Depth in search results

If you sort by depth the actual module depth is displayed in the module boxes beside the HP info.
Modules without an assigned depth will be excluded from the result.
-- modulargrid

EDITED May 18th 2019, 01:32

Thank you Ronin for your feedback. Since I am new to modular synths I was under the impression that at least ACL focusses on a good audio quality level. Before I got interested recently in synthesizers, I kept myself pretty busy with HiFi stuff and to be honest, it is difficult to judge which module might be an interesting one for a good HiFi circuit and which aren't. I just heard that ACL seems to be pretty good if it comes to hifi audio. So that rumour I heard is that correct?

I tested at a local shop the Waldorf Quantum, I was pretty impressed by it and before you shoot me here straight away, please allow me to explain ;-) At that time it wasn't clear yet to me what I wanted, now it's clear to me I want a modular synthesizer system (containing, at a certain stage at least, several synths within that system). Since I discovered that Waldorf has modules for the modular system as well, I was kind of interested and wonder if Waldorf modules can be mixed up with ACL modules to form one or another way one kind of synthesizer within my to be future modular system. Mind that I mean with if Waldorf & ACL can be mixed I mean that from a hifi point of view, are they about equal level if we talk about quality (hifi) audio level. I heard again a rumour that Waldorf might not be up to the level of ACL. Naturally you are welcome to mention other brands that have & concern about high quality audio; naturally the con of that is the usual high prices of the modules. So yet another planned synthesizer within my future modular system would be less focussing on high quality audio more though on functionality and possibilities of the modules themselves.

So to decide for myself (you are right of course, one needs to made up his/her mind: what do you really want with your modular system) which modules from Waldorf & ACL I am interested in, well that's difficult to decide if there is barely nothing to look for and other than the manufacturer's information about it, there isn't much additional information on these both brands' modules. For Waldorf I couldn't find really much on the Internet (youtube for example), for ACL modules a bit more but still not too much to give me a good impression and enough details to decide into which modules I would be interested or not.

I therefore was hoping people could share here their experiences with any of the Waldorf modules except the CMP1 that one doesn't interest me much (there are only 5 if I am not mistaken, so minus the CMP1, the other 4 I am interested in) and though ACL has a few more, not that huge number either. Also just general impressions, pros/cons of both brands modules would interest me, just to give me an impression. Anything at the moment is more than I know now about both brands ;-)

For many other brands, I had already a chance to test several modules (per brand I am interested in) at a local shop nearby I live however Waldorf was not available for testing and for ACL only a few modules that didn't interest me much so far. Okay from ACL currently the two modules that interest me most would be QLFO and the VC Dual Delay, however if there are users who have great (or less great) experiences with other ACL modules such information would be still much appreciated.

Thank you very much in advance for sharing your experiences.

Thank you!

Looks a bit better now

Can someone please fix the image?

You'll have specify exactly WHICH modules you're thinking about acquiring. You'll also have to build-out an entire system from scratch around them if you choose to start your first case with them. Why are they a good decision for you specifically? That's a rhetorical question only you can answer. What are you looking to accomplish and what external gear will your Eurorack case be interfacing with?

Those ACL and Waldorf might be better purchased later on... depending on the modules. Maybe not. It's all going to come down to your needs and what the SPECIFIC modules you want can do for you. A lot of what you get out of a module is determined to what other module(s) it's connected to... so take Youtube videos with a grain of salt. Here are some results you CAN achieve with all the modules that are patched. Take away one of those modules and you might have a completely different sound.

Depth in search results

If you sort by depth the actual module depth is displayed in the module boxes beside the HP info.
Modules without an assigned depth will be excluded from the result.

Eurorack: you're about to spend a ton of money on a style of synthesis you can't really learn much about without spending a ton of money acquiring. There's enough " chicken-and-egg" to make a large brunch crowd full.

You will make mistakes. You will spend hundreds of dollars on gear you find of little use to you later on as you define your needs. You will then find that there is a use for that gear you wanted to cast off because now you have a better understanding of Eurorack.

Rinse... repeat.

It's an expensive journey that never ends. :)

Looking forward to this.

By the way, there's another typo, it says QuadrIphonic.

