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G'day everyone!
So...after years of research&indecision here I am with my first attempt into the modular world.
If some wise noodler could have a quick look and tell me if I am missing out something fundamental, that would be of great help!
Please consider that the same modules will be cv'ed to some external gear too. So with a Minitaur, a chimera synth BC16 and a Soundmachines NS1 Nanosynth I already have a few basic VCOs and VCFs to add to the rack and play with.
(And an alternative too to be sure to bother enough...cheers guys! ;)
I’ve read on several occasions that it’s not a good idea to directly route line level into rack modules or proceed the other way around. Now, I have been doing just that and didn’t notice any issues. Granted, the VCA out went into a passive summing mixer that considerably attenuates Signal and from there into a pre-Amp (ART TPS-II), so perhaps that was why I didn’t encounter any issues. But, I have fed line level directly into a Morgasmatron and that one has an input gain adjustment.
Funny how you picked a very similar looking set of modules to those in my “starter” rack:
I can relate to your questions. I considered the EricaSynths Pico DSP as a basic effects option and would’ve added it if I didn’t have the ability to run it through my Octatrack.
I would like to add Erbeverb, Phonogene, and Rainmaker to the setup, but that’s a whole rack right there.
Since you’re going for an ambient sound, perhaps get a good reverb first, so replace the Morphagene with an Erbeverb. Not that the Morphagene is bad, but it’s a grain pitch shifting sampler, which isn’t necessarily ambient focused. I think you might want to explore some additive synth options, such as the Audiospektri HG-16. You need a delay module, too.
Regarding filters, have you considered the uJove by System 80?
Cool! Nice set-up BTW. Also, be sure to invest in enough patch cables. You'll want some stackables as well. ALSO, Kona makes some cables with built in passive attenuators. They are handy in a pinch.
Oh, do you have any buffered mults? You may want some if you can squeeze 2HP somewhere.
Erbeverb's a good idea, yep...but I do see a problem with that Metropolis + Shifty call. For instance, you really need to have four signal sources to send the shift registers in the Shifty to, otherwise you're spending about $190 on something you won't get the full use of. And given that the Metropolis is pretty much a monophonic sequencer (albeit a very good one), that alone won't address the possible multiple voice use. Better idea: The Harvestman's Stillson Hammer mkII. This gives you four channels of easily-usable sequencing, plus per-channel quantization and a whole pile of other features for less than the cost of the Metropolis + Shifty combined. Plus, you get 8 hp back for some other use in the bargain!
A lot, actually...let's see...there's no modulation sources, for starters. If you want punchy basslines, you're going to have to have some way to modulate that VCF with an envelope. Otherwise, it just goes 'oooooooooo' instead of the 'pwom!' you're hoping for. There's also no LFO or any other sort of periodic modulation, so there's not going to be any variation to the sound that changes back and forth over time intervals.
Secondly, that VCO/RM will prove totally useless without a second VCO. Ring modulators require two inputted signals to produce their sum/difference spectra. The Analogue Solutions VCO/RM's also not a very cost effective choice; if you want two seriously wild VCOs for about the same price as one VCO/RM, check Noise Reap's Bermuda, a rather nasty VCO with a self-modulation feedback-type capability. For good, in-your-face bass, dirtier signals work really well.
That sequencer won't work the way you're expecting. The Ladik S-180 is a trigger sequencer only...which means it doesn't send any CVs with which to make the VCOs change pitch. You would have to use the S-183 or S-184 expanders with that S-180 to get pitches, plus the addition of a quantizer would probably be necessary to keep the sequencer steps in a proper scale.
About the only things you have right here are the use of that Polivoks VCF (great, nasty filter) and the Optodist to get your levels punchy. My advice would be to stop building for the time being, and instead spend some time studying other builds, looking up articles in the MG forum and elsewhere online on what proper synth architecture should be, studying "the greats" in synth design over the past 50+ years, and the like. Get a better idea of what needs to be in a build first, then come back to MG once you've gotten a better idea of what to do. Otherwise, you're just going to wind up wasting your time and, potentially, your money should you try to realize a MG build before understanding what makes up a proper synthesizer.
