Hi Cassek,

An interesting but I am afraid difficult question... I had asked that question myself as well... What's a good setup? Thus:

A) to make as efficient as possible use of the available HP-rack space
B) position the modules in such way that you have them in a logical order next to each other or at least in each other’s "neighbourhood"

If you just look at point B only and don't even take the space matter into account, that's a huge puzzle... The more modules you get the bigger the puzzle get.

Roughly I start in my modular on the left-hand side with clock modules & sequencers, then oscillators and LFO's, followed by filters, envelopes & others and VCAs & mixers and to end with the audio input/output modules at the right-hand side because for me at the right-hand side my external mixer stands next to my Eurorack ;-)

But as you mentioned already by yourself, it's a rather personal thing. You should do what works for you in the most pleasant & comfortable way. Or if you really want to improve your module-positioning: try to monitor yourself for a couple of days or weeks how you patch which modules with which ones and then see if you have a lot of (unnecessarily) long patch cables, those might be an indication that you could put a few modules closer to each other. I think the larger the setup becomes you can't completely avoid long patch cables though.

So I was struggling with that as well but I kept it roughly as above described and solved my space issue by just buying another Eurorack case. Why bothering yourself with such a difficult puzzle that every time becomes more complicated when new modules are added if you simply can solve it by getting yourself another rack to solve the HP-rack space issue? ;-) Might not always be possible, I know. I only can do that one more time and then I don't have space at all any more for the Eurorack stuff to extend but at the moment that was the nicest solution. Now I am happily adding modules without the concern of HP space (of course till a certain extend) and as long as there are not too many long patch cables, I am happy with that solution and don't stress myself too much with how to make it more efficient --> because it’s an almost impossible puzzle to solve. I think we all can use that time better to put that time into creating sounds ;-)

Not sure if this helps you but what I am trying to say is... don't stress yourself too much about this... if possible get yourself just more HP-rack space.

Also don't migrate to too many small modules because then sooner or later it's getting too congested and the patch cables are blocking too much your modules and knobs might be difficult to reach to use them comfortably.

Kind regards, Garfield Modular.

Ey up Lugia

Apologies, I've not been on here much for the past week.

Yes, I got that. I thought the befaco might be useful as mono audio mixer or as an inverter depending on the occasion.

However I thought it more as an audio mixer.

Since my last post I have been mulling over everyone's input on my dream rack and I have made quite a few changes to my ideal plan.

I've upgraded the skiff. It's bigger with an extra row. I've swapped a couple of modules, dropped a couple and added a couple.

Not sure if there are enough mults on my latest update but I hope this might be looking a lot better...

I've looked at other modules too.

Thinking about a comparator possibly. Also a sloth.. As is I have run out of knowledge/understanding to be able to tweak this anymore.


Here's my latest plan:

ModularGrid Rack

This will take me a while to put together. As I've said earlier I have started but obvs funds are a major player in this game.

At the moment I am filling up one row at 104hp ( I freed up 22hp which I am going to fill with a: function, mini ornament and crime, sequential switch and logic modules. I bought some small passive mults, intellijel, which live out of this skiff to maximise space for now).

I have a smaller 60hp skiff filled up with modulation: rene, tempi and yarns + uZeus power.

In the meantime I am back to the drawing board. I am looking at different options to build my bigger skiff. Looking at vintage suitcases, cdj flight cases and old wooden carpenter's tool boxes.

However it seems my best option would prob be building my own wooden skiff from scratch. I enjoy working with wood and I am pretty capable with it so..

Hopefully this will be complete in the next few months. There's no rush really as I won't be able to buy many more modules for a while after this last run.

As per usual your thoughts will be greatly appreciated.


Interesting feedback. My first attempt to post, but when I click the link, it works. I guess somehow the URL https://www.modulargrid.net/e/racks/view (which I thought the "e" for "5" was the rack flag) is triggered for my sign-in link???

It's the Make Noise Proposal skiff (missing 1U row, semi-modular but with external Circles v2 enclosure hanging around in the kitty mess area as it is a rhythm module I own off board).

I have filled the oscillator row (row 2) out with 4 2hp modules I do not yet own (Kick, Snare, HH, Play) next to Pluck and between BIA fir a very tight fit that will require use of flying bus cable off of one bus power header.
The rhythm/sequence/clock row (row 3) has 2 module additions for clock modulation I do not yet own, 4 hp M/Div dual channel and Noise Engineering Integra Solum Dual RCD.

