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This seems like one of the most interesting mixers around then. It's a big module but considering it provides 8 channels and 8 vca's + all the extra features + expansion possibilities makes it really worthwhile imo. I think I'll put this in my rack :-)

I have 2 Arturia 6U eurorack cases, they look beautiful, however...

I bought these cases so I can mount some of my Roland stuff in. I have several Roland System-1m synths, and the Roland effects modules (Bitrazer, Torcido, Scooper and Demora), but all of these units have finished backs so they can be used anywhere - in or out of a rack case.

The problem with the Arturia 3U and 6U cases is they use a tall power adapter jack soldered to the power distribution board that is too tall. I cannot mount any of my modules in these racks because of the poor design of the power distribution jack connections.

Can anyone help me out with creating an adapter cable with a few power distribution jacks on a cable? I need maybe 2 to 4 power jacks on the cable that could plug into the Arturia power source for these cases.

Thank you!

ok I see, is there a midi interface you would recommend?
-- juliancoolian

i have a yarns, which i like, but kind of wish it had usb midi. i remember thinking the expert sleepers fh-2 seemed awesome when it came out, but i haven't used it. i'm no expert on all the options though.

you're right, I totally forgot about this. That's definitely a good backup, but I'd kinda hate losing the option to output gate on accented steps. Do you think what I proposed would work as well?
-- juliancoolian

it looks like those cables are just din-trs adapters for use with the malekko sync module (or another midi port as long as the trs jack is wired the same way), and the clock in on the varigate is just an analog clock input. i agree that it would be a shame to lose the accent output from the M32, but i think you'd need another midi interface to get clock from the computer into the modular, or a device like the rk-005 (https://www.retrokits.com/shop/rk005/) that can convert midi clock to a gate.

-- mrjorts

ok I see, is there a midi interface you would recommend?

you're right, I totally forgot about this. That's definitely a good backup, but I'd kinda hate losing the option to output gate on accented steps. Do you think what I proposed would work as well?
-- juliancoolian

it looks like those cables are just din-trs adapters for use with the malekko sync module (or another midi port as long as the trs jack is wired the same way), and the clock in on the varigate is just an analog clock input. i agree that it would be a shame to lose the accent output from the M32, but i think you'd need another midi interface to get clock from the computer into the modular, or a device like the rk-005 (https://www.retrokits.com/shop/rk005/) that can convert midi clock to a gate.

The Mother 32's assign output can be set to send clock out, optionally divided /2 or /4. It defaults to outputting a gate for accented steps. The different modes for the output are described on page 44 of the manual and the process for choosing a mode is on page 50.
-- mrjorts

you're right, I totally forgot about this. That's definitely a good backup, but I'd kinda hate losing the option to output gate on accented steps. Do you think what I proposed would work as well?

The Mother 32's assign output can be set to send clock out, optionally divided /2 or /4. It defaults to outputting a gate for accented steps. The different modes for the output are described on page 44 of the manual and the process for choosing a mode is on page 50.

I need to contact the owner of Modular Grid. Via email is ok. Please provide info.

Does the M32's gate out not send pulses when the sequencer is running or when a note on/off message arrives in MIDI?
-- Lugia

I believe it does, but if I wanted to use that as a clock signal I'd need to always activate all steps of the sequencer in order to actually send gate on every beat, no?

Does the M32's gate out not send pulses when the sequencer is running or when a note on/off message arrives in MIDI?

That's what it means, yep. In fact, what you see there is a lot of VCAs, not just the channel levels. The panning is under VCA control, as are your two AUX bus levels. Note, also, that you can sum before the VCAs on the mono strips by using the A+B to mix two incoming audio signals at a unity level. And while the mutes and master don't have VCA automation per se, it's easy enough to 1) send a gate to the VCA per strip and switch the gate on and off for muting, and 2) you can insert a stereo VCA into the main bus insert point and then put the stereo master level under VCA automation that way. Quite an intricate little device...