The Scarlett would be a good choice for recording. Here are some issues you may encounter: all audio interfaces introduce delay between the time the sound hits the interface until its recorded and played back through the DAW. This is called latency or sometimes referred to as lag. Most mid-range and higher USB interfaces offer the ability to mix the direct sound (your synth) and audio coming from the computer so you can monitor without lag. As long as you're not trying to listen to what you're recording through plug-ins IN your DAW this is an acceptable solution. You can get interfaces with very little delay (practically zero) but the cost goes up substantially.

The other issue is that Eurorack synth level versus line level (the level of operation in mixers and like gear). Synth level is hotter than line level. It's very likely that you can just adjust the input volume on each Scarlett input to compensate. Do your homework if this will work with the Scarlett. Ask around.

If you record each part on its own track (you'll need two inputs for tracks in stereo), you will have them isolated. You can process isolated tracks separately and is the best way to mix/edit your music. If you record everything as one stereo file you are basically stuck with what you have. Any effects (EQ, compression, reverb) is applied to everything in the mix... which is something that you probably don't want.

If you're playing live without a DAW, you'll have to decide if you want/need EQ, compression etc. You'll also need some way to provide them. I don't see too much of this inside of most peoples' racks. But they'll often use an external mixer that has EQ built in. There are several types of EQs and a reason to use each of them if the material requires it. Without getting into a big philosophical, technical diatribe, I wouldn't worry about it in the beginning. If it sounds okay, it is okay. Having EQ, compression will make your live mix better. But if you don't know how to use them properly (for now) it's more trouble than it's worth. The exception would effects like reverb, delay, chorus, distortion, etc. They are very important in defining your synth sounds and shouldn't be overlooked.

Next chapter... SYNC. aka how to lock your Eurorack tempo to your DAW's tempo for overdubbing more parts into the DAW for later mixing/editing. Do a little research and report back. :)

There's a lot to learn from your starting point and no easy way to explain it without you doing a lot of hands-on by yourself. You may... and I say may... want to subscribe to an online course regarding mixing and DAWs since there's so much to explain. You'll also get a better understanding about signal flow between your modules and your DAW.

Hey thanks Ronin1973,

I've been looking around and it looks like something like the Focusrite Scarlett 18i8 would be a good place to start, what do you think?

And if I understood correctly I could plug my gear into the Audio Interface and then to the computer via USB, I wouldn't need the mixer at all. This way I could even record multiple tracks at once using something like Reaper, which looks great by the way, thanks for the suggestion.

Then, having the sound in different tracks would also be easier to equalize, right? let's say I record the mix using Audacity and all I have is one audio file, no tracks and so, could I still equalize it properly? I guess it's more difficult and the results wouldn't be as good.

Anyway, do the same concepts regarding equalization and compression apply when playing live without a DAW? do I need equalization modules and so on? or is it something completely different?

Hello All,

I am new to this forum and I consider (nah rubish... I am pretty sure about it, no consideration needed here ;-) ) to buy a modular synthesizer system, since weeks I am at night for hours checking out on modules, the technic behind it, the websites of the manufacters, etcetera. A lot of fun while planning & checking :-) Can't wait for the moment to buy it however till then I have to be patience...

Currently I am particular interested in ACL modules and Waldorf modules. I couldn't find too many threads yet about modules of these two brands. Is there anyone who likes to share his/her experience with some of those modules? How is the (hifi) audio quality of these modules? The fun/price rate? Any particular cons/pros? Any feedback and/or information on any of ACL and Waldorf modules is very welcome.

Thank you very much in advance and kind regards,

Peter alias GarfieldModular.

leftmost 84hp is what's actually in the current 12U case
everything else is what i still have, but don't plan on selling

There are entire professions devoted to recording and mixing (I'm in one of them). I don't think a couple of paragraphs are going to do it in order to get you where you need to be. I'd recommend taking the time to learn some theory and practical knowledge. The most important part is experience... and you only get that from trying and making mistakes. I made several with EQ and compression when I first tried home recording back in 1991.

My first recommendation would be to buy a decent audio interface. I'd shoot for something in the $300 range for a beginner. This will dramatically improve your results once you've mastered gain-staging. I would also invest in a DAW. Reaper is surprisingly affordable at around $50US for non-professional use. The great thing about a DAW is that you can EQ, compress, etc. inside of the DAW... save all your settings... and then revise your mix later on. You'll also find it valuable for learning and practicing.

