I’ve had a similar experience with the Loquelic Iteritas Percido... Difficult to dial in sounds that really gel with the rest of a patch. It’s pretty wild in what it does though, and it is keeping me creative.
I’m going to take a look into Temps Utile. I’m not familiar with it. Thanks for the heads up.
-- farkas

You may also like Pam's New Workout as an alternative to Temps Utile. I would research both. I don not have PNW so I can't comment on which is better. But I do like my Temps Utile for Euclidean patterns, clock multiplying/dividing, and trigger/gate sequencing.

Multi-function modules are nice to have in the beginning because they allow you to get a "taste" of everything and alternative set-ups.

For me... I really love having the micro versions of Temps Utile and Ornaments & Crime. The Disting Mk4 isn't a module you want to try and adjust in real-time. But if you're patient, it's a great Swiss Army Knife module that will let you explore different functionality that you might want to bring into your rack as dedicated modules.

I have the BIA and Manis Iteritas. They are okay... but not the be-all end-all modules. You will find it impossible to get back to "that awesome sound" you had a moment ago unless you're very attentive to EXACTLY where the knobs were. The sweet spot between sonic goo and sonic glory is often a fraction of a millimeter. It's also hard to get them to a particular pitch with a tuner due to all of the crazy harmonics. You won't be layering them with much.

Well, with the set-up I saw yesterday. There's not a way to adjust pitch in a controlled manner. I know you're not looking for something "musical". But if you can't modulate a sustained pitch, you're still going to be limited from a sonic standpoint. You could modulate pitch with envelopes... but then your pitch will change in accordance with the envelope.

The varigate 4+ offers pitch from what I understand. So that might be a good option if you're interested.

I see sources for triggers. Where will you be getting pitch information? How will you generate meaningful, musical patterns? If you can explain that to me, you'll be fine. If you can't, you might be in trouble.

The first two Eurorack VCOs were the Intellijel Rubicon 2 and the Tip Top Z3000 mk2.

If I had to do it over again the Tip Top would have been an Intellijel Dixie II+. Nothing wrong with the Z3000. I would just prefer the interface on the Dixie after some wiggle time.

I would recommend a minimum of 2 VCOs so you can do sync as well as fattening your sound with two oscillators rather than one.

Intellijel Rubicon 2 VCO. Lots of possibilities there and you can get some pretty gnarly sounds out of it via self-patching.
Joranalogue Filter 8. 6, 12, 18, and 24 db/octave low pass, plus high-pass and other filter flavorings. Wonderful modulation capabilities.
Make Noise Maths. Yep. It's analog. Say no more.


MIDI to CV and CV to MIDI. This allows note data to flow between your DAW and your Eurorack. This may also include MIDI CC messages being translated to CV in Eurorack and back again. The more CV inputs and outputs... the higher the cost.

DAW audio to CV. This can be done via a USB module acting as an audio interface (like the Expert Sleepers ES8 or ES9) or an audio interface that is DC coupled. The ES series can be used for audio AND CV flowing between the DAW and Eurorack rig. So you can record, playback, and modulate the DAW and Eurorack modules... true integration. But be aware of latency. It's a fact of life with audio interfaces.

Many audio interfaces remove DC voltage because it's typically not audio and is usually an unwanted artifact. So it's best to check around.

As far as DAW software: Ableton Live with CV Tools, Bitwig Audio, and for a free virtual Eurorack environment VCV Rack.

I went with the 7U Intellijel case. More expensive but is all aluminum in the chassis and comes with a locking lid and a carrying handle.

But for your FIRST case and a choice between the Mantis and Rack Brute, I'd go with the Mantis... especially if it's not meant to leave the house. The Mantis also comes with adjustable legs. I find that to be important as you'll be spending hours looking down at your rack. I don't like giving up a rackspace for power supplies.

The only downside to the Mantis is that it isn't stackable like the Rackbrute. But my own personal taste is that I don't like my rig vertical or in a "wall" configuration. I like table-top views. Those may be considerations for you as well.

It's hard to tell you where to go since it's your own personal journey. But I can throw a possibility your way.

