn o))) or something similar) is meant to NOT be listened to, but as an "acoustical colorant" for spaces. You should be able to set up a generative patch of that sort, start it up, then lower the volume to near-liminal levels to experience how it should sound. Then leave it on for...oh...a day or so and see if it works (which includes being able to all but ignore it). If you eventually forget you have it running, congrats! It works!

First System Goal- Two voice ambient generative rack.

Currently have everything except for the black 2HP modules, Pico Logic, the 2nd Disting and the WMD/SSD Filter.

COMMENTS/SUGGESTIONS/IDEAS welcomed!

Thx!

EDITED Oct 16th 2019, 00:33

I didn't hear anything that sounded like it was generated from a complex set-up. Most, if not all of what I heard sounded like a traditional analog waveform followed by low-pass, high-pass, or band-pass filters. There were envelopes involved controlling both the amplitude as well as the filter cut-off.

It all sounds possible between square, saw, and triangle waves.

There are logical ways to lay things out and then there are ergonomic considerations. Both are important. But diving into them first might help you figure out what works best for you.

The first consideration... ergonomics (using this term loosely). Patch cables have fixed lengths. Do you have enough patch cables and are they long enough to patch between the most distant modules. All modules have depth. Depending on the available depth in your case or even certain areas of your case may dictate as to where a module can actually be placed. The power draw might come into consideration if you're placing all your heavy draw modules together in one case and everything else in another.

Grouping. Grouping like modules together makes them easier to find. You may have all your oscillators grouped together, all your filters together, all your effects together, etc. I also try to put most of my modulators (LFOs, EGs, etc.) together with like with like. I tend to have my modulators flanking both my oscillators and my filters. I also try to group VCAs so they are close to everything.

When it comes to mixers or modules used as mixers/attenuators, I will try to have a general clump of them near the ends of the audio signal path, but I will sprinkle them around the case in areas where I know I would probably use one (such as one module near the oscillators). The same for active mults... having one near your oscillators is ace and you probably want one near your sequencing modules as well.

There's no right way to do. But if you're going to try to reorganize your case, you want to organize things in a way where your most common patching doesn't require several meters of patch cable back and forth all over your case with no slack in your patch cables. You never want to place strain on your jacks.

Two sequencers. 8CV+Gate outputs are standard for most sequencers. So you may need more than one. It's nice if you can get everything that you need in one box. But if you're dealing with percussion, you'll probably want a CV+Gate sequencer and one that does nothing but triggers. Higher end sequencers can be synced together as well as most mid-tier sequencers.

If you find yourself with a LOT of tracks, you may find it better to use an external sequencer and possibly a computer sequencer. Expert Sleepers makes FH2 plus lots of expanders for it. So if you're needing tons of outputs in a smaller space, it may be the only viable solution. There are other MIDI to CV converters out there too. But the FH2 goes directly from USB to CV.

Hi Garfield !

Honestly I'm not sure I can personally recommend Three Sisters right now since I haven't personally tested it, I'm relying on a friend who knows the "music" I make and he played with it a bit when he travelled, I don't have a dealer handy to test modules apart from the limited stock that makes it to the shop in my town unfortunately. As you put it, "just blindly" is all I have to work with most times.Demos on the web seem to demonstrate what my friend told me about it though, a filter with character and interesting I/O, I'm particularly curious to test in person the Centre and All outputs... But I'll tell you all about it when it makes it here, I just paid for a second hand one form a guy offering a good deal on a Plaits :) All in all, I think the Plaits is a better choice for me due to a larger sound palette than the Basimilus Iteritas Alter.

About the search for sequencers, I find it difficult as well, it sure requires a lot of research. Ground Control and the Black Sequencer both look great but at 40HP+, I feel I don't have the space. Getting one of those in would mean getting rid of other things I need or upgrade to a second 7U already, I just can't afford it :) The menu diving is not scaring me, both the Squarp and the ToolBox are way simpler than the Octatrack which is known to be a complex, "menu-divy" machine, the important thing for me is accessibility of the important functions during performance which seems to be on point for both devices (mutes, pattern switching in sync, etc can be accessed almost immediately). The deciding factor will be wether or not Hermod can switch project on the fly and in sync with the external clock coming from the OT, its 8 tracks are more flexible than the layout offered by ToolBox and it's less expensive but 8 sequences per project is just not enough for me.

