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Thanks Lugia will defo try to follow this.i have a zadar so could try that

So connect the gate from BSP to the trigger on zadar or have i gotten that wrong?

EDITED Jun 25th 2022, 12:03

Hi Lugia,

Thanks for taking the time to reply.

An outboard mixer is something I am trying to avoid because I have a tiny desk. But it’s seeming more and more like that’s the cleanest solution :/ so unless another magic solution exists I might just have to look into that.

Re. the Rackbrute, the same friend who lent me the tex mix (and a couple of other modules not on here) sold it to me at a really good price to help me get started. Also I quite like how it looks and the little space under let’s me tuck external cables + the octatrack away nicely.
I’ve also got a 3U rackbrute btw that I’ve not got connected due to the same space problem but if needed I can latch that on later for an extra 84.

Mantis is an absolute bargain though I agree! Was first choice for me till this deal came along and honestly if the space is really a problem with the 3u rackbrute (and if I ever need it) then I may get a mantis and sell the others.

Thanks for your reply :)

I've been thinking recently that we have enough of the proper stuff in Eurorack to create something that's 100% OUT of control. Not generative...but berserk! Some Moffenzeef and Schlappi (THE company that's hellbent on ruining your hearing!) stuff in tandem with that would start getting into the "batshit insane" sonic zone. Would make for a great takealong cab if you were playing an appropriately-chosen live set in some blighted industrial wasteland.

Solution simple: an outboard mixer. It feels like you're trying to get way too much out of the internal mixing strategy, and with all of the other devices, trying to run them through the TexMix is just more complexity added to complexity. Plus, running external equipment then feeding it to the modular's mixer (which is expecting modular-level voltages) probably won't sound all that good in the end. Get your audio summing out of the cab, and then you automatically solve the "drums in cue bus" problem.

Next...unless you've got an Arturia Minibrute 2 or 2s, I don't know why you would use a Rackbrute. They're nice and all, but they restrict you to the Minibrute 2's form factor. Plus...well, looking at Sweetwater here, the 6U Rackbrute goes for $359 at two rows of 88 or 89 hp, depending on who you're listening to. And right next to it is Tiptop's Mantis: $335 for 2 x 104 rows. And if the expandability of the cabs is a future concern, the Mantis can link with a second Mantis via a linking bracket to give you a crazy AF total of 416 hp for $670. Beat THAT deal!

Hmmm...clearly, you either like module programming with a pair of tweezers, or you've got fingers the size of raw spaghetti. The first thing I would suggest is to get all of those little bitty modules the hell OUT of there.

As for more modulation with the existing modules, my suggestion would be to lose the old Veils and replace it with the NEW one. This then opens 2 hp...and you have 8 hp already...for a total of 10 hp. Now head over to Tiptop's listings and check out the MISO. It fits under "mixers", but that's far from everything that that one module can do. And it's versatile enough that you'll be using it all the time for LOTS of things that involve extracting more modulation from your current modulators. Put it right next to that 10 hp Veils so that you can also have CV over modulation amplitude with ease, and there you go.

I can see where this is headed, but without a lot more in the way of "helper" modules, this will be a total PITA to use. I'm also questioning the wisdom of having so many large-sized modules in a small cab, which is part of why you haven't got many of those "helpers" in the build, I would figure. But think...do you REALLY need four effects processors? Really?

Let's fix this....

[SNIP]

OK...most of your main modules are still in there, but I got rid of the superfluous stuff, most notably the excessive amounts of effect processors. I kept the Morphagene because it's more than just a delay module and you appear to want a more granular approach to that aspect. But anyway...