@Lugia: thanks very much for providing helpful feedback! Even for gearhead synth nerds stepping into modular can be a bit tricky. Fortunately, this site makes it really easy to plan and there’s experienced modular users like yourself willing to help. I feel this smallish system already offers vastly different sonic possibilities than the rest of my setup. Very glad I got to add this modular synth.
Just bought a module from @ideo. Shipment was super fast. He was very responsive and helpful, and overall I couldn't have asked for a better service! Highly recommended seller
Still waiting for a few modules (Three Sisters, Ataraxic Iteritas, Z4000 NS, Poti), but it’s all wired up with MIDI, CV, and audio cables to connect to the rest of the show. This is going to take a while to explore, but it’s clear that this is where I will be getting my strange and wild sounds from.
I've bought Michigan Synth Works before. They are good builds and available from retailers. You can also get your micro units commissioned by private builders; but check around before you send off your money. I had a couple made from someone on Modular Grid and he did a great job and delivered as promised (actually a couple of days early).
Using an envelope inside PNW, Disting, or another module like Ornaments & Crime will definitely work. But the flip-side to that is that the envelopes are readily available for tweaking. Menu diving sucks. Envelopes tend to take a lot of back and forth depending on what you're trying to achieve (like getting that perfect pitch and decay envelope on an 808 style kick). The two envelopes in the Neutron would be okay. But it's pretty inconvenient using them and they are pretty basic. Trying using what you have at first. But keep in the back of your mind that you might want space for the dedicated envelopes. Envelopes can do more than control VCA and filter cutoffs. You'll probably want more and a few different types.
@Ronin1973: Thanks for the pointers! The Poti is now on order. I wish I had known earlier about the micro versions. Is it all from Michigan Synth Works? I have the uBurst on my radar. For Tides, wondering if the MKII or the u-Version would be better.
I honestly thought I might be ok on ENV using Pamela’s New Workout, the two ADSRs from the Neutron, Disting, and the CV envelopes from the Analog Four. I don’t anticipate this rig to deliver more than 1-2 voices.
This is what I came up with without suggestions. I through Mixup in so I could get a stereo mixer for little HP. And ended up picking the Metropolis over the Rene and paired it with Shifty so I can sequence multiple voices. Am I making the right choice with this? Also ended up going with the Erb Verb. Am I missing anything? Anything else that would be beneficial to the synth?
Thanks. :)
What am I missing from my simple setup [budget to begin with] to make some sounds...I'm very knew to this. I would like to make some interesting basslines, maybe acid noises to begin with.
Thanks
What am I missing from my simple setup [budget to begin with] to make some sounds...I'm very knew to this. I would live to make some interesting basslines, maybe acid noises to begin with.
Thanks
Looks good. I see three HP of empty space. If you could squeeze in a Poti (3HP) for the Batumi, that would be advantageous. You can change the waveshapes of the Batumi on the fly as well as its behavior regarding sync vs. restarting.
You may also want to check out the micro versions of Clouds and Tides. They'll save you some rack space and give you a little more HP room to play with.
As far as your MIDI to CV converter, you may want to review Expert Sleepers FH2. You'll have more outputs and save some rack space there too.
I don't see any standard envelope generators. You have the Maths and Stages. But you might want something a little more traditional as well like a Tip Top Z4000NS. Each stage of the envelope can be modulated independently as well.
Also, the Erica tube gear uses up a lot of amps when you first turn the system on. Considering that you have a full-boat of modules, CAREFULLY go over the total number of amps you're going to draw per power supply. I believe that you have two.
That shouldn't be a problem. The 'sleeve' connector on patchcables handles the common groundplane amongst anything connected with them. One bit of advice, though...feed both the Befaco and TipTop power supplies from a common AC source to avoid potential ground loops over the patchcables. If you use power strips or conditioners such as the Furman rackmount variety, feed both cabs' AC from the same one.