A bit more about the T-sL: I think placement in the rack is very important because one absolutely needs access to the small knobs. Yesterday evening's experiment was about testing that module further (I'm still learning stuff so daily practice is my life now), and it further confirmed that I can get amazing tones from it by feeding it a lot of modulation and playing with those attenuators, provided that I can physically access the knobs :) Through the QPAS, with a pitch-shift delay from the Pico DSP and a touch of reverb from the Disting, it sounded amazing ! Worse case scenario, I can use the attenuators from the Quadratt 1U, although they're usually full pretty early in the patch, very useful performance tool that one.

I know understand what you meant by not wanting to tame the OctaSource. I realized that applying its modulations to key parameters (clever patching is everything, I know hehe), the change in sound or groove you can get by modulating its phase or wave is just ridiculous. Another module rewarding experimentation a lot, a simple but effective design really. I wonder what would happen if you patch one of its outputs back into the phase input, I'll try that some day soon :)

Best,
Diego

Sequencing is very much a personal preference.

I have the 1010 Music Toolbox. I'm not currently liking where the firmware is at the moment. They're trying to take sequencing functions out of their BlackBox and use them in the Toolbox... which is breaking the ease-of-use of some functionality, especially in making live changes. I do love how flexible the outputs are as far as LFOs, CV sequences (voltages and no gates), even audio playback.

I'm really looking at the Westlicht Performer. But they aren't manufactured, only assembled by enthusiasts. The Eloquencer seems nice but overpriced in my opinion. I think I would go with a sequencer that meets your needs first, then find a way to accommodate its HP in your set-up. Having a sequencer that doesn't work for you in the first place is a waste of HP even if it fits into the planned space.

Also, having a main sequencer is great. But it's also good to have smaller sequencers around that can also lock to your main sequencer. They are great sources of modulation information for filters VCAs, switches, etc.

Well a generative patch is basically a set-up that plays itself or needs very little human interaction. So perhaps when people state they're looking for a "generative" set-up. They aren't really meaning to go that far and just want something that creates evolving sounds.

In a generative environment, you'll see loads of sequencers, switches, LFOs, VCAs, and clocking sources. You'll find sample & hold circuits, lots of effects, etc. I think there's a false believe that generative, ambient, or "drone" set-ups are simple.

I don't think anyone can tell you buy module X or modules X,Y, and Z to do 'generative' stuff. Everyone will use a module differently or use a different set of modules to get the results they desire.

I would recommend practicing your patching. Rather than worrying about the sound so much, worry about creating relationships between the modules that can change dramatically based simple differences in one sequence or the timing of a reset trigger, etc.

+1 for Lugia's post.

The first thing I'd want to find out is if I had a dead or dying module that's tripping my power. Your power supply and case may not be the culprit. They may be doing what they're supposed to.

Also, depending on your country's power set-up... did you check any fuses in the system?

You're going to have to check your modules one or two at a time. Start with the oscillators and work your way down your typical signal flow. Once you have all of your oscillators checked, then go with the VCAs, then filters, and then finally everything else. Let's hope you don't have any bad modules.

The specs for the 6U are as follows:
5HP power supply delivers 1600mA +12V output, 1600mA -12V output and 900mA +5V output

Do the math on each one of your modules as Modular Grid isn't 100% reliable at calculating your power needs.

Hi Diego,

Thanks for recommending the Mannequins - Three Sisters filter module. Did you had a chance to have it tested at a dealer? I don't have a dealer nearby that got this module (or this brand). If you did had it tested, please let me know your experiences.

Regarding sequencers, I feel it's very difficult to find one that really suites one. I have a few smaller ones but for a big sequencer (minimum 3 tracks) like you mentioned, I still haven't found a suitable one for myself. The two you mentioned might be good ones but with their menu structure "scare me off" a bit. I prefer to have as less as possible menu stuff and direct knobs and buttons for as many as possible functions (i.e. without many button combinations or menu layers).

I am currently looking at what Endorphin.es with their Ground Control are doing, I am waiting till it comes available at my dealer so I can have it tested, hopefully soon. Another one I consider is the one from Erica Synths - Black Sequencer however no indication date yet when this should become available. You might want to have a look at those both too, though they are both wider than the 26 HP you were mentioning. Just remove the Toolbox and get yourself a sequencer that does what you want and need :-)

Kind regards, Garfield.

this is just a quantized bleep-bloops, not a "professional thereminist playing a melody"

any use to you?

Ha, seems I missed Ronin's answer, no email to tell me about this one weirdly enough.

