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@Lugia - I found a Hendrikson and bought since they are discontinued and I think the idea of using something like stompboxes in a live setting with my Minibrute2/Rackbrute3U setup is great...looking forward to 'expanding' the setup with some stompboxes...will probably go down that path of the Electro-Harmonix Tri Parallel Mixer as well :)

I'm a big fan of Klaus Schulze's "Body Love" soundtracks (the one with the white cover and a song called "Blanche" especially). Highly recommended.
-- farkas
I listened to the Body Love tracks today...really nice stuff! Enjoyed that alot

Wondering how many use sample and hold in their patches and how you use it...

Is it necessary to have a noise generating module in order to use sample and hold or can you use sample and hold with other things as well? Seems like the 2-3 videos I've watched always use it in conjunction with a noise signal, anybody use it with any other sort of signal? Is it that useful to have around in a smaller setup?

So, just to clarify, a VCA will replace the attenuator knob in a Quadratt channel with a CV input, so that one CV can control the amplitude of another signal. This is what you need to apply a volume envelope to an audio signal (the envelope "turning the knob"), but it is also useful for changing modulation signals in various ways. As stated above, some VCAs will amplify a signal beyond its original amplitude, which can be useful (for example, in bringing signals from other synths into Eurorack, which has different standard levels). The recent revision of Veils is currently unavailable (a worldwide chip shortage is affecting the industry and others as well), but fresh supplies are expected in the next few months. There are a number of alternates based on the older version available, notably the Intellijel Quad VCA, or you may get lucky on the used market.

Maths is very popular, but certainly not required, especially if you have Quadrax. You can wait and see if you want it or one of the alternatives. I suspect most users don't demand more from Maths than Quadrax can provide. It's also quite wide.

.... Oh and before anyone says anything: yeah- there's no Maths. Get over it
-- rextable

ok, but why not? it's a fantastic learning tool for anyone interested in modular synthesis - or do you just want to connect some modules together to make some sounds? have you taken a look at the 'maths illustrated supplement'?

also would be really surprised if you need so many buffered mults - they're only really needed for v/oct signals anything else a tiny bit of voltage droop will be unnoticeable

Maths is really great and I bought another one for my larger case. I would add perhaps get an Ornament & Crime as it does tons of useful things in small formats.

As before, top five rows are my main 15Ux84hp rack, the last three are smaller racks I keep for screwing around with stuff like Orca, generative music, &c.

This rearrangement was best described in a comment on an r/modular hangout thread. The TL;DR is that instead of sticking sound sources at the top, modulation in the middle, and control at the bottom (as everyone else does and as I have done for some time), I varied it a bit based on an explicit signal routing plan. I made the plan away from the rack and from MG, just focusing on how I wanted the signals to go; then, I planned the rack in MG, and used the patch tool to assess how cable usage. (This one planning exercise on 420hp of stuff more than justifies paying for Unicorn status, for me anyway.)

As of now, I have everything wired up, except for the 2hp mult (4 jacks for clock, 4 for reset) and Pam's, both of which should be here early next week

For the sake of completeness, and to keep you from having to click through, here's the full explanation from r/modular:

I'm rearranging my rack to make room for a new PNW. Pam's looks to be so versatile with LFO options that I'm taking a chance on moving my Batumi to the portable case.

It's not just for the Pam's, though. Last night I was having frustration with signal routing and which voices went to which effects loops. Later, I happened upon a video of DivKid and Chris Meyer where Meyer talked about the "backbone patch" in his portable case. That lit a fire under me, so I grabbed a legal pad, packed a bowl, took an inventory of my voices, effects, VCAs, and mixers, and mapped everything out. (Lesson: I could use a few more VCAs. Just a few. And maybe a Befaco Hexmix with expander. Not that I have room in my main rack for any of it.)

After that, I spent way too long on ModularGrid sorting out a new layout that optimized for short connections within my new signal routing scheme, then virtually patching up my backbone patch. It still has compromises (like running a pitch & gate cable bus from Eloquencer to SWN), but overall I'm looking forward to setting up a partial plumbing patch that will stay patched and let me focus on sound design and music instead of playing Signal Routing Puzzle Hour™.

