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Passing DC to your amp and speakers: this video should explain very quickly why you don't want that to happen. Ever.

My suggestion to all of this is to actually use a...yep...Eurorack stereo mixer with proper VCAs, CV control over panning, AUX send/returns, and so forth. Yes, they cost money and yes, they take up space. But they're the right choice inasmuch as, in this build, they're the right tool for the job. If the idea here is to control the shifting from sound to sound in an even manner via modulation, sure, you could kludge together a bunch of VCAs and attenuators and so forth. Or just do this, plus an isolating output module to both attenuate the synth-level stereo feed and to provide isolation to keep from passing DC, prevent ground loop and noise issues, etc.

Let's look at this...right now, you have a Rosie as a "mixer" (it technically isn't...it's a crossfader with a cue line and headphone amp) and you're considering using the Quad VCA and two A-183-1s as VCA + attenuation (which, I note, does ZERO for DC issues and noise/ground loops between your mixer and the modular). This, totalled in hp, is 30 hp altogether. And in monetary terms, all of those are $408.

Without chucking the Quad VCA (you need that!), let's see what we can do. My suggestion would be to look at the Qu-bit Mixology, which is one of the cheaper and smaller full-CV stereo output mixers at 28 hp and $399. This gives you full CV over levels, AUX sends, and panning over four channels, plus stereo AUX return, metering, mute and solo switches. Adding a suitable and well-featured stereo output for this leads to Bastl's Ciao!, which offers balanced TRS 1/4" outputs, two stereo input pairs (the second can be used for a second signal chain, or for paralleling another stereo effect), headphone amp, clip indicators, and so on in 5 hp at $122(ish). So, $113 higher in price but MUCH more extensive in terms of features. And only 3 hp bigger in terms of "footprint". Frankly, the price and size difference vs. benefit...for me, at least...would point me more in the direction of the Mixology/Ciao! pair. It does everything necessary for not much more in about the same space.

hmm... You made me consider a slight edit to the rack. I think I might add a Doepfer A-183-1 for passive attenuation of the synth into my mixer from which I can monitor from. If I don't monitor the levels from the mixer I would have a Rosie that I don't really get much out of. I could now just use a Quad VCA for mingling the Eurorack levels and then output them to the attenuators.

It would still eat up a ton of my VCAs but I also have better control of their level this way. I'm sure that would work for putting them into a mixer now, right?

Many thanks for taking the time to comment. I am on a learning journey currently and appreciate any help.
At the moment I am still finding out what each module can do, taking my time and am just creating loops. mixing them in with my other synths, which is fun. My thoughts for control are still in dispute. On the one hand I would like an outboard sequencer to control everything , Squarp Pyramid and Analogue Solutions Generator look fantastic but realistically a Beatstep Pro would probably Suffice. The other that is tempting, for a more organic feel, is some sort of random module like the Turing machine (or Marbles). Another idea I had was to get a semi modular like the Mother 32, which has a sequencer too). So comments/arguments for and against for these would be great.
I will bear the synth voice in mind though, mother 32 would be the first choice I think (although the Grandmother is lush too). I agree the Manther does look awesome and only 26hp! was looking at the Pittsburgh Lifeforms too. I did think I wanted to create my own synth voice though, and would need to add another 1 or 2 oscillators and definitely more modulation. so food for thought, thanks.

A VCA can be used to attenuate the signal. But that's just one signal. With a mixer, I assume you will have multiple channels of Eurorack level audio. So you'd need an attenuator for each signal. Six signals would mean six attenuators. If you're using a VCA for each, that's six VCAs. Which is expensive for just simple passive attenuation. Your mixer may have enough headroom without it and then you can turn down the input trim if possible. It really depends on the design of your mixer.

I wouldn't plug Eurorack levels directly to a powered speaker. You might end up blowing it up with high levels overloading or high levels of DC current being powered through the amps if the speaker isn't guarded against DC.

You can always conservatively try out the inputs by using an attenuator pot'ed all the way down then bringing up the levels while carefully listening and watching the meters on the mixer. But I wouldn't do something like taking the raw output of an oscillator and plugging it into the mixer.

Hi, Lugia and Ronin1973!

Thank you - your knowledge and experience is greatly appreciated. :)

I read an indication that Rings provides additional synthesis (sympathetic strings and modulated/inharmonic strings), as well as a kind of "strum" polyphony. Rings also offers 2 separate outputs for even/odd harmonies. I'm not sure what exactly this means, or if I would miss these features going with Elements. The idea of something polyphony-like seems quite attractive to me.