Coming from Elektron machines, I don't mind a little bit of menu diving so maybe that's why I'm not bothered by the many functions included in the Disting and the need for a manual close-by. Another thing is that I intend to use it first to determine, as you suggested, which functions I find myself using the most and outline my future needs so I'm rarely changing function on it, looking at the manual every once in a while is fine. It's been stuck on Stereo Reverb mode for the best part of last week, so considering getting the 2hp Verb...

Thank you for going deeper in the sequencer subject, I've been investigating this all weekend. Basically, I don't find the Mimetic Digitalis (MD for short) hard to use, rather I find it limited for a few reasons:
- No onboard scaling
- Only 1 clock input, no division per track
- No copy/paste operations for a pattern or a step
- No way to go to the previous step other than Origin + advancing to it manually
These points make me spend too much time on programming sequences and out of laziness, I end up making simplistic stuff that gets boring very quickly. To be honest the MD feels to me like it would be better suited for CV modulation only (especially doing those tricks you describe with its inputs) rather than using it to sequence pitch like I'm doing now.

I've been looking at 1010Music's Toolbox or Squarp's Hermod to replace the Pamela's New Workout + MD combo I'm currently using to sequence the synth voices (I use steppy for the Pico DRUMS): more sequences, more tracks, hell, with one of those options I could maybe even remove Pam's New Workout entirely if it's really capable and feature packed.
I find the 8 sequences per project of the Hermod limiting as well, I posted a question on their forum yesterday to know if switching project can be done while keeping sync, no answer yet.

This is my shopping list for the sequencer:

ABSOLUTE MUST HAVES

- CV and Gate sequencing for 3 tracks
- Clock + Start/Stop via CV control
- Independent track length or clock division
- Around 26HP max, space in my rack is very limited and I dont want to end up with a rack completely full just yet
- At least 16 sequences of minimum 16 steps each

VERY APPRECIATED

- Mutes per track 
- More CV capable outputs and sequences for tight parameter control on other modules
- At least 32 sequences of minimum 32 steps each
- Scales (I suck at music theory)

EXTRAS

- More sequences/projects
- Transpose sequences via CV
- Variable gate length per step
- Value gliding between steps

Do you guys have suggestions, any opinions about the 2 last contenders I picked or other options I haven't considered ?

The fever for new modules is unlikely to leave me any time soon especially if I go for one of the above sequencers which could allow me to remove the MIDI module in 1U format to direct MIDI straight from the OT to the sequencer, this would open up some more space in that 1U section. In fact, there is a O&C module for the Intellijel 1U format (Plum Audio's 1uO_c 4Robots), I just haven't had the time yet to look at that module too much. How useful is it, what do you use it for, what do you think I should be using it for in my setup ? In short, why are you suggesting it, am I missing out ?

As for filters (addressing Garfield's points about this), I think Mannequin's Sisters (nice quality setting with CV input) should be a nice fit for the sound I'm going for.

Finally, my search for the 3rd voice is nearing its end, the fight is between Noise Engineering's Basimilus Iteritas Alter and Mutable's Plaits, I'm currently heavily leaning towards the latter. Haven't played with the BSA and only a short amount of time with the Plaits but it seemed very deep in terms of the different sounds you can get from a single algorithm, and it has more than one :)

This is the current plan for the future:

Asked Coralie by email. Maybe she tried this module and got an opinion

EDITED Oct 14th 2019, 14:54

Guys, is there just ANY video, where we can see how this module is operated by a professional theremin player playing a melody?

11 videos of bleeps'n'bloops and one about Etherwave Pro is no good at all.

Thanks for the advice!
Most of the modules you suggest are new for me so I have to check them out.
Self-patching Marbles is a part of my toolbox for generative stuff.
In Disting I mostly use Quantizer, Waveshaper and Sample and Hold.

Hi Jmeager,

Perhaps it's as simple as that one (or more) of the modules was wrongly connected to the -12 V? It's usually the red line on the ribbon and usually the white line on the PCB board. Please check that carefully as well for each module and also against each of the manuals that usually comes with the modules to see where the -12 V is (or download them from the respective manufacturer's websites). Of course please follow the instructions above from Lugia too!

Before blowing up more power supplies, the best thing is to take your modular system to your dealer (if that's possible) and have them tested it, if they blow up yet another power supply at least it wasn't your fault ;-)

Kind regards, Garfield Modular.

First up, move the I/O jack pair modules to the ends of the 1U row and co-locate their functional modules there. This gets these cables out of the way of the patchpanel. Then dump the buffered mult, since you've really not got anything here that requires it; use some inline mults or stackcables instead to save space, and this would open up a bit more 1U space for something like Intellijel's reverb tile.

