Well to my ears and that of a very experienced picky modular jam buddy, the Hexinverter Mutant Snare is quite tasty.
He even told me the demos sucked and in person the Mutant Snare sounds great.

Lots of good information on Turing Machine here:

https://musicthing.co.uk/pages/turing.html

Pamela’s New Workout does provide a source of random but it is really meant to be the clocking heart of a system with several other modulation functions and even basic quantization. It is “menu divey” but fast and intuitive. Again, an entire system can be powered by PNW. In my own system, I use it for roughly 80-90 percent of patches, either as a main clock source of source of modulation.

Go slow. There’s lots to learn. About now, I ask: do you have a good quad VCA and do you know how and why to use it?

Thought I might as well add a visual representation of what I‘m planning currently so here you go:

Nice! This is a really interesting track. I listened a bunch of times trying to wrap my head around exactly what's going on. Well done! Curious how many different sequences are used throughout the track and exactly how you transition. I also followed you on SoundCloud. :-)

That's a stale image, even though the correct one shows up when you click through.

Also, all the text is missing when viewed on Firefox. Chrome works fine. Perhaps this is a known bug?

EDITED May 25th 2021, 14:48

I wish to create a small modular system (64 HP) for ambient experiments. It's essential that this has a stereo path. I am a bit confused about the output, so post this small fragment for your comments.

I cannot seem to find a compact module that allows me to send a stereo mix to line out, while listening to a different stereo mix. Every DJ mixer has this rather essential function, but I can only find very large mixer modules in Eurorack format. Please tell me I am missing something obvious!

In the meantime, I constructed what I need here. 13 HP is really too much for me to devote to output alone. 10 HP would be better.

This patch spans the gap between Harmonia and mid-70s Tangerine Dream. By this I mean to say, it sounds awesome!

subbed on SoundCloud! I really love what sounds almost like a ratcheting effect with a hand held tempo pot? Or is it modulated by a an irregular LFO? This is definitely one I'd love to see video on.

This week we speak with modular synthesist robby to discuss the collapse of the producer/consumer:

So here we go again, since I hit my Max Budget for now and am thus forced to take a little break from acquiring new modules. I recon this is as good a time as any to take a step back and reflect on what I currently have.

First of all thanks to @Lugia, @troux and @JimHowell1970 for ther contribution to my first thread and Rack.

Here‘s what I‘m currently working with:

Quite different from what I originally planned for.
One of the biggest changes might be Tides instead of Plaits, I made that decision after spending a few hours on VCV Rack and developing a deep love for Tides V2 PLL and Oscillator Modes and I don‘t regret it one bit, together with a simple Analog VCO it makes a lovely Voice (well actually even on it‘s own) and I wouldn’t have thought that I‘d enjoy two Operator FM so much, it‘s just a bunch of Fun to me. Also Chords: Awesome.

Currently debating moving disting into the upper (audio) row and exploring it as an effect, Filter, VCA or Oscillator, though I really enjoy the quantized shift register and Euclidian Patterns.
It would take the place of the LXD I had planned for. Since I got Ripples V1, at a great price, I feel like my Filtering and LPG needs are well met.

Next purchase will probably be Stages, seems to fulfill all my needs regarding modulation and beyond.

One thing I didn‘t plan for originally but I‘ve found myself wanting is a Clock/Divider in 4 HP. Options I‘m considering are the Noise Engineering and Ladik offerings, since more often than not I end up using my LFO as a Clock. (Any Opinions on Pamelas New Workout+Stages in such a small System?)

First thing I would probably replace when the Rack is full is the A-140, eventhough I really dig the Range Switch, would probably replace it with a second hand factory Peaks.

Overall I‘m very happy with where I‘m heading.

That‘s all I can think of right now, Any Opinion welcome. Thank you guys.

EDITED May 25th 2021, 16:08

Hi everyone,

I would like to share my little modular synth project with you, for some advices.

Here it is :

Midi and audio on the highest row :
- I begin with the Yarns as a midi interface, clock, sequencer and using channel 3 and 4 as synced digital lfos.
- a buff mult to rule the oscillators pitch
- Sto, which I like for its beautiful Sine wave, and the waveshaping. And Paradox for deep crazy fm modulations, working with the fm aid. Then comes Veils for mixing and vcas.
- Forbidden planet, multiple filter

Modulation and effects on the lowest row :
- fractio solum for wild clock dividing
- clep diaz pour stepped modulation
- contour, souvenir from my first semi-modular synth 0-coast
- A-147 LFO
- Sinc bucina, beautiful low pass gate and envelop
- kinks (sample and hold, sign and logic)
- MIA Attenuverter

Then the lovely reverb from noise engineering Desmodus Version, and output...

What do you think ?
Thanks a lot
Alexandre

Many thx for the reply.