Sometimes its cache, sometimes its not. I've often noted a problem in embedding a rack into a forum post where, if the rack wasn't previously recognized properly by the screenshot mode, it won't come up with the proper layout in the forum post. As a result, I've gotten used to always making sure that screenshot shows the right build iteration prior to embedding the rack's URL in the forum post. That always works.
Yep, that's exactly what I meant...and this layout looks quite good, indeed. It follows what I call the "up-left/down-right" pattern, where control signals move upward on the left side toward the voicing row(s) at the top, from where the audio flows back downward on the right side through mixers, modifiers, processing and then the final mix. It's a really intuitive type of layout, making it easy to sort out where a problem with a patch might be located, aside of simply making the whole mess easier to control in general. And in between the "control-in" on the bottom left and the "audio-out" on the bottom right is the perfect place for a controller, as it's a simple reach from that in either direction to make changes to your major global functions. Nicely done!
I have arranged the modules in the rack I’m building today in a manner that seemed logical from a workflow perspective:
Not shown is a T-Rex Replicator, which will be housed in a separate 104 hp cab.
I’m going to use Rene, Pamela’s New Workout, a Social Entropy Engine, and an Analog Four as CV based sequencers. Additionally, a Neutron and 0-Coast will be integrated.
I’d be really interested in getting your thoughts on the arrangement of modules. My thoughts here were as follows; keep the sound sources on top and the key mixer modules within easy reach. Alls LFOs, envelope generators, attenuverters, and modulators are occupying the middle rows. Clock and sequencer on the bottom left (also the Lapsus Os, as it can function as a “master attenuator”. Filters and FX on the right with a top to bottom signal flow and the Fusion VCA as main out.
Audio will go into a Unit Audio Microunit (passive summing mixer, requires pre-amp post sum out), through an ART TPS-II, and into an Octatrack for FX and other mangling.
Pardon my ignorance, but how does the output of a modular setup differ from the output of a normal hardware monosynth? People have been plugging those straight into audio interfaces in home studios for as long as digital conversion has been with us, and you just watch your levels since its obviously much hotter than other sources (like a dynamic microphone or a bass guitar).
Some electronic artists even run their synths thru outboard preamps just for punch / warmth / grit in the studio, even though amplification is not needed and that could probably compound the problem of a really hot signal.
You need both for different purposes. I have a bunch of different mixers/VCAs for both cv and audio in my modular, and I have a Tascam Model 24 on the way that will allow me to fine tune final outs, and record many different outs into an SD card all on their own track to then put into Logic later. People who think you can just plug modular stuff straight into an audio interface without any drawbacks are smoking something; even audio out interfaces within eurorack can be quite different--my Vermona TAI-4 has transformers for both in and out that make a sort of pleasing saturation that make the exact same sound source sound better when I output it compared to more generic output modules (or none at all).
I’m between worlds. I love my Mackie for general studio context but I really want to be able to take a balanced 1/4” stereo output straight into some other system and show up armed with only an Intellijel performance case...
The issue, as I see it, is upstream. Eurorack went from 1) being an implied monosynth to 2) being an awkward groovebox with clunky, expensive panning/mixing/sequencing/FX and some units like Clouds which are fully stereo, to 3) being an implied multi-voice studio-in-a-box but still struggling with the basics for a variety of reasons (some of them market-driven and not easily solvable).
The makers of the larger “performance mixer” modules have taken a slightly self-defeating approach: there is almost nothing “modular” about these units, and they make all sorts of assumptions about what users want to actually do. Even the makers of smaller “stereo mixers” such as Erica Synths—who I love I should say—have made some really curious assumptions about stereo placement. Why should only one channel be pannable and why only via CV?