A quality pair of headphones and if you can afford them a quality pair of monitors will help. Bear in mind that when using speakers, the room that the speakers are in will ultimately impact what you're hearing with your ears.

Thanks a lot Lugia, it is very useful and I'm sure I'll be re-reading it a few more times while I do my research on the topic.

I did some business on the marketplace lately, safe place. I love it here

@galojz prompt replies, flexible seller, tiptop business > Thanks!
@NONETHELESS no remarks, great stuff > will buy again
@Con_Radius went local for the pickup, we had a great chat, perfect transaction > nice trustworthy person
@Surkit local pickup again, great transaction and thanks for the coffee > see you around maybe

OK, let's answer some of this, sort of out of order...

Not only will a cheap mixer cause noise, there are definite sonic differences between something cheap and something that costs more. And the difference there comes from component quality. Cheap stuff (like Ammoon, Alto, Harbinger, et al) cuts corners on components, with the result being looser tolerances, which sort of cascades as your signal path goes through the board. One sub-par component is bad enough...now consider what a couple dozen of them in an audio chain will cumulatively do. Plus, certain mixers have a very specific sound quality to them, most notably the English-designed/made ones. This is what makes a pre-Behringer Midas desk so desirable...but not so much a post-Behringer one, as these don't have the same rounded "English tone" anymore.

Computer line-ins aren't the right thing to use, nope. The culprit here is noise at your A-D conversion stage. This is due to the A-D on a typical sound card (or sound card on the motherboard, depending) being typically unshielded from in-case electronic noise, plus the fact that that connection is going to be a consumer-level (-10 dB instead of +4) line-in and it's also unbalanced, which tends to allow more electronic crud into your signal chain. The line-out isn't as problematic, but to get really good results on recording, you need an outboard interface that's +4 dB, takes either XLR or 1/4" TRS balanced lines, and has a proper ground. And one other point: everything in a recording setup should be star-grounded. By this, I mean that everything you use needs to have a ground that is the same as all other devices, usually done by grounding everything to a single ground point (hence the name). By doing this, you can lower noise and help avoid ground loop issues.

QuickTime is not only the wrong tool, it's also VERY out of date. Use a proper DAW. You already have Audacity, so try recording in that instead. I actually multitrack in Ableton 10.0.6...but I chop loops and clips and also do my final editing and normalizing in Audacity. It works better for that, while Ableton works beautifully on multitracking, track comping, and so on. Ableton is also not the only choice; you might look at Bitwig, which is similar but has some of its aspects more streamlined than Ableton Live.

Now for the last pile of questions...first, EQ. Technically, there's three types: parametric, graphic, and program. Parametric is the type where you can specify the frequency per band, the level at that frequency, etc; you often see these on mixing desks in some form or another. Graphic EQs are the ones with fixed frequency bands with level controls, and tend to see more use in live applications for room correction, but can also be useful for similar purposes in the studio. And program EQs are things such as Pultecs, where you have specific boost/cut stages with their own tailored frequencies, often also working on the overtone spectrum of the selected frequency. This last bit is very typical of the Pultec EQP-1A's low end cut/boost control, where the 'boost' also works on the overtones of the selected frequency, but the 'cut' acts like a normal shelf, with the -3 dB point at the frequency.

For the most part, a program EQ is the only EQ you should boost levels on. All other equalizers should be used to subtract from what's present in the raw signal unless you're using the EQ as an effect in some way. The reason for this is that it's easier to compensate for lower levels of something in a mix than it is to correct levels of some type that're too hot. For example, let's say that one track has a band in the lower-mids that's sticking out, a sonic 'lump' as it were. It would be easier to isolate the 'lump's' frequency and reduce that on that one track than to bring everything else up in various levels and bands to even out the 'lump'. But with a program EQ, what's being done is more akin to "sculpting your mix's tone color"; accordingly, most of the time you'll see program EQs on the final mixbus to do those timbral adjustments.

