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Wow guys I was not expecting all the trouble you went trough thank you so much for the help! As much as I love the toolbox idea it is a bit out of my budget right now. What do you think of using marbles and get one more oscilator? I could even get a pico drum to get some lo-fi rhythms going on. I am still exploring and getting to know modules while experimenting on vcv rack so new ideas keep coming! I also love the juno chorus since it was my favorite thing about the tal-u-no-lx plug in. I was even thinking of getting the upcoming tc electronic pedal for my guitar based on it!

I hope that's not your actual module draw, because if it's that close to the rated maxes for the Doepfer PSU3, you're going to wreck that P/S. A sensible rule of thumb is to never exceed 2/3rds of the rated amperage per rail; this allows the P/S to run cooler, extending its life, and also reduces the likelihood that inrushes on power-up will momentarily exceed the P/S capacity. There's also a lot of other things not quite right here, but I'd like to know if you've pushed this build to a zone that's too close to P/S damage.
-- Lugia

yes this is my actual module draw according to modular grid. I was assuming it is correct. 1375 mA +12V | 985 mA -12V

please tell me more. i was not aware of only being able to use 2/3 or the power. I was under the impression that 2/3 reserve was for switching power supplies and this is a doepfer that is not a switching so I could use all of the rated power

EDITED Jan 11th 2019, 00:09

OWNED
- bloomery volume pedal
- strymon zuma
- meris m7
- morgan od
- chase bliss audio warped vinyl

NOT OWNED:
- board: temple solo 18
- tuner: https://pedaltrain.com/products/sst-space-saving-tuner
- strymon volante
- morning star mc6 midi controller
- jackson audio bloom
- disaster area Midibox

EDITED Jan 14th 2019, 20:27

Great read here, again, Lugia.

I pondered similar questions as I just recently jumped into modular. Even though I did my research, still a few things I’d do different. It just uncurled to me how big the DPO really is. Also, many cool modules are now available as micro-units (clouds, marbles, braids, plaits...). So, gotta swap them at some point. I didn’t go for a particularly small cab, but it’s quickly apparent how critical function density really is. I love XAOC in that regard is awesome with the 10 HP Batumi and Zadar.
And, yeah, mixers. I quickly learned that you’re going to want those for CV and audio separately. So one bottle neck for me is that I rely on a single triple bipolar.
Also, do you plan to integrate your system with other gear? MIDI and/or audio I/O seem to be missing (need for a dedicated audio I/O was something I hadn’t considered).

I hope that's not your actual module draw, because if it's that close to the rated maxes for the Doepfer PSU3, you're going to wreck that P/S. A sensible rule of thumb is to never exceed 2/3rds of the rated amperage per rail; this allows the P/S to run cooler, extending its life, and also reduces the likelihood that inrushes on power-up will momentarily exceed the P/S capacity. There's also a lot of other things not quite right here, but I'd like to know if you've pushed this build to a zone that's too close to P/S damage.

Well, problem #1 here seems to be that there's a lot of big footprints in a smaller-sized case. The Batumi addition is a better direction to go in, where you can have a lot of function in a much smaller hp count. As for this being "too heavy" on sources...hm...yes and no. Having plenty of VCOs is a good thing, however you make it fit. But having too many "showpiece" sources...not so much so. In this case, you've got three: the DPO, Cloud Terrarium, and Mysteron. The only "basic" VCO present is the STO...and this neglects the ability to have basic, boring, utilitarian VCOs as effective audio-frequency modulators, either as FM sources for other oscillators or as mixable audio sources to add to other oscillator signals with a bit of detuning and/or waveform difference to beef up basic sounds. This is something you might want to reconsider, perhaps losing the Mysteron in favor of a few very basic VCOs for those purposes.

Dynamix...no. You have a pair of proper vactrol LPGs in the Optomix already. What's needed are...yep...boring, dull, sleepy VCAs. Again, this goes toward sonic complexity. Dropping something like a Doepfer A-135-2 quad VCA into the Dynamix's space would then give you four DC-coupled linear VCAs which can then be used to process CVs, LFO and other modulation signals, as well as mixing these if desired. Yes, VCAs are boring. But they're also bread-and-butter devices when it comes to being able to create complex control paths.

Another glaring omission...and also boring stuff but necessary: mixers. I don't see any...and that's a crippling issue. You can't make really good use of all of those audio sources unless you also have the ability to mix some of them together. That last thing I suggest above, combining the STO output with some other source's...you actually don't have a good way to do that right now. Like VCAs, mixers are boring but 100% essential. You need ways to combine audio and CV/mod sources; the whole point of "synthesis" is to reach a sonic result by combining signals to create very complex and changing spectra. The DPO can do this...but that's the only thing here that can, and by leaving mixing out just for audio alone, you've hamstrung this build.

