I'm late. But I have an Intellijel Rubicon II. You can get into some seriously gnarly tones with some creative patching including self-patching. There are a lot of built in attenuators and attenuverters.

It's not cheap. But it's a great first choice for an analog VCO.


I'm not familiar with the Octatrack capabilities. When it comes to sample playback and looping, the majority of in-rack sampling modules do not offer time compression/expansion of samples.

So if you have a drum beat at 120BPM and want to use it in your 125BPM session then you're probably going to have to take it to some software like Ableton to get it to time expand correctly. A lot of Eurorack modules support slicing. But that might make your loop feel janky.

It probably would be a lot cheaper to keep her. If the Octatrack supports sequencing as well, then you might find a MIDI to Eurorack interface and a line to Eurorack level converter (for audio) to be more to your liking. Depending on your interface you could also convert MIDI CC to Eurorack CV and MIDI clock to Eurorack clocks (short gates). MIDI to Eurorack interfaces come in a broad range of capabilities. They can be brutally simple to having a boatload of features and outputs.

But if you want to keep everything in the rack (your decision) then one of the above mentioned Eurorack solutions would work albeit not as well as stand-alone sampler workstation.


I have the BitBox. I also like that it has two alternative firmwares that allow it to be a wavetable synth or a multi-effects box.

The ER-301 and Assimil8or are good choices if price and rackspace aren't an issue.

How fast do the LFOs on the Hermod go and can they be reset or sync'ed?

A second case seems more logical as this rack is pretty much full. I'd find a big-o-rack and keep the Intellijel as maybe a core rack or your performance rack aka the rack where you sequence and control the rest of your system.


Plaits and the Basimilus have their own envelopes. But they are very basic. Your synth voice has its own envelope generator as well. If you're using the O_C as a sequencer, it can output its own envelopes rather than just gates.

I'd put the Pico FX back in else you have a very dry rack. Personally, I'd rather have at least one FX unit rather an extra ADSR in this set-up.

As far as VCOs... or at least oscillators, the rack has a A116, Basimilus, and a Plaits module. The KickAll can also be used as a pitched oscillator in certain circumstances.

For its size. You might be a little heavy on oscillators. But I wouldn't worry too much about that. You can always remove one or more of them and place in other modules that'll fit in the same space. If you don't mind reconfiguring your rack the times you're looking for more functionality and less voices. Just don't do it with the power on and connected.

If the O_C is not getting the job done for your sequencing needs, you can always add an external sequencer.


Well, you have two sequencers. Were it me, I'd get rid of the Metropolis and buy a 1010 Music BitBox. That will give you your drums... up to 16 samples of playback and any loops you might want. The BitBox has four outputs. So you can have a stereo mix, four individual outs, two stereo outs, or whatever you like (such as kick on 1, snare on 2, everything else on 3-4).

The BitBox will also sync to your master clock. So you could sample a loop... like a kick from the Basimilus and then reuse that module for something else.

Also, I only see one VCA. That's going to bite you. It's a combo ADSR and VCA, so that's really going to bite you.

I'd want at least two dedicated ADSRs (like an Intellijel dual ADSR), an LFO module (like a Batumi with Poti expander), as well as at least one Befaco attenuverter, and one 3-4 channel sub-mixer that's DC compatible. If you pull the Metropolis, I'm not sure that you'd have enough space for all of that. Perhaps a smaller main mixer?


Yes, buffered is active. Hope that clears things up.


A switch isn't a mult.

Mults break down into two categories: active or passive.

A passive mult is probably the simplest module in Eurorack. It doesn't require power and splits your signal into two or more outputs. The issue with passive mults is that each additional split robs voltage from the input. That's not a big deal for clocks and gates. But when you're using CV for pitch, there can be a drop in voltage... which will detune and throw off the scale for your CV.

Active or powered mults, are basically distribution amplifiers. They make a copy of the signal at a 1:1 (hopefully) voltage.

Passive mults are less expensive than actives.

The Joranalogue Switch 4 isn't a mult. It's a switch that allows selecting either an input or an output and routing it to a different destination. Depending on the switch it is possible to route one input to multiple outputs simultaneously... but that's going to depend heavily on the design of the switch.