I've had the Mother-32 for close to 3 years now and recently, I got another 60HP row as well as an Erica Synths Black Modulator and Black Hole DSP (and a Koma Strom for power). Now I want to built an entire system consisting of the Mother + 120HP and this is what I came up with. I want to make mostly techno kind of stuff.
Basically, the idea is to use the Varigate 4+ as clock source and to sequence the Black Wavetable (or any other oscillators I might add in the future) and either use the Varigate directly or via the Euclid to sequence the Basimilus for some perussion. Of course I'd also want to send tempo to the Mother-32. I'd use the precision adder to modulate the sequence from the Varigate. The rest is rather self explanatory I think.
Sooo I'd love some advice on the following:
- So far, I'm using ableton for drums (might add a drum machine or eurorack drums later), so I need to sync the system to my computer. Right now I have a Keystep hooked to my Mac and send Midi via 5-Pin to the Mother and that works just fine, but the Mother has no clock out so I need to find another way to sync. Could I, for that purpose, use this cable (https://www.loopsandbits.ch/produkt/malekko-midi-3-5-cables/) to send Midi from the Keystep to the Varigate 4+ (and then via its clock out to the different destinations)?
- do you know of any cheaper or smaller alternatives to the modules I'm using here?
- is there anything I'm missing completely?

Thanks a lot in advance!

The title says it all. Can this mixer module also be used as a proper VCA? The specifications say "Voltage control over Level and Panning for all channels" . There's six mono channels en 2 stereo channels, does this mean this can act as 8 VCA's? Or am I not getting it? I'm relatively new to modular, hence the question.

bought a Poti from @GBRL , fast shipping and the module was in perfect condition! thanks!

Hi,

Does anyone know the measurements from the side panel used on this rack?
https://www.mdlrcase.com/product/3u-126hp-eurorack-railset-complete-row/
I need in particular the position from the 2 holes used to mount the mounting plate to the case.

Thanks in advance

Jazzy

Thank you. I think I get it now.

Thanks @AThousandDetails for the Chronoblob module. All perfect! Reliable seller.

The two main voltages used in Eurorack are -12V and 12V. So there are typically three wires going from the power supply to the busboard, supplying -12V, 0V (ground), and +12V. The +12V is 12 volts higher than 0V (ground), and 0V (ground) is 12 volts higher than -12V. In many amplifier designs (and almost all modules have some sort of amplifier), it is convenient to have both positive 12V and negative 12V supplied.

+5V is not used by as many modules. +5V was a standard for digital electronics, so it tends to be digital modules that require it.

If you need +5V, some busboards must get it from the power supply (so they need both: -12V, 0V, +5V, and +12V). Other busboards can generate +5V themselves from the -12V, 0V, and +12V voltages.

No modules need -5V, and this voltage is never used.

When you connect modules, it is very very very important to line up the ribbon, so -12V on the module connects with -12V on the busbuard. Getting it wrong can destroy modules without reverse polarity protection.

Hi. Noob question. I keep seeing -12 V and 12 V on Eurorack specifications and I was wondering what the difference is between the the too. I'm not talking about why I see different voltages and amperage ratings for both, i'm just wondering what exactly does it mean and why don't I see -5 V in addition to 5 V. Thanks.
- Otto

The present image used for the module has background whitespace.

Any basic mult should work. You're not sending the CV to a bunch of different locations, so there's no worry of a voltage sag and no need for a buffered mult. I'd suggest using some inline mults; save your cab's room for actual functionality.

That is great advice Lugia! Thank you! I think at least one more VCO is a good idea!
I have plenty of outboard gear (and plugins) so I have plenty of post processing capabilities!

One thing I am looking at is being able to send the same signal to multiple locations. So having the pitch control from the sequencer affect the Ring module and the VCO. Is the A-180-3 a good choice for that?

Bought a Doepfer Fixed Filter Bank from @fredeke and it arrived quickly (as quickly as overseas allows) and in great shape. Also bought a Doepfer Matrix Mixer from @harvestman a while back (before I realized I should post here) and that was a great transaction as well.

Excellent experiences!

Well, several things come to mind. First up, is MIDI necessary here? If the idea is to mainly drive this with a Dark Time, you're better off connecting it via CV/gate to the modular and losing the A-190-4. Also keep in mind that the Dark Time, if I remember correctly, contains pretty much the same MIDI-CV converter, making the module redundant. Second, there are far better alternatives to that A-145 LFO that offer CV control...or even more LFOs...in about the same sort of space.