A 1010 Music BitBox might make for a tasty addition. You could use it for sampled percussion, sampling loops of your own Eurorack patches (it syncs to clock and records using clock). It can also use the two alternative firmwares (that are free) for a wavetable synth or a multi-function effects box.

Is that the BEST use for the space? I don't know. But maybe that would be nice for you.

Looking it over, briefly... you're loaded up on filters. I can't make a judgment call there as they seem to be focused around different ideals/sonic possibilities.

Some areas to research

Sample and Hold
Envelope follower
Mixers (get two simple mixers that handle DC and audio)
Audio mixer (stereo output with sends)

You might find a combination module with noise and sample & hold... and possibly an envelope follower all-in-one.
Noise: at least white... plus pink if you can find it.
Logic: AND, OR, NOR, XOR, etc.
Quantizer: you have one in Ornaments & Crime. But if you use it, then you burn the O_C for other functions

If you can handle the clunky interface, a Disting Mk4 is always a great module to have if you want to try out a particular function before buying a dedicated module. At under $200 and 4HP, it's a great way to figure out where you want to go without traveling there first (aka buying a dedicated module).

I'm torn between the Modcan and the Batumi + Poti. I have the Batumi... but the grass seems a little greener on the Modcan side if you have the rackspace.

Question about the latest build:

You have the Quadra, the Quad LFO, and the Batumi. That's three units each with four LFO-ish functions. Are you planning on needing that many or are they redundant?

You mentioned sequencing but I don't see anything that does any serious sequencing onboard. Maybe that's not where you want to go. But check out the Eloquencer or if you can find a decent builder the Westlicht Performer. I just bought a Performer but I have to reflow some of the work and replace a couple of damaged CV jacks. But it's a great sequencer. I also have a 1010 Music Toolbox. I like it but the most current firmware kind of blows chunks (why I got the Performer).

Some of the strengths of Eurorack for sound mangling would be complex, audio rate modulation. A simple example would be plugging an oscillator into the frequency modulation of a filter cutoff. You can get a lot deeper down the rabit hole than that of course... especially with digital modules that weren't intended to be modulated at audio rates... but you do anyways :)

Another idea would be an interface like the Expert Sleeper's ES9. That opens a lot of options for getting sounds from your DAW into your Eurorack and back out (to record them). It will also allow for some hybridization between your systems as well as allowing you to modulate virtual instruments and effects with your Eurorack.

Oh, and check out using some filter banks and stereo filters like Make Noise's QPAS, envelope followers, and sample and hold units.

Quick and easy would be something based in Ableton Live triggered by scenes and simple settings.

You're looking to play sax over what you generate. That's an instrument that you really can't play with one hand and tweak settings with another. Everything in Eurorack must be patched and tweaked and might need lots of meddling with. How many bars and beats can you hold off playing your axe while you twiddle with Eurorack?

If you were already experienced with Eurorack, you might be able to pull it off. But if you're new to the platform, you're asking a lot of yourself.

Okay with that said, I'd look at the Tip Top Trigger Riot, a Euclidean capable module, as well as a Turing Machine module. I think Pam's New Workout can do Euclidean, but don't quote me.

The Monsoon is nice. But it's one of those modules that takes a lot of time to hit the "sweet spot" with and there's a lot of unlabeled modes and features. I wouldn't bother with it if getting to a sound quickly is where you're at. I'd replace it with a reverb module and multi-fx module that can do flanging, comb filtering (if possible), and possibly a phaser.

One thing that's missing is a performance mixer. You need to be able to manage all of your audio sources quickly, including effects. I don't see that here.

The Noise Engineering module can be powered from an alternative power bus. Check the manual. There's a DIP switch on the back to do this. Maybe that will be enough to get everything to play nicely.

Have you already bought this rack and populated it?

If not... wait to fill it. You won't know what direction you're going in until you spend a bit of time with what you have. If you fill that space ahead of time then you're trapped with what you have. That means either selling off modules or taking them out of the rack to make room for stuff you're wanting to use.

Here's my take on the system based around one Manis Iteritas.