Regarding audio input with an envelope follower, and external instruments, I would really like to be able to use the audio signal from a synth, a microphone, or perhaps even a guitar. I have some instruments and it would be great to be able to combine them effectively with the modules. Would Mutable Instruments Ears allow me to do this? Could this even allow me to start off without a module sound source?

I see now that my idea of using an ES interface and a DAW as a VCA is problematic. What VCA would work well with Elements or Rings? Could I somehow get by with one and not regret it, you think? Any recommendations would be greatly appreciated!

I will keep in mind to try to avoid getting locked into a painful solution. Oh, by the way, I'm very curious about the compromises and pre-planning that you had to do, Ronin1973.

Hmm... about reducing the level of the synth to line level. This is something that the VCA could do, right? I would think that if the level begins to exceed what, say directly to a speaker without the mixer between them, it would begin to clip and distort the signal and stress the material of the speaker. Do you mean that if it were to REALLY exceed line level it might cause me to smell burnt circuits?

Should I test it out just to be sure: both directly to the speaker and also through the mixer? Could I monitor the level on the mixer's VU meter?

External mixers:
The are less expensive than mixer modules.
They offer more features.
They don't eat up HP space.

Internal mixers:
Operate at synth level.
Can offer CV controllable features like pan, volume, etc.
Fit conveniently in your case.

If you're using an external mixer, you output synth levels from your case into line level inputs. Some mixers can handle it... others can't. You may need some sort of synth-to-line-level converters. If you pass an output from the mixer back to Eurorack, the volume levels will be a lot lower and you'll have to boost the signal somewhere (which can introduce problems with noise-floor, etc.). If you want to use a Eurorack effects unit from an external mixer's aux output... you'll see what I mean.

Eurorack mixers are bloody expensive with only a handful of channels and they take up a lot of HP. If you're lucky they might have EQ and maybe one or two aux sends but usually not.

So it comes down to needs, knowledge, and budget. Each approach offers pros and cons and there really isn't a "best practice" model out there. You just have to pick your poison.

EDITED Jun 13th 2019, 17:06

I started out intending to use Ableton as part of my Eurorack set-up. My conclusion was that it's just a very clunky solution that requires lots of compromise and pre-planning. I found that keeping everything "in-the-case" to be a much smoother workflow. At the end of the day it's about getting the sounds that you WANT rather than trying to manage an ad-hock set-up.

$0.02. Your results may vary. But don't get locked into a solution that looks good on paper but is a real pain in the ass in reality.

You have an oscillator, a filter, and a VCA. The Maths can pull duties as a envelope generator, but basically a very simple one in most cases.

How do you intend to control the pitch of the oscillator and trigger the envelope generator to then control the VCA? How do you intend on hearing the output? What about modulation of some of the CV inputs throughout the system?

The power of Eurorack lies in the modulation opportunities and being able to build complex chains of modulation to get something unique. For the amount of money that you're spending for the basics here, you can buy an entire synth voice in Eurorack or a semi-modular synth that's Eurorack compatible for a lot less money and with a lot more features. If you do a search on Synth-Voice in the module section, you'll have tons of options to get yourself going. The Manther looks pretty tasty to me. Take the money that you save and buy some sort of sequencer, effects, and some other useful modules. A proper synth voice will stay useful no matter how large your system grows. Sometimes it's a lot more convenient than patching up a basic sound if that's what you need.

So I have a Rosie in my Case, really nice that I can fade in between oscillators and effects but I also know that I can use an external mixer for the same thing, patching directly out of a VCA is also a thing and it would help free up some HP to add some more utility: S&H, Envelope Follower, maybe even some more VCAs.

I was thinking of replacing the Rosie with a Cold Mac, I love the Mannequins line of modules and really think that having Cold Mac along with some LFOs and other VCAs would be really fun for slowly blending sounds in and out of the patch. Would love some critique on the decision.

no boollie pls

You should be able to use one of the four channels of Veils as a "stand-alone" attenuator (when you plug into one of its outs, it breaks the normalization to the channel below), and Maths can also do this, so I think you are pretty well covered with attenuators.

My recommendation for an offset plus attenuverter would be Happy Nerding 3xMIA, which is awesome. But again, I think you are pretty well covered in this regard, and that wouldn't be my next step.

For modulation, I would go with Zadar rather than Batumi. Zadar is great as an envelope generator and for general modulation (but admittedly, I have never used Batumi).