Hey Marcel,

When you're posting your racks. A link to the rack itself should embed it in this thread. When you're asking for recommendations, being able to click on the modules is pretty helpful as no one can be familiar with every module.

Here's your Synth Voice rack. I added quotes and put a space between each slash so it wouldn't end up linking.
"https: //www.modulargrid.net /e /racks /view /1039061"
It looks good for a starter. There's the Disting, which is GREAT as a sampler pack of different functionality you might want to add dedicated modules for. An extra VCA is nice. But I would order it in the second round of purchases as well as your effects.

When you're ready, I'd add a second oscillator and small mixer. A two oscillator synth is much more powerful than one. The Intellijel Dixie II+ would pair well. It also functions as an LFO if you so wish. The Atlantis has a sync input. Sync sounds are always fun. Again... all with a grain of salt because your journey will be about what you wish to explore.

ModularGrid Rack


Before I start... everyone has their own opinions. So take this with a salt-lick grain of salt.

If it were my money and I was starting over again, I would go with the Intellijel Atlantis. It's based on the Roland MS101. It's a complete synth in Eurorack.

The other option is a Behringer Neutron. It's less expensive and doesn't require being mounted in Eurorack and comes with USB and DIN MIDI.

If you outgrow either the Atlantis or the Neutron, the resell value on them is decent.


Well, your second attempt to build a synth will work. But it's a very limited build.

I would suggest one of Intellijel's cases with the 1U row.

Your Cascade module is $100US and offers 3 attenuverters. An Intellijel 1U Quadrat will give you the same functionality with FOUR attenuverters for $80. You can use your Cascade to address 3 CV signals, three audio signals or a combination of both. You'll use them up quickly.

Peaks is a jack-of-all-trades module... but breaks down pretty quickly if you need more than one type of function. For instance if you want TWO envelopes you can only directly control the attack and decay. It's not bad... but it's very limited.

Basically, what you've built is a two oscillator synth that's pretty plain. You'd be better off buying a synth voice module (a module that contains everything you need to produce a basic synth sound). You could even start with a semi modular synth and then add a rack of stuff to it.

Spend some more time in VCV and up your budget. I'd really see if you can find a semi-modular that's compatible with Eurorack as your entry point into Eurorack. You'll have less heartache and start with a complete synth, MIDI interface, etc.


Hey Davidaellis,

I own a MiniBrute 2s and you can patch it to external modules easily using the patchbay indeed. Both VCO1 and VCO2 have outputs you could send to your reverb module. You can return it back using the master or ext inputs, master will mix your input to the final audio signal from the MiniBrute, the ext input will send your signal through the MiniBrute's filter, envelopes, brute factor and everything else, this can be controlled with the ext fader in the VCO1 section.

The MiniBrute's manual is pretty easy to follow and there's a full section on the patchbay, you may want to check it out.

Have fun.
-- Exposure

I would suggest using the "AMP OUT" rather than directly from the VCOs. I don't think you'll want to apply reverb then your filter. The amp-out is going to be at or near the end of the signal chain.

Page 64 of the manual describes the Ext Inputs. It's not very clear, but I think the Ext In Master jack disconnects the synth when a patch cable is present. I would definitely test that. If true, you could create an insert by going from the amp out, to your reverb, and then to the ext in-master. Just not that your signal will return in mono since there's only one input.
http://downloads.arturia.com/products/minibrute-2/manual/minibrute-2Manual10EN.pdf


I'm going to reply late to here but something to observe.

The Maths module is capable of doing offsets. So while your VCA knob may be all the way down, you may be leaking an offset into it that prevents it from fully closing.

On your Maths output, be sure to use the direct-out from channel #1 or channel #4 and not the mixer out. Use the output below the black box with the LED in it and not the outputs labeled "1" or "4" or "sum" etc. Then you'll be sure that your VCA fully closes.

This might not be the case... but it might be.


I'm going to reply late to here but something to observe.

The Maths module is capable of doing offsets. So while your VCA knob may be all the way down, you may be leaking an offset into it that prevents it from fully closing.

On your Maths output, be sure to use the direct-out from channel #1 or channel #4 and not the mixer out. Use the output below the black box with the LED in it and not the outputs labeled "1" or "4" or "sum" etc. Then you'll be sure that your VCA fully closes.

