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Yeah, that's a lot more on-point. I'd even go one further step and delete the VC Mixer altogether, and swap in something with better functionality and space use with an Intellijel Quad VCA. Plus, the VCAs in that module can be swept from linear to exponential responses, making them useful for a wider set of possible signals. With that, you'd then have the space for a stereo output module of some type. Also, shift your A-119 to a side (left makes more sense) so you can avoid having an input cable running across your patchpoint field. But yeah, this is pretty close to where it ought to go.

I had high hopes for Geeklapeeno's case idea, really, as did (apparently) MG's powers-that-be. But it's been years since that initial site with zero functional info went up, so my assumption is that it never got beyond the conceptual phase. Quite a shame, really, because that setup fixed a lot of the inherent problems in Eurorack case design, IMHO. And yet...

KAHNCO: dead. As far as I know, it was vaporware. Geeklapeeno, which is similar, was also much talk, no walk.

As for the SP-1, it's conceptually interesting. I do have some concerns about a portable case made up of plastic segments being durable in the long-term, though. It would probably be fine as a studio enclosure, though.

Another idea might be Elby Designs' Construct-a-rack Series cases: http://www.elby-designs.com/contents/en-us/d39.html These come in 42 hp and 20 hp segments, with various options for depth, side panels, mountings, and covers. With these, you do have the ability to build cases with strap-on covers for portability, and the metal construction should prove quite durable over time/use.

The other issue with Sweetwater is that there's really no price breaks on buying modular gear from them. Since the Eurorack market relies on pretty fixed "street" pricing, what you see there is almost always going to be the same as from Perfect Circuit, Detroit, VK, etc. Sweetwater is good about having gear they carry in stock, though; having a warehouse complex the size of some small towns lets you do that!

Nah. I washed my hands of this several days ago. This one's on his own.

A couple of things...first off, if you have a Maths in a simple build like this, you probably won't need that Quad VCO/LFO (which is more of an LFO than a VCO due to the "locking" tendency the oscillator cores have at audio rates). You'd be better off adding a second VCO (like something basic to detune against the Wavetable VCO, thickening up the sound) and some proper envelope generators for use with the VC Mixer, the VCAs, and your filter. Also, lose the uMixer here; you'll find that having a mixer with variable input levels is more helpful in a general-purpose instrument. Note, also, that your wavefolder can function as a mixer (with potentially interesting results!) for the two VCOs.

Also, perhaps drop the Shelves for a more conventional state-variable filter, which should open up space for an output module to bring your levels down to line-level. You might also take out the multiple; in a smaller build, it's generally better to use inline mults or stackcables, leaving panel space for active functionality. Otherwise, this is pretty close to spot-on.

It's in the module types pulldown. Just select "Power" as your module type to view.

Cases aren't so much of a product that you see hundreds of case manufacturers like you do with module manufacturers. Off the top of my head, only about two dozen firms specifically making cases come to mind, making it simpler to shop for cases via the various online shops. If you tool around 5-6 of those, you'll wind up being able to comparison shop the majority of Eurorack cases and power solutions available.

Also, having a look in the Eurorack section under "power" can often provide useful clues as to who's also making other power products and, by extension, cases. Not every power supply manufacturer does, but a large percentage do have cases as part of their product lineup.

EDITED Mar 4th 2019, 20:41

LMNTL and Nazca (part of Pittsburgh these days) see a lot of use. Both have some fairly cost-effective multipacks of their various lengths. Also, LMNTL makes some very convenient inline 1-5 mults that most anyone should have a few of. I've known people who've been happy with both.

KICK ASS!!! February 2019 edition

Well, since the onslaught of Winter NAMM is now done, things have cooled off considerably in the new Eurorack arena. Don't get used to the lull in the craziness, though, because Superbooth is only 2+ months away and I think we all know that there's going to be yet another deluge of nifty toys as we approach that event's date (9-11 May). For those who don't know what Superbooth is: basically, it's a three-day carnival of electronic instruments, performances, and other related craziness, held annually in Berlin. It functions as perhaps the largest trade exhibition for modular synths in Europe, and it's yet another of those events where manufacturers are going to be dropping new modules and instruments like they're hot. It, the two NAMM events (although not so much Summer NAMM, or “guitar NAMM” as it's sometimes called) and Knobcon are the four seasonal big-shows for synths.

So in the lull here, only a few things have jumped out of the module miasma. Here they are:

1) Error Instruments KRUSNEK FORST EURORACK: I have to respect the hell out of any Eurorack module that can be controlled with a wad of steel wool! No, seriously! Anyway, what this is is a “controller” (in quotes, because it's always somewhat out of control in of itself!) that applies itself admirably to the production and performance of blips, glitches, and full-on noise! Various studs on the panel are used with other conductors to complete circuits Cracklebox-style, but this also contains some CV alteration/generation possibilities, and can also be used with a special LDR sensor for light-controlled craziness. “Psychedelic”? Maybe. Full-on bonkers? You bet! This one is going to appeal to the noise/industrial crowd, but I can also see some potential generative usage here, too, plus there's some great bits in the video clip where one could easily sort out how to use this as a percussion-type controller. $279, 20 hp.

2) Warm Star Electronics Fragment: On first glance, this just looks like a set of attenuators. Appearances deceive, though. By using patchpoints in the IN and OUT columns in a certain way, it's possible to break the module up into a multitude of mixer and/or attenuator combinations. This is totally brilliant; I'm sure that all of us have found ourselves in situations where we need more submixers than we have on hand, or where our need for those submixers changes radically from patch to patch, and having only fixed-configuration mixers suddenly becomes a hassle. Or you just need one attenuator, not several. And I shouldn't have to mention that any of those issues in a smaller rig can lead to a lot of hair-pulling and other stressy reactions. If you've found yourself there, then here is your fix. $195, 12 hp.

3) VoicAs LEDRover: This thing sounds great! As opposed to some other distortion/overdrive-type effects, this has a wonderful, lush, wooly yowl to it. At least...in one position, it does. See, this is really several distorters in one; VoicAs uses three very different diodes in here (2 LED types and one germanium) so you can tailor your fuzziness to your needs. There's also three bass-boost settings onboard, making this very optimal for ACIEED-type applications (like what you'll note in their video clip). You get CV over Drive amount, plus an extra tone-color fine-tune setting to dial in the exact snarliness required. I also like the fact that the Drive is on a very large knob that begs to be used as a manual controller, so you can play your nastiness just as you might a filter cutoff, etc. Very skiff-friendly, too! $150, 8 hp.