I have learned things through this exercise:

• Thinking it through in deeper detail than I have before, and understanding (through practice) how I want to use complex modules like the SWN, changed how I laid things out. I haven't completely broken away from the top-to-bottom sounds/filters/modulation/control paradigm, but I've done it a lot more thoughtfully, and in a way that makes the most of my rack.
• I have a more balanced proportion of voices, modulators, and VCAs than I thought.
• I now understand what the A-130-8 is for, and it's this. I was relegating it to CV mixing, but when I thought through my patch I saw how much I could do with the Octal VCA and a bucket of 3-inch patch cables next to a mixer, and then just leave it patched and forget about it. (I'll mix CV with Levit8, which is better for the purpose anyway.)
• I had to be at this over a year to cultivate the knowledge of my instrument that would make planning 420hp + an outboard a worthwhile exercise. If I'd have tried this at the outset, the plan would have been trash. Trial & error experiments were the right way to proceed before; this was the right time to take a swing at a master plan.

This layout has other little advantages as well. For example, I have four percussion voices going through my Intellijel Quad VCA. The 6db boost switch and the Quad's ability to distort and add a little grit is perfect for making drums a little punchier. Making better use of the Octal VCA let me move the A-135-2 - my "clean" VCA/mixer - into position as my final mixer before going out. That position used to be held by the VCA Matrix, which is now much happier in its role as signal router and effect loop send.

I'll post back here if I wind up adjusting it substantially after playing.

Edit: you're going to need VCAs if you want to use those envelopes to shape sounds.

I had Veils in here but I pulled it out thinking the 1U Quadratt up top would handle things. Am I misunderstanding? Guessing that would be the justification for the bigger case.
-- new_moon

quadratt is a quad attenuator - not a vca - veils is an excellent choice btw - not only is it actually a voltage controlled amplifier - most vcas are technically voltage controlled attenuators (in that their maximum gain is 1) - it has so much potential gain that it can be used to amplify external signals up to modular levels - it also has 4 of them and they cascade so can be used as mixer (or mixers) - plus it has the ability to add an offset voltage on each channel, is dc-coupled in that it can be used for both audio and (just as importantly) modulation and is variable between linear (more useful for cv) and exponential (more useful for audio

I'll second get the bigger case - personally I would recommend a tiptop Mantis - 1u is seriously overrated imo

I'd also suggest Maths, if you can find one, as it has one of the best learning resources of any module - the 'maths illustrated supplement' which is probably the best primer for patch programming and modular patching in general

I try to think (loosely):

sound sources < sound modifiers < modulation sources < utilities

this generally gives the most variety for money invested - at least in my opinion

hope this helps

Data has a lot of added features, but you can only use one of them at a time (with the exception of fixed voltages, which you can use with other modes). So if you're using it as a clock, you have to stop doing that to use the oscilloscope, and then what you want to look at might be gone.

I somehow have not come upon this information. Really helpful to know, thank you.

Quadrax is a newer version of Quadra and is also very useful, though it takes some study to grasp the added features. You can pretty much use it like Quadra soon after installation, ignoring the more complicated stuff. That's also true for a more complicated oscillator (and I don't think Dixie II+ is much more complicated than STO). You don't have to use FM or flip sync until you want to. (And Data helps when you do.)

Super helpful as well. I'll read some more on these.

With a larger case you can get both Pam's and Data, but either way, get Pam's first (or at the same time). It's really useful and usable. Data has a lot of added features, but you can only use one of them at a time (with the exception of fixed voltages, which you can use with other modes). So if you're using it as a clock, you have to stop doing that to use the oscilloscope, and then what you want to look at might be gone.

Quadrax is a newer version of Quadra and is also very useful, though it takes some study to grasp the added features. You can pretty much use it like Quadra soon after installation, ignoring the more complicated stuff. That's also true for a more complicated oscillator (and I don't think Dixie II+ is much more complicated than STO). You don't have to use FM or flip sync until you want to. (And Data helps when you do.)