. These were what I was leaning towards.

Twin peak mk2 can be identified by its use of green circuit boards

Twin peak mkI can be identified by its use of blue circuit boards

Hi everyone

I have been getting into modular for a year now and have fallen into the eurorack rabbit hole. Trying to claw my way back to sanity I want to get smarter about how to make smart use of the space in my system.

What modules, functions do you prefer to combine or place together? How do you organise the space in your system so that it works best in your workflow? Do you have LFOs in one corner and effects somewhere else? Or do you create islands of voices? Or something else?

I understand that this differs from one person to another. Just curious about different approaches and your thoughts about them.

Thanks for sharing your experiences

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

Hey, did you get it? How are you liking the combo?

thanks to @splinter for safe delivery of a ladik vca to UK from Ukraine in just over a week

Thread: patches

how to find a patch by keyword? is there any search engine?

do not own 8 hp NE Integra Solum dual RCD or the 4hp M/Div dual clock modulator on row 3.
Do not own 2hp modules: Kick, Snare, HH, Play on row 2.

sorry I think he had a mistake simply

Thanks, yes ill go with the link for now and carefully use the mixer on my audio interface to make sure i stay within levels

That’s really quality insight , especially with your experience.
I graduated visual arts and some universities would accept Basquiat’s work as something to refer on , in their curriculum and other universities would simply call it rubbish.
This kind of “ leading” or “ showing the way” in education , I agree it’s detrimental towards your own self / style ( at least in arts).
Since I am a newbie in eurorack, I need clear demos of all vco’s and stuff out there.
My ear maybe it’s not trained to taste all vco’s modules as being different or specific flavors.

But each time after I dig more into it, I kinda have some favorites ( just like a painter prepares his color pallet , before the actual painting).

So, maybe I should have just asked , what modules/ functions for melodic ambient, very organic timbre and arpy.
What vco’s and what quantizer?
What efx?

I have to be specific :)

Changing the VCA's response to exponential and further fiddling with the envelope did the trick. Thanks, Lugia!

No, the Erica LINK is just fine for this purpose. Go ahead and use that. But keep in mind that it's just a passive attenuator bank, so you still need to control your levels carefully on the modular side of it, as it can still output something relatively hot if you hit it really hard on the modular side.

One other thing to remember, also...this is likely to be a simple resistive circuit and this means that it can pass DC. That's Garfield's concern here, since your interface can also pass DC. The best solution, eventually, will be to exchange the LINK module with something that has transformer balancing/isolation, which prevents the DC from going beyond the transformer itself. There's another method of preventing DC from passing, though...but I can't look at the PCB side of the LINK module or find any data on Erica's site that says whether or not the attenuated outputs have capacitors that work as DC stops. Not quite as preferable as transformer isolation, but still quite workable.

Solution to this should be simple enough: if you're running your audio path in the patch example you give through a VCA in linear mode, this behavior is what you should expect. To eliminate the VCO leakage, try changing the VCA's response to exponential. You will need to adjust the envelope's "ballistics", but that should fix the VCO leak issue. If it persists after that, turn the VCA's CV level down and change the envelope so that it's outputting a hotter envelope signal into the CV input.

Thanks GarfieldModular, but I am even more confused now.... so what you are saying is that the erica synth link module wont work ? here is the description of the module functionality from their website :

LINK is the module that bridges eurorack to destop mixers — it has 5 sections that attenuate eurorack signals to line level signals and send them to 6,3mm jacks for quality connection to the mixer.

So basically I can plug in hot signals from the eurorack and the link will attenuate it enough to be then plugged into my audio interface, but according to you that`s not the case ?

My personal take on "copying " is a bit different. Personally, I don't think anyone here is re-inventing the wheel in sonics/sound/noise spectrum. It's physics/electronics, under clear laws based on human ears.

Don't be so sure about that. There are modules that turn up on a somewhat-routine basis on MG that are gamechangers. Yes, music is a big physics experiment, but there's always going to be new methods with which to ply those physical laws.