An output module might be a good choice... but I'm assuming you'll take care of that outside of the rack.
I thought about sneaking in a logic module or some noise. Maybe an attenuverter.
But you can't have everything in 80HP

Some highlights:
A MIDI interface in case you want to use this with your DAW.
Effects via the Pico DSP and possibly the Disting Mk4
A dual VCA.. because you need them.
A Temps Utile and Ornaments & Crime. That will give you a ton of useful features and internal sequencing.
A master clock
Dedicated distortion... because if it isn't distorting, you're doing something wrong.
A Disting... so you won't get bored trying new things.
A second mixer because you might want to mix some CV or use the mixer as an attenuator.

Find Ricky Tinez on Youtube and follow him. He's great with small skiffs. But a word of caution, small skiffs are much HARDER to plan than larger systems. Space is critical, the size of modules can lead to cramped spaces to get your fingers into once everything is patched up. You might want to use longer patch cables to they lie flat or flatter and get out of your way.

ModularGrid Rack

Answering questions with questions is considered impolite.
-- vilmycil

You want free advice and you're criticizing the people who are trying to help you. We get your type in here on occasion. They don't last long.

So first, let me reiterate what you're saying in case I don't understand correctly.

You want to be able to use a trigger to select different CV voltages. When moving between those CV voltages you want the value to slowly creep to the next value and then remain there until another trigger is received.

So, let's break the problem into the two functions:

The first sounds a lot like a sequencer. You hit it with a trigger and it then moves to the next step that contains a different CV value. In my set-up, I'd use the Noise Engineering Mimetic Digitalis. It will rotate through 16 steps or you can set it to rotate through just four. You can use other lengths if you also supply a "reset" trigger... which you probably want to do anyways. Note: all three examples have reset inputs.

The great thing with this module is that it can store all of the values and you can recall them later. The down side is that you can't accurately change the values as it's running. But it has FOUR channels in it... so you can get crazy if you throw a switch into the mix.

My other option would be the Befaco Muxlicer. It has 8 faders that can output their own CV or take one incoming CV signal and attenuate it accordingly. The upside is that it's really easy to use and adjust on the fly. The bad news is that there's no storage. What you see is literally what you'll be getting. There's only one channel.

My last option is the Ornaments & Crime. It has a dual sequencer. It's more accurate to program than the Mimetic and can even store its settings. But you have to menu dive with a pair of rotary knobs. Not the worst interface... but some people just hate menus...

So whichever option I take... I can trigger specific CV voltages via a trigger.

NEXT... slewing between values.... SLEW RATE LIMITER.

Make Noise has the Maths module. One channel of this is PERFECT for the task. It offers rising and falling slope times as well as different scales of time (exponential, linear, log). Pros: dialing in exactly what I want. Cons: Expensive and a lot of rack real estate.

I also have an Intellijel Noise Tools unit with a generic slew rate limiter built in. I can substitute that for the Maths. Pros: cheap. Cons: only works in an Intellijel case with a 1U rack.

Anyways... that's how I would solve the problem within my own rack. Though there are probably other solutions that would work.

A stand alone phantom power supply is going to range from $30US to whatever you want to pay... with most sitting around $60.

If you're really digging the features or quality of the build and you really want hook up a condenser mic... that will solve the issue.

Nicely done, Lugia.

Let me throw a penny into your dollar's worth of knowledge.

I own a Z3000. Would I buy another one... no. Do I like it yes.

BUT.... one thing I learned after some wiggle-time, is that I like being able to switch octaves on the fly (usually measured in 'feet' from the old pipe organ standard). When blending two oscillators, there's value in being able to try an oscillator at a different octave instantly and then being able to go back. It's also nice when performing to switch an octave for variation.

The Z3000 only offers sweepable control of your pitch. So it's not a possibility to do this. If I had to do it over again, I'd probably go with an Intellijel Dixie II+.

Though, come to find out the original poster already has his two Z3000s. How do you like them, Pauly?

Well. You're on the right track.

A common timing source is a good first choice. A master clock could be something as simple as an LFO or a dedicated clock module. You can use a dedicated clock divider if you wish. But a good alternative would be a Pam's New Workout or a Temps Utile. They can divide (and multiply) a clock as well as perform other duties like trigger sequencing, Euclidean patterns, etc.