Some of your other module purchase ideas suggest the real problem, actually. There's always the temptation to go for the big-name, super-sexy modules...but if you do that, you're going to wind up totally screwed. Some of them are nice to have, but if you neglect the sleepy-looking parts like mixers, VCAs, envelope gens (only one in this...that's not going to cut it!) and on and on, you'll have a sexy-looking box that works like crap as a synth. Couple that with the space limits in your existing cab, and it doesn't surprise me at all that you've realized you're lacking flexibility. But to get that flexibility...big and sexy is not the answer. Spend some time looking at dull, boring things...consider how they might fit with your other modules, and which modules it might seem that can be removed in order to optimize the capabilties of the remaining ones. Those boring scut-worky modules are actually the key modules that make the pile of modules into a workable instrument...and without them, yep, you've got something expensive and lacking.

Yep...the Pam's is a rather different device, allowing for pattern programmability and loads of other tricks. It has major divide/multiply capabilities on clock rates, has Euclidean pattern sequencing and probabilistic skipping abilities (which fit great with your generative ideas), all sorts of internal swing and delay functions...aside of being a really excellent clock gen in of itself. It has everything you need (and more!) to wring every last bit of timing voodoo out of the Varigate, with plenty left for elsewhere in the build.

An oscilloscope has uses in the studio, to be sure...but visualizing waveforms is more of a 'toy' function, not essential. A good musician doesn't rely on whether a waveform looks suitably "textbook" or not, but instead they use their ears. Sometimes that which looks nice and "pure" doesn't have any musical use in a given situation. And yes, I do have an oscilloscope in my studio, but its main use for some time has been as an X-Y display for reading stereo phasing and diagnosing imaging problems, particularly below 200 Hz where there can be real detriments to the sound from misphased audio. I also use it to diagnose noise issues; at high gain levels, I can see any induced noise issues down at very low dB levels and this helps me diagnose noise sources and potential corrections.

Anyway, yeah, this looks great now...it'll be a good match with both the Odyssey and the M32, and if you get something such as TouellSkouarn Triglostek box, you can convert the 808's outgoing DINsync to a modular clock, letting you use the 808 as your master for pretty much the whole rig.

Power ratings for box +12V/2000 mA, -12V/1200mA, +5V/4000mA

EDITED Jan 10th 2019, 23:29

Can any Morphagene ( or possibly Phonogene) users tell me if after you’ve recorded an external source like guitar or standalone synth you can begin playback and still hear the input source if you we’re to play over it?

Hi. I'm also fairly new to modular, about 2 years or so. I think it depends on what you're trying to do. This seems like a cool rack for sound design and ambient. If you're trying to do more rhythmic stuff I might recommend some more utility modules. Maybe try a disting and see which utilities you find the most useful. Multiples are great. VCAs that aren't Low Pass Gates seem like they'd also be a welcome addition. Random might be a nice touch. Inexperienced as I am, I'd say you're at the point where you should look less to sound sources or even effects, and more towards modulation, utility, and getting the most out of what you already have. It's incredible how much the smallest pieces can change everything.

I've been building this out for about a year now, but recently I've been looking to cut out the redundancies and give myself more flexibility. With the DPO, the STO, the E-352, and the Mysteron, I essentially have four oscillators and it can feel like overkill sometimes. To be clear, I have everything here minus the Batumi and the Dynamix, which I plan on getting in the next month or two.

In addition to this I have a Mother-32, which I use with the Rene 1 for minimalist tones, syncopated rhythms, and three- or four-voice drones.

I'm considering getting a sound modeler like the Plonk just for some variation, and I've found the Echophon does S&H well enough for my purposes, though I'm not against getting a Morphagene or a Nebulae v. 2.

Any thoughts?

https://cdn.modulargrid.net/img/racks/modulargrid_612113.jpg

Hey gridlers!

I hope someone is able to help me here. I have been trying to use the randomize function on my Plonk, but can't seem to make it work.
The plan is to randomize all the parameters with every new trigger signal. (You see Andrew Huang doing it in this video:
)

I used the same patching as described in the manual and in the video, but it doesn't work, it only happens when I additionally press the red button.
Here's the way I patched it:
- Sequencer Gate out -> Trigger In on Plonk
- Sequencer Mod Out -> Mod In on Plonk
- Mod settings set to Randomize in Plonk

Looks like I'm missing something here, can someone point me into the right direction?