4) Noise Reap SLOPES. It's easy to think you've seen it all after some 5700 Eurorack modules have made it onto ModularGrid. But here's something you've not seen: a logarithmic ADSR, with CV over the A, D and R parameters, paired with and controlling a DC-coupled VCA, all in 12 hp. Seriously...there's not another of these; while there are other EG/VCA combos in Eurorack, this one...pretty much the optimal audio control combo...hasn't popped up. Until now. Not only that, but this can work with either triggers or gates, the VCA also has an additional CV parameter, and you get normal and inverse envelope outputs to boot! This is just brilliant! I can't think of anyone who wouldn't benefit from a couple of these in their build. And not only does it space-save by co-locating your VCA with the EG, it's also only 30mm deep, making it a prime choice for skiff users. Noise Reap has done some interesting things, but this time, they hit the ball outta the park!

5) Ladik L-121 and L-127 LFOs. Ladik continues to amaze. These two 4 hp LFOs are genius. The L-121 is a Folding LFO, incorporating not only CV over rate, but CV over an internal wavefolder that can warp any of the module's 36 waveshapes (uh-huh! Wavetable-style waveshape selection!) into a panoply of strange modulation curves, bending either the positive, negative, or both polarities of the wave cycle. Cycle times range from 30 Hz down to a super-lethargic 10 minutes per cycle. $62-ish. Then the L-127 Delayed LFO goes somewhere else entirely. This has three different delays modes...or rather, two different delay modes and a third one-shot mode that makes it behave more like a transient generator. Again, you've got 36 waveforms in the same sort of arrangement as the L-121 above, plus some jumper configurations that alter how that last mode functions as well as a decaying “echo” mode for the transient function, and alterations to the retriggering function...all of which can, naturally, be brought to the front panel with their P-060 jumper switch kit. $73 or thereabouts. Ladik's modules might not be the snazziest-looking in the Eurorack game, but what's going on behind those basic panels is downright beautiful!

And that, as they say, is that. Like I noted, sort of a spare version of KICK ASS!!! this month, but expect more craziness through March and definitely in April. Until then...

Not sure for the reason for the quantizer, though, unless you want to sequence VCF cutoffs. The Twin Waves (which aren't intended as LFOs here, but VCOs, giving four rather complex VCOs in just 16 hp) are internally quantized...sort of an unusual feature, but it definitely saves space + cost. The logical thing to replace it with, of course, would be the PICO MScale, as this would allow bidirectional CV conversion between this build and the Sirin, which fixes the Octone's inability to output negative CVs (which Moog stuff likes for some unholy reason). The Octone also internally quantizes, again sort of negating the need for a separate quantizer. Also, if you're removing the Batumi (bad idea, IMHO), the Poti would have to go as well, as it's the expander for the Batumi.

Actually, I'd suggest keeping the 2 x Mixup version, or maybe consider substituting a pair of Happy Nerding PanMix Jr.s for the Mixups, which would then give you panning over each mixer input. Summing down those into the Ciao! would then make a lot of sense. Also, it would be possible to retain the Chronoblob2 (for stereo delays) if you lost the 1U blank and the PwrChecker on the top row, which would let you swap the earlier iteration of the Chronoblob out. Last thing to do is just a position swap, then: move the RowPower 40 from the right end to the left, to get the power supply away from the audio mixing/processing in case a noise issue tries to sneak in. You'd lose your channel mutes, but that's not too disastrous...just have to twist a knob instead of flip a switch, same result in the end.

Pulplogic LBZ42, maybe? It'd give you 50mm depth over the bus board, comes powered, plus you get a 1U (conventional height) tile rail for a bit of extra basic functions, all for a measly $200.

There's a very real reason it's called EuroCrack, you know. ;) I'll second the use of the ProVLA-II on this, btw...I have my original one, love it so much that the current upgrading I'm prepping for specs a second one to go with it.

Lessee here...as far as the VCF question, the difference is in the circuits. The Polaris is definitely the more complex filter circuit, with the ability to do many sorts of multi-response types, has an OD control, can be configured as a phaser, etc. But you do lose the 2-in mixer. The G-Storm one, though, that's a very old filter circuit, replicating the "pre-lawsuit" ARP 4012 lowpass that was in the original versions of the ARP 2600. Very iconic sound, for one thing...that classic ARP filter pops up all over the place, and I know you've heard it on a lot of tracks from the 1970s. You do make a good point though, particularly if you're still considering the Optomix in the build, since that also has a lowpass VCF in its filter section.

But the Optomix isn't really a 1:1 substitute for a pair of VCAs. True, it does have a VCA in there, tandemmed with the VCF, but the Optomix is very much designed for audio. Technically, yes, it can pass DC, which makes it usable for CVs and modulation signal control, but that's sort of a waste of what it's really designed to do. The better thing to use for CV/modulation level control is always going to be a proper DC-coupled linear VCA, hence the need for the Quad VCA, which also allows you to sum CV/mod signals via its mixing capabilities. In fact, you can use the Quad VCA to mix two sources of audio and CV/mod signals at the same time, by taking one output off of OUT 2 and the other off of 4 MIX, and you can alter the VCA response along a continuum between linear (which you'd want to use for CVs and mods) and exponential (better for audio).

But wait, there's more! The Optomix (rev. 2016 and fwd) has the ability to process a sidechain signal to allow some rudimentary compression to the audio signal. And that's something the Quad VCA can't do. In the end, yeah, both are preferable, and the use of the Optomix for your final subtractive VCF(s) would enable the use of the Polaris with some more complexity, such as LPGing separate Polaris outputs differently to create a rapid timbral "morph" by feeding the outputs to two different LPGs, then using differing envelope curves to "strike" the LPGs.

Zadar...yep, good idea there, long as you don't object to a little menu-diving. That would give you four envelopes that can be more complex than just the two (or three) stage Quadra ones, plus you wouldn't need an expander for looping and/or chaining envelopes, which the Quadra requires for that sort of voodoo.

Definitely consider a PICO MScale for this to translate incoming/outgoing CVs for the M32. That'll open things up for making ample use of the negative CVs the Moog stuff uses. Also, instead of the Beast's Chalkboard, maybe using an ALM OA/X/2 would be better? Granted, the signalflow isn't the same, but it does give you swept CV offsets instead of fixed values, plus you can also use it as a proper inverter, and you save a little $$ and 2 hp in the process.

One other idea: if you've not gotten the case for this yet, have a look at Pulplogic's Lunchbox series. This would allow you at add either one or two conventional-size rows (depending on which size case) of 1U tiles, which are pretty great as utility devices such as what this cab's intended for. That way, you can jam even more interconnection utility into a space not much bigger than your build above. Plus, they're powered right off the shelf.