TILES: Stereo input (for which you don't need extra jacks...the cab already has a pair for the input and the output as well), then the MIDI interface. Then I yanked the FX processor that was there because having a noise/random source is much more important, along with the other utilities there such as sample and hold and slewing. The Noise Tools tile can also serve as a master clock, but in this system that can probably be used for other purposes. QuadrATT is next, then I put in a Stereo VCA for a very specific reason related to the NEXT module, the Output Mixer. The VCAs are there so that, if you want to fly a signal in over the mix, you can have CV control over that level. So, if you want the Morphagene's output to slowly emerge from behind the dry signal...well, that's how you do it. And lots more besides.

MIDDLE: Just Friends and Plaits first. Then a Veils to sum down signals from those and control amplitude. Then the next thing...oh, it's just one of the most sought-after filters of all time: the Synton Syrinx, or G-Storm's clone of it. The Syrinx's filter was an elaborate and very expressive thing that was very formant-capable. G-Storm's version also has a 4-channel mono mixer on the input, so if you wanted to mix each preceding Veils channel through that, it's a snap. And after that, Rings...so you've got a formant-capable VCF (a VERY good match with the Just Friends, I should note!) going into a physically-modeled resonator. Sounds right to me! One more Veils after that, then I put in a Toppobrillo Stereomix2 as your performance mixer. This thing gives you CV over channel level, AUX level, and panning per channel. It's got a proper send/return for FX, also...mono out, stereo return, and you get a CUE, mute, and PFL too. Oh, and your headphone preamp there can be switched between the CUE and OUTPUT busses so that if you need to, say, correct tuning mid-set, you can put the offending VCO through the CUE to your headphones so that you can spot-up the tuning. In short...very effective.

BOTTOM: ES-8 and Monome thingy. Then Xaoc's Batumi (with Poti expander), Maths, and then the "modulation manipulation" bit, which uses a Frap 321 to wrangle more modulation out of the modulation and a Happy Nerding 3xVCA to control your modulation levels. Adding those to the modulation scheme actually results in being able to wring out a lot more of other derivative modulation signals. Then, Zadar/Nin...and the Morphagene.

So...this not only has its module complement fixed, the layout also makes far more sense by setting it up this way. Result will be that the rig will be easier/more intuitive to patch as the locations of different types of modules have been consolidated here. And with the "helpers" now in place, this will function far better than the initial build might've.

EDITED Jun 25th 2022, 02:20

On the behalf of totally insane modular synth users worldwide, I'd just like to.....

Nah. Actually, VCV and hardware have their uses. VCV has loads more modules that are ready to go, but you have pretty much ZERO tactile physical patching. And hardware is more limiting (until you crash VCV!) but has the advantage of getting your hands on the sound. But since VCV can be patched up so that it's using external signals, you can go from the physical modular to the virtual one, and take advantage of the best aspects (and worst to some extent...huge VCV patches can get a bit hairy as far as CPU load) of BOTH methods.

Plus there's a method that seems to ALWAYS get missed, and that's combining VCV and physical modulars on an equal basis. Oddly, in Eurorack everyone knows about the voodoo that Expert Sleepers do, but where CV/trig/gate control is concerned beyond their offerings, people know little else, it seems. But if you can snag a DC-coupled "obsolete" audio interface (I use a MOTU 828 mkii), you can use such things as Expert Sleepers' software, CV Tools in Ableton, Volta on the Mac, etc to integrate both system paradigms into one big, complicated and glorious MESS. Plus, yes, you CAN use both CV/g/t AND audio via this method. Just don't run out of channels!

Sure, it doesn't make any sense. But then, try and follow an explanation of Neapolitan 6ths sometimes.

The BSP's gate actually goes somewhere else altogether in a basic patch: an envelope generator.

Gates are basically a "squared envelope". Zero rise and fall rates, though. So what the EG does is to translate that gate pulse into something more like an instrument's physical envelope. So the proper patch would really look more like

(Ok, yeah...it's not patched. MG's patching system seems to have a Firefox issue...? Anyway...)
I used Doepfer stuff here because it's easy to follow, but the same rules apply to any similar combination of modules of this sort.