Appreciate the reply. It's nice to have feedback as I'm kind of making this up based on youtube videos and a history of signal processing in JavaScript.

Couple of followups, if you don't mind:

I agree that Data is educational and useful (I have one myself for those reasons) but you can't really afford the space. I would suggest Pam's New Workout, which gives you clocks and a whole lot more.

If I were to upgrade to a larger case, would you still suggest Pam's New Workout instead of Data? I've been under the impression that I would need to buy a clock - probably PNW - eventually but thought for my early explorations Data would get me where I'm going.

Quadrax instead of Quadra.

Is this a functionality suggestion, or am I misunderstanding what I'm going to get out of the Quadra?

I wouldn't choose Plaits and STO but you know the sound you're looking for. Maybe consider Dixie II+ instead of STO.

My thought is to have a fairly basic oscillator just so I can better understand what I'm doing. Would a Dixie II+ accomplish that? (What I really want Akemie's Castle but think I need to earn my way to that...)

Edit: you're going to need VCAs if you want to use those envelopes to shape sounds.

I had Veils in here but I pulled it out thinking the 1U Quadratt up top would handle things. Am I misunderstanding? Guessing that would be the justification for the bigger case.

Thanks!

EDITED Nov 26th 2021, 22:55

Let me be the first to tell you to get a bigger case and take your time populating it.

I agree that Data is educational and useful (I have one myself for those reasons) but you can't really afford the space. I would suggest Pam's New Workout, which gives you clocks and a whole lot more. Either Pam's or Data can do the clock divisions of the A-160 on their regular clocks. If you have an irregular gate sequence you want divided, that's another matter. You should go for the A-160-2 instead of the A-160, and Quadrax instead of Quadra. Pam's can do basic logic, so hold off on the 1U logic tiles, maybe. I wouldn't choose Plaits and STO but you know the sound you're looking for. Maybe consider Dixie II+ instead of STO. Just Friends and W/ are unobtainable and probably will be for a while, and René is pretty hard to get hold of.

Edit: you're going to need VCAs if you want to use those envelopes to shape sounds.

EDITED Nov 26th 2021, 22:35

I'm curious about getting into modular and want to build a beginner system that allows me to make simple, melodic loops in the style of Gia Margaret or Green-House; if I were really lucky, I'd also be able to layer some drone-y textures underneath.

I'm set on Make Noise's René for its pattern generation and Mordax's Data for its educational aspects, but the rest of my system is basically a question mark. Picture below, but to explain my rationale:

Likely Want
Clock Div | Create interesting timings out of the Data's clock
Plaits | Catchall digital oscillator for melodic patterns
STO | Analog oscillator for exploring drones and getting a better understanding of wave construction
Quadra | Build envelops for Plaits and STO
1U Logic Gates | Add some interesting probabilistic stuff
Quadratt | Mixing down sources

Maybe
Just Friends | Possible envelope builder and filter to add texture to STO output
W/ | Basic tape loop

Does this accomplish what I'm hoping to? Are there some super useful functions I'm not thinking about? I suspect I'll need to move to a larger system eventually, but to begin I want to really understand my tools and this seems like a minimal setup that allows me to do that?

Thanks!

EDITED Nov 26th 2021, 22:14

Thanks a bunch for taking the time to do this, Lugia. Very inspirational. A lot of exciting ideas!

The +12V and -12V rails are separate power busses, they dont' add together - you should be okay with those numbers as stated, though the common advice is to leave some headroom between your usage numbers and the PSU's capacity numbers, so you don't want to push it all the way to 3A on either.

You can't directly daisy-chain modules, but you can either make custom multi-drop power cables yourself or buy some "flying bus" cables which plug into one socket and have more sockets on them for individual cables. In my rack I made a few custom multi-cables just to simplify the cable mess inside! You don't want to chain power-heavy modules this way though, only the "small" ones, my biggest grouped cable is 4 modules totaling ~600ma on the +12v.