VCOs...OK, let's say you want to run the Dark Time in 2 x 8 mode. Now, having just one VCO is passable, but really you want two VCOs so that you can use techniques such as detuning, oscillator sync, and the like. So with two different lines at once, what you'll want is four VCOs...which might sound like a huge space-hog, but there are quad and/or dual VCOs out there that will give you what's really needed there in a decent amount of hp. In fact, a pair of Klavis Dual VCOs would do the trick and give you quantizing for your sequencer CVs all at the same time. After that, you'll need a mixer to sum your VCOs down; if you want full duophonic performance, you need a dual mixer to sum each pair separately, but if you're OK with feeding the two parts through the same filter (usually referred to as "paraphonic" voicing), one that can handle four inputs summed to one is just fine.

Filter choices aren't bad...the Wasp clone will have that dirty sound that the original was known for, and the SEM filter is sort of a clone of the original Oberheim state-variable. However, having just one envelope gen is a problem; with two different VCFs, you'll enjoy having a different envelope for each, so that the timbre can "morph" in a sense as EG 1 gives way to EG 2. But even with a single VCF, you'll still need more EGs because you'll certainly want different envelope curves for your VCF(s) and VCA(s).

Noise/random gen: good. But you'll want some sort of sample-and-hold module to make even better use of this, by 'freezing' random values as discrete CV levels to use elsewhere. If you go back to the middle part of ELP's "Karn Evil 9, Impression 1", that bubbling-on-one-pitch sound is done that way, by feeding a sample-and-hold to the filter that's in the patch. S&Hs have a lot of uses, and are very much as bread-and-butter module. You can also clock this via the Dark Time's clock, which would then sync up these randomized changes with your sequence timing.

Multiples: not in this. This build is too small; even a 2 hp mult will be better left out in order to make that 2 hp space available for some active functionality. Instead, use inline mult "widgets" that several manufacturers have available.

Lastly, the end of the chain. While the Quad VCA is a great choice for both mixing and enveloping the VCFs' outputs, plus leaving a couple of VCAs handy for altering CV/modulation levels (which is another reason for having more LFOs and EGs), that shouldn't be your final module. The output level will still be at synth levels, and optimally should be backed down to proper line level before leaving the cab. Also, you're missing any sort of reverb, etc at the end, post-VCA...this was a huge part of why the ARP 2600, as one example, sounded as cool as it did. No room for a proper spring here, so a spring emulator like the Purrtronics Purrvrrb would be ideal, as it's small, PLUS it's a mono-in, stereo-out device, giving you a nice, wide stereo image. Couple that with a stereo balanced out with a level control such as Happy Nerding's Isolator (which also has transformer balancing and isolation, helping to avoid noise issues, ground loops, and other annoyances), and there you are.

That altogether would be a lot more solid...and still, if done carefully, will fit just fine in the space you've allocated.

EDITED Jan 25th 2019, 00:02

Nah, keep the Plaits...you've got it plus the Shapeshifter in this cab, and that gives you loads of digital sourcing. QCD + expander, definitely...loads of timing control potential with that. As for the Doepfer A-106-1, here's a sick and twisted idea: use its resonance insert, put the Chronoblob in it. Then take the Chronoblob's feedback insert and drop something in THAT...filter, some other processor, etc. That's what's fun about that thing, aside of the MS-20-type filter architecture. You could even set up feedback loops going back and forth from the Doepfer to the Chronoblob, and back again. Plenty of ambient drone/texture possibilities there.

Delay...here's an idea, albeit a bit spendy: Verbos's Multi-delay. Note the presence of envelope followers on each delay tap, which opens up a lot of strange amplitude-control possibilities elsewhere in the rig. And tap 8 has the reverb/octave shift on it, which has "ambient" written all over it. Same size as the Magneto, too.

Smart move with the Stages, btw...two is very much better than one there!

Hi guys!

I just decided to expand my musical workflow with some modular synthesis. Because I'm an electrician I just like to patch cables and turn knob's :-)!