In order to patch this up to a BeatStep Pro, you would...

1) Connect a BSP CV OUT (whichever channel you prefer) to the CV IN on the VCO.
2) Connect the VCO audio output (or two in this case, since the VCA has a dual input) to the first VCA's audio input(s).
3) Connect the VCA audio OUT to the VCF audio input.
4) Connect the VCF audio OUT to the second VCA's audio input.
5) Connect the second VCA's audio output to a mixer channel for combining with other audio signals for eventual output.

So, that's the audio path. Now, for the modulators, you can see an LFO and two ADSR envelope generators. So...

6) Connect an LFO output to a modulation input on the VCO and use this sparingly for a bit of audio vibrato. You can also add a vibrato to the VCF as well, potentially with a different LFO waveform.
7) Connect the BSP's GATE OUT on the chosen channel to BOTH of the gate inputs on the envelope generators. This now has both ADSRs responding to the same gate signal.
8) Select a decent envelope for your purposes, and then send that to BOTH VCAs.
9) Lastly, use the other ADSR with a shorter and different envelope to modulate the VCF's cutoff frequency.

Basic bass, that. But that's how the BSP's CV sequencers should be patched for basics.

The master of disaster. Awesome.

Hello everyone, first post here and quite new to the Eurorack world so I’m after a bit of advice!

I am having a little bit of a routing headache. For context, my setup is an Elektron Analog Rytm, Analog Four, Octatrack and the Eurorack.

The way I have it set up now is I’ve got my Bitbox + Loquelic going into the Tex Mix (borrowed from a friend) then out via the Master to my Analog 4, and then that goes into AB inputs of my Octatrack.

Then I’ve got the Analog Rytm going into the Tex Mix and the Basimilus taking up the last spot (I prefer not having audio go into the Rytm as the external mixer page is non existent unlike the A4). Those 2 are set to cue, and go from the monitor out of the Tex Mix into inputs CD of the Octatrack.

What I’m trying to achieve is to have the melodic stuff on one side, drums on the other and use the OT as a final mixer/mangler. But as you can see, it’s quite a convoluted and messy set up. Add to that I can’t use send effects with the drum modules as they’re on cue. Is there any better way to do this? I feel like there is there a simple solution I’ve completely overlooked and I’m hoping someone with more experience can help.

My second question is a more general opinion/advice one. I’ve linked my rack so if you can, please give me your thoughts on it and whether you think I’ve omitted something/think there may be something that would be a good addition :)

I mainly use the Eurorack in conjunction with the 3 elektrons so in terms of voices I think I’m pretty covered (though again, I’m new to the modular world and am very open to different perspectives).
I’ve got 10hp free but I’m open to switching, buying, selling etc. The music I make is quite heavy, 100-130bpm EBM/darkwave/techno type stuff though sometimes I do switch it up to some drum n bass/breakbeat if that helps at all.

Thanks very much.

Edit: it’s not showed up yet but I have the mono not stereo tex mix inputs.

EDITED Jun 24th 2022, 21:06

DPO is the bass line, manually sequenced by Pressure Points. Mysteron is the main melody/sequence. Telharmonic runs through Morphagene, filtered through MMG and sequenced by Rene. ErbeVerb is the end-of-chain effect. Moddemix and Optomix were the mixers/VCAs for DPO and Mysteron. Tempi set the clock and clock divisions. Maths doing its envelopes on DPO and Mysteron.
-- pobenergy
tj 4 the expaning

DPO is the bass line, manually sequenced by Pressure Points. Mysteron is the main melody/sequence. Telharmonic runs through Morphagene, filtered through MMG and sequenced by Rene. ErbeVerb is the end-of-chain effect. Moddemix and Optomix were the mixers/VCAs for DPO and Mysteron. Tempi set the clock and clock divisions. Maths doing its envelopes on DPO and Mysteron.