However, tinkering with EQ without a good monitoring chain...flat, unforgiving response from as low as is feasible in the bass all the way up to the ultrasonic...is basically pointless. It's like trying to read a map, but you've forgotten to put on the reading glasses you need...ergo, you're probably going to get lost. Never skimp on monitors...unless, of course, you're trying to check your mix on a more "real-world" equivalent, in which case you need to incorporate those "everyday" monitors alongside the other, more precise ones. And this, btw, is how you check your mix; if you need to know how something sounds on, say, a typical set of computer speakers, by all means use some of those after you've done your mix on the mains. But if something needs fixing as a result, do that work back on the mains again. Motown studios always had a pair of 6"x9" car speakers in some cobbled-together wooden boxes in their studios specifically because Berry Gordy wanted to know how their stuff sounded in your typical car...and of course, Motown stuff sounds great in the car because of this "check". Headphones, however, are not something you mix in unless you're specifically mixing for headphones.

As for compression, there are again several types. Limiters basically "smash" everything above their threshold level and hold the dynamic limit right there. More typical compressors have various (and often adjustable) settings for how aggressively the compression happens as the desired level is approached, plus what sort of degree of compression (ie: ratio) is needed. And program compressors, like their EQ counterparts, are more for riding gain and "gluing together" a mix while used on the mixbus. As for the right way to use these, first keep in mind that anything over 4:1 ratio winds up behaving and sounding like limiting, especially with a hard "knee" (that "aggression" setting) at the threshold level. To get a compressor to behave transparently, use lower compression ratios and softer "knee" settings, which will then allow the compressor to compress over-level signals enough to fix level problems but not to make the track in question sound like its being "mashed". Unless, of course, that's what you want, since compressors are also useful for adding distortion and overload character to sounds that can use a beef-up.

Program compressors, though...those are a bit different. In their case, you use compression to get the overall stereo level on the mixbus to "float" around the desired track's loudness without exceeding 0 dB. So the meters on a program compressor might be floating at around -3 to -5 dB, and you'll use the makeup gain to bring that result's level up to where you need it to be post-compression. These are a good bit trickier to use well; like anything else in music worth doing, they require practice.

As for what to use...that's up to you, and what sort of sound you're going for. A good place to start, though, would be KVR Audio (https://www.kvraudio.com/), which has a trove of free plugins. You should, over time, be able to find the ones that work for your music and workflow...but again, this takes time, because in this process you're actually tailoring your DAW to be your bespoke recording "instrument".

Hopefully some of that is of use...

patch notes for modules:
Ditsting mk4 alogrithm D2 tape delay

Pamela new workout:
97 bpm
outputs:
1 x1 squarewave math channel 4 trigger
2 /2.6 Trianglewave pwm spectrum
3 x2 squarewave korg clock (output to korg sq-1)
4 x4 squarewave maths channel 1 trigger
5 /1.5 squarewave (use to record gate to cv looper on 1 and te of beat. output cv looper chanel to popcorn)
7 x4 squarewave cv looper clock
8 /8 squarewave cv looper reset

Maths:
input 2 comes from korg sq-1

This may be a bit offtopic, so I'm sorry if MG isn't the place for this questions. It turns out I'm not only new to modular but to music production too, and there're some basics I still don't get. I hope someone can point me in the right direction.

The issue I'm facing is about sound quality in general. When I record my music it doesn't sound as clean or proffesional as I would like. My setup is quite simple at the moment, this is what I'm doing:

• One MI Plaits sequenced by a Minibrute 2, the out of the Plaits connected to the master input of the Minibrute so it gets mixed with the main out.
• The main output of the Minibrute goes into a desktop mixer.
• I also have one Drumbrute connected to that mixer.
• The main output of the mixer is then connected to the computer line-in for recording.
• In the computer I'm using QuickTime player for audio recording and I tried adding some compression with the Audicity software too.

I think this are some of the problems, but I'm not completely sure and I don't know how to fix them:

• I'm using a cheap mixer and it may be adding some background noise. Well, this is easy to fix, get a better mixer, but... is it my main problem?
• Using the computer line-in may be adding even more background noise. Do I need some kind of controller o external gear to properly record my music?
• QuickTime player doesn't sound to be the best option for audio recording, should I use something more like Ableton? is there anything simpler? I've never used Ableton and it looks pretty complex.
• Audio compression and equalization: I really don't get these two, I tried adding compression because it seems like everyone is doing it, but what is it? how does it work and how does it affect sound? Regarding the equalization: how can I get it right? how can I know if the mix is well equalized? how can I mke sure it sounds right in different headphones or speakers? and What gear or software should I use for equalization and compression?