Finally, there is enough space. Thank you so much ! And I think it's great, all the time you share with the Modular community. Long live the passion!

EDITED Jan 10th 2019, 15:26

Hello Lugia,
I’am really honored with your answer! (this is my first question on the Net!).
I forgot to say this: in fact, Clouds comes from the States (second hand) and has arrived in Belgium. Maybe at home today or in two or three days. This is the only module I bought.
Comparing the functions of ALM Pamela and Erica Synths Black CodeSource, is this quite similar? (or not). Black CodeSouce generates clocks, but does not modulate them. Is this the difference? Pamela has the advantage of eight trigger outputs. Now I understand with the Varigate 4+ !
Thanks for the idea of Retro Mechanical Labs ! Will the Intellijel Buff Mult 1U tile not be enough? Finally, because of Clouds, there is no room for a multiple of the SSSR type. (O'Tool would come after). I find it rather functional to visualize the waves precisely in some cases. Maybe you could do without it?

Case: POCKET CASE 12U 51HP X 2 ROWS

And if I might, I think I have the perfect solution for that open 6 hp: Feedback's 106 Chorus. An excellent addition to an ambient-focussed system, with mono in and stereo outs, based on the Juno-106 chorus circuit. Paired with the uBraids, that would nail the effect processing situation nicely!

One other thing, also...the Toolbox is a nice idea, but having just one oscillator really undertaxes it. Instead, jamming that space with 2hp modules would allow for three sources (VCOs, or a mix of VCOs and some of their other things like the Vowel or Pluck) and a 2hp Mix to sum that down to the MMF for a nice paraphonic-type voicing. Yes, a bit more spendy, but the capabilities would really jump up at that point. You could also drop the Z4000 and go with a couple of Ladik modules; a C-214 replaces the ADSR capability of the Z4000, then tossing in a C-041 adds two AD/AR envelopes that can also function as LFOs if they receive a constant pulse from the Toolbox.

EDITED Jan 10th 2019, 04:38

It's pretty well thought out, actually...but there is one flaw: Clouds was discontinued some time back, and the best way to deal with that would be to get a third-party version, with Tall Dog's uClouds SE probably being your best bet on availability. This then opens up 10 hp, with a very good suggestion for 8 of those being a Pamela's NEW Workout. This would do quite a bit to address your clocking/pattern concerns, and it would play very nicely with the Varigate 4+. For the remaining 2 hp, given the sort of complex interconnection you're envisioning, I'd strongly suggest a regular multiple module of some sort...buffered isn't necessary, but making sure you can use this a few different ways is. SSSR has one which incorporates a switch to select either 2x4 or 1x8 modes, a function you might find useful.

As for the Intellijel line-in, yes, that'll work fine for incoming line-level audio, but you're going to need the corresponding Audio I/O 1u tile to make use of the cab's line-in and outputs. I would suggest removing the Pedal I/O tiles and the headphone tile so that that can fit, then consider removing the O'Tool and looking at Retro Mechanical Labs' GPI instead; not only would this restore the pedal I/O, but that module features two pedal interfaces, which would be a perfect complement to the Strymon pedals you have. These do require 3.5mm to 1/4" cables, but those are easily obtainable.

Actually, yeah, a couple of things come to mind. You might consider a VC Polarizer such as the Doepfer A-133 for changing envelope (and other) polarities in lock with other modulation. Might be very entertaining to have a filter envelope switching back and forth from positive to negative polarity in sequence, f'rinstance. Joranalogue's Dual Window Comparator is a nice fit with sequencing, also, allowing CVs above/below/in window to fire gates that can be used to add further complexity to sequencing. And a bit of Boolean Logic can work with that as well, turning things off and/or on depending on comparator vs clock states. And maybe one more filter, namely the Tiptop Forbidden Planet. The Steiner Synthacon had a wonderfully raucous filter, and this does a good job of nailing its feel in minimal hp.

Not 100% sold on the PanMix, tho...you only get CV over level on that. Have a look at the Toppobrillo Stereomix instead; the size is good, plus you have CV over level, pan, and FX send, and the 'Cue' function can be used as a second FX send, which would work well with a Happy Nerding OUT to mix that second FX return back into your stereo out. Only four ins, but adding a small submixer (if needed) would fix much of that.

