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The part I find most newbies aren't getting is the concept of control voltages (gates, triggers, clocks, CV). In a post-MIDI, post-DAW world this aspect of control is like going back to ancient Latin when everyone is used to speaking French.

The voltage environment is "new" to most people and they don't get it. That's why the unsexy stuff is overlooked. So a primer centered on control voltage management would go a long way to opening eyes. There are a lot of aspects of modular that can't be fully expressed in 10 pages if you're going from soup to nuts.

So Garfield is right that anything written can't be a bible to Eurorack but simply an introduction to the functionality of Eurorack. But I would try to relate it to common entry points like MIDI and soft-synths. I.E.- a MIDI note-on message and breaking down the Eurorack equivalent, MIDI sync vs. clock, CC modulation vs. CV.

Educating people as to WHY they need to worry about CV clocks rather than detailing how they physically work should be the focus.

And for God's sake, why a VCA and attenuverter are necessary utilities.

Too many people watching Youtube videos and liking the sounds that they are hearing but not doing enough research into HOW those sounds are actually being generated. There's such an unsexy side to Eurorack consisting of a lot of modules doing utility work so a few featured modules can do their thing. That's always glossed over in demos with those modules off screen or connected via a maze of patch cables. Anyone who's not familiar with the Eurorack ecosystem would just assume that the featured modules are all that's needed to get "that sound" as if each module was its own synthesizer rather than being a module.

There's a lot of assumptions that because I'm familiar with soft synths or even hardware synths that Eurorack is a no brainer and just another synth. Which it is not. Modular Grid is great and easy to use... so easy that someone with zero experience can populate a rack with modules. Then they throw it to the forums to see if they've put together something "good." Nine times out of ten... no... because they're missing the most basic concepts.

I want to help people fix their basic systems. I like Eurorack. I don't want people defaming it because they spent a lot of money blindly and were unsatisfied with their results. If you get enough ignorance buying modules... that's great for the short term. But in the long term, the genre of synthesis will suffer and get pushed back into the closet if enough people have a bad experience.

I bought a Plaits module and a Wasp filter. I also threw in a Maths. Do I need anything else? I'm looking to do multi-timbre ambient stuff. My skiff is full.

Eww... eww... Mista Cawtaw!!!! Eww... Ewww... can I participate? Seems the three of us are always answering posts and this is a common refrain.

That amount should be plenty.

Also, unless you have a specific use for Steppy, you might want to replace it with a 4Robots (1U Intellijel friendly) version of Ornaments & Crimes. It's a multi-utility module that includes a quantizer, basic sequencer(with CV, gates or envelopes), and a lot of other nice features that you can use with yoru system. You might need to ditch the USB 1U... but that's not a big sacrifice. It's a bit more than a standard O&C. But I love mine. The sequencer is basic... BUT it'll be great for those times when you don't want to mess around with your computer and just jam out on your synths. Or if you want a sequence going internally that responds to... your logic module! :)

The 4Robots version can also scale beyond +5 volts to I think around 8volts... giving your envelopes some more bite.
https://www.plum-audio.com/product-page/1uo-c-4robots

EDITED Oct 18th 2019, 23:08

How do you intend on mixing everything? How will you attenuate or invert modulation signals? Depending on what you have in semi-modular... I think I'd want the Monsoon and the logic module first. Most semi-modulars don't have logic circuits.

If you want polyphony, buy a polyphonic synth. Ganging monophonic synths or even Eurorack isn't very efficient.

I wouldn't be afraid to get into Eurorack. But another semi-modular synth would be way less expensive than diving fulling into Eurorack. There are a lot semi-modular and even synth-voices (complete synths in Eurorack format).

I would probably go with a skiff and pick up modules to supplement the Mother 32 where you feel it is weak or to give you options with alternate filters and effects. Effects like wavefolders, distortion, ring modulation, CV modulation, attenuverters, etc. can spice up what you have.

The short answer is there isn't a single module to add that will give you drones or ambient sounds. That's a discussion that seems to happen in every new post. I'd get in some more wiggle time and then start scouring the internet and Youtube. You might even want to boot up VCV Rack and take a spin on that platform. I think you might find you need a stack of modules to do it well or an innate understanding of the architecture of drones (Brian Eno level).

I'd definitely let the ShapeShifter mature in your workflow before adding any new modules.
If you pull the Warps and the TipTop 909 modules, that frees up 18HP.