There may be more problems with my recording process and I'd appreciate if you guys could point me in the right direction. Also feel free to suggest articles, videos, books or anything else that you think could help me understand the basics of sound recording.

Thanks!

We had a lot of technical issues with the availability of the server lately.
Sadly that was a hoster problem, out of our hands. Tonight at 5 a.m. ModularGrid will move to another VMHost and we hope that will fix the situation.
That of course means tonight MG will be down... again :(

Simple: you have output 4 and output other 4.

That's an ongoing problem...when you're dealing with little boutique manufacturers, you're not dealing with a company that can farm out its PCB fab and stuffing to someplace in Shenzhen. Sure, big firms can do that easily enough, but when the "manufacturer" consists of one or two people, supply and demand kick in with a vengeance.

As for stats, well, Sweetwater has a whole website and print catalog section dedicated to Eurorack. If there wasn't a sizable market for that, they wouldn't have bothered.

No out 3. Two out 4's.

A secondary "Wish List" tab would be great. So when building your virtual rack, there's Modules, My Modules, then My Wishlist.

I end up dumping anything I don't own and want to keep a tab on in "My Modules" then it gets flooded with stuff that I don't own.

Do we have any stats on the growth of Eurorack users in the last 10 years? I found the most frustrating part is hunting down modules that are out-of-stock at the retail level but not out of production. There's also some regional issues with people in Europe having difficulty getting American modules and vice versa... especially from cottage level manufacturers.

If you haven't ordered the case yet, perhaps an Intellijel 6U+1U case would be wise? You commented on not having enough buffered mults. That would solve the issue since Intellijel makes a 1U mult. They also offer the Quadratt that can do mixing, attenuation and attenuverting. You can replace the triat with the quadratt and claim the HP space back. They also offer a synth to line level and line level to synth level interface in 1U as well as a small headphone out. I'm not sure if the 1U vector scope will fit in there as well but it's worth a look.

The Integra Funkitus is fine. But you may get more use out of a Temps Utile. The T_U might also replace the Tempi. The Quadra could be replaced by an Ornaments and Crime which has a four output envelope/LFO generator that may get you what you want. The T_U and O_C are both available in 8HP units. That will save you 14HP.

An option to replace the MakeNoise ModDemix is the Befaco A*B+C. You'll save 2HP if the features are to your liking.

All suggestions to evaluate and then make a decision.

Bought an Endorphin Terminal from @smirnow - fast shipping with original box, and the module is like a new.
recommended seller, thanks!

Recent successful deals with...
@zfrucht @technoprisoner

Good stuff, well packed, all good.

Ah...now, if the idea of that uFold is to treat the two VCOs, you might be better off trying to jam a Tiptop Fold Processor in there instead. That module gives you dual inputs, and you also get a square-wave frequency divider for Roland monosynth-ish suboctaves. And even though it's 12 hp, it comes in at a lower price than the uFold. The circuit is a tad different, but the results from the Tiptop folder should be more or less the same...provided you only use one input, that is; the ability to unity-mix and waveshape, though, that's a definite plus and puts Tiptop's module into a different level of functionality.

Thanks to @Pineal. Easy and friendly, good packaging - ALL FINE! Good Seller!

Thank you both for the feedback!

I will check those modules, Mistakeets.

I have tried the Rene mk 1. And from seeing some demos with the Tempi and Rene mk2 I saw many new possibilities. The thing with other more linear sequencers is that they are too up-front and perhaps also quickly satisfying (I was considering a Metropolis) or they have too many functions in a more traditional and linear approach (Eloquencer is another one I had my eye on), which looks to me that I will be doing too much menu diving or button-combinations for results I foresee. I love randomness and unpredictability for my idea of a eurorack system. And the Wogglebug and Rene combo seemed a like a good choice. I imagine I will be able to move things and find myself in the hurry to make quick decisions, reacting to what is happening. If I can put enough time into jamming with it, I'd like to eventually do some kind of live performance.