To give you an example, my system is three voices. I don’t need four or even six channels, but I desperately want free panning and multiple stereo FX returns. I have no need for CV control over anything, and I prefer to mute CV rather than audio for cleanliness.
I prefer small modular solutions which are chainable or interact in some way to create the right solution for me. Intellijel’s Mixup was an excellent purchase for me because it gives me two mono channels and two stereo channels. I can rig up a dry mono voice (bass/kick), wet mono voice, dry stereo voice, and wet stereo voice in 6hp.
I really liked the look of Knob Farm’s Hyrlo and Ferry modules but was unable to purchase before they sold out. FX send in 6hp sounds right.
I would prefer to support small MODULAR solutions and create workarounds to the rest (ask me about my FX send woes some day lol) using attenuators, VCAs, mixers, and switches which are all stock eurorack components and always able to be repurposed, rather than invest in a massive thing that won’t always suit me. That was why I got into this.
I would like to use it in a separate rack from the one with my other daisy-chained power busses.
I also have spare a TipTop Zeus Access (with a Universal Power Supply) (http://tiptopaudio.com/zeus-access/)- this only has connections for +15v and GND, though.
So MI has re-launched the Tides module with some subtle changes / updates, the biggest change are the 4 outputs. Anyone have any hands on experience with the new one, or potentially BOTH versions to comment on it?
From just reading descriptions and watching a couple Youtube videos - I am having trouble understanding what is possible with the 4 outputs now that was not possible before. Its also hard to tell if the expanded output capability really just applies when using it as a sound source, or also when used as a modulation source.
I was considering adding a Tides to my small but growing rack for super slow, evolving type modulation, but now I am torn on if I should hold out for a new one or buy the original used for $100 less.
Request again for narrower racks please! ;-)
-- JohnLRice
O.k. 20HP min it is.
Working themes are Pittsburgh Cell Style and Geeklapeeno Cluster.
Everything else looks like an impossible Escher theme.
-- modulargrid
@Lugia: Thanks for the suggestions! The semi-modulars will stay in their respective stand alone cabs, for sure.
I do have a Keystep, but thought I’m already set with having Rene, Pamela’s New Workout, a Social Entropy Engine, and an Analog Four as CV based sequencers.
When you say configuration testing, are you referring to the arrangement of the modules or the suitability of such an arrangement for efficient patching? I have arranged them here on this site to make sure they all fit and also moved them around in a manner that seemed logical from a workflow perspective:
Not shown is the Replicator, which will be housed in a separate 104 hp cab.
I’d be really interested in getting your and others thoughts on the arrangement of modules. My thoughts here were as follows; keep the sound sources on top and the key mixer modules within easy reach. Alls LFOs, envelope generators, attenuverters, and modulators are occupying the middle rows. Clock and sequencer on the bottom left (also the Lapsus Os, as it can function as a “master attenuator”. Filters and FX on the right with a top to bottom signal flow and the Fusion VCA as main out.
Mother 32 sends what are usually Gates to the Quad VCA Channel 1 CV Input, but can adjust the envelope of the Gate with Attack/Decay Knobs and Sustain Switch
ASSIGN Out is in Value #3, so it outputs a +5V Gate at half the input clock rate
There is a 16-step sequence programmed in, pitches dont matter but there is a rhythm created by a combination of Gate ON and OFF steps
Overview
A simple techno patch using BIA and Peaks for Sound Sources, some modulation, and a Korg SQ-1. Other than the OUT from the ADM10 Kompressor, all other patch cables that start or end outside of the rack are those involved with the SQ-1. The patch is based on ideas presented by James Cigler in his BIA "how-to" video: .