But how are you generating frequencies and gates for the VCO? How about a sequencer, quantizer, or a signal & hold for that? Or a Midi to CV converter if you like to play a keyboard into it? Or Marbles, that would also take you some way in this direction.

This is where i have now got to on my 1st row and wondering where to go next. would like to get levels under control ( clipping quite a bit ), so i guess some sort of attenuator or would an output module be better? I quite like the look of MI Shades as Dc offset could be useful? Intellijell Triatt? Or should i just go for the 2hp Trim for now? or the ALM Hpo for line level output. Lots of good comments on the Rosie too.
Any views on Lfos would be helpful too. looking at the Batumi but I am also drawn to getting maybe a clock generator/modulator instead like the qu-bit pulsar.
any thoughts/views would be gratefully received.

Thanks for your opinion about 2HP that seems to be plausible.
I will buy Disting but as I will use reverb most of the time I think I need a dedicated module that just reverb.
Lugias tips about Purrvrrb seems so far to be the best solution for me.

In reverse order...

Rings is the resonator section from Elements. So, yes...and more besides.

Using an ES interface as a VCA in conjunction with a DAW is...well, sort of a waste. For example, let's say you plan to do this anyway. So, what has to happen is that your signal has to go to the ES's input, go through the conversion routine, get transmitted back to the DAW, processed in some way by the DAW to control the level, go back out to the interface and get REconverted back to analog, then back into the patch. Which brings in all sorts of ugly factors such as latency, digital jitter, etc etc. Plus, you're using some expensive jacks there to do what a basic, inexpensive VCA module does. And even if you wind up controlling that VCA via Silent Way, you're still using only one output channel for that function, and there's no encode/decode/latency/jitter issues. That's really how the ES interfaces should work; the input channels really work best in a send-only method, for either audio to stripe to the DAW, or to send clocking, etc data.

In theory, you can send audio to the modular via an ES interface (basically, it's a DC-coupled audio interface) from your DAW. But if I remember right, you'll have to have Ableton address the interface as if it were an audio output, and Silent Way wouldn't enter into this part of communication. However, given the nature of analog modular synthesis, you might be better off using a proper audio input module that also has an envelope follower, as that last device there can be very useful in shaping other CVable factors (especially timbre and dynamics) by using the audio level of the input signal. Setting that sort of thing up in the computer might actually wind up being a lot more fussy and unintuitive than the few patches and knobtwiddles that the modular solution would allow.

Speaking of Sweetwater, I note they're offering the Behringer 104 hp Moog-a-like cabs now. No power, but the price is dirt cheap. After all, it's Behringer.

And yes, Ronin...their vapor-to-product ratio sucks, and I'll second that opinion about their hype methods. While they might have a Eurorack cab now, those sorts of skiffs are easy to make: extrude metal, cut to length, add ends and sliders. No brainer. Sooooo...where are all those $100 modules? Little more difficult to make those, ainnit, Uli?

It seems that all Uli needs to do to press that "play" button on the hype-o-phone is to post up some CGI mockups and then hop on Gearslutz to make everyone there go batshit crazy. "Ooooo...ULI BEHRINGER is listening to us!!!" Don't you be fooled...Uli's doing what he wants, and he knows that TROLLING (essentially, that's what I see this as) his user community results in a frenzy that's better than (and cheaper than!) a million-dollar ad campaign. Frankly, I think he needs to STFU and deliver on all of this much-hyped vaporware like the Pro-One clone, the 100M clones, his supposedly-coming-eventually polysynth clones, the 808 and 909 clones, etc.

Gear talks, bullshit walks. Uli needs to put up AND shut up.

bought a quad VCA from @bonjoey and it works great, arrived ahead of time! thanks Joey!

Thanks for the information!

I have some follow-up questions:

1. Would it be possible to use Ableton or some external instrument (like a keyboard) as a sound source into Rings/Elements using CV Tools/Silent Way?
2. Would it be possible to use CV Tools/Silent Way as a VCA (by patching the CV or audio signal into the computer and back into the modular system again)?
3. Can Elements do everything that Rings can do?

Cheers!

Hi Ronin1973,
I do not have a modular setup yet, but as a guitarist using my guitar pedalboard at hand level for years, I feel I can answer you at least partially:

Depends on what you intend to do.

In my case, I liked to sample my guitar either with a looper at my feet or with a sampling pedal at my hands, which I would activate with my picking hand after the picking action (I use no plectrum, which probably helps). After that, I would manipulate the samples/loops with my hands.

If you intend guitar playing in the most common sense, then a foot-controlled setup is definitely better, but if you are into sample and hold manipulation, hands level controls are great.