A Question about power:

Not since my design technology GCSE have I had to think about power requirements for things.

I'm unclear as to the power capabilities of the Intellijel 7U travel case this design is intended for. The specs for the case are:

Output + 12 V (mA): 3000
Output - 12 V (mA): 3000

The power requirements for this design are: 1998 mA +12V | 1046 mA -12V |

These two numbers are both lower the maximum stated "+" or "-" sides of the case PSU. However, I have a sneaking feeling that these two number added together cannot be higher than 3000. Is that right or am I miles off? Hopefully I'm wrong :-P

Also: the built-in bus board on the Intellijel case has 28 sockets. This design has 34 modules - all of which draw power according to their given Modular Grid specs. Assuming the built-in PSU has the capacity, is is possible to daisy-chain a handful of modules (the mults for example) to one socket on the bus board?

.... Oh and before anyone says anything: yeah- there's no Maths. Get over it

EDITED Nov 26th 2021, 13:42

Soundmachines actually offers good modules for control (LS1lightstrip, LP1lightplane, Arches, etc.). There are many others from many brands (including Intellijel, Make Noise, Doepfer, WMD, Verbos, Pittsburgh, Xodes...). But we must not forget that owning several pianos will never replace our work for the mastery of only one of these instruments.

I'm a big fan of Klaus Schulze's "Body Love" soundtracks (the one with the white cover and a song called "Blanche" especially). Highly recommended.

So looked at some options and updated my mobile support rig for use with my Endorphin.es Shuttle System:

I put O&C plus for support tools to complement the Apex module for plenty of modulation, envelopes and so forth plus it has a quantizer and other goodies. Plum Audio has a sale so I saved 10% and free shipping. I may swap that out with Disting EX in my other case and Ladik dual trigger delay when it arrives or just put these in my Doepfer 6u case for a second support case with the Shuttle System. So now I have two good travel cases one that lies flat and can use 1u modules for sequencers, mixers and support modules to use for jams and what not.

A better idea: get an adder module. These look like 2-4 hp mults, but what they actually do is to add two signals together. So you could send the signal and an offset voltage into one and get the composite signal you're looking for. Also, another mixer that you might have a look at is Erogenous Tones' LEVIT8, which can either be configured as an eight channel mixer/attenuator or two four-in mixers. To use this in that 8x1 configuration, you'd want to first route one signal each through something like this: https://www.modulargrid.net/e/shakmat-modular-sumdif to put offsets on. At that point, you'd have a pair of adders with that Shakmat module, so if you also wanted to use the 2x4 config, that would be similarly doable. And if there's nothing you can use for the offset source, put one of these in: https://www.modulargrid.net/e/2hp-dc and there you go!

The fun thing with "Blackdance", though, is that Klaus went TOO FAR with the Compact A. There was so much out of phase signal that, if you summed the tracks down to mono, the lead line would completely disappear. Horrible engineering error...but Brain had this idea that they could put a bit on the jacket saying that you could listen in mono to "hear an interesting effect." Ha!

BTW, if "Blackdance" didn't click with you, check "X". That double set is astonishing...save for the fact that the CD reissue includes a really ugly live mangling of his "Ludwig II von Bayern" by a pickup orchestra that's no fun after you've heard the REAL version. Easily avoidable, thankfully.

Just go listen to Klaus's "Blackdance" album, where you can hear the Compact "A" in all its glory. That's ALSO sort of the reason the Hendrickson's in there, tbh...500 lbs of 100% groovy Kraut sound, but available and AFFORDABLE. And no, you can't have mine.
-- Lugia
@Lugia - had about an hour of travel time in the car today for Thanksgiving and listened to the Blackdance album...it was interesting and I did listen to it all but will have to admit it wasn't quite my cup of tea...but I did give Klaus another shot and listened to 'Silhouettes' on my hour drive home and I really enjoyed that album.