I would ditch Pamela’s and replace it with the NerdSeq More CV expander. I have both and find that the Nerd can do nearly everything Pamela’s can: smooth/stepped random, clock divisions, etc. I’ve been seriously thinking of offloading my Pam’s and I’m a great fan of it. Just feeling it’s a bit redundant.

Wow thanks so much I really appreciate! Gonna take this all to heart and re update this rack thanks a ton

Pamela's New Workout would fit nicely. 8 clockable LFOs , with variations - euclidean, random, logic, quantizing.

I’m quiet happy with my rack but want some more modulation possibilitys.
Mainly for modulation of Plaits, Monsoon and Marbles in generative patches.
I have 8 HP free space and think that DivKid ochd could be a good choice.
But I should be happy for other suggestions.

• Flute, Arbhar, Beads, Morphagene, Desmodus Versio, Planar2, Microcosm

With 1u the clearence for the rails is taken away from the long side of the module, e.g., you have less space to work with compared to a 3u, given the same size front plate.
-- wiggler55550

This also results in more space for your fingers! :)
More below...

You cannot just give a 3u module a quarter turn and declare it a 1u, you will need a new layout to fit it in the narrow space.
-- wiggler55550

Actually, if the module has been properly designed, you can. Be prepared to have quite a wide 1U module though.
Both 3U and 1U versions of my LB5 module use the same PCB, and only have different front panels, so the "lost" area needed for the rails virtually has no impact.

https://www.modulargrid.net/e/xodes-lb5-1u

https://www.modulargrid.net/e/xodes-lb5-3u

About whether a 1U only case makes sense / is a good idea or not (or if the 1U format makes sense at all), will only depend on how one would use it, so there's no universal answer, and it's not for everybody.

Even though the short demo used this case on its own, the idea was more to complement existing setups to add a couple 1U modules. Some are only available in 1U format, some interfaces (like the steppy) are more user friendly / natural with modules in the horizontal orientations, so there can be uses for such cases. And nobody will force anyone to buy one. :)

There were also some similar reactions when I released the 1U/3U adapters, and yet, I always need to make more. I understand that this solution too is not for everyone though.

Another thing to take into account is the type of modules to be used in 1U : the utilities I released earlier this year were originally designed as 1U modules only, and I finally decided to adapt these to 3U (using a specific PCB for each format this time). So far sales are slightly higher for the 1U format, and this was kind of expected, based on what happened with LB5 already. I do apply the same prices for both formats, and that's just the way it should be.

One could also argue about if hardware modular synthesizers in general make any sense in the 21st century when you can use VCVrack instead! ;)
I guess sane people just don't invest in modular synths. :)

Wouldn't it be great if you could send monophonic sequences to each of the channels. Dang, you'd have 8 channels note to CV for instance coming from a DAW...

EDITED Jun 24th 2022, 07:50

That makes sense to me. Thanks for your explanation.

With 1u the clearence for the rails is taken away from the long side of the module, e.g., you have less space to work with compared to a 3u, given the same size front plate. You cannot just give a 3u module a quarter turn and declare it a 1u, you will need a new layout to fit it in the narrow space. I guess that's why my 1u uO_C was so much more expensive than the 3u version. Moreover, the smaller the module the less functionality will fit in while much of the cost will not shrink accordingly.

I was thinking of a more or less self sufficient rack here. But given a special use case it does make sense, I can see that.

But let's face it: The bang for the buck in 1u is less compared to 3u so it's possibly not that good an idea.
-- wiggler55550

While I agree with you given the current lineup of available 1u modules, I could see something like this prompting the creation of more unique and interesting 1u modules.

I like the idea of a 1u only rack for patch specific utilities that I don't always want taking up space in my main rack. Rather than use a 4ms pod or a pico case with a bunch of tiny 2hp modules, I would rather have just a row or two of 1u stuff.

Am I missing some glaring drawback of 1u? In other words, is there a concrete reason for the difference in "bang for the buck?"

kkk

Great device for incurring tinnitus!