No prob...module UI aesthetics definitely are a stumbling block for a lot of people, myself included. I generally prefer things that are ultra-simple as far as panel markings go and find the efforts by some manufacturers to snazz up the panel design to be kind of intrusive. Others like something that has that sort of marking, shooting for something more cyberpunk-ish. Still others demand their panels all be the same color, for uniformity (especially the MU crowd). So, yeah...I can see how the Ladik stuff might be a visual turn-off, as it really is simplistic and minimal-looking. But then, looking over at my Digisound 80, it's got that same sort of no-frills look, too, so even I fall into that "needs to look like X"-type of conundrum.

Fixed!

That Delptronics has you covered...it's got a rim and woodblock, and both have CVable pitch via the LDB-2x. As for DAHDSR, jump over to Ladik's EGs, as they have a number of extended ADSRs there, all cheap, all 4 hp. You could configure something a bit more bespoke with those.

How to keep modulation patches straight? Hmm...well, colored patchcables might be a way, but I sort of rely on the certainty that there's going to be some of Eno's "happy accidents" from time to time. This way, there's always a potential for humanizing error to creep into the process. But that's just me...anyway, you eventually get to a point where all of the patching and crosswiring becomes second nature. You'll know that's happene when, at some point, you'll notice you're simply moving around with the cables and your hands drift to the knobs on instinct. That way, not only do you know you've got the instrument in your head, you'll also know that you've got the configuration right for how you work.

Plaits...yep. Two, if at all possible, plus maybe add some more very basic VCOs so that you can do a little detuning and fatten up the sound of those. Zadar...also very cool, plus Mutable's Stages can be used as a multisegment EG as well as a lot of other things. Consider swapping the Doepfer switched mult for this: https://www.modulargrid.net/e/ph-multiple-dual-channel-br ...having the LED indicators to show which routings are active for each switch is a huge plus. I'd drop the Function unless you already have it in hand, as it sort of replicates half of a Maths, which you have in there. One thing you might want to look at would be some Boolean logic; with the multiple pulses coming off of the Pam's, you can make use of such things as AND and XOR gates to scramble up further rhythmic complexity.

Hmm...also, some small CV mixer/attenuator like an Intellijel TriATT might come in handy in here for scaling/inverting modulation signals. And for a bang-for-your-buck multimode, nothing gets too much better than Tiptop's Forbidden Planet, a redux of the classic and pretty wild Steiner Synthacon VCF. It's small and cheap...and definitely effective. At 8 hp/$120, two would even be doable, and would give you a killer dual VCF setup.

That's..um, yeah, kinda out of control, but in all the right ways. As for "glaring omissions", I don't see any, especially with the outboard complement you've listed. The big question I would have regards the physical setup, making sure the right module sets are in the right places so that you can get maximum functionality across the entire rig. That issue, though...you're going to have to figure that one out, and configure this for your own optimal workflow.

BTW, if you dig the 909 sounds, you know you're gonna need the other electro-ish Roland analog ones. Check Delptronics' LDB-2e and 2x to drop some TR-606/CR-78 tastiness in there with 'em.

Look...you asked "A 190-4; A 131; A 118; A 138 + sequencer app on my iPad. I’m trying to do something, but it doesn’t work... Probably I need more modules (I know that), but I would like know if it’s possible to get something with my current set."

And you got an answer. Sorry if you don't like the answer, but at least I'm going to step up and tell you the true answer to that question. I'm not going to tell you that you're off to an awesome start, because that would be a total lie, at least as far as your module choices are concerned. I'm also not lying when I note that your A-190-4 has nothing to talk to. You have a MIDI interface, an exponential VCA, a noise/random generator (as the only thing that makes sound here) and some sort of mixer (which I can't discern because that "138" needs a letter after it, and you didn't provide one). None of that can do much with CVs from the A-190-4, and about the only control you would have with that would be to use a gate signal (note on/note off messages) to open and close the VCA. And that isn't a synthesizer. It isn't even close to being a synthesizer. And you wanted to know if it's possible to get something with that module complement, and now you're all butthurt because someone stepped up and told you the plain truth about what you spent money on. Boo. Hoo. Would you rather I tell you that you're well on your way to being the next Deadmaus? You'll have a long wait for that to happen. Like, forever, if you keep following this sort of tangent of cobbling together random modules, asking what you can do with them, then getting all torquey when someone steps up with some actual facts.

Sure, you can make sounds with the iPad. That won't help with the modules you've listed, though, and your selections belie that you haven't "studied" much of anything about this. And you should note that I offered you some very good advice in that you need to get a much clearer understanding of analog synthesis architecture with some hands-on work with a real synth. Not some virtual thing on a tablet, but the actual device...which is a very different sort of creature than poking around at virtual controls that control emulations of circuits which, in the real world, don't necessarily behave like some goof-proof modelled thing in dataland. Again: go and get a patchable synthesizer, like a Moog Mother32 or an Arturia MiniBrute2 or even a Behringer Neutron and you will not only see exactly what I'm getting at here, you might wind up learning why and how you made some mistakes with those module choices and your expectations of their usability.

Looks fine to me. Try deleting the desk-like thing from your build and then putting the DFAM back in. If it still shows up wrong, refresh your window.

Why, exactly, did you start with those? The only sound generator there is the A-118, and all it does is produce various colors of noise. You have nothing to sequence with the iPad + A-190-4, since nothing here responds to CVs or gates. You have no output module, either, so any output you'll have will be at synth levels, even if it's just noise.

Basically, you don't have a synth there. Put those away, and take some time and STUDY what a modular synth (or really, any synth) is supposed to have: generators, modulators, modifiers and controllers, in the broadest sense. Don't buy any more modules for the time being; instead, you need to get your hands on a patchable synth ASAP and see what's supposed to be present and WHY. After some time with that, THEN go back to obtaining modules and creating a build...because, right now, you're just wasting your money pursuing a direction that won't work.

There's several mixers that have cue abilities: the Pittsburgh Lifeforms System Interface, the TEX MIX system from Tesseract, ADDAC's 807 system, and so on...basically, anything that has an AUX send will allow you to do a cue mix, but you might need an extra headphone amp module for use with those. Ladik's M-053 can also be used to split a cue mix out of a mono or stereo bussed signal with an additional headphone amp.

...or a KOMA Komplex, which is my fave choice. Mind you, it certainly LOOKS intimidating with the bazillion sliders and such, but I got used to being handy with an EML 400/401 many years ago, so having a wall of slider controls staring me down isn't a thing.