My first thought was a Worng Vector Space for creating some interesting modulation sources by using what you have onboard. But it's 20HP. So you'd have to find another module to cut out.

A Befaco dual attenuverter would be nice since it can attenuvert as well as offset.

A Clep Diaz or two might be useful for some additional glitchiness.

There's also a lack of effects unless the Disting is being pressed into generating reverbs, delays, etc.

You could also make a go of adding some simple mute switches. Noise Engineering makes a bank of 4 that fits in 4HP. Joranalogue makes a Select 4, which is more involved.

I don't see any logic modules either. A Joranalogue Compare 2 or even something more simple (like a Blue Lantern logic module) might add some tastiness to your patches: AND, OR, NOR, NAND, XOR, etc...

Just some ideas off the top of my head... but it's all going to come down to what makes the experience better for you.

If your needs are being taken care of between the Eloquencer and PNW, there's no reason to expand into a dedicated LFO and clock modules. However, you are eating up outputs that can go towards other functions.

The Eloquencer and PNW may or may not be able to modulate their own LFOs and clocks... or at least not as well as a dedicated module. It all comes down to usage. So take everything with a grain of salt.

As far as the 2HP VCO. It has a features in it. But take a look at an Intellijel Dixie II+. You get more waveforms, a sub output, attenuators, you can select the octave playback, linear and exponential FM modulation (plus a secondary FM source), you can shift the VCO into LFO territory.

The 2HP VCO is $129. The Dixie II+ is $229. 2HP vs 8HP. But if you're going to put another VCO into your system, I'd go with the Dixie as you'll get more out of it. You could go with another VCO... but the 2HP is lacking features that are important in my opinion.

Rather than the 2HP MMF, look at the Steady State Fate MMF. There's a $50 difference. But you also get 1V/Oct tracking, plus FM and a PING input. You'll get more use out of the Steady State Fate.

There's no problem with the Mutable Instruments stuff. But I've found having traditional envelope generators onboard to be a worthwhile investment over modules that require a lot of button pressing and memorization of modes and features.

Again, all with a grain of salt.

First and foremost, double check to see if your case power supply will handle all of these modules. You have a few power hungry modules. Check the +12V and -12V draws.

Next up, you might want to check out the Expert Sleepers ES-9. If you're planning on using VCV Rack, you'll have more ins and outs across the digital divide.

The 2HP VCO and MMF are pretty basic. They'll work. But if it were my rig, I'd want modules that are beefier if they are sound sources and filtering.

I would want Kinks. I would also want two ADSR envelopes and a dedicated LFO module thrown in there. A clock divider or module capable of creating clock divisions would be nice too, as you probably don't want to depend on your computer to generate clocks or divide/multiply them.

I didn't hear anything that sounded like it was generated from a complex set-up. Most, if not all of what I heard sounded like a traditional analog waveform followed by low-pass, high-pass, or band-pass filters. There were envelopes involved controlling both the amplitude as well as the filter cut-off.

It all sounds possible between square, saw, and triangle waves.

There are logical ways to lay things out and then there are ergonomic considerations. Both are important. But diving into them first might help you figure out what works best for you.

The first consideration... ergonomics (using this term loosely). Patch cables have fixed lengths. Do you have enough patch cables and are they long enough to patch between the most distant modules. All modules have depth. Depending on the available depth in your case or even certain areas of your case may dictate as to where a module can actually be placed. The power draw might come into consideration if you're placing all your heavy draw modules together in one case and everything else in another.

Grouping. Grouping like modules together makes them easier to find. You may have all your oscillators grouped together, all your filters together, all your effects together, etc. I also try to put most of my modulators (LFOs, EGs, etc.) together with like with like. I tend to have my modulators flanking both my oscillators and my filters. I also try to group VCAs so they are close to everything.

When it comes to mixers or modules used as mixers/attenuators, I will try to have a general clump of them near the ends of the audio signal path, but I will sprinkle them around the case in areas where I know I would probably use one (such as one module near the oscillators). The same for active mults... having one near your oscillators is ace and you probably want one near your sequencing modules as well.

There's no right way to do. But if you're going to try to reorganize your case, you want to organize things in a way where your most common patching doesn't require several meters of patch cable back and forth all over your case with no slack in your patch cables. You never want to place strain on your jacks.