NB Hendrickson is discontinued (& has been for a while) - maybe a few left in shops though
-- JimHowell1970

Easily fixable, though...just drop a Strymon AA.1 or Malekko SND/RTN into the Hendrickson's slot. 1 hp smaller in both cases, but that only takes $3 to fix with a blank.

fx aid has decent bit reduction - with the xl there's a dedicated cv input for it and it's available over all algorithms - some of which are distortion type things - personally I'd go with that and beads - leaves more space for important things like utilities then
-- JimHowell1970

Thank you very much for that. I had no idea that the FX Aid XL had bit reduction functionality. It looks like a very good option.

I will keep that in mind.

All the best

Hi Garfield,

Thanks yeah it is really a great modular system and pairs up well with the Make Noise Shared System and ALM Super Coupe. I will create a video on jam with it and the Make Noise Shared System. I like using tempi and rene to sequence the Furthrrrr Generator on the Endorphin.es Shuttle Control with it.

Hi Sacguy71,

Nice to see the Endorphin.es Shuttle System in action! :-) Yeah that Furthrrrr Generator module is a great one, I had tested it at my local dealer, still on my wish list :-)

So what's next? A jam with the Shuttle System together with the Shared System? :-) Thanks a lot for sharing this with us, enjoy your Shuttle System and kind regards, Garfield.

Hi Garfield,
Thanks, I appreciate your feedback.
Glad you listen some kind of jazzy-ambient stuff as I'd pretended in this patch :).
Regards!

the only module that can do both attenuation and offset per channel, that I know of, is the happy nerding 3*MIA - but you'd need 3 if you want a channel per ochd output

Had fun experimenting with my new Endorphin.es Shuttle System and love the sounds

Furthrrrr Generator and Grand Terminal are pure awesomeness. I also just received Queen of Pentacles and Ground Control to pair with it in a palette case. It will be my mobile eurorack setup moving forward.

the 4th sentence (separated out for convenience) is the relevant one - but even looking at the controls it's kind of obvious that a single channel cannot do both attenuation and offset - only 1 knob, no switch
-- JimHowell1970

I agree

NB Hendrickson is discontinued (& has been for a while) - maybe a few left in shops though

fx aid has decent bit reduction - with the xl there's a dedicated cv input for it and it's available over all algorithms - some of which are distortion type things - personally I'd go with that and beads - leaves more space for important things like utilities then

this is the modulargrid product page and Pusherman description

"ATN8 is an eight channel signal processor. It can be used as an attenuator, attenuverter, offset generator, mixer and CV source. A bicolor LED accompanies each channel to provide visual feedback of the output level. Each channel is normaled to the next one so it can be used as a mixer as well.

If there's no input on a channel, a selectable 5 or 10V is normaled to the input, these can be selected in two groups of four with the switches on top.

There are switches for each channel to select between unipolar or bipolar modes."

the 4th sentence (separated out for convenience) is the relevant one - but even looking at the controls it's kind of obvious that a single channel cannot do both attenuation and offset - only 1 knob, no switch

why don't you get the es-8 instead of the mixer? That way you can multitrack your set up.

I bought this module myself last year in november or december. At that time, user documentation was very limited and hard to understand. The module was being discussed on the modwiggler forum though. IIRC build documentation was pretty good.

The current manual dates from february of this year.

If you need the voltage offset, this module requires the channel above the channel to be offset to provide the voltage. So in effect it's 8 channels, but only 4 can provide offset. I got it to provide offset to OCHD, so this was a disappointment. This could be better documented.
-- mntbighker

seems perfectly well documented to me - I just did a quick scan of the 1 paragraph of documentation and understood perfectly how it works - I think the issue you have is in comprehension NOT documentation

maybe you will learn next time to ask questions about things you don't understand fully, before buying!

EDITED Nov 25th 2021, 13:10

great functionality but using it (at least for me) is pain, pots are too small and too close to each other and to jack inputs

Hi all.