Playing the Patch
Adjust the following to achieve variety and interest:
- Mix3 Kick Drum Volume (Channel 2)
- Quad VCA Channel 1 Volume
- Quad VCA Channel 1 CV Depth
- Mother 32 EG (sent to BIA Attack Rate and Quad VCA Channel 1 CV
- BIA Register (start in Bass but can change later on)
- BIA Algorithm (start in Skin but can change later on)
- BIA Spread, Harmonic, Morph (start CCW), and Fold
- Peaks Knob 2: FM Intensity
- Peaks Knob 3: FM and AM envelope decay time
- Peaks Knob 4: Colour
- Mother 32 Sequence Reset
I have a similar issue to this. I submitted Magpie "micro" faceplates for a few of my modules. uGrids, uTides, Twists, Shades and Plancks. Granted they don't have knobs and information, I simply wanted to see the footprint and layout of them in my rack. Now I do not see them when I search.
However, I changed the manufacturer to Other/Unknown and they all appear. Perhaps the new default search omits other/unknown modules to avoid clutter?
I use a mackie 1202VLZ4. Straight from my modular to the channel inputs using a 3.5mm to 1/4" hosa cable. works perfectly, and I have never had any issues with levels.
Much of the problem has to do with the maximum headroom allowable on small mixers. Some of them are capable of being attenuated down to a level where they can handle typical audio levels coming off of a synthesizer. I've done this a few times with my Mackie 1202...but we're talking about a 25-year old original 1202, which was a bit of a different beast than the present-day Mackies. I've read some accounts of how the Allen & Heath ZED series is also capable of dealing with the high incoming levels, also.
Another alternative to an in-cab performance mixer that would allow you to route directly to an outboard mixer would be any of the various output modules. Since these are designed to step down the levels to line-level, a bank of several of these would also make for a cost-effective and space-saving option. Ladik has several options here that are worth examining, such as their P-530 dual output module which offers attentuation plus 1/4" outs that should interface easily with any outboard mixer you can think of. In 16 hp, you could have trimmable eight line outs for only $160. Frankly, that seems like the best option, leaving you free to use whichever mixer suits your performing needs.
I am trying to set up my first Eurorack performance case and I am struggling with thinking about doing a final output mixer. I have been reading the Patch & Tweak [1] book and was surprised to see references to using external analog console/performance mixers. In the section on recording (p. 85) the authors use the Soundcraft Signature 12 MTK as an example and also make reference to the profile on Hataken and his use of the Roland MX-1 (p. 108-110).
The surprise is due to the fact that I have heard multiple mentions in the Why We Bleep [2] podcast that people using console mixers want to replace that functionality with something in the case. Additionally, even Hataken mentions that he would prefer to have a Eurorack mixer to take the place of the MX-1.
I am already aware that the audio signal levels are way hotter voltage-wise coming from Eurorack. However, my first set of questions are:
Can you still plug directly from the last output in a Eurorack audio signal chain into an external analog mixer?
Is it just a matter of making sure the mixer has analog gain level that can be turned way down or are people still using come kind of Eurorack module to convert the audio signal to line level before sending it to the external analog mixer?
If this works, is it as simple as using a cable with 3.5mm on one end and 1/4" on the other?
My second question is just the more general one: does anyone see mixing outside a Eurorack case as more than just a total nuisance? The reason an analog mixer is so attractive is because mixing is A) super important, and B) something that seems hard to justify rack space to when I am working on my first case. For the former point, it would be nice to have some mix capabilities beyond just volume and panning. EQ and sidechaining, for example. On the latter point (B), consider that some of the performance mixers that get a lot of praise are things like the Befaco Hexmix with its Hexpander or the WMD Performance Mixer. But those would take up 40 HP (WMD) to 56 HP (Befaco). In addition to off-loading the rack space, those other mixers would be cheaper, too, which is a big consideration.
Finally, I'll also mention that I have been reading other comments here on MG in response to other first-timers [3] that when getting started it is unwise to ditch one's current gear [4]. I have a couple of Volcas and an old GM Yamaha keyboard that I'd like to integrate alongside the Eurorack. It seems this would be another area where the external mixer might shine.
Anyway, I'm just trying to take advantage of this great community and here from everyone's experience about the things you can't possibly know without experience. Thanks in advance.