Taught you well I did, young Jedi...

Locking the Digitakt to the Pam's with the PEXP is a stroke of genius. The ability to not only control your global tempo with one knob, but to even have CV control over that global tempo...you're really going to find a lot of uses for that. As for the Octone, it's a good choice to use with the Sirin...even with Moog's oddball use of negative CVs, the fact is that the positive CVs will be fine. And since the Octone internally quantizes, everything will stay nicely in tune without juggling a bunch of tuning settings at random and inconvenient times. Hopefully. ;)

The setup with the 2hp MIXes is brilliant, too...definitely helps the ergonomics to add those 1 hp blanks, but consider swapping one of those for a Konstant Lab PWR Checker to give you immediate feedback on your power rail loading and voltages. Doesn't get in the way, and it's always useful to have a power indicator for your rails in some place where you can see it in the event something should go bonkers with the power setup.

Sensible...the only major reason for going with the RackBrute, as far as I'm concerned, is if you plan to use it solely in tandem with a MiniBrute2 or 2s. Otherwise, you only get a paltry 3 hp of extra space in a 6U over a 6U x 84 hp, which is one of the "standard" sizes. It's far more sensible to go with a 2 x 104 hp cab these days, particularly if you get a cab that gives you a tile row such as the Intellijel and, to a certain extent, the Make Noise cases do.

Another thing you might consider would be an external sequencer. There's some magnificent ones out there right now, such as the Squarp Pyramid and the Kilpatrick Carbon, that offer massive feature sets plus internal storage galore. And that fits one of my rules of thumb, that anything that requires being in a Eurorack is what should be in a Eurorack, and anything you can keep out of it leaves more room for the things that have to be in there.

The answer to your question is "yes". Given that the vast majority of synth modules these days conform to the 1V/8va scaling standard and positive-going gate/triggers with a nominal +5V, anything that understands those can be driven by anything that creates those. While there are still flukes out there (the Korg MS-20 mini still insists on negative gate/triggers and a Hz/V scaling scheme, and Moog makes use of bipolar CVs), you won't find them lurking in either of those two formats.

Frankly, given that the MU format has a pretty extensive following in of itself, I'm a bit surprised that Expert Sleepers hasn't opted to come out with a repackaging of some of their interfaces in MU format, especially an MU version of the ES-8. Nothing like that exists (aside of using a DC-coupled audio interface) at present, and it feels like a glaring omission.

EDITED Feb 25th 2019, 17:39

Nothing specific, really...the Erbe-verb works really nicely with all sorts of modulation sources. Although, you might consider an envelope follower to drive a pair of VCAs at the output; by putting this before the input and using the envelope follower's gate output and some careful settings, you could then obtain a gated reverb by operating the output VCAs with the input's envelope follower. Might not be fittable now, but it's worth keeping in mind.

A suggestion: check out Temple Audio's line of modular pedalboards, which allow for some extra user-definable submodules in spaces along the sides. One of these is a 1-3 mult, which would easily allow you to parallel some of this instead of straight-lining the entire rig. They also have an active buffer submodule that would make for an excellent buffering option for that.

Maybe a Tiptop Mantis, then? Pretty cost-effective for a powered 2 x 104 cab. Also, check Erica's stuff; they make some great cabs that're more studio-oriented that have serious PSes and even some major depth (like 90mm in their deep 126 hp stuff).

Well, first up, if this is supposed to be in a Rackbrute 6U, isn't it a good bit too wide? That's an 88 hp x 2 cab. You might want to try this again in the correct cab size.

That's not a bad idea, either...you could make use of those new 4ms powered Pods that came out recently. Very cost-effective...the only drawback being module depths, as they only have a 34 mm depth, meaning that anything above 30 mm is going to start getting really tight when you add the ribbons and so on into the mix.

Ahhh...yes, this makes way more sense. MG has a weird glitch where you need to make sure your Screenshot view is loading the same way as your actual build before posting anything with the build page's link in it. Probably explains the Rene-laden atrocity that was up previously.

This build only has a couple of things I'd consider making changes to. For one thing, you might want to find a way to add another oscillator (Plaits might be a good match to the Braids) so that you can thicken up the single-oscillator sound with a bit of detuning, mixing waveforms, that sort of thing. The other is something the combo of the Zadar and QPAS open up, and for that you'd want a second Quad VCA. Here's what I have in mind...

Let's say you had the above combo of modules. Now, given that the QPAS has the stereo pairs of all of its outputs, with two Quad VCAs you would then have the ability to set up a patch in which a few (or all?) of the QPAS outputs go to individual VCA inputs, with one Quad VCA being a "left" and the other a "right", and then by various configurations of Zadar output patching, you could create Zadar settings that would allow the various VCAs to have differing envelopes, morphing across the QPAS response outputs to create sounds that can change in timbre and spatialization across time. Given that the intent of the build is for ambient work, that would fit right in with your plans, potentially creating patches that can evolve across time depending on the envelope rates programmed into the Zadar. You would have to lose something to get this and the Plaits in, though...hmmmmm...

OK...this. Note that some of the modules from your build are missing, most notably the Erbe-verb. I would actually suggest going with either an external FX unit for this (more flexibility) or using some of the Clouds' potential for reverberant-type effects. I also removed the Pam's and went with a Tempi due to the fact that the Rene has the ability to work directly with it for some additional Rene functionality. You'd not have that with the Pam's.

Other changes...removed the Bastl VCF (sort of redundant with the QPAS) and the PICO DSP (again, an external FX unit being preferable here). There are also no mults; in this case, having jammed the cab with as much function as possible, I opted for a build that requires inline mult "widgets" or stackcables. In smaller cabs where every hp needs to be pure functionality, those optimize space more than one might suspect.

Added: obviously, the Plaits and the second Quad VCA. I also dropped in a Doepfer A-184-1, which gives you a ring modulator, slew limiter, and extra sample & hold in 4 hp. The Plaits and Braids are set up to split the outputs to two channels each of the Doepfer A-138s, which allows you to set up a separate right and left mix for the QPAS's stereo ins. I also added a 2hp MIDI module to allow very basic MIDI control, but more importantly, it also adds clock lockup to MIDI so that your Tempi/Rene combo can run in sync with external MIDI processes. I also put in a PICO OUT, which gives you a stereo output stepdown via a 3.5mm TRS jack, plus a headphone amp. Last added bit, since I had 1 hp left over, was a Konstant Labs power check module...the very best way to use a 1 hp space, I think.