I got a used 4ms RCD with the expander. Unfortunately the expansion was a DYI and the soldering points are very fragile. A couple have broke off so I need to resolder. Looking forward to see the effect of the 4ms. I was thinking of getting a PNW but for just random clock it seems the Turning Machine will work great. Any thoughts? Again, I have zero experience with this ;) ......

regarding dark mode, changing the blue of links could be nice ...

I agree with some of the above posts, that for really precise inharmonic spectra and corresponding tuning, you should use software synthesizers. It should be relatively easy to come up with inharmonic, additive synths and custom tuning in PureData and bring that to some programmable DSP module like Befaco Lich: https://www.modulargrid.net/e/befaco-lich

However, if you want the challenge and stay in the analog domain, then there is another option. You can use any standard VCO and route its output through a frequency shifter. When you couple the FM input of the VCO with the right amount of frequency shifting CV you can get inharmonic spectra and custom tuning. The downside is that high quality analog frequency shifters are expensive modules: https://www.modulargrid.net/e/cwejman-fsh-1-

anyone having trouble with power?
as soon as I plug it in many modules stop working correctly.
2 mantis cases, 2 super power blue power supplies, regardless where I put it, it happens.

A Rotating Clock Divider is an essential utility. Mine lives next to Pamela’s New Workout but gets fed by many clock and pulse sources, including sources of random. 4MS makes nice ones. You really can’t go wrong owning at least one.

Lots going on with the new job role but ample spare time for bleep bloops. Dropped a bunch of new jams on the YouTube channel. Here’s one from last night. Hope you dig it.

All good ideas. Though I am so picky about snares. I think I mostly don't like them so I'm always looking for some modulation that I like.

Triple Sloths is from the Nonlinear Circuits lineup. IMO everything in their Chaos lineup of modules is very interesting and I intend to add more than one of those to my system in the next 6 months.

To my understanding, the Chaos type modules are basically an alternative to random modules. Some would say (and I would agree) that in general random is not very musical; the main use case I have for random is adding a small amount of it to various parameters. Chaos, on the other hand, is loosely patterned -- imagine for example a drunk person riding on a bike going around a figure 8 track; they follow the track, but not exactly. This type of loosely patterned behavior, many people including myself would consider musically useful: it is repetitive enough to indicate some type of cycle, but loose enough to never repeat strictly, and hence keep generating interest. My intended use cases for the Chaos oscillators is to add some "slop" to my other parameters, and combine it with other tighter LFOs to get a looser complex mod signal. Not so different from how one might use random, but IMO a bit more useful due to its semi-patterned behavior. There are surely many other uses for these types of chaos modules. To my knowledge, Triple Sloths gives 3 "chaos" signals ranging from slow, slower, to very slow.

BTW many other modules from that manufacturer look interesting (if somewhat baffling) to me.

Good luck, enjoy!

-- last, I recommend you lookup user Lugia on this website, and examine a lot of his different draft racks. They tend to be very thoughtful and give excellent ideas of what different well-designed modular systems can look like. There are some good designs by other folks too, but I know for a fact there are a ton of interesting draft Lugia racks available to view.

HI, yes I would second that. Lugia is ace because he really goes into depth explaining his choice of modules. Helped me immensely.

A beautiful reply. Thank you so much, Nicholas.

Hi @ninetoincline, welcome to modular and Modular Grid!

A few comments:

-- your initial draft rig above isn't bad. Do consider if you need a dedicated audio out like 4ms listen, or if you don't need something like that given your intended use case(s).

-- DEFINITELY suggest you consider a larger case. Whatever your initial design is, it's best if you can have an additional 25-50% (or more) space left in your case so you can comfortably add some modules as you learn more

-- Pressure Points may or may not make sense in this build. Depends how you want to control things. It takes up relatively a lot of HP in this small draft case, so do consider if you really want / need it here.

-- of the modules you have above, I would consider Maths, PWN, Plaits, Quad VCA and Wasp very good (almost "no regrets") modules, so you definitely have some very useful picks already included.

-- IMO part of the joy of modular is complex oscillators (like Make Noise DPO or Instruo Cs-l) and wavefolders (like Intellijel Bifold); those do things that aren't easily done in VSTs or normal monosynths. Also part of the joy of modular is lots of modulation, and modulating modulators: to do that, you need enough modulation sources plus some control/mixing. Hence you might consider more modulation sources, things like Mutable Stages, Xaoc Batumi, Instruo Och-D, etc., plus a way to control and mix them like 4MS SISM, Tiptop MISO, and/or VCAs dedicated to your CV control.

-- almost everybody starting out underestimates the need and value of "utilities" in a modular system. In software and hardware synths, the utilities are generally in the "background" (e.g. not in the marketing material used to sell the synth) but are absolutely necessary to make everything else work. IMO a good way to learn modular utilities is to browse all the modules on Doepfer, Ladik, Joranalogue, Intellijel and Mutable Instruments catalogues, and to study anything that isn't obviously a sound source or filter. Mutable's Links and Kinks (or something like them) deserve to be in most modular systems. Keep in mind you need enough utilities in your rig to make the "fun" modules really shine.