Reconsider your module ordering here, keeping your SV-1 in mind. Try and lay out the 3U modules in a similar manner to the SV-1, since this will make crosspatching the two systems a bit more intuitive. In other words: Steppy is left, then Plaits, Filter8. Above this (or close to it), relocate the clock/S&H/slew tile, since all of those are needed at left. After this, place modulation: Batumi, Function, Stages. The Mutamix should be at far right.

I'm presuming your MIDI interfacing is via the SV-1, so stacking that close by the Steppy, Plaits, clock, etc will be helpful.

Now for the bad news: you have no VCAs here save for the one (semi-dedicated) on the SV-1. Part of this is due to the mixer you've chosen; the Mutamix can automate mutes...but NOT levels since it has no CVs. You can add a Linix, since the Mutamix is designed to connect to that via a backplane connection. I wouldn't do that, though, since now we're talking about a 34 hp module pair that costs over $600. A much better choice would be a Toppobrillo Stereomix2...which then allows you voltage control over levels on each channel, panning on each, AUX send on each, a CUE send, AUX send/return for effects, etc...AND it costs $479 and fits in 24 hp. This then takes care of your audio VCAs, plus stereolocation, bringing FX in and out...but you also need a couple of VCAs for CVs and modulation signals so that you can control their amplitude as well. So, back to Intellijel and their uVCA2...a pair of summable DC-coupled VCAs with adjustable response. That should do the trick in only 6 hp.

Now...consider adding a waveshaper, perhaps. Tiptop's Fold Processor will add quite a bit of timbral variation, particularly if you route the Plaits through the SV-1's mixer to combine it with its VCOs, and then into the Fold before filtering. The Fold also gives you a suboctave generator...great for creating very destructive bass!

If you were to lose anything from the 3U modules here, it probably should be the Make Noise Function. For one thing, you have a dedicated EG in the SV-1. Secondly, there are smaller two-stage EGs out there, and you can probably jam that same sort of function into a smaller space with something like an ALM Pip Slope (4 hp), Erica PICO EG (3 hp), or a 2hp EG (2 hp...obviously!). Done right, you can cram all of the additional modules above into this 4U cab and it should just fit!

Step 1 - add up all of your modules' current draws, then increase that by 1/4th. That additional draw amount is there to deal with inrush current, which is what you get for the first fractions of a second when the rig is turned on. If the final amperage figure there exceeds the current ratings of the P/S, then you've probably found your problem, and you'll need to replace the Arturia supply with something beefier. If not, then...

Step 2 - After acquring a new supply, remove ALL modules from the rig, then take some canned air and blow out all of the headers on the distro. If there's a bit of wire or something else conductive in there, this should remove it. Shrouded headers are very convenient, they tend to prevent mispolarized connections or connecting a ribbon a step or two off from its proper alignment, but they can hide bits of crap...and if one of those is shorting something, that dead-short will do that. Once this is done, turn on the rig with only one module connected. If the supply blows again, the problem will be a defective busboard. If not, then...

Step 3 - Start adding modules one by one, checking power integrity each time you add a module. And before each time you do this, remove the ribbon from the module and visually check each ribbon beforehand to make sure there are no nicks in the insulation, no shorted-looking bits around the connectors, and especially nothing that looks burnt...as there's enough amperage there to melt insulation if there's a short. Having done this, then blow out the power connection on the module (AWAY FROM THE OPEN MODULAR! You don't want to blow something into the cab to start the whole mess all over again!), then replace the ribbon and connect the module to the busboard. Turn on. If nothing happens each time, then WIN!...you probably had something in a module header. But if the P/S blows up yet again after reinstalling a module, the fault is with that module and now you know who to contact about their defective product.

Yes, this sounds like a kludgy way of troubleshooting a power issue. But the fact is that a typical Eurorack contains so much that's going on on the inside that, without a test module (such as Synthrotek's TST or vpme.de's p0wr) that lets you check module functionality, this is about the only systematic way to do this. Annoying, yes...but it comes with the territory. One other suggestion would be to invest in a cheap multimeter. With that, you could check the busboard to see if there's any continuity between the "hot" rails and ground (WITH THE POWER SUPPLY REMOVED AND RIG OFF!!!). If you see continuity between those, then something's wrong as those rails should only connect through the components connected to them. And while the Arturia Rackbrute distro does have filtering, none of that should be a problem as long as you check for continuity in BOTH polarity directions; if you see what seems to be a short, then reverse the polarity of the multimeter probes...and if this persists, then it IS a short. If not...then no, you're just getting continuity through a polarized component, and reversing the direction of current causes the polarized component to block the multimeter's DC. That's what you want to see.