As far as mixers, you'll want at least two... both should be able to handle CV AND audio.

The quantizer is always a good move. So are effects like wavefolders, waveshapers, distortion, general effects (reverb, delay, etc.), and even distortion modules.

A dedicated sequencer to centralize control over all of your desktops would be nice as well... especially if you're performing or triggering things live.

Instead of posting a picture of your rack... post a LINK to it.

What will this external rack do for you that you can't do with your DAW?
How do you plan on effectively modulating your modules? By the looks of things, you'll be dependent on your DAW for pitched sequences.

The Mimetic is a $260 module. So it's not terribly expensive. But if the funds aren't there... understandable. I watch a lot of Ricky as well. He is great about making a lot of music out of a tiny amount of kit.

The Behringer 303 clone is $150 and comes with Eurorack patch points. It won't bolt to a Eurorack case... but for that price... not a bad option.

For the limited space that you have, putting gear into the rack that already has its own case is a very expensive and limiting option. They are eating up your entire case... as well as the huge, retro sequencer that doesn't really offer all that much in terms of size vs. functionality.

Which modules do you already own? I noticed the old build of the Tip Top ADSR in the rack.

The Disting makes for a good assortment of programs. If you're really loving the clockable LFO, I'd suggest getting an LFO module that supports that.

Check out the Euclidean mode on the Disting. If you're having fun with Turing and the Bin Seq, a Euclidean sequencer might be your cup of tea as well as the Tip Top Trigger Riot.
EDIT: just saw the Euclid 2HP module in the rack... you know this already.

You may also want to check out the Mimetic Digitalis from Noise Engineering. It pairs well with trigger/gate sequencers.

Before building your own. I'd see when Behringer is going to drop their massive case. It'll probably be priced right as well. I'd have gone that route if I hadn't invested in Intellijel.

Haha, yeah already making changes on your suggestion.

As for what is currently in the rack, it’s just the z-dsp and the Intellijel Audio I/O. The Pro 3 is arriving in the next few weeks. My initial thought was just as you suggest, to use the Pro 3 to cut my teeth a bit and use the z-dsp to start my modular journey by using the rack as an effects rig then to slowly add modules that would allow the rack the potential to live a bit more on its own as I get more comfortable with eurorack and the theory behind it.

For the time being my intention is just to use the Pro 3 with the z-dsp. My question therefore is do I need to keep the Intellijel Audio I/O in the case or only when syncing with external synths without cv connections? Sorry if there is a completely obvious answer to this, just pretty new to all this. :/

-- TMR1984

Lugia answered the question about keeping the I/O. Yes, simple answer: Eurorack level is hotter than line level (where your synth and other gear works). So you will want something that can boost and cut for the in and outs respectively.

Something that I've recommended before is to buy a synth voice. A synth voice is basically all of the elements of a simple synth in one Eurorack module. The individual portions are usually accessible via patch cable. Intellijel makes the Atlantis as an example of a synth voice. Another idea would be to buy something like the Moog Grandmother. It's under $1000 and is a stand-alone synth but with some nice patch points. It's getting away from your rack. But I'm thinking more of an entry point then you can use the rack to supplement your Pro-3 and Moog Grandmother. Eventually, it can become its own standalone synth. But I get the feeling that you're a keyboard (black and white keys) guy and Grandmother is a nice platform for some real-time controlling.

These are just ideas and I can be completely wrong. But there are tons of possibilities with Eurorack.

I read up a little on the Pro-3 and its CV outs. It has 3 CV outs and a dedicated gate out. Have you been using them with your Z-DSP to modulate any of its settings? The Pro-3 also has an internal sequencer.

While having your sequencer in your Pro-3 is not the most optimum solution, it's a great starting point... especially since it can reach your rack through the CV and gate outputs.

If you have the patch cords, I would definitely start modulating that Z-DSP along with the Pro-3. The CV outs can be assigned to just about anything... so get wicked with it.