-- last, I recommend you lookup user Lugia on this website, and examine a lot of his different draft racks. They tend to be very thoughtful and give excellent ideas of what different well-designed modular systems can look like. There are some good designs by other folks too, but I know for a fact there are a ton of interesting draft Lugia racks available to view.

Hopefully other folks on the forum can add some comments / further help for you.

Good luck, enjoy!

Nicholas

I find good idea to build a rack for my synth korg m1. This synth have 4 individual outputs and i think is interesting that synth M1 with this classic sounds can have more parameters. I read many times how to build a rack but for me it’s difficult as I had every synth and drum machine separate on my studio. So anyone can help me to build a idea for a rack have “ tools” like filters , parameters, effects for the 4 outputs of this synth.
Thanks Andreas

Hi All,

Today I got carried away during an attempt of recording something, I ended up in actually only recording two sequencer patterns, got pretty much carried away with it and wanted to join this with you, so the actual recording I wanted to do... em... I didn't got to it at all :-)

Two voices only:
Voice 1, main voice by Mutable Instruments - Plaits
Voice 2, kind of back leading strings by Make Noise - Telharmonic

Sequencer is the fantastic Five12 - Vectron with the Jack Expander, using two channels for the above mentioned two voices and using another 2 channels for the percussions (1 channel percussion at the Jack Expander means 4 different percussions, thus 8 in total, here only used 4, I think).

Then some other modular stuff like LFOs and the usual suspects. Effects externally by Grand Canyon from Electro-Harmonix and Ventris from Source Audio. Two more effects (Chorus & Flanger) used with the external StudioLive mixer from PreSonus. External percussion by Vermona - DRM1 Mk3, controlled by Five12 - Vectron and Jack Expander.

This is in a way a teaser of my possible far away future album called "Germany - B" and the track is most likely going to be called "Berlin" only not as rough and wild as this demo track. Here just some sounds that I most likely going to use for the mentioned album and track.

That's about it, thank you very much for listening and have a good start of the week, kind regards, Garfield.

P.S.: Oh yes, you might want to turn up the volume quite a bit, I haven't used any form of compression.

EDITED May 24th 2021, 22:49

Hi TumeniKnobs,

Interesting track with some real "deep sounds" :-) I like that! Too much modulation? Can there be really a point reached where there is too much modulation? Not for me :-) It didn't give me the impression there was too much modulation.

As always, thanks a lot for the patch details, love to read it and understand how you got to your sounds, very interesting. Thank you very much for sharing this and kind regards, Garfield.

P.S.: Nice complicated patch! :-D

Hey gang.

My interest in synths has now passed beyond a Korg or Moog synth. It is now time for the Eurorack instrument. After following several guides on the webs from several sites, the linked synth is what I have come up with. I am expecting this to be able to cover a ton of ground, from techno to ambient soundscapes, to simple bloops and rhythms. But will this do? Will it fill the void my monophonic synths can't fill? Can I get a simple midi controller and get amazing results? I don't know, for this is my first venture into this wonderful world of custom synths.

Tear it apart if you must.

looking for the right cable patch for the next release at field effekt records.

You could do what Surgeon does which is minimal percussion like a good kick, snare, and clap modules. Or go for 2hp and smaller modules like Erica pico drums or 2hp modules.

Wow. I appreciate that. I agree and prefer individual modules when I have the HP free. But sometimes I'm tight and need the Queen. I'm checking out the Hexinverter.

Good to know. Personally, I dislike all in one modules. More control with individual percussion modules is what I prefer.
That said, I really like the WMD and Hexinverter Mutant drum modules quite a bit. Unique sounds and that is what made me interested in modular drums. Otherwise, I'd just use an Elektron or Roland drum machine and be done with it.

I was watching Mylar's Suggested Systems 4 (link below) and he mentioned that Emilie has accused folks of being lazy with Rings and not "exciting" it, so I sat down to mess around with that (since Rings is relatively new in my rack). This patch developed over about 10 days and I just kept adding more modulation all over everything. Probably way too much, but it was a good learning experience and a lot of fun. I thought it was a good dark ambient follow-up to How Do You Make It Let Go.

Here's the live performance recording (take 11?) with a little EQ and compression added:

Here's the patch:
https://www.modulargrid.net/e/patches/view/78672

And here are some notes:

Master Clock from Pamela’s New Workout

A slow sequence from Rene’s X channel is driving OSC A on the Piston Honda
The sequence is in C Dorian
Piston Honda’s Y and Z wavetable banks are being slowly modulated by Ochd
That’s going into Bionic Lester’s Filter A.
BL’s Filter A Freq is being modulated by Ochd
That’s going to the In of Rings
Rene’s X channel gate is feeding Rings’ Strum input
Rings’ Brightness and Damping are being modulated by Ochd
Rings’ Position is being modulated by RND Step
Rings is going into Mimeophon and out