This might not be the case... but it might be.


One more for the pile-on.

Creating a small-rack requires a lot of knowledge of Eurorack; more so than creating one that's a total of 208HP for example. Cramming everything that you need into such a small space means knowing exactly what the capabilities of your modules are and having confidence in your set-up to do everything you specifically want.

It's the difference between building a grandfather clock a pocket-watch. The finer details matter a LOT more.

Build a "complete" system, get familiar with Eurorack, then if you want to build a small rack it'll be less of an issue. Building a small rack from the get-go without intimate knowledge of Eurorack is going to mean a lot of wasted money and time.


This is just a terrible idea from the get-go. To do it right, you're going to need individual mics on each piece of the drum kit. You're going to need a preamp for each mic. You'll probably want a mixer with a minimum of 8 buses to get each drum sound (or stereo pair for overheads) out to your Eurorack. You'll also want a line to Eurorack level module with multiple inputs and outputs... else a bunch of single modules.

Now you have audio going into your Eurorack. If you want to turn your transients to gates, a logic module for each drum sound would be helpful. Once the audio goes above a certain voltage, you'll generate a gate through the logic module... just tap the "or" output. From there you can apply whatever you'd like. Envelope followers were also mentioned. That will generate CV based on the instantaneous amplitude of the signal.

You'll also need a compliment of envelopes, VCAs, or whatever else you're looking to run through.

Honestly, Eurorack isn't the best solution. You'd be better off with a laptop with an 8-in and 8-out interface and software like Ableton. From there you can process, envelope follow, and whatever the heck you want out of your inputs. But using Eurorack is just going to be a cluster with meager results.

Eurorack ain't for everything.


The oLED on the micro ornaments and crime doesn't bother me so much. It's pretty straight forward. You do have to learn a couple of key presses to enter different modes. But the main functionality of the module is pretty straight forward. I've had more problems with digital units that do NOT have any sort of screen but instead have a bizarre amount of button pressing and holding with little to no feedback about the changes I'm making.

Units I have with user interfaces that I hate (and probably will end up selling):
Expert Sleepers Disting Mk4
Expert Sleepers FH2
Monsoon (Clouds clone)
Pittsburgh Modular MicroSequencer
Tip Top Audio QuantiZer

All of which have no graphical display except the Disting, which marginally qualifies.


You're under budgeting in what you need to get started. Don't take this the wrong way. But from what I'm looking at you haven't grasped the concept of control voltages yet.

Planning out a rack without understanding how each module interfaces with the system as a whole will mean a lot of money spent in hopes of a functional system with even more money spent once you begin learning how the ecosystem works.

The concept of an ADSR, for example, is pretty common among all synth platforms. But the HOW of getting an ADSR to work in Eurorack is as important as its use.

Can you run me through how you would create a desirable sound in this set-up and control it? Including the patching? If you can't, then you're building your rack blindly and its going to end up costing you more money or disappointing you.


Thread: Revamp

Get a bigger case if you can afford it. I wouldn't ditch ErbeVerb as it's a really nice reverb.

You can take a Eurorack level audio signal and patch it directly to your Mackie. But the Mackie has to be able to handle the output level. That will depend on the specs of the Mackie input. You may also have to worry about DC voltage leaking into your audio chain and eating up headroom (you can't hear DC and also it's not good for your speakers). Take the output of one of your oscillators and patch it directly into a Mackie input. Make sure the gain on the Mackie is all the way down. A sine wave is great for this. Can you bring up the level of the Mackie to unity without distorting the sine wave?

If you go with a larger case, severa Eurorack to line level modules are available and might be worth the investment, especially if you're using outboard effects that might have an issue with Eurorack level audio.

Also, the Batumi has a Poti 3HP expander for around $60US. It's worth it as it gives you control of features that are only accessible by moving jumpers on the back of the Batumi.

I'd also look into something like a Befaco dual attenuverting module with offsets, a logic module, and something that does sample & hold + noise. You'll get a lot more out of this rig. I think the Disting can do these features, so you might want to try them out and research their potential within your own rig before buying them.

$0.02.


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


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.


Thread: Next step?

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.


Thread: Next step?

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.


Thread: First Rack

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.


Thread: Korg ms20

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.