Hello everybody !
I discovered ModularGrid two months ago. I love my Arp Odyssey since 1979, but here, wow, what a wonderful world of sound possibilities !
After two months of discovering and comparing hundreds of modules, and dozens of "final" MG racks, I don't know if this one (Eptatone Maze (Ground Floor)) is realistic according to what I hope for my achievements. . I own a Mother 32, which will remain externally. Also a TR 808 (1981!) And two pedals Strymon, one with Midi and another without. Clouds will arrive by delivery.
The following, as you can see, come in an Intellijel 7u/104 case : I place the I / O modules for the pedals in 1U, but is it still possible to go through the line inputs of the case for other non-Midi instruments? Is there an additional module needed (1U or 3U)? The other questions mainly concern CV modulations and clock modulations. Is it enough? And from your experience, what else is missing (or redundant)? In order to compose ambient music, drones, rhythmic sequences With good generative, moving and evolutionary possibilities… This rack is the main ground floor, and will be followed by a complement for random modules, CV modulations and clocks, and other sound experiments.
Thank you in advance for your ideas and opinions. Here you make a incredible work !

EDITED Jan 9th 2019, 16:02

Removed my comment!!

DAMM!!!
We measured this between boards without the connector. so sorry for this :(
Editing now!

EDITED Jan 9th 2019, 12:15

I've been over this a few times... made some revisions... thought about some things. It's more than you want to spend. But your first case is always the most expensive.

Let's not go random. Let's use a sequencer. In fact, let's go with a good sequencer. The 1010 Music Toolbox is $600. Perfect Circuit will discount it to $500 once in a while during sales (Christmas etc.). There are 8 gate outputs and 8 CV outs. You can multiple sequencers running at once. You can have LFOs, random CV, notes (CV and gates)... you can even sample control voltages, record them, and then play them back in a loop (works for audio too). It'll cover a lot of modulation sources, which you'll want for evolving stuff.

Braids. Braids is a workhorse of different sounds. Having a multitude of different sounds will give you a much wider palette than a basic oscillator. Braids also has a built in internal quantizer just in case you really do want to go random... I didn't forget.

A simple multimode filter. Not thrilling... but filters can create a lot of movement in ambient sounds. It will output all three filtered outputs at once (modulating two or more with two VCAs can be tasty).
Z4000 ADSR with nice long stages available. Plus you can modulate the amount each stage.

Intellijel Quad VCA. This is the one to get. It's very versatile and can even sum outputs.
A-138s stereo mixer. Mono-ambient sounds... (yawn)
Pittsburgh Modular Lifeforms Out. If a tree falls in an oscillator and there's no one to hear it... it's also stereo and has a dedicated headphone jack... very convenient when you're tweaking and wiggling away.

There's a lot more you can do with slew limiters, other FX, more ADSRs, dedicated LFOs, etc. But to me this set-up will be fast to learn and give you a lot of possibilities and will grow with you into a larger case. I even left you 6HP of space. :)

As always, take this with a grain of salt. Research everything.

1010 Music Toolbox $599
Michigan Synthworks uBraids II $250
2HP MMF $119
TipTop Z4000 NS $165
Intellijel Quad VCA $189
Doepfer A-138s $90
Pittsburgh Modular Lifeforms Out $99

I was thinking of about 900-1300$. I do not mind mono outputs and I think big stereo integration would become a bit expensive, but a stereo mixer as crossed my mind to be honest. And primarily as a random voltage source with a quantizer, although a sequencer with a trigger also might be an option (The pico ones).
Thank you in advance by the way!

What's your budget excluding the case? Clouds is a stereo module. Will you be satisfied with a mono output? Are you using the white noise generator as just as a random voltage source and/or an audio source?

I have been playing around with VCV rack, that is where the idea of randomly generating patterns with white noise and a quantizer into a VCO pitch and Clouds came from. What did I do wrong and what do you recommend?

Don't purchase anything. It feels like you're throwing modules into a rack and hoping that something useful takes shape.

The Mutable Instruments Clouds module is no longer available. However, you can purchase it used or better yet buy a 3rd party micro version. Look for a Michigan Synthworks uBurst or the like.

My advice would be to download VCV Rack. It's free. It also has a virtual version of Clouds. Look for some ambient tutorials on Youtube and start practicing. Once you've learned HOW to make random ambient textures in VCV then start looking at putting together a system.

So the title says it all.... I am especially unsure if I should get the WL Random or just get a white noise generator with a sample and hold module. If this is the case I would need to get a clock or gate generator of some sort which I know nothing about. Maybe instead I should get a Pico trigger and seq?
Any help, opinions or tips would be very welcomed!