I have been toying with the idea of a 1u only rack for a while. And boy does it look cutesy. But let's face it: The bang for the buck in 1u is less compared to 3u so it's possibly not that good an idea.

I'm interested. A wider, more HP, version would be neat too.

just tried to connect the BSP to plaits as descibed above,but i only get real short sounds comin out of Plaits,what im after some some longer Drone sounds,any tips?
-- Broken-Form

then you won't get a continuous sound from plaits - leave this unplugged and plaits will drone (depending on the mode) just like any other oscillator

-- JimHowell1970

aahh nice Thanks Jim

just tried to connect the BSP to plaits as descibed above,but i only get real short sounds comin out of Plaits,what im after some some longer Drone sounds,any tips?
-- Broken-Form

then you won't get a continuous sound from plaits - leave this unplugged and plaits will drone (depending on the mode) just like any other oscillator

just tried to connect the BSP to plaits as descibed above,but i only get real short sounds comin out of Plaits,what im after some some longer Drone sounds,any tips?
-- Broken-Form

don't plug anything into trig or level...
-- JimHowell1970

i plugged the gate from BSP into trigger on Plaits

just tried to connect the BSP to plaits as descibed above,but i only get real short sounds comin out of Plaits,what im after some some longer Drone sounds,any tips?
-- Broken-Form

don't plug anything into trig or level...

just tried to connect the BSP to plaits as descibed above,but i only get real short sounds comin out of Plaits,what im after some some longer Drone sounds,any tips?

How about a commemorative blank panel in honor of Dieter Doepfer?
He go the ball rolling after all.

Hmm...in another 43 new modules, we'll have 10,000 Eurorack listings. Yeah, some of 'em are duplicates, but even so...

I wonder which module's going to get that distinction?

Nah...the Generate3 is more akin to something like Doepfer's A-110-6, where you're dealing with an analog oscillator with a big assortment of modulation inputs. The Odessa is a VERY different critter. Instead of basic VCO topology, you'd be dealing with an FPGA-driven additive engine with the potential of outputting 2500 harmonics (which shocks the hell out of me; I thought that the Synclavier II was the big dawg with 128 partials back in the day!). And with the Hel expander (and it's in there) you can have FIVE VOICES coming out of the Odessa and feed 'em all through the next VCA set to the Linneaus in glorious stereo. The Generate3 absolutely cannot compete with that feature set, and I didn't even get super-deep into all of the Odessa voodoo.

Also, with this, you'll want a controller/sequencer that can take advantage of that voicing scheme...with the best bet there being an Arturia Keystep Pro. It's also flexible enough that you can use it with loads of other devices, too.

thanks a lot for this wonderfull sketch Lugia...

looks amazing...i have some video to check on youtube for those modules !!!!!

odesea was on my list but i was thinking that generate 3 from joranalogue is similar with fund, odd, even its already in my actual case...anyway maybe they can talk to each other really welll....

Recorded some weird ambience today

-- sacguy71
Yes weird is the correct description !!!

Is there a way to create repeating random stepped voltages just like the voltage block?
-- Polyterative

yep. easy

Set an output waveform to random, then set number of beats to loop

Hah...forgot the firmware change-ups there, probably because it was a long time ago when I set these parameters the way I need them (one's normal, the other has the screwy CV/gate settings for my MS-20 minis when I'm not using the SQ-1). Be careful about what firmware parameters you're messing with, also...you can't brick one as far as I know, but you CAN get it to behave "badly", which might also come in handy for certain "equipment abuse". Just be sure you know how to bring it back to the defaults.

OK...well, here's what I came up with:

I went in a rather different direction here. There's a lot of "West Coast" stuff in here, most notably the presence of the Buchla 281t, Maths, and the Minimix. Of those, only the Maths isn't a Buchla design...but it IS based on Serge's DUSG. On 'roids.