Here's the references for any other new folks like me:
This rack is real, it uses a Mother 32 as a core and adds modulations, fx, one VCO and one VCF as as well as random sources (S&H, Turing Machine) and 2 quantizers and 2 attenuverters. Multiples are distributed on all lines to ease patch settings.
I'm really happy of this rack that is coupled to a MiniBrute 2S, A Behringer Neutron, a Behringer Model D and a Roland Aira System 1m. A DrumBrute Impact is also not far from all this stuff. All synths are contrôles using USB or CV/Gate from either the Mother 32 (that is often used as a Midi to CV/Gate for the Eurorack itself), the MiniBrute 2S Sequencer or the machine itself (used as a Midi to CV/Gate) or the Doepfer Dark Time "analog style" sequencer (the device itself is digital but looks like an analog one).
All machines are connected to a FocusRite 18i.
Most used DAW for Eurorack recording, jam : Bitwig 2.x
Also used Ableton Live 10
Well, out with the old year, and in with the new. 2019's here, Winter NAMM's right around the corner, and while this month's hot Eurorack offerings are a tad sparse, much of that is certainly due to manufacturers keeping mum about their new surprises until they hit the floor in Anaheim later in January. But here's a few picks to tide us over until that post-NAMM deluge in a few weeks:
1) Pharmasonic ON IT AGAIN! Back in the last installment of KICK ASS!!!, this Japanese maker dropped a fantastic bombshell when they did a big reissue of many of the much-vaunted Digisound Series 80 modules in Eurorack format. But to do a second line reissue a month later? Wild! And yet, there it sits...Pharmasonic's redux of the key modules from Roland's classic semi-modular, the System 100. Not to be confused with the fully-modular System 100M, the System 100 was more like Roland's take on something like the ARP 2600, which came in a number of “blocks”; the 101 was the main keyboard synth, the 102 was its expander, there was a dedicated mixer (the 103) and sequencer (104) and you even could get a matching monitor pair, the 109. From this, Pharmasonic's given us the System 100's VCO, VCF, VCA, LFO, an ADSR EG, 3-in and 2-out (in parallel) mixer, noise gen, ring mod, sample and hold, and an otherwise-inaccesible pair of inverters that share space with a trio of mults. They're very simple but quite cost and space-efficient, with the majority of the line weighing in at 6 hp, making them great candidates for filling small spaces with an extra bit of functionality. Now I'm wondering what Pharmasonic's going to do in January! Oh, and one more Pharmasonic bit: the Digisound Dual ADSR is also now available: $159, 12 hp.
2) Tesseract Modular 8x8 Buffered Matrix. This has “live performance” written all over it. A set of eight rotary switches that allows for quick resetting of signal paths, the module can also serve as a buffered multiple, but that's only a hint of what this is capable of. Any combination of inputs and outputs is possible...1 to 8, 2 to 4, 4 to 2, and so on. It does limit what you can do with inputs, though, as you can't send several inputs to one output. Even so, for live performers this will be a real blessing, as it's able to change routings on the fly as long as the module's been prepped for the in-set changes. Available in kit or prebuild. Roughly $106, 12 hp.
3) Doepfer A-135-2. Really, what this is is more or less a repackaging of Doepfer's A-135-1. But it's significant nonetheless because while the 135-1 was a not-so-space effective 18 hp, this new iteration gives you the same functionality in only 8 hp, with 5 mm less depth and $56 off the original's price. Very cool! Dieter seems to be looking out for users who need maximum bang in minimum space with this one, which seems to me to be a very logical pick for users who need a handful of linear, DC-coupled VCAs with summing in a tight space. Accordingly, quite a few MG users have already picked up on this module, but it deserves a look from anyone who's planning a space-restrictive skiff build, plus anyone who needs lots of VCAs but doesn't like layout sprawl. $134, more or less.
