Why did Moog put Mavis' i/o on the left side, unlike all the other modules?
So I flipped the Mavis over to get everything on the right side.
This is kinda dumb, but not as bad as I thought.

You certainly have many modulation sources.

As an exercise in Modular Grid, drop a quarter of those modules. (so that's 26hp to sacrifice)
Conceptualy split what's left into two, planning each half as a viable synth, whatever it does, on its own.
Now, with that newly freed space in the middle, fill it with utility and glue modules.
Adders, offset/attenuators, active multiples, submixers. Stuff like that.

EDITED Apr 8th, 15:42

The precision adder lets you switch multiple oscillators/modules up or down octaves without spreading oscillators out of tune with each other.
Flipping a switch to raise or drop an octave is a convenience compared to re-tuning with a knob, and more accurate than most active multiples.
You can also use it to transpose a sequence to another key with a second sequenced cv.

The first channel lets you ease in with an attenuator, so you can add a bit of wobble or other modulation fun to multiple voices.
Or you can use it to goose several modules a little bit into tune, all at the same time.

I guess it's value depends a bit on if you are going after playing notes 'in tune' with something else or itself.
I don't mean that negatively.
I know a lot of synth musicians don't want anything to do with that, and that's ok.

We forget after doing so much in digital, that analog is so squishy in its tuning.
The A-185's "precision" keeps combining or switching 1v/octave cv-s dead on. Really handy all the time.

EDITED Mar 21st, 00:33

Doepfer A-185-2v Precision Adder
Somewhere before the oscillators.

EDITED Mar 20th, 00:38

https://noodlehut.bandcamp.com/album/haunted-by-wires

I’ve collected a bunch of Behringer modules over 4 or so years
and I wanted to get them off the shelf and give them a home.
I build mostly for auto-generation, I’ve added enough other parts to make it workable.
It sure used a lot of knurlies.

I tried to think vertically this time across all four rows and not be just two cases glued together.
Worked out to 36hp for note events, 16hp for envelopes, 32hp for voices, and 24hp for mixing.
Stereo! No fx modules! No midi!!
Two big wall wart power supplies! :(

It turned out very nice. I wish it was as big as it looks, but it's heavier than you would think.
Everything tests ok. I’ll try recording tomorrow.

—

EDITED Mar 13th, 15:57

All those signals and no way to easily share them.
You need some active multiples.

Pam's got 8 outs you can split and share with everything else.
A pair of Synthrotek MST buffered mults would take 8hp and gives lots of flexibility for all 8 outputs.

The ALM Axon-2 makes working with Pam's so much easier. Knobs and assignable buttons and 4 more inputs!

I did this last year with Pam's and Moog boxes, to learn about Krell patches.

https://modulargrid.net/e/stochastic-instruments-sig-4-track-stochastic-inspiration-generator
This can do exactly what you're looking for.

The SIG+ Stochastic Inspiration Generator is very live, well made, responsive, and accurate.
And fun. Lots of ghosts in that machine.

You just want to send the output of voice1 or voice2 to the looper, yes?

Is it ok if they're both 'active'? Is just routing the audio ok?
Routing cv and gate is harder.

With two Doepfer 182-2's, you need two cv/gate pairs, the trigger for each, and reset for each to sync them.
At least 8 wires vs. 2 wires if it's just audio. Plus 2x 4hp in the rack.
There are advantages though to routing cv/gate. Both voices can interplay,
and you can have long sustains without cutoffs or clicks when you switch, but it gets complicated quickly.

Look at the Doepfer A-133-2 Dual Voltage Controlled VCA/Polarizer/Inverter or the cheaper A-130-2 dual VCA.
It'll sound better.

EDITED Jan 30th, 05:28

Did you want to sync the sequencer with midi in?
You'll need a midi in that supports it and the v/oct and trigger from midi.
Do you need two note and trigger outs from midi, or just one set?
Do you need this box to be able to send midi out too?

This arrangement could make things easier.
Input and signal generation on the left. A multiple between to share those signals. Voices to your output on the right.
I moved the power supply to be better out of the way of patch cables.
The 110 needs those two envelopes, so I kept it nearby.
The 2600 vco doesn't have a vca, but you could put it into the 110's 2nd vcf input.
The 121 filter at the end lets you tame and shape your final output,
but also gets you a 3 x 2 mixer to combine your audio generators,
or blend the 2600 vco's vaveforms.

I kept the CU1A output, but it's kind of terrible.
You have to power it from the USB-C input, it's not hooked to the power supply.
So with no usb input power, there's no output audio and no headphones.
Just a dumb design. Nothing but trouble.
(and the 921A Oscillator Driver isn't applicable here)

I added the 903A random because there was a 4hp hole,
and it's cheap, and you don't have any random noise fun.

If you want the sequencer to track midi in, you'll need an interface that supports midi clock/sync out.
There's loys of them available.

• -

EDITED Jan 20th, 06:22

You would need two EGs that trigger on end of envelope, and your A-141-2 VCADSR / VCLFO does that, but only does one. You would need a quad polarizing mixer like the A-138J to blend the functions, but I didn't spot that here. And then I guess something else to mix and invert the outputs.