What I am more afraid of if the lack of modulation and the excess of voices. I'm still a little doubtful about the Telharmonic. But I like the System Cartesian sounds and the Telharmonic plays a big role, plus I believe the Morphagene will allow me to do plenty of fun manipulation of all those sound sources. I consider any alternative you may direct me to.

And yes Lugia, that was the idea with the Dixies, to use the pair with uFold in a sort of complex VCO fashion, plus the possibility of doubling them in a more traditional two-VCO monosynth approach.
I know that a bigger system could provide me many more possibilities. But for the time being, going 6u x 104hp is more of a doable thing. Assembling this system will take me over a year. I will be adding a couple of modules at a time and there is the possibility of some deviations, of course. Nonetheless, I want to have some kind of plan in case I become too doubtful along the way.

I will take a look at this Erica Pico LPGs right away!

Actually, having a pair of the same or similar VCOs makes perfect sense. If you're using the Dixie II+ as a 'primary' VCO, then the II is an excellent choice as a doubling VCO, since the waveform purity and control behavior should be extremely similar. The Rene choice is also just fine, given that you've paired it with the Tempi; the two of those together are a very potent combo due to some shared functions between the pair. About the only change I'd consider here would be to remove the LxD and the Intellijel Unity Mixer (the TriATT next to it is sufficient), and swap in a pair of Erica Pico LPGs which then give you internal decay envelopes on 'ping' plus some resonance adjustments for better LPG control.

Hi there!

The first thing I noticed is the redundant Dixie. If you already have the Dixie II+, I would not recommend adding another Dixie. Course I could be missing some special application (Dixie in stereo? Do they feed off each other somehow through patching?). A different VCO or some kind of filter would be a better use of that space, or some more VCA.

Speaking of space, that Rene sequencer takes up a lot of HP. I am also in the process of building and from what I read people either really love the Rene, or dislike it/regret buying it. I have been leaning towards a Pioneer DJ Squid for my sequencer (has pads, cv/gate, midi, usb...about the same price as a Rene). Another thought if you have used a Rene before and enjoy it: put the Rene in a separate 4ms pod casing (maybe the 40hp model?).

Modules to think about:
Noise Engineering Pons Asinorum
Nano Modules FONT
Flight of Harmony Plague Bearer

Interesting thread!

For me, top-down works better than bottom-up. Here is what that means:

In a certain sense, I used my existing vanilla synths and fx as a modular system (on a different level) so far. When stacking synths, that´s similar to combining OSCs. Likewise, building processing chains like (Synth A open filter) -> (delay) -> (Synth B audio in) -> (pedals) and so on. I´d call this quarter-modular in contrast to semi-modular. Or quadrant-modular if you want to be a smart ass :D.

Next stop: Semi-modulars. Opening up the box-internal signal chains at some points, granting more access. A good point to get started and learn, as you don´t have to do everything from scratch, but can gradually grow into things. Just inserting a filter or adding that 2nd and 3rd LFO is pretty easy this way. Buying and learning on an "as needed" basis is more fun to me, as I get instant results I can use in my tracks.

And then of course, the next step is full modular, a.k.a. crack effect.

Hi everyone,

I'm planning the future of my system. I presently use Ableton Push for sequencing, but I've been digging Rene as a sequencer and the use of digital oscillators. Currently I own these modules:
Intellijel: Dixie II+, Quadra, Quad VCA, Scales, Triatt.
Doepfer Wasp Filter
Mutable Instruments Kinks
Only that. I'm getting a new 6u 104hp case that has 3 buffered multiples of 1 in x 3 out each.

How would you balance this up? Too many oscillators? Lacking modulation sources? VCAs? Too much of anything in particular?

My idea is to make music and jam around only with the eurorack system. I would consider something like the Keystep to play some melodies.

Any guidance is very much appreciated!

Thanks a lot for the suggestions! That definitely made me rethink some of my choices!

The Elements is going to be changed out for a Rings. The CV-controllable effects are a good point and thus, a 4MS DLD will be added to my list.
I forgot to add that I have a Behringer Neutron and an SQ-1 Sequencer. The Neutron can add some of the traditional stuff albeit not with full CV control.
Ripples is going to be changed out for Three Sisters. And I thought of a Just Friends for interesting modulations.
Tides also seems like a nice module, which gives lots of possibilities.