This is actually a problem I ran into in my final academic stint at Illinois. The Experimental Music Studios, by the time I'd gotten there, had devolved into a highly-compartmentalized situation in which, if you were working with analog synthesis, you were expected to stay within analog synthesis. If you worked with any of the digital hardware, you were supposed to keep your business confined to those studios. There weren't any tie-lines between these studios, either; if you wanted to, say, run some of the Kyma (in Studio D) output through the Buchla (in Studio A)...well, not only was that made deliberately difficult, just suggesting it would elicit howls of protest from the powers that be at that time. I also ran into this at Tennessee, but it was far easier to circumvent the problem there, plus the professor who ran the studios there wasn't very savvy about what he was hearing in other peoples' work...so if you felt like dragging the Synthi AKS from Studio 1 to Studio 2 to process the Synclavier, you could get away with it.

But in my own studio, I've allowed all of the different methods to interplay. Back in Nashville, we never believed that you had to do things that way, because it stifles development. So as a result, my own studio starts with the early 1920s (albeit a bit updated: Moog Theremini) and goes to right-frickin'-NOW, and allows in every working paradigm in that span with zero operational barriers between them. And by putting all of these disparate methods side by side, a lot of new ideas do emerge. True, the same physics applies...but the endless combinations of possible results frequently suggests new ideas for that tired ol' wheel we're all so accustomed to.

Even just within the modular environment, you see this sort of thing going on. For example, there's no reason why you can't have some elaborate wavetable-scanning oscillator with the very latest tech feeding into replicas of Don's gates from the early 1960s. Hell, you can even buy them at the same store!

Now, every once in a while you DO see something that seriously warps the synth landscape. But the REAL re-inventions are coming from the insane combinatorial math going on when you have a 100% variable topology that consists of several thousand possible elements. And that's where Eurorack is at. Every time something gamechanging appears, the impact of that is so much greater than people suspect, because not only do you have that new thing, its presence has the ability to redefine literally dozens or even hundreds of other modules' functionalities.

So, sure...it's easy to replicate someone else's efforts, and even improve on them in the process. But why would you? Especially when you don't have to. When you open the door of possibilities that exists here, you're getting an opportunity to accomplish something different and potentially better...sort of the diametrical opposite of the academic studios I mentioned above, where everything's set up to trap composers in a given paradigm with little chance of escape. So, in such an open-ended working environment as Eurorack, why set your own traps?


I am trying to close out the final spaces in my modular system. When I first got the Make Noise Black & gold shared system (original in the 7U Enclave case), I knew virtually nothing about modular (and not much else about any synth, really; as far as music is concerned, I come from the DJ side of things. Large music collection, lots of gear, but nothing on the production side).
A friend had been getting me into Modular once he started augmenting his musician collection during the resurgence of analog synths. I had seen I Dream of Wires, the expanded 4hr cut, which was my sum total knowledge that got me entering the synth world with some semi-modular gear. I purchased the Mother 32, DFAM, 0-Coast and even the grandmother. Progress was slow and I never got too deep into patching bc I was majorly expanding the DJ setup with all kinds of crazy lights and then suddenly, my friend with all the synths, passed away.

All his gear was way over my level, but it was just going to go to strangers on e-bay, so thanks to Hurricane Harvey, I had flood money bc I was not going to rebuild. I was uniquely positioned to help the family and I bought a lot of synths from the estate. He had a twin 94hp Pittsburgh Rev 1 (before lifeforms) system I knew would have been the better system to learn on, but I also knew Make Noise was the cutting edge one, but with a notoriously steep learning curve.

First thing I noticed when purchasing the B&G shared system was that mine was not up-to-date. Tempi wasn’t in there and Rene was completely different. My Optomix was not the latest (I have added since and it is also black despite the rack view), but my ModDemix, MATHS and Wogglebug were latest versions. Immediately, I found myself building out a new skiff to catch the updated modules, which included tempi, Morphagene (retaining Phonogene), Brains and Pressure Points, which I expanded to maximum allowed of two units. To fill in some gaps, I picked up Disting MK4 and 2hp Pluck and Arp bc I can’t stand a skiff with blanks and want it filled ASAP.

Then I started watching YouTube tutorials. I was clueless on patching and Make Noise tends to favor Buchla or Serge type systems over Moog’s subtractive synths, which I understand more. I get that basically I am in driver’s ed still watching videos and reading manuals, yet to be behind the wheel and I’m trying to figure out if I want a McLaren or a Bugatti and what trim options I should get when the thing is probably going to stay in the garage anyway, so I am sure requests like these are annoying, but after investing in another skiff to pick up some of the new Make Noise modules and an attempt to solve the problem of no drum kits, I started creating a final skiff for rhythmic variations and drum modules with an interest in more on-the-fly live playing simply bc this is the most expensive system in the house by far and so far my least favorite. Friends aren’t impressed when I turn it on a make a buzzsaw sound. We all much prefer the other synths with presets and what not, but I’m not giving up yet. I mean, of course the easier gear shows off better. Presets!