But it's good because if you drop the A-141-2, you only have find 6hp more to sacrifice to fit a 20hp Maths.
Oh, you wanted to get rid of some modules? We don't do that here. We only get more modules and larger cases.

EDITED Jan 15th, 19:24

An impressive build, but what we'd really like to see is your giant collection of patchcords!

Looks better in person.

EDITED Jan 20th, 21:37

EDITED Nov 28th 2025, 15:45

EDITED Nov 28th 2025, 15:47

EDITED Nov 28th 2025, 15:46

Space FX is basic, but if you already own it, have the hp, and it adds some no-fuss air to the mix, why not?
On the other hand, if I actually tried one, I might not say that.

EDITED Nov 28th 2025, 15:46

EDITED Nov 28th 2025, 15:46

EDITED Nov 28th 2025, 15:46

Nothing wrong with running their modules
(though I've avoided getting a space fx, and have those "four" functions covered.).
I've used the Chaos Marbles clone often, way more than the Abacus. I'll never understand the popularity of Maths.

The 1050 mix sequencer would work great here as your output mixer or for getting a 24 note sequence from the 1027,
or just for switching signals. There's also the cable in the back to send the 1027's clock to the 1050, and a switch for it.

The behringer arp and roland clones are on discount now, I suspect that line will be discontinued soon.
I know there's a ton of them out there for the used market, but get 'em new while you can.

You could benefit from a good mult to share your hard-won generated signals.
I like the Synthrotek MST '07 Buffered Multiple @ 4HP. Best $99 you could spend here.

I think you can get lots out of what you've shown here already.

I've moved things around, mostly to help with using those little short yellow Doepfer patch cables.

EDITED Nov 20th 2025, 01:45

$2,300 is a lot for a one drum/one oscillator/one filter system.

Maths sure takes up a lot of room.

Monsoon + Disting might be a challenge to control using what's there.
When I've run them in serial, the details turned mushy and high end gets lost,
but I like that dual filter. It works well as a mixer with three inputs on each filter,
so maybe those three will be interesting together.

The usual next step, the boring things; active mults, attenuator/offsets, CV mixers,
maybe a quantizer if you're doing note-ey stuff.

That set should be fun.

EDITED Nov 17th 2025, 00:25

This one should be fun. It turned out so nice.
The red frame is from Releas3DPrints on etsy. Beautiful work in 3D printing.

side, with its Theremini controller:

Here's the plan again. Thank you modular grid!

EDITED Nov 10th 2025, 20:46

Needs less ear candy and more boring parts: active multiples, offset/attenuators, mixers.

And oh boy, the Harmonaig. We all have modules we deeply regret and the Harmonaig is mine.
It does the trick, a quantizer with chord tables, but for me, always did it poorly.
I tried, a lot, but there's too many obscure button combos to make it 'work'.
It seems musical, but never got there.

Really dissapointing, I keep it around now, just to look at it with distain.
Instruo stuff seems too expensive for what it does and for how it's made.
Their raw board aesthetic just comes off as cheap to me.
Grrr. Instruo.

So I got one. It's made really well. Shiny. The synth side is great. The oscillators sound rich and dynamic and are eager to purr and squeal under abuse. The filter does that thing. The EGs suffice.

I found exceptional ghosts in the machine, but like others have said, you have to hunt for them a while.
But when it's good, it's very good.
Understanding the subharmonics will take time, but I'm starting to hear it.

That sequencer though... I know there was a design vision, and sometimes you can hear it as well as see it,
but those clock ratios are made too squishy and indeteminate. I appreciate the happy accidents,
but that's no way to do everything. There should have been some rate indicator for those clocks,
or used clicky, 16-step encoders.

The quantizer is fine, even the 4x2 steps are interesting, but with those clocks, they should have let digital be digital.

And why they didn't put those nice little knobs they made for Mavis etc., onto the sequencer pots?
Moog cheaped out on the heart of the devices's reason for being. They aren't auxilliary controls.
They made those knobs, so knew they were needed. Sadly, that knob kit (25 for ~$30) is now impossible to find.

There are accountants that work at Moog, that are against something having too many knobs. Go figure.

Better (on a Spectravox):

A poor decision across that whole product line. When you buy a Yamaha receiver for $600,
it doesn't come with knobless knurled shafts sticking out the front. (or do they now?)
Moog inMusic has the profit margins to ship fully assembled products,
especially considering the hardware that $600 worth of Yamaha gets you.

So I'm still learning it, enough to try out what outboard things it needs to open it up.
The 3 tier plan: (inMoog doesn't sell those matching empty 60hp cases anymore either..)

This should help get it there, because when the Subharmonicon is good, it's very good.

EDITED Nov 8th 2025, 18:55

There's several interconnects between modules behind the panel, and some key jumper changes, so it's cautious going.
No MIDI this time, but it's mostly stereo, and could be multi voice, 20(?!) note polyphonic, the hard way.