4) Ladik M-172 mixer. This is pretty much the logical follow-on to Ladik recent 12 hp stereo mixers, but this is kind of the configuration I was hoping we would eventually see. You get four pannable inputs and a stereo input pair with a balance control, all outputting to a 1/4” stereo pair of line-level outs. This is an awesome budget-conscious stereo mixer, with built-in output staging and the potential for using the stereo input to mix in stereo effects. The depth's a bit sizable at 60mm, but if you can swing that, the price is the real convincer: $94 at current exchange rates! That makes it one of the more cost-effective stereo mixers out there, with the plus of not needing a separate output module making it an even cheaper choice.
5) Antimatter Audio v3kt. Now this is super-interesting...a module that allows for quad panning, vector control over either audio or CV signals, internal logic over CVs, and probably a pile more functions that just aren't readily apparent. But looking at the given functions in the listing, I'd have to say that this has super-high “abuse potential” with either a joystick or other modulation signals fed to its various inputs. A lot of people could make use of this: live performers should dig the ability to joystick audio around via this in a quadrophonic space, generative-type users will find loads of uses here for morphing/altering modulation behavior and mixing, and most anyone will appreciate the ability to morph smoothly between four different audio sources in a quad X-Y space. The other thing that's a killer is the space it requires: only 6 hp! This should make it a must-have for anyone who's got a joystick in their builds, as it requires minimal space to blow that joystick's functionality wide-open. $199.
And that's pretty much it for the December 2018 offerings. Like I noted, the real deluge is coming in this first month of 2019, so keep your eyes peeled! Until then, happy new year, all!
I think the layout is good. If the sources come from the left and the outputs go to the right, a "valley" will be created down the centre to allow easy access to the mutes. I suppose if mounting the middle in the far right of a case it might be preferable for outputs to go back to the left but I can't see how either option will please everyone.
Really useful info. Indeed the maths and O-coast have come up in various threads I've read and I do like the look of them for sure.
As a core first noise maker, I'm sort of between the O-Coast and the Dreadbox Erebus V3.
I come from an drone/ambient and noise background and either of these seem like plenty to get me started for sure. Anyone have any experience with the Erebus??
I think your "problem" is fairly common and constitutes the addictive component in eurocrack : the perpetually missing link which incites you to buy more modules only to realize that you aren't able to fully exploit what you've already got. An occasional remedy is to empty your rack and then just fill one row to concentrate on a few modules --- and stop looking at buy/sell pages ;) (for a short while anyway).
What will you be using it for? And how did you post the rack screenshot?
-- liquid_air
I use it in addition to my Eurorack #1, which is (nearly) full. :-)
This Eurorack #2 here will be filled in the next months ...
My both cases here (Eurorack #1 and #2) are always a copy of my real cases. As documentation for me and for links in my signature at Muff Wiggler forum.
I do not use ModularGrid for planning, as most other people do. Planning takes place in my head or on paper in my "music lab". :-)
What do you mean with screenshot?
I only commented my case, and in this way a forum thread was automatically created. The picture is no static screenshot, it is automatically updated when I change something on my rack.
This is getting hard to wrap my head around. I thought I could stop at 6u 84 and be content but clearly that was naive. Recently Ive reached a bit of a plateau and it's become painfully clear that I'm not using modular in anywhere near the capacity it offers. Just expanded by another 3u 84 and bought a couple new modules (ornament and crime, tiktok), but I'd love to get some outside views on ways I can expand my potential most efficiently. Most modules here are owned minus Pico drums, tangle quartet, batumi, quantum rainbow and 3x MIA. I'd like mostly to make semi-ambient / chords with a lead, strange techno / rhythmic loops, and general bass sound design. An expansion to 12u is most likely (but I'd like to see it contained there for a moment). I have a neunaber wet guitar pedal for reverb and a pocket operator for simple drum beats. If anyone can identify strategies I'm not taking advantage of, I'd be grateful to hear your thoughts. I'm starting to get confused, albeit immersed in a beautiful chaos. Thank you for your time and consideration & I love this community.