This seems more "instrument-like", ultimately. The functionality is a bit dedicated, but within that there's a lot of leeway for sonic complexity.

EDITED Feb 16th 2019, 15:00

Go back to the top page of the Forum and you'll see links for the moderators at the bottom. Click on modulargrid's link then send him a PM via the boxed link you'll see at the top of his user page.

The above build with all of the Renes doesn't strike me as a very well-considered idea. I see no VCAs, for starters, and a lot of the other necessary items are totally missing.

If you want this many sequencers, you either need a MUCH bigger cab, or you should just chuck the idea of using sequencers in the synth altogether and get something that's a dedicated sequencer device, such as a KOMA Komplex. Occupying this much room with Renes...especially with what's NOT here...seems like a recipe for an expensive and unusable disaster.

Actually, the Zadar is a really good idea as a companion for the Akemie's Castle! Coupling that with the Pams and the Varigate could yield some really interesting FM results...nice!

Tyme Sefari? Makes sense...it can do that grit-fi sound, and even give you stereo with the Sound of Thunder expander, which is optimized for circuit-bent noisemaking.

A lot of the key to that, IMHO, would be in your filter selections. You'll want some LPGs (I suggest Make Noise's Optomix) to add that plucked, woody Buchla-oid sound alongside the 2s's Steiner-Parker-derived VCF. For the other, given space and cost, I doubt you could do better than G-Storm's Tonus VCF, a copy of the tried-and-true ARP 4012 "pre-lawsuit" VCF. And in both cases, you get two-input mixers thrown in for good measure, which cuts out some of the need for mixers for your VCOs.

As for a replacement for the Shapeshifter, you might consider a pair of Mutable's Plaits...two morphable digital VCOs for less than the other, in 24 hp, still saving you 2 hp for something else. And for reverb, look at Purrtronics' Purrvrrb...a mono-to-stereo digital spring (the classic modular reverb) emulator in 8 hp for only $130, then you can also add a delay like the Chronoblob II for $250, giving you stereo reverb and delay in the same space as the Erbe-verb while coming out over $100 ahead.

As long as you only use the square and pulse waves, and never turn up the VCF's resonance, sure!

EDITED Mar 21st 2019, 01:04

The PICO Drums seems like a poor choice to me, especially if you have drums on some of your other devices (like the Elektron gear). It would make a lot more sense to have gone with a PICO DSP so that you can have mono-to-stereo FX as part of the build. This would leave 1 hp (like it does now) which I'd suggest you fill with a Konstant Labs Power Checker...probably the smartest thing anyone can put in a 1 hp 'hole'.

The other thing I'm puzzling over is that if this is in a Happy Ending mounting and not something with a powered cab, where's your power supply?

Yes and no. Like you note, this current build is really limited. I'm presuming you'll be relying solely on the 2S's filter which is...OK, up to a point, but you could try and add something small here. The overall problem you'll be facing in a 3U Rackbrute is space, so going with large widths on your modules is a bad idea. Consider smaller alternatives or, perhaps more sensibly, go with the 6U version which would then open up another 88 hp for additional modules with which you can work in the Rackbrute or use them to alter the 2S's functions. But even then, I still suggest you keep the module sizes small...you want as much functionality as you can get in that tight a cab.

Careful with your module depths, tho...the 4ms pods max out at 34mm, which significantly limits your possible modules. For example, a good Maths substitute in 4hp less space would be a pair of Doepfer A-171-2s, but at 60mm depth there's no way they'd fit. The Maths, at 24mm, may in fact be the right way to go here. Let's see...(pause)...OK, this:

60 hp 4ms Pod: Konstant Labs power checker, then a Bastl Hendrickson for an input, which allows you to crossfade with the output on the module. This means that you can use the Hendrickson's 1/4" output as a "clean" channel to your amp and crossfading allows you to control your wet/dry levels, either manually or via CV. An Erica PICO RND gives you a sine/pulse LFO, clock (plus clock in from an external sync), noise and random signals and one of two sample and holds, and next to that a Doepfer A-184-1 contains the other S&H, plus a ring mod and a slew limiter to 'smooth' your S&H shifts. Maths next, then I opted for an Eventide Euro DDL for massive delay flexibility, including looping, reverse delays, tap tempo (and the Euro DDL can also serve as your master clock, clocking the PICO RND) and CV over time, feedback, delay mix and an internal LPF. Following that is something very guitar-nifty, and that's a 3-band EQ with CV over frequency on each band. Coupled with the Maths, this will allow loads of timbral shifty weirdness. The CIAO! output allows you to run the EQ in either series or parallel, since it has dual stereo ins. Oh, and a headphone amp, too. Now, this doesn't exactly address things like reverb, etc for stereo operation, nor does this deal with the depth issue I mentioned...but I really intended this more as an example of what's possible in that tight a cab which you can work off of as a basis for ideas.

EDITED Feb 4th 2019, 23:37

G-Storm's replications are top-notch, IMHO. I'm quite familiar with the sound of both the Jupiter-6 VCF (mine is sitting about 5 feet to my left) and the ARP 4012 VCF from the original ARP 2600 versions (loads of experience with those), and they pretty much nail the sound of the originals while adding a few extra bonuses such as dual inputs and much smaller sizes than quite a few of the other replications. Noting that you had the Jove in there was a big key in opting for that change, freeing up that extra chunk of space.

Actually, this has more problems than just not enough VCAs. For instance, why have two dual ring modulators when you only have two sound sources (Mangrove and W)? That's basically three ring modulators too many. The excess of those huge Just Friends modulation sources are a problem as well. And while the Meng Qi output stage isn't a bad idea per se, it also doesn't leave you any way to control your output levels.

As for EGs, you actually have those with the Maths, albeit only rise/fall-type envelopes with a little extra trickery. The Just Friends works as these as well, but I've always viewed those as more LFO-ish. Anyway, the problem with the Maths is size; at 20 hp in this small a build, it hogs a lot of hp, then add to that the size of the Just Friends modules, and you've got more space being used for modulation than anything else. There seems to be an overall theme here; it seems as if much of this was done based on the "Top Modules" list instead of engineering the skiff build for maximum functionality, and while those are definitely good picks, they're good picks for a larger system. For a single row of 104 hp, you need to tackle the space problem as a primary issue.