Which brings up another point that needs to be mentioned: modular synthesizers are NOT entry-grade technology. Not even close. While this all seems like plug-n-play stuff, really, it's not...and there's a certain level of technical capability that anyone considering getting into modular synths needs to have before spending that first dime on a new rig. Having a multimeter and knowing how to use it is important. Basic skills with electronics tools such as soldering irons and wire strippers...those come in handy more than you'd think, if just to repair patchcables. Understanding how to logically troubleshoot by elimination (what's going on above in this post) is an essential. And a good appreciation of what an amp or two of "low-voltage" DC is capable of is another essential...which, frankly, you don't want to obtain first-hand.

you could try self-patching marbles a bit - probably find you need more utility modules - which would be where I would start to add to get the most out of this system - kinks, a few mults (or stackcables), a sequential switch, a matrix mixer all great for extending, modulating and moving modulation to where it needs to be - which in this case is marbles!!!

another great module for adding to modulation, especially over longer time periods, is the nlc triple sloth - 3 slow, slower and slower chaotic modulation sources - great for mixing in with other modulation

what are you currently using your disting for most?

how are you sequencing v/oct? maybe something to address that - otherwise, a small utility mixer, a couple of attenuators (2hp) and a disting mk4 would be my votes to just plug the physical gap and (any) gaps in functionality

I'd be tempted to go with a smaller mixer - you've got relatively little to mix for audio

the best advice is to go for as little as possible

maybe just get stages, the filter, plaits and the quad vca to start with and add a disting - and a sequencer if you need it

play the hell out of them and learn as much as you can about each module - try using different disting algorithms to see what they do and think about why you might want them. or not as the case may be - if you find yourself using the same one constantly then buy a module for that mode and use disting for something else

Hi,

I have a Rackbrute 6U filled as below.

Earlier this week, I turned the power on then everything came on and suddenly went off.

After this, the brick power supply no longer lit up, even when trying alternative kettle leads.

I received a new power supply from Arturia yesterday and have just turned on the Rackbrute again using that new power supply.

Exactly the same thing happened.

I'm now unable to use the rack at all, and have a seemingly dead power supply brick.

I'm relatively new to this - what could be going wrong?

According to my rack on Modular Grid, I'm well within the power consumption of the Arturia rack.

(By the way I've posted this on MuffWiggler too - desperate to sort!)

EDITED Oct 12th 2019, 16:00

Thanks again for taking your time helping me.
What I mean with ”OK” is that I can make some generative patches but they are very basic. The reason is hopefully that I do not yet have the knowledge and skill for more advanced patching. But then it is up to me learning more.
I have read quite a few comments from you and others about newbies racks aimed for generative music that says that their racks are unsuitable because they do not include certain type of modules.
My guess is that even my rack needs some more modules. That was the purpose of my question.

Hello,
I am new to Modular Grid and Eurorack. Spent the last few months researching and have put together a preliminary rack.
Would love to get some expert advice on any negatives I am not seeing. Maybe unnecessary crossover between modules etc. Right now I just have the case and 1u modules.
Musically, I want to have as many options as I can. I am also pairing this with my Lifeforms SV-1.
Thanks
Groc

Yes I was hoping to Explain it better
I also eliminated some modules and left what I actually have
In order to avoid confusion

EDITED Oct 11th 2019, 22:05

This is the same set-up you posted in another thread yesterday.

You'll have to describe how this is working "okay" for you. Everyone has different needs and expectations. So just looking at this and telling you where to go next isn't really possible. How is this set-up falling short of your goals? What more would you like it to do?

Sorry for the Confusion guys
I'm pretty new at this.
Lets start again
The way I m using this set up is to obtain some sort of ritmic randomnes
In my sequences and record it Midi in the MPC. (The results are pretty good)
My main question is about the doepfer A 192-2 CV to Midi module
Since it has 2 independent channels
I m still not able to figure out how to use the second channel so I can run 2 random sequences from 2 different midi channels
Right now I have it's midi in going in to the out of my MPC 2000xl
Which controls other Synths:
Roland D110
Akai S2800
Volca Bass
Volca fm
Then the A192 goes to the blue lantern Quantizer for pitch (thru an LFO and or Sample &hold) and Temps Utile for ritmic randomness

-- Carlobrunetti78

Your description doesn't make a lot of sense. The A192 converts CV and gate to MIDI. So the path you're describing is out from the A912 to the Quantizer and Temps Utile.