That same sequence is linked on the Piston Honda to OSC B
Those wavetables are also modulated by Ochd
That’s going into Bionic Lester Filter B, who’s Freq is modulated by a Quadrax LFO
BL is going to a delay

Rene Y channel is sending a slow sequence to Plaits
The clock for that sequence is set to 75% random skip chance on PNW
Plaits’ Timbre and morph are modulated by Ochd
Plaits is going into Ripples
Ripples Freq is modulated by RND Step
Ripples is going to Quad VCA with Quadrax for envelope and then to a delay

Disting EX providing kick and hit hat
PNW driving the triggers for Disting
Hi hat is a Euclidean pattern
Hi hat is going through Polaris
Polaris freq is modulated by a Quadrax LFO
Polaris Q is modulated by RND Step being triggered by a S&H LFO from PNW
Bass and hi hat are going to X-Pan
Hi Hat pan is modulated by a Quadrax LFO

Everything is going through a Big Sky and recorded in Studio One 5

Mylar's awesome tutorial on Generative Systems:

Thanks for the advice!
Never heard about the Triple Sloths and I do not understand how to use it. But I will check it out and try to understand how it works :-)

BLCK NOIR has a very loud background noise.
If you put all the instrument and master volume clockwise this module become a great noise generator.
It's awful.
It has a stereo output on TRS jack.
So if you want to use stereo output you must have a splitter cable TRS to 2x mono jack.
The built in multieffect is very bad too.
Avoid it.

EDITED May 24th 2021, 13:13

triple sloths and a blank 2hp panel
a 10hp matrix mixer

if it's the version with the TPS80W MAX power supply then it will be fine - 3A on +ve and -ve rails

it's still a small case so maybe fitting everything in the one case is a bad idea

I often suggest to stop worrying about the case until after deciding what modules you want, what modules you need to support the ones you want and adding 30% for expansion - and then looking for a case (or cases) that can accommodate them

you don't need to get rid of sound sources - you just need to make space for much modulation and utilities - it may be by removing the drum modules - it may be by adding another row (or 2)

NB I was suggesting using the switched multiple as a trigger combiner - a la Steevio and MylarMelodies

it really depends how you use the disting/fx aid xl etc - if you set them on a specific algorithm and leave it at that then they are effectively 1 knob per function - if you need something else you can take a quick look at the manual and get it working in a few minutes

i've had a disting mk4 for 4 years or so and it's almost always been used in the tape delay setting and my fx aid xl has been a stereo lofi junky since I got it (6 months ago)

Thank you so much for the detailed answers! Let me try to address some points:

• Drum modules: Yes, I've been trying to make modular drums even though everyone said not to, and yes, it was a bad idea ;) I'll keep some of the modules (I like the Kick modules quite a lot) but most will be removed and I'll just use my Analog Rythm for this purpose.
• Too many VCOs: So I have the Cs-L, Mangrove, Odessa, E350 (and Rings). That's maybe a bit too much, but I'm not sure which one to get rid of. I'm tending towards the Odessa because even though I really want to like it, I have a hard time getting useful sounds out of it. Does anyone have some "special tips" for this one? Or maybe the E350 because even though it sounds nice, it doesn't add much that the other modules don't already provide.
• trigger/gate combiner/switched multiple: Gate combiner should be already covered with the Plog in OR mode. Switched multiple sounds like a great idea, I'll look into that!
• Clock modifiers: Thanks for the suggestions, I'll have a look at those for sure.
• Sequencer: Stages looks interesting, I'll dig into that some more. I also thought about the Verbos Voltage Multistage, but I'm not sure if it's worth the money/space.
• Disting/FxAid: I'm sure these are great modules, but I'm not a big fan of multi-purpose modules. One of the reasons to go modular for me was to have a "one-knob-for-everything" approach, and rather no "small computers" in my rack.
• Delay/Reverb: Reverb I can do in the box (I have a FaderFox PC12 mapped to a bunch of send channels in Ableton), I don't see a need for a modular variant. Delay seems like an interesting idea, the Chronoblob seems cool. I had a Magneto once but never really liked it.
• Other FX: Not sure tbh what else is there really, I guess combining smaller "building blocks" goes a long way. I'm not really into distorted sounds, so that's out. I like the phaser, the ring-mod in the Cs-L and the frequency shifter. Is there anything worth getting in that area that I don't already have? I love the idea of patching random things into the delay feedback, will definitely try that out.

I have removed two modules I never/seldom use so now I have 10 HP free space.
I will fill this space with modules that can help me improve my generative patches. So I would be very pleased to get some tips which modules I should choose.

is the case a intellijel 7u? if so why the uZeus? will the uZeus even with the big power supply be enough for the modules if not (remember to leave at least 25% headroom)

-- JimHowell1970

Yeah, the uZeus was thrown in because I thought the total draw would be too much for the Intellijel case (and I already have one, so it would be straightforward). You reckon it's unnecessary? Or not enough even with the case's power as well?