I am building a small 3u rack with Beads as a core component. Recently, the Data Bender has been reeling me in with its bit reduction and general grit. There seems to be a sonic overlap with Beads and the Data Bender.

Is it overkill to include both in a small FX focused rig?

The following video is similar to what I have in mind.

https://m.

Thank you.

Thank you TumeniKnobs and GarfieldModular for taking your time to listen and your kind remarks!

could I somehow integrate my TR-8S with this setup? say using the Hendrickson? and then in turn somehow use the external IN on the TR-8S for the stompbox world?
-- jb61264

Hell, yeah! That's definitely one of the reasons for the Hendrickson...you can get anything you want OUT, and it'll come right back IN at the same place. An even CRAZIER device for stompboxes that you might dig is this little monstrosity from Electro-Harmonix: https://www.sweetwater.com/store/detail/TriParMix--electro-harmonix-tri-parallel-mixer Yep...three PARALLEL channels of stompers, with controllable routings, all fed from and going to the same mono I/O. To me, this is the REAL thing to use there, as you can put three different boxes on its send/returns and just go utterly NUTS. Not only do I have one and dig the hell out of it, it inspired me to create a LARGER and stereo parallel setup for my outboard effects, employing a Studio Technologies stereo 1-8 stereo distro amp for send splitting, and a Rane SM-26B stereo splitter/mixer to mix returns.

And if you don't have one, get one of these for the FX chain: aJkAAOSw5YFgr78b" target="_blank">https://www.ebay.com/itm/324774960630?hash=item4b9e189df6aJkAAOSw5YFgr78b That monstrosity was a collab between E-H and the guy who founded Mutron way back in the early 1970s. It's a semi-clone of Mutron's Bi-Phase...of which I can guarantee you that you'll either never find one or you don't have the credit rating necessary to afford one. But also, this E-H phaser is about the only semi-available thing that can get into the utterly unobtainable Schulte Compact "A" turf. Just go listen to Klaus's "Blackdance" album, where you can hear the Compact "A" in all its glory. That's ALSO sort of the reason the Hendrickson's in there, tbh...500 lbs of 100% groovy Kraut sound, but available and AFFORDABLE. And no, you can't have mine.

Done! I opted for a total rebuild, since it seems that you're aiming more for ideas. So, this is actually in a different case, since I know what a PITA it is to haul buttloads of small boxes. I opted to redo the entire thing in THIS: https://reverb.com/item/38708935-15u-126-hp-84-104-hp-or-other-eurorack-portable-case-powered-modular-synthesizer-patched-reseal Case From Lake has this KILLER 126 hp x 5 cab with beefy Meanwells for about a grand, and it's small enough to still fit in an overhead compartment. Having the FIVE rows made the layout make a lot more sense, with the ability to get more space AND set up a coherent signal flow. So....

Note that all cased/powered devices have been removed.

ROW 1: Added a Doepfer A-119 for an external audio in + envelope follower. Then there's an Erica 2x4/1x8 buffered mult because we've got a load of stuff here that might need it. After that, a PAIR of Plaits is tandemmed with a Buchla 258t for loads of FM and klangy fun. These feed a Veils, with a VCA for each VCO out, and then this hits a Doepfer A-138s. After that set, you then have the 4ms Ensemble Oscillator feeding a Rossum Panharmonium...this combo will output one of the thickest, juiciest sounds ever. This goes through an After Later dual VCA based on the Veils topology, and after that is a second Doepfer A-138s. The second mixer is there in case you want to add ALL sources...send the first mixer's out to 1 and 2, then the 4ms/Rossum/After Later combo can go to 3 and 4, with a resulting stereo out combining ALL oscillator sources if desired.