Lastly, the Monome noise issue. I'm going to venture a guess that the noise in question is hum, and that when you switch in the Meng Qi's ground lift, it goes away. If that's the case, you have a ground loop, and the fault isn't any of the equipment per se, but an issue with your synth and your mixer/DAW input/etc being on different grounds and they're trying to establish a ground path through your audio line. But if the noise issue is hiss/frizz/digital hash sounds, then the problem is actually in your connecting cable, and you need a USB cable that has a ferrite isolator on it. But my guess leans very much toward the hum, as it's a lot more typical and the Monome Grid should be USB powered from the Ansible, if I remember right.

Gonna mess with this a bit...brb...

Now this accomplishes the same general ends as your build, plus adds some extra functions that you just didn't have room for. In the same 104 hp, and no deeper than 45 mm, we have...

A Konstant Labs power checker, for starters. There's an extra 1 hp left over, plus you seem to have some odd power issues, so this was a no-brainer. Then the Ansible. Next comes your Mangrove, W, and a 2 hp Sine which is a wavefolding sine VCO, added as a carrier for the ring modulator, which is in the next module along with a sample and hold, plus a slew gen. Last thing in this section is a 4 -> 1 2hp mixer.

Modulation section got majorly revamped. I went with Codex's 8 hp version of Mutable's Tides as a main LFO, then there's two PipSlopes, which are CVable AD generators with looping capability. Those do much of the same work as the VCS cores in the Maths. Four ADSRs under one panel are next with the Doepfer A-141-4, which allows you to change envelope values in a ganged fashion via CV. Taken altogether, that's actually a bit more going on than you'd find with a Maths. Then the Cold Mac goes next to these to allow complex interactions between modulation sources.

Next are a pair of Tiptop's Steiner Synthacon VCFs. An incredible multimode with loads of character, having two allows you to split your audio and impose two different filter profiles onto that. Then a Dual VCA sums these down via its two-channel mixbus and sends this on to the Sisters for final formant filter manipulation. Then, a copy of the classic Moog CP3 mixer allows you to mix (with a touch of euphonic distortion, pretty much like the Minimoog's VCO mixer, based on the CP3) the Sisters with the Tiptop duo or your Meng Qi passive LPGs, if that's desired, and it goes on to the Erica DSP for effects and stereoization. Last, we have a Happy Nerding Isolator, which gives you a stereo pair of transformer-isolated 1/4" outs with a ganged stereo level control.

This, to me, makes more sense. This not only accomplishes the same sort of functionality as your build, but adds a lot more functions and also, a lot more in the way of possible routings in both audio and modulation paths. And with the Monome gear, you now have plenty of things with which it can interact, making for a more elaborate instrument in terms of sonic potential. I'm assuming, also, that for mults you'll be using inline mult widgets of some sort, which is the best option in a space-limited build such as this.

EDITED Feb 4th 2019, 01:12

KICK ASS!!! for January 2019

What the hell?...you'd think some sort of huge synth trade show had been going on. Oh...wait, it WAS!

As promised, NAMM month brought a bumper crop of Eurorack tastiness. Winter NAMM is the largest music retailer trade show in N. America, and as Eurorack moves on further into the mainstream consciousness of synthesists, it was bound to happen that this was going to be pretty brain-exploding!So, here's an ultra-long rundown of the best MG Eurorack picks for just the past month of listings here on everyone's fave synth reference.

Nonlinearcircuits Signum Hyperchaos, Spasm, Digital Filter Simulator, GENiE: Not just one new chaotic toy, but four from Nonlinearcircuits. The Signum Hyperchaos is an expansion of their previous Hyperchaos line, adding CV-controlled switching and further bits of randomness arcana. Spasm is a new take on jerk-type chaotic circuitry, using vactrols as control elements. Want chaos? It's got plenty of that! Then there's the Digital Filter Simulator...which is and isn't a filter as we're used to it. In this case, it's more of a complex bit-crushing chopping-type sample-and-hold, with other extremely wrong ideas, and capable of being used on either audio or CV! And the GENiE is a three-neuron logic (or, in this case, more like ILlogic) -based signal processing mayhem for CVs, although you could also use it with audio for interestingly problematic results. There's a lot here for a lot of different schools of synthesis...generative types will likely go bonkers on these, plus there's possibilities for the industrial/noise crowd, possibilities for intricate alteration of sequencing/clocking behavior, and on and on! Check the listings for each for hp and $$$, as well as more detailed descriptions of each plus video of these modules causing all sorts of trouble.

ADDAC System ADDAC306: Have you ever found yourself wishing you had five hands to make CV and/or modulation changes? ADDAC has your fix, without the painful and messy surgery: their VC Transitions module. This little wonder puts five different CV signals under the control of a single crossfader-type slider, allowing you to set up big global shifts under a single gesture. Not only that, but you have total control over the degree of change as well as direction, plus this can be expanded to four more channels of control with a second ADDAC306. And as if that wasn't enough, this thing also can function as something of an “envelope relay”...patch an ADSR to the CV IN, and then define five totally different voltage contours that follow your original envelope. Definitely one of the smartest controllers I've seen in a hot minute. 8 hp, approx $135.

Takaab SMIX: Too simple, you say? Nothing's too simple. Take this 2 hp widget from Siam Modular, for instance. Basically, it's a passive mixer; you get either two 3->1 circuits or one big 6->1 one. No current draw, stoopid-tiny (14mm) depth, $20. Why concentrate on something this simple? Well, I think loads of us have found ourselves in a situation where we just need to merge some modulation signals, but we didn't have a mixer with knobs handy, or maybe even space for another one of those, or just couldn't justify adding that cost-wise. If you've found yourself in that quandry, this is your fix. Granted, with it being a passive device there's a bit of signal loss, but if you're dealing with modulation signals that's not going to be majorly consequential.

And now, two different takes on stompbox integration altogether...

AI Synthesis AI006 Stomp Box Adapter: This is the simple approach. Send and return level adjustments to set your gain structure properly, and that's it. Oh...that's not it, though, because this useful little thing fits in 2 hp, making it the smallest stompbox I/O to date! For those wishing you could find a way to cram in a send/return module for an external FX chain, well, here's an easier way. $70.

Adventure Audio Merge: And now, the utterly bonkers approach! This is FX send/return taken to the point of utter madness...incorporating an envelope follower, logic aspects, a level comparator, rectification for additional distortion, all sorts of internal routing voodoo, in addition to the usual gain-staging controls and I/O connections. Amazingly, this is so complex that you really need a look at its listing for yourself, something I find pretty astonishing for a send/return. And you don't just have to use it for that, as it also makes for a useful line-level input module with a lot of bells and whistles. 16 hp, $249.