Two sequencers. 8CV+Gate outputs are standard for most sequencers. So you may need more than one. It's nice if you can get everything that you need in one box. But if you're dealing with percussion, you'll probably want a CV+Gate sequencer and one that does nothing but triggers. Higher end sequencers can be synced together as well as most mid-tier sequencers.

If you find yourself with a LOT of tracks, you may find it better to use an external sequencer and possibly a computer sequencer. Expert Sleepers makes FH2 plus lots of expanders for it. So if you're needing tons of outputs in a smaller space, it may be the only viable solution. There are other MIDI to CV converters out there too. But the FH2 goes directly from USB to CV.

Sequencing is very much a personal preference.

I have the 1010 Music Toolbox. I'm not currently liking where the firmware is at the moment. They're trying to take sequencing functions out of their BlackBox and use them in the Toolbox... which is breaking the ease-of-use of some functionality, especially in making live changes. I do love how flexible the outputs are as far as LFOs, CV sequences (voltages and no gates), even audio playback.

I'm really looking at the Westlicht Performer. But they aren't manufactured, only assembled by enthusiasts. The Eloquencer seems nice but overpriced in my opinion. I think I would go with a sequencer that meets your needs first, then find a way to accommodate its HP in your set-up. Having a sequencer that doesn't work for you in the first place is a waste of HP even if it fits into the planned space.

Also, having a main sequencer is great. But it's also good to have smaller sequencers around that can also lock to your main sequencer. They are great sources of modulation information for filters VCAs, switches, etc.

Well a generative patch is basically a set-up that plays itself or needs very little human interaction. So perhaps when people state they're looking for a "generative" set-up. They aren't really meaning to go that far and just want something that creates evolving sounds.

In a generative environment, you'll see loads of sequencers, switches, LFOs, VCAs, and clocking sources. You'll find sample & hold circuits, lots of effects, etc. I think there's a false believe that generative, ambient, or "drone" set-ups are simple.

I don't think anyone can tell you buy module X or modules X,Y, and Z to do 'generative' stuff. Everyone will use a module differently or use a different set of modules to get the results they desire.

I would recommend practicing your patching. Rather than worrying about the sound so much, worry about creating relationships between the modules that can change dramatically based simple differences in one sequence or the timing of a reset trigger, etc.

+1 for Lugia's post.

The first thing I'd want to find out is if I had a dead or dying module that's tripping my power. Your power supply and case may not be the culprit. They may be doing what they're supposed to.

Also, depending on your country's power set-up... did you check any fuses in the system?

You're going to have to check your modules one or two at a time. Start with the oscillators and work your way down your typical signal flow. Once you have all of your oscillators checked, then go with the VCAs, then filters, and then finally everything else. Let's hope you don't have any bad modules.

The specs for the 6U are as follows:
5HP power supply delivers 1600mA +12V output, 1600mA -12V output and 900mA +5V output

Do the math on each one of your modules as Modular Grid isn't 100% reliable at calculating your power needs.

This is the same set-up you posted in another thread yesterday.

You'll have to describe how this is working "okay" for you. Everyone has different needs and expectations. So just looking at this and telling you where to go next isn't really possible. How is this set-up falling short of your goals? What more would you like it to do?

Sorry for the Confusion guys
I'm pretty new at this.
Lets start again
The way I m using this set up is to obtain some sort of ritmic randomnes
In my sequences and record it Midi in the MPC. (The results are pretty good)
My main question is about the doepfer A 192-2 CV to Midi module
Since it has 2 independent channels
I m still not able to figure out how to use the second channel so I can run 2 random sequences from 2 different midi channels
Right now I have it's midi in going in to the out of my MPC 2000xl
Which controls other Synths:
Roland D110
Akai S2800
Volca Bass
Volca fm
Then the A192 goes to the blue lantern Quantizer for pitch (thru an LFO and or Sample &hold) and Temps Utile for ritmic randomness

-- Carlobrunetti78

Your description doesn't make a lot of sense. The A192 converts CV and gate to MIDI. So the path you're describing is out from the A912 to the Quantizer and Temps Utile.

The A-192-2 only works on POSITIVE voltages. So if there's an LFO in the mix, you'll have to offset it so that there aren't any negative voltages flowing into the A-192-2. It will just ignore negative voltages.