Mainly I use an Elektron Digitakt, a Moog Minitaur and a Doepfer Dark Time occasionally combined with some sounds from a Korg monologue and roland synths to make melodic techno "music" and I want to add some modular synthesis (nothing extravagant) to give me some extra options.

So after a lot of reading and even more YouTube movies this is what I came up with for now. So what are my intentions? I want t control my modular synth either way through the Dark Time Sequencer or send the sounds from my Minitaur through it and from there process the sound, experiment with it and so on. I also want to add some modular synth basics.

Since I'm completely new to this subject I want to ask you guys if 1 this is a good starting point? what would you change, add or let out? And 2 if there are any tips you guys can give me that help me would be very awesome!

Thanks in advance,

Jazzy

EDITED Jan 24th 2019, 19:41

Hi all, I have my first skiff built, check it here:

I'm absolutely loving it but already wanting more capability/complexity... I'm using this skiff as a mood board at the moment:

I'll be putting this all in another Intellijel 104HP case...

I'm making all ambient / experimental music. You can hear at http://sleeplesswaves.bandcamp.com/

I love the Rainmaker for delay, but it's so damn big.... Is Magneto enough for delay? I have a Chronoblob delay as well already. Also toying with idea of Big Sky delay pedal...

I love the Mangrove I have, should I replace the Plaits w/ another Mangrove? I thought go for different sound... Also fell in love with Shapeshifter after seeing demo...

Clock dividers... Rotating clock divider or QCD? Do I want to use HP for expanders? What about Octocontroller in comparison???

Filtering I have a Three Sisters and Doepfer Xtreme Filter... So far I'm struggling to get anything good out of the Xtreme, any replacement suggestions? I have the Jove in the new rack... Any other filter ideas? Maybe another Three Sisters, I'm absolutely loving that...

What am I missing? What should I ditch? What did I forget? Give me the modular gods interwebs wisdom from afar!

Thanks

D

Thanks @enn_n for the Moskwa module! The module is perfect, reliable seller and fast shipment. Recommended!

My take on the 4 hp and down world is that, when they have a function you need and space is limited, they're a blessing. Take Erica's mixer modules, for example; that would be about as small as I would think could work as a simple mixer. But when you start getting into shrunk-down versions of modules that have major functionality in their full-sized versions, I'm a lot more skeptical. For example, 2hp is great for things like their dual VCA, as you don't adjust a VCA all that much, and there's nothing complicated there: in, out, modulation. But I wouldn't consider their version of the Turing Machine to be a contender against a fully-blown Turing Machine, as there's a lot missing that really makes that module (module group, in truth) what it is. Small also works as "hole-fillers"...need an extra basic VCO to mix against a bigger, more featured one? Sure, drop in an Erica PICO if you've got 3 hp to spare. But I'd never use one as a primary VCO unless I was building something in the size of a single Moog 60 hp skiff or smaller.

And then there's manufacturers that specialize in small, aside of 2hp of course; one that comes to mind is Ladik. Ladik has things that fit in 4 hp that really don't exist anywhere else. In such cases, those ARE your primaries, and there's nothing wrong with using them to get that extra bit of functionality. One just ignores the fact that it's in a small footprint. One other one that comes to mind, also, is Konstant Labs' 1 hp power checker; if your cab has no power rail indicators and you do happen to have an extra 1 hp free, then I'd call that a "must-get". Slip it in on a row end, and you get valuable rail voltage info...again, tiny as hell, but tiny works in this case.

Otherwise, yes...if we're talking about something that needs a lot of interaction, like a VCF, then small probably isn't the way to go. But again, different builds and/or different users call for different things, and there's not really a hard and fast rule about size. If you've got Trump hands, then PICO might be the way to go!

Another observations is that you use many tiny modules (2hp and Pico). I am sure there are many different opinions about this (and I would be very interested in hearing Lugia's view), but I think it can be a problem, because: 1) they are hard to work with (tiny pots, cables too close together); 2) they are typically not fully featured compared to full size modules; and 3) they are relatively expensive for the functionality you get.

If you look through the list of the 100 Top Modules, rated by users, there is not a single 2hp or Pico module on this list.

I suspect you just want more functionality than what really fits in the case, and the easy fix is to just start with a bigger case, so you can get this functionality in regular sized modules.