ROW 2: This is envelopes and character filters. This row has a Manhattan x4 mult at both ends. Then you've got Erogenous Tones' awesome RADAR/PING combo. Imagine a multiple EG sequencer. Yeah. All eight of the EGs in the RADAR can be controlled from the PING...a really over the top AR generator! Zadar and Nin next...this is your "programmable" EGs, with four of those out. Then I put the Doepfer A-140-2 back so that you can have a pair of easily-tweakable ADSRs. Then, for character VCFs, I added a G-Storm Jupiter-6 clone, a Tiptop Forbidden Planet (Steiner Synthacon VCF clone...HOWLING leads!), a Doepfer HPF...and then, see that filter and the 2hp delay? They're the same thing, actually; the Doepfer A-106-1 is not only a clone of the Korg MS-20's Sallen-Key pair, it has a very eeeeeeeevil little addition: an INSERT in the resonance path, which is what the delay's there for. Imagine echoes that gradually get more and more lo-fi and glitchy. That. But the best is last: a G-Storm clone of the famous Syrinx VCF...which also has a 4-in mixer on front, so if you wanted, you could mix all four of those at the Gyrinx VCF and THEN impose all of these various formant spectra onto it via the Gyrinx.

ROW 3: Modulation and "main" stereo VCFs. Again, this row is bookended by those Manhattan mults. We start with the Disting, which I've positioned for use by a number of different control modules. Then the little Quad LFO from Doepfer, followed by your Batumi, which I've added the Poti expander to here. Then there's a Buchla 281t for not only 2-stage envelopes on loop or one-shot...but this can also output quadrature-shifted modulation. Twice, actually...two EGs per quadrature output. And why stop there with the Buchla stuff, so next is their 257t...one of the best CV manglers around. Then where the filters start, I put in that famous Buchla "ploonk" via a 292t Quad Lowpass Gate. As for the main stereo VCFs, I picked some winners: Intellijel's Morgasmatron and Mutable's Blades.

ROW 4: More Buchla-in-yer-face! This starts with the famous Buchla Source of Uncertainty, which includes noise, sample and hold, and of course all of Don's wild randomness voodoo. The Marbles clone follows this, as it might be fun to generate even further randomization of already-randomized CVs. Generative? Hellz yeah! Logic's next, then the 4-1 sequential switch, and after that is Klavis's CalTrans, a quad quantizer. Since the sequential switch can either go 1 to 4 OR 4 to 1, this lets you choose if you want to switch between single input sources, or to switch four signals across one output. I opted to follow that with Intellijel's Shifty, a quad analog shift register...this replaced the arpeggiator, as you can do things like that with this module, or just go totally off and ping CVs all over the place. The MISO actually is part of the row 3 complement, but I put it down lower for better tweaking and because the space simply wasn't there in row 3. It's a killer polarizer/mixer/scrambler for modulation. Then I put in a Veils clone (due to space limitations) for some modulation-dedicated VCAs. After that are effects, starting with the Gristleizer VCF (I couldn't make the TG VCA go in there, sadly), then the Soma dual delay, and then your Microcell. The row closes out with the full FX Aid.

ROW 5: Sequencing and control. This starts with the Tempi/Rene combo. Those two modules are designed to work together via backplane connections, and replicate the primary functions of the Pam's while, at the same time, offering a 4 x 4 pad sequencer/controller. I put the dual VCS after that so that you can bounce around the Rene outputs, etc easily. The Steppy follows this, providing clocked sequential pulses over four channels (and you'll notice how close it is to the Doepfer sequential switch...hint hint). This is then followed by the triple switch, letting you scramble between sources. Given the amount of sequencing and clocking, this set of switches can function as a sort of sequential source router if needed...aside of a bunch of other possible things. Then I went all in on the random sequencer with the next-gen Turing Machine, a full version of the Greyscale Permutations. After this, there's eight exponential VCAs to act as the "front ends" for the final mixer, where I opted for one of Jim's faves, the Tesseract TexMix series...in this case, a pair of mono input modules and the master module. This not only gives you eight mono channels, you have two mono AUX sends and two stereo returns, plus a master fader and your headphone preamp. Using this, you can parallel the effects over the mix, instead of being reliant on the 'wet/dry' controls. And last but not least, Happy Nerding's Isolator, which gives you transformer isolation from external crud AND a transformer that you can hit a little harder so that you get that tasty "big iron" sound.