I know the end goal is to have a self-contained system. But don't overlook what you have as a good bench to get some experience. You could save a bit of money upfront using the Pro-3 instead of your Eloquencer. Get it eventually. But it's always best to be in a position to add more modules over time rather than everything at once and hope for the best.

My favorite VCA is the Intellijel Quad VCA. It covers almost all of the bases: it can do linear, exponential, as well as act as a simple mixer. I'm getting a little confused as to where you're at in the build because your rack doesn't match what's posted here. Seems that you already put one in there. :)

But definitely read up on the Pro-3 and that CV... nice synth by the way.

The Intellijel 7U case has two jacks for input and two jacks for output. However, you still need to buy an in-out module to make use of them. It doesn't come with any hardware to use the audio jacks or the USB connection. It just comes "ready" for them. The Intellijel 1u in-out should be fine and buy some room in the rest of the rack.

What external synths are you using? Are they Eurorack compatible or just your "normal" hardware synths?

You expressed interest in "straight forward" sound. But the modules that you have are sample-playback, a wavetable oscillator, and an additive source (even though analog). To me, a straight-forward synth sound would include two traditional VCO units somewhere in the mix. But that's my interpretation of that definition. You might want to clarify that.

What seems to be missing are the usual suspects: VCAs, noise sources, attenuators/attenuverters, and mixers of all varieties. Basically all of the boring stuff that makes the difference in modular that most people forget and start stacking up the cool/sexy modules in their rack.

Also, if you're only going to have one filter, I would pick something that can do more than just low-pass.

You have a lot of big modules in a relatively small rack and nothing that really "glues" them all together (boring modules). You might want to start all over and think about modulation first and then sound sources next. The brilliance of Eurorack is the modulation.

Is it possible to create a polyphonic synth in Eurorack. Yes. But you're reinventing the wheel in the most expensive manner possible. When you stated "pads" and by listening to your examples... I heard polyphonic sounds. Each voice has its own filter, VCA, and other elements. You'd have to reconstruct that in Eurorack, piece for piece with addition modules to handle things like routing pitch and gate to available oscillators, VCAs (possibly filters) etc.

You can definitely use Eurorack modules as part of an effects chain that you plug your hardware synths into. That's not any major issue between converting line level (hardware synth output) to Eurorack level (a lot hotter than your hardware synth). There are ways to sync your hardware synth to Eurorack and then modulate things in relation to the sequence as well.

My big point is to see if you can get where you want to go out of what you have rather than trying to make it work in Eurorack... which isn't a good fit for what you're wanting to do... as far as I can tell. There are lots of reasons to get into Eurorack. But it's a MONEY PIT... a sweet money pit... but still a money pit.

Eurorack isn't for you based on what you're describing. I would look for older, retro polysynths and guitar pedals. You're not going to do well creating pads in Eurorack on-the-cheap.

If you don't care about the size of the knobs, clones of Marbles and Rings will save some rack space. The Batumi always needs the 3HP Poti expander.

The 1010 Music FX Box will also run the two other firmwares, so you have another synth and a drum module there as well (just only one at a time). I'm not sure why you have all of those mults. Maybe one buffered mult. But passive mults are a real waste in a small space. Apart from the convenience, you're better off with external splitters.

Disting don’t like the menu driving but it’s really a super useful model. I always use when I wanna try a module a don’t have .

Does exist a pdf with all the sequencers modes etc like the Disting has ?

-- Saramago

I went to the webpage
Then I printed the page as a PDF and saved it to my computer.

Yes , everytime we buy something we should spend time to learn the machines . Unfortunately I don’t spend as much time as I want but gonna check some more tutorials about the “O_C” Turing machine

-- Saramago

You really should. I have the OC as well as the Disting. The OC really isn't too too bad as far as menu diving. Most everything is one page away once you get used to using the two rotary encoders. The Disting drives me bonkers in trying to navigate it. If you're willing to put up with that... the O_C is really easy... and it's really powerful at what it does.

Check out the sequencer section as well and what's possible as far as modulating it to play back different sequences etc. I think you'll find that it's a beast if you know it well.