YouTube videos backfired in a way bc they kept showing other gear I liked so I went a bit berzerk and now have maybe 30 synthesizers, 20 of which are various drum machines and keyboards with about 10 being tiny boutiques (roland & Volca). It’s a stupid amount, taking forever to setup, update and load soundbanks. That’s taken up the bulk of six months and I have barely made a dent in those, but watching all the videos showed me they do have drum modulars and live play rigs which usually have all kinds of clock modulators. Now, I like all my modules to be black face, but in addition to the Semi-modulars I had before (M32, DFAM, 0-Coast, Minitaur, Grandmother and both Mini&MicroBrutes plus an 84 hp Roland System-1m with I believe the System 100M loaded out), I ordered a vpme.de Eucliean Circles V2 with 6 switches in it’s own external enclosure that will affix outside the skiff, as do my semi-modular on various clamp mounting platforms.

Workflow I tried to keep like with like, so in the oscillator skiff, I have about 8hp to spare that I was thinking of loading up with 2hp Kick, Snare, HH and maybe Play for a very tight fit alongside of pluck and in between the BIA and MI.
That leaves about 12-13hp in the rhythm section for clock modulation. Tempi can do it, but it is complicated and I was looking at something more with switches that could drop out kick, snare, HH, etc. on the fly. Circles may handle that but most live rigs seem to have Pamala’s workout or the 4MS rotating clock div, usually with these DIY switching Mult mods. I think I need a clock mult and div for my drums. I have no logic modules. I didn’t even know those existed until about a week ago. Obviously, if I move the Numeric Repetitor up to the oscillator skiff, I would have 20 hp clear in the rhythm/sequencer skiff. Would be nice to have a combo drum module with 4 part voicing and a single signal out, but that is probably asking too much bc that would eat up my clock modulation space. I have line rack mixers and tuner in the system, too.

I plan to use Tempi and the Renes for more slow, in-depth programming, so the goal now is fast rhythm changes using compact clocks/triggers/gate modules.

Anyway, sorry for the length. Any black faceplate suggestions welcome. I don’t mind blunt criticism. That’s just the history of how this came to be.

Thanks, GarfieldModular. I've edited the post to include my rack (although the Quadratt and Disting are not yet installed). I'll try the step by step approach you outlined tonight and post back if I still can't figure it out. Thanks again!

Thanks Garfield, yeah it's just my personal "taste" I'm looking for

My personal take on "copying " is a bit different. Personally, I don't think anyone here is re-inventing the wheel in sonics/sound/noise spectrum. It's physics/electronics, under clear laws based on human ears.

I see each module as a possible preset/function. There is a big unit number of the same synthesizer, used by different people, in different ways. Just like several people are using Braids and so on...

Where the magic strikes is in the timbre/melodic line/arrangement/patching.

thanks to @mbang for a pleasant and easy overseas purchase, great seller! :-)

Hi Newvin,

It might be useful if you could provide your link with your rack that you are using regarding the above mentioned case, so it's easier to troubleshoot the problem.

Talking about troubleshooting, did you troubleshoot this, starting from the beginning and then step by step going there where you are now with your sound? What I mean is, start first just with that plain VCO, see if it behaves as you expect it should be, then do the next step, break the sound-circuit from the VCO to your output module, is it directly quiet? Then the next step, add the next module of your above descriped setup and check again: does it behave the way you expected it? Then abruptly break the circuit and see if it's directly quiet. Keep repeating this with adding step by step the modules you are using till you found the problem, and then solve that where you found it :-)

That might be a long road to go but it helps you in understanding exactly what's going on where on the road of sound creation, if you get my point?

Good luck with the trouble shooting and if nothing goes or helps, provide the link of your rack (and additionally perhaps a patch overview) and tell the exact setup, perhaps then it's possible to trouble shoot it for you.

Kind regards, Garfield Modular.

Hi Tnsl,

On one hand quite interesting music the Rubber tijd with Legowelt :-) On the other hand, why would you like to "copy" someone's sound? I know it might sound good and therefore you would like to use it, however, I do believe having a modular system is all about creativity and trying yourself to come up with some nice (and unexpected) sounds and use that in your music or sound.