I don't mean to say that one should never use tiny modules. They have their use, typically when you are running out of space and need to solve a particular problem. Of all things, I ended up with a 2hp, 3:1, because I needed switch, and it is great. But unless you have a particular reason, I don't think it is ideal to use them extensively from the beginning.

What Lugia said.

The Z8000 sequencer is huge and the outputs are unquantized. Perhaps look into an Ornaments & Crime 8HP multi-function module. The price is about $250US and you get two 16-note sequencers that won't require a quantizer. It also has a dual quantizer function in it as well. If you pair that with an Expert Sleepers Disting Mk4, you get a lot of functionality in a little space. Some functions overlap, which can be an advantage. You can always add the Z8000 to a larger version of this system and your O_C and Disting will find other uses... they won't become redundant.

Look into the 1010 Music Bitbox if you're going to have on-board percussion. It's 26HP if I remember correctly and $600US. But you won't need all of those sample-playback percussion modules and won't need any additional modules to mix them. It also has easy loading alternate firmwares (free!) as a synth engine or an FX box. You can also record and loop any audio signals from inside your modular (it doesn't record DC). This will let you record the output of the RainMaker if you have some sort of awesome ambiance going and want to buy-back some of your modules that went into making it.

A clock source or divider is also a must (IMHO) for starting a system. Pamela's New Workout or a Temps Utile would work out well.

Also, the Rainmaker and Erica DSP have stereo outputs. You'll want some sort of mixer to take your mono signals and stereo signals and combine them... the same for any stereo samples.

And last, the Batumi has an expander called the Poti. It's 3HP. It will give you a lot more functionality out of the Batumi in terms of waveforms and sync/reset. You HAVE to have it IMHO.

Peaks Parameters

LFO in Split mode
- 2 LFO's, whose shapes and frequencies are displayed simultaneously on the front panel

Tempi Parameters
- All channels take global tempo from Tempo knob
- CH. 1 1x (sometimes 2x)
- CH. 2 3x

Micro Sequence Parameters

• Direction Mode: Skip
• Gate In Mode: Ratchet
• Length: 8 steps
• Scale: Minor
• Clock: External

Overview

• 2 Sound Sources: Maths CH. 4 (cycling @ audio rate), Basimilus Iteritas Alter (via Maths Channel 1 Unity Output)
• BIA goes direct out (with Amp CV modulation from Maths OR Output, chose OR because 2hp VCA is not bipolar), while Maths CH. 4 is filtered at Cinnamon then sent to Quad VCA and out
• Maths modulates BIA Trigger In as well as CH. 4 amplitude cv
• LFO's from DixieII and Peaks, as well as a Pitch Sequence from Micro Sequence (which is both advanced and receives a separate Gate from Tempi) bring rhythmic and textural variety to Maths CH. 4's amplitude and filter cutoff, as well as to BIA's various timbral parameters

IMPORTANT, In DAW
- Used Klevgrand Brusfri to cut down on noise from the modular
- Duplicated the BIA Input, where the duplicate is centre panned and only plays frequencies below 300Hz
- Maths CH. 4 is panned left 20L
- BIA unfiltered is panned right 15R

That works, too...technically, you could take all VCF outs and send them to differing processing, then into separate VCAs controlled by different modulation signals, with the result being a constantly morphing sound (if you use LFOs) or a sound that changes across its duration (by using differently-set EGs from the same gate source).

The case in your post isn't set up as a 7Ux104 case. Maybe your set-up has changed and the text portion of this message is outdated?

Hey! I am in the exact same situation! Got a Moog mother 32, a case with power and a Pico VCO module as my starting gear! And I am lost to what I should by next, I would like to create beat/electromusic so maybe drum modules! First maybe an output module for using it live?
What did you go for??

Thanks. That's good to know. I was just thinking of using a filter's bandpass out as the signal that goes to reverb or delay per the mylarmelodies/divkid podcast discussion of reverbs and effects.

If you're using a Minibrute 2S, why not use the Rackbrute cases? The 6U one comes with power, plus its stand connects to the 2S's frame to provide a fold-up portable situation. You can also, later on, connect two Rackbrute cases to each other in the same manner. Given that you'd get a lot more bang for your buck with these (as they have power + distros already installed, plus they're bigger), those would seem a lot more sensible.