No power supplies? Right. This CFL sucker has that more than covered. Need more? Have CFL toss another Meanwell in that thing. And of course, this follows an up-left/down-right pattern, which has the modulation and CV coming up from the left side, with the audio going back down toward the TexMix on the right via the VCFs. And if it seems that this is a little underequipped, keep in mind that you can always break out the character filters as mono devices and send them on to the TexMix.

This isn't bad...and given that I also made it portable (yeah! 15U and portable!) means that you've now got a potent boxful of stuff and things that you can fold up and tote yourself. So, that's how I would approach this as a full rework.

Thanks Lugia and I’ll check out polycinematic as well as save up for a Sinfonion.

Got out the clawhammer and had a go....

As a synth in of itself...well, it's not one. But as an extension complement for the MB2...oh, hell yes. Everything here plays nicely with the MB2's patch I/O levels, so what I designed was JUST an extender...but a really capable one. This'll take that synth right on into WTF? territory pretty easy-like!

@Lugia - awesome, that's exactly what I wanted..."WTF territory" as an extender to the Minibrute2 :) so let me throw in one little twist...could I somehow integrate my TR-8S with this setup? say using the Hendrickson? and then in turn somehow use the external IN on the TR-8S for the stompbox world?

Thanks, Garfield :)
All sounds come from the Just Friends so that module + QPAS are responsible for all the beats here. I used the OP-1 for sequencing and pitch CV only.
Thanks again!
Gabor

Got out the clawhammer and had a go....

In this case, you won't see any I/O between the synth and the modules, save for the Links which is still there for final redistribution of signals with multiple destinations, etc. Since this is intended as an extender for the Minibrute2, I left that out altogether.

So...P/S, Pam's, XODES logic (for screwing around with Pam's, etc), and the Disting. But then, I added a quadrature LFO, which will allow you to have modulation curves that "chase" or "cancel/invert" simultaneously with the normal output. And for screwing with modulation, the Buchla 257t...when it comes out in a few months...is just what this calls for. After that, three linear VCAs for modulation and other control signal amplitude control, then there's an SSF Ultrafold for messing with both CV/mod AND audio. Warps and Beads follow, then I put in a Bastl Hendrickson which now gives you a stompbox send/return path for the build...leaving you with almost infinite options for audio scrambling. And then at the end, Links.

As a synth in of itself...well, it's not one. But as an extension complement for the MB2...oh, hell yes. Everything here plays nicely with the MB2's patch I/O levels, so what I designed was JUST an extender...but a really capable one. This'll take that synth right on into WTF? territory pretty easy-like!

I have an Acid labs Chainsaw polyphonic module sorta on the way. What modules would you recommend to pair up with it to get maximum benefits? I have a sequencer, function/lfos and things like that for it.
-- sacguy71

This: https://www.modulargrid.net/e/feedback-106-chorus Supersaw-type waveforms + some good chorusing = DREAMY!

Hi Gabor,

Great experimental track indeed with jazzy influences :-) I love the interesting percussion sounds you are using here! Did you managed the percussions by the OP-1?

Thanks a lot for sharing with us and kind regards, Garfield.

Hi Nokulture,

He, he, what started nice and quietly became pretty fast rhythmic and fun. Nice and daring but successful I feel, you stopped about half way the percussion, waited a bit and continued yet with another rhythm, it becomes a bit of jazzy-ambient, I like that approach and wouldn't mind to hear more of such a like :-)

Thanks a lot for this interesting jam and kind regards, Garfield.

Hi Rookie,

Long time haven't heard from you, glad to hear your new track that's beautifully done! Nice relaxed yet intriguing, well done :-)

Thank you very much for sharing this with us and kind regards, Garfield.

I had good experience just getting a Doepfer monster case and monster base case and using smaller cases for sequencers, mixers and tools. Now I’m saving up for another monster case to use in the future with larger modules from Frap Tools, Serge, Buchla abs Instruo because these tend to be on the much larger size and power requirements as well.