I admit I am not experienced enough to know how to create such a sound with which modules but then again, I wouldn't even want it. Perhaps more senior members can tell you this but I wonder if this is what you really (should) want...?

Kind regards, Garfield Modular.

ModularGrid Rack

I'm several hours into using my first rack (M32, Dixie, Maths, Quad VCA) and having a blast, but there is one recurring problem I haven't figured out how to solve:

I'm running a sequence on M32 and driving the Dixie from the M32 (M32 KB > Dixie 1V/OCT). Then I send output of Dixie square wave to Quad VCA IN 1, but the sound is droning because I have not created an envelope. I then use channel 1 or 4 of Maths to create an envelope which I send to CV input 1 of Quad VCA, and now I hear "notes" being played as desired.

The problem is that when the notes "stop", I still hear a very quiet droning of the Dixie square wave. I'd like to instead hear complete silence between notes. Sorry for the noob question, but if any experts could pass on their best practice for removing this low baseline of VCO droning I'd appreciate it. I have a Quadratt on the way in the mail in case that is helpful.

Hi ModularGrid,

Yes, that's it, Centrevillage :-) Thank you very much for your kind help and thank you very much for the gentle reminder on the manufacturers' creation. I remember now I have read that before.

I will add the module I got from Centrevillage, so I finally can remove the blind panels in my racks ;-)

Thank you and kind regards, Garfield.

Hi Progerik,

Yeah, that was I was thinking too: "Use the Erica Synths Link" easy and simple, but it wasn't. As Lugia already explains, the DC parts in/on your signal might be a killer for your speakers and that's really not what you want to happen. I had this discussed (in case you are interested) in another post as well:

Forum --> Modular Discussions --> ACL & Waldorf modules --> then start to scroll almost completely to the bottom of that post (because the first 70 or 80% isn't really related to this matter). The DC part has already been a bit mentioned here and there and to better make sure to use a proper audio input/output module for that (instead of for example that Link module from Erica Synths). Just below the reply of "ModularGrid" quite at the bottom, from there onwards might be some additional information to this. To summarize: Lugia already all explained here above :-)

Carefull with DC stuff --> I didn't take any chances and got myself some audio input/output modules to make sure I don't get DC signals to the "outside" world (i.e. out of my Eurorack).

Good luck and kind regards, Garfield Modular.

Most of this music, maybe it was created on synthesizers and not modular environment... I am wondering what modules ( most likely vco's) cover the sounds in the mix. ( especially at min.9)
Here is the mix

My opinion? This build is pretty much pointless. First up, the tile row (as Ronin also points out) is not possible. Next, there's a trigger sequencer but nothing you'd normally use one with, such as percussives, or other clock-based modules which the step sequencer can modulate. There is a clock...and there's also a MIDI interface with a clock. But you can't send the clock from the Tock out via your MIDI interface, nor can you use both the MIDI clock and the Tock at the same time since there's no logic here to facilitate that.

Then there's the single VCO. OK, fine, you can have a single VCO...but then there's that ring modulator, for which you need a second source. And while that could be the Double Bass, it wouldn't really make much sense to divide the single VCO's output then send it into the ring mod against the VCO itself. Let's say you inputted the dry VCO signal to the carrier at 880 Hz and then the -1 octave, which would be at 440 Hz. Given that ring modulators output the sum and difference frequencies, you would get 440 Hz (again...so, no point to that) and 1320 Hz, which is simply the 2nd harmonic of the octave-down signal, and since the 440 Hz signal would be reinforced by the ring mod's difference output, this would just sound like an A-440 note with a bit more second harmonic. So, pretty much a waste of the ring mod.

There's a single modulation source (the A-140) but a DC-coupled mixer which will have a couple of very not-busy inputs. The VCA isn't exactly right for audio, either. Then there's two distorters. Why?

And then, the things that are NOT THERE: a VCF, an LFO, an exponential VCA for audio, no attenuation, no output module...to be very blunt, you could get a lot more entertainment for your money while achieving the same budgetary hit by simply putting the money necessary for this in your backyard grill and setting it on fire. That's straightforward...as opposed to the frustration that'll be experienced trying to use this build.