Lugia... I've followed your work on here for a while and feel honoured to have my efforts stroked by your wisdom. It's going to take me a few days to process everything you've said and look into each of the modules you've mentioned, but I'll absolutely do so. That said, I'm not sure I'm quite ready to give up the drums yet! It may indeed be excessive, but I have sounds in mind involving drums becoming not-drums which (in addition to the more glitchy stuff) would be more limited with a drum machine. Plus the purity instinct of keeping it in the case, which I'm sure you can understand.

Thanks both of you for taking the time - I'm going to be bold and assume you're right about the excess of sound sources! I'll take a few days to re-think...

I had a bash at this...but it should be noted that I've "exorcised" the drum functionality. Sort of.

Yeah, it's sorta different. But at the same time, more solid and less confusional. Normally, I use the upper row for "voicing", but given the timing situations inherent in the build, I opted to reverse the upper and lower 3U rows here. Here's why...

Tile row: OK...there's a Noise Tools tile at the left end. Not only does this provide a sample/track & hold and noise, it also gives you a slew limiter AND...most importantly...a single clock control for global tempo, if circumstances dictate. And the reason for being able to use one knob for all clocking is right next to it: a Plum Audio Temps Utile, which can reprocess that single clock signal into several channels of...STUFF. The QuadrATT is next for attenuation, polarization, submixing, etc. Then the Audio In...and a surprise, the Intellijel Stereo Mixer. Now...remember what I said about "sort of" removing the drums? This is part of the "sort of". Instead of leaving the excess of drum modules in the build (seriously...a drum machine is a FAR better and cheaper way to go), I removed them, but put in the MSCL stereo comp/limiter at the right end of the bottom row and the extra stereo input on the "output" (now the Stereo Mixer, which connects directly to the cab's 1/4" jacks) so that you can route a stereo drum machine feed into the modular, screw around with it some, MASH the crap out of the dynamics so it bangs properly, then mix that stereo signal onto the main synth's stereo out.

Top 3U: Konstant Labs PWRchekr for monitoring the DC busses, the Triple Sloths, then four modules for messing around with clock signals. The COUNT is a pulse counter, outputting gates for each "tick" in a sequence from 0-7. Then a Ladik Dual Delay is next, for shifting clock pulses in time. The "meat" here is in the middle, though, where you'll find a dual Boolean logic module, Frequency Central's Logic Bomb...and after that is a Ladik Derivator, which generates gates based on incoming CV behavior. All of those modules, taken together, are capable of serious alterations of your clocking signals. And right after that, of course, is the sequencer; the Eloquencer was just too HUGE, so I went with a similarly-featured but smaller device, 1010 Music's Toolbox...also eight channels, but with touchscreen control, micro SD sequence storage, and BOTH analog and MIDI signal outputs. SSF's wonderful Tool Box multiutility module then gives you some waveshaping, a comparator, an arithmetical CV processor, inverter, diode OR combiner, and a 2-in/1-out electronic switch. Following this are four free-run LFOs, Maths, then an After Later DVCA which is a pair of VCAs based on the Veils design that also offers 2-into-1 mixing. Next to that is a CV/modulation manipulator/mixer, Frap's handy 321. And lastly, envelopes courtesy of a Xaoc Batumi/Poti.

Bottom 3U: Ensemble Oscillator, then this is paired with the Moon Phase stereo VCF. After that are TWO Knits (two, because you want to be able to detune them to thicken up the sound) then a Recovery Motormatic v2, which is a ring modulator into which you can feed both Knits or, if you want something more off-kilter, just one Knit and then you'll use the Motormatic's internal (and somewhat ill-behaved, which can be quite fun) sine oscillator. Another DVCA then controls the dynamics of the Knit outputs before this gets sent to the phkia VCF/VCA combo. Then instead of the Monsoon, I tossed in its logical successor, namely Mutable's Beads. Last section handles mixing and output levels, starting with a very simple stereo processor, an Erica PICO DSP for providing basic reverb, chorus, phasing etc. This becomes VERY useful with the Toppobrillo Stereomix2, which is a 4-in, stereo-out performance mixer. This mixer has CV over level, panning, AND FX send on each input channel, which also have a CUE and MUTE function on each. The CUE is useful for tuning, etc via the Stereomix2's headphone preamp...OR you could use it to feed the sidechain on the MSCL comp/limiter. The main purpose of this is, of course, to "crunch up" the drums via the external stereo in, then feed this to the Stereo Mix tile...but you can also send the drums directly across to the Stereo Mix tile and then use the MSCL to hammer the crap out of some other signal.