In addition to this, my idea was using the guitar signal's envelope/gate along with a couple of expression pedals to control some things hands free.

I would be interested to see how anyone actually did that too in a live situation.

I've seen a few posts regarding Eurorack as a guitar processing rig. Has anyone successfully pulled this off in a live set-up? I ask because modular is a very hands-on format requiring at least one hand and guitar almost always requires two. How do you go about tweaking a Clouds module in the middle of a song?

I can see using modular for post processing especially if you're reamping the signal through modular. But I'm most curious about the ergonomics of actual use rather than being able to theoretically put it into practice. I'm not a guitarist by trade and it's for my own edification.

I find the 2HP reverb to be kind of meh...

As a utility reverb for a smaller part, it's fine. But due to the form factor you only get a handful of controls.

Another option would be the Expert Sleepers Disting if you just need some sort of utility quality reverb. Plus you get quite a few other effects to choose from. Under $200US.

This post was necro'ed (brought back up to relevance) recently. Interesting read.

Behringer is definitely cloning. Everyone is entitled to their opinion about it. I like it. It's what people have been asking for but it's either ignored or the prices are extreme.

Surface mounted electronics have brought down the cost of electronics manufacturing. The levels of automation allow for smaller design and much better quality control. But the savings, generally, were not passed on to the consumer.

Behringer's costs of production and even R&D are the same as any other major music manufacturer or at least within their realm of possibility. Affordable, great sounding instruments seem to be Behringer's mantra... and they are going back and giving everyone a taste of the classics.

More over, the experience gained in redesigning what is starting to shape up as every major analog synth of the 1970's and 1980's gives their engineers an advantage when producing new instruments. They've had hands-on experience with anything that was popular.

I detest their marketing versus delivery. Only a handful of models have hit the market, yet they've been marketing and hyping a vast number of synths and instruments that have still yet to hit the market several months after their announcement and prototyping.

Sweetwater and other dealers had to wait and wait as the Neutron was pushed back and back. But the huge numbers of pre-orders seemed to make up for it. If your inventory is sold before it even arrives, you already have a successful product.

Rings is technically a filter (yes, a physically-modelled resonator...but that's a very fancy DSP-ish filter, ultimately) and even if doing self-resonating things, you'll get a limited palette of Rings-generated sounds. I think you're thinking more of the Mutable Elements here...which is the Rings plus a modelled vibration source. Even so, without VCAs, modulation sources, etc, the results would be sort of meh. With the ES modules, you can have Silent Way generate modulation, which helps...but without similar audio signal control, you lose a lot.

Actually, only the 40X and 48X are 51mm deep. The 60 is the usual 34mm.

The nice thing about the depth figures on the 4ms Pods, though, is that when they say 34mm, they mean it. The power components are all hiding up under that rail area at the top, so there's no busboard, power supply, etc surprises that turn your 60mm deep cab into a 40mm deep cab. The only "extra" impediment would then be ribbons and making sure there's clearance for those.

Ah ha! I finally figured out how to post images.
The 1U in the center is not standard:

Is the row spacing accurate? I see two rows of Intellijel 1U modules and 4 rows of 3U. But the spacing doesn't fully gel with the 7U case layout... though one would work if you invert the case.

Take "maximum depth" with a grain of salt. How many rackspaces have access to this maximum depth and how many are much shallower due to components (like power supplies) eating up that depth?

Before you buy a case, research it thoroughly even if it means emailing the manufacturer. Nothing will destroy your rack layout faster than a miscalculation of actual depths of your case and the reality of your modules and how you'd like to place them in your case.

My eurorack is continually evolving. Here's where I'm at now. I have my DFAM off to the side now.

Here is my first album. This is a set of 10 live tracks from my modular:
https://soundcloud.com/mod_gene/sets/playlist
I'm calling it Platy Codon, which refers to the flower carved on the back panel of my modular.

Your VCA unit only offers attenuation via CV. This will limit your abilities to make the most use out of your VCAs. You don't necessarily want your VCAs to fully close. You may also have use for them to manually attenuate a signal. They also lack trims for the CV-IN portion, which means you have to use an external device to attenuate the signal.

IMHO I would ditch that VCA and possibly the Ears and the Malekko send/return unit to make space for a better and bigger VCA unit. The Intellijel Quad VCA is a good choice. There are tons out there that vary in size and capabilities. I'd only get the one you originally selected as a secondary unit to free up my more complicated VCAs and not take up too much space.