Absolutely. This is one of the nice things about multiple outputs...you can use them + an audio mixer to tailor not only the filter's sound, but there's some response tricks that're possible as well. Some of what's possible will depend on the filter in question, of course.

Hi everyone.
This is my first post here and I'm really glad that finally, after many years, I decided start my journey with modular synthesizers. I'm a music producer and live performer since almost 10 years and after all this years in many clubs, raves and festivals with my laptop and midi controllers, I want develop my skills and go deeper with analog synthesis and I want do this with euroracks. I want ask You for some recommendations and some advice how can I start. I know that this is all my choice and everybody's got different perspective, but I would like to hear Your opinion what You'd choose on my place.

As a professional performer my main goal will be to play whole "sets" with my modulars and this is the plan for the future. But I don't have much money so I need to progress from year to year. For now I've got already Arturia Minibrute 2s which I can use also on start I guess. I'm playing mostly music around dark bass music with techno (deep dubstep, dub techno, dark chill). In music I love a lot of space and deepness so I know that I need a lot of effects (reverbs, delays etc.), but this also should be danceable - then system can't be without drum machines which will let me do fat drums and big snares.

My budget for now is around 1000$ and:
1. As I mentioned, I've got already Arturia Minibrute 2s which comes with sequencer.
2. I can use Ableton for everything, what I would not have on the start and change some functions to analog with time and new modules.
3. I need small and portable case. For the start I was thinking on Moog Mother/DFAM cases, couse they are cheap used and I can build small modular with three of them starting from one.
4. Main goal are live performances.

What You can advice, what modules should I check for the beginning before I'll buy anything in Your opinion?
Cheers!

Wonder how it would look like the simplest multitimbral skiff with 4 different voice midi channels.

For multimode filters modules that have outs for low, band and high pass, can they be used simultaneously?

Once you've had your system for a little while, you might want to explore additional filter types including low pass gates. If that's not your thing, you can try additional modulation sources. The Worng Vector Space looks tasty as well as the Xaoc Zadar quad envelope generator.

Granted, you can't go wrong adding an Expert Sleepers Disting Mk4 for a sampler-pack of useful features you might want to add a dedicated module to reproduce.

Actually, that sequencer complement isn't all that different from what I presently have (2 x BSP, SQ-1 [for my own MS-20], Keystep) in addition to the various incorporated ones in other synths. And yes, they all play very nicely with each other. My plan for later this year is to cap this off with a Koma Komplex and use that as a 'hub' for all of the other hardware sequencers + direct interfacing with my modular. This'll then free up a BSP to use as a drum sequencer for an ancient MXR Drum Computer which has a blown sequencer but which recently received a trigger-in 'fan' for this exact purpose.

VCOs aren't the whole problem with how VCOs sound, btw. Very pure VCOs tend to sound rather meh, so by putting some things inline with them that introduce some nonlinearities, you can beef their sound. Also, just one VCO is probably two fewer than you need, because you want some slight detunings and waveform nonsynchrony to get a more interesting sound. The whole key to the Minimoog sound is, in fact, these two things; not only do the VCOs have a tendency to drift slightly even when warmed up, the Minimoog also contains the guts of the CP3 mixer for mixing these...and the CP3 isn't a very clean mixer, but it's not clean in a musical sort of way, if that makes sense. Feed that on to the classic LPF on there, and that's "that sound".

As for effects...unless you want something non-replicated in outboard (such as Intellijel's Rainmaker), my suggestion would be to grab some cheap outboard devices and a 1/4" patchbay for them, then have fun routing all sorts of processing cascades, insert loops, etc.

Missing from this patch is the SEM. The SEM provides pedal tone.

– Dixie Square to SEM Audio 2
– RCD 1 to SEM ENV 1 GATE
– SEM ENV 1 OUT to Mult #2 IN
– SEM LFO modulation VCF - in LP mode

–uVCA stereo out to sound card

EDITED Jan 20th 2019, 18:46

Love both. So many timbres to explore. Enjoy, my friends.