SMR and STO are scrapped altogether, since I should have enough sound sources between Rings/Pluck/Plaits and even Tides.

All in all there is lots to think about, and I will take my time to research more before I buy...

Big thanks to @hadj
Module as described, good comms, stupendously quick delivery.

OK, I admit it...the amount of super-useful modules that dropped in the past month was so unexpectedly HUGE that I'm sort of stuck. I got half of the ones for the month looked over...and still made three-plus pages out of that alone.

It's really only a problem for me, though. The deluge of Eurorack has seemingly reached the point where the run-up to Superbooth this year was a flood of amazing ideas interspersed within really good basic modules. So while it became almost impossible to keep pace (and work on my own music, studio upgrading, etc), it does mean that what we're seeing now might be an outbreak of some of the best new modules in quite some time. Brilliant ideas are afoot...the use of embedded processors, the hybridization of analog + digital, modules that literally change the whole game up...these came out in a torrent starting last month. This month, and while Superbooth is going on as I type this, has been just plain jaw-dropping.

So while it's a hellish time to review Eurorack offerings, I think it's safe to say that this is the most amazing time to be a synthesist since Bob and Don cobbled together their first systems. There is such a confluence now of the old, new, strange, and relatively normal that, while it's become nearly impossible for me to keep up with developments for the KICK ASS!!! columns, we have a wealth of new devices out there that're worthy of serious attention. For example, did I ever think someone would kick out a clone of the Korg KMS30 MIDI-to/from-DINsync box? No. But did Pharmasonic do exactly that? Yes. Or something such as 4ms's six-voice Spherical Wavetable Navigator, virtually a synth in of itself? Who could've seen THAT coming? And whole new lines in which everything was a "nailed it!" module, like Starling? What are the odds, really?

So, bask in the glow of many, many shiny new toys, MG denizens. Eurorack has come a long, LONG way since the days when it was just Dieter and a handful of others working with a weird adaptation from test and industrial process equipment to concoct the format. The gamut of manufacturers has exploded, ModularGrid has certainly played a part in ramping up the viability of the format, and the now-huge user base's demands for complexity, quality, and new ideas is being loudly and clearly heard. And all of that together is a very, very good thing indeed!

EDITED May 10th 2019, 23:19

Hi Everyone, just want to say noob rabbit in the headlights here, likin' this post lots. Doin' research into my modular build/journey and came across this post, which has helped me gain some insight into buildin' my first modular system :-)
Thanks guys :-)

The Batumi has a Poti expander. It's worth it if you're going to buy the Batumi. It gives you instant access to sync, reset, and alternate LFO waveforms that can only otherwise be set by changing jumpers on the back of the unit.

You're resonator heavy. So is that something that you want more of? That 4MS module eats up a lot of rackspace. I'd keep in on the wishlist... but for case #2. You might even go with something other than a resonator like the new Make Noise QPAS, a Modor Formant Filter, or an Addac filter bank etc.

I'd recommend more CV compatible effects modules. You have Clouds. But a nice dedicated delay and a nice reverb unit would play well. What you have in pedals is fine; but being able to modulate the settings is much better.

You definitely need more utilities. They aren't cool or sexy but they are the backbone behind generative patches. Voltage/gate controlled switches, envelope followers, logic modules, attenuaters/attenuverters, comparators, hardware sequencers (like small 8 step sequencers), etc. should be researched and under consideration.

The Zadar seems very popular and an expansion for it just came out. But I wouldn't overlook traditional ADSR and other traditional envelope types for this build even if you do decide to add a Zadar.

More VCAs. A bank of simple VCAs will give you a lot more control of this case. Intellijel makes a 4 VCA unit that's very flexible.

You definitely need some envelopes. Consider at least a dual ADSR, or a module with multiple AD envelopes.

The Pluck is a bit redundant, as there is really nothing it can do that the Rings doesn't already do (unless you had in mind using two Karplus Strong type voices simultaneously but that would require more complex sequencing).

The Elements is capable of a wide palette of sounds not possible with standard VCO / VCF / VCA flow, but the resonator portion of it is already there in the Rings module. Unless you really want / need the odd sounds Elements can make...... you might find yourself just using the Rings for the resonator when not using it as a voice on its own.