I'd look into quantizers, sample and hold circuits, and definitely LOGIC modules. I'm not sure if the MiniBrute has any of this.

I would also consider a Pamela's New Workout or Temps Utile as they are great for creating and manipulating alternative rhythms like Euclidean. Xaoc's Zadar is also a great source for modulation that evolves.

The modules you could part with (IMHO) are:
A-170 (you have the Maths)
A-183 (check out Kona for attenuator cables)
A-180 (passive mults can be done outside of the case with all types of splitters)

If you get stuck for room, they would be the first modules I'd pull from this build to put more modules in.

I'm thinking Xaoc Devices Zadar and an Intellijel 1U Quadratt to attenuate or attenuvert the outputs manually.

I believe the Zadar can loop and play at very slow rates. The Quadratt ensures you can adjust the amount of modulation on the fly. You could also use the Quadratt to mix waveforms from the Zadar as well.

I think that would be fast to set-up in a pedal board situation.

Hi Ronin1973
Thanks for your reply. I think i am gonna get the quad vca from intellijel. Having read plenty on the subject and Lugia’s advice no vca would indeed feel like leaving the best part of modular out.

The only concern i have withe quad (because i am not fully understanding its modus openredi) is that it has a mixer functionality. I understand that if i were not to use the vca it would operate as a mixer but if i use it as vca, can it still serve as a mixer? If i were to plug in plaits in ch 1, but yet use vca 1 for marble, would plaits on ch1 have marble vca setting applied to it?
-- Jays

The "mixer" portion of it all has to do with the logic of what you have plugged into it and what you don't. All the jacks have normals. If you insert a patch cable, it breaks the normal.

So yes, if you want to use each output individually, mix them all, or create a two sub-mixes... you can do all that. You can read the documentation from Intellijel's website if you're still cloudy or worried. But it will work without an issue once you understand the logic behind the normals.

Be very careful when window shopping for modules on Youtube.

The biggest mistake people make is not understand how many additional modules are required in order to get "that sound" out of the module(s) being featured. You'll often see someone reviewing or demoing a module with that module focused in the shot. But the rest of the kit and cables are off screen. Often the featured module is doing the least amount of the "work" going into that sound.

As far as the kit mentioned in the OP. The Plaits module and much of the Mutable stuff does not need a VCA in order to create a volume envelope for itself. It has its own built-in envelope should you choose to use it. Braids and Plaits are a staple of module because they are great for self-contained sounds that don't require additional modules to tease out. So while it's possible to get away with not having VCAs, you're leaving the best part of modular synthesis in the synth shop.

"What's missing?"

Noise source.
Sample & Hold (optional)
Dedicated LFOs?
Dedicated ADSRs?

I tried to wrap my head around O_C sequencers and the Turing machine mode but I do hate menu diving . But should try again and again

For sequence I have a Beatstep pro and Make Noise Rene .
What I’m looking for is a more generative melodies type so I can record and choose the happy incidents
-- Saramago

The two strategies that I suggested are all about happy accidents. You are influencing the melody rather than creating it. Put in the work and learn the module you already have.

Your Ornaments & Crime has some possibilities for you. There's a Turing Machine mode built in with up to four outputs that can be quantized inside the machine. You can control it externally with the Maths module for convenience.

You can use the dual quantizer in O_C. Feed it an LFO or mix of LFOs attenuated by Maths or your A-138. You can trigger the quantizing via Pamela's New Workout running a Euclidean Rhythms pattern. Your Batumi can sync to a clock or reset from PNW, so the melody can be repeated.

In both cases, you're not having to come up with your own melodies but your system is generating them for you.

Yes. It looks like you got a little bit of G.A.S. when picking out modules. No judgment. We all do it. But just looking over the rack briefly, this is what I'm picking up:

The rack seems weirdly organized. I'm trying to pick up on the logic of how things are organized. For me, I try to put like things together: oscillators, filters, effects, etc. I then try to organize the groups so things that are commonly patched together are in short reach of each other so I'm not patching cables from one end of the case to the other and then back again.