TILES: Changed this a lot: stereo input (connects to two of the Intellijel cab's 1/4" jacks), a Temps Utile (which is why the Pam's is gone), Intellijel's Noise Tools utility, the O_&c, a stereo VCA to control output levels, and the stereo out (connects to the other two 1/4" jacks). 100% function now.

MIDDLE: All voice. The little black thing on the left is one of Konstant Labs' PWRchekrs, lets you monitor the health of your DC rails. Then a Xaoc Odessa (massive complex oscillator) with the Hel expander (lets you feed five CVs into the Odessa for...yep...basic polyphony, at least at this stage). A pair of G-Storm VCAs after that controls levels from the Odessa or the external input (or both), then...since by now, we're really dealing with a stereo out on the Odessa (ie: odd and even harmonics...although, it can also run in mono via the "Mix" jack), I dropped in one of Dave Rossum's very pliable VCFs. The Linneaus has some very interesting capabilities, such as having through-zero modulation and loads of timbral control. Two more VCAs deal with the Linneaus' output, then the feed goes to the Data Bender. The Data Bender then feeds a pair of VCAs in the Neutron Sound quad VCA before going to the Minimix. That mixer has three (one fixed level) stereo inputs, four mono ins, two of which have CVable panning. The Sarajewo delay is there at the end so that you can drop it in across several different mixing points.

BOTTOM: Scales, Shifty, then a very useful 6 hp from SSF that contains loads of utility submodules, such as voltage summing, a comparator, inverter, 2 to 1 switch, and so on. Batumi/Poti for your four LFOs, then Maths, then the little brown thing is Frap's 321, which makes for an excellent modulation alteration device along with the dual VCAs after it. And then the 281t...which you can use for 2 or 3-stage envelopes, or you can set it up in one of its quadrature modes as another complex function generator like Maths. And that's possible because there's four "proper" EGs after it, along with the quad control expander (useful if you start to explore the Odessa's poly capabilities).

Now THAT is a fine piece of gear. Soundwise, it's going to hover in a nifty "weird zone" somewhere between German-style wavetable synthesis, West Coast, and just plain effin' trippy. Loads of potential, too!

Mmmmmm...no. You could try some crowdfunder site, but we're all buying equipment for ourselves here. Crowdsourcing isn't what MG's here for.

Is there a way to create repeating random stepped voltages just like the voltage block?
-- Polyterative

Sure...one of the easiest, in fact, would be to use an LFO to feed a clocked quantizer. Adjust the LFO rate accordingly, and you'll get the basic pattern...but you can also OFFset that rate so that the resulting patterns become longer. And the waveform chosen will also affect how this works; ramp waves (ie: reversed sawtooth) will give you an "up" direction, sawtooth will give you "down", and the other cyclical waveforms will do the same over up and down.

Recorded some weird ambience today

(As for the quantizer, I love the o_c quantizer but the keyboard on the ADDAC makes a big difference to me!)

without good ergonomics, ANY instrument turns into a total PITA.

It's something I failed to understand for a long time, that programmability is not the only asset of a good rack, but ergonomics (eg. having attenuators normalled to internal voltage, manual gates, wide(r) modules and so on were super important) too

I will show for you this and maybe you will help me to buy my 1st new little modular

https://musicbrainz.org/artist/6b656576-9504-432e-823d-8920139db2f0
https://music.apple.com/us/artist/zippy-kid/497919051

This verb is massiv ! can you scatch the patch ? :D

EDITED Jun 20th 2022, 11:31

The issue that you describe might have to with the M32' pitch/gate handling, as described by catwavez and Lugia above this post. However it can also be that you need to adjust rings a bit.