So, why no drum modules here? Basically, it has to do with space and cost; let's say that your basic drum module is, oh, an average of 8 hp width, plus you also need its sequencer, which also eats space bigtime. Now, if you want to emulate, say, a Roland TR-909, you'll need ten modules for the voicing, plus a honkin' big sequencer such as Erica's Drum Sequencer...which burns 42 hp in of itself. Soooooo...assuming each drum module averages $200 ($2000) plus the Erica ($600) and a cab for 122 hp (or more) of housing for JUST those things, you could probably buy an ORIGINAL Roland TR-909 (albeit in "beater" condition...for "nice", double that) at today's typical 2nd-hand prices. So, uh...yeah, screw that. It's far better to make the synthesizer more elaborate and capable, because you can get ample drums for LOADS less in a format that steals a minimum of module space by just getting a good drum machine, and you then have things in the synth to mess with the drum machine's feed. This is how it really works...instead of trying to make a modular into a specific device, it makes more sense to use a PROPER modular's capabilities to mess with external signals, because whatever you use internally can ALSO quite often be used on external audio. And also, you can easily crosspatch control signals from various devices, such as clocking everything from ONE device (easy-peasy, given that nearly all synth companies use a +5V gate/trigger for clocking). So the best purpose for modulars is often to use 'em as a "signal nexus"...sort of a massive spaghetti-bowl-interchange of signals coming and going all over. That's what's up here.

First up, Jim's comments are very much spot-on. Let's try and find some fixes...

Sound sources...there's an easy fix here, one that gets you more space while avoiding a functionality trainwreck, and that's removing the drum modules altogether. In the words of Rocky J. Squirrel, "That trick NEVER works!". The reason is that you're really MUCH better off using a dedicated drum machine...plus, if you have one with trigger outputs, you can always use that to fire some modular modules to add THOSE sounds alongside the drum machine's. The crux of the problem comes down to two points: expense and space. For one thing, building something akin to a TR-909 in modular can easily start to veer off into the general price range of an ACTUAL, ORIGINAL 909. And it would be large, more than likely taking up much of an entire Mantis cab in of itself, crowding out other modules.

Clock modifiers...OK, you first need a head-first dive into Ladik's listings. Right now, I'd peg them as the BEST overall source for stuff to mess with timing and/or logic. Plus, they're CHEAP...and offer hard-to-find things like their Derivator, stochastic Clock Skipper, and so on. Anything that you can add to tamper with the even, metronomic flow of time works here...to Jim's list above, I'd also add trig/gate delays, electronic switches, stochastic sequencers (Euclidean, etc), chaotic modules (Turing Machine, etc) that output trig/gates, and on and on.

As for the Tirana sequencers...don't use them for pitch OR modulation. Instead, they're very useful, along with a chromatic quantizer and an adder, for automating transpositions of CVs. Tempo changes, key/mode changes, and the like...that's the very best use for them, sort of like the "shorter" Serge Sequential Programmers.

Lastly, what does "crazy FX" mean to you? Weird time-warpy things? Hideous audio mangling? Something else? The Deflector Shield is definitely "odd", to be sure, but frequency shifting's been part of modular for a while...hell, it was part of the later iterations of the pre-modular Mixtur-Trautonium! Plus, some things become "crazy" when you put them together, but not necessarily on their own. Case in point: working with signal inserts. The Doepfer A-106-1, a variant of the MS-20's Sallen-Key filter pair, has one of these...so you could put a delay in there and have increasingly-filtered delay returns. BUT WAIT...so, you could THEN add an Alright Devices Chronoblob2. It's a delay, sure...but in its "original" mode, you have...yep...YET ANOTHER INSERT, this time in the feedback path, so that every repeat in THIS can be altered as well by yet another module. So...how about some spring reverb? Add an Intellijel Springray II...and OH HELL THERE'S ANOTHER INSERT!!!

...and on and on and on. So it's NOT simply a case of finding the right module, per se...combinations of specific modules that might SEEM to be fairly "vanilla" on first glance can actually turn out to be utterly bonkers when patched the "right" way.

I don't have much of an argument against the current module categories, but there DO seem to be some points where this could be improved.

For example, "Delay" contains EVERYTHING that delays a signal of some type somehow. So if you want an echo-type module, it's here...but then, so are trigger/gate delays, which aren't at all like the first example. You can kindasorta get past this by using the second category blank ("Clock modulator" finds the binary signal delays, "Effect" helps with the audio signal delays, and so on) but if the user who posted the module didn't add any of that to the "Category tags" on the module page, you'll miss it.

The "not-dual/not-quad" issue is another one. In some cases, posters for these sorts of modules that aren't either of those occasionally will put "triple" units into one or another...but it's far more normal for modules that fit that criteria to only be listed in their primary function category. For example, Zlob's VnIcursal VCA: six VCAs behind one panel...but if you're not looking for a "VCA + Mixer" in categories, you either might not notice it or, if looking in the "dual" or "quad" categories, you can miss it altogether!

Another annoyance: buffered mults vs. passives. Pull up "Multiples" with 2 hp chosen as a size limiter...and you get deluged, requiring you to pick through the results all the same. A "buffering" category could be an appropriate fix here, plus it can include devices other than buffered mults.

A few years back, I would've likely said this was all nitpicky. But given the explosion in the overall size of the databases here, some of these "basic" descriptors are running into problems as their categories are being stuffed chock-full of modules! "Oscillator", for instance, contains 1,235 entries in Eurorack alone. Sure, you can limit this further with a second category...but now, even THAT results in a plethora of entries; going to "Oscillator" and "Digital" still turns up 211 entries.