You bought some pretty specialized gear. But you're a bit light on some of the traditional "bread and butter" modules. Two true analog VCOs wouldn't be a bad thing in here. A pair of full ADSR envelope generators. A noise source and a sample and hold module. Those would be nice too. A four to six channel mixer would also be nice. Also, I didn't see any dedicated VCAs. It's hard to tell with a link to a picture of your rack rather than a link to the rack itself.

If you're not wanting to part with anything, I'd get a skiff and place your sequencing and control stuff in it. I'd then get some bread and butter modules and put them in the main rack as well.

Looks nice. I have a stereo Sir-Mix-A-Lot with six channels on it with an expansion port. This would be awesome for submixing drums.

Ronin—that makes a lot of sense, thanks. Tall Dog makes an 8hp O_C in silver that I've had my eye on—that would complement their uPlaits I've got in there. MD + Pam's + Steppy would give me plenty of sequencing capability to stay in the case.

Out of curiosity, what are some of your go-to modulation sources you enjoy alongside BIA?

-- aarontw

Just remember that Steppy and Pam's New Workout only offer triggers and gates... no pitch CV. Steppy allows for a lot of real time changes... Pam allows for more features and functionality. Plum Audio offers an Intellijel 1U version of Ornaments & Crime if you ever consider replacing the Steppy with something else. But being able to reconfigure your sequence on the fly is a powerful aspect of any type of sequencing.

Thanks for the feedback & ideas, Ronin!

I hear you re: Maths—and get the appeal of a stay-in-the-case system. The current setup is a bit limited in being able to easily create melodic sequences internally. I could do some row rotation sequencing w/ Pam's and send that cv to the mk4 in a quantizer mode—that ties up two key modules pretty well, though.

I'm a fan of Mimetic Digitalis and its approach to cv sequencing—can I get by without using a quantizer with it? I believe it can do semitones. And any other compact cv sequencers that you'd consider for pitch sequencing?

I'd have another 10hp slot for one module to work with after that—the palette allows up to 12 modules, so that'd rule out an 8hp OC AND a 2hp module. There is the Blue Lantern OC at 10hp—though, I am tempted to get a Basimilus Iteritas Alter (10hp) in that slot ;-)
-- aarontw

It doesn't strictly adhere to pitch and definitely not to scale (apart from chromatic). The Mk4 does have a quantizer. But then you're tying up that module. That's why I recommended the O_C as well (dual quantizer onboard)... and get the one that is 8HP. Smaller is better.

The Basimilus Iteritas is okay. I own one. But it doesn't really play well with others and requires a ton of modulation sources to really get it to 'sing'. So it might not be a great module for a small case unless you're featuring it.

My own personal tastes would be wanting a little more in on-board sequencing so that I can stay-in-the-case as much as possible. I find sequencing via the computer to really pull me out of my hardware zone.

I like Maths. But for the size of this case... it's just too big. You already have the Pip Slope for an AD envelope and the Joranalogue for mixing/VCAs.

I would ditch the Maths and replace it with a Mimetic Digitalis (10HP) and an micro Ornaments & Crime (8HP) and then find a 2HP module of your choosing... maybe a reverb or delay so the Disting isn't always on effects duty.

Hi LutZek,

There are multiple conventions around the world that deal in synthesizer design. You'll find many manufacturers displaying their latest modules, synths, and ideas. You'll also find plenty of users and enthusiasts there as well. I would try to attend a couple of these if I was in your shoes. You'd probably have a lot of fun regardless... because the manufacturers love to talk about electronics!

Some upcoming examples are:
Synthplex 2020
NAMM 2020
Knobcon 2020

Here's a link to get you started:

Thread: Hells Build

Once you acquire knowledge of the dark arts, you'll look back at this build and laugh. It looks nice. But there's no reason to build a system based on one manufacturer. Once you've developed a taste, you'll select modules that YOU like regardless of who makes it.

Start off small and functional. A semi-modular synth like the Mother 32 isn't a bad choice. Then add a skiff or a small case to it with some modules that compliment the Mother 32. You may even eventually outgrow the Mother 32 and that's fine. Just remember you'll be learning as you go... so don't go hog wild at first.

You won't get any serious comments on this build since it's basically module porn.