Here is the rack, I have no idea how to post it here:
https://cdn.modulargrid.net/img/racks/modulargrid_822178.jpg

This is an established rack.
The modules that I'm about ready to add are the following:
1010 Music Bitbox
Befaco Dual Attenuverter
Joranalogue Switch 4
Tiptop Audio Z4000NS
Intellijel USB Power 1U (2)

I'm mostly creating pitched sequences. But I'm wanting to branch out into some ambient textures as well. I'm not looking to produce full songs on modular. I'll probably arrange in a DAW.

A Happy Nerding PanMix will probably end up in the rack eventually. Are there any other utility type of modules I might be missing at this stage? There's more stuff on the wishlist but I wanted you to chime in. Your opinion is always respected.

Precisely, Ronin...some of the best work I've done started with simple patch-noodling. I'd hit a sound that suggested something, work toward that something, then something else gets into that and I head that direction. This then says "add these", and the compositional process is off and running. There does seem to be a certain set of synths that this is more prone to happening with, though; certainly my modular setup, but also my JP-6, CS-80, Wave 2.3 (when I had that) and MS-20 are all ones that've played a key role in several pieces apiece. When you have ALL the sonic variables at hand, so it seems, this method works well...perhaps not so much with the single-data-entry ones.

Got a Tip Top BD808 from @tonicreflex via facebook. Kicks well and is TIP TOP! And got shipped very fast in germany (2 days), nice chat inclusive! :-)

@rsillsley super user! Quick delivery, well packed and mint condition!

Hi,

Any opinions on the Zadar as a main Envelope generator and Sewastopol II as a main audio I/O and FX send loop interface?
Both look really nice and the Batumi I have I really like.

What exactly are you trying to get out of your sequencer. I'm a little confused if you're looking for basic sequencing or something advanced to use along side something basic.

I'd spend a couple of days looking through manuals and watching Youtube videos around the following sequencers:
1. Eloquencer
2. 1010 Music Toolbox
3. Micro Ornaments and Crime in "Sequins" mode.
4. NerdSeq
5. Tiptop Z8000
6. Pittsburgh Modular Electronic Sequence Designer

Each of them have their strengths and weaknesses of course. You're looking around $500-700US for each except O_C ($250-300) The Pittsburgh unit is also available in a stand-alone case for $50 more; which extends the life of your rack in terms of available HP. There are plenty more solutions out there. But at the end of the day you'll do your research, hold your breath, and then hope you made the right decision as you enter your credit card info.

My opinion would be to start with something basic like the O_C then make another purchase a few months later. The O_C can serve quite a few purposes so it won't become redundant in your rack.

There is no wrong way to build a patch. Sometimes you start with the audio pathing... sometimes you start with the CV. It depends on your idea or mental sketch.

Once you have a bit of experience, you'll start coming up with interesting ideas... AWAY from your case. Maybe there's a feature you haven't explored. Maybe you have this crazy CV routing idea that might or might not work the way you've envisioned it.

Just be prepared for happy-little-accidents that take you away from your original goal. Don't be afraid to explore something accidental or unintended. That's the beauty of modular.

Why dummy patches?

I have an Intellijel Morgasmatron dual filter. Both filters can be used discretely. HOWEVER, the FM2 input of filter one is normalled to the FM2 input of filter two. If I don't want the modulation of filter one to affect filter two, I have to connect a dummy patch to the FM2 input of filter two to break the normal.

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

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

EDITED Jan 7th 2019, 20:39

Thanks Lugia

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

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

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

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

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

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

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

Planar 2 CV Recording

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

Mother 32 Sequence

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

Colour Scheme

• Colours correspond to the origin of a sound or modulation

Red
- Any sound or modulation originating from Mother 32

Green
- Any sound or modulation originating from Dixie II

Blue
- Any sound or modulation originating from Rings

Yellow
- Any sound or modulation originating from Basimilus Iteritas Alter

Orange
- Any sound or modulation originating from Maths

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

Grey
- Summing cables for Quad VCA and Mix3

EDITED Jan 7th 2019, 00:32

Overview

Sources: M32, Rings, Basimilus Iteritas Alter

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

EDITED Jan 7th 2019, 00:53

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

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

thanks_to: 6Human for Amplitude and masuhr for Quantimator

EDITED Jan 6th 2019, 17:28

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

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

Maybe someone else knows?

EDITED Jan 6th 2019, 10:03

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

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

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

thanks, helpfull