By default the first set of CV inputs goes to MIDI channel 1. The second set goes to MIDI channel 2. There are 16 possible MIDI channels available over a DIN MIDI cable. I would test these inputs. If you can connect the MIDI out to a computer MIDI input and run any software that's capable of displaying the raw MIDI data coming in, you could confirm that the unit is functioning properly.

The Temps Utile is capable of a lot more than random sequences. The menu isn't that deep. Are you saying you can only make random sequences or you're just using it to make random sequences.

The Temps Utile outputs gates but no CV/pitch information. How are you getting pitch info to Plaits or anything else?

You have a 2HP LFO as well as the 2HP Euclidean module. They are pretty redundant in this build considering that you already have 3 additional LFOs and the Temps Utile can run six different programs simultaneously, any and all of them being Euclidean with a lot more options than the 2HP unit.

I'm in club Intellijel... Lycans rules!

Building in a small case is akin to going from building grandfather clocks to wristwatches. The amount of knowledge and precision becomes of the utmost importance. Getting the most mileage out of a handful of modules requires this knowledge and experience. Getting a small rack correct the first time around without experience is going to be a tough task.

Ambient tracks produced via modular generally have lots of modulation involved... some blatant and a lot is very subtle. There's going to be lots of small modulation in order to keep the sound fresh and evolving. Listening to one plain oscillator drone on... not very entertaining.

People are enticed to start with a small rack because it's less expensive to put together. But if it can't do what you're hoping it will do, you're throwing your money away.

+1 on VCV rack. That's what I started on (even though I've been into synthesizers for about 30 years). If you can build the sort of ambient patches you like in VCV Rack, you can translate all of those virtual modules into a shopping list for real world modules. VCV Rack is FREE. It does have some paid modules available. But nothing that's a show-stopper if you don't have it. Get in some virtual time before you spend thousands of dollars on real world equipment. Your bank account will thank you.

A clock divider or clock module would be nice.

Pam's New Workout or a Temps Utile would work well. Your Eloquencer can give you clocks. But then you give up that many output you could put towards sequencing. The PNW and TU should give you clocks and some other features. I don't have the PNW but I do have the Temps Utile. It can do clock divisions and multiplications... as well as Euclidean rhythms and plain gate/trigger sequencing, some internal logic functions, etc. It's also possible to store the state of the unit and recall it. Which might be great for a live situation.

Ronin1973 - thanks for the thoughts. Really helpful for sure. Here's my question (again, not knowledgeable here) - why can't I just use the drum trig outs on the Beatstep Pro for each of the drum modules I have here. I could use one of the gate/pitch outputs for the Syncussion as well to get pitch control. If I had another sequencer in here, perhaps the Erica Drum Sequencer then I could use that instead - right? Or would I still need VCAs for that? Also, I hear you on the mixer but I have an Erica mixer in that setup - 6 channels, why doesn't that work?

My plan wouldn't be to play this live but for sound design that I will sample into my digitakt or ableton and use from there. I assume I could create loops and record them too for arrangement later. Thanks so much for helping me!

-- fdbeardd

In order to play live, you'll probably want to minimize the amount of patching. If you're going with dedicated drum modules, you're basically limited to the same functionality of a less expensive drum machine unless those modules have CV inputs to modulate their settings. Those modules will be a bit more expensive than something like a Tip Top drum module. It's not that it doesn't work. It's that you're reinventing the wheel with a much more expensive wheel. My advice would be to set-up and price-out your Eurorack solution, look at the features and possibilities, then compare it with an off-the-shelf drum machine. Are you getting that much more functionality and for how much? If you're paying 400% more for 10% more functionality, you'll have to make a judgment call for yourself about it. Just because you can doesn't mean you should. Maybe you should. But I'd consider the price in dollars and HP space. That money and space may be better devoted to something else.

The Quadratt will work as a mixer but only in MONO. You'll only be able to add your effects in mono and to either the mix as a whole or an individual module.

There are small stereo mixers available in 3U. You may also want something with at least one effects send. You're going to run out of HP very quickly at 62HP.

Thanks for the info on you background.

Well, your system here is pretty basic... which isn't a bad thing. There are a few things that would be helpful to you as you go along. Attenuators and attenuverters are good things. Not all your CV ins have attenuaters/verters built in. The Maths has four channels, channels 2 and 3 can be used as attenuverters. You may find yourself wanting dedicated units. The Befaco dual attenuverter is pretty tasty. It also includes an offset knob. This will give you a lot more control over your CV signals.