Noise Engineering makes mutes that are 4HP for four independent mutes with normalling to the set of mutes. The mutes are passive but have active indicator lights if you choose to plug it into your power.

I have two units. They tend to work their way into a lot of my patches to create variation: controlling modulation. I tend to mute with a Eurorack mixer (Sir Mix A Lot) with built in mutes for audio.

As well as DivKid's mutes, check out Joranalogue's Select Four. It has three-way switches for mute/unmute/momentary usage as well as a selector knob for a separate channel using one of your four inputs.

If you're looking for automation of your mutes then you're getting into -switch- territory. The principle is the same except you can use a control voltage to select an input. Of course, if nothing is plugged into an input it serves as a mute.

Thanks Lugia and Ronin1973!

If I may borrow my own thread to pose a related, and perhaps naive, question...

Could a system containing of only Rings, Expert Sleepers ES-3/ES-8, and a powered case like EricaSynths Pico Case, be viable?

I'm interesting in experimenting with controlling Rings using only software (in particular, CV Tools in Ableton Live). I would like to sequence and control Rings from Ableton (through ADAT to ES-8).

I would also like to record the output of Rings into Ableton.

Could that work? :)

Now that you're moving in a different direction, start a new thread. People will get confused by reading your original post and tracing the evolution is time consuming.

Just bought a PEG from @AlbertoBS and it was a really good transaction with very fast delivery in Europe.

I haven't tried what you're trying to do with an 8nu8r.
The A-119 does have an envelope out and a gate, as well as audio out.

If money is an issue the minimum setup I would recommend is 1/4" input and output modules, the Wasp Filter and an Erica Synths Pico DSP and a few VCA's. Next I'd get an Envelope generator and LFO to see how they effect the sound. You may want distortion or a different filter. I like the Erica Synths Dual drive for distortion. Basically refine the sound you're getting to the amp.
It's likely going to take a bit of experimenting to get through this process.

The Morphagene and Clouds are useless if you don't have sounds you like. I wouldn't get them until you get sounds you like going to your amp.

Also, search Google and YouTube for "Guitar through Eurorack" to see what other people are doing.

Good Luck!

EDITED Jun 11th 2019, 00:58

Needed more envelopes.

The Pod 48x and Pod 60 are deeper than the other pods, I belive 51mm is the max module depth if memory serves.

small update,
adding vcas, more envelopes and lfos.

https://www.modulargrid.net/e/racks/image/935032.jpg

Thanks a lot for the useful comments guys, highly appreciated!
I was definitely not aware of the possible grounding and impedance problems that I could have gone into.

The sputnik and wmd inputs and outputs look really perfect, but I am afraid they also are a bit on the expensive side for starting off.
Given that I could easily use a conversion cable between the jacks especially in the output, do you think I could use something like the malekko 8nu8r as output attenuation module?

For the input I am thinking about it, since ears has envelope follower but no 1/4 jack in, while the doepfer a-119 has the opposite problem if I remember well

@Triscus Nice nice nice, everything nice!

Hello People,

i have reworked my setup for now. this is still a virtual setup, so i am hoping for lots of feedback and comments... let me know what you think,

thanks a lot,

FJL

Any reason why the T-Rex Replicator has disappeared here? It was definitely here before, I have screen caps to prove it.

T-Rex appear to be gone out of the Manufacturer list. Have they done something to offend the admin? ;)

Thank you very much for all the good advices that I have received from you. I really understand that it is best to first have a musical goal and then examine what tools are needed to achieve this.
But unfortunately I am not a particularly musical person. But I love to create and experiment with sounds. My way of working is to find some sound, riff, rhythm or harmony and then start with that to create something. So I don't begin with any musical idea. Instead, it is the properties of the modules that give me my ideas. So I don't think it's so important for me to find the "perfect" module.

I agree with Lugia, ditch the Ears for something like Sputnik's EF/Preamp or consider a Doepfer A-119 Ext., they're easier to come by. Skip the138-d and look at conventional 1/4" outputs like a WMD Pro Output. I'd also add at least a few VCA's, reverb and delay.

OK...first of all, do you need this to have a quantizer for the incoming CV? Some harmony modules have this, others don't. If this is only ever going to see CV from MIDI or a keyboard or any other controller that outputs properly-quantized scalar CV, then you might not want this to have quantizing at the input. BUT...

...consider this: what if you want to use it without that controller's output? What if you want to take some voltage curves and then quantize these for chordal use? This could be quite useful. So unless you're absolutely, 100% sure that you won't ever use an input quantizer with this module, you might want that capability.