The worst part of this is that any fixes will require not only site recoding, but it'll ALSO require a knowledgeable crew to go through ALL module entries to add/remove flags as needed. And yes, without the manufacturer lock in place; this is another problem altogether, though, as manufacturers use the lock and then more or less abandon the entry pages, which helps no one. Frankly, if I had a dollar for every time I've had to point out that Clouds is a discontinued module, I probably coulda bought Mutable Instruments themselves, lock, stock 'n' barrel! So it's a potential nightmare if approached wrong...but if done right, it'll STILL be a huge undertaking, but it'll result in a fully-revised database.

Here are some of my concerns:
- I feel like I have almost too many sounds sources but not enough things to do with them

yes way too many - so not enough support modules

• A lot of gate/clock sources but no real clever way to turn them into unique patterns

trigger/gate combiner/switched multiple

• The two Tiarans are great but I might need something more sophisticated for sequencing CV (not pitch but rather CV for modulation)

not that I sequence modulation - but if I were to I'd be tempted to either go with stages or a step fader

• I would like some more crazy FX modules (I love the Deflector shield) (but rather no multi-fx stuff like Disting/FxAid)

both disting and fx aid (I have the xl) are excellent modules - what sort of effects are you interested in? delay/reverb? I like magneto too - but you'll need a bigger case!

EDITED May 24th 2021, 00:46

you have way too many sound sources in this size case - you do not have the modules that you need to support half the sound sources you have

is the case a intellijel 7u? if so why the uZeus? will the uZeus even with the big power supply be enough for the modules if not (remember to leave at least 25% headroom)

some of the modules do have built in vcas - but that does't mean that you won't want more - vcas are also useful for controlling modulation - you may also find that you need some envelope generators to open the vcas - usually sequencers output gates - which are just on off square waves

I would try to start of with a single voice - sound source, sound modifier, modulation source, a way to play and a way to listen and build from there - you will quickly find there are things you are missing that are near essential - something like a disting is a good idea to buy early on as it has a lot of functionality and will help you understand what different types of modules do

Just playing around with Queen of Pentacles and I'm wondering what the real difference is between the two Endorphin.es modules. Worth picking up both? Is the sound that different? Extra modulation capabilities?

Hey friends,

I would love your thoughts on my rack setup and how to potentially improve it.
I'm making hypnotic/deep techno (evolving textures+percussion, not so much melody) with it and use the rack pretty much for all sounds except drums. I also have an Analog Rythm and a DFAM. I use the Befaco outs to multi-track everything in Ableton, which is where I also apply "static" FX like delay/reverb/etc. The uMidi is only used as the clock source. I used to have some more drum modules but I'm moving away from that now.

Here are some of my concerns:
- I feel like I have almost too many sounds sources but not enough things to do with them
- A lot of gate/clock sources but no real clever way to turn them into unique patterns
- The two Tiarans are great but I might need something more sophisticated for sequencing CV (not pitch but rather CV for modulation)
- I would like some more crazy FX modules (I love the Deflector shield) (but rather no multi-fx stuff like Disting/FxAid)

What would you add/remove?

I'm looking forward for your ideas!

Cheers,
yesh

It probably goes without saying, but I'll say it anyway: this will be a gradual thing and therefore inevitably subject to evolution, including new modules I come across and getting rid of ones which are surplus to requirements. Bass is on its way, I already have the Eloquencer, Sloths, and Clouds (which I'm intending to swap for Monsoon), so I'll be learning a module at a time, not trying to mash my brain by doing everything at once.

So, I'm gradually assembling something along these lines. I've done a load of research and think I'm fairly settled on the 'voice' modules, though I'm open to suggestions on the Erica Hats, the knit (plaits) and the Sample Drum in particular.

My main question though, is what utility type modules have I missed? 'VCAs' is the obvious answer, but I'm not sure where they'd be of particular value here - am I wrong? And what else do I need that I haven't thought of?

Also, I'm by no means sure about the Steppy. I've been impressed by what Ricky Tinez has got out of it and reckon it could be useful clocked to 1/4 speed (or something) and used to sequence the Ensemble Oscillator, for example. But with the Eloquencer already in place (that's fixed, for now), is the Steppy surplus to requirements?

Oh, and is there a more elegant mixing solution which retains the aux possibility and the flexibility of the sources (the drive is a bonus but not a deal-breaker)?

EDITED May 23rd 2021, 20:39

Well, let's see...I'm presuming this is based on a pair of Intellijel 7U cases joined by the Joiners.

First up, there were a number of modules in this that just didn't fit or make a lot of sense. For example, using the AJH Mini Mod when, fact is, you can get the same general functionality out of adding Intellijel's Noise Tools tile + the Quantum Rainbow that was already in there, and save money in the process. I also chucked out the extra buffered mults (not necessary...you really only need the one, up by the VCOs; the rest can be UNbuffered inlines), the force sensor and the tandem I/O tile.