Eventually, you're going to want to tie this system into your DAW at least for sync and recording. So a MIDI-to-CV module would be useful as well as a mixer and Eurorack level to line level output. You can probably get away with not having either depending on your audio interface and its specifics (DC filtering, enough headroom to handle a HOT Eurorack signal).

A second VCO will probably be a good purchase as just one might sound a little thin for some applications. You'll also benefit from being able to sync two oscillators to get that "oscillator sync" sound and even do some audio rate modulation of things like filter cutoff etc.

There are a million directions to go in and everyone's journey is going to be a lot different. Don't worry too much about a module that is popular and everyone else seems to have. There are no presets in Eurorack and you'll find that a small nudge of a knob can often make a HUGE difference in what's coming out of the speakers. You can give ten guys the exact same set-up and get ten very unique sounding results. That's the beauty of Eurorack. But about the cost... lol...

The Mimetic isn't all that difficult to use once you crack the manual or follow a couple of Youtube tutorials. The "O" input stands for "Origin" which takes the sequencer back to the very first of 16 steps. The "N" input stands for "Next" which will advance the sequencer to the next step. What I find nice is sending it a rhythmic pattern as well as a reset. There are additional inputs that control which step to advance to or even randomly. Connect Steppy to a few of its inputs and have a good play. I'd try one CV out for pitch info, another to control the cutoff on your filter, and a third to modulate something different. It could even go to a secondary VCA to give you an accented note if your envelope can take modulation (even raising the volume of a VCA is a good trick if you put a second VCA after your main VCA controlling amplitude).

In my experience, there are some modules that seem like duds on your first or second play with them. Then you find yourself really exploring them later on and finding "that's not half bad... wait... this is fantastic!" So give yourself a few weeks to get into the workflow.

I'm not a big fan of the Disting and the six double-sided print outs I have to keep around to remember what each function does. I like everything about it except the interface. Maybe it's the PTSD from working with an Ensoniq Mirage in my late teens. :)

Once you get the fever for some new modules, check out the micro version of Ornaments & Crime. Also, take note of anything you're using a lot in the Disting. That might give you some fodder as to what dedicated module(s) you might want to include in the future. Example: you find yourself using the quantizer program a lot.

Building a drum machine in Eurorack is a VERY expensive proposition. You have to recreate all the parts of a drum machine out of individual Eurorack components. There are manufacturers that do make self-contained drum voices. But then you're basically back to where you started from.

I would consider it IF I wanted to get down to the very roots of the sounds and modulate various aspects of the sound that you can't with a normal drum machine. But if you go that route, you're basically building drum sounds from scratch: VCO, VCF, VCA, envelopes, and whatever else you want to throw at it.

If you want absolute control over your percussion and play all of it live, then you're going to need several of the modules above in duplicate. You're also going to need to mix it all... ON TOP of anything else you're doing in Eurorack.

Some deep thinking on what's practical, affordable, and if you really want to go this route. It would be far cheaper to create sounds one-at-a-time and then simply record them into a sample playback module once you're happy with the sound.

You have a skiff. But the picture is of three rows with two of the three empty. To be more useful, is this one row. If so... are you using all of the space already or is there HP left over? Varigates, Voltage Block, and Maths are big modules to place in a skiff. You will also want to examine the DEPTH of each module and make sure that they will fit into the skiff that you've selected. There are no industry standards on depth.

Hey guys. Just saw an alternative to the "English Tear" come up in the modules section. G-Storm Electro KVP.
https://www.modulargrid.net/e/g-storm-electro-kvp

The Maths can be pressed into being a four channel mixer if you set channels 1 and 4 to a neutral setting then take the mix output. Maths can cycle into audio frequency range. If you modulate either of the slopes the rate will speed up or slow down (change pitch).

Go on, show us an example patch. You can create rudimentary oscillators and filter type effects with a Maths unit. You can do more than decorate with them.

Pam's New Workout is capable of delivering clocks as well as some basic waveshapes instead of gates. Chords has modulation inputs but those inputs do not seem to have any attenuators/attenuverters built-in to it. So if the value can't be attenuated within PNW, then you're stuck. Also, PNW only generates voltages up to 5V. That may be problematic if you're looking to trigger an envelope... which may be up to 8V or even 10V. How are you going to modulate any of the values coming out of PNW?