So, "cheaper or more efficient" = don't do this, period. You need to get a far better idea of what a synthesizer is made up of and how they work if this build is any indication. Save your money and get a prebuilt patchable instead, learn how it works and why it works, then try coming back to this idea much later. You can't just throw modules into a box with a vague idea of what a synthesizer consists of and expect to get anything useable. The sole result will simply be a waste of money that could be better-applied elsewhere.

An AE system. Honestly, when it comes to energy efficiency, the AE Modular system kicks the crap out of everything else. There already are producers using theirs on solar, battery power, etc. It's also smaller, lighter, and...quite significantly...CHEAPER.

You added a module just to sell it?
That’s a bit weird.
Why not just sell it the regular way on the marketplace on the specific module description page?

GarfieldModular and Ronin1973, thanks ever so much for your help! I’ll take a good look at your recommendations. You’ve addressed the two things I knew were either slightly off (for some reason utility modules have been hard for me to get my head around) or not taken into consideration enough (modulation). I’ll be back... Thanks again!

Edit: Sticking with the Erica eg/lfo for now in my projected build as I have some space issues. Will keep an eye on the Intellijel Dual ADSR module.

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.).

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.
ModularGrid Rack

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.

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.

Users cannot add manufacturers.

Is Centrevillage your brand?

Edit: I have added Centrevillage

bought a make noise function from @cortechs -- quick responses, good communication, packed really well. thank you!

What would be your desert island 84rack selection to give you plenty of time to explore with...?

Go with Buchla? Well...it does fit here on MG, although there's no word from Buchla USA as to how much the SFTMC system's going to cost. But it's Buchla, so I'd suggest that people start filling up dumpsters full of money now!

Also worth noting: this contains a bunch of things that currently aren't in the Red Panel lineup.

Hi Antti,

Oh you are already the third or fourth person in a row that got an Octatrack and you also got yourself a 0-coast, I am so jealous :-) So that with an Eurorack should go nicely together!

Regarding your rack, well you got already a 0-coast and an Octatrack, so that’s a good start. A few matters you might want to look into it:

  • I noticed the Veils (Quad VCA), so that’s good however I am missing an audio input/output interface. How are going to output your Eurorack sound? Everything via the 0-coast to the Octatrack? That might be a bit limiting. I think you should consider an audio input/output module for your Eurorack so you can lead the sound directly from/to the Eurorack to/from your Octatrack

  • Since you mentioned yourself already that you might want to extend in the future, perhaps you should reconsider your choice of mixer, the A-138s. If you take the A-138p and A-138o, it’s indeed a bit bigger but ready for the future, it has panning & aux options and the A-138p is chainable with more A-138p’s so you can just simply start with one A-138p and the A-138o, gives you 4 channels and once you require more channels you just add an A-138p to get to 8 channels (or 12 or 16, etcetera). I guess now you want to do that all with your Octatrack, understandable however if your Eurorack gets bigger you might need a bit more mixing possibilities before you go out with your Eurorack sound to your outside world (i.e. Octatrack)

Other than that it looks quite complete to me, you mention yourself already that effects, etcetera you want to do with your current external devices (for example the Octatrack), so that saves indeed some space in your rack.

Perhaps you could consider one or two more oscillators and/or filters but you also can keep that in mind for the future and just start with what you got here. Together with the 0-coast and Octatrack I think you find yourself here with some nice stuff to play with :-)

Good luck with the Eurorack and kind regards, Garfield Modular.

Thanks for the detailed answer Lugia :) for some reasons I thought I could plug in hot line directly into my presonus dc coupled interface. It looks like I could simply use the inexpensive link from erica synth to plug directly into my daw

Very interesting indeed! thanks for sharing Lugia.

There seems to be a problem with the link, try using your racks URL instead and modulargrid will automatically show an image of the rack.

I wasn’t really satisfied with this rack and I gave it another try. I added the ErbeVerb and the Shapeshifter back, and as a plus I think this one would allow me to get rid of the Minibrute easily if I decided to do so, and maybe replace it with a second Rackbrute.

Right now I’m using it for techno, but it would be great if I could use it for some ambient too, I think there’re enough modulation sources but maybe it would need more effects?

I already have the Plaits, Quad VCA and Zadar, but the rest could still be replaced. I’d appreciate your opinions on this one as I’m still learning and I might be missing something.

ModularGrid Rack


Looking for some advice to make it cheaper or more efficient


Looking for some advice

It's working now - figured it out.
It was not the Keyboard, it was my stupidity :D
Thank you for your time and advice anyway! :)