Erica Synths Plasma Drive: Gamechanger Audio came out with this pedal last year, a somewhat-frightening device with a little tube of actual lightning zapping around inside a plasma tube, which allowed for lots of distortion and waveshaping tricks of a unique nature, given that the main element functions as a tube rectifier. Erica's working with these maniacs, apparently...because here's that same thing as a Eurorack module with the addition of CV over the distortion level and mix, plus trigger-switchable octave-up and down tracking oscillators for more harmonic craziness. And the real shocking part (ahahaha!!! shocking! get it? uh...anyway...) is that even with the plasma discharge thingy, this only draws 150 mA, so not only can you use your regular old Eurorack supply, the draw isn't too hideous for a no-foolin' tube device. This drops later this month so no pricing for this 16 hp Frankenstein module yet, but given that the original stompbox retails for $299, expectations seem to call for a price somewhere not too far above that.

Ladik M-053: Ahhh, Ladik...purveyors of useful small objects for not a helluva lot of money! In this case, they've come up with an AUX mixer. Three thru-busses get tapped twice, then sent to two three-channel mixers. The idea, of course, it that you'd insert this into a signal path and use them as FX sends where needed, but I see these as having more possibilities than that. You could create different mixes of three VCOs, for example, and send those to separate VCFs. Or you can use use this to split signal chains up from any sources and apply different processing, envelopes, etc, making it a boon for transitions in longer pieces or live performance. Nicely done! 8 hp, approx $62.

Tesseract Modular TEX MIX System: Speaking of mixers, there's this. Or rather, these. The TEX MIX system consists of three different modules, which can be combined as you like. The main module, the Master Section, is where the power connection to your bus board takes place and is essential. It has two stereo AUX returns, two mono AUX sends, stereo master and cue outputs, and a headphone amp. From this, you can mix and match as you like with the 4 Mono Channels or 4 Stereo Channels modules. The former has vactrol VCAs, AUX 1 and 2 send controls (including a pre/post-fader switch for AUX 1), panning per channel, level, and a switch to either mute or send a channel to the cue bus. Similarly, the 4 Stereo Channels has controls as above, but no VCAs. So, between these three modules, you can cobble together a bespoke performance mixer that fits your specific needs. And not for a load of cash, either; the Master is $67, 8 hp, and the Channels are 12 hp modules for $78.

Happy Nerding 4xMUTE: ...and if you want true mutes, why not toss a few of these in? 4 channels of electronically-switched clickless muting in a measly 4 hp. Each channel has a status LED in its control button, and comes in either silver or black panels. The 4xMUTE also works on CVs as well, so that makes it even more useful as a live performance controller for dropping in or taking out modulation signals, killing CV sends to switch VCOs to drones, and loads more. $100, 4 hp.

Tokyo Tape Music Center Sequential Voltage Source Model 123, Timing Pulse Generator Model 140, Bandpass Filter Model 194: As of NAMM, it appears that Buchla has taken back their Series 100 mantle, taking over production of Catalyst Audio's Series 100 reduxes as their “Red Panel” line. And add that fact to these fun toys from Tokyo, and we're getting damn close to having real Buchla 100 happiness again, but in Eurorack (although Buchla's also making the 100 modules they have in 4U as well)! Tokyo Tape Music Center's got their version of the Model 123 8x3 sequencer ready to go, along with the corresponding Model 140, basically the system's clock generator. Plus, they've also tossed out the first of the bandpass filters, offering four audio passbands from a single input, as the Model 194. This is pretty cool, as it means that much of the bread-n-butter of the Series 100 is now off-the-shelf available for Eurorack. The 140 and 194 are 14 hp, and $390 and $240 respectively, and the 123 comes in at a double-width of 28 hp for $590.

Rossum Electro-Music Trident: OK, we all know what a complex oscillator is (speaking of Buchla). Two oscillators played off of each other to create complex spectra, of course. But Dave Rossum could leave well enough alone, so this would be...an insanely-complex oscillator? Not two, but three VCOs are in this thing, with one acting as the 'carrier' and two more in various sorts of modulation guises. And they have Zing! What's Zing, you ask? Well, check the listing...because this one needs to be seen to be believed. Way too much complexity to explain here, plus so many uses I'd be going on for a whole page running them down! Could this be the ultimate West Coast VCO? It's possible... 30 hp, $599.

Make Noise QPAS: And yet more West Coast-tinged craziness! Tony Rolando's been popping up on YouTube and such with this module, a stereo state-variable multi-peak, brain-meltingly complex VCF. This is another one of those “I'm not explaining it here; go see it for yourself” ones, as the potential for use/abuse of this is off the charts. This is so versatile that if your small build has room for only one VCF, you must consider this one. All this craziness fits in 18 hp for $379.

Qu-Bit Electronix Prism, Bloom: ...and the hits just keep coming! Qu-bit dropped a pair of new toys. The Prism is described as a “multi-dimensional signal processor”, offering several useful manglers behind a 12 hp panel. It's got a state-variable VCF, bit-crusher, a “freeze” buffer and a comb filter-based reverb/resonator all in one for $249. But perhaps crazier still is the Bloom...a 32-step “fractal sequencer”that generates patterns based on fractal algorithms. Two channels, too, with 32 memories for sequences per channel, per step slewing and ratcheting and onboard clocking. This is definitely another “must-see” for the generative crowd, or anyone who wants to add some spice to their sequencing arsenal. 16 hp, $329.

2hp Grain, Bell: And don't leave the tiny module guys at 2hp out, no! They dropped a few new toys, but notable among them are an insanely-small granulator for a stoopid-cheap $149, and a physical modeler based on struck metallics for $149 as well. These go a bit beyond the 'space-filler' category many people put 2hp's modules in, being very simple and cost-effective devices with which to add some interesting and CVable digital textures.

Verbos Electronics Mini Horse, CV Processor: Mark Verbos has got a few new West Coasty toys for us. The first is a compact 12-plate touch controller, with individual and bussed outputs for gate, pressure, and position. This has a bit more going on than your typical keyboard, as pressure and plate-position are used here as extra modulation aspects, in addition to a fixed 0-10 V CV and a per-step variable CV on each plate. Also, the position outputs are latched, so not only could this be used as a pitch controller, but as a set of twelve touchplate faders for any sort of use. (42 hp, approx $675) Then there's the CV Processor...which combines Serge-like VCS fun up top with two lower CV processing sections not unlike the long-discontinued Buchla Model 257, offering loads of voltage math and mixing functionality. Plus, this has a very interesting “Bounce” circuit that adds the fun of “voltage overshoot”. More or less a Swiss Army Knife for CV manipulation that most anyone would find a use for. Pricey at approx $505, true, but for the Cadillac of CV alteration, I could see dropping that much, especially for that much function in 18 hp.