The Disting Mk4 can do a lot. But in this case the OP described it as only being used as an effects processor.

The headphone module is just for monitoring.

Even if this is for some sort of drone machine, there's a lot missing. You're going to want a filter. I do not know what the oscillators in Chords sound like... but a filter will go a long way in shaping the sounds. You're going to want some VCAs, attenuverters, and an actual CV source for generating pitch... even if you're generating drones. With that, I'd also recommend some sort of slew rate limiter unless you want your drones to suddenly change pitch if you shift the voltage going to the 1V/OCT input.

I think you're really shooting yourself in the foot expecting anything usable from this built. It will make noises. But will they be useful?

You've picked modules that you like with very little consideration to how to actually get them to work as a system or as to how you will create any useful drones... that actually evolve over time.

You have about 25% of a functional system laid out. I'm being generous.

I would learn a lot more about synthesis and modular synthesis before planning a system.

Hi Ronin,

Hmm, to be honest I am a slightly bit confused. One on hand you mention you haven't noticed any issues when you plugged your Model D into your Eurorack on the other hand at the end you are stating that they went with the original specs and that would be 1V/Hertz, isn't it? But wouldn't that cause some issues within the Eurorack?

-- GarfieldModular

In the very last paragraph I referred to the "ARP." Sorry about that. I meant the MS20 and was referring back to the Behringer K2 and its design. Sorry about that. The last paragraph was exclusively about the Behringer K2.

I don't think you should worry about the Model D being Eurorack compatible. Here's a little video of a Korg SQ1, driving a Model D via CV. (it's not my video)

Oh and DivKid, doing his thing with the Model D via CV... I think he'd mention an issue.

EDITED Oct 2nd 2019, 23:51

That's a good question about the Behringer Model D. I own one. I haven't noticed the issue when plugging it in to Eurorack. I did a search on the internet and also cracked the manual.

The filter doesn't track exactly to 1v/Octave. In the manual, it states that the oscillators track to 1v/Octave (Eurorack standard).

The ARP's circuitry might have influenced Behringer's decision to go with 1V/Hertz versus 1v/Octave. I'd assume that converting it over to 1V/Octave probably changed the performance or the sound of the synth... so they went with the original specs.

Very good then. Just don't paint yourself into a corner. Plans and ideas change once you get your hands dirty. Having the Moogs is very helpful. My experience led to a lot of rethinking after putting together my initial system and the workflow I ultimately wanted versus the one I had planned for.

You stated that the rack is for sequencing. Steppy only does gates/triggers... no CV/note values. How do you intend to actually sequence with it? I wouldn't depend on the MOTU for CV as you'll find it's a bit clunky going back and forth from your DAW to Eurorack just to get it to play a note. If you insist on using your DAW a MIDI to CV converter might be much more intuitive or a dedicated module like an Expert Sleeper FH2 might be a little more along your lines.

Sequencers are really a matter of use/preference... so you can go for something like an Beatstep, Eloquencer, Squarp, Toolbox, Westlicht Performer, etc. But I would definitely have some sort of hardware sequencer around... they are also great modulation tools for filters, etc.

Can you post your latest updated rack in the thread? There are some big differences between what's in the thread and what I see when clicking the link to your rack.

This rack is full... which is always a bad sign.

You've dumped a lot of the "good" Intellijel modules like the Morgasmatron and left yourself with some of the more vanilla ones.

Noise sources? You've put a lot of VCAs in your 1U slot. The Intellijel 1u noise/sample and hold module would go nicely in there.

You need a bigger case or be prepared to buy a second.

Can you post your latest updated rack in the thread? There are some big differences between what's in the thread and what I see when clicking the link to your rack.

This rack is full... which is always a bad sign.

You've dumped a lot of the "good" Intellijel modules like the Morgasmatron and left yourself with some of the more vanilla ones.

You can never have enough VCAs. But you've reduced your count to two. That's not good, as VCAs can do more than modulate volume levels.

No use for attenuaters and attenuverters? That made me laugh.

As far as sequencers. I like the 1010 Music Toolbox. But right now the firmware is trying to their BlackBox and isn't quite ready for prime-time in my opinion. I have a Toolbox. I like it, but it's not quite "there" at the moment. But the architecture is pretty nice and flexible.