The A-192-2 only works on POSITIVE voltages. So if there's an LFO in the mix, you'll have to offset it so that there aren't any negative voltages flowing into the A-192-2. It will just ignore negative voltages.

By default the first set of CV inputs goes to MIDI channel 1. The second set goes to MIDI channel 2. There are 16 possible MIDI channels available over a DIN MIDI cable. I would test these inputs. If you can connect the MIDI out to a computer MIDI input and run any software that's capable of displaying the raw MIDI data coming in, you could confirm that the unit is functioning properly.

The way I'm using this set up is to obtain some sort of ritmic randomnes and record it Midi in the MPC (The results are pretty interesting)
My main question is about the Doepfer A 192-2 (CV to Midi module)
Since it has 2 independent channels
How do I set the second channel so I can run 2 random sequences from 2 different midi channels?
Right now I have it's midi IN going in to the OUT of my MPC 2000xl
Which it controls other Synths:
Roland D110
Akai S2800
Volca Bass
Volca fm
Then the A192 goes to the blue lantern Quantizer for pitch (thru an LFO and or Sample &hold) and Temps Utile for ritmic randomness

Bought a Plaits from @StateAzure . Really friendly seller, good communication and fast shipping. Would buy again.

Sorry for the Confusion guys
I'm pretty new at this.
Lets start again
The way I m using this set up is to obtain some sort of ritmic randomnes
In my sequences and record it Midi in the MPC. (The results are pretty good)
My main question is about the doepfer A 192-2 CV to Midi module
Since it has 2 independent channels
I m still not able to figure out how to use the second channel so I can run 2 random sequences from 2 different midi channels
Right now I have it's midi in going in to the out of my MPC 2000xl
Which controls other Synths:
Roland D110
Akai S2800
Volca Bass
Volca fm
Then the A192 goes to the blue lantern Quantizer for pitch (thru an LFO and or Sample &hold) and Temps Utile for ritmic randomness

Based on Minibrute 2S I’m building a rack where I try to patch some generative ambient stuff. It works OK but I know there are a lot of modules and functions that I’m not even aware of that I guess can help me going further.
Would be very glad for some advice what to buy next.

Hello out there,
thanks and greetings back
(by the way actually you can download my whole discography for free if you want…..celebrating 25 years of my projcet)
bless

just received my morpheus from @ChristophRemmery. Nice transaction

package was awesome and so he is !

Loïc

I'm just not getting it, period. It occurs to me that this just isn't the right application for modular; it would make far more sense to control externals with a proper hardware sequencer (Squarp Pyramid, Kilpatrick Carbon, etc) than to try and cobble one together from Eurorack modules. Don't get me wrong...modular _is useful..._but this is one of those instances where employing modular synth hardware to do something that can be done more smoothly with a dedicated device just isn't the right move.

The Temps Utile is capable of a lot more than random sequences. The menu isn't that deep. Are you saying you can only make random sequences or you're just using it to make random sequences.

The Temps Utile outputs gates but no CV/pitch information. How are you getting pitch info to Plaits or anything else?

You have a 2HP LFO as well as the 2HP Euclidean module. They are pretty redundant in this build considering that you already have 3 additional LFOs and the Temps Utile can run six different programs simultaneously, any and all of them being Euclidean with a lot more options than the 2HP unit.

I'm in club Intellijel... Lycans rules!

Building in a small case is akin to going from building grandfather clocks to wristwatches. The amount of knowledge and precision becomes of the utmost importance. Getting the most mileage out of a handful of modules requires this knowledge and experience. Getting a small rack correct the first time around without experience is going to be a tough task.

Ambient tracks produced via modular generally have lots of modulation involved... some blatant and a lot is very subtle. There's going to be lots of small modulation in order to keep the sound fresh and evolving. Listening to one plain oscillator drone on... not very entertaining.

People are enticed to start with a small rack because it's less expensive to put together. But if it can't do what you're hoping it will do, you're throwing your money away.

+1 on VCV rack. That's what I started on (even though I've been into synthesizers for about 30 years). If you can build the sort of ambient patches you like in VCV Rack, you can translate all of those virtual modules into a shopping list for real world modules. VCV Rack is FREE. It does have some paid modules available. But nothing that's a show-stopper if you don't have it. Get in some virtual time before you spend thousands of dollars on real world equipment. Your bank account will thank you.