Plankton NUTONE: You know you want this. No pricing as of yet...but what we have here is a module that makes use of Korg's Nutube triode, a vacuum tube based on a fluorescent display, giving two VCAs with lots of overdrive potential for warm, fuzzy hollow-state distortion. Each channel also has a “feedback” control, which can increase gain to the point of internal feedback, allowing a lot of sonic mayhem. Plus, unlike normal tube circuits, this thing is very current friendly, drawing only 55 mA on the +12 and 17 mA on the -12 rails. Switchable between individual and parallel processing, making it very stereo-friendly. When we gonna know the price, Plankton!?

ph Multiple dual channel: Back to the simpler things. One of the annoying things about switched mults is that it can be difficult to see which way the switches are pointing. Enter ph's Multiple dual channel, a dual switched mult...with the added benefit of bicolor LEDs to show which channel is switched to the two mult busses. Smart! Plus, they give you a third middle position for 'off', so you can quickly drop something off a bus. There's three LED color combos available, but for the best contrast I'd recommend the BR (blue/red), as blue LEDs are glaringly (literally!) obvious, making for easy on-a-glance checks of the routings. A great live performance tool, to say the least! 6 hp, and dirt-cheap at $52!

Nozoid NOZORI: And now, we blow your mind. These two modules are based on an ARM Cortex M3. The 68 is dedicated to analog-style synth functions, while the 84 handles the digital-style ones. And each module has the ability to pose as 20 or so different virtual modules! With the addition of the 2 hp Expander, which has the behind-the-panel function jumpers of each Nozori brought out to a DIP switch pack, you can change the Nozori modules in your rig at will, potentially giving you a wholly-different modular in the process! Nozoid is working on additional module models, also. And these are quite skiff-friendly things, with 27 mm depths and only 150 mA draw on the +12V rail. Can't make up your mind about what you want in your skiff? Fine...use these, and you don't have to! Switch 'em, drop on a new function overlay, and you're golden! 12 hp, $280 each.

Konstant Lab FleXi: Blind panels are a pain. As your build progresses, you find yourself swapping and swapping them, filling the new gaps with combinations of these. There's got to be a better way! New, from K-Tel...uhm...Konstant Labs, the FleXi! These blind panels are actually sliding panels, allowing you to cover a variety of widths simply by unmounting the FleXi, adjusting the width, and remounting it. The S covers 6-12 hp, $13, the M deals with 12-24 hp widths for $17, and the L covers 24-48 for $20. Brilliant! How did you live without these!

Reverse Landfill Creep Cluster: Noise. Lots of it. Droning, hideous, jarring. Like that idea? You'll want this, then. The Creep Cluster contains two oscillators that pass through a switch that's also clocked at audio rates, fed into a filter...and the result is TROUBLE. Doubt me? Follow the link on the listing to Reverse Landfill's Etsy, and check the audio clips. It's sort of like a poor man's complex oscillator that woke up on the wrong side of the bed! One of the most noiserrific things I've seen since Schlappi's Interstellar Radio, the harsh noise crowd is going to go batshit crazy over 'em! 8 hp, $62-ish.

SSSR Labs Wobla: Another interesting controller, this...in two flavors (jack-up, jack-down), you get a CV offset source under the control of a single fader, with switchable behavior characteristics. At 3 hp, they take up very little space, making them idea for slapping together in a bundle of several to create remote fader controls for other synth functions elsewhere in your rig. Or you can connect 'em to multiple mixed VCAs to create a VCA mixer with fader controls. Or probably a lot of other stuff. $40...which is stoopid-cheap!

Paratek: Now, we all know that synthesizers contain only two essential parts: twistenknobs und blinkenlichts. Do YOU have a blinkenlicht deficiency? The Russians at Paratek have you covered! In under the wire on 31 January, they dropped eighteen new modules, all of which are useful in various indicator-type ways. LED bargraph meters, analog meters, “magic eye” tube meters, signal visualizers, and nixie-tube gate counters are all part of this line, which also provides passive mults in each module. So now, you have no excuse...make that modular BLINK!!!

And now, a little dive into the 1U zone...

Plum Audio 1u Tiles: This sort of blew my mind. Plum Audio, which also does normal 3U versions of some of the Mutable and other microprocessor designs, has four of these in 1U tiles as well! In 20 hp for $150, you can have the Apex (Peaks clone) or the Wavelet (Ripples clone). And in 30 hp for $300, you can get 1U tile versions of the super-useful Temps Utile or Ornament & Crimes! These are super-useful modules in their own right, but being able to mash them into this tiny form-factor is truly amazing, and for those using standard tiles, super-beneficial. 1U has been simmering for a while, and really started to open up with Intellijel's adoption of their take on the format. Now Plum Audio's got some high-end function for the rest of the 1U user base.

PulpLogic Selecter: And from one of the originators of the whole tile thing, here's a very nifty adder device: three inputs get added in different combinations with a five-position switch. Three positions add the A, B, or C with the addition of some internal +/1 1V offsets. And note...I said “add”, because this does some CV math, allowing you to also use this as an octave switch with no A or C inputs in addition to adding the sum of inputs A+B or B+C. A very smart device, with loads of possibilities for live performance or just all-around convenience.

And that...is...IT for January 2019. Took me an extra day to sort and collate all of this, but these are the sorts of inconveniences I like to run into, because it means that modular is alive, well, and thriving! Until next month...

Better idea: lose the Shifty and the Jove VCF. Replace the Jove with G-Storm's 8 hp version of the Jupiter-6 filter (which I definitely endorse the use of, given that I've got an actual JP-6), then you'll have the 12 hp for the Quad VCA. But the thing that worries me, looking at the above, is that the build currently has NO VCAs...and that's just not going to work out nicely. So what I would suggest is to grab two different 6 hp VCAs: the Happy Nerding 3x VCA (linear - for CV/modulation work + mixing) and an Intellijel uVCA II (dual VCA, adjustable for either linear or exponential [audio] response, plus 2 channels of mixing). That gives you five VCAs and two mixers in one shot. Keep the 2hp modules...I think you're apt to find them rather useful.

How many VCOs are you trying to drive with the same CV? If it's more than three, you might want to look into a buffered mult (if you don't have one). This sounds a bit like a voltage sag issue, and the buffering circuit should clear that up.

Actually, I think you could get away with dropping the RCD and RCD Expander, since the QCD + Expander deals with much of the same functionality. You get the rotating division thing with the RCD, but you could likely find a way to emulate that behavior some other way.