I would look into a Westlicht Performer. You can find them for around $300US and it's the "Eloquencer Killer." Not sure if that's true but I've considered getting one for the workflow.

How are you planning on sending note information to this rig? I see no form of note sequencer or MIDI in.

The Maths can be used as a modulation source. But I don't think it's a substitute for a true LFO or CV generator.

The Intellijel Quad VCA will do for now as a mixer. But I would suggest a dedicated mixer to free up the VCAs to do their intended jobs.

As Garfield pointed out, if you're using Intellijel 1U modules, you'll need an Intellijel case with a 1U row. Note... only Intellijel compatible 1U modules will fit in it. You can't use the Pulp Logic style "tiles" in it.

I would not buy this set-up. You won't get anywhere useful with it. You need a greater understanding of modular, especially utilities and sequencing hardware. I always suggest VCV Rack (it's free) and is a great learning tool for that reason. If you can make patches that you like in VCV Rack, then you probably have enough understanding of Eurorack to put together your first real-world case.

The Behringer clone, the K-2, also works on the old MS-20 standard. So if you're buying a new retro module, you'll want to get a conversion module/box for it too.

Well, there's nothing wrong with any of the modules that you've picked out. But for the few that you've picked out, your results aren't going to be that great.

My suggestion would be to learn a bit more about Eurorack so you can plan a rack that has some capabilities and can give you some value for the money that you're spending. You'll have to spend more as the first $1000 to $2000 into Eurorack doesn't get you very far.

If you haven't already, try VCV Rack. It's a free Eurorack simulator for your Mac/PC. Learn a bit more then put together a more robust design.

What are you hoping to accomplish with this build? Will it work? Yes. But it's an expensive solution for meager results.

Your link doesn't work. It's missing the rack number at the end of the URL.

Okay here's my commentary.

Disclaimer... I'm going to sound brutal. But if you were to buy this today, you'd be hoping the place where you got your stuff from accepts returns. You'd have to pay shipping back, and then try and figure out how to make the best of a bad situation. Lots of money down the tubes.

Intellijel 1U and Pulp Logic 1U are not compatible. You've mixed both in your 1U rack space. Have you picked out a case? You can go with Intellijel or Pulp Logic compatible. Your choices better fit that case.

As far as choices, you've covered your bases except for LFO, noise... AND A FILTER. You're going to want a multimode filter in here.

You have a mixer, but no attenuverters. CV modulation is important. You'll probably get your pitch and gate info from MIDI. The Steppy only generates gates. So it's not going to be a full on-board sequencer. Though it does have its uses.

All and all it's a very expensive first build for the limited features desired. You'd get more mileage out of something like a Behringer Neutron and then a small skiff adding functionality like reverb, ring modulation, sequencing, and any other toys you'd like (including other VCOs and filters, overdrive, etc.).

EDITED Sep 23rd 2019, 19:02

Don't post a link to a JPG. Post a link to the page. That way it's interactive and I can follow the links to modules I'm not completely familiar with.

The link should look like this.

Notice how you can click on it and then look up each module.

It looks almost good to go. As far as your envelope generators, you seem to only have AD generators at your disposal (Maths & Erica). The Erica looks like it can produce one full ADSR... but then you're giving up your LFOs. I would think about adding a couple of ADSRs (maybe the Intellijel dual ADSR at 14HP) so that's covered.

Next up would be some modulation toys. I'd go for a micro Ornaments & Crime at 8HP. You should have the space. It's clockable and will also offer an internal sequencer, quantizer, and some other nice toys (though only one mode is available at a time). Sequencers aren't just for notes. So it's always good to have one somewhere, even though the bulk will be coming from your external source. If you only care about sequencing, the Noise Engineering Mimitec Digitalis is a four CV sequencer at 10HP.

If you go with the dedicated Intellijel ADSR, then you might want to swap out the Erica for a Xaoc Batumi at 10HP... plus the Poti expander at 3HP. That gives you four LFOs with lots of options in the same 10HP footprint (plus 3HP for the optional expander).

You have 30HP available, my recommendation will take up 25HP. If you go with the Noise Engineering instead of the micro O_C you'll use 27HP.

EDITED Sep 23rd 2019, 18:40

Something that can run off of a power brick with a solar charger in the mix. That's about 1000mA or so of usable power.