Second, you want memory. Something like this works much better if you have a way to store progressions and/or parameters for harmonic extrapolation. If I were you, I'd only be looking at modules of this type if they provide a storage method.

Third, you really should have a plan for using whatever you put into a modular system, particularly if the device in question costs a chunk and occupies a lot of panel space. Sure, these look like they solve a lot of issues. But then again, so would a laptop, the right software + an Expert Sleepers interface with an expander or two. Furthermore, you can use that ES interface for a zillion things, wheras a harmony module is great as...well, a harmony module. Can it record what you do on the modular? No, but the right ES interface can. Can it host a USB controller? Probably not, but the right ES interface can. Can it...well, you get the idea. Building a successful modular synth requires plans. Figure out what you want to achieve sonically FIRST...then start figuring out optimal ways of accomplishing this. Unless you have loads of space planned for your build, chucking in a one-trick module such as a chord generator may well be the exact wrong way to do what you're trying to accomplish here. Step back a bit until the G.A.S. rush dies off, THEN start trying to figure out how a system like this would fit into what you do. Do you even have a clear picture of what you want to accomplish musically? If not, then you might wind up building a very expensive thing that sucks in $$$ and only outputs annoyance.

I would think so...however, I'd also be concerned that there was a potential mismatch if the idea is to plug the modular right into the amp. While the A-138d is designed to be used with stompbox send/returns, plugging it directly into an instrument-level input might cause both some overloading and impedence mismatching. For that reason, you might want to look at a load-matching device such as Radial's Tonebone Dragster to correct any issues in that connection.

And admittedly, I'm not 100% sold on using the A-138d for that purpose anyway. It's not bad as a send/return, but I think there's better and, more importantly, smaller candidates for that out there (Malekko, Bastl, etc). As far as outputs go, though, get something that has some isolation on it (ground loop hum issues between synth and amp are a very real possibility!). But looking a little further, I do see something of a problem with using the Ears module as an input. For one thing, it has no direct input jack for a 1/4" plug. It's also intended as something of a contact mic module...not exactly what's called for here. My suggestion would be to look at Sputnik's EF/Preamp instead; this offers impedence matching for instruments, has a full-on envelope follower, decade-switched input preamp level control, and the proper sort of jack to hook in directly to the modular.

Some other options are Telharmonic (Make Noise), has its own voices. Elektrofon Klang is new and does 4x CV out. Modules like Braids and Plaits have at least triads, as does the WMD Arpitecht Triad. Get both types and all of them, obviously.

Klang looks good, doing progressions from memory.

Yah the Intellijel 7U seems like a really nice case. To keep the cost down just a bit, I may end up going with the Tiptop Audio Mantis, cost per HP seems more reasonable however I can definitely see the advantage of the Intellijel with those 1U modules and that nice aluminum chassis so that's something to think about for my build.

After taking a hard look at the original idea, and meeting up with a local musician that has a Eurorack setup, I have realized Eurorack and me for live work just does not gel, however it sparked some new ideas for the home studio.

First modules arrive tomorrow :) Starting with how I want to sequence (was able to find a Variatic Sequent which I really wanted, and I was able to find a Brain Seed, thanks for showing me this one mt3!). Next step I will figure out the case, then VCO, noise/random generator, VCA, filters, LFO, headphone out/line out, a logic module, etc etc

Here is the actual build so far...

Out of curiosity do people usually start a new thread when the rack idea totally changes? Or is it cool to keep this thread going?

I would like to have a chord module for my rack. I know there are two types: One that usually gives four cv otputs from one cv input like Harmonaig or Flames Chord Machine 2 and the other type with internal oscillators/voices like QU-Bit Chord v2.
I would appreciate some advices how to think before I make my choice about what type and what module I shall consider.
I have no specific plan how to use the module but I know I want CHORDS!

Who's ace? @robocoder!

Thanks, Roberto, for making sure my module made it from Japan to The Bronx safely - you saw it had arrived before I did!

Cheers, Benton

Last Jam : DARK PLANTATION
Elektron Analog MK1 + Arturia Beatstep Pro + Modular Synth

https://www.facebook.com/MusicSpringRolls/videos/2485203738164462/

Hi lugia,
Thanks for the input, I knew already about the pittsburgh, but i am actually looking forward towards having controls at hand and not at foot! :)
Lately I was having most pedals raised for that reason.
Would you have any idea if the doepfer's attenuated output could be quiet enough to be run into a guitar amplifier?