I'm sure more experienced people might have additional thoughts but those were the obvious observations to me.

EDITED May 13th 2019, 13:07

Hi,

I´m new here and to modulars, so please be patient with me :). Is there a way to "favorite" modules or even put them on separate lists, like for example in the thoman webshop or on amazon? Would be nice to have a few lists like "want to buy next" "look for these used" "filter modules" etc.

I understand the "my collection" list as an inventory of what you own and the best idea I had so far is building racks for that purpose or oversize the one I´m planning to build and put the options in the spare rows.

Thanks,
ID

Nice! Are you in Poughkeepsie?
-- Shakespeare

Hi thx for your feedback. No I'm from Sardinia but I liked so much the Poughkeepsie movie.

Nice! Are you in Poughkeepsie?

Hey everyone,

I'd like to ask for some opinions for my rack, specifically my choice for the next modules I am going to add.
My goal is to make music similar to lightbath, ann annie, r beny and the likes on youtube.
As for my rack, I am using a powered Doepfer case, the first two rows are the modules I currently own, the bottom row are the modules that I thought would be usefull to add next.

• SMR: for textures and filtering, the sound on its own really struck me.
• Batumi: I need an LFO, and a quad-LFO seems like a good choice for additional modulation.
• Ripples: as a dedicated filter besides the SMR. Other choices are Three Sisters and Belgrad.
• Rings: I know, it's somewhat of a cliche by now, but I really like the sound. Contemplating to let Elements go over this.
• STO: additional voice besides Plaits, but I am unsure if I really need this, since Plaits/Rings/Pluck/SMR/Elements are lots of voices already

What other modules do I need? I am thinking modulation, maybe an envelope like the Zadar/Maths/Tides/Stages? A uO_c is also in consideration for its sequencing/quantizing/randomization capabilities.

I also have a Strymon BigSky and a Delay pedal, so I am going to be using those for effects first, although a 4MS DLD is something that I am thinking about down the road.

Any input is highly appreciated!

toneburst was great! Awesome support & quality

Hi all,
I just wanna share with you my first fully modular EP

https://mebitek.bandcamp.com/album/a-dark-modular-tale-ep

here's the video of the opening track

"Then I saw an angel coming down from heaven,having the key to the bottomless pit and a great chain in his hand.He laid hold of the dragon, that serpent of old"

All track has been performed with Eurorack Modular Synthesizer built based on Make Noise Shared System except for the cello part (Cinesamples Tina Guo Acoustic Cello Legato VST)

Video are made by original deepweb footages and extract of Stephen Sommers Van Helsing movie edited by mebitek.

A DARK MODULAR TALE EP:
two tracks for about 20 minutes long dark modular experience.
01 - Never Forgive (Poughkeepsie Tape) - 06:32
02 - A Dark Modular Tale - 11:44

comments, critics and suggestions are very welcome
best regards from Sardinia

EDITED May 8th 2019, 08:03

Thanks again. You have been very helpful and now I have a much better idea what to do. First examine the Minibrute and then buy modules one-at-a-time and learn them before next buy.
Several of the modules you recomended are new for me and they looks very interesting.

Looks good. But the smaller you build a Eurorack system, the less advantage it has over a synth-voice or semi-modular synth. Compared to a semi-modular, it's a lot more expensive for the same or less potent feature-set.

Maybe I have to learn the Minibrute in depth before I even start building the rack?

Yes, yes, a thousand times yes. :)

The more you can get out of the MiniBrute (as far as knowledge), the better shape you'll be in when selecting and incorporating external modules. You can also think of it this way as well: the money you'd spend now and regret can be added to what you'd spend upgrading your set-up along the way. So a budget of $2000 today might be $3000 a six months/a year from now when you have more knowledge and developed some preferences. Don't be afraid to get into Eurorack. But temper your enthusiasm to avoid costly, early mistakes.

Edit: the Koma is nice... you can also add another semi-modular synth like a Behringer Neutron for like $300 and use its features as a Eurorack toolkit... extra ADSRs, extra filter, slew rate limiter, sample and hold, etc. Also, no need to buy a powered case. So for $300 along with the MiniBrute you've got enough kit to do a lot of amazing stuff.

EDITED May 7th 2019, 16:51