I understand that you've got this module cause it sounds amazing, BUT rings is known to be hard to tune in scale because both the frequency (input labeled as v/oct on the panel) and shape are both influencing the pitch. So let's say you've tuned your rings with the frequency knob and you are changing the shape, it could go out of tune again.
My suggestion would be to set up your rings as described in Lightbath's guide: https://lightbath.zone/tune-rings . This way, you have a clear 'starting point' from which you can work out what the issue is. Try to see if Rings sounds acceptable in this way by plugging and unplugging a cable in and out of the "strum" input, thus triggering the sound.

Check the Beatstep's CV/gate settings by hooking it up to your computer and opening the MIDI Control Center software (free download from the Arturia site). The BSP manual provides extra info for this in chapter 10.9.6. called "CV/Gate mode". For controlling Rings, the gate mode of the sequence you want to use (seq1 or seq2) needs to be set to V-trig I believe. Pitch mode needs to be set to v/oct and you can experiment with the seq's 0V midi note settings. Try to see what happens if you set this to C1, C2, C3 or C4.

If you want to keep controlling the Mother-32 with the BSP as well, I'd suggest to keep using the selected seq that it works with now, and change the settings of the other seq to match with Rings.

Good luck!

Is there a way to create repeating random stepped voltages just like the voltage block?

Uhmm...no. You have a very small build, and you want to drop two sets of buffered mults in there? Bad choice; in a build of this size, AVOIDING mults is what's needed. Also, the only time that buffering is really useful is when CV scaling is critical, as in VCO pitches...but only when you've got 4-5 or more destinations for that CV. As for audio, just use the same sort of inline mults or stackcables you typically use for multing in small builds like this. Also, why two QuadrATTs? In this build, one should be fine.

Other examples: if you've got an Ornament and Crime, why have the expensive AF ADDAC quantizer? Yeah, sure, you lose a couple of O&_c channels that way, but that's why it has so many. And four VCAs is just not enough; let's say you need amplitude control of each of your VCOs. But then, you also want VCAs post-VCF on some patches, or you'll want them in front of a manual mixer, plus there needs to be a couple of linear VCAs to manipulate your modulation amplitudes. Four ain't gonna cut it, basically.

If I were you, I'd rip into this and get VERY critical, for starters. Question what you've created here and how you can use it smoothly; without good ergonomics, ANY instrument turns into a total PITA. Ask if you really, REALLY need certain modules in here, or are they taking up space that something USEFUL might go into? It's basically the same thing I would do back in the undergrad days, going over and over and OVER vocal rep stuff because practice is how things get done RIGHT. The same practice principle applies here as well. I would also suggest snagging a copy (free!) of VCV Rack to test out some of what I'm saying here...build a voice row with VCAs at the right steps on the audio chain, and then one without. See what works, what doesn't, and so on. This is how you avoid mistaken purchases while, at the same time, saving yourself a buttload of money by knowing what works and what doesn't BEFORE pulling the trigger on the Magic Plastic.

Yeah...and this highlights one point that I've gotten some crap for: YouTube is NOT the right place to shop for modular gear. You have to keep in mind that, in lots of cases, reviewers on YT have a vested interest in telling you how absolutely WONDERFUL this new module, etc is. Granted, this has been better as of late since YT started mandating that presenters have to disclose any compensation gained through a company relationship, but it still exists in older clips that predate that. It's better to see what things do on YT...and then check with actual users as to whether those things are all that useful in the first place.

As for the build above, well...you're going to have a ton of trouble controlling a modular synth with no VCAs...unless you've got several extra hands to control levels while the other two are working the OTHER controls. And fyi, Walgreens has a great selection of tweezers to go with the Pico system's controls; that device is irritating AF due to the rotten ergonomics that jam everything too closely together. Put THAT part of the build back in its own case where it belongs, as having it in with the rest of this flirts with creating a big patchcord snarl on the left end of the cab. And that should open up some space in this build.

If you've not worked with VCV Rack, I strongly suggest that you do so before buying anything else. That will give you loads of insight on what went wrong here, and how to correct it.