Nothing exotic here, I tried to keep it clean and readable because my eyesight is wonky.
Should be fun, deep, and nearly impossible to get and keep in tune :)

EDITED Nov 3rd 2025, 15:48

With that many modules, I'd try to arrange things to make each row an independant, standalone synth.
It's a good sorting exercise at least, and helps fix your arrangement into memory.
Where's the output going to come from? Is there a mixer and I missed it?
And the usual: needs more mults and offset/attenuators and other boring things.
Are you running mono or stereo?
Who's going to be the usual master clock? Will it need to clock many other things?
Will you need a reset circuit to sync clocks and counters on restart?

That's an interesting collection you have.

EDITED Oct 31st 2025, 03:37

Never.

Does Mordax have DATA in production any more, or is that run of units and parts all done?
They have one product, two versions, and they're both 'out of stock' on the site.
They talked about updating it, but it looks like Mordax lost interest in DATA a few years ago in the plague times.
Now they are focused on a prototype 'drone oscillator'. Oh boy.
Eurorack's a tough business to stay alive in.

Are you looking for a black faceplate, or a white one?

EDITED Oct 29th 2025, 18:42

Your module choice and placement looks kind of random. A headache in a box.
You're going to have to fight a tangle of wires, and your memory and eyesight, to tune, patch, and play that thing.
It will certainly generate a mess of audio, but a collection of high end modules doesn't make an instrument.

You've puzzled out making everything fit (the fun part), but go back and reconsider what modules, when paired together,
would be typically used in the majority of your patches. Source to sinks, left to right, building from the bottom up.
Not always the best choice, but it fits how most Doepfer modules were traditionally designed, so there we are.
Using a pair of 4 inch wires is better than draping two footers down to one corner and back.

You've got all of those complex modules, but no way to share and distribute expensive-to-generate signals accuratly.
With your 16hp, I would place four Synthrotek MST '07 buffered multiples (my new favorite 4hp mult), one on each row.
Better yet, drop a row's worth of ear candy, and put in some VCFs, mixers, and offset/attenuators to tame those modules.
At least 20% of what you've got there will never get used, beyond maybe once. It could, but won't.
Find that 20%, and simplify.

EDITED Oct 29th 2025, 17:57

The Behringer 173 is a passive mult. Unless it's for trigger pulses, I'd avoid it.
The Synthrotek Buff Mult is very nice, as is the Rides in the Storm QAM.

The Rossum Assimil8tor does about everything a sampler could, and sounds pristine.
Still expensive, but they're trending cheaper on the used market.

You power that with a single 4hp supply?
How did you distribute the power to the other 41 modules?

It kind of wants to be 8 note polyphonic, but there's no easy way to do that with just the sequencer and S&Hs.
Needs active mults and a mixer. I get how it could be patched, but it seems tedious,
especially to group CV the oscillators.
There's tons of potential there, the essentials x 8,
but it's missing about one row more (more or less) of what would make it great.
That sequencer is taking up a lot of room...
What's that little power supply in the lower left do?

EDITED Oct 27th 2025, 15:56

Are they terrible? Limited? Boring? Too big? Don't play well (in tune) with others?
I was thinking about one to go with the Spectravox I have.
Thoughts?

A little more versatile.
I don't trust rackmount/flying bus power supplies.

Another lfo/vco would be nice instead.
Then the not-mother section could be a voice on it's own, along with the guitar input.
Mother can be on it's own, mixed into stereo.
I switched rows so the m-32's controls aren't draped with wires .

Did you have a specific case in mind?

EDITED Oct 20th 2025, 00:45

Just try it if you can.
As much as I think a build is just right, it always gets changed,
and I don't think I've ever done the same setup twice.
Eurorack resists being static by design. I guess that's its charm.
That elusive perfect box.

You should be fine as far as power.
Looks like everything there could contribute to fun patches.
I like those tiny builds. I call them spirit radios.

That set will certainly make nice dronish beeps for days.
More deep than wide, but it's gonna do that one kind of patch really well.
Box of fun. Build it!

EDITED Oct 9th 2025, 23:20

The A-118-2v will save you 4hp over using the A-119, but wiggler's right, the Chaos will give you much of the same randomitry.
Get a couple Rides in the Storm QAM active multiples instead and share those CVs.
Stereo vs. mono. You'll either have to mix in stereo, run long wires, combine two channels, or throw one side away.
What's your usual clock going to be? Several modules here give or require a clock.
Can you distribute the clock(s) to where it's needed?
Are you hoping to use stacked cables? Don't do that.

You could add a 140 dual adsr between the sequencer and the 110 voice.

EDITED Oct 2nd 2025, 01:11

EDITED Sep 16th 2025, 00:12

There's a lot of modules to chew up audio, but not many to feed them.

Think about those stereo modules in the signal chain you have in mind, and mixing.
Will you be using them in stereo, or discarding half, and when?

Is Pam's the usual clock for the other clocked modules?
Will you need a distributed reset to start and stop them in sync?
More active mults can share those expensive-to-generate signals.

Sometimes, it simplifies to think in essential pairs of modules that compliment each other,
and then think of those pairs as a single unit as you're building up.