Also, Maths stayed as well as the PanMix...I'll explain why when I get to those...

Top tile row: MIDI interface added here, using the cab's USB port for the DAW connection. Then the buffered mult and Zeroscope, followed by the QuadrATT. After that, there's one of the two Dual VCAs, primarily for controlling output levels to or from the Panharmonium, then I also put in an FX send/return with an extra pair of jacks.

Top 3U row: The little white sliver is a Konstant Labs PWRcheckr, which gives you some visual indications of your DC rails' health while operating. Then the next thing is Shakmat's SumDif CV adder/subtractor for tinkering with CVs directed toward the oscillators. Then your Cs-L and Odessa, followed by the Quad VCA...and then, the XPan. What this pair does NOW is that it provides a number of CV-controlled stereo ins and outs that feed the stereo input of the Panharmonium, allowing you to generate a stereo mix to that module's stereo input. The XPan also has sufficient inputs to allow a "backflow path" from your mixing section below BACK to the oscillator row.

Second 3U row: A Plankton ENVF got added to provide an envelope follower for one channel of the Stereo In below. After that is the Quantum Rainbow 2, which can feed all sorts of noise signals to various points, but which is mainly for providing a more complex noise source for the Intellijel Noise Tools if needed. Poti/Batumi, Contour1, Qx/Quadrax...and then I took care of the ADSR needs with a Xaoc Zadar + its expander; this is, in fact, what happened to the Instruo ADSR gen, as it made very little sense to have only ONE EG in the same space that could be occupied by a far more capable QUAD EG instead. Following this are your main timbral modifiers: Evolution, Blades, and the dual LPG.

Lower tile row: The Input module is here, then Noise Tools to provide S&H, slew, clocking, etc. After that is Ritual's Pointeuse, which is a bidirectional CVable switch. Next is the other QuadrATT, then an Intellijel Stereo Mix...added to allow you to manually sum the Arbhar, Magneto, as well as other stereo signals back into your main mix, as if you had a stereo return on the PanMix (which it doesn't have, but which this tile DOES take care of). Another Dual VCA then provides either levels for this, or for other modules inputting into the mixing chain. And the Output is last here.

Third 3U row: Modulation fun...Sloths first, then the Morph4 for global-ish modulation processing. But I also put in a Frap 321 for this, which can make for a useful "internal" modulation modifier/mixer for just the Maths, or for anything mod-wise. Right after this is a dual VCA from After Later, based on the Veils VCA design, which again provides CVable level control and/or mixing for your modulation signals. Then Maths...and all of the stuff before, I should note, are there to REALLY complicate what Maths is capable of. That's one thing people overlook about Maths; since it's billed as a "be-all, do-all", most people don't always consider modifiers for it...but when you DO, and when you set things up right, Maths can REALLY shine. So, between the left side of Row 2 and this end of Row 3, plus the extra widgets, NOW this has a serious modulation section, VERY capable of outputting some very complex voltage curves! After this, your Arbhar and Magneto are located above the PanMix and below the output stereo submixer.

Bottom 3U row: There's the second cab's PWRchekr, then Pam's. But after Pam's, there's several modules that optimize what your Plog is capable of turning out. The 2 hp thing is a clock counter which ticks off 1-8 (actually, 1-7, as your thruputted pulse is always the "0"). After this, you've got a 1-in 4-out clock delay, then a probabilistic clock skip for adding semi-randomized clock "dropouts". And all of that provides more complex signals for the Plog to chew on, so that IT can output lots of potential rearrangements of your clocking. I also put the dual comparator and that Ladik Derivator next to the Plog so that they can input their gates to the Plog as well. Both sequencers are next, and they're followed by the Harmonaig and Shifty for quantization and arabesque processing. Then the PanMix returns...and here's why: First of all, this NEEDS a proper stereo mixer with panning and with VCAs at the output stage. Secondly, the XPan just doesn't do this in the "right" way, as it's mainly designed for stereo input/output situations, and some of what you'll be mixing is mono...ergo, panning (with CV control) is pretty useful. And having your final VCAs in the final mixer is a great way to combine functionalities to save space AND up the build's potential.

This isn't TOO much more complex than your initial design...but I put in quite a bit of "sneaky" functionality that, if and when it's needed, can take this to another level altogether. Much of this is going on in the modulation sections in rows 2 and 3; adding the 321 as a "pre-processor" to feed a composite modulation signal in with the Morph 4's processing of other signals just adds mod signal complexity...plus you also have that dual VCA/mixer in that slot. By adding these, the modulation really gets kicked up to another level by just 12 hp of panel space. And there's several points in the build where that sort of sneak happens...so even though this primarily uses most of your present modules as well as the ones indicated in the second speculative build, there's little bits here and there that synergize in that sort of manner. In the end, there's not all that much ADDED...but